But besides being the possessor of a vivid imagination, Ellis Wynne was endowed with a capacity for transmitting his own experience in a picturesque and life-like manner. The various descriptions of scenes, such as Shrewsbury fair, the parson’s revelry and the deserted mansions; of natural scenery, as in the beginning of the first and last Visions; of personages, such as the portly alderman, and the young lord and his retinue, all are evidently drawn from the Author’s own experience. He was also gifted with a lively sense of humor, which here and there relieves the pervading gloom so naturally associated with the subject of his Visions. The humorous and the severe, the grotesque and the sublime, the tender and the terrible, are alike portrayed by a master hand. The leading feature of the Visions, namely the personal element which the Author infuses into the recital of his distant travels, brings the reader into a closer contact with the tale and gives continuity to the whole work, some parts of which would otherwise appear disconnected. This telling of the tale _in propria persona_ with a guide of shadowy or celestial nature who points out what the Bard is to see, and explains to him the mystery of the things around him, is a method frequently adopted by poets of all times. Dante is the best known instance, perhaps; but we find the method employed in Welsh, as in “The Dream of Paul, the Apostle,” where Paul is led by Michael to view the punishments of Hell _(vide_ Iolo MSS.). Ellis Wynne was probably acquainted with Vergil and Dante, and adopted the idea of supernatural guidance from them; in fact, apart from this, we meet with several passages which are eminently reminiscent of both these great poets.