bluuebunny/crossref_metadata_2025 huggingface dataset:
Paul Elmer More: A Study
Authors: Brett
Published: March 2013

The appearance of a volume of Shelburne Essays has long been an occasion for rejoicing among the elect. It is equally true that others will be quite unmoved by the event or may even take the opportunity to renew an ancient grudge. For among the younger generation there are some who very frankly assert that they can derive nothing but pain from the writings of Paul Elmer More, and consequently utter nothing but complaints and condemnation. The last work to appear is The Sceptical Approach to Religion (1934), and as it is a direct continuation of the comprehensive plan of thought to be discussed hereafter, it will do nothing to turn away the wrath of the antagonists. For the antagonism is not merely a literary feud: it is rooted deeply in a clash of interests and a struggle of ideals. The younger generation will not accept the doctrine which More advocates because to them it seems classical and frigid; it runs counter to the modernism in thought and expression which they consider the essential mark of vitality and the true sign of freedom from antiquated models. More says: "I think, indeed I am very sure, that the general disappearance of belief in the Platonic Ideas, or perhaps it would be better to say the loss of belief in the everlasting truth which Plato dressed up in the doctrine of Ideas, has been the chief cause of the present débâcle of morals and art." This is an uncompromising creed which the younger generation refuses to accept, partly because they do not admit that morals and art have suffered any decline and partly because "everlasting truth" is not an ideal which they like any more than they like Platonism. In the light of this conflict of opinion, a consideration of More's work becomes practically a study of the principal trends in modern thought.
Political Democracy
Authors: Woodsworth
Published: March 2013

In recent years parliamentary institutions have been greatly, discounted. This is probably, in part, a rather vague protest against the existing state of affairs the depression, the uncertainty of the international situation, the upsurging of new, and (to timorous souls) menacing ideas. Political leaders who have claimed credit for prosperous times-even including bountiful harvests-need not be surprised if during periods of drought and low prices they should receive unmerited blame.
The David Dunlap Observatory
Authors: Young
Published: March 2013

The David Dunlap Observatory, the gift of Mrs. Jessie Donalda Dunlap to the University of Toronto as a memorial to her husband, will be formally opened on May 31, 1935. It is very fitting that the Observatory should be opened on this date, which is the seventieth birthday of the Director, for Dr. Chant has spent the greater part of his life in fostering astronomy within the University and in encouraging its study throughout Canada. The buildings and the mounting for the large telescope have been practically complete for some time, but there lacked the large mirror, the “eye” of the instrument. This is now reported finished and the writer is about to leave for England to make the final tests on it. The purpose of this article is to tell briefly the story of this magnificent gift and to say something of the research which will be carried on by the new observatory.
Polonius
Authors: Broadus
Published: March 2013

The appearance, in Saxo Grammaticus, of the prototype of Shakespeare's Polonius, was brief and unpleasant. Amleth's wicked uncle, Feng, was advised by “a friend,” who is described as “gifted more with assurance than judgment,” of a method of catching Amleth unaware. Feng was to absent himself from the court. The “friend” was to conceal himself and listen while Amleth was closeted with his mother. Thus it was hoped to discover whether Amleth “veiled some deep purpose under a cunning feint” or was as witless and harmless as he seemed. The friend “repaired privily to the room where Amleth was shut up with his mother and lay down skulking in the straw.” in Saxo's story appears and disappears the malodorous friend of Feng. When he reappears as Polonius, the raw old stuff of Saxo is still visible beneath the Elizabethan sophistication. For Feng's friend, “gifted more with assurance than judgment,” we have the “prating knave” and “wretched rash intruding fool;” for the bed of rushes, the arras; for the stinking sewer, that nook of the stair at Elsinore where “if you find him not within this month, you shall nose him;” for the naked filth of Saxo's swine, the bitter irony of “a certain convocation of politic worms.”
A Flight Through Aestheic Space-Time
Authors: Clark
Published: March 2013

The wish has been expressed that there should be a world-conference to end world-conferences. An equally deep if unuttered prayer of humanity must be that speculation regarding the essence of beauty or art should-at least temporarily-cease, that an aesthetic “holiday” should be declared. For no department of research seems to be so hopelessly bogged. Since the beginning of this century some of the world's most brilliant minds have devoted their energies to this elusive quest; yet what common denominator can be found for Croce's “Expressionism,” Babbitt's “Humanism;” Clive Bell's “Significant Form,” and Richards's neurological theory, to mention only a few of the more salient solutions that have been offered us? It has been calculated that at least sixteen different definitions of “art” have been given by serious and influential thinkers in the course of the last century. The worst of it is that, far from abdicating in favour of the Relative, our old friend the Absolute takes advantage of chaos to increase his tyranny; he multiplies himself. Every school turns out to be an incarnation of the Absolute; among conservatives he is called Tradition, among radicals the New Truth. The former believe that the “truth” about art was discovered long ago, the latter that it was discovered this morning. But both are equally in the grip of a “finality complex” which obscures from them the possibility that beauty, instead of being a mysterious and unique essence waiting to be discovered, may be simply a convenient linguistic symbol used by men of different lands and different ages to cover an intricate nexus of disturbances produced in their nervous systems by such objects as statues, paintings, buildings, poems, etc. It may be that much of the trouble comes from the fact that the single word “beauty” has to do service for extremely disparate nervous disturbances.
Great Britain 1910-1935
Authors: McInnis Edgar
Published: March 2013

