bluuebunny/crossref_metadata_2025 huggingface dataset:
Military History
Authors: Preston Richard
Published: March 2013

Reviews of books on military history published in Canada in 1963.
Fiction
Authors: Watt
Published: March 2013

Reviews of fiction published in Canada in 1964.
Les Etudes Sociales
Authors: Bonenfant Jean-Charles
Published: March 2013

Reviews of books on French-Canadian social studies published in Canada in 1964.
The Garden of Adonis and the Garden of Forms
Authors: Ramsay Judith
Published: March 2013

Customarily, modern critics discuss the Garden of Adonis in terms of Books III and IV of The Faerie Queene; but considering Spenser's willingness to publish the first three books of his poem as a separate unit, we may assume that the narrative, the allegory, and the philosophy of each of those three books are sufficiently self-contained to stand alone. And this means that the Garden of Adonis episode would stand in relation to the original concluding situation of Book III as the House of Holinesse stands to the final situation of Book I, or the Castle of Alma to the destruction of Acrasia's Bower.
The Horse and Rider Figure in Chaucer's Works
Authors: Rowland Beryl
Published: March 2013

As can be seen from its role in mythology and in the nightmare, the horse has appealed to the imagination of all ages as a symbol of generative power, and, as such, it can be either a good or a bad principle. It is a god or handsome prince, promising fertility and pleasure; a terrifying demon or witch, taking the rider to death and hell. Not surprisingly, when it combines with the rider to be used as a figure analogically, it retains the attributes which stem hom images and sensations deeply rooted in the human psyche. But under the influence of the Christian Church the significance of the figure appears to harden: the horse is equated with the body or with Woman, the evil repository of sex; the rider is the soul or Man.
Reviews
Authors: Rathé  , McMaster  , Rajan
Published: March 2013

Catalogue of Books and Manuscripts. Part 1: French Sixteenth-Century Books, reviewed by C.E. Rathé

Madeline House and Graham Storey, eds., The Letters of Charles Dickens, reviewed by R.D. McMaster

Edward Engelberg, The Vast Design, reivewed by B. Rajan

Alex Zwerdling, Yeats and the Heroic Ideal, reviewed by B. Rajan

Leonard E. Nathan, The Tragic Drama of William Butler Yeats, reviewed by B. Rajan

Robin Skelton and Ann Saddlemyer, eds., The World of W. B. Yeats, reviewed by B. Rajan
Reviews
Authors: Maclure Millar , Endicott  , Carroll John , Douglas
Published: March 2013

Raymond Klibansky, Erwin Panofsky, and Fritz Saxl, Saturn and Melancholy: Studies in the History of Natural Philosophy, Religion, and Art, reviewed by Millar Maclure

Sir Thomas Browne, Religio Medici and Other Works, reviewed by N.J. Endicott

R.R. Crawley and George Yost, Studies in Sir Thomas Browne, reviewed by n.J. Endicott

Henry Dan Piper, F. Scott Fitzgerald: A Critical Portrait, reviewed by John Carroll

Sergio Perosa, The Art of F. Scott Fitzgerald, reviewed by John Carroll

John Kuehl, ed., The Apprentice Fiction of F. Scott Fitzgerald, reviewed by John Carroll

F. Scott Fitzgerald, Letters to His Daughter, reviewed by John Carroll

G.M.A. Grube, The Greek and Roman Critics, reviewed by A.E. Douglas
Henry James: The Americano-European Legend
Authors: Edel Leon
Published: March 2013

To speak of "the Americano-European legend" and Henry James's cosmopolitan spirit is to refer to an earlier and more leisurely time when travellers crossed the ocean with the unhurried throb of the steamer, slowly enough to accommodate themselves to the changing and visible environment; when they moved from city to city in small inconvenient trains that seemed the height of luxury and took side-trips into little towns and villages in the rambling horse and buggy or even in the lingering diligence. Travel then still had some relation, however remote, to the faring forth of Columbus or the Pilgrim Fathers; it was active, observant, at times even heroic, filled with the risks of storms at sea and plagues abroad. Today it has become more commonplace; we travel anywhere on the instalment plan, in a world of comparative antibiotic security, passively, with our seat-belts fastened. The jets in their hundreds deposit the Jamesian heroines, in their thousands, in Venice or Rome, London or Paris. The "international" of Henry James has yielded to the intercontinental; the intercontinental will yield to the interstellar. Odysseus wanders, in electronic garb, in outer space.
Social Studies
Authors: Brady Alexander , Cross Michael , Preston Richard , Sheffield Edward
Published: March 2013

Reviews of books about social studies published in Canada in 1966.
Publications in Other Languages
Authors: Andrusyshen
Published: March 2013

Reviews of publications in other languages published in Canada in 1966.
The Goodly Frame of Temperance: The Metaphor of Cosmos in The Faerie Queene, Book II
Authors: Carscallen James
Published: March 2013

For Spenser temperance has various images: it is a golden rule or square, it is a bridle, it is water tempering wine. It is also a structure or frame—the frame at once of the individual man, the commonwealth, and the universe itself; and this is as we should expect from an age in which La Primaudaye can introduce temperance by praising God's cosmic workmanship:
Thomas Carlyle and D. H. Lawrence: A Parallel
Authors: Alexander Edward
Published: March 2013

