bluuebunny/crossref_metadata_2025 huggingface dataset:
Milton, Puritanism, and Liberty
Authors: Woodhouse
Published: March 2013

In "Puritanism and Liberty," a brief review-article, printed in the QUARTERLY (IV, pp. 395-404), I indicated some of the conditions under which the contribution of Puritanism to the theory of liberty and democracy was made. In the present article I propose to follow the matter out in the case of Milton, and, by a comparison with Roger Williams, to make clear the reason for Milton's position and for its limitations.
Is Unemployment Insurance Enough?
Authors: Grauer
Published: March 2013

The Canadian Unemployment and Social Insurance Act of 1935 has aroused a great deal of comment, mostly adverse. To a large extent this was a reaction from the rather exalted hopes fostered by the prime minister's speeches over the radio. The attitude reminds one somewhat of the early traveller, who, on first seeing the Pacific Ocean, was disappointed because it didn't look larger than any other ocean. To a still greater extent, it was due to widespread misconceptions about the nature of the measure proposed. Unemployment insurance is not, as is popularly supposed, a remedy for unemployment. The economic causes of unemployment lie deep in our industrial system-in the credit mechanism, the system of distribution, the speed of technological improvment, and so forth. Unemployment insurance gets at none of these things. Its only remedial influence is in the building up of reserve funds that carry over some purchasing power from prosperous times to a depression. But, in the main, the causes of unemployment operate whether a system of unemployment insurance exists or not.
Democracy and Political Leadership in Canada
Authors: Reid Escott
Published: March 2013

Of late, Capitalists and Socialists in Canada have agreed in a fear of the menace of anti-democratic forces, the Capitalists seeing Communism in every Liberal utterance and the Socialists detecting Fascism in every reactionary remark. What is no doubt much more significant, the veteran of Canadian politics, Henri Bourassa, has from his seat in the House of Commons prophesied that, unless the two old parties mend their ways, disillusionment with parliamentary democracy will grow to such proportions that it will cause a violent overthrow of our traditional system of government.
The Deformation of Narrative Time in the Faerie Queene
Authors: Wilson Robert
Published: March 2013

In at least one important respect, Spenser's critics have not been kind to him. Although they have extolled his pictorial imagination, explored energetically the allegorical dimension of his work, agreed (usually) that there was some kind of story that might be interesting, and most recently placed a major emphasis upon the imagistic texture of the poetry, critics have never taken seriously Spenser's use of narrative time in The Faerie Queene. Unlike the problem of time sequence in the plays of Shakespeare, where complex disparities have generated a long, and still continuing, critical debate, Spenser's peculiar narrative-time schemes have either caused no concern among his critics or have elicited a rather cursory dismissal as essentially 'vague' or somehow the kind of thing one would expect in reading a 'romance' such as The Faerie Queene. No critic has attempted to deal adequately with the problem – or even, for that matter, seen clearly its nature and scope. A typical critical response to the problem of narrative time in The Faerie Queene is that of C.S. Lewis, who observes that there 'is no situation in The Faerie Queene, no when or where. Similar remarks can be found in other critics. Northrop Frye, for example, concludes that the time-scheme of The Faerie Queene is 'curiously foreshortened' suggesting, therefore, a 'world of dream and wishfullment, like the fairy lands of Shakespeare's comedies.' W.B.C. Watkins' and Graham Hough' have made similar points. A striking instance of critical neglect occurs in Arnold Williams' study of the sixth book of The Faerie Queene. Nowhere in his study does Williams deal with the radically disparate time-schemes of the sixth book although these are among the most puzzling in the entire work. Only Hough has made an effort to think through the implications of equating the 'vague' time-schemes of The Faerie Queene to those of dreams, and his analysis, as I shall try to indicate, is far from satisfactory.
Reviews
Authors: Lynen John , Ross Malcolm , Bennett  , Forster  , Thomas Alan
Published: March 2013

Hugo Mcpherson, Hawthorne as a Myth-Maker: A Study in Imagination, reviewed by John F. Lynen

Northrop Frye, The Stubborn Structure: Essays on Criticism and Society, reviewed by Malcolm Ross

Chauncey Wood, Chaucer and the Country of the Stars: Poetic Use of Astrological Imagery, reviewed by J.A.W. Bennett

Barker Fairley, Goethe's Faust, reviewed by L.W. Forster

E.P. Thompson and Eileen Yeo, The Unknown Mayew: Selections from the Morning Chronice 1849–50,reviewed by Alan Thomas
Letters From Emily Carr
Authors: Blissett
Published: March 2013

Emily Carr, who died in 1945, was born just a century ago, On 12 December, 1871. She must stand high among the Canadian worthies not only for her primary achievement as a painter but for her second career as a writer, begun and advanced as ill health overtook her and she was no longer able to go deep into the forest or to travel with her van or to sketch at summer cottages or even at the end to stay more than an hour or two in her studio. Her books of stories and reminiscences draw on her early life in Victorian Victoria, her time of study in London, her lifelong knowledge of and feeling for west coast Indian life and art, and her later years surrounded by her menagerie of beasts and boarders. The books are Klee Wyck (1941), The Book of Small (1942), The House of All Sorts (1944), and the posthumously published Growing Pains (1946), The Heart of a Peacock (1953), Pause-a Sketch Book (1953), and Hundreds and Thousands (1966). The last two of these titles were published by Clarke, Irwin in Toronto, the others by Oxford University Press, Toronto.
Art
Authors: Emery Tony
Published: March 2013

