Your book has dropped unnoticed: you have read
So long you cannot send your brain to bed.
The low quiet room and all its things are caught
And linger in the meshes of your thought.
(Some people think they know time cannot pause.)
Your eyes are closing now though not because
Of sleep. You are searching something with your brain;
You have let the old dog's paw drop down again ...
Now suddenly you hum a little catch,
And pick up the book. The wind rattles the latch;
There's a patter of light cool rain and the curtain shakes;
The silly dog growls, moves, and almost wakes.
The kettle near the fire one moment hums.
Then a long peace upon the whole room comes.
So the sweet evening will draw to its bedtime end.
I want nothing now but your fireside, friend.

Thus the technique of modern poetry would seem to be moving towards a more exact rendering of the music and the meaning of our language. That is to say, there is, in prosody itself, an impulse towards truth of expression, which may be found to correspond to the heightened sense of external fact in contemporary poetic genius, as well as to its closer hold upon reality. Thence comes the realism of much good poetry now being written: triune, as all genuine realism must be, since it proceeds out of a spiritual conviction, a mental process and actual craftsmanship. That Mr Monro's work is also trending in this direction, almost every piece in his last little book will testify. And if it seem a surprising fact, that is only because one has found it necessary to quote from the more subjective of his early lyrics. It would have been possible, out of the narrative called "Judas," or the "Impressions" at the end of Before Dawn, to indicate this poet's objective power. He has a gift of detachment; of cool and exact observation; and to this is joined a dexterity of satiric touch which serves indignation well. Hence the portraits of the epicure at the Carlton and the city swindler in the rôle of county gentleman. Hence, too, poems like "The Virgin" or "A Suicide": though here it is unfortunate that imagination has been allowed to play upon abnormal subjects. The result may be an acute psychological study; and interesting on that account. But if it is to be a choice between two extremes, most people will prefer work in which fantasy has gone off to a region in the opposite direction. There is one poem in which this bizarre sprite has taken holiday; and thence comes the piece of glimmering unreality called "Overheard on a Saltmarsh."

Nymph, nymph, what are your beads?
Green glass, goblin. Why do you stare at them?
Give them me.
No.
Give them me. Give them me.
No.
Then I will howl all night in the reeds,
Lie in the mud and howl for them.

Goblin, why do you love them so?
They are better than stars or water,
Better than voices of winds that sing,
Better than any man's fair daughter,
Your green glass beads on a silver ring.

Hush I stole them out of the moon.

Give me your beads, I desire them.
No.
I will howl in a deep lagoon
For your green glass beads, I love them so.
Give them me. Give them.
No.

But in his more representative work, the intellectual realism which comes from an acute sense of fact is clearly operative. We have seen, too, from the earliest published verse of this poet, the continual struggle of what one may call a religion of reality—belief in the sanctity and beauty and value of the real world—for spiritual mastery. In the later poems the two elements become deepened and are more closely combined: they are, too, seeking expression through a technique which is directed to the same realistic purpose. And as a result we get such a piece of quiet fidelity as "London Interior"; or a tragedy like "Carrion," in which the logic of life and death, controlling emotion with beautiful gravity, is suddenly broken by a sob. It is the last of four war-poems; a series representing the call of battle to the soldier, his departure, a fighting retreat, and finally, in "Carrion," his death—

It is plain now what you are. Your head has dropped
Into a furrow. And the lovely curve
Of your strong leg has wasted and is propped
Against a ridge of the ploughed land's watery swerve.

.....

You are fuel for a coming spring if they leave you here;
The crop that will rise from your bones is healthy bread.
You died—we know you—without a word of fear,
And as they loved you living I love you dead.