bluuebunny/crossref_metadata_2025 huggingface dataset:
D'Aubigne's Les Tragiques: A Genre Study
Authors: Walker
Published: March 2013

The French public, and the French critics, are still religiously abstaining from reading Agrippa d'Aubigné's masterpiece. You can find the poem in a French bookstore, but not by looking for it; there is a reasonable amount of Ronsard visible on the poetry shelf, but you have to ask for d'Aubigné. The salesman who knows the stock well will find Les Tragiques in an obscure corner for you.
Parnassus to Pantheon
Authors: Finch Robert
Published: March 2013

Among those present at Versailles on February 15, I7IO, when the duchesse de Bourgogne gave birth to the future Louis XV, was her premier maître d'hôtel, Evrard Titon du Tillet. Born in Paris in 1677 and educated there, his first and last loves were music and letters. His father, Secrétaire du Roi, Inspecteur General des Magasins d'Armes, destined him for a military career. Aged fifteen, he found himself at the head of a company named after him, of one hundred fusiliers. Notwithstanding, at the same time, he managed to read law, write a thesis, and qualify as Avocat au Parlement. Paternal pressure succeeded in keeping him in the army until he became dragoon captain, but the Peace of Ryswick made it possible for him to obtain his discharge. By 1697, at the age of twenty, he had entered the household of Marie-Adélaïde of Savoy, who the same year, through her marriage to the duc de Bourgogne, grandson of Louis XIV, became dauphine of France. Now, after thirteen happy years in her service, witnessing the birth of her son, her premier maître d'hôtel had every ordinary reason for rejoicing. But Du Tillet was not an ordinary intendant and for him this event had a signiflcance beyond its obvious one. Two years before, he himself had given birth to a brain-child whose eventual success or failure might well prove to be linked with that of the dauphine's son. The name of Du Tillet's off-spring was Le Parnasse Français.
Chateaubriand, Lamartine, Nerval, and Flaubert in Palestine
Authors: Bassan Fernande
Published: March 2013

An account of a voyage to the Holy Land resembles that of no other voyage. The writer who treads the soil hallowed by the feet of the ancient prophets will invariably reveal, among other things, his attitude towards religion and religions. Four great French writers visited Palestine in the first half of the nineteenth century: Chateaubriand in 1806, Lamartine in 1832, Nerval in 1843, and Flaubert in 1850. For each one of them, their stay in the Holy Land represents a metaphysical experience, a turning-point in their lives and their works. But their trips to Palestine have not received much attention from the critics, except for Chateaubriand's, which is studied in a book, and Flaubert's, in a short article. It seemed to me useful and interesting to present a fourfold contrast between these voyages, which thus bring light to one another.
Eugene Delacroix and Literary Inspiration
Authors: Parsons
Published: March 2013

The problem ofthe relationship between literature and painting, although it has attracted for a long time the attention of scholars and has led to interesting research, still remains a profitable field of investigation. Unfortunately, artists and men of letters are often reluctant to admit how much they owe to one another. An exception is Eugene Delacroix, who lived from 1798 to 1863. His case affords us by far the best opportunity for re-examining the problem under consideration. For Delacroix in addition to being a great painter was also a prolific writer and in his literary works he not only admits openly his debt to literature but also devotes much attention to comparative aesthetics. The facts we discover in his Journal, his correspondence, and his published articles enable us to appreciate the nature and extent of the influence of literature on his art as a painter. These same facts help us to understand in their early stages some of the more significant trends of modern art.
Paul Valery and the Dark Night of the Soul
Authors: Kennett
Published: March 2013

Most readers of Paul Valéry would probably agree in finding him one of the least mystical of writers. This is certainly the impression that is conveyed by the prose works. The early compositions describing Monsieur Teste, that embodiment of abstract reason and logic; those devoted to Leonardo da Vinci and his triumphs in the domain of the practical; the later dialogues: Eupalinos, L'Ame et la Danse, Arbres, with their aura of Platonic dialectic; the various published collections of thoughts and impressions: all these writings seem to reflect a sceptical, outward-directed mind, a mind whose central tendencies are apparently most clearly represented by the essay attacking Pascal and by those in praise of Descartes. The same thing may be said of the Cahiers, the notebooks in which, from 1894 until his death, over eighteen of the twenty years of his "period of silence" and the fourteen years of his return to poetry, Valéry recorded day by day the vicissitudes of his intellectual life: the method here is abstract-critical; the vast majority of the notations consist of often highly mathematical attempts at analysis of the modes of conscious thought—"J'aime la pensée véritable comme d'autres aiment le nu, qu'ils dessineraient toute leur vie," he tells us—a smaller number deal with literary matters, mostly with the technical and theoretical aspects of poetic composition; relatively few of the entries reflect anything of a subjective-emotional, much less of a mystical tendency. Under these circumstances it is surprising that more curiosity has not been aroused by the unexpected interest that Valéry evinced in the sixteenth-century Spanish mystic, Saint John of the Cross.
Fiction
Authors: Watt
Published: March 2013

Reviews of fiction published in Canada in 1963.
Education
Authors: Harris Robin
Published: March 2013

Reviews of books on education published in Canada in 1963.
Blake's Annotations to Swedenborg's Heaven and Hell
Authors: Bentley, Jr.
Published: March 2013