Reviews of art books published in Canada in 1971
Religion
Authors: Wade Donald
Published: March 2013

Reviews of books on religion published in Canada in 1971.
Linguistics, Criticism, and Smollett's Roderick Random
Authors: Pratt
Published: March 2013

Let it be declared at once that this article is intended for those who are skeptical about the usefulness of modern linguistics in literary criticism. That such skepticism exists is sometimes hard for the linguist, caught up in what seems an exciting cross-fertilization, to realize, but departments of English know it too well. That such skepticism has foundation, but no future, is the thesis of what follows.
Reviews
Authors: Greene Donald , Brückmann Patricia
Published: March 2013

Samuel Johnson, ed. by Clarence Tracy The Life of Savage, reviewed by Donald Greene

Maynard Mack, The Garden and the City: Retirement and Politics in the Later Poetry of Pope, 1731-1743, reviewed by Patricia Brückmann
George Crabbe and William Wordsworth
Authors: Brewster Elizabeth
Published: March 2013

It is perhaps a pity that, if George Crabbe and William Wordsworth have their names associated together, it is usually in rivalry, and largely through the reviews of their works by Francis Jeffrey. The two poets had more in common than Jeffrey would have admitted, and might have had more sympathy with each other's work than they had if they had not been so frequently placed in opposition by their most influential reviewer.
Bertrand Russell: The Logic of a Literary Symbol
Authors: Rosenbaum
Published: March 2013

Once when he was still a philosopher, T.S. Eliot took his friend Ezra Pound to a meeting of the Aristotelian Society. Pound absorbed as much of the discussion as he could take and then retired outside with Eliot where they encountered G.R.S. Mead. Mead expressed surprise at finding Pound there, and many years later Pound recalled how Eliot had replied 'with perfect decorum and suavity ... “Oh, he's not here as a phil-os-opher;/He's here as an an-thro-pologist.”'
Charlotte Brontë: The Two Countries
Authors: Auerbach Nina
Published: March 2013

Charlotte Brontë is out of critical fashion at the moment. Despite the recent appearance of two careful studies of her artistic technique, her novels are still often considered extravagant and inchoate, lacking the ironic distance and formal control of her sister Emily's Wuthering Heights.
Poésie
Authors: Blais Jacques
Published: March 2013

Reviews of French-Canadian poetry published in Canada in 1972.
Humanities
Authors: Roe Harry , Cain Thomas , Richter Bodo
Published: March 2013

Reviews of books on the humanities published in Canada in 1972.
Review Articles
Authors: Falle George , McPherson Hugo
Published: March 2013

Richmond P. Bond, ed., New Letters to the Tatler and Spectator, reviewed by George Falle

M.A. Goldberg, Smollett and the Scottish School: Studies in Eighteenth-Century Thought, reviewed by George Falle

Norman N. Holland, The First Modern Comedies: The Significance of Etherege, Wycherley, and Congreve, reviewed by George Falle

John Loftis, Comedy and Society from Congreve to Fielding, reviewed by George Falle

J.R. Moore, Daniel Defoe: Citizen of the Modern World, reviewed by George Falle

Whitman, Howells and the American Scholars, reviewed by Hugo McPherson
The French Author and Public Relations
Authors: Finch Robert
Published: March 2013

When we think of seventeenth-and eighteenth-century French literature, we think of authors. We forget that two literatures existed, one with authors, one without, the latter ranging from almanacs to arithmetics, from works on the care of the horse to penny dreadfuls. Printed on poor stock roughly stitched into blank blue folders, these were sold in immense numbers all over France. No privilege was required, the contents having been always in the public domain. The corporation of printers and publishers valued this authorless literature as chief source of revenue. It had guaranteed their survival through the wars of the sixteenth century; with the coming of peace, its profits restored the printing on good paper of wellbound books, whose covers showed title and author. Damaged colleges and monasteries called for editions of the Church Fathers, erudite commentaries, reprints of the classics. A few of these were in Greek, the rest in Latin which, incidentally, in France was the language of science until 1665 and of diplomacy until 1714. Private homes called for books in French. Of these, the first half of the seventeenth century saw an increasing flow, until, by 1675, Paris, with a population of 300,000, had ninety-two private libraries of more than 4,000 volumes each, a number of which were by living French writers.
The Book of Job and Stuart Politics
Authors: Teunissen John
Published: March 2013

In 1649 Charles Stuart and John Milton confronted each other across the chasm of eternity, the late king projecting his own image (Eikon Basilike) for the edification of his followers and the confusion of his enemies, the poet doing his rhetorical best to destroy that image (Eikonoklastes). Only one small scene in that confrontation concerns me here, the part played in it by the Book of Job, but I hope to demonstrate – using 1649 as the crucial year – the historical logic, the inevitability, and the significance of Job's appearance in that highly charged drama.
Time and Temptation in Paradise Regained
Authors: Grant Patrick
Published: March 2013