F. R. Leavis has spoken contemptuously of the notion that there are strong resemblances between Thomas Carlyle and D. H. Lawrence. For him the parallel is one likely to be made only by such organs of unreason as the New Statesman and the Sunday papers. Dr. Leavis' caveat, as all his readers will know, is intended to protect the reputation of Lawrence and not that of Carlyle. For Dr. Leavis is embarrassed by Carlyle, as are most people attracted to the Victorian age. They are embarrassed not merely by what Carlyle was and said, but by the influence he exercised even over people as committed to sanity and rationality as Arnold and Mill were. Leavis, in his line introduction to Mill's essays on Bentham and Coleridge, has even made Carlyle the symbol of the forces of unintelligence in the Victorian period.
Ruskin and Baudelaire on Art and Artist
Authors: Landow George
Published: March 2013

The parallels, the convergences, what Henri Lemaître, an editor of Baudelaire, calls the "résonances analogues," in the art criticism of Ruskin and Baudelaire are many and interesting. To begin with, Ruskin and Baudelaire each defend a great colourist, Turner and Delacroix. Each sees his favourite as the perfect artistic representation of the age. Each sees himself as the interpreter of an artist who, isolated by genius, is so original that few can understand or appreciate him in his own time. Ruskin begins Modern Painters in 1843, as Baudelaire begins his Salon de 1845, to defend his favourite painter against the malice and ignorance of periodical critics. Each proceeds to formulate as part of his defence a theory of art; and to create this theory of art each transfers the criteria, methods, and emphases of romantic poetic theory to the criticism of painting. Each as a result independently creates a romantic version of the principle of ut pictura poesis. And, having formulated a romantic theory of painting emphasizing the role of emotion, each is so troubled by the potentially distorting effects of emotion that he draws a portrait of an ideal artist-poet, who, though deeply emotional, can yet paradoxically remain impassive when moved.
Poesie
Authors: Robidoux Rejean
Published: March 2013

Reviews of French-Canadian poetry published in Canada in 1967.
Poesie
Authors: Major Jean-Louis
Published: March 2013

Reviews of French-Canadian poetry published in Canada in 1968.
Parliament and Economic Control
Authors: Moore William Henry
Published: March 2013

For some years we have been told that the democratic institutions which we have called parliament were breaking down; and we have received the news with considerable equanimity. Our great-grandfathers (the men of '37) would have been deeply perturbed at the possibility of disaster overtaking representative and responsible government, but kidnappers and wrestlers had not then crowded politicians off the front page. Moreover, private life, with its office-routine, golf, bridge, etc., has hecome a strenuous affair, and if you were to tell people that parliament was on the skids, nearly everyone would say: “Well! I daresay something will turn up; it usually qoes.” The old party spirit has lost its fervour; new forces are struggling for the possession of parliament; and I hasten to add that they are economic forces.
On Interpreting Locke
Authors: Anderson
Published: March 2013

John Locke plays an extraordinary rôle among classic philosophers. His political doctrines have with unabashed literalness passed into constitutional practice, while his theory of knowledge has become a commonplace the world over. His Essay Concerning Human Understanding, someone has justly remarked, "is one of those books which have been so thoroughly assimilated by that part of the world which cares in the most cursory manner for speculative subjects, that large numbers of people naturally suppose themselves to have read it, when in point of fact they never have."
Melville and the Idea of the City
Authors: Polkf James
Published: March 2013

Emerson's essay on 'History' may be the classic statement of an American attitude toward civilization as a historical presence, an attitude which turns upon the desire to eat one's cake and have it. As the native transcendentalist confidently dissolves away the facts of the past into the Oversoul, his practical Yankee side is busy offering up those facts as currency for individual use. Since "all history becomes subjective ... in other words there is properly no history, only biography:" the individual is urged to become his own myth-maker, to transform historical shapes into private symbols. Here Emerson implies that everyone is potentially capable of creating 'fictions' and 'signs' from the past, although in a later essay he will assign the Poet as translator of 'the most disagreeable facts' (such as the factory village and the railway) into designs worthy of "the great Order:" Presumably, then, the Poet will also be able to consecrate the clisagreeable facts of history and create a use for the past through his own vision and the word. After all, the cities of antiquity are now 'passing into fiction' and London and Paris and New York must each become 'immortal signs' for those with eyes to see.
Hagiographical Style in Death Comes for the Archbishop
Authors: Stouck Mary-Ann , Stouck David
Published: March 2013

In almost every novel she wrote Willa Cather experimented with a new mode or form of writing: the pastoral in My Antonia, the naturalistic novel, with its wealth of material and psychological detail, in One of Ours, the musical sonata form in The Professor's House, a Jamesian diptych in My Mortal Enemy, the historical novel in Shadows on the Rock. The most successful of these formal experiments is her use of the saint's legend in Death Comes for the Archbishop. In a letter to the editor of The Commonweal she explains that she had wanted for a long time to try something that would be the equivalent in prose of the frescoes of a saint's life, a narrative which, like the non-dramatic stories of the Golden Legend, would have none of the artificial elements of composition. She also explains that for several years she had wanted to write a novel about the Southwest, and that the one subject that particularly captured her imaginative interest there was the story of the Catholic Church. In the saint's legend she found an aesthetic form which provided her, a non-Catholic, with an approach to her subject. But doubtless the real attraction of the saint's legend was that it was a non-dramatic form of narrative which would allow full play to her considerable powers of deSCriptive writing (she had little talent for dramatization). No longer restricted by the necessity of organizing action in terms of plot, or by the need to realize character in terms of psychological cause and effect, she was free to develop her descriptive writing as a mode of reflection upon some of the aesthetic and moral problems with which she was most concerned.
Fiction
Authors: Rudzik
Published: March 2013