Apparently Blake had spent some energy in searching in vain through "all the old falsehoods" in Swedenborg's works for "one new truth." We know little about this reading, though it must have been quite extensive. Blake's copy of Swedenborg's Divine Love and Divine Wisdom (1788), with voluminous sympathetic notes, has survived, as has his copy of the Divine Providence (1790), with rude comments about Swedenborg's "Cursed Folly." No other Swedenborgian book with Blake annotations has turned up for forty years, and the total number of books with Blake marginalia is only a dozen. Indeed, altogether only some seventeen books from Blake's library can be traced today.
Reviews
Authors: Falle George
Published: March 2013

Sir Harold Williams, ed., The Correspondence of Jonathan Swift, reviewed by George Falle

Herman Teerink and Arthur H. Scouten, eds., A Bibliography of the Writings of Jonathan Swift, reviewed by George Falle

Edward W. Rosenheim, Jr., Swift and the Satirist's Art, reviewed by George Falle

Oliver W. Ferguson, Jonathan Swift and Ireland, reviewed by George Falle

Milton Voigt, Swift andt he Twentieth Century, reviewed by George Falle

Ernest Tuveson, ed., Swift: A Collection of Critical Essays, reviewed by George Falle
Poetry
Authors: Wilson Milton
Published: March 2013

Reviews of poetry published in Canada in 1964.
Social Studies
Authors: Brady Alexander , Craig  , Preston Richard , Harris Robin
Published: March 2013

Reviews of books about social studies published in Canada in 1964.
Speculation and Reflection, Or: It's All Done by Mirrors
Authors: Sparshott
Published: March 2013

For every philosopher, in every age, the first question must be: just what is philosophy? It is agreed that its perennial task is to explore the limits of human thinking and the proper deployment of reason within those limits; but it follows that, if he could determine with accuracy and certainty the limitations and proper methods of his own activity, the philosopher would already have completed a major part of his task. It is therefore not surprisiog that this initial question is never answered to everyone's satisfaction. It seems that philosophy is in large measure its own subject. What kind of business, then, does it turn out to be?
The Death of Robert Browning
Authors: Jerman B.R.
Published: March 2013

Robert Browning died on December 12, 1889, having extended his span of life seven years and seven months beyond the three score and ten years allotted by the psalmist. He was in his seventy-eighth year when, to use his own words from the poem that furnished the epilogue to his latest—and, as it turned out, his last—volume of poems, he marched breast forward to strive and thrive in the unseen.
William Faulkner, Cadet
Authors: Millgate Michael
Published: March 2013

Mr. Gordon Price-Stephens, in an admirable article On "Faulkner and the Royal Air Force," has recently cleared away much of the confusion, mystery, and rumour which has so long surrounded Faulkner's brief military career. As Mr. Price-Stephens makes clear, Faulkner joined the Royal Air Force in Toronto in July 1918, the Royal Flying Corps having gone out of existence On April 1, 1918, and had not finally completed his training at the time of the Armistice the following November: he did not go to France, therefore, or see combat. In attempting to find out something more about this little-known period of Faulkner's life, I have been greatly aided not only by Mr. Price-Stephens's article but also by his generosity in making available to me the results of his own meticulous research. Using the information he supplied, it has been a relatively simple matter to discover in Toronto a number of men whose R.A.F. experience closely paralleled Faulkner's and, in particular, two who had known Faulkner at that time and could tell something of the young man they remembered.
Auden's Ironic Masquerade: Criticism as Morality Play
Authors: Callen Edward
Published: March 2013

Poets sometimes carryover their skill in "arranging ... and placing/ carefully" from the making of poems to the significant arrangement of pieces in anthologies or collections. W. H. Auden, for example, appears to have arranged the essays in his collected criticism, The Dyer's Hand and Other Essays (Random House, 1962), in an ascending hierarchy related to Kierkegaard's aesthetic, ethical, and religious categories. Of the book's eight divisions, the first three, "Prologue," "The Dyer's Hand," and "Well of Narcissus," are devoted to the aesthetic sphere; for their subject-matter is, chiefly, the artist, the artistic process, and the work of art. The next three divisions, "The Shakespearian City," "Two Bestiaries," and "Americana," deal with works of literature that have attempted to represent human beings in their historical setting. Auden believes that such literature is a product of the Christian consciousness, and that there is, invariably, a tension between its aesthetic and ethical dements. The last two divisions, "The Shield of Perseus" and "Homage to Igor Stravinsky," treat comedy and music: the two artistic modes which can, in Auden's view, most nearly represent the religious sphere. He holds that music is the one artistic medium that can represent the religious significance of temporal acts, and also that "Every high C accurately struck demolishes the theory that we are irresponsible puppets of fate or chance." (The Dyer's Hand, 474.)
Point of View in Arthur Miller's Death of a Salesman
Authors: Parker Brian
Published: March 2013

In Death of a Salesman Arthur Miller wrote far better than he seems to have realized, at least if we may judge by his critical essays on the play. This is true of both the play's content—its analysis of American values—and of its technique. Miller's recent After the Fall uses the same nonlogical, subjective memory structure as the earlier play, and uses it far more consistently and skilfully, and yet is far less effective in engaging the self-identification by the audience for which expressionism strives. And this is not only because the experience examined in After the Fall is less common than the disaster of Willy Loman, but because the very hesitancies of technique in Death of a Salesman, its apparent uncertainty in apportioning realism and expressionism, provide a dramatic excitement of a more complex kind than Miller achieves in his later, more consistent plays.
Arthur, Maleger, and History in the Allegorical Context
Authors: Miller Lewis
Published: March 2013