A main problem for criticism of Paradise Regained stems from the unpopularity of the poem's subject matter in Christian art and letters. Milton's success is, consequently, in large measure dependent on his ability to bring this subject matter into fruitful relation with literary and iconographical traditions already well established in the Renaissance. The assessment of Milton's achievement in such a task has produced many theories about the number and kinds of temptations in Paradise Regained, the main interpretations being those of Elizabeth Pope and Barbara Lewalski.
Order and Judgement in Bartholomew Fair
Authors: Hamel Guy
Published: March 2013

Jonson's Bartholomew Fair is remarkable for its sheer busy-ness. There are thirty-three speaking parts – with very limited possibilities of doubling – and an unspecified number of mutes for the 'passengers' and for the Boys of the Fair who follow Cokes. There are, as well, the six puppets who have lines. Among Jonson's comedies only The Staple of News approaches the total of Bartholomew Fair; the other major comedies have on average half as many speaking characters. The impression of hurly-burly activity is conveyed by plotting as well as by casting. Continuity depends to an unusual degree upon chance. The plots do not thicken; they seem rather to proliferate at the command of an exuberant invention. Jonson eschews the principal means by which he provides a rationale for his other major comedies: the control of dominant intriguers and the apparatus criticus of a Chorus.
Reviews
Authors: MacLure Millar , Blissett William , Teleky Richard
Published: March 2013

A.S.P. Woodhouse, The Heavenly Muse: A Preface to Milton, reviewed by Millar MacLure

A.S.P. Woodhouse and Douglas Bush, ed., A Variorum Commentary on The Poems of John Milton, Part I, Volume Two: The Minor English Poems, reviewed by William Blissett.

John Vickey, The Literary Impact of the Golden Bough, reviewed by Richard Teleky
Death and Champagnole: A Contribution to the Reading of The Seven Lamps of Architecture
Authors: Fontaney Pierre
Published: March 2013

The passage, it will be remembered, falls into two parts: first, the evocation of the actual landscape, endowed with 'all the solemnity' although with 'none of the savageness' of the Alps further away, itself fair and tender with flowers and birds; then, as an anticlimax, Ruskin briefly imagines the same scene translated to North America, where there is no sense of the presence and of the history of man, and at once his joy turns into gloom:
>Travellers' Venice: Some Images for Byron and Shelley
Authors: Wilson Milton
Published: March 2013

'Venice is ... a mirror held up to its own shimmering image – the central conceit on which it has evolved.' So writes Mary McCarthy of the city of canals and glassworks. She adds, moving from one companion of Narcissus to another, 'and no word can be spoken in this city that is not an echo of something said before.' My essay takes this last dictum for granted, not merely as an excuse for plagiarism, but as an historical principle too. Venetian images do not begin, they just persist. Even when a discoverable beginning really exists, it is hard to believe that you have really located it.
Some Dramatic Uses of the Chorus in Greek Tragedy
Authors: Conacher
Published: March 2013

Two distinct uses of the Chorus in Greek tragedy can both be illustrated from Aeschylus' trilogy, the Oresteia. One is concerned with theme, with intimations of the meaning, the tragic significance of the action which is taking place or is about to take place before our eyes. The other is concerned with the actual furthering of the dramatic action itself.
L'Orient désert: Bérénice and Antony and Cleopatra
Authors: Whatley Janet
Published: March 2013

In the conventionalized Mediterranean world in which Racine sets Bérénice, Rome is the very embodiment of order, energy, and virtue, while the Orient stands for formlessness, passivity, and emptiness. The Orient, like Africa or the newly-discovered Americas, is merely a particular case of what we call the 'exotic,' or that which is not us. The structures of the exotic world being incomprehensible to us, it is for our purposes structureless. The absence of apparent form can be exhilarating or terrifying; it is sometimes our daydreams and sometimes our anxieties that we project onto the exotic, for our own relief or illumination. For the exotic is a sort of blank cheque, to be filled out as the vision and temperament of the individual dictate.
The Hypocrisy of Jonathan Swift: Swift's Project Reconsidered
Authors: Kay John
Published: March 2013

Swift's Project for the Advancement of Religion has been the subject of much critical discussion in recent years, more indeed than its intrinsic literary value would seem to merit. Undoubtedly the main interest of critics has been less in the work itself than in what it might reveal of Swift, the man, for, at its face value, the Project offers the modern reader a grim and humourless moralist in place of the dazzling ironist he had come to admire. Not surprisingly, Swift's champions have set out to convert this ugly duckling into an acceptably satirical swan. The work does indeed contain enough tantalizing hints of irony to encourage one in this direction, and the ascription of the authorship to a 'Person of Quality' might well lead one to believe that Swift is engaged in creating a persona. Unfortunately, no satirical reading of the work has been convincing. The most elaborate attempt to discover a persona in the Project, that of Leland D. Peterson, has been justly criticized as making impossible demands on the work's rhetorical structure.
Poetry
Authors: Hornyasky Michael
Published: March 2013

Reviews of poetry published in Canada in 1974.
Humanities
Authors: Thompson Sister Geraldine , McConica James , Richter Bodo
Published: March 2013

Reviews of books on the humanities published in Canada in 1974.
Nature
Authors: Saunders Richard
Published: March 2013

Reviews of books on nature published in Canada in 1974.
Publications in Other Languages
Authors: Andrusyshen
Published: March 2013

Reviews of publications in other languages published in Canada in 1974.
Literary Americanism and the Recent Poetry of Nicolás Guillén
Authors: Ellis Keith
Published: March 2013

