Category Archives: Anniversaries

United Province of Canada

Banknote_of_the_Colonial_Bank_of_Canada

On this date in 1841 the United Province of Canada was created by the Act of Union, which lasted until the creation of the Dominion of Canada in 1867.

Frye on the “anarchist tradition” in Canada in a 1969 interview, “CRTC Guru”:

Frye: There are other things in the Canadian tradition that are worth thinking about.  Thirty years ago [in the 1930s] the great radical movement was international Communism, which took no hold in Canada at all.  There were Marxist poets, there were no Marxist painters… The radical movement of our time is anarchist and that means that it’s local and separate and breaks down into small units.  That’s our tradition and that’s our genius.  Think of Toronto and Montreal (I know Toronto better than Montreal, but I think the same is true of both cities): after the Second World War, we took in displaced persons from Europe to something like one-quarter to one-fifth of the population.  In Toronto in 1949, one out of every five people had been there less than a year.  We have not had race riots,we have not had ethnic riots, we have not had the tremendous pressures and collisions that they’ve had in American cities.  Because Canada is naturally anarchist, these people settle down into their own communities; they work with other communities and the whole pattern of life fits it.  I do think we have to keep a very wide open and sympathetic eye towards radical movements in Canada, because they will be of the anarchist kind and they will be of a kind of energy that we could help liberate.  (CW 24, 92)

Richard III

httpv://www.youtube.com/watch?v=A9zIw84dD_Y

From Ian McKellen’s film adaptation of Shakespeare’s Richard III: “Was ever woman in this humour woo’d? / Was ever woman in this humour won? / I’ll have her, but I will not keep her long.” (I. ii. 232-4)

On this date in 1485, Richard III, the last of the Plantagenet line, was killed in the Battle of Bosworth Field, which brought the first Tudor king, Henry VII, to the throne.

Frye in the Notebooks on Renaissance Literature:

In the H6 – R3 tetralogy [1, 2, 3 Henry VI; Richard III] it isn’t until R3 emerges from the final play that we feel any dramatic integrity of character standing out from the tapestry.  The reason is that he’s an actor, and a hypcrite or masked character, and he suggests a kind of real life, however reprehensible, which he & the audience at least know about. (CW 20, 240)

. . . R2 is isolated in the opposite way from R3.  The latter is pure de facto & hypocrite; R2 is pure de jure, and is an actor who throws himself into every role suggested to him, most notably that of the betrayed Christ . . . (CW , 241)

The other world exists in Shakespeare, as in Dante, mainly to confirm the social set-up of this one.  Jack Cade, according to Iden, goes to hell; Edward IV goes to heaven.  Hubert is “damned” if he kills the rightful heir Arthur, yet H4 seem to get away with dodging the responsibility for killing R2.  This principle of presenting a wish-fulfilment world as aristocratic is in the romances.  It’s a bugger to try to understand a writer who has no personal attitude.  The king de jure has a magical aura around him: the logic of such a superstition is that a king de facto who has any claim to the throne at all should exterminate everybody with a better one, & will thereby acquire that aura.  R3 thinks he’s done it; this I why I call the principle of legitimacy comic: {the hidden eiron gimmick we’ve forgotten about}. (CW 20, 242)

Marshall McLuhan

httpv://www.youtube.com/watch?v=23V9U_616aw&feature=related

Today is Marshall McLuhan‘s birthday (1911-1980).

Above, Marshall McLuhan and Norman Mailer interviewed on CBC TV in 1968 as the hippie movement takes deep hold of youth culture and protest against the Vietnam War begins to escalate sharply.

From an interview with Frye about McLuhan broadcast on CBC Radio in January 1981, shortly after McLuhan’s death.

Interviewer: Professor McLuhan’s great contemporary at the university, Northrop Frye, says that McLuhan’s background enabled him to achieve is insights.

Frye: He was a literary critic and that meant that he looked at the form of what was in front of him instead of at the content.  And so instead of issuing platitudes abut what was being said on television he looked at what  the media where actually doing to people’s eyes and ears.  He had a gift of epigrammatic encapsulating that made some of the thing he said extremely memorable.

Interviewer: Professor McLuhan’s ingenuity was easily seen, but his message was not easily understood.  In the 1960s and 70s there were sometimes crude journalistic interpretations of his work, and reporters began to write that, after all, the master of communication could not communicate.  The result was that as the 1979s closed Marshal McLuhan’s influence declined, and at the end of his life his colleagues saw him neglected by the public which has once clamoured for him.