Prince Arthur's desperate encounter with Maleger (Book II, canto xi, of The Faerie Queene) has promoted a variety of critical speculations. Josephine Bennett blames Guyon for shirking his duty as he "is made to slip away ignominiously," leaving Arthur to defend Alma's castle against Maleger and his crew. Although Mrs. Bennett's view has been altered and refined by more recent critics of Spenser, her view incorporates an attitude which is common to all the commentaries which deal with canto xi—namely, that Arthur's fight with Maleger is, or should be, Guyon's fight. This is to say that Spenser's critics in attending to the Arthur-Maleger encounter are wont to locate the episode's centre of importance outside Arthur's own concerns, in order to concentrate upon Guyon and his basic limitations. Harry Berger, following A. S. P. Woodhouse's suggestion that Maleger represents Original Sin, characteristically announces that "corruption, the sickness unto death [Maleger], is not merely an illness of the weak, as Guyon had supposed, but an essential factor to be considered by the healthy. It is not in Guyon's nature to he aware of Maleger,; but God has provided for this by sending Arthur." The emphasis here is upon Guyon and the limitations which his "sophrosyne" presents. Berger believes that only Arthur can be aware of Maleger and can deal with him properly, and that this is why Spenser has had Guyon leave the scene before Maleger begins his menacing assault (xi, 5). A. C. Hamilton also believes that Arthur is unique in his ability to deal with Maleger, a Maleger whom Hamilton views as quite definitely linked with Guyon's own being: "Arthur must free the body from outward infliction by slaying Maleger. Then Guyon may do more than resist the Bower of Bliss ... he can destroy it." It is the intention of this article to focus upon canto xi in the light not of Guyon's quest but of Arthur's, in order to show how the Prince's difficult victory over Maleger is of crucial importance, not to Sir Guyon, but to Arthur himself.
Reviews
Authors: Rudzik Orest , Watt Ian
Published: March 2013

Phyllis Grosskurth, John Addington Symonds: A Biography, reviewed by Orest Rudzik

Peter Gunn, Vernon Lee: Violet Paget, 1856–1935, reviewed by Orest Rudzik

John Carroll, Selected Letters of Samuel Richardson, reviewed by Ian Watt
Time and Horsemanship in Shakespeare's Histories
Authors: Maclean Hugh
Published: March 2013

If Milton scholars are no longer much inclined to enquire whether the Satan of Paradise Lost is hero or fool, Shakespeareans continue to explore an equally challenging theme: "Prince Hal: Hero or Hypocrite?" To match the variously "ironic" readings of such critics as Bradley, Van Doren, and Goddard, Dover Wilson, Charles Williams, and J. H. Walter have proposed interpretations essentially "heroic" in nature; while D. A. Traversi, noting the relevance of contemporary Elizabethan morality and "the austerity of a great religious tradition" to the abandonment of Falstaff, recognizes also that "Henry's judgments ... suffer persistently from being too easily made," and observes that "there is no need ... to be sentimental on behalf of either the Prince or Falstaff." The purpose of this paper is, primarily, to draw attention to the particular use Prince Hal makes of his time, in the light especially of the various misuses of time made by others; and secondly, to show that Shakespeare's recurrent references to the horsemanship of various characters in the history plays throw light on their uses of time, or attitudes toward it. To speak generally, as each man rides, so he manages his span of time. The evidence to be brought forward lends support, I believe, to the view that Shakespeare's portrait of Henry V, as prince and king, was conceived not in an essentially ironic spirit (making every allowance for the force of Traversi's reservations), but to present a leader who "went to worke like a Conquerour"; even, in Walter's terms, "a leader of supreme genius bountifully assisted by Fortune."
Fathers and Children in the Novels of Evelyn Waugh
Authors: Hinchcliffe Peter
Published: March 2013

The Ordeal of Gilbert Pinfold begins with some remarks by its narrator on the writing of fiction, the closest Evelyn Waugh has come to explaining the workings of his own art. After praising elegance, skill in construction, and the ability to entertain, the narrator states as an absolute rule that "a novelist is condemned to produce a succession of novelties, new names for characters, new incidents for his plots, new scenery." Gilbert Pinfold himself disagrees: "Mr Pinfold maintained [that] most men harbour the germs of one or two books only; all else is professional trickery." It is Pinfold's view that best describes Waugh's own novels. Several critics have commented upon the repetition of such images as houses and cities in his work. (One could add clubs and ocean liners, which appear just as frequently.) Similar characters also recur throughout his books. Partly this is due to the comic writer's obvious reliance upon types, but much of the repetition is surely a result of Waugh's desire to tell the same story again in different language, seeking, as Mr. Pinfold did, to revise his earlier versions: "envying painters, who are allowed to return to the same theme time and time again, clarifying and enriching until they have done all they can with it."
Inhumanities of Urban Planning
Authors: Dakin John
Published: March 2013