One of the distinguishing characteristics of Spanish American literature is its high degree of commitment to socio-political questions. I will attempt in this study to establish the origins of this feature, to show its ramifications in the evolving literary theories in Spanish America, and to examine the recent work of Nicolás Guillén in the light of these theories.
The Edwardian Critical Opposition
Authors: Kirkham Michael
Published: March 2013

'The situation of poetry in 1909 or 1910 was stagnant to a degree difficult for any young poet today to imagine.' So wrote T.S. Eliot in 1954. His opinion is quoted and supported with documentation by C.K. Stead in The New Poetic. As Victorian confidence weakened during the 1880s and 1890s, according to his account, a desperate conservatism took hold. The resistance that flared up in literary circles during the nineties quickly died down; the trial of Oscar Wilde combined with social and political anxiety to kill the aesthetic movement, leaving in the next decade Kipling, Henley, William Watson, Alfred Austin, Newbolt, and Noyes virtually unopposed. Although the Conservatives lost the general election in 1906, in literature – 'essentially a concern of the middle class' – conservatism continued to dominate. 'The poetry we find established in 1909 is a poetry of political retrenchment, committed to conserve political and social ideas and institutions doomed to collapse.' The establishment poets exactly reflected the attitudes of their middle-class readers – and, it seems, by design. Newbolt, spokesman for the status quo, was contentedly reporting in 1912 that the artist was required by them to 'express feelings such as they can understand and value. They demand that he shall chant to them, for example, their own morality, their own religion, their own patriotism.' This gives an only too clear picture of what kind of poetry they expected and received. It propounded 'firm philosophical ideals'; it was, in the critical language of the time, a poetry of 'message' rather than 'song.' Some remarks of a writer in the Quarterly Review are representative: for the great poet 'the ultimate standard by which his rank and his significance are to be measured is what he means as a thinker, as an observer, as an impassioned critic of life, not the manner in which he produces his notes as a singer.' But, as Mr Stead comments, only poetry whose 'message' was in accordance with popular opinion would be regarded as philosophically sound.
A Checklist ofthe Publications of Clifford Leech
Authors: Saddlemeyer Ann
Published: March 2013

Ten years ago, as Acting Director of the newly-established Graduate Centre for Study of Drama, Clifford Leech concluded his report to the President with the following comment: 'But the Centre is engaged with drama, and that means that its graduates must acquire an acquaintance with the way the theatre works.' No more appropriate scholar could have been found to guide the Centre towards a balanced study of both theatrical practice and textual scholarship. He himself taught courses ranging from the study of Shakespeare and Marlowe to contemporary British and American drama; for the Centre, he contributed lectures on the history of the theatre and offered the first graduate course on the History and Theory of Film. When Professor R.B. Parker succeeded him as Director, he continued to provide encouragement and counsel; he remains today a strong friend to students and staff alike.
Reviews
Authors: Reibetanz John , Nicoll Allardyce , Blissett William , Lancashire Anne
Published: March 2013

Stephen Spender, Love-Hate Relations, reviewed by John Reibetanz

Lise-Lone Marker, Belasco: Naturalism in the American Theatre, reviewed by Allardyce Nicoll

Paul Fussell, The Great War and Modern Memory, reviewed by William Blissett

G.R. Hibbard, ed., The Elizabethan Theatre V., reviewed by Anne Lancashire
Fiction
Authors: Rudzik
Published: March 2013

Reviews of fiction published in Canada in 1975.
Romans, Recits, Nouvelles, Contes
Authors: Poulin Gabrielle
Published: March 2013

Reviews of French-Canadian fiction published in Canada in 1975.
Why Read Kafka?
Authors: Swales Martin
Published: March 2013

At one point in The Fantastic: A Structural Approach to a Literary Genre, TzvetanTodorov distinguishes between the fully resonantliterary exploration of the fantastic and the compulsive outpourings of the schizophrenic. The crucial difference, he insists, is to be found in the fact that the schizophrenic 'in the place of a common language ... establishes a "private language"(which of course is a contradiction in terms, and hence an anti-language).' From comments Todorov makes in this study it is clear that he regards Kafka as a major writer, as the user of 'public' language, and not as a charismatically pathological figure whose work consists of jottings in an intractably private code. From the sheervolume of secondary literature on Kafka one would assume that Todorov is not alone in this view. Yet it is remarkable how often Kafka criticism pursues in one form or another a heavily biographical approach. I have no wish to deny that we owe certain insights to this kind of inquiry: my objection is, however, that such analyses implicitly suggest that the 'private' Kafka must be invoked in order to account for (and redeem) the 'public' inscrutability of the works he produced. I would suggest that in literary criticism — as in any form of linguistic communication — an unremitting interest in the personality behind the utterance suggests that that utterance has in someway broken down: that when a listener (or reader) elects not to explicate an utterance but to account for it, he is demonstrating the failure of that utterance to work as public communication.
'In the Person of Prince Arthur': Spenserian Magnificence and the Ciceronian Tradition
Authors: Maclachlan Hugh
Published: March 2013