It is natural that a Royal Jubilee should be a time of retrospect. It is especially natural that such a celebration, descending upon us at a time which offers few obvious reasons for rejoicing in the present or confidence in the future, should move us to cast a backward glance at a quarter-century which, if it was not glorious, was at least colourful and eventful in an unusual degree. And because this was to be expected, it has perhaps escaped attention that the flood of articles and publications on this special occasion does not represent an interest newly awakened or suddenly evoked. Rather it accentuates a tendency, steadily growing during the past few years, to look back upon the present reign as the dose of a definite historical period, and to treat it as part of an era which, if not already over, is certainly close to its end. *
Reviews
Authors: Munro William Bennett , Clark  , Cazamian Louis
Published: March 2013

George M. Wrong, Canada and the American Revolution, reviewed by William Bennett Munro

F. C. Green, Minuet: A Critical Survey of French and English Literary Ideas in the Eighteenth Century, reviewed by A. F. B. Clark

Lord David Cecil, Early Victorian Novelists: Essays in Revalation, reviewed by Louis Cazamian
Camus and Heidegger: Anarchists
Authors: Nicholson Graeme
Published: March 2013

What I intend to argue is that existentialist philosophy has a component of anarchism in it. I hope in this manner to establish the meaning of its key notion, 'existence.' My objective here is mere interpretation, to illuminate the statements of others, and not to make a statement myself, although the interpretation is of the freer variety.

If existentialism is a philosophical theory and anarchism a political movement and ideology, then to say that the latter is a component in the former is to say that a certain political choice is a presupposition of this theory. It does not follow from this that existentialism cannot be true in a theoretical, philosophical sense. It merely follows that those who call themselves 'existentialists' without being anarchists do not know what it is they hold. The general question of the relationship between political choices and philosophical truth is too vast for a general solution here. I hope only to show that this dependence holds in the particular case of existentialism, without however intending to cast doubts upon its status as a philosophical theory. What I shall try to show is the nature of an anarchist political choice: revolt for an unorganized commune. Then I shall attempt to show that such a choice is present within the idea 'existence: so as to determine its meaning. As a spokesman for a certa in sort of anarchism, I shall select Albert Camus.
Reviews
Authors: Keith  , Corrigan Beatrice , Colie  , Smith  , Foakes  , Davies Robertson , Le Pan Douglas
Published: March 2013

William Cooke, Edward Thomas: A Critical Biography, reviewed by W.J. Keith

Leonard Foster, The Icy Fire: Five Studies in European Petrarchism, reviewed by Beatice Corrigan

Joan Webber, The Eloquent 'I': Studies in Seventeenth-Century Prose, reviewed by R.L. Colie

Rosalie Colie, 'My Echoing Song.' Andrew Marvell's Poetry of Criticism, reviewed by D.I.B. Smith

Clifford Leech, The Dramatists's Experience, reviewed by R.A. Foakes

Louis Crompton, Shaw the Dramatist, reviewed by Robertson Davies

D.G. Jones, Butterfly on Rock. A Study of Themes and Images in Canadian Literature, reviewed by Douglas Le Pan
Voices of the Past in Dickens and Others
Authors: Horwath Herbert
Published: March 2013

What matters most in a writer is the new, personal voice he brings to his art, representing a new way of seeing and feeling the world. But he hears, and uses, and blends in, other voices: voices of contemporaries he admires, voices of the past that have excited him and pervaded his blood. The nineteenth-century writers often did instinctively what Eliot later prescribed in 'Tradition and the Individual Talent.' This essay will consider how Dickens, that most distinctive and unmistakable personality, calls in two or three traditional voices, including a very familiar voice; will contrast the orchestration of the same voice in the work of his nineteenth-century rivals; and will briefly enquire whether the voices of the mid-nineteenth century can be heard in the writers of the twentieth century.
Poetry
Authors: Hornyasky Michael
Published: March 2013

Reviews of poetry published in Canada in 1971.
Lovelace as Tragic Hero
Authors: Carroll John
Published: March 2013

Samuel Richardson once remarked that when he was working On Clarissa he tried Lovelace's character 'as it was first drawn, and his last Exit, on a young Lady of Seventeen. She shewed me by her Tears at the latter that he was not very odious to her for his Vagaries and Inventions. I was surprized; and for fear such a Wretch should induce Pity, I threw into his Character some deeper Shades. And as he nOw stands, I verily think that had I made him a worse Man, he must have been a Devil." Happily, Richardson's anxieties as a moralist did not overwhelm his instincts as a novelist. Lovelace emerges not only as a highly complex but an extraordinarily magnetic character. Nearly a century after the publication of Clarissa, Honoré de Balzac was to ask, rhetorically, 'Qui de nous pourrait prononcer entre Clarisse et Lovelace?' Richardson might well have thrown up his hands in despair at such a question – and then produced a rhetorical question himself: What can one expect of a Frenchman – who is a novelist to boot? At the same time, I suspect that in the act of creating Lovelace and Clarissa, Richardson would have known precisely what Balzac meant.
History and Politics: Macaulay and Ireland
Authors: Millgate Jane
Published: March 2013