Reviews of fiction published in Canada in 1971.
Les Etudes Sociales
Authors: Bonenfant Jean-Charles
Published: March 2013

Reviews of books on French-Canadian social studies published in Canada in 1971.
Education
Authors: Harris Robin
Published: March 2013

Reviews of books on education published in Canada in 1971.
'Order, Union, Full Consent of Things!'
Authors: Priestly
Published: March 2013

Some years ago, in an essay on Pope and the Great Chain of Being, I discussed the ideas in the Essay on Man, and particularly in the first Epistle, in relation to the question of whether Pope is rightly to be classed with the Great Chain philosophers. I argued that he was not so to be classed, but that he rejected the whole ontological a priori argument on which King and Leibniz base their systems, ridiculing the presumptuousness which professes to a knowledge of the nature of infinite Being, and of the conditions constraining the infinite and omnipotent Deity to a particular mode of creation. Man, being finite, cannot know – in the sense of fully comprehend – the infinite; being but a part, and a small part, of a 'stupendous Whole,' he cannot know the total pattern, function, and purpose of that whole. He can only reason within the limits of the range of his survey, piecing together by a posteriori reasoning tentative conclusions that seem probable.
Reviews
Authors: Visser Colin , Morgan Peter , Bentley Jr.
Published: March 2013

Anne T. Barbeau,The Intellectual Design of John Dryden's Heroic Plays, reviewed by Colin Visser.

C.R. Sanders, The Collected Letters of Thomas and Jane Welsh Carlyle, reviewed by Peter Morgan

Joyce Hemlow, The Journals and Letters of Fanny Burney (Madame d'Arblay), reviewed by G.E. Bentley Jr.
The Aristotle-Coleridge Axis
Authors: Whalley George
Published: March 2013

George Saintsbury wound up one of the final sections of his History of Literary Criticism (1917) with the sub-biblical declaration: 'So then, there abide these three, Aristotle, Longinus, Coleridge.' We are not concerned just now with all the figures in this arresting triad: the supposititious Longinus is printed in all the anthologies of literary-critical texts and has long received the subdued respect that we extend to documents of archaeological or genetic interest. The other two figures have a more pervasive ambience – Aristotle often as a menacing undertone, Coleridge as a mercurial presence that with luck one might be able to ignore. If we consider the succession of translations of Aristotle's Poetics achieved in this century alone, the interminable discussions of the nature of tragedy in schools of English (and elsewhere), the post-war wave of neo-Aristotelianism at the University of Chicago, and the intrusion into critical terminology of a number of Aristotelian terms (often mispronounced, and not seldom introduced with less scrupulous regard for propriety than in search of an honorific effect), we could hardly say that Aristotle had not put in an impressive appearance in twentieth-century literary criticism. Coleridge's writing has attracted no such diligent attention: it is said that he wrote in English, and he is alleged to be 'a romantic.' It is true that four or five important studies of Coleridge's criticism have been published in recent years, and that a few cautious suggestions have already been made en passant that there is some connection between Aristotle and Coleridge, but this has not (as far as I know) been pursued in circumstantial detail, partly perhaps because both are difficult to explicate, partly because Aristotle and Coleridge are commonly thought to represent opposite poles in criticism. I am aware therefore that my title is mildly scandalous, and that it is all the more scandalous for the unrepentant use of the definite article – The Aristotle-Coleridge Axis.
Fiction
Authors: Rudzik
Published: March 2013

Reviews of fiction published in Canada in 1972.
Romans, Récits, Nouvelles, Contes
Authors: Hayne David
Published: March 2013

Reviews of French-Canadian fiction published in Canada in 1972.
Religion
Authors: Oxtoby Willard
Published: March 2013

Reviews of books on religion published in Canada in 1972.
The courtesy-book heroine of Mansfield Park
Authors: Fowler Mariane
Published: March 2013

In Letters to a Young Lady (1789), John Bennett writes: 'If I was called upon to write the history of a woman's trials and sorrows, I would date it from the moment when nature has pronounced her marriageable. ... I should invoke the assistance ofsome guardian angel, to conduct her through the slippery and dangerous paths.' For more than a hundred years before John Bennett wrote these words, certain authors had been assuming the role of guardian angel, conducting young ladies through the 'slippery and dangerous paths' leading to marriage and motherhood. Their instructions are to be found in the body of literature called 'courtesy books.' A courtesy book, according to Virgil B. Heltzel, is a work 'which sets forth for the gentleman (or gentlewoman) first, the qualities or criteria, inherent or acquired, which he must possess; second, his formation (including his various interests, exercises, recreations, and amusements) and his education; and third, his conduct.'
'My servant Caleb': Godwin's Caleb Williams and the political trials of the 1790S
Authors: Ousby Ian
Published: March 2013

