bluuebunny/crossref_metadata_2025 huggingface dataset:
Browning and the Harriet Westbrook Shelley Letters
Authors: Raymond William
Published: March 2013

The poetry of Shelley was the most potent literary influence in Browning's life, and for many years his devotion to it was combined with esteem for the personality and character of Shelley. This esteem, however, was grievously shattered when Thomas Hookham, Jr., a London book dealer and publisher, showed Browning letters of Shelley's first wife, and gave him further information in their conversation, revealing the callous cruelty of his treatment of her around the time of his elopement with Mary Godwin.
Reviews
Authors: Corrigan Beatrice , Shoeck  , Leyerle John
Published: March 2013

Eric Auerbach, Dante: Poet of the Secular World, reviewed by Beatrice Corrigan

Ernest Hatch Wilkins, Life of Petrarch, reviewed by Beatrice Corrigan

Eric W. Cochrane, Tradition of Enlightenment in the Tuscan Academies 1690–1800, reviewed by Beatrice Corrigan

Bernard Weinberg, A History of Literary Criticism in the Italian Renaissance, reviewed by R.J. Shoeck

Roger S. Loomis, ed., Arthurian Literature in the Middle Ages, reviewed by John Leyerle

Charles W. Dunn, The Foundling and the Werewolf: A Literary-Historical Study of Guillaume de Palerne, reviewed by John Leyerle

Sanford B. Meech, Design in Chaucer's Troilus, reviewed by John Leyerle

Morton W. Bloomfield, Piers Plowman as a Fourteenth-century Apocalypse, reviewed by John Leyerle

Elizabeth Salter, Piers Plowman: An Introduction, reviewed by John Leyerle

J. F. Goodridge, trans., Piers The Ploughman, reviewed by John Leyerle

Geroge Kane, ed., Piers Plowman: The A Version, reviewed by John Leyerle

E.G. Stanley, ed., The Owl and the Nightingale, reviewed by John Leyerle

Donald B. Sands, ed., The History of Reynard the Fox, reviewed by John Leyerle
Poetry
Authors: Wilson Milton
Published: March 2013

Reviews of poetry published in Canada in 1962.
Military History
Authors: Preston Richard
Published: March 2013

Reviews of books on military history published in Canada in 1962.
Education
Authors: Harris Robin
Published: March 2013

Reviews of books on education published in Canada in 1962.
The Augustan Nose
Authors: Stevick Philip
Published: March 2013

At one point in the Characteristics, Shaftesbury describes the source of that part of his moral sense which compels him to be decent. "Should one," he writes, "who had the countenance of a gentleman ask me 'Why I would avoid being nasty, when nobody was present?' In the first place I should be fully satisfied that he himself was a very nasty gentleman who could ask this question, and that it would be a hard matter for me to make him ever conceive what true cleanliness was. However, I might, notwithstanding this, be contented to give him a slight answer, and say "'twas because I had a nose.'" Shaftesbury continues: even if he could neither see nor smell, his nature "would rise at the thought of what was sordid." But his initial response to his problem, that he is not "nasty" because if he were he could not stand his own smell, far from being a "slight answer," is a response representative of a frequent mode of the eighteenth-century imagination. For dozens of writers in the Restoration and the eighteenth century, the image of man smelling (in both the transitive and intransitive senses) is a polemical and satirical weapon, an image capable of carrying great descriptive intimacy, great ingenuity of wit and comic virtuosity, and capable, in others as in Shaftesbury, of suggesting man's very humanness.
An Ideal of Greatness: Ethical Implications in Johnson's Critical Vocabulary
Authors: Wesling Donald
Published: March 2013

Imlac's description of true literary greatness in Rasselas, chapter X, is a statement with an elevated call for something more than the ordinary neoclassic propriety. The demand which emerges from his speech is for two salient criteria of greatness: power and comprehensiveness of mind in a writer's "knowledge of nature," and the deeply moral outlook of the writer who in his normative preoccupations "must be acquainted likewise with all the modes of life." The poet must survey the "inexhaustible variety" of the "appearances of nature": nothing in the outer world "can be useless ... every idea is useful for the enforcement or decoration of moral or religious truth"; but comprehensive knowledge is "only half the task of the poet": he is also obliged to "consider right and wrong in their abstracted and invariable state"; he must rise to the general and write "as the interpreter of nature, and the legislator of mankind." When Imlac speaks thus he voices Johnson's own longing for greatness; Johnson's "idea of poetry was magnificent indeed," Mrs. Thrale states, "and very fully was he persuaded of its superiority over every other talent bestowed by heaven on man." Still, Prince Rasselas, faced with Imlac's sweeping ideal of the poet's function, can only exclaim "Enough! thou hast convinced me, that no human being can ever be a poet." Imlac and Rasselas speak for two sides of Johnson's thought on literature; there is a yearning for impossible excellence, and a certain irony and self-awareness which does not allow the idealization to go too far. "No human being" can ever be a poet of this order because no human can ever deal always and fully with the infinitely strenuous ethical responsibility. Yet in all his critical writing Johnson gauges authors against such a model of the universal poet, and marks off deficiencies. This paper will explore his critical demand for vigorous intellection and a manly moral seriousness which interpenetrate to reinforce one another—his craving for the seamless fusion of ethical and literary qualities in a piece of writing—by examining a selection of his key critical terms.
The Actual and the Ideal in the Making of Samuel Johnson's Dictionary
Authors: San Juan
Published: March 2013