Recent events in Ireland have given a certain adventitious interest to Macaulay's attempt, in the twelfth chapter of his History of England, to make the seventeenth-century sources of the Irish problem comprehensible to his nineteenth-century audience. But the chapter has more intrinsic claims to consideration: it not only possesses unity and shapeliness of structure and excitement of actual event – presenting as it does the story of the year 1689 in Ireland up to the relief of Londonderry and the Battle of Newton Butler – but it affords, in its dependence upon Macaulay's own visits to Ireland as well as upon written sources, an opportunity for watching the historian put together different kinds of material to form an effective narrative whole. The record of his Journal allows us to follow the order of the writing, discover the points at which various structural changes were probably made, and catch occasional glimpses of what Macaulay saw as the problems calling most urgently for solution. The overriding interest of the chapter consists, however, in Macaulay'S handling of the historical narrative for his contemporary audience within the acknowledged context of the nineteenth-century political situation. Nowhere in the History is the relevance of the seventeenth century to the nineteenth more painfully apparent, and Macaulay's exploration of that relevance has both a tangible literary effect On the structure and content of the chapter itself and an intended political effect on the minds of its readers.
Nature
Authors: Saunders Richard
Published: March 2013

Reviews of books on nature published in Canada in 1972.
Light Prose
Authors: Robson John
Published: March 2013

Reviews of light prose published in Canada in 1972.
Les Etudes Sociales
Authors: Bonenfant Jean-Charles
Published: March 2013

Reviews of books on French-Canadian social studies published in Canada in 1960.
The Dramatic Experience of Massinger's The City Madam and A New Way to Pay Old Debts
Authors: Fothergill Robert
Published: March 2013

A dramatist who set himself in the 1620s to write comedy had behind him a period of the greatest sophistication of this art. The sophistication may be seen as twofold, consisting of a developed sense of the comic in human experience, and a highly refined awareness of the peculiarities of the theatrical experience. The first kind of sophistication has nothing necessarily to do with the writing of plays – it is a way of responding to life, of organizing one's understanding of it. The second kind is the especial property of the dramatist, and it stems from a realization that for the duration of its two or three hours in the theatre an audience can be subjected to a variety of ingenious psychological experiments. To distinguish two aspects of this sophistication is of course to introduce a false dichotomy, and in the outstanding comedies of the period the two coalesce into a complex and often disturbing experience. In such plays as The Malcontent, The Gentleman Usher, The Widow's Tears, and Women Beware Women this complexity virtually creates a dramatic sub-genre. Then, too, by Massinger's time, the sophisticated divertissements of the Fletcherian school are in their prime, if not past it. Finally, some mention should be made of the extreme reaches of comic energy and inventiveness achieved by Ben Jonson in such a work as Bartholomew Fair. Against such a background Massinger's comedies The City Madam and A New Way to Pay Old Debts standout rather oddly. It will be the aim of this paper, bearing in mind the achievements of his predecessors as implicit terms of reference, to consider the nature of the dramatic experience offered by these two plays, and, furthermore, the quality of this experience. It should be stated at the outset that 'dramatic experience' is taken to mean the cumulative organization of our sensibilities effected by the event in the theatre.
For Impurity in Philosophy: Some Programmatic Dicta
Authors: Nielsen Kai
Published: March 2013

Recall Marx's famous remark, 'Philosophers have interpreted the world; the task is to change it.' Some have thought that here philosophy is being deliberately rejected, indeed repudiated, and what is taken up instead is political activism. The important point, such critics continue, is not about whether philosophy should have practical relevance, but about how philosophy is practically relevant. The claim is that people such as Marx, who argue for substantive claims with a normative import, inject an impurity into philosophy. They neglect and sometimes in effect repudiate its irreducibly Socratic character in trying to use it to give for some normative questions positive support for their own preferred answers.
Goethe's Werther after two centuries
Authors: Steinhauer Harry
Published: March 2013

Goethe's novel The Sufferings of Young Werther appeared two centuries ago; it was published anonymously at Leipzig in September 1774. In the jargon of our day it became an immediate best seller, perhaps the first in world literature. Since there were at that time no book clubs, no television talk shows, no paperback or motion picture rights, no literary cocktail parties, its author (whose identity soon leaked out) was spared those trials and triumphs which his twentieth-century descendants must endure. But his book did enjoy a popularity till then unknown in the history of literature. Two new reprints were issued before the year was out; a French translation appeared within a few months and many more followed; there were translations into English, Russian, and many other European languages. Poems, novels, dramas, musicals, operas, chapbooks were produced dealing with aspects of Werther. Among the notable works of literature that showed the influence of Goethe's novel were Benjamin Constant's Adolphe, Chateaubriand's René, Ugo Foscolo's Jacopo Ortis, Senancour's Obermann, Mickiewicz' Dziady, Flaubert's Education sentimentale. Lamartine, Sainte Beuve, Musset acknowledged the influence of Werther on their early careers. Of the three extant Werther operas, Massenet's (1892) is a major work of art. A Werther film was produced in France in 1938. André Maurois devoted one of his three essays in Méipe (1926) to a retelling of the Werther story. Thomas Mann treated the Werther aftermath in his outstanding novel, Lotte in Weimar (1939).
The Lessons of Northanger Abbey
Authors: Rothstein Eric
Published: March 2013