As pressure of numbers causes the rate of urbanization to increase, human populations face two pervasive threats. The first is the deterioration of the relationship between man and his physical habitat. Possibly to double to six billion by A.D. 2000, man will press hard on his natural resources. He is already interfering with life-essential metabolisms to a dangerous extent, perhaps irreversibly. The smog of Los Angeles, the growing water shortage in the northeastern United States, and the mounting pollution problems of the Great Lakes are some of the more obvious, evidence that the auspices for further urbanization in ever vaster agglomerations, notwithstanding our technological ingenuity, are not benign. The second threat is the ambiguity of our psychic habitat-that environment of ideas, values, enjoyments, aspirations, and satisfactions in which we live out our lives. This ambience, related in ways we little understand to the natural and man-made objects of our world, may be congenial to high civilization Of, dominated by degraded values, it may be inimical to life-enhancing satisfactions.
Poetry
Authors: MacCallum Hugh
Published: March 2013

Reviews of poetry published in Canada in 1965.
Social Studies
Authors: Brady Alexander , Craig  , Preston Richard
Published: March 2013

Reviews of books about social studies published in Canada in 1965.
Poesie
Authors: Sylvestre Guy
Published: March 2013

Reviews of French-Canadian poetry published in Canada in 1965.
Intention and the Interpretation of Works of Art
Authors: Fell Albert
Published: March 2013

In the Sewanee Review (Summer, 1946) there appeared an article written jointly by W. K. Wimsatt and M. C. Beardsley entitled "The Intentional Fallacy," which has become something of a classic as a short pungent statement of the negative side in the controversy about whether or not artists' intentions are relevant to the tasks of interpreting and evaluating works of art.
Donne's Notitia: The Evidence of the Satires
Authors: Geraldine Sister M.
Published: March 2013

Such an admonition from preacher to auditory is not remarkable in itself, and indeed is consonant with Donne's expressed convictions concerning the exegesis of scripture. Although he bcth used and counselled a literal interpretation, preferring its undeniable validity to the insubstantial glories of the figurative, Donne was always alert to the expanded meanings warranted by the intention of the inspired writer, and thus safely within the literal word. And one expects the attitudes which inform the reading of scripture to condition also the devout exhortations emanating from it, even when the exhortation moves into the Book of Creatures, God's other mode of self-disclosure. Obviously Donne holds with Aquinas that the Almighty writes into human actions the lessons He would teach: so with the Chosen People and so with the seventeenth-century Englishman, and it behooves this Englishman to he aware of the ways of God with His people.
Sir Thomas Browne's Letter to a Friend
Authors: Endicott
Published: March 2013

A Letter ta a Friend Upon Occasion of the Death of his Intimate Friend is a very unusual medical version of the traditional formal consolatory letter, weighted by a good deal of moralizing, but also coloured by peculiar and Brownean meditations and curiosities. There seems to be no good reason, at least in this century, for calling it, as Pater did, "elfin." Perhaps the word floated into his mind from Coleridge's remark about the "faery" light in which Browne moved. Certainly, after Coleridge, "faery" seems to have come easily to mind. In the history of Pembroke College, Oxford (1897), Douglas Macleane begins bis account of Browne with a reference to his period as "an enquiring age of faery and imaginative Baconianism," and as lately as 1950 W. P. Dunn, commenting quite seriously on a passage in Pseudodoxia (II. iii) which was intended facetiously, says "Science is a shadowy, pathless, faery region in which the mystic and the occult philosopher walk side by side with the experimental investigator."
Molière and Satire
Authors: Nurse Peter
Published: March 2013

One of the commonplaces of historians of literature has been the view that the work of Molière constitutes the outstanding example of French dramatic satire; and, for many people, this view would immediately be justified by memories of the most frequently performed of all Molière's plays: Tartuffe, commonly presented as a stinging attack upon religious hypocrisy. If further justification for so widely accepted a classification were necessary, there is Molière's preface to the play, in which he elaquently re-affirms as his own the Horatian notion of the function of comedy: "to correct morals with laughter."
Crabbe's Borough: The Process of Montage
Authors: Thomas
Published: March 2013

Ten loud coppers: a remarkable number indeed. Many readers have assumed that when Crabbe described his Borough, he used for his model the seaside town of Aldborough, in Suffolk. But in 1806 certainly, and presumably in 1810 when The Borough was published, the Aldborough church had only live bells, and even one of those was unhung. If Crabbe was in fact describing the Aldborough church, how could he have made such an error? After all, he had attended the church from infancy to early manhood, and indeed had served in it for a year as curate. Besides, if he had ever climbed the tower to see the magnificent view from the top (and surely he had), he would have passed by the bell cage, where the bells are hung in open view. Moreover, even if for some unlikely reason he did not know how many bells there were in the Aldborough tower, why should he have chosen the particular number ten; why not six or eight, or nine or twelve, any one of which would have litted the length of line just as well?
Reviews
Authors: Maclean Hugh , Carroll Perry , Carroll John , Bentley Jr.  , Corrigan Beatrice
Published: March 2013

Patricia Thomson, Sir Thomas Wyatt and his Background, reviewed by Hugh MacLean

Walter R. Davis, "A Map of Arcadia; Sidney's Romance in its Tradition" (Yale Studies in English, vol. 158), reviewed by Hugh MacLean

Richard A. Lanham, "The Old Arcadia" (Yale Studies in English, vol. 158), reviewed by Hugh MacLean

David Kalstone, Sidney's Poetry: Cintexts and Interpretations, reviewed by Hugh MacLean