As far as I know, few critics have perceived the modernity of Samuel Johnson's linguistic theorizings as wirnessed in two principal documents: "The Plan of a Dictionary of the English Language" (1747) and the "Preface" to A Dictionary of the English Language (1755).' W. K. Wimsatt, for instance, simply disqualifies as a question of style Johnson's "severe" canon of correctness in vocabulary. But propriety involves usage, and proper usage is vitiated by contingency. In fact, Johnson himself declares that he does "not form, but register the language" only; he does "not teach men how they should think but relate how they have hitherto expressed their thoughts." This empirical approach seems to be demanded, or imposed, by experimental prudence. Actually, it tends to counteract his prescriptive and reformatory objective in the aim of establishing a standard of good and correct English usage. For the dictionary will be designed to fulfil the functions of a technical instrument "by which the pronunciation of our language may be fixed, and its attainment facilitated; by which its purity may be preserved, its use ascertained, and its duration lengthened." Such a purpose unquestionably conforms to the general neoclassical ideals of order, stability, and respect for tradition.
Goldsmith's Achievement as Dramatist
Authors: Quintana Ricardo
Published: March 2013

Despite the fact that Goldsmith occupies a secure place among eighteenth-century dramatists, the precise nature of his achievement as a playwright has yet to be explored with the care which the subject deserves. Since this is a matter which concerns Georgian comedy in a broad sense as well as Goldsmith's own comic artistry, it is one of no little importance. Goldsmith came to the drama fairly late in his career, being thirty-seven—if we accept 1730 as the year of his birth—when his first play was produced. He had already established himself as one of the notable literary men of the period. He had behind him the Enquiry into the Present State of Polite Learning, a multitude of essays, including the highly successful series of "Chinese Letters" (published by themselves as The Citizen of the World), the poem The Traveller, and The Vicar of Wakefield. Is it possible to make out any sort of relationship between his earlier writings and his plays? How did he accommodate himself to the established tradition of Georgian comedy, and if he contributed anything of his own, what was it? Did his shift to dramatic composition bring with it any significant change in comic insight? And, since he would almost certainly have continued to write for the theatre had he lived a few more years, what might have been the direction which such work would have taken?
Hamlet, Duellist
Authors: Zitner
Published: March 2013

Whatever else it is, and it is notoriously everything else, Hamlet is a play of weapons. Ordnance peals, swords are flourished, there is a 'daily cast of brazen cannon,' rapiers and daggers are only two of Laertes' weapons; the pike and the great axe are invoked, slings and arrows, partisan and truncheon, foil and target; poison is poured into the porches of the ear or drunk off in goblets; enginers are hoist by their own petard, and there is a memorable bare bodkin. The motif of the duel dominates the play: thus Old Hamlet vanquishes Old Fortinbras in single combat; thus young Hamlet and Laertes destroy each other. The whole struggle between Hamlet and Claudius is conceived of by Hamlet as a duel: the pass and fell incensed points Of mighty opposites.
Marvell's Infinite Parallels
Authors: Carscallen James
Published: March 2013

In Marvell's beautiful and enigmatic poem Mourning we find the nymph Chlora weeping for the death of her lover Strephon. Her behaviour has evidently aroused a good deal of curiosity, and those who "pretend art" offer various far-fetched explanations for it, all to her discredit: her tears are a way of softening a place near her heart for another wound; or she is courting herself during her enforced seclusion like Danae in a shower; or she is throwing grief from her windows because joy has now become her master. The speaker reports and then rejects all these explanations: an Indian pearl-diver, he says, might sink to the depths of the ocean, but never reach the bottom of One of Chlora's tears. The poem concludes with a very guarded observation:
Reviews
Authors: Thomson  , Conacher  , Smith
Published: March 2013

Margaret Mann Phillips, The 'Adages of Erasmus: A Study with Translations, reviewed by D.F.S. Thomson

Margaret Mann Phillips, Erasmus on His Times, reviewed by D.F.S. Thomson

James Kelsey McConica, English Humanists and Reformation Politics under Henry VII and Edward VI, reviewed by D.F.S. Thomson

Craig R. Thompson, trans., The Coloquies of Erasmus, reviewed by D.F.S. Thomson

Jacqueline de Romilly, Time in Greek Tragedy, reviewed by D.J. Conacher

James Sutheroand, English Literature of the Late Seventeenth Century, Bertrand Harris Bronson, Facets of the Enlightenment, and R.F. Brissenden, Studies in Eighteenth Century: Papers presented at the David Nichol Smith Memorial Seminar Canberra 1966, reviewed by D.I.B. Smith
Point of View in The Waves: Some Services of the Style
Authors: Graham
Published: March 2013