In Northanger Abbey, as in a number of works of eighteenth-century fiction (say, Tom Jones), the protagonist and the reader undergo parallel, but in almost no way identical, educations. The reader, as Austen's irony announces in the first paragraph, is to be led toward something better than the conventional novels to which she alludes again and again in the course of the book. As to the protagonist, the first chapter offers a dry account of Catherine's progress in music and drawing; these early lessons are extended by Mrs Allen and Henry Tilney, who teach her how to choose muslins and compose picturesque scenes, and are also extended by Catherine herself, who learns first from books and then by testing experience through trial and error. All this is obvious enough. The connections between Catherine's education and ours, however, are less obvious: so are those between two modes in Catherine's own development, the social (Bath) and the literary (Northanger Abbey). Here, to some critics, the coherence of the novel seems to break down, an event to be explained from Austen's biography. She did, after all, move from literary satire in her earliest works toward psychological and moral issues in her mature fiction: Northanger Abbey, in between the two, seems to look both ways, and Janus Austen fails where young Jane or mature Jane succeeded. I do not think that this is a necessary hypothesis, and I should like to devote the rest of this article to proposing a more flattering one, in which the tables are turned. That is, I propose that the strength of Northanger Abbey, and its theme, emerge from the connections between Catherine's education and ours, and between the social and literary modes in her experience.
The Originality of Donne's Satires
Authors: Bellette
Published: March 2013

Donne's Satires customarily receive little attention. In accounts of Donne the poet they tend to be regarded as apprentice works (with only Satire III a ttracling more than passing comment). In general accounts of Elizabethan satire they are seen to rank somewhat below the achievements of Hall and Marston. Their unevenness and brevity, when compared with the more sustained work of Donne's fellow satirists in the fifteen-nineties, has no doubt contributed much to their neglect in the field of English satire, while within the corpus of Donne's poetry it would be difficult to argue that they should compete for critical attention with the Songs and Sonnets and the Divine Poems. Yet the placing of them in either the general or the particular context has resulted in a degree of injustice. Donne's failure to observe all the conventions of the Elizabethan satirical tradition is seen to be compounded by a failure to develop fully the unique tone and voice that are heard in his own later work; or, put another way, the Satires are on the one hand too 'original,' and on the other hand not quite 'original' enough. Before exploring further the nature of the critical problem raised by the Satires, however, it is worth pointing out that Donne at no stage seems to have regretted writing them. His remark to Wotton in 1600 that 'to my satyrs there belongs some feare' was presumably occasioned by the recent ban on satires and the burning of works by Marston, Davies, and Guilpin. It is fear which attaches to them, not the 'shame' which, in the same letter, he finds occasioned by the Elegies and Paradoxes. In fact he valued them to the extent of considering them worthy of careful revision as late as 1607, when they were sent to the Countess of Bedford.
Fairy Tale, Fortune, and Boethian Wonder: Rhetorical Structure in Book VI of The Faerie Queene
Authors: Dixon Michael
Published: March 2013

Book VI of The Faerie Queene presents the reader with a rich and complex pattern of imagery, incident, and allegory. Within this pattern it is possible to discern a structural design based upon the traditional motives of fairy tale. We have a hero, Sir Calidore, committed to 'simple truth and stedfast honesty,' embarked upon a quest, 'to tread an endlesse trace, withouten guyde,' in pursuit of a monster, the 'Blattant Beast.' He defeats the villain Crudor in battle, and by good example reforms his defeated enemy; he rescues two maidens in distress, Serena from the Blatant Beast, and Pastorella first from a tiger and then from the hideout of a band of brigands; he becomes betrothed to Pastorella, who turns out to be not a simple shepherdess but the long lost daughter of a nobleman.
Reviews
Authors: Philips Margaret , Mitterand Henri , Maclean Hugh , Wood
Published: March 2013

Sister Geraldine Thompson, Under Pretext of Praise: Satiric Mode in Erasmus' Fiction, reviewed by Margaret Mann Phillips

B.H. Bakker, ed., 'Naturalisme pas mort': Lettres inédites de Paul Alexis à Emile Zola, 1871–1900, reviewed by Henri Mitterand

George Hibbard, ed.,, The Elizabethan Theatre IV: Papers given at the Fourth International Conference on Elizabethan Theatre held at the University of Waterloo, Ontario, in July 1972, reviewed by Hugh MacLean

Philip Ouston, The Imagination of Maurice Barrés, reviewed by J.S. Wood
'Will the Future Resemble the Past?'
Authors: Sparshot
Published: March 2013

A dialogue.
The Will to Refuse in the Princesse de Clèves
Authors: Allentuch Harriet
Published: March 2013