Frederick A. Pottle, James Boswell: The Earlier Years, 1740–1769, reviewed by Perry and John Carroll

Frank Brady, Boswell's Political Career, reviewed by Perry and John Carroll

Ralph S. Walker, ed., The Correspondence of James Boswell and John Johnston of Grange reviewed by Perry and John Carroll

Hogarth's Graphic Works Volume I: Introduction and Catalogue, reviewed by G.E. Bentley Jr.
Heine and the Festive Board
Authors: Fairey Barker
Published: March 2013

Any doubts about the close affinity of Heine with food and the food image will be dispelled if we recall the troubadour passage in "Jehuda ben Halevy" which, one would say, takes us as far from thoughts of food as could be, turning, as it does, on the dreamiest of emotions, yet nevertheless lets the image in. The lady, Heine says, was as indispensable to the troubadour as butter to buttered bread:
Queen Victoria and the Theatre
Authors: Booth Michael
Published: March 2013

Of English monarchs since the Restoration, few have been genuinely interested in the theatre or regarded attendance at the playhouse as something other than a royal duty. George II, it is true, was passionately devoted to Handel, and the elevated social status of opera, in the periods when opera flourished in England, traditionally invited royal attention. Queen Victoria was the first nineteenth-century ruler concerned with the stage, the first really since Charles II, and if a history of royal patronage of the theatre were to be written, she would rank in importance with the first Elizabeth and the second Charles. It is the purpose of this article to show what Victoria's interest in the theatre was and how she influenced its course.
David Jones: Himself at the Cave-Mouth
Authors: Blissett William
Published: March 2013

An essay on David Jones in the interrogative mood? One made up of "a heap of all that I could find"—titles of pictures, inscriptions in English, Welsh, and Latin, memorable lines and footnoted memoranda, epigraphs, anathemata? Now that it is not necessary to explain who David Jones is or simply to describe his water-colours or engravings, his lettering or his writings, perhaps his work as a whole can be put to the question—not in Bacon's sense, of the torture, but in the artist's own pervasive sense of wondering enquiry. The result may prove as tentative as one of his landscapes, all air and wisps of colour, or as definite as one of his inscriptions, uniting Roman gravitas and Celtic grace. It may discover the world of David Jones as he discovered it, by accumulation, a heaping-up, as at a cave-mouth, of things worth shaping and signing, after threading a labyrinth.
Ulysses, Lowry's Volcano, and the Voyage Between: A Study of an Unacknowledged Literary Kinship
Authors: Costa Richard Hauer
Published: March 2013

The recent hardcover reissue of Malcolm Lowry's Under the Volcano, the first since its publication in 1947, may stimulate some readers to go to it after having missed it the first time round. The novel's rebirth will also stimulate what the late R. P. Blackmur, speaking of Ulysses, called "the whole clutter of exegesis, adulation, and diatribe." It is not idle to pair Volcano with Ulysses in this sense. A recent University of Toronto thesis by Anthony Kilgallin finds echoes in Lowry's novel of Christ, Adam, Don Quixote, Dante, Faust, Oedipus, Lord Jim, Svidrigailov, Chichikov, Moby Dick, and of authors too numerous to mention here. In an attempt to demonstrate that Under the Volcano is a truly Joycean work, Lowry's friend, the critic David Markson, finds a complete Homeric parallel incorporated into Chapter X. His epigram, to the effect that Lowry carried the Odyssean correspondences through "as an indication that one man's myth needn't become another's poison," is justified only by its cleverness. All his writing life that aspect of the Lowry persona which emerges from the limited published works seemed to be trying to exorcise even the idea of James Joyce from its soul.
Browning's Two Guidos
Authors: Gridley Roy
Published: March 2013

Among the many and diverse characters who reveal themselves to us in the dramatic monologues of Robert Browning, only one, Count Guido Franceschini, is allowed to step forward and speak a second time. The murderous villain of The Ring and the Book is granted nearly one-fourth of that poem and allowed to speak twice, Browning told Miss Julia Wedgwood, because the Old Yellow Book dictated such an emphasis and because Guido's wickedness must be shown to "rise to the limit conceivable." When Guido speaks that second time we have, the Poet of Book I says, "the same man, another voice" (I, 1285). A comparison of the two monologues reveals distinct methods of structuring a dramatic utterance and distinctly different uses of language by the monologuist. Count Guido in Book V has control of his language at all times, using it as a discursive rhetorical instrument to prove, casuistically, that his treatment and eventual murder of Pompilia and the Comparini were justified. He strives audaciously and eloquently to twist truth in order that his judges will accept a false estimate of his motives and character. He learns nothing new about himself io the process; if his auditors and the reader see through the falsity of the argument and learn something of his essential character, they do so obliquely and against the speaker's wishes; his utterance is a character-revealing action, but there is no self-realization on the part of the speaker.
Faulkner in Toronto: A Further Note
Authors: Millgate Michael
Published: March 2013

Since the appearance of my article, "William Faulkner, Cadet" (University of Toronto Quarterly, XXXV, 2 [January 1966], 117-32), new information about Faulkner's Royal Air Force career has emerged in sufficient quantity to warrant the publication of a brief supplementary note.
D. H. Lawrence from Island to Glacier
Authors: Howarth Herbert
Published: March 2013