In the Letter to Ralegh Spenser announces that 'in the person of Prince Arthur I sette forth magnificence in particular, which vertue ... (according to Aristotle and the rest) ... is the perfection of all the rest, and conteineth in it them all:' Few critics, however, have accepted the poet's statement that magnificence is the virtue which perfects all the other virtues without some form of emendation or qualification. It has been suggested that John Dryden began this tradition by observing in his 'Essay on Satire' that it is 'magnanimity, which is the character of Prince Arthur.' His statement, however, was probably not intended as a correction of Spenser, for in his Dedication to the Translation of Juvenal he remarks that 'magnanimity (magnificence) ... is the true character of Prince Arthur,' casually equating the two moral virtues. For Dryden, apparently, these virtues are synonyms or, if this perhaps overstates the case, at least so closely connected that they are to a great extent interchangeable.
Art and Structure in Walton's Life of Mr. George Herbert
Authors: Lein Clayton
Published: March 2013

When Izaak Walton presented his Life of Mr. George Herbert as a 'Freewill- offering: he provided a clue to its character. The other biographies, he would have us believe, he had been compelled to write, some to honour the obligations of friendship, others to comply with the entreaties of men he respected and revered. All the early biographies were thus biographies of duty. But here was one of inner compulsion, a 'free-will offering' in the full sense of the term — an unsolicited giving to the church. And for this offering Walton mustered all his art, as if to demonstrate what biography in his hands could now achieve. He still worried about truth and fidelity to fact; but no longer did he worry about his 'artless pen.' When he wrote the Life of Herbert he knew he was a craftsman. As a result, the final version of this Life, so natural in presentation, has a subtlety of artistic manipulation far exceeding any of his earlier efforts. To appreciate its perfection, however, we need to unravel its strands, for the special quality of the biography springs from the deft interweaving of the life pattern of George Herbert with the personal vision of Izaak Walton on the nature of holy living.'
Pater's Modernism: The Leonardo Essay
Authors: Dellamora Richard
Published: March 2013

In 1869 Walter Pater was establishing a reputation in Oxford and London as 'a daringly original thinker and critic.’ This effort is apparently at odds with his choice of Leonardo as the subject of his third published essay. Leonardo then as now was a monumental figure of culture; he had also become a rather dull one. Especially in the nineteenth-century English accounts, he was a focus of moral, 'Christian,’ and positivist readings of classic art and artists. Such accounts reduce the vitality of Leonardo's ambivalences; they also make him at first sight a less than promising topic for the young critic. Nevertheless, Pater's essay made a sustained, energetic impact on the founders of literary modernism. Arthur Symons suggests why in his praise of the Mona Lisa passage, in which, he says, 'the essential principles of the art of painting are divined and interpreted with extraordinary subtlety.’ Pater in his study of Leonardo investigates the nature of the creative process itself. This enquiry in turn implies norms for the modern artist — for writers like Symons, Wilde, and Yeats. In an early version of his essay on Pater (1896), Arthur Symons argues that The Renaissance 'had many affinities with the poetic and pictorial art of Rossetti, Swinburne, and BurneJones, and seems, on its appearance in 1873, to have been taken as the manifesto of the so-called "aesthetic" school.’
F.R. Leavis's Revaluation of T.S. Eliot
Authors: Bilan
Published: March 2013

The extensive critique of the Four Quartets which F.R. Leavis presents in The Living Principle (1975) perhaps brings to an end the lengthy history of his increasingly ambivalent response to T.S. Eliot. Beginning, in effect, as a disciple of Eliot's criticism and as the main advocate of his early poetry, Leavis has been led, with an almost inevitable logic, to a major confrontation with his one-time mentor. This revaluation of Four Quartets is particularly revealing of Leavis's basic assumptions, for in opposing Eliot's sense of reality he is forced to bring his own view of life to a new point of explicitness. In order to clarify the significance of Leavis's revaluation, however, it is necessary first to sketch briefly the history of his changing attitude towards Eliot's work.
Reviews
Authors: Gossman Lionel , John Brian , Kirkham Michael
Published: March 2013

Harold C. Knutson, Molière: An Archetypal Approach, reviewed by Lionel Gossman

John Clubb., ed., Carlyle and His Contemporaries: Essays in Honour of Charles Richard Sanders, reviewed by Brian John

D. W. Harding, Words into Rhythm: English Speech Rhythm in Verse and Prose, reviewed by Michael Kirkham
Fiction
Authors: Solecki Sam
Published: March 2013

Reviews of fiction published in Canada in 1977.
Romans et récits
Authors: Gauvin Lise
Published: March 2013

Reviews of French-Canadian fiction published in Canada in year 1977.
Poetry
Authors: Hornyansky Michael
Published: March 2013

Reviews of poetry published in Canada in 1977.
ThéÂ
Authors: Mailhot Laurent
Published: March 2013

Reviews of French-Canadian books on theatre published in 1977.
Review Articles
Authors: Corman Brian , Rosenberg Aubrey , Blissett William , Astington John , Meredith Wyman , Kramer Dale
Published: March 2013

Robert D. Hume, The Development of the English Drama in the Late Seventeenth Century, reviewed by Brian Corman

Madeleine B. Ellis, Rousseau's Socratic Aemilian Myths: A Literary Collation of 'Emile' and the 'Social Contract', reviewed by Aubrey Rosenberg

James Nohrnberg, The Analogy of 'The Faerie Queene', reviewed by William Blissett