The Princesse de Clèves is the first of French novels to move relentlessly towards its conclusion. Thus it stands out from most ofthe love stories of the same and preceding periods – episodic, sentimental, and heroic romances whose plots twist around obstacles separating faithful lovers and postponing, though not indefinitely, their happy union. Camus emphasizes this distinguishing feature of the Princesse de Clèves in an article entitled 'L'Intelligence et l'échafaud.' Novelists of the family of Mme de Lafayette, he writes, refuse to run irrelevant errands. 'Leur seul souci semble être de mener imperturbablement leurs personnages au rendez-vous qui les attend ... Ce qu'ils ont en propre, c'est l'unité de l'intention.' Again for this reason, in addition to her many affinities with both Racine and Corneille, critics have long believed in the influence of the contemporary classical theatre upon Mme de Lafayette. Her novel enjoys, for its date (1678), unusual structural simplicity. Not only does the dénouement determine the action, but the number of digressive episodes, vestiges of a leisurely tradition, fond of collateral stories wound around the plot, never diminishes the reader's sense of an onward rush toward climax.
Tom Jones, the Gypsies, and the Masquerade
Authors: Folkenflik Robert
Published: March 2013

The encounter of Tom Jones and the Gypsies in Book XII, chapter 12, is usually treated merely as a digression in the picaresque mode, as though Fielding, in his role as innkeeper, were only serving up one more for the road. Sheldon Sacks finds that it is not related by possibility, probability, or necessity to the episodes which precede and follow it, and decides that 'despite its intrinsic interest ... the “gypsy episode” ... decreases the power of Tom Jones.' This judgment is very close to George Sherburn's earlier claim that 'the neatly devised gypsy episode would be admirable in a periodical essay, but it adds nothing essential to the tale of Tom Jones. Another tack has been taken by Martin Battestin, whose recent analysis of the political allegory in this chapter posits connections with the rebellion of 1745 and therefore links it to an important subplot. His article, 'Tom Jones and “His Egyptian Majesty”: Fielding's Parable of Government,' is valuable, but by viewing the gypsy episode as a satirical forum for Fielding's beliefs, he removes it once again from the main concerns of the novel.
Reviews
Authors: Johnston Alexandra , Fairley Barker , Bentley Jr.
Published: March 2013

Alan H. Nelson, The Medieval English Stage: Corpus Christi Pageants and Plays, reviewed by Alexandra F. Johnson

C.P. Magill, German Literature, reviewed by Barker Fairley

Annotated by David V. Erdman, The Illuminated Blake, reviewed by G.E. Bentley, Jr

Clarence Tracy, The 'Rape' Observ'd, reviewed by Stanley E. Read

John Wain, Samuel Johnson, reviewed by Clarence Tracy

O.M. Brack Jr and Robert E. Kelley, ed., The Early Biographies of Samuel Johnson, reviewed by Clarence Tracy

Nikolaus Pevsner and J.M. Richards, ed., The Anti-Rationalists, reviewed by Marcia Allentuck
Fiction
Authors: Rudzik
Published: March 2013

Reviews of fiction published in Canada in 1974.
Romans, Recits, Nouvelles, Contes
Authors: Poulin Gabrielle , Dionne Rene
Published: March 2013

Reviews of French-Canadian fiction published in Canada in 1974.
Literary Studies
Authors: Brearley Denis , Berry  , Johnston George
Published: March 2013

Reviews of literary studies published in Canada in 1971.
Theatre
Authors: Mailhot Laurent
Published: March 2013

Reviews of French-Canadian books on theatre published in 1974.
Light Prose
Authors: Robson John
Published: March 2013

Reviews of light prose published in Canada in 1974.
'The Comic Spirit' and The Waste Land
Authors: Gallivan Patricia
Published: March 2013

What we learned from the published Waste Land drafts was very often what we knew, or at least what we suspected: that Eliot worked like a magpie, saving the bright bits for future use; that the material he sent to Pound was of shockingly erratic quality; that Pound gave the poem its unity by separating what Hugh Kenner (before the publication of the drafts) speculated would be the looser work from that of first intensity. We can find confirmation in the drafts for the view that Pound discerned what Eliot did not – the proper matter and manner for the work – that Pound, as A.D. Moody wrote, found 'the poem in the drafts.'
The Orchestration of 'Burnt Norton, II'
Authors: Salamon Linda
Published: March 2013

The new reader of Four Quartets has no sooner found his way into the mysterious rose garden of 'our first world' than he is confronted with the first of the poems' compact, allusive lyrics – and with one of 'Burnt Norton''s scholarly cruces, 'Garlic and sapphires in the mud.' Critics as varied as Helen Gardner and Hugh Kenner have emphasized that the lyric is not susceptible to too close analysis and should not occasion puzzlement, for the poet's obvious general intention is to juxtapose the heroic and the sordid, the mundane and the celestial in a statement of cosmic unity. Eliot's wish to be evocative is fulfilled, however, in the many attempts to fix his exact references, especially in the first two fugitive lines. The consensus is that, for his alteration of Mallarme's phrase, Eliot drew upon his verbal memory of Chapman's Bussy d'Ambois and perhaps upon I Henry IV. These conjectures have the merit of pointing the reader toward Elizabethan cosmology, but they over-emphasize the 'magpie' quality of Eliot's imagination, for their suggested sources have little relation to the remainder of the lyric. Moreover, although students of the Quartets' structure agree that the 'prose' portion of each second movement should explain what the lyric exemplifies, Chapman and Shakespeare offer no clues to that relationship in 'Burnt Norton.'
Are the Cantos a Fugue?
Authors: Adams Stephen
Published: March 2013