In an article published some years ago in this journal Eric Rothstein argued persuasively against the view that Godwin's Caleb Williams is merely an unsuccessful roman è thèse, an attack on social injustice flawed by troubling psychological undertones. While conceding Godwin's obvious preoccupation with contemporary social issues, Mr Rothstein found the novel to be centred on 'individual recognition, not social exposure'; it is, in fact, Caleb's 'spiritual autobiography.' One consequence of this view, as Mr Rothstein points out, is that Caleb comes to seem an unreliable narrator of his story and a less than immaculate hero. His suffering at Falkland's hands is not simply, as he himself believes, evidence of the malice of fate and of the social system but also a symbolic punishment for his earlier callous treatment of his master.
The Borderers: Wordsworth's addenda to Godwin
Authors: Priestman Donald
Published: March 2013

Even before it was revised for the stage at Coleridge's instigation, The Borderers was a unique experiment for Wordsworth. Whether cast in the form of a play or closet drama, it represents, in all likelihood, an attempt on Wordsworth's part to find a style more direct than that of 'Salisbury Plain,' later Guilt and Sorrow, to convey the full freight of his growing social philosophy while at the same time enlisting sympathy for the spectacle of human suffering presented by his characters. By December 1797, the play had been rejected by the Covent Garden Theatre because of what was, according to the poet's relative, Elizabeth Threlkeld, 'the metaphysical obscurity of one character,' and almost four decades later the reviewer for The Athenaeum of the published version could still complain that Oswald stood 'too much on the extreme of evil.' The figure of Oswald has been at the centre of the 'metaphysical' aspect of the play in our own times also, but the principal question for twentieth-century critics has been whether The Borderers embodies acceptance of William Godwin's Enquiry Concerning Political Justice or testifies to Wordsworth's rejection of it. That critics should look to Oswald is natural enough inasmuch as it is he who acts and Marmaduke, the hero, who is acted upon. There is, nevertheless, a compelling case to be made for Marmaduke as a more Significant indicator of Wordsworth's attitudes towards Godwinism. In what follows, I shall show that the poet, in his treatment of Oswald, accepts Godwin but attempts to supplement him, while with Marmaduke he tries to show inadequacies in the philosopher's system.
he Literary Achievement of King James I
Authors: Akrigg
Published: March 2013

Speaking at the University of Cambridge a good many years ago, Professor W.P. Ker assured his audience that King James I had 'abilities which would have entitled him to be a Professor of Literature.' Of James's pedagogical bent there has never been any doubt – he has been described as a Scottish dominie at heart. Characteristically, King James, daily visiting his young favourite, Robert Ker, while the young man was recovering from a leg injury, used the opportunity to teach him Latin. But a desire to teach is not enough to create a professor. There is a further consideration: the man must be a publishing scholar. With this in mind, let us consider the bibliography of King James.
Poesie
Authors: Blais Jacques
Published: March 2013

Reviews of French-Canadian poetry published in Canada in 1974.
Religion
Authors: Oxtoby Willard
Published: March 2013

Reviews of books on religion published in Canada in 1974.
Coming to Terms with Kipling: Puck of Pook's Hill, Rewards and Fairies, and the Shape of Kipling's Imagination
Authors: Hinchcliffe Peter
Published: March 2013

For more than a generation critical studies of Rudyard Kipling have begun or ended with the admonition that surely it is now time for readers to come to terms with his work. Coming to terms in this context seems to imply that with the demise of the British Empire the imperialist content of Kipling's writing has been neutralised. After all, W.H. Auden assured us as long ago as 1939 that time had already pardoned Kipling and his views, although this may have been a premature judgement. A book like Jonah Raskin's The Mythology of Imperialism (1971), for all its special pleading and polemics, shows that Kipling's work can still act as tinder to a new generation's ideological sparks. He is not yet a safe man to read.
Drama
Authors: Leggatt Alexander
Published: March 2013

Reviews of drama published in Canada in 1975.
Light Prose
Authors: Robson John
Published: March 2013

Reviews of light prose published in Canada in 1975.
The 'Right English' of Charles M. Doughty
Authors: Jackson Laura
Published: March 2013

I have a story to tell here, the story of a devotion. But first must come a historical preamble, since most who will be drawn to try their interest in the story will have little acquaintance with Doughty's work, his work as a whole, and the course of his life and thought in relation to his work -and there will be some who will have no, or hardly any, acquaintance with the fact of Doughty. The name of this English poet (who was born in 1843 and died in 1926) was once, and not very long ago, familiar to the literarily informed, and, generally, to a small but distinguished readership, as that of an author of a prose book to be thought of as a work of grand rank-it was, indeed, in a limited way, if not a famous book, instantly, an agreed-on candidate for fame. The title was Travels in Arabia Deserta. The merit of the writing and the interest of the subject were solidly one. There was a strangeness in the writing that made it forbidding for some, the language used being an older English; it was used with scrupulous effort for rightness. 'My chaste and right English of the best time!' Doughty called his language, believing it one that by its nature was itself a guide to the good in language.
Christian Communism in Utopia, King Lear, and Comus
Authors: El-Gabalawy Saad
Published: March 2013