As early as 1928, Virginia Woolf began to formulate in several essays her conception of a new kind of fiction which would combine elements of drama, poetry, and the novel.' Although she had no name for this new form, she saw clearly and stated repeatedly that it could not be called a novel. While she was writing Orlando, she twice recorded her certainty that she would never write a novel again; and in the manuscript of The Waves she scribbled at one point the following request: "The author would be glad if the following pages were not read as a novel." After The Waves had been published, she looked ahead and recorded her intention to "write another four novels: Waves, I mean" (p. 178, 13 Jan. 1932); as if to say that, since this new form of fiction had no proper name of its own, she would call it, for her own purposes, by the name of the work which was her first attempt to create it on a large scale. All this evidence only verifies what the text of The Waves makes manifest on every page — that it is a radically a-novelistic work of fiction and that attempts to regard it as a novel will yield very little. For this reason such critical terms as "plot," "character," and "setting" are the wrong instruments for exploring its nature as fiction.
Geneva or Paris? The Recent Work of Georges Poulet
Authors: Miller J. Hillis
Published: March 2013

Since the death of Albert Bèguin and the retirement of Marcel Raymond, Georges Poulet has emerged as the leader of an important group of literary critics who are bound somewhat loosely together by common methodological presuppositions. The group is sometimes called 'The Geneva School,' since most of its members have been associated in one way or another with the University of Geneva. The group includes Jean Rousset, Jean Starobinski, and Jean-Pierre Richard as well as the three older critics already mentioned. This essay is an attempt to assess the significance of the many books and essays Poulet has published since 1963. I shall also set Poulet's criticism tentatively against the challenging new developments in literary criticism appearing now in Paris under the impact of structuralism and current reinterpretations of Nietzsche, Marx, and Freud.
The Themes and Staging of Bartholomew Fair
Authors: Parker
Published: March 2013

We know rather more about the original production of Bartholomew Fair on 31 October 1614, than we do about most productions of the time. The play was written after the failure of Jonson's painstakingly classical tragedy Catiline (Kings Men, 1611), and is a deliberate, but highly ambivalent, adaptation of 'popular' forms. It was put on, not at the fashionable Globe or Blackfriars, but at a new theatre called the Hope, two facts about which are very important: it was modelled On the Swan, which is the one Elizabethan theatre of which we possess a contemporary sketch; and it was designed to be used as a bear-baiting pit at least once every fortnight. Jonson refers to the stage-keeper 'gathering up the broken apples for the bears within' (Induction, 46) and his disdainfully pragmatic attitude to the situation appears at the end of the Induction:
A Consideration of The Rock
Authors: Olshin Toby
Published: March 2013

Unlike most recent essays on Eliot, this one need not begin with an apology. His second poetic drama The Rock (1934) has received little attention, partially because he himself considered only the choruses a legitimate part of his canon, and partially because there is something about it which makes even the most interpretive critics become evaluative when they confront it. It is my purpose here to ask for a new approach to The Rock and to clear the way through a threefold method: a gathering of evidence about the real nature of Eliot's collaboration; a close textual study of the drama — especially the neglected prose passages — to identify the central theme; and a glance at the meaning of this theme in light of Eliot's classification as a Romantic by both Northrop Frye and C.K. Stead.
Fiction
Authors: Roper Gordon
Published: March 2013

Reviews of fiction published in Canada in 1969.
Art
Authors: Emery Tony
Published: March 2013

Reviews of art books published in Canada in 1969.
Les Etudes Sociales
Authors: Bonenfant Jean-Charles
Published: March 2013

Reviews of books on French-Canadian social studies published in Canada in 1969.
Poesie
Authors: Major Jean-Louis
Published: March 2013

Reviews of French-Canadian poetry published in Canada in 1969.
>Nadja and Breton
Authors: Cardinal Roger
Published: March 2013

To behave irrationally, amorally, and therefore purely, was one of the ideals of early surrealism. No one was so adapted to living an authentic surrealist life as the madman, saluted On many occasions by the surrealists as the guardian of man's integrity. Associating this heroic figure with that of woman, equally prized as a source of revelation, André Breton and Louis Aragon joined in 1928 to do homage to the female patients of Charcot who had been victims of hysteria, now seen as a glorious and magical state of vision. Already in 1920, Breton had anticipated the doctrine of amour fou when he wrote "On peut aimer plus qu'aucune autre une femme insensée." It is therefore not surprising that Breton should have been immediately attracted when he first met a mentally disturbed girl calling herself Nadja on the Place Lafayette on the 4th October 1926. At once concerning himself with the girl to the apparent exclusion of all other preoccupations, Breton embarked on a relationship of a more than casual significance.
The Lady in a Landscape and the Poetics of Elizabethan Pastoral
Authors: Comito Terry
Published: March 2013

Sidney expected few of his own contemporaries to understand or to grant his argument, and he hurries on to a 'more ordinary opening' of his subject. By now we should be sufficiently alerted to the audacity of his claim, and to the complexity of the problems it raises. From nature's brazen stuff the poet fabricates a golden world, and so proceeds – with the same daring that characterizes Pico's assertion of man's special dignity – to something very like self-deification. In his enthusiasm for Sidney's position, in fact, Puttenham did not scruple to abolish the traditional distinction between making and creating, and to claim that the poet 'contrives out of his owne braine both the verse and matter of his poeme' – ex nihilo, "as we may say of God." It is difficult, though, to see what this might mean in practice; 'making new' is precisely what the imagination's enemies were objecting to, but the wholly new would surely be unintelligible. Sidney sidesteps the issue, yet the whole tenor of his argument makes it clear that the freedom of the poet lies not in dispensing with nature but in engaging it in peculiarly human concerns, pressing it into the service of his own vision; the poet walks hand in hand with nature, and transmutes its base metals into what Dürer called "the stored-up secret treasure of the heart." But then we must ask if this is not to make the poet less a god than a demiurge, and to subject him to all the notorious intractability of matter.
Dante's Purgatorio XXXII and XXXIII: A Survey of Christian History
Authors: Kaske
Published: March 2013