One of the ways in which music can have a bearing on poetry is as an analogy for poetic structure. Pound compared the structure of the Cantos to fugue, and a number of critics have alluded to this supposed resemblance in defence of the poem's supposed incoherence; but no one, I think, has ever examined the analogy closely. I do not intend here an analysis of the Cantos using the vocabulary of 'subject,' 'response,' 'countersubject,' that Pound proposes. I do intend to examine the limits of the fugal analogy, in order to discover what was in Pound's head when he suggested it, how it may be applied justly, and perhaps more important, how it may not. For musical structure in poetry is a subject much bandied but rarely, it seems to me, rewarding. Critics who suggest musical analogies too often have a naïve textbook understanding of musical form as a donnée with no flexibility, no inner necessity of its own. Analogies are suggested casually, with no explanation of what verbal phenomena the analogy is supposed to single out. The various manipulations of harmony, tonality, melody, rhythm, that govern most musical structures simply correspond to nothing in a verbal text. When a text is said to have a musical structure, the question must be asked whether the structure is moulded to a textbook paradigm (as in a jeu d'esprit like Wallace Stevens's 'Peter Quince at the Clavier'), or if the structure is verbal, with perhaps certain necessarily vague resemblances to some musical procedure.
Review
Authors: McConica James
Published: March 2013

J.A.W. Bennett, Chaucer at Oxford and at Cambridge, reviewed by James K. McConica
Wolfit's Fox: An Interpretation of Volpone
Authors: Parker
Published: March 2013

When Sir Donald Wolfit was knighted in 1957 he obtained a coat of arms with the motto Lupus pilium mutat, 'the wolf changes its coat.' Unspoken was perhaps the corollary, 'but still remains himself.' The family name was actually spelled Woolfitt, but after he had simplified it for the stage, Wolfit liked to play on its animal connotations; and this identification of himself with untamed wiliness, with acting as a form of self-enhancement, went much deeper than mere heraldry. Behind the choice of motto lay some irony at official recognition of his unfashionable barnstorming after years of hostility and neglect, but also a humorous insistence on the same traits of character that he had exploited twenty years earlier in interpreting Volpone, the unregenerate fox of 'wooluish nature' (V.ii.115) who revels in impersonation.
Morose and His Tormentors
Authors: Leggatt Alexander
Published: March 2013

In theoretical discussions of comedy, one of the situations most frequently noted is the casting out of a 'humour' figure who is crabbed and anti-social. In Shakespeare, figures as diverse as Shylock, Don John, Jaques, and Malvolio have been seen in this way. Though their fates are as diverse as their characters (and one may remark that Jaques and Malvolio deliberately exile themselves from a society that wishes to include them) they are all in some way out of tune with the figures who have joined hands in the traditional, festive comic ending – a celebration of marriage. Most comedies strive towards a cementing of social bonds, and in the process they mock those whose eccentricity or egotism makes them incapable of social intercourse. All this is familiar enough, and at first glance its application to Jonson's Epicoene may seem obvious: Morose is the 'humour' figure, the crabbed egotist who must be punished for his egotism, and then flung aside. In fact Jonson, with his more overt interest in the theoretical side of art, has made this aspect of Morose more explicit than it is in Shakespeare's corresponding figures. At his first appearance, Morose announces, 'all discourses, but mine owne, afflict mee, they seeme harsh, impertinent, and irksome' (II.i.4–5). His dislike of noise is infact a rejection of social life, a refusal to let other people have anything to do with him. When he attempts marriage – that basic image ofthe pleasures and pains of the social bond – he does so only on terms assuring his complete mastery, and the lady's submission. He does not mind the sound of Epicoene' s voice when she is expressing obedience to him: 'How lady? pray you, rise a note' (II. v .83).
'Strange Cunning' in Thomas Middleton's A Game at Chess
Authors: Davies Richard , Young Alan
Published: March 2013

Early criticism of Middleton's A Game at Chess (1624) has been largely concerned with elucidation of the topical satire, and, although the literary aspects of the play have received more attention of late, the full implications of the work's irony have still to be worked out. Before attempting to analyze Middleton's complex use of irony in A Game at Chess, it is first necessary to discuss the nature of his central metaphor.
Poetry
Authors: Hornyasky Michael
Published: March 2013

Reviews of poetry published in Canada in 1975.
Poesie
Authors: Dionne Rene
Published: March 2013

Reviews of French-Canadian poetry published in Canada in 1975.
Theatre
Authors: Mailhot Laurent
Published: March 2013

Reviews of French-Canadian books on theatre published in 1975.
From 'Listen, Lordings' to 'Dear Reader'
Authors: Nelson William
Published: March 2013

The great stories of the Renaissance, Orlando Furioso, Gerusalemme Liberata, Gargantua, The Faerie Queene, Don Quixote, were composed, not orally as we suppose the Homeric poems were, but with pen and ink, no doubt in book-lined studies. In this respect, if in few others, their authors were like novelists of our time. The novelist, however, not only produces his work in his study but expects that it will normally be consumed in similar privacy, each melnber of his audience in single communion with the whole book before him. Was that the kind of reading envisaged by the storytellers of the Renaissance? Or did they suppose that their tales would be read aloud to audiences large or small, canto by canto, chapter by chapter, perhaps on Tuesdays or Thursdays after dinner?
Reviews
Authors: Maclean Hugh
Published: March 2013