There is a tendency in Renaissance scholarship to lump together passages on the theme of order as representative of the general intellectual and religious climate, without attempting to point out divergences and exceptions which reveal minor trends of thought. The conception of a divine and rational order in the universe has been made so familiar by Tillyard, Lovejoy, and other scholars that I do not need to linger over it, except to say a few words about the great chain of being. The ethical, social, and metaphysical components of this doctrine are drawn from Aristotle, from Plato and Neoplatonism, and from the Stoicism of Cicero and Seneca. In the Renaissance, however, the conception is firmly based on Christian theology, which asserts that the whole universe, from God down to inanimate nature, is a hierarchy of being. This assumption holds for society, which is not a chaotic aggregate of individuals but a hierarchical organism in which everyone has his place and function. Biblical texts were often used to defend inequality in the class system, as in Thomas Elyot's statement in The Governour:’ Also Christe saithe by his evangelist that in the house of his father (which is God) be many mansions.’ But it is my intention to put aside for a while Ulysses' speech on degree in Troilus and Cressida, Elyot's defence of the status quo, or Hooker's hierarchy of laws, in order to concentrate on one of the minor trends, that of Christian communism, in the sixteenth and early seventeenth centuries, with reference to specific literary works.
Poésie
Authors: GiguÈre Richard
Published: March 2013

Reviews of French-Canadian poetry published in Canada in 1977.
Humanities
Authors: Marx Leonie
Published: March 2013

Reviews of books on the humanities published in Canada in 1977.
Exodus and Return: Joyce's Ulysses and the Fiction of the Actual
Authors: Rader Ralph
Published: March 2013

Every first-time reader registers the quality which makes Ulysses different from earlier novels (except Portrait) in a way in which no earlier novel is different from another. The felt quality of difference arises from the fundamentally new formal principle upon which Ulysses and its sister novel are constructed. Earlier novels of plotted suspense develop, within an illusion of real life, a dynamic affective pattern which leads the reader out of his own world into another where, moving with an alter ego, he can find a purpose, meaning, and consummation which real life does not have. Joyce's novels, in contrast, seek, in the phrase of Stephen Dedalus, to 'recreate life out of life,' so as to show us this life 'purified in and reprojected from the [artist's] imagination' in a reconstruction which will at once image and transfigure the facts of our real existence.
Theatre
Authors: Girard Gilles
Published: March 2013

Reviews of French-Canadian books on theatre published in 1978.
Les Lettres québécoises depuis 1930
Authors: Allard Jacques
Published: March 2013

Tracer un panorama de nos lettres depuis cinquante ans ne va pas sans péril. On se butte d'abord aux contraintes même du genre qui ne saurait assurer la place nécessaire à un veritable travail d'histoire littéraire dont nous avons pourtant encore le plus grand besoin. Je songe en particulier à l'étude de toute l'Institution qui seule pourrait nous permettre une analyse des conditions de développement et d'évolution de notre production littéraire. Il y a ensuite les limites inhérentes au témoignage: le mien en vaut sans doute beaucoup d'autres, pareillement ordonnés par le hasard de l'enseignement et de recherches ponctuelles dont la synthèse me paraît encore risqueé. je ne propose donc ici qu'une lecture provisoire en ne me dissimulant pas que la modes tie inaugurale de mon propos a probablement partie liée avec la perspective forcement cavalière où je me laisse entraîner.
New World Northern: Of Poetry and Identity
Authors: Gustafson Ralph
Published: March 2013

The constancy of surprise and wonder marks poetry, surprise that reality includes its own meaning, wonder that the significant discovery has not been known before. One afternoon last summer in the back of my house in North Hatley, Quebec, I sat in the sun. Birdsong was about. A midge on the plate of slate at my elbow drank needfully. It was Troy fallen or not. Truth was in dispraise of great happenings. What was happening was a thing of moment and momentous choice whether the midge succeed in swallowing something smaller than himself or should birdsong cease? Let Helen waddle down the street and be beautiful,
Fifty Years of Theatre in Canada
Authors: Davies Robertson
Published: March 2013

Not, you will observe, 'Fifty Years of Canadian Theatre'; there was no such thing as distinctively Canadian theatre fifty years ago. As early as 1911 B.K. Sandwell had written, 'Canada is the only country in the world whose stage is entirely controlled by aliens,' and in 1920 the situation was unchanged. Only a few people cared; pineapples and plays alike were imported into Canada, because it was obvious that our climate was not favourable to their growth. But we had plenty of the best pineapples and plays, so what was there to worry about? We were a happy cultural colony, confident that in theatrical affairs they managed things better in New York and London.
When the Past Becomes History: The Half-Century in Non-Fiction Prose
Authors: Woodcock George
Published: March 2013

Perhaps it would be an exaggeration to describe the foundation of the University of Toronto Quarterly in 1931 as an act of courage, since in those difficult times universities were among the few institutions within which it was still financially possible to engage in modest ventures. But it was certainly an act of faith and of foresight, a recognition that in Canada there existed and must be preserved an intellectual community which needed its organs of expression, the places of publication that would save Canadian scholars from being wholly dependent on the outside world for the presentation of their work.
Dickens and the Angels
Authors: Cameron
Published: March 2013