J.L. Styan, The Shakespeare Revolution: Criticism and Performance in the Twentieth Century, reviewed by John H. Astington

John Seelye, Prophetic Waters: The River in Early American Life and Literature, reviewed by Wyman H. Herendeen

Richard Little Purdy and Michael Millgate, eds., The Collected Letters of Thomas Hardy. Volume I: 1840–1892, reviewed by Dale Kramer
Browning's Palace of Art
Authors: Hair Donald
Published: March 2013

One of the more interesting intellectual endeavours of the nineteenth century – an endeavour which recurs frequently enough to make it a characteristic of nineteenth-century thought – is the attempt to contain within a single structure the whole of human knowledge and experience. Such a claim to totality within a single body of thought had traditionally been made by theology, and indeed Newman reasserted that traditional claim in the nineteenth century when he argued, in The Idea of a University, that 'Religious Truth is not only a portion, but a condition of general knowledge.' Newman's image for the various disciplines that make up the university is the circle of knowledge, and it suggests that the disciplines are to be seen, not as fragments of knowledge, separate and distinct, but as parts of a whole. In presenting this image and idea Newman, as Dwight Culler has pointed out, owes a great deal to Coleridge's concept of an encyclopedia, in which the various arts and sciences would 'lose their former insulated character, and organize themselves into one harmonious body of knowledge.' This synthetizing, this drive towards comprehensiveness, is a major characteristic of nineteenth-century thought: so much so that George Steiner has argued that Marxism and Freudian psychology, both products of the nineteenth century, and both claiming to give 'a complete picture of “man in the world”,' represent 'attempts ... to fill the central emptiness left by the erosion of theology.'
A Molehill for Parnassus: John Clare and Prospect Poetry
Authors: Brownlow Timothy
Published: March 2013

Topographical poetry in the wide sense is as old as poetry itself, for poets have always felt the need to celebrate their environment, thereby giving their emotions 'a local habitation and a name.' Drayton's Poly-Olbion and Jonson's To Penshurst are important poems in this tradition. But the publication in 1642 of Sir John Denham's Cooper's Hill inaugurated a special type of topographical poem, the hill- or prospect-poem, which had its full flowering in the eighteenth century and which was, in its decline, part of the Romantic poets' inheritance. In this tradition, analogous to the pictorial tradition of the bird's-eye view, the poet climbs a hill, sweeps his eye round the panorama, focuses his attention on the most interesting prospect, and paints a careful word-picture. It did not need much of an effort for eighteenth-century minds to associate the hill in question with Parnassus, but it was also Denham who had domesticated Pamassus for them, as he makes clear in the first eight lines of Cooper's Hill:
Fiction
Authors: Bilan  , Solecki Sam
Published: March 2013

Reviews of fiction published in Canada in 1978.
Poesie
Authors: Giguere Richard
Published: March 2013

Reviews of French-Canadian poetry published in Canada in 1978.
Drama
Authors: Huebert Ronald
Published: March 2013

Reviews of drama published in Canada in 1978.
Translations
Authors: O'Connor John
Published: March 2013

Reviews of literary translations published in Canada in
Publications in Other Languages
Authors: Aponiuk Natalia , Grabowski Yvonne
Published: March 2013

Reviews of publications in other languages published in Canada in 1978.
Les Etudes Sociales
Authors: Saint-Pierre Céline
Published: March 2013

Reviews of books on French-Canadian social studies published in Canada in 1978.
Religion
Authors: Steigman Emero
Published: March 2013

Reviews of books on religion published in Canada in 1978.
Gray's 'Ode on the Death of a Favourite Cat': A Rationalist's Aesthetic
Authors: Pattison Robert
Published: March 2013

Thomas Gray's friend, Horace Walpole, owned two cats, Zara and Selima, and it was Selima who, at Walpole's London home, probably early in 1747, met the fate that evoked the poet's celebrated 'Ode on the Death of a Favourite Cat, Drowned in a Tub of Gold Fishes.' It is a poem the continuing popularity of which as a mock elegy has perhaps obscured the classical and philosophical sources of its wit, for the ode is firmly rooted not only in Latin and Greek sources, but in the prevailing aesthetic of Gray's time, rationalism. The indebtedness is apparent in the history of the composition of the poem. With a zeal for historical accuracy typical in a man whose life's work was the preparation of a series of chronological tables collating all the known events of ancient history, Gray wrote to Walpole to be sure which of the two cats it was whom he should apostrophize: 'As one ought to be particularly careful to avoid blunders in a compliment of condolence, it would be a sensible satisfaction to me (before I testify my sorrow, and the sincere part I take in your misfortune) to know for certain, who it is I lament.' Here, the desire for accuracy is as real as the wit with which it is demanded, and the resulting ode, for all its mock solemnity, is as empirical a rendition of the facts surrounding Selima's demise as was possible for the poet to make; indeed, the 'lofty vase,' just as Gray described it, was for many years displayed by Walpole at Strawberry Hill:
Fifty Years of Music in Canada? Good Lord, I Was There for All of Them!
Authors: Ridout Godfrey
Published: March 2013