Donald F. Bouchard, Milton: A Structural Reading, reviewed by Hugh Maclean

Patrick Cullen, Infernal Triad: The Flesh , the World, and the Devil in Spenser and Milton, reviewed by Hugh Maclean

A. Kent Hieatt, Chaucer, Spenser, Milton: Mythopoeic Continuities and Transformations, reviewed by Hugh Maclean

Richard C. Frushell and Bemard J. Vondersmith, ed., Contemporary Thought on Edmund Spenser, reviewed by Hugh Maclean

A. Bartlett Giamatti, Play of Double Senses: Spenser's 'Faerie Queene', reviewed by Hugh Maclean
Introduction
Authors: Leyerle John
Published: March 2013

This issue of the University of Toronto Quarterly presents five papers which form a coherentwhole on the theme ofthe language of love and the visual imagination in the late middle ages. This theme developed slowly as I sifted through much material in planning the issue; the subject grew out of the research and was not taken as a preliminary design. This introduction will, therefore, proceed with a brief review of the first four papers and conclude with a suggestion as to the significance of the papers as a collection. First, however, I wish to express my thanks to my colleagues, William Blissett, the former editor of the Quarterly, and William Keith, the present editor, for the honour and pleasure they have provided me in allowing this issue to be my editorial responsibility. Thanks are also due to Joan Bulger, the issue's Press editor, who tolerated my delays with unfailing good humour and edited the papers with grace and accuracy.
Personification Allegory and Visions of Light in Richard of St Victor's Teaching on Contemplation
Authors: Zinn Grover
Published: March 2013

The purpose of this paper is to discuss two major symbolic representations used by Richard of St Victor (d 1173) in two of his treatises on contemplation, Benjamin minor and Benjamin major. In Benjamin minor the bulk of the discussion is presented in the form of personification allegory, a method as surprising as it is memorable, an indication that Richard wrote with inventive and persuasive power. Analysis of this personification allegory, a form of tropology, forms the first part of this paper. Near the end of Benjamin minor, Richard introduces the disciples' experience of the Transfiguration of Jesus on Mount Tabor as a symbol which represents the fulfillment of asceticism in contemplation. Richard especially associates the light of Jesus' Transfiguration with interior, non-sensuous visionary experiences of light. In Benjamin minor visions of light are given a specific place in the experience of discipline and contemplation; in Benjamin major that place is explored in great detail, especially in relation to contemplation in its several varieties. Discussion of such visionary experiences forms the second part of this paper.
Spenser's Eighteenth-Century Readers and the Question of Unity in The Faerie Queene
Authors: Tucker Herbert
Published: March 2013

The editors of two recent anthologies of Spenser criticism throw out complementary challenges to modern readers of The Faerie Queene. 'What is now at issue,' writes R.M. Cummings, 'is the consistency of Spenser's poetry, the connexion between its meaning and its structure." If we take 'structure' as signifying, in its broadest sense, all of the formal resources which a poet of Spenser's gifts may exploit, we bring Cummings's assertion into harmony with that of Paul J. Alpers: for readers today 'the central problem' is: 'How does one read The Faerie Queene?, To what extent these questions reveal modern critical preoccupations — preoccupations with which this paper is in sympathy — becomes evident when we turn to Spenser's critics in the eighteenth century.
Reviews
Authors: Keith  , Eichner Hans , Teleky Richard , Maxwell
Published: March 2013

Terry Egleton, Myths of Power: A Marxist Study of the Brontes, reviewed by W.J. Keith

Martin Swales,The German Novelle, reviewed by Hans Eichner

Leo Bersani, A Future for Astyanax: Character and Desire in Literature, reviewed by Hans Eichner

Christine Fell, trans., Egil's Saga, reviewed by Richard Teleky

James W. Flannery, W.B. Yeats and the Idea of a Theatre, reviewed by D.E.S. Maxwell
The Lyrical Form of Wuthering Heights
Authors: Anderson Walter
Published: March 2013

In Wuthering Heights death — or rather, life in death — is the supreme value. By understanding this we can understand that Brontë 's central aim is to express the reality of Heathcliff's and Catherine's life and love continuing on the moors, as they attain immortal union with the living earth itself. Properly considered, this fact allows us to explain such unresolved critical questions about the book as the function of the second-generation characters and of Heathcliff's hatred of both them and life in this world. Brontë achieves in Wuthering Heights a singular power which most of her critics have felt. The crucial issue remains one of integrating all the novel's parts and meanings by a hypothesis adequate to its form and effect as a whole. The fundamental paradox of death against life cannot be resolved by synthetizing such concepts as storm and calm, or the house of the valley and the house of the moors, or the civilized family and the wild family inhabiting them. Nor finally are we to suppose, I shall argue, that the tempest of passion emerging in the course of the story is quelled or the issues resolved by the Hareton-Cathy relationship in a harmonious combination of Earnshaw energy and Linton calm. Brontë works within the conventional constraints of ordinary themes and a quasi-realistic plot structure, but her accomplishment lies in transcending them. She creates .a radically new form, through which she endues Catherine's and Heathcliff's existences after death with living force. She shifts the planes of reality to such a degree that ordinary life gradually comes to seem less vital than death. The book induces in us not simply a belief, but the vivid sense that Catherine and Heathcliff's union is fulfilled after death upon the literally living earth. Heathcliff's conviction, when he reopens Catherine's grave, that she is not there, 'not under me, but on the earth ,' parallels the reader's final impression that these lovers do not rest quietly in the grave but walk together as spirits on the Heights.
Review Article
Authors: Cardy Michael
Published: March 2013