'Do be an angel and fetch my spectacles/slippers/newspaper ...' This is a characteristic use of 'angel' in modern demotic English. It trails wisps of meaning from the theological past of the term: the work of an angel seems a work of supererogation (Fido isn't an angel if he brings the newspaper in his mouth, nor is the newsboy who delivers the paper), a free manifestation of goodness, not constrained or dutiful, and what is thus free is celestial, not earthly, or, if earthly, reminds us of the celestial. She (it is commonly 'she,' though the nineteenth-century angel is often represented as epicene) may be 'A Creature not too bright or good / For human nature's daily food' and 'A Traveller betwixt life and death.' And yet she is 'a Spirit still, and bright / With something of angelic light.' We are also reminded by our locution of what is traditionally one of the functions of the angels: they are messengers, fetchers and carriers of the heavenly courts.
Spenser and the Frame of Faith
Authors: Kane Sean
Published: March 2013

The sensibility that could appeal to both Milton and the Romantics is especially ambivalent in matters of the faith. In disavowing Rome Spenser sounds like pure Geneva, while in picturing Contemplation and Penance in the same Legend of Holiness he affirms a set of distinctions worthy of a Jesuit. To ask what holds the facets of such an intelligence together in one man or in one poem is to acknowledge the artist underneath it all, in whom the culture of his time crystallizes into patterns of relationship. Each of the legends of The Faerie Queene has its source in some aesthetic formation of experience which must anticipate the more accessible levels of allegory in the story, and perhaps no pattern is so unconscious and yet applicable to several realms of experience at once as the frame of metaphors that sustains the Legend of St George.
Balanced in Time: Paradise Regained and the Centre of the Miltonic Vision
Authors: Teskey Gordon
Published: March 2013

When attempting to describe the works of a great artist with a long career it is often necessary to maintain an attitude that permits each of his works to be two things at once: each must be seen as a separate creation with its own formal integrity and, at the same time, as part of a total movement in the artist's creative imagination towards the realization of a larger, inexhaustible vision. The thematic and symbolic unity of the canon as a whole is thus the result of the integrity of the larger imaginative vision it partially realizes in art. We are more likely to think of the creators of giant ruins in this way, of Michelangelo, or Spenser, or Pound, than to apply such an idea to artists like Dante and Milton whose individual works are in themselves so finished and complete. But Dante and Milton constantly point to the incompleteness of the work with respect to the larger vision it projects; and what seems most astonishing about artists of their stature is the impression that, while their works show an intense unity and completeness of vision within a tremendous variety of forms, their imaginations seem inexhaustible, as if works even as large as the Divina Commedia and Milton's epics are dwarfed by the extent of the imaginative vision that has brought them into being. The Vita Nuova is a work entirely different in genre and in style from the Divina Commedia, yet it is part of the same vision, just as 'Lycidas,' a poem with its own formal integrity and thematic independence, takes an important place in the larger scheme of Milton's oeuvre as an initiation into the prophetic vision of the epics. With artists who have achieved in their work a scale and order like that of Dante and Milton it is necessary to regard each work with the kind of double-consciousness that we experience in metaphor, recognizing the distinctness of each part while perceiving the thematic harmonies that bring the parts of the canon together into a unified whole.
Wooden O's in Plastic Boxes: Shakespeare and Television
Authors: Zitner Sheldon
Published: March 2013

Royal jealousy: accused queen dies; schoolboy prince felled by psychosomatic illness. Princess abandoned in diapers as chief of mission is eaten in animal encounter. But younger generation heals all wounds as king repents and maternal statue walks off pedestal. Whatis unmistakable in this parody is not so much the plot of The Winter's Tale as the style of TV GUIDE. The television ambience—even its flack—is saturated in the television style: vividness through disconnection; 'relevance' no matter how irrelevant; diction that leapfrogs fact and logic to land with a thump on cliché and pizzazz. The style is enveloping, as our instant recognition shows. In contrast, there is no pervasive 'theatrical' style. We rarely experience a staged play by Shakespeare in the context of other plays. Only reviewers attend the theatre night after night, so for most of us the foil and context of stage performance is the daily round. But the foil and context of Shakespeare on television is other television. All's Well and Macbeth are time-slots between Whatever and the Eleven O'Clock News, items in the weekly line-up—of which the general viewer watches enough hours a day to constitute something like a university teaching load. I am, however, less concerned about the possible contamination of Titus Andronicus by Kojak or about the operation of Gresham's Law of Show Biz than about some consequent differences between the situations of the theatre and the television audiences.
What Do the Scalds Tell Us?
Authors: Johnston George
Published: March 2013

Artifice has not at any time been a favoured word in English poetry or poetic theory, and in the latter half of the twentieth century its adjective has become a term of abuse, meaning the opposite of sincere, candid, and spontaneous. It is thought to block the way to the subconscious, from whose depths come what used to be called inspiration. Yet wherever artifice has appeared in English verse—and I take its meaning from the Oxford Dictionary: human skill as opposed to what is natural, or, in an earlier sense, the making of anything by art, construction, workmanship—it has informed poetry of intense feeling and sweetness of tone. Consider Gerard Manley Hopkins, Crashaw, Pearl. Milton said that poetry should be simple, sensuous, and passionate, three hard words. Simple I shall leave alone, but I shall assume in what I have to say that there is a passion and also a sensuality of the art—of the artifice—which, practised with care and for its own sake, is no less a passion and sensuality of what is said.
Reviews
Authors: Jones  , Allen Peter
Published: March 2013