1930 was, perhaps, a low point in the history of music in Canada. The economic conditions were not entirely to blame; they just administered the coup de grâce. The flourishing life of the nineteenth century, mostly visible in the two major cities, Toronto and Montreal, was first brought low by World War I; and conditions after the war militated against a full revival. Much of that flourishing life was amateur (if you wanted music you had to make it yourself); musical accomplishment was a social rather than a professional asset, and professional music was mainly in the hands of touring artists or immigrants, although Montreal's French community had a number of native professionals, reflecting a longer tradition and a different attitude to the arts. The means of livelihood for the professional musician were mainly teaching and playing in theatre orchestras. In all parts of Canada the aristocrat of the professionals was the church organist, although he could not make a living from the church alone. The status that his position gave him meant that he was in demand as a teacher, sometimes in musical areas where he was least qualified. In some communities he was the only professional: not only was he organist and choirmaster, but he taught organ, piano, theory, and singing, he would be the logical conductor for the local operatic society (what would he have done without Gilbert and Sullivan?), and he was even expected to assemble the local worthies into a raggle-taggle amateur orchestra. In Anglophone Canada he was often an Englishman or a Scotsman (indeed, in one church, Metropolitan Methodist in Toronto, the organ endowment specified that the incumbent must have a music doctorate and be a Fellow of the Royal College of Organists, requirements which for many years precluded anyone other than a Britisher from holding the post).
Fields of Force in Canadian Art, 1930 to 1980
Authors: Bayefsky Aba , Miles Humphrey
Published: March 2013

Most of what is important in Canadian art has been achieved within living memory, and this fact underscores how young and fragile are the creative traditions of this country. Until the turn of this century Canada got along very well with other people's achievements so far as art was concerned — English, French, European, and latterly American. This was true even of the artists themselves, whose paintings were traditional in subject and technique and were intended to recall other times and places — some European in spirit like Krieghoff, some English like Homer Watson and Paul Peel.
A Half-Century of UTQ
Authors: Keith  , Shek B.Z.
Published: March 2013

Although a journal entitled the University of Toronto Quarterly, and described as 'conducted by Undergraduate Societies of the University of Toronto,' appeared briefly between early 1895 and late 1896, the periodical as we now know it today was first published in October 1931 (at a subscription-rate of $2.00 a year), and has maintained regular publication ever since. Its first editor was the distinguished philosopher G.S. Brett (an imaginative portrait of whom has recently appeared in Hugh Hood's novel Reservoir Ravine). Brett was a shy man, and his name never appeared on the title-page, but the first issue contains an unsigned editorial presumably from his pen. It announces with characteristic self-irony: 'An editor is expected to have a policy and, in this case, a part of the policy is to have no editorials.' This tone continues in later paragraphs. The new journal, we are told, 'does not provide space for fiction or poetry — a rule which it is our privilege to ignore in the case of [Charles C.D. Roberts's] The Iceberg.'
Un demi-siècle d'évolution culturelle au Quebec
Authors: Rocher Guy
Published: March 2013

Lorsque j'étais un jeune professeur de sociologie, au début des années 50, nous recevions, mes collègues et moi, des invitations d'universités canadiennes pour aller expliquer pourquoi le Québec n'avait pas changé, s'attachait à son passé et demeurait comme figé au 18ème siècle. Depuis la fin des années 60, on nous invite à dire pourquoi le Québec a rapidement bougé, dans quel sens il évolue et ce qu'il risque de devenir a brève échéance ou à long terme.
Romancier(s) québécois
Authors: Bessette Gerard
Published: March 2013

Après avoir relu en entier le présent article, je me suis rendu compte qu'il se divisait en deux volets distincts. Le premier — assez general — gravite autour du roman québécois des quarante dernières années; le deuxième mémorialisant — concerne mon oeuvre.
Reviews
Authors: De Luca  , Curtis A. Ross , Case
Published: March 2013

W.J.T. Mitchell, Blake's Composite Art: A Study of the Illuminated Poetry, reviewed by V.A. De Luca

Brian Wilkie and Mary Lynn Johnson, Blake's 'Four Zoas': The Design of a Dream, reviewed by V.A. De Luca

Kathleen Raine, Blake and Antiquity: The A.W. Mellon Lectures in the Fine Arts 1962, reviewed by V.A. De Luca

Doris Kirsch, La Buyére ou le Style cruel, reviewed by A. Ross Curtis

Odette de Mourgues, Two French Moralists, La Rochefoucauld and La Bruyére, reviewed by A. Ross Curtis

Thomas A. Hale, Les Ecrits d'Aimé Césaire: Bibliographie commentée, reviewed by F.I. Case
A Portrait of Milton Engraved by William Blake 'When Three Years of Age'? A Speculation by Samuel Palmer
Authors: Bentley, Jr.
Published: March 2013

In March 1879 Samuel Palmer wrote a letter to George Richmond. Both Samuel Palmer and George Richmond had of course known Blake intimately in his last years, though they were only twenty-two and eighteen when Blake died, and they both cherished their memories of him and told others gladly what they knew of him. In matters of fact concerning Blake they are very reliable, and especially so when they talked of Blake to one another, for each could test the accuracy of his memory of Blake against that of the other. Assuming that Samuel Palmer did write such a letter, I think we are justified in taking at face value his report of his conversation with Blake.
Barnabas and Boanerges: Archetypes of Eighteenth-Century Preaching
Authors: Downey James
Published: March 2013