I suppose it is no great news that during the past few decades, scholarship and criticism in the immense field of medieval literature have been moving with unusual speed. Within this general awakening, it is worth asking what has been the effect, if any, on interpretation of Dante's Commedia. Surely no one can accuse past Dante scholars of a failure to explore unfrequented corners of medieval knowledge; and even allowing for the preoccupation of earlier generations with Dante's political message, it is obvious that the recent revival of interest in the theological allegory of the Middle Ages cannot have come to Dantists as the complete surprise that it often did to others. If there is truth in these rather easy generalizations, it may well be asked whether contemporary scholarship can find anything new and important to add to our understanding of the Commedia; and if so, how we are to go about finding it.
Fiction
Authors: Rudzik
Published: March 2013

Reviews of fiction published in Canada in 1973.
Théâtre
Authors: Mailhot Laurent
Published: March 2013

Reviews of French-Canadian books on theatre published in 1973.
Humanities
Authors: Cain Thomas , Ingram  , Hibbard
Published: March 2013

Reviews of books on the humanities published in Canada in 1973.
Religion
Authors: Oxtoby Willard
Published: March 2013

Reviews of books on religion published in Canada in 1973.
Publications in Other Languages
Authors: Andrusyshen
Published: March 2013

Reviews of publications in other languages published in Canada in 1973.
Reviews
Authors: Downey James , Johnston George , Frank Roberta , Trentman John
Published: March 2013

Christopher Ricks, Keats and Embarassment, reviewed by James Downey

Denton Fox and Hermann Pálsson, trans., Grettir's Saga, reviewed by George Johnson

George Johnston, trans., The Faroe Islanders' Saga, reviewed by Roberta Frank

Christine Fell, trans., Egil's Saga, reviewed by Roberta Frank

James A. Weisheipl, Friar Thomas D'Aquino: His Life, Thought, and Work, reviewed by John Trentman
The Constant Speaker: Aspects of Conversation in Tristram Shandy
Authors: Warren Leland
Published: March 2013

If there is one thing it should not be necessary to say about The Life and Opinions of Tristram Shandy, Gentleman, it is that we must be extremely careful in using Tristram's own explanations of his book as evidence for what the work really is. A writer who can congratulate himself on the 'contrivance' of the 'machinery of [his] work" and who can yet explain his writing process as 'begin[ning] with writing the first sentence -and trusting to Almighty God for the second' (415) is not a wholly reliable witness. Nor is our confidence strengthened when he speaks of writing a book as 'like humming a song' (238), denies that his work is a farce 'unless every one's life and opinions are to be looked upon as a farce' (280), and even has Toby compare writing to defecating (313). We can only conclude that a book may be anything for one with sufficient wit and that, since Tristram prides himself upon his wit, his efforts at definition are merely evidences of his character that serve as examples of frustrated communication in a book which already has more than its share.
Romans, Recites, Contes et Nouvelle
Authors: Poulin Gabrielle
Published: March 2013

Reviews of French-Canadian fiction published in Canada in 1976.
Poetry
Authors: Hornyansky Michael
Published: March 2013

Reviews of poetry published in Canada in 1976.
Poésie
Authors: Dionne Renn´
Published: March 2013

Reviews of French-Canadian poetry published in Canada in 1976.
Fiction
Authors: O'Conner John
Published: March 2013

Reviews of literary translations published in Canada in 1976.
Religion
Authors: Oxtoby Willard
Published: March 2013

Reviews of books on religion published in Canada in 1976.
Günter Grass since the Danzig Trilogy
Authors: Forster Leonard
Published: March 2013

For most readers Günter Grass's work is so dominated by the Danzig trilogy that it is difficult to see what he wrote after it in the proper perspective. Die Blechtrommel, once his launching pad, is now more of a ball and chain. Each time Grass publishes a new book his critics are resentful that he has not written The Tin Drum all over again; that is familiar, it is nailed down, we know what to think about it, and (of course) it is a masterpiece. In each of his books Grass forces us to distrust the narrator or narrators and to make up our own minds. Critics don't like that, any more than the ordinary reader does. Grass is a great avoider of pigeon-holes and ready-made labels; he loves to slip between the fingers of critics. Yet in many ways he stands in a recognizable tradition, with respectable antecedents; John Reddick, one of his most perceptive critics and interpreters, has pointed out that Grass's sense of the importance of wholeness, integrated identity, and organic development allies him to Goethe and the classics of German literature. True it is that Grass is one of the greatest masters of that device which the later Goethe invented and which has proved to be one of his major bequests to the literature of our century: the unreliable or even untrustworthy narrator persona, first used, it would seem, in Die Wahlverwandtschaften.
Margaret Drabble and the Sense of Possibility
Authors: Lambert Ellen
Published: March 2013