S. Viswanathan, The Shakespeare Play as Poem: A Critical Tradition in Perspective, reviewed by G. P. Jones

Kenneth Muir, Shakespeare's Sonnets, reviewed by G. P. Jones

Steven Urkowitz, Skakespeare's Revision of 'King Lear', reviewed by G. P. Jones

Kenneth Muir, ed., Shakespeare Survey: An Annual Survey of Shakespearian Study and Production, Vol. 33, reviewed by G. P. Jones

Norman Rabkin, Shakespeare and the Problem of Meaning, reviewed by G. P. Jones

Larry S. Champion, Perspective in Shakespeare's English Histories, reviewed by G. P. Jones

Charles Frey, Shakespeare's Vast Romance: A Study of 'The Winter's Tale' , reviewed by G. P. Jones

Martin Scofield, The Ghosts of 'Hamlet': The Play and Modern Writers, reviewed by G. P. Jones

Robert Bernard Martin, Tennyson: The Unquiet Heart, reviewed by Peter Allen

Donald S. Hair, Domestic and Heroic in Tennyson's Poetry, reviewed by Peter Allen

Kerry McSweeney, Tennyson and Swinburne as Romantic Naturalists, reviewed by G. P. Jones
Utopia and 'the Thing which is not': More, Swift, and Other Lying Idealists
Authors: Mezciems Jenny
Published: March 2013

Early in his career as a writer Jonathan Swift expressed with dry irony his awareness of the power of fiction to persuade, and made clear the rigorous control which reason ought to exert over a human inclination to prefer illusion to the discomforts of truth. Utopian ideals are expressed in fiction, and the concern of Swift and other utopists is as much with the presentation as with the idea. Their concern is also with the parts played by imagination and reason in the grasp of concepts beyond experience and with the question of moral responsibility in the handling of persuasive rhetoric. It is on aspects of presentation that I wish chiefly to concentrate.
De Quincey's Critical Dilations
Authors: Bilsland John
Published: March 2013

De Quincey's blind spots and prejudices as a critic have long been recognized: in all of classical literature he had unqualified praise for only the Greek tragedy; he had little good to say of any French writing whatsoever; in German literature he fully appreciated only one author, Jean Paul Richter, finding even Goethe much overrated; he greatly admired certain works of Pope (The Rape of the Lock, Eloisa to Abelard, The Dunciad) but relegated virtually all Augustan literature to what he termed 'the minor key'; and he denied the highest experience of sublimity to all cultures other than the Hebraic and Christian.
'Bedad He Revives! See How He Raises!': An Introduction to David Jones's 'The Sleeping Lord'
Authors: Terpstra John
Published: March 2013

Readers who have delayed looking into the poetry of David Jones because of its fabled difficulties might do well to begin at the end. The last book of poetry published in his lifetime (there were three altogether) is also the shortest, and probably the most readily accessible. The Sleeping Lord, and Other Fragments is a collection of previously published pieces which appeared in 1974, also the year of Jones's death. Arranged for the most part in chronological order, the poems present a unified line of development. The title poem can be seen almost as a climax to the book, and also to Jones's poetic career. Following it, there is a passage from the unfinished, extended manuscript 'The Book of Balaam's Ass,' which Jones abandoned prior to the printing of his major work, The Anathemata (1952). 'Balaam's Ass' provides a fitting close to The Sleeping Lord, and Other Fragments. Written during and concerning itself with a period immediately following the Great War, its placement here recalls Jones's poetic beginnings: his first writing, In Parenthesis (1937), was about that war.
The Bible as Fugue: Theme and Variations
Authors: Dudek Louis
Published: March 2013

Despite his outspoken lucidity ('the fear of heresy ... the deadliest social psychosis in history,' P 11), his academic humility ('what I briefly attempted myself in the Anatomy of Criticism,' p 224), and his colloquial casualness at times ('It makes good sense to call the Bible and the person of Christ by the same name,' p 77), there is a powerful aura of something covert and withheld in the writing of Northrop Frye, a cloud of awesome implication that remains forever on the horizon and which leads to much misunderstanding of his meaning.
Reviews
Authors: Adamowski  , Mitterand Henri , Graham Victor
Published: March 2013

Jean-Paul Sartre, The Family Idiot: Gustave Flaubert, 1821–1857, reviewed by T. H. Adamowski

Hazel E. Barnes, Sartre and Flaubert, reviewed by T. H. Adamowski

Gérard Genette, Palimpsestes, reviewed by Henri Mitterand

J. M. Cocking, Collected Essays on the Writer and His Art, reviewed by Victor E. Graham
Hardy and the Aesthetic Mythographers: The Myth of Demeter and Persephone in Tess of the d'Urbervilles
Authors: Wickens G. Glen
Published: March 2013

