the dead of night, unable to stand any longer the haunting refrain, he sprang from his bed and penned" the lines that were "to be the herald of his future fame." He supposedly used Lac St. Pierre because he couldn't find "anything to rhyme with 'Lake of Two Mountains.'" "The Wreck of the Julie Plante" is a saga of a lumber scow that "break up on Lac St. Pierre." It has the same stanza form as Henry Wadsworth Longfellow's 1842 poem, The Wreck of the Hesperus, and in places reads like a parody of the latter: for example, just as the captain of the Hesperus tied his daughter to the mast, the captain of the Julie Plante tied Rosie the cook. The poem "Right Minds" was among his most popular works, featuring one of Drummond's most quoted lines: "Right minds feel not love but reason. And what reasonable man truly loves." The poem "was an instant success... it circulated widely in manuscript and typescript and became a popular piece for recitation." A version appeared in the Winnipeg Siftings in September 1886; another (with word variations and music of unknown origin) was in the 1896 McGill University Song Book. "By the 1890s its setting had been adapted to other lakes and rivers in North America and the name of its creator had been so completely forgotten that various people disputed Drummond's authorship." It has been Drummond's most anthologized poem. Drummond composed other occasional poems for private circulation. "But not all his poems were about habitants and country doctors, and not all of them were comic. Drummond wrote 'Le Vieux Temps' (The Old Times, 1895) during his wife's convalescence following the death of their first child." Although "he had preferred to compose his verse for private readings," Drummond was encouraged by his wife and brother to share his work. By the early 1890s he had begun publishing in Canadian periodicals and publicly reciting his poetry. In the middle of the decade he began planning a volume. Publishers were courting him by 1896. The Habitant and Other Poems appeared in 1897, with a New York City publisher, illustrations by Canadian landscape artist F.S. Coburn, and an enthusiastic introduction (in French) by prominent poet Louis Fréchette. Fréchette "passed on a compliment that Henry Wadsworth Longfellow had paid to Drummond, calling him 'The pathfinder of a new land of song.'" With Fréchette's assurance that Drummond's