Lawrence's second novel, The Trespasser, is an instructive case of cultural cross-breeding. The Flaubertian theme of bovarism, that greedy, reckless, courageous, disastrous attempt to escape reality and live a beautiful dream, and the complementary Flaubertian theme of sentiment, that indulgence of the dream without the payment of the price, are both implied in its fable ( afable which, appropriately, has the air of hallucination but is grounded in fact). Threaded across these themes, and demanding at least equal attention, is Lawrence's life-long topic: the contemporary maladaptation of the male-female relationship and the possibility of its reform.
Economic Theory and Contemporary Society
Authors: Johnson Harry
Published: March 2013

To anyone who has been exposed to it casually—as most people in this day and age must have been—economic theory appears to be an extremely abstruse and complex subject, with little direct bearing on the real world of observation and experience. It has, indeed, been the endeavour of a generation of mathematicians manqués to make it appear so, even to the majority of work-a-day professional economists themselves. Yet economics is a social science, concerned with the study of one important aspect of human society, and economic theory is the theory of how the economic mechanism of society works and, in addition, a theory of how it ought to be made to work, so that economic theory should be able to contribute to our understanding of contemporary society and of contemporary social problems. I shall attempt to present here some of the more important things that economic theory has to say about contemporary society. In so doing I hope to demonstrate, incidentally, both that the central corpus of economic theory is rather easier to understand, though not necessarily to apply, than it often appears to be, and that its range over social phenomena and problems is considerably broader than even most economists appreciate.
Günter Grass
Authors: Forster Leonard
Published: March 2013

Günter Grass was born in Danzig of Catholic, mixed German and Polish parentage in October 1927, rather less than six years before the Nazis came to power in the Reich. Danzig is now part of Poland; when Grass was born it was an independent free city, and it was the German move to annex Danzig which was immediately responsible for the outbreak of war in 1939, when Grass was twelve years old. After the annexation it became part of the Reich and shared its fortunes and misfortunes. It is in various ways an exponential city: rich with German history and Hanseatic buildings, historically closely involved with Poland, a great meeting place of Germanic and Slavic civilization down the centuries, more recently the home of a powerful Nazi movement that prepared its annexation by the Reich, one of the great centres of German trade and culture east of what is now the Oder-Neisse line and therefore the object of politically exploitable nostalgia in the Federal Republic at the present day. This is the city in which Grass has set the scene of his novels, which he has recorded with a loving care and accuracy reminiscent of Dickens' London, Joyce's Dublin, Kafka's Prague, or Thomas Mann's Lübeck.
Boswell's Control of Aesthetic Distance
Authors: Irving
Published: March 2013

Two and three centuries ago, during the Spanish colonial period, the name Guatemala covered a large area stretching from the Isthmus of Tehuantepec to Costa Rica. Except from eastern Honduras southeastward, the cultural area more or less comprised ancient Mayaland or the Mayab, as its original inhabitants called it. At the declaration of independence in 1821, Guatemala lost Chiapas to Mexico, and the United Provinces of Central America then set up lasted less than two decades as a federal republic.
Reviews
Authors: Valdes Mario , Priestly
Published: March 2013

Julian Marias, Miguel de Unamuno, reviewed by Mario Valdes

The works of Eric Partridge, reviewed by F.E.L. Priestley
G.E. Moore's The Elements of Ethics
Authors: Rosenbaum
Published: March 2013

G. E. Moore's Principia Ethica (1903) has a fair claim to be called the most influential book on ethics published in this century. No modern work has so profoundly affected both philosophy and literature, at least in English-speaking countries. Many of the questions raised in Principia Ethica are still being actively thought about by philosophers, and the values maintained by Moore are embodied in the works of E. M. Forster, Virginia Woolf, and others. In his autobiography Moore says that the essential outline of Principia Ethica was developed during a course of lectures he gave in London in 1898. A typescript of these lectures, including some brief marginal comments apparently by Bertrand Russell and a printed syllabus of the lectures, has recently come to light. An account of these lectures, which Moore entitled The Elements of Ethics, should be of interest to the understanding of Moore's thought and thus to the history of modern British philosophy and literature. The most concise way to give such an account is to reproduce the syllabus for the lectures. Through the very kind permission of Mrs. G. E. Moore the syllabus is reproduced below. A xerox copy of the typescript has, again with Mrs. Moore's generous consent, been deposited in the library of McMaster University, Hamilton, Ontario, where the Bertrand Russell archives are also preserved.
Coleridge and Restraint
Authors: Coburn Kathleen
Published: March 2013

