Since he fully recovered from the illness which attacked him about 1919, Carman has entered on what promises to be his greatest, most constructive period, the keynote of which is his characteristic lyrical utterance in the expressing of a confident synthesis of Sight and Faith, of Beauty and Goodness. It is all the same verbal melody and the same love of beautiful sound, color, and form as in _Low Tide on Grand Pré_, but all the felt dissonances that existed for thought have been resolved, and now existence is filled with an ineluctable joy and a tender peace which are a pure gain for the spirit. The poems which represent the _new_ Carman or the Carman of the _new_ and final period exist, for the most part in manuscript, though a few have been published fugitively. We quote one of these new fugitive poems, _Vestigia_ (1921), in which the notable qualities, aside from verbal melody and color, are a confident synthesis of Sight and Faith, Earth and God, and absolute simplicity and clarity of the diction and images:— I took a day to search for God And found Him not. But as I trod By rocky ledge, through woods untamed, Just where one scarlet lily flamed, I saw his footprints in the sod. Then suddenly, all unaware, Far off in the deep shadows where A solitary hermit thrush Sang through the holy twilight hush— I heard his voice upon the air. And even as I marvelled how God gives us Heaven here and now, In a stir of wind that hardly shook The poplar leaves beside the brook— His hand was light upon my brow. At last with evening as I turned Homeward, and thought what I had learned And all that there was still to probe— I caught the glory of His robe Where the last flowers of sunset burned. Back to the world with quickening start I looked and longed for any part In making saving Beauty be . . . . And from that kindling ecstasy I knew God dwelt within my heart. Of the manuscript poems belonging to this fourth period, I may merely mention the titles, as, for instance, _Wa-wa_, a mystical interpretation of the wild-goose honk, _The Truce of the Manitou_, and, above all, _Shamballah_, which is the perfection of Carman’s mystical interpretations—a poem of The City under the Star, Where the Sons of the Fire-Mist gather, And the keys of all mystery are. Fugitive poems representing this final period are _The Mirage of the Plain_, _The Rivers of Canada_, _Kaleedon Road_, and _Vancouver_, which contain mystical interpretations ’suggested,’ as Carman has said, ‘by the vast spaces of Canada.’ _Apropos_ of the mood, manner, and interpretations of Nature in this period, Carman has observed: ‘All Nature poems are more or less mystical.’