Margaret Drabble's novels are being read — and talked about — increasingly both in England and North America. The talk is predictably varied, even contradictory, in its import. Her work is praised for its fine criticism of contemporary English society and for its sympathetic portrayal of domestic life — love, marriage, and the bearing of children; yet it is also accused of falsifying both these spheres. This essay is written in praise of Drabble's fictions, but I am not primarily interested in how accurately she describes the way we live now (though she often does that very well indeed, there are others who do it better). What does interest me is how accurately, how richly, she renders a particular mood, a particular state of mind. Further, though I am not sure that she would agree with me, I believe that her true strength as a writer is a lyric strength: what happens in her novels is not really the important thing. Indeed in this area her reader must be willing to tolerate a good deal of implausibility — implausible minor characters, implausible plots, and (especially) implausible endings. But if we do tolerate these things, we do so because we know how little they interfere with the essential pleasure of reading Drabble. The following pages are an attempt to define that pleasure, to isolate the special experience her fiction at its best has to offer us.
'Dangerous Conceits Are in Their Natures Poisons': The Language of Othello
Authors: Shaw Catherine
Published: March 2013

In his perceptive review of M.M. Mahood's Shakespeare's Wordplay G.K. Hunter makes the provocative suggestion that there is a book to be written, 'a Romantic and moving tale of love and hate between the Bard and the Word — Shakespeare's verbal vision of evil, when words cease to mean what they say.' Although such a publication is still to emerge, when it does a notable chapter will surely be devoted to Othello, the play which perhaps more than any other 'words' us. In Othello language itself is made a Janus. Words are inverted, perverted, and ultimately even rendered meaningless, and with the corruption of the real worth of language comes that of the honour and honesty in the nature of the men who hear and speak it.
Romans, récits et contes
Authors: Gauvin Lise
Published: March 2013

Reviews of French-Canadian fiction published in Canada in 1979.
Poetry
Authors: Djwa Sandra
Published: March 2013

Reviews of poetry published in Canada in 1979.
Drama
Authors: Huebert Ronald
Published: March 2013

Reviews of drama published in Canada in 1979.
Translations
Authors: O'Connor John
Published: March 2013

Reviews of literary translations published in Canada in 1979.
Philosophy in a World Crisis
Authors: Stewart Herbert
Published: March 2013

In times of international crisis, abstract thinkers are commonly at a discount. To fall back on an inelegant but expressive phrase, the practical man “has no use for them.” There is obvious need for good economists, good captains of industry, good international lawyers, good diplomatists. These are men from whom, at least in our more sanguine moments, we hope for some practical proposal—some concrete programme for overcoming the depression, for reviving world trade, for assuaging international quarrels. On the other hand, the sort of person known as a “philosopher” seldom gives any such definite advice, generally refuses to meddle with what he calls the work of specialists, and leaves his cynical reader or hearer with the feeling that philosophy is something like religion, destitute of any plan for changing events, but a consoling discipline to make one satisfied with events as they are. It is thus often supposed to mean no more than an ingenious way of convincing oneself that things, however they may drift, are never so bad as they appear, and—as Anatole France used to say—that any change would probably be for the worse. Hence the term “philosophic mind” and the phrase about taking experience “philosophically” have become the cover for a sort of moral paralysis. Our distraught generation may be pardoned for losing patience with this, as Romeo did with Friar Laurence when bidden to fall back upon “Adversity's sweet milk, philosophy.”
The Theatre and the Social Confusion
Authors: Ross Malcolm MacKenzie
Published: March 2013

In the contemporary theatre there is apparent a vigorous effort to break away from the social-realistic tradition. The prose play with its photographic stage has become too limited and often to intellectual in its appeal, and playwrights and critics alike are searching for a new medium and a new vision, a medium which will take fire in the theatre, and a vision which has the fire to bestow. The traditional poetic method is still mentioned as a possible solution for the problem. More radical thinkers in the theatre, however, are convinced that modern life offers new mediums for expression much more suitable to the dramatic purpose than spoken verse. For them the problem is to find the equivalent of the Elizabethan method, and they go to jazz and athletics and the motion-picture for idioms to which the modern is most susceptible.
The Universities and the International Outlook
Authors: Stanley Carleton
Published: March 2013

How many speeches and articles and books have been composed at one time and another on the subject of university graduates' being the leaders in the community? The number must be past telling. The idea is certainly older than the deliberate study of methods of government and economics in universities, which is a comparatively recent development. Society has greatly changed, in outward appearance at least, and perhaps more essentially; but the universities have greatly changed also. Is it possible that the phrase which connects the two has insensibly become outworn and meaningless? And again what do we mean by leadership? At one time in this country, leaving politicians to one side for the moment, we had leadership from preachers, editors, from strong personalities in various learned professions—not excepting school-teaching—whose words were heard in no Babel of voices. Personalities may be as clear and striking now as formerly, but they shine like stars above the glaring lights of a city. The preacher competes, so to speak, with the radio, and a flood of illustrated Sunday papers. Is it the editorial, or the back-page advertisement, that is now read? In fact, in the offices of large Canadian newspapers it is now sometimes hard to discover who the editor is. Again, do we remember that one of the implications of leadership is a resolute cr tical faculty—a compound of sure knowledge and bold imagination? It seems to have been one of the qualities of Lenin that he saw most proposals in the light of past history, that he could weigh the subtler results of their application, and so in a moment choose, reject, or modify. A slight change of scene, or the discovery of an oversight of his own, merely caused him to calculate afresh. He could criticize himself as well as his friends and his foes.
Fiction
Authors: Broadus
Published: March 2013

