a generation of Canadians. "Canadian youngsters who were in grade seven anytime between the mid-1930s and the 1950s were probably exposed to ... 'A Vagabond Song' [which] appeared in The Canada Book of Prose and Verse, Book One, the school reader that was used in nearly every province" (and was edited by Lorne Pierce). In 1912 Carman would publish Echoes from Vagabondia as a solo work. (Hovey had died in 1900). More of a remembrance book than part of the set, it has a distinct elegiac tone. It contains the lyric "The Flute of Spring". Behind the Arras With Behind the Arras (1895), Carman continued his practice of "bringing together poems that were 'in the same key.' Whereas Low Tide on Grand Pré is elegiacal and melancholy, Songs from Vagabondia is mostly light and jaunty, while Behind the Arras is philosophical and heavy." "Behind the Arras" the poem is a long meditation that uses the speaker's house and its many rooms as a symbol of life and its choices. The poem does not succeed: "there are so many asides that the allegory is lost along with any point the poet hoped to make." Ballad of Lost Haven In keeping with the "same key" idea, Carman's Ballad of Lost Haven (1897) was a collection of poetry about the sea. Its notable poems include the macabre sea shanty The Gravedigger. By the Aurelian Wall "By the Aurelian Wall" is Carman's elegy to John Keats. It served as the title poem of his 1898 collection, a book of formal elegies. In the last poem in the book, "The Grave-Tree," Carman writes about his own death. The Pipes of Pan "Pan, the goat-god, traditionally associated with poetry and with the fusion of the earthly and the divine, becomes Carman's organizing symbol in the five volumes issued between 1902 and 1905" under the above title. Under the influence of Mrs. King, Carman had begun to write in both prose and poetry about the ideas of 'unitrinianism,' "a strategy of mind-body-spirit harmonization aimed at undoing the physical, psychological, and spiritual damage caused by urban modernity ... therapeutic ideas [which] resulted in the five volumes of verse assembled in Pipes of Pan." The Dictionary of Canadian Biography (DCB) calls the series "a collection that contains many superb lyrics but, overall, evinces the dangers of a soporific aesthetic." The 'superb lyrics' include the much-anthologized "The Dead Faun" from