Like nearly everything else, preaching has its categories. There's social preaching and ethical preaching, evangelical, expository, apologetic polemical, devotional, doctrinal, and so on. But when we look beyond scholarly taxonomies to irreducible essences, we discover that there are two—and only two—prototypical preachers. One is casual in demeanour, cheerful in temperament, and exhortative in style. He is Barnabas, 'son of consolation.' The other is direct, exuberant, vituperative. He is Boanerges, 'son of thunder.'
Psychoanalytic Models and Literary Theory
Authors: Sitterson, Jr. Joseph
Published: March 2013

The lack of current consensus among literary critics on the nature of literature is reflected in our tendency to adopt theories from other disciplines as interpretive models. One advantage of such models is their practicality: we do not have to worry about their truth, only their usefulness. Unfortunately such usefulness is itself difficult to define, and too often we tacitly equate it with whatever seems 'new' and 'exciting.' Such adjectives, however applicable in particular cases, are neither clear nor sufficient criteria of interpretive usefulness. Worse, our quest for the new and exciting has led both to the wholly uncritical adoption of theories from other disciplines as models and to the virtual abandonment of other theories because they were once the sources of models now either discredited or no longer providing new and eXciting interpretations.
Wonder and Words: Paganism, Christianity, and Consolation in Chaucer's Book of the Duchess
Authors: DiLorenzo Raymond
Published: March 2013

Occasional poems—the best of them at least—direct us beyond their historical occasion to abiding human concerns and about them educate us deeply. For such poems Aristotle's distinction between poetry and history remains pertinent: 'poetry is something more philosophic and of a graver import than history, since its statements are of the nature rather of universals, whereas those of history are singulars.' The poem Chaucer called 'the book of the Duchesse' [CT x (I), 1087] or 'the Deeth of Blaunche the Duchesse' (LGW, F418) was written in connection with the death of the noble English gentlewoman Blanche, Duchess of Lancaster, who, while married to John of Gaunt, died of the plague on 12 September 1368 (perhaps 1369). Though problems of the poem's literary history persist—the date of composition, the relationship between Chaucer, Blanche, and John of Gaunt, and the poem's debt to the conventions and the very words of French amatory narratives and lyrics—in the final analysis these problems are not as weighty as those interpretative questions arising from the poem itself.
Frye's Bible
Authors: Woodcock George
Published: March 2013

There are advantages to writing a review that will appear several months after the book one is discussing has been published. One can assume that the latter will have been read by all those likely to be interested, and that they, like oneself, will have gone beyond first impressions to afterthoughts. That makes it unnecessary to describe what the author is trying to do; one can take it as understood and proceed to what in the long run is more important—to discuss the book in relation to its cultural context and to the author's general body of work. The latter is particularly important when the book is a late work with a testamentary flavour—as is the case with Northrop Frye's The Great Code: The Bible and Literature.
Reviews
Authors: Teskey Gordon , Davies Robertson , Cameron
Published: March 2013

Philip Rollinson, Classical Theories of Allegory and Christian Culture, reviewed by Gordon Teskey

Jonas Barish, The Anti-Theatrical Prejudice, reviewed by Roberston Davies

David S. Reynolds, Faith in Fiction: The Emergence of Religious Literature in America, reviewed by J. M. Cameron
Truth and the Search for It
Authors: Pietersma
Published: March 2013

What is truth? Pilate asked this question and I don't know exactly what he meant. But when philosophers ask it, they are not inquiring as to which of a given number of beliefs or statements are true. Since we are all interested in truth, we all ask that question quite often in one way or another. Whatever situation we may be in, we want to know where we stand, what is the case—in short, what is true. It does not matter whether our interests are primarily practical or theoretical. And it is obvious that such questions are important. Philosophers, however, do not ask that kind of question when they ask: What is truth? Their specifically philosophical interest is not focused on whether this or that statement is true or false but on what the truth of any statement whatever might consist in. Which statements are true and which are false is a question they leave aside, to be answered, if at all, not by them but by others. As to the specifically philosophical question about truth, there is an answer that might be called traditional. In all essentials it goes back to Plato and Aristotle.
Reviews
Authors: Levine Jennifer , Keith
Published: March 2013

John Fletcher, Novel and Reader, reviewed by Jennifer Levine

Marthe Robert, Origins of the Novel, reviewed by Jennifer Levine

Walter Reed, An Exemplary History of the Novel: The Quixoitic Versus the Picaresque, reviewed by Jennifer Levine

Michael Stapleton, The Cambridge Guide to English Literature, reviewed by W. J. Keith
Reviews
Authors: Corman Brian , Aikens Janet , Bentley  , Wickens G. Glen
Published: March 2013

Alastair Fowler, Kinds of Literature: An Introduction to the Theory of Genres and Modes, reviewed by Brian Corman

Terry Castle, Clarissa's Ciphers: Meaning and Disruption in Richardson's 'Clarissa', reviewed by Janet E. Aikins

Terry Eagleton, The Rape of Clarissa: Writing, Sexuality and Class Struggle in Samuel Richardson, reviewed by Janet E. Aikins

Peter L. De Rose and S. W. McGuire, A concordance to the Works of Jane Austen, reviewed by G. E. Bentley, Jr.

Kristin Brady, The Short Stories of Thomas Hardy: Tales of Past and Present, reviewed by G. Glen Wickens