Reviews of fiction published in Canada in 1935.
Drama
Authors: Milne
Published: March 2013

Reviews of drama published in Canada in 1935.
List of Publications
Authors: Ewart Alison
Published: March 2013

Books published in Canada in 1935.
Sanctions—Abyssinia and After
Authors: Corbett
Published: March 2013

In the last eight months our new post-War world has been brought brutally face to face with the question whether it really differs in any essential item from the old world of 1914. Its ark and covenant have run into a storm of primeval passions and the result looks dismally like ship-wreck. When, in the autumn of 1935, the League of Nations, for the first time in its fifteen years of existence, brought into operation against an aggressor the sanctions of Article XVI of the Covenant, the hopes of the new-worldlings ran high. At last, after the tragic falterings of 1931 and 1932, there appeared to emerge a clear resolution to assert the principles of collective security against the anarchy of national lust. But now, in June, 1936, national lust is triumphant, and a disillusioned civilization asks in dejection whether all its plans for keeping the peace have been so much moonshine.
Reviews
Authors: Brett  , Kirkwood  , McInnis Edgar
Published: March 2013

A. Wolf, A History of Science, Technology, and Philosophy in the 16th and 17th Centuries, reviewed by G. S. Brett

Harcourt Brown, Scientific Organization in Seventeenth Century France (1620-1680), reviewed by G. S. Brett

Margaret Lawrence, The School of Femininity: A Book for and about Women as They are Interpreted through Feminine Writers of Yesterday and Today, reviewed by M. M. Kirkwood

R. C. K. Ensor, England, 1870-1914, reviewed by Edgar McInnis
Fiction
Authors: Hoy Helen , Bilan
Published: March 2013

Reviews of fiction published in Canada in 1980.
Les Etudes Sociales
Authors: Saint-Pierre Céline
Published: March 2013

Reviews of books on French-Canadian social studies published in Canada in 1980.
Théâtre
Authors: Girard Gilles
Published: March 2013

Reviews of French-Canadian books on theatre published in 1980.
Translations
Authors: O'Connor John
Published: March 2013

Reviews of literary translations published in Canada in 1980.
The Aran Islands Revisited
Authors: Foster John
Published: March 2013

The Irish Revival saw among writers and cultural nationalists a deep interest in the western seaboard and islands of Ireland. This was largely because it seemed that in the west could be found lively remnants of a unified, preconquest civilization and of a passionate community such as we had all composed before the emergence of cities, industry, class, and warring systems—before, in fine, the separateness of self. It could be argued that John Millington Synge, for example, shared as an ideal with other Revival writers this anti-historical and romantic flight from self and society into archaic unity and that it is given documentary as well as poetic expression in The Aran Islands (1907). There is a good deal of truth in this rather conventional account of what is one of the most important prose works of the Revival, and indeed I would like to supplement the account with what I hope are some fresh remarks about the well-known influence on Synge of contemporary Breton writing inspired, like The Aran Islands, by the conviction that archaic community persisted on the Celtic fringes of modern European civi1ization, and with some fresh observations on the class ideology of the westward and Celtic bias. Even so, the conventional account is only half the story, and strikes me as inadequate in failing to convey the full range of Synge's psychic and spiritual experiences on the islands.
'The Unheard Music': T.S. Eliot's Four Quartets and John of the Cross
Authors: Sharp Corona
Published: March 2013

The influence of John of the Cross on Four Quartets by T.S. Eliot is acknowledged by many Eliot scholars. It is presumed, however, that this influence does not extend beyond the obvious allusions made by the poet to the Spanish mystic, and in some cases the discussion is even confused or misleading. Since Eliot first discovered John's works while at Harvard, was still interested enough to cite them as a 'devotional monument' in 'Lancelot Andrewes' (1926) and to quote them ironically in an epigraph to Sweeney Agonistes (1926-7), as well as to review an abridged version of John's works in 1934, it is more than probable that he continued reading John in depth and with understanding. Dame Helen Gardner tells us that when Eliot was writing 'East Coker' (1940) he used E. Allison Peers's translation of John's works. Eliot's preoccupation with Christian mysticism is evident throughout the corpus of his religious works. Murder in the Cathedral, for example, presents the inward journey of the protagonist, as he picks his way among ever more subtle and dangerous temptations towards his goal in 'the night of God.' In Four Quartets the influence of several Christian mystics, particularly of John of the Cross, is strikingly evident.
'I Was the World in Which I Walked': The Transformation of the British Novel
Authors: Schwarz Daniel
Published: March 2013

In the Sculpture Garden of the Museum of Modern Art stands Rodin's large 1897 statue 'Monument to Balzac.' The imposing figure of Balzac is ten feet tall, and it rests on a five-foot-high slab. At first, the observer may wonder what this seemingly realistic piece is doing in the citadel of modernism. But gradually he realizes that the work is a crystallizing image of modernism, for it depicts the artist as outcast and hero. Towering above onlookers, Balzac is wearing the expression of scornful magisterial dignity. With back stiffly yet regally arched past a 90-degree angle, Balzac looks into the distance and the future as if oblivious and indifferent to the opinions of the Lilliputians observing him from below. The large moustache, massive brows, flowing hair, and enormous ears and nose all emphasize the immense physical stature of the figure. As observers we crane our necks to see the features of this commanding figure whose gigantic head is disproportionate to his body. His features are boldly outlined but not precisely modelled. His huge head dominates the massive form; the body enwrapped in a cloak is a taut cylinder; the only visible feature is the feet, which are in motion as if they were going to walk off the slab. Indeed, one foot actually overhangs the slab as if it were about to depart. In the geometric shape of an isosceles triangle, the intimidating figure asserts the dependence of content upon form.
Fiction
Authors: Bilan  , Hoy Helen
Published: March 2013