Is it not anomalous that Coleridge, thought of as a liberator of the imagination from the restraints of literary and aesthetic rules and models and called the father of the erstwhile "New Criticism," should still be considered in his philosophical and political-historical thinking to be mainly an advocate of established authority, of law and order, even of privilege, an oracle from the past supporting the establishment and distrustful of the new society? Is the anomaly perhaps to be found in Coleridge himself? There are many Coleridges. There are Coleridge and S.T.C., as Stephen Potter showed in a clever book, and one might turn the kaleidoscope of Coleridge's complex temperament many ways with legitimate and illuminating results. However, readers of Coleridge's more neglected poems and of the wide range of his littleknown prose works now begin to ask whether the anomaly may not come from elsewhere. Coleridge always had a sympathetic band of readers — and some among the most influential public men from Maurice and Kingsley and Mill onwards — but caricature is caviare to the general, and Coleridge has too often been the windy Coleridge of Hazlitt's savagely entertaining reviews, the mumbler of Carlyle's jealous portrait, Peacock's Mr. Flosky of Nightmare Abbey, Or Max Beerbohm's delicious but devastating Table-Talker. Satire has worked subliminally, like music in the supermarket, in this case not to cheer the customer on to buy more of Coleridge's intellectual wares than he was prepared for; rather the advertising has been drear and dull, the voice and the music pretentious and boring. But is it Coleridge's voice? Is there in fact a single unmistakable Coleridge voice? Perhaps not. Consistency would be difficult to claim for him — or evenness — or any unvarying quality; he is inconsistent, uneven, and often uncertain — commendable weaknesses, perhaps, that may help to account for the eagerness with which the young are discovering him in these days.
The Harvest on the Ground: Coleridge's Marginalia
Authors: Whalley George
Published: March 2013

In March 1820, when he was forty-seven years old, Coleridge wrote a long letter to his young friend Thomas Allsop to thank him for a generous gift of money. Allsop, a London business man twenty years younger than Coleridge, had attended the literary lectures in 1818, had fallen under Coleridge's spell, and was now a close friend. Coleridge now unfolded in some detail the work he had in progress and discussed the prospects of completing what he hoped to do, in the face of ill health, public neglect, and the interruptions forced on him by the need to meet his obligations to his hosts in Highgate and to his scattered family. He had five works in hand, he said: "The Characteristics of Shakespeare's Plays"; a philosophical analysis of the genius and works of Dante, Spenser, Milton, Cervantes, and Calderon, with shorter studies of Chaucer, Ariosto, Donne, and Rabelais; the history of philosophy (the "Philosophical Lectures" delivered between December 1818 and March 1819); letters on the Old and New Testament; and "my GREAT WORK, to the preparation of which more than twenty years of my life have been devoted" — the Opus Maximum — to which (he said) all his other writings, except the poems (and perhaps even those too) were preparatory. Altogether, not including the Opus Maximum, these would make about ten large volumes.
Art
Authors: Emery Anthony
Published: March 2013

Reviews of art books published in Canada in 1968.
Philosophy
Authors: Redford  , Robins  , Weitz Morris , Narveson  , Smith
Published: March 2013

Reviews of philosophy published in Canada in 1968.
Nature
Authors: Saunders Richard
Published: March 2013

Reviews of books on nature published in Canada in 1968.
Education
Authors: Shefield
Published: March 2013

Reviews of books on education published in Canada in 1968.
Romans, Nouvelles et Contes
Authors: Robidoux Réjean
Published: March 2013

Reviews of French-Canadian fiction published in Canada in 1968.
Publications in Other Languages
Authors: Andrusyshen
Published: March 2013

Reviews of publications in other languages published in Canada in 1968.
The Background of the Turkish Ceremony in Moliere's Le Bourgeois Gentilhomme
Authors: Rouillard
Published: March 2013

Since the first performance of Le Bourgeois Gentilhomme there have always been critics who consider the Turkish ceremony a regrettable lapse On the part of Molière. No doubt there always will be, though they may find it difficult to phrase their disdain more devastatingly than that lively nineteenth-century critic, le comte de Saint-Victor, who called Le Bourgeois Gentilhomme "une comédie enterrée vivante dans un sarcophage turc." Such occasional strictures of the Turkish nonsense in the play may be a matter of taste or of judgement warped by idolatry; Molière, like Shakespeare, suffers from being worshipped as a sacred cow.
REVIEWS
Authors: Fieldhouse  , Wallace Malcolm , McInnis Edgar
Published: March 2013

Oswald Spengler, The Hour of Decision, reviewed by H. N. Fieldhouse

Konrad Heiden, History of National Socialism, reviewed by H. N. Fieldhouse

Wickham Steed, Hitler, Whence and Whither, reviewed by H. N. Fieldhouse

Robert Dell, Germany Unmasked, reviewed by H. N. Fieldhouse

Moeller van den Bruck, Germany's Third Empire, reviewed by H. N. Fieldhouse

Edgar Mowrer, Germany Puts the Clock Back, reviewed by H. N. Fieldhouse

Gottfried Feder, Hitler's Official Programme, reviewed by H. N. Fieldhouse

E. de Selincourt, Oxford Lectures on Poetry, reviewed by Malcolm L. Wallace

J E. Neale, Queen Elizabeth, reviewed Edgar McInnis
What Has Befallen Us
Authors: Wrong George
Published: March 2013

Pessimism is now the prevailing note in the outlook of many. Democracy, with some bad failures to its debit, is under suspicion and by not a few finally condemned. In the United States people are being reminded that the first president, Washington, said that "mankind, left to themselves, are unfit for their own government," to which the second president, John Adams, added that democracy is "the most ignoble, unjust and detestable form of government." Burke thought that not more than four hundred thousand of the sixteen million people in Great Britain were fit to vote. Democracy, it is pointed out, tends to come under the control of a greedy capitalism and of a degraded press that tells only as much of the truth as suits its aims. Democracy has shown that the average man must confront opposing programmes, neither of which he understands, and yet must make up his mind to vote for one of them. While one need not support these opinions, one cannot fail to note that belief in democracy is challenged and that our reactionary ancestors who, a hundred years ago, thought of it much as we now think of Bolshevism, might well now, if they were alive, say",I told you so".
The Theoery of Punishment
Authors: Sheard Terence
Published: March 2013