Jean-François Marmontel, Mémoires, reviewed by Michael Cardy

James Maurice Kaplan, La Neuvaine de Cythère: une démarmontélisation de Marmontel, Studies on Voltaire, reviewed by Michael Cardy

John Renwick, Marmontel, Voltaire and the Bélisaire Affair, Studies on Voltaire, reviewed by Michael Cardy

Jacques Wagner, Marmontel journaliste et Ie Mercure de France, reviewed by Michael Cardy

Jean-François Marmontel, Correspondance, reviewed by Michael Cardy
Keats's Cold Pastoral
Authors: Biswas Pratap Biswas
Published: March 2013

During the last fifty years so much has been written about Keats's 'Ode on a Grecian Urn' that it sounds now like an old gramophone record. The hisses and scratches left by the styluses of innumerable critics have almost stifled the original voice of Keats. Some of these studies have undoubtedly been of considerable help in explaining some isolated passages in the poem, but few of us can avoid an uneasy feeling that, however interesting the discussions may otherwise be, they get us no nearer the meaning of the poem as a whole. And what is more disturbing is that the cheap soft-cover critical anthologies have made some of these commentaries so widely popular that it is now extremely difficult for young readers to respond to the poem without being constantly monitored and frequently misdirected by these influential critical opinions. This is perhaps to some extent unavoidable in a world where appreciation of literature is fast becoming an exclusively pedagogical concern. But the way we have persisted for about a century in refusing to listen to what Keats says in the poem, and tried at the same time to squeeze our favourite interpretations into it, constitutes one of the most disquieting episodes in the history of Anglo-American literary criticism.
A Novelist's Personal Notes on Frederick Philip Grove
Authors: Wiebe Rudy
Published: March 2013

Hereafter I have been content that, whatever literary theory I may have, it be deduced if possible from whatever I write. I wish to express no theoretical remarks about the novels of Frederick Philip Grove, but I want to sketch a personal memory of what reading him the first time did to me, and a reaction on reading him again. As such these remarks may have no general applicability. They describe how Grove's fiction has spoken to me, a person attempting to write fiction myself.
The Worldly Muse of A.J.M. Smith
Authors: Edel Leon
Published: March 2013

I am a biographer and it is therefore impossible for me to read poetry without reading the poet. The voice I hear within the beat of the line is never a disembodied voice, even when I may not know the countenance. It can be highly suggestive when it speaks with wit and intelligence; it is certainly civilized when it is controlled and disciplined; it is complex, inflected, nuanced, and produces delight when it talks of things human and humane with a kind of sovereign calm; it impels me to listen and to discriminate and be analytical. A poet's landscapes are himself; the private myth is made decently public. As Thoreau reminded us, the secrets of a poet's life are in his poems. In this sense all poetry is confessional. Not a poet exists who does not write the book of himself. He is never more personal than when he thinks himself impersonal. My problem in dealing with A.J.M. Smith after fifty years of friendship is to distance myself from him intellectually and not go aground on the reef of reminiscence. I have done this by rereading him with eyes fifty years older than when I met him. The experience has been salutary, at once a renewal of an old intimacy and at the same time the intervention of a long-trained critical intelligence I could not then possess. To be sure, things are a bit mixed: criticism and sentiment are there, but the challenge is also there to discover the poet in poems I have for too long taken for granted. Once I have brought this into awareness, I am able to see, and to have a renewal of feeling. Where does Arthur Smith, who can now be called the doyen of Canadian poetry, belong in our twentieth century of verse? What is his achievement? What are his shortcomings — his limitations?
The Description of Feeling
Authors: Cameron
Published: March 2013

That we feel as well as reason, have qualms and inner delights as well as calculate, seems to be as well established as anything can be. Much of the conduct we praise and censure would be impossible if we didn't feel; it is possible to construct amusing stories about relations between computers because in them we find the analogue of reasoning; but the analogue of feeling is in them hard to discover and it is therefore hard to give such stories moral weight. The definition of the gentleman includes unwillingness to hurt the feelings of others; people often say today, in discussing some particular action or practice: 'It's all right so long as he/she/they isn't/aren't hurt'; and this doesn't usually mean hurt in the physical or sensational sense, and even if it does the physical hurt is resented on account of its bringing about or representing some psychic hurt. The headmaster's famous 'This hurts me more than it hurts you' may be humbug but it makes perfect sense. That in the world we feel jealous or angry or resentful or happy, or that we have feelings, strange, lamiliar, curious, hateful, desirable, seems beyond question, and of course it is. If claims and statements about feelings are not clear, nothing in our language is clear.