Reviews of drama published in Canada in 1981.
Poetry
Authors: Djwa Sandra
Published: March 2013

Reviews of poetry published in Canada in 1981.
Drama
Authors: Astington John
Published: March 2013

Reviews of drama published in Canada in 1981.
Religion
Authors: Rousseau Louis
Published: March 2013

Reviews of books on religion published in Canada in 1981.
Poesie
Authors: Bayard Caroline
Published: March 2013

Reviews of French-Canadian poetry published in Canada in 1982.
Translations
Authors: Mezei Kathy
Published: March 2013

Reviews of literary translations published in Canada in 1982.
Fiction
Authors: Hill Douglas , Hoy Helen
Published: March 2013

Reviews of fiction published in Canada in 1983.
Religion
Authors: Michon Jacques
Published: March 2013

Reviews of French-Canadian fiction published in Canada in 1983.
Poesie
Authors: Bayard Caroline
Published: March 2013

Reviews of French-Canadian poetry published in Canada in 1983.
Drama
Authors: Astington John
Published: March 2013

Reviews of drama published in Canada in 1983.
Translations
Authors: Mezei Kathy
Published: March 2013

Reviews of literary translations published in Canada in 1983.
Les Etudes sociales
Authors: Leonard Jean-Francois
Published: March 2013

Reviews of books on French-Canadian social studies published in Canada in 1983.
A.S.P. Woodhouse: Teacher and Scholar
Authors: MacCallum Hugh
Published: March 2013

>'A.S.P. Woodhouse: Teacher and Scholar' was originally delivered, on 28 September 1983, as part of a lecture series at University College in the University of Toronto. A well-known figure in the College's past, Woodhouse had held the position of Head of English for two decades, but his reputation extends far wider than either College or University: he was a tireless and influential champion of the Humanities in North America, and for many years served as editor of the University of Toronto Quarterly. It is therefore fitting that Professor MacCallum's lecture should be made available to a larger audience and doubly appropriate that it should appear in this journal. (W.J. Keith)
Bertrand Russell's Early Approaches to Literature
Authors: Moran Margaret
Published: March 2013

When in 1950 Bertrand Russell was awarded the Nobel Prize for literature in recognition of the exemplary clarity of his philosophical prose, the honour must have seemed to him tinged with some irony. Although he took legitimate pride in the lucid expression of his professional thought, he was disappointed by his failure to distinguish himself in literature as a creative author. For this reason, there was probably no other field in which he felt a greater disparity between his aspiration and his achievement. In an ill-conceived attempt to rectify the situation, he set about during his eighties to write a series of short stories. Twice before (in 1902–3 and in 1911–13), he had turned to imaginative writing, but the results on those occasions had not pleased him. Despite all his striving to do more, Russell's contribution to literature was limited to two functions: as an essayist, and as a character for other authors to portray. With the essay, a genre in which argument takes precedence over imagination, his genius as an analytical thinker found an appropriate form. Although he never composed the imaginative masterpieces he so ambitiously intended, he did serve unwittingly as a model for a number of portraits by other writers. Of these the most famous are Mr Apollinax, the eponymous character of T.S. Eliot's poem, Sir Joshua Malleson in D.H. Lawrence's Women in Love, and Scogan in Aldous Huxley's Crome Yellow. These representations could, to say the least, have offered little to assuage his general dissatisfaction about his role in literature.
Towards Genealogy of an Image: Nietzsche's Achievement According to Nietzsche
Authors: Del Caro Adrian
Published: March 2013

In Ecce homo Nietzsche used four questionable chapter headings: 'Why I Am So Wise,' 'Why I Am So Clever,' 'Why I Write Such Good Books' and, to close his strangest work, 'Why I Am a Destiny.' It is convenient to dismiss these statements and Nietzsche's latest works in general with the charge of megalomania, and this has been done throughout the history of Nietzsche scholarship. But to dismiss Ecce homo is to err by omission, because the work represents something so Nietzschean, so fundamentally characteristic of his fame and influence, that he did not shrink from calling attention to himself in this semantically charged juxtaposition. Ecce homo, i.e. 'behold the man' as uttered by Pilate in allusion to the flogged Jesus, means behold the man Nietzsche, or behold the nihilistic man, or behold the man of the twentieth century—it does not mean behold Jesus. As for the chapter headings of this seemingly offensive book, they too have their genesis in the Bible, notably Isaiah 5:20–1, where the warning is found: 'Woe to those who call evil good and good evil ... Woe to those who are wise in their own eyes and shrewd in their own sight!' That Nietzsche was himself guilty of all these transgressions is clear.
Lyric Poetry as Self-Posession: Philip Larkin
Authors: Reibetanz John
Published: March 2013