Not long ago I had occasion to visit an elderly lady whose residence is one of the most charming houses in Canada. Surrounded by ample grounds, it is admirably designed and rich in historical associations. The owner is naturally proud of the place, and after I had completed my business, she took me around and showed me its various points of special interest. In due course we passed into a garden altogether in keeping with the house itself. All at once I realized what up to that moment had not been present in my mind, that this delightful house was situated almost immediately adjacent to one of our larger penitentiaries. I felt immediately that, whatever its charm in other respects, this particular house was not one in which I should care to live. This reaction of mine was, I believe, a perfectly natural one implying no special sensitivity on my part. While there may be, and no doubt is, a widespread interest in prisons and their problems, not many of us would care to live with those problems constantly evidenced by the proximity of prison walls. Our interest is only tolerable to us when it can be kept fleeting and the greater part of the time we prefer to have all consideration of them shut out from our minds.
Berson on Ethics and Religion
Authors: Cazamian Louis
Published: March 2013

It is now more than two years since Bergson's long-expected treatise on ethics and religion was published.* The circles of philosophy have duly reacted to the stimulus; the competent critics have spoken; and receding from the immediate pre-occupations of our hurried age, the book is finding its permanent level in the world's deeper consciousness. The voices of authority being silent, the time may have come for the layman to speak, with a due sense of modesty and diffidence. Indeed, the selection of such a topic on the part of one who is no professional philosopher, calls for some apology. It is beside the point to plead that one has sat as a student at Bergson's feet: that is surely no excuse for rushing in where angels fear to tread. More relevant would be the defence that the theme possesses a universal appeal. We are all concerned in a matter where the spiritual fate of man is involved; and from the standpoint of simple common sense the inexpert is free to express himself at his own peril.
The Personal Note in Tennyson's Classical Poems
Authors: Bush Douglas
Published: March 2013

Of late years, very happily, sniffs or sneers at Tennyson have ceased to be proof of a modern critical intelligence. The reaction of the earlier twentieth century against the laureate was not in itself entirely modern; some of our complaints had been made by Wilson and Lockhart, and, as the Victorian age advanced, most of the others were added; even the years of relative security after 1850 were not altogether a green lawn "where Alf, the sacred river, ran." As that great era receded in to the past, hostile voices increased in volume and shrillness. Victorian literature could be damned outright as "pink pills for pale people," and its most complete and revered representative was the chief sufferer. The reaction was, of course, inevitable, and, in cutting Tennyson loose from a mass of dubious writing and from a partly adventitious and spurious reputation, it has left an indubitable poet standing on a smaller but firmer pedestal.
Reviews
Authors: Claxton Brooke , Knox  , Brett  , Wrong
Published: March 2013

Arnold J. Toynbee, ed., British Commonwealth Relations: Proceedings of the First Unofficial Conference at Toronto, 11-12 September, 1933, reviewed by Brooke Claxton

Gerald E. H. Palmer, eds., Consultation and Cooperation in the British Commonwealth: A Handbook on the Methods and Practice of Communication and Consultation between the Members of the British Commonwealth of Nations, reviewed by Brooke Claxton

H. Granville-Barker, ed., A Companion to Shakespeare Studies, reviewed by R. S. Knox

E. E. Stoll, Art and Artifice in Shakespeare: A Study in Dramatic Contrast and Illusion, reviewed by R. S. Knox

Charles William Hendel Macdonald, Jean-Jacques Rousseau, Moralist, reviewed by G. S. Brett

David Lloyd George, War Memoirs of David Lloyd George, vols. III and IV, reviewed by H. H. Wrong
A Christian Humanist: Thornton Wilder
Authors: Brown
Published: March 2013

Four years ago last October there appeared in the New Republica review-article the tone of which shows itself in the title-Wilder, Prophet of the Genteel Christ. In it Mr. Michael Gold, with that blend of pontifical authority and street-urchin's abuse which the Marxist critics affect, charged Mr. Thornton Wilder with being “the Emily Post of culture,” the preacher of “a new parlor Christianity,” and the author of ‘little lavender tragedies.” Mr. Wilder resembled Henry James, he resembled Proust, he was “the diluted and veritable Anatole France”-this last an achievement which suggests black magic. Mr. Wilder was at home in Paris and Rome; he liked museums and culture. He did not appreciate the interest of writing about “Babbitt ... and Anita Loos's blonde.” There was no mention in his novels of “coalminers,” “the child-slaves of the beet fields,” or “the murder of Ella May and her songs.” In short, Mr. Wilder was a fugitive from the American scene, executing a “masterly retreat in time and space.” He began by writing a novel about a little cosmopolitan group in Rome, all of whom were nostalgic for the past. He then retreated to an imaginary world given a local habitation in eighteenth-century Peru; and thence took a longer swoop to one of the isles of Greece as it was before the birth of Christ.
Mental Imagery and Style in Writing
Authors: Pear
Published: March 2013

On a summer day in Austria, three years ago, I had two new experiences. By a journalist or a social philosopher they might be regarded as excellent raw material. I will try to treat them psychologically. Now, as I write on a cold spring morning overlooking a very un-Austrian street, these memories reappear, and invite description, together with some of the problems which they offer to the student of expression in writing.