In his study of the seven different versions of Tess of the d'Urbervilles (1891), J.T. Laird reveals that many of Hardy's references to classical mythology are present in the ur-text of the novel, including Angel Clare's comparison of Tess to 'Artemis' and 'Demeter.' To strengthen the link between Tess's story and the myth of Demeter and Persephone, Hardy changed the description of the club-walking from 'Vestal rite' in the manuscript to the 'local Cerealia' for the Graphic serialization. The analogy between Tess and the 'two goddesses'—the mother, Demeter or Ceres, founder of the Eleusinian mysteries, protectress of the growing corn, and goddess of agriculture in general; and her daughter, Kore, 'the maiden,' otherwise known as Persephone or Proserpine—was not an afterthought, a literary top-dressing added to the novel in its final stages of revision. Whereas The Return of the Native (1878) began as a pastoral novel and underwent what John Paterson calls a 'classical transvaluation,' Tess of the d'Urbervilles contained from an early period of composition not only scattered or isolated references to various classical myths, but also the genesis of an extended parallel to the configuration of characters, action, and imagery in the most popular of the Greek divine tales. Hardy developed his allusions to Demeter and Persephone into a pattern of symbolic correspondences, an organized mythological motif that, while not as prevalent or consistently explicit as his use of the Christian mythology, Biblical and Miltonic, of Adam, Eve, and Satan, nevertheless deserves more attention than it has yet received.
Orwell's Plain Style
Authors: Justman Stewart
Published: March 2013

Distinctions and oppositions order our thinking, but they are not for all that wholly hidden from view. With no more than a little introspection it is possible to turn up some of the pairings that are radically important to the conduct of one's thought—for example, fact vs fiction, object vs subject, action vs observation, word vs thing. We inherit each of these distinctions from what Northrop Frye (in his recent study of the Bible) calls the 'descriptive phase' of language, a period which 'attains cultural ascendancy in the eighteenth [century]. In English literature it begins theoretically with Francis Bacon, and effectively with Locke. Here we start with a clear separation of subject and object, in which the subject exposes itself, in sense experience, to the impact of an objective world.' The same period puts a high value on plain-speaking—on speech without pomp or artifice or illusion. Orwell's writing, for example. Arguably, Orwell's best writing is descriptive (think of the descriptions in The Road to Wigan Pier or Homage to Catalonia or 'Shooting an Elephant' or 'A Hanging'), which adds force to the idea that Orwell 'belongs to' the descriptive period. Certainly Orwell exposed himself to experience. But the curious thing is that while he holds firm to the distinction between sense and nonsense, and to the belief in objective truth, Orwell does not honour rigid distinctions between fact and fiction, or observing and acting, or object and subject.
Reviews
Authors: Green Eugene , Wikborg Eleanor , Waterhouse David , Keith  , Rosenberg Aubrey
Published: March 2013

Elizabeth C. Traugott and Mary L. Pratt, Linguistics for Students of Literature, reviewed by Eugene Green and Eleanor Wikborg

Andrew Pekarik, ed., Ukinfune. Love in 'The Tale of Genji', reviewed by David Waterhouse

David Williams, A World of His Own: The Double Life of George Borrow, reviewed by W. J. Keith

Michael Collie, George Borrow: Eccentric, reviewed by W. J. Keith

Maurice Cranston, Jean-Jacques: The Early Life and Work of Jean-Jacques Rousseau, reviewed by Aubrey Rosenberg
From the Quakers to the Children of Peace: The Development of David Willson's Mystical Religion
Authors: Gerry Thomas
Published: March 2013

In studying the many writings of David Willson, a visionary noted in his own lifetime, but largely ignored since his death at eighty-seven in 1866, I have encountered several focal events that radiate significance over Willson's entire career. Willson was known in Upper Canada for his controversial theological writings, for the many hymns and poems he composed, and for the utopian community, the children of Peace, he helped to build at Hope (renamed Sharon in 1841), Upper Canada. Now, however, Willson is best known for his designing of the Sharon Temple, the Meeting House and Study, although his musical activities are receiving some public attention because of the annual 'Music at Sharon' festival and the CBC'S broadcasting of these concerts. His membership in the Society of Friends (Quakers) from 1805 to 1812 made an indelible impact on him despite his claim, similar to that of most mystics, that he was wholly inspired from within. To concentrate on the event of Willson's split with Friends at Yonge Street Meeting, Newmarket, in 1812, in turn allows a perspective on Willson's life work in which some of the most fascinating aspects of his mystical writings stand out vividly in the foreground.
Poesie
Authors: Yergeau Robert
Published: March 2013

Reviews of French-Canadian poetry published in Canada in 1984.
Les Etudes sociales
Authors: Jalbert Lizette , Léonard Jean François
Published: March 2013

Reviews of books on French-Canadian social studies published in Canada in 1984.
Jack Hodgin's Island: A Big Enough Country
Authors: Pritchard Allan
Published: March 2013

In the story 'More than Conquerors' in Jack Hodgins's latest book, The Barclay Family Theatre, a Finnish painter, asked why he has chosen to hide himself away on Vancouver Island, answers that the island is 'a big enough country': 'Insist that he become a Canadian painter, or a North American painter, and he would panic. How was it possible to identify with anything so unimaginably huge except by induction, except by seeing the small first and knowing it so well it must include all of the rest?' No one can fail to recognize that Hodgins is setting out here the paradoxical principle upon which his own art is based. He does not of course claim any novelty for this idea that the best way to the universal lies through the local. Thomas Hardy long ago in his General Preface to the Wessex novels provided a classic statement of the principle, and it has been well understood by those Canadian writers who in recent years have given us Deptford, Manawaka, and Jubilee; but no Canadian writer shows the paradox more sharply than Hodgins or combines the opposites in more extreme forms, the most intensely local elements with the largest themes and the most universal myths.