The Less Deceived was Philip Larkin's first major collection of poems. Published in 1955, it was immediately identified with the aims and values of 'the Movement'; indeed, Edward Lucie-Smith has described its arrival as 'the signal for the Movement to begin.' Like the term 'Movement' itself, Lucie-Smith's tone here suggests a programmatic precision more characteristic of military manoeuvres than of literary events. These connotations suit the poetics as well as the often combative dialectics of the Movement, for they emphasize the importance of conscious, directed effort in a world where fact rather than fiction is supreme. Writing is to be regarded as hard work, not as possession or obsession, and the goal is 'a poetry of urbane and momentous statement.' The formulator of this goal, Donald Davie, has looked back on the Movement and recognized that 'what we all shared ... was a hatred for writing considered as self-expression.' The Movement thus fostered a creative approach that paralleled the new critical tendency to play down or even ignore the shaping presence of the poet's personality in the poem.
A Plot Discover'd; or, The Uses of Venice Preserv'd within Clarissa
Authors: Aikens Janet
Published: March 2013

Because Samuel Richardson's Clarissa is filled with allusions to the theatre as well as with actual quotations from plays, the relation between the novel and the drama has been variously explored. Among recent studies, William B. Warner's controversial book cites Clarissa's absorption of dramaturgical patterns as evidence that the novel is 'indeterminate': 'The copresence of comedy and tragedy in Clarissa is early evidence that this text is not a unified organic body dominated by a single mythic design. Instead, this text is much more like a geological formation, with layers of sharply differentiated strata that tell us of the successive acts of interpretation, each with its own peculiar set of haphazard intensities, that give this text its ambiguous shape.' Warner believes that 'the conjunction of tragedy and comedy in Clarissa is violent and inharmonious' and that the novel itself lacks a stable structure to which all readers react alike. By contrast, Mark Kinkead-Weekes and others regard Clarissa as 'dramatic narrative' and as coherent tragedy. Despite such interest, no one has fully considered why the author included an actual night at the theatre in the work and why he chose Venice Preserv'd, or, A Plot Discover'd for this purpose. Otway's play is clearly not a 'key' to the novel as a whole; the performance that Lovelace and Clarissa attend is easily overlooked among the many and varied incidents within this complex work. Nevertheless, a closer consideration of the theatrical presentation reveals a telling analogy between the disturbing process of reading Richardson's narrative and the psychological warfare that constitutes the very 'action' of its plot.
The Meaning of Venetian History in Ruskin and Pound
Authors: Casillo Robert
Published: March 2013

Although Ezra Pound figures within the aesthetic and economic tradition which Ruskin inaugurated, the paucity of direct references to Ruskin in Pound's work has often discouraged inquiry into their relation. The resemblance between these writers lies not so much in textual affiliations or borrowings or in demonstrable influence as in what Guy Davenport terms the 'contemporaneity' of two discontemporaneous minds, a constant affinity in thought, feeling, temperament, and interest. Whether their concern was Nature or Culture, art or literature, politics or economics, science or history, Ruskin and Pound held similar values, examined the same artefacts and issues, and often reached the same conclusions. The Anglo-Saxon world knows few more notable or savage critics of modern civilization, the break-up of community, the deterioration of the arts, and the money economy in its effects on every aspect of life.
Reviews
Authors: Woodcock George , Grosskurth Phyllis , Ponomareff Constantin
Published: March 2013

W. J. Keith, Canadian Literature in English, reviewed by George Woodcock

Perry Meisel and Walter Kendrick, eds., Bloomsbury/Freud. The Letters of James and Alix Strachey, 1924–1925, Phyllis Grosskurth

Mikhail Bakhtin, Problems of Dostoevsky's Poetics, reviewed by Constantin V. Ponomareff
Fiction
Authors: Dixon Michael , Levene Mark
Published: March 2013

Reviews of fiction published in Canada in 1986.
Romans
Authors: Hebert Pierre
Published: March 2013

Reviews of books on French-Canadian novels published in Canada in 1986.
Religion
Authors: Wilson
Published: March 2013

Reviews of books on religion published in Canada in 1986.
Fiction
Authors: Levene Mark
Published: March 2013

Reviews of fiction published in Canada in 1987.
Romans
Authors: Hebert Pierre
Published: March 2013

Reviews of French-Canadian novels published in Canada in 1987.
Religion
Authors: Wilson S.
Published: March 2013

Reviews of books on religion published in Canada in 1987.
Poetry
Authors: Hatch Ronald
Published: March 2013

Reviews of poetry published in Canada in 1987.
Translations
Authors: Godard Barbara
Published: March 2013

Reviews of literary translations published in Canada in 1987.
Listening to Encolpius: Modes of Confusion in the Satyricon
Authors: Knight Charles
Published: March 2013

The Satyricon of Petronius simultaneously fascinates and mystifies, and the difficulties of interpreting it are intensified by the fragmentary nature of its text and the uncertainties of its authorship. The identification of its author with the Petronius Arbiter described by Tacitus is an unverifiable probability. The significance and even the spelling of the title have been subject to debate. The text survives in imperfect manuscripts, most of which do not contain the Cena, others little else. There is little evidence, beyond the numbering of books in several manuscripts, the existence of a handful of quotations in later writers, and several references in the text to lost episodes, that the original work was completed in the very long form traditionally supposed.