Frye: That’s true, but that was because he got on the manic-depressive roller-coaster of the news media and that meant he went away to th skies like a rocket and then came down like a stick.  But he himself and what he said and thought had nothing to do with that.  That’s what the news media do to people if you get caught in their machinery.  (CW 24, 510-11)

Frye in Notebook 12:

McLuhan has of course enormously expanded my thesis of the return of irony to myth.  His formulation is hailed as revolutionary by those who like to think that the mythical-configuration-involved comprehension is (a) with it (b) can be attained by easier methods than by the use of intelligence.  Hence everyone who disagrees (as in all revolutionary arguments) can be dismissed as linear or continuous.  But there are two kinds of continuity involved: one is the older detached individuality, the other the cultural and historical continuity of preserving one’s identity and memory in moving from one to the other.  The issue here is a moral issue between freedom of consciousness and obsessive totalitarianism, plunging into a Lawrentian Dionysian war-dance.  (Cited by Robert Denham, Northrop Frye Unbuttoned, 174)

McLuhan on Frye:

Norrie is not struggling for his place in the sun.  He is the sun.  (Ibid.)

Jane Austen

austen

On this date Jane Austen died (1775-1817).

Frye in notebook 27:

I’ve often noticed that great novelists, from Jane Austen to Henry James, are conventional to the point of prissiness.  There are many reasons for this: one is that novelists deal with people under ideology.  The ideology is usually shaped by both the author and the public.  Authors who are aware of another perspective (myth) are rare: Dickens is one.  (CW , 95)  LN

In “Framework and Assumption”:

At present there is a widespread impression that flexible conventions are a mark of serious writing.  The days are gone when Jane Austen could protest against the snob phrase “only a novel,” and point out that a “novel” could be on the same level of seriousness as any book of sermons.  But of course she had her conventions: there are no writers who are unconventional or beyond convention.  Sometimes a writer may seem unconventional because his readers are accustomed to different conventions and do not realize it, or else assume that what they are used to is the normal form of writing.  Such reactions to convention may vary from Samuel Johnson’s dictum, “Nothing odd will do long; Tristram Shandy did not last,” to the claim of a twentieth-century formalist critic that Tristram Shandy was the most typical novel ever written.  (CW 18, 424-5)

In “The Context of Romance” in The Secular Scripture:

The sketches Jane Austen produced in her teens are nearly all burlesques of popular romantic formulas.  And yet, if we read Pride and Prejudice or Emma and ask the first question about it, which is What is Jane Austen doing? What is it that drives her pen from one corner of the page to the other? the answer is of course that she is telling a story.  The story is the soul of her writing, to use Aristotle’s metaphor [Poetics chap. 6], the end for which all the words are put down.  But if we concentrate on the shape of her stories, we are studying something that brings her much closer to her romantic colleagues, even to the writers of the horrid mysteries she parodied.  Her characters are believable, yet every so often we become aware of the tension between them and the outlines of the story into which they are obliged to fit.  This is particularly true of the endings, where the right men get married to the right women, although the inherent unlikelihood of these unions has been the main theme of the story.  All the adjustments are made with great skill, but the very skill shows that form and content are not quite the same thing: they are two things that have to be unified.  (ibid., 28)

Adam Smith

adamsmith

Adam Smith died on this date in 1790 (b. 1723).

Frye in “Varieties of Eighteenth Century Sensibility”:

We saw that Locke, like Descartes before him, based his philosophy on a philosophical man abstracted from his social context, in short, a theoretical primitive.  Also that Robinson Crusoe was an allegory of another abstract primitive, the economic man of capitalist theory, whose outlines are already fairly complete in Adam Smith.  These are the individual primitives at the core of Augustan culture.  But such primitives have voluntarily entered a social contract and a historical tradition.  For this attitude nothing in the area of culture can develop except on the other side of the social contract: literature and the other arts are rooted in a historical context in both time and space.  (CW 17, 33)

Julius Caesar

httpv://www.youtube.com/watch?v=9H-Kztt6WpM

“Beware the ides of March”

On this date Julius Caesar was born (100 BCE – 44 BCE).  That’s an historical fact.  But history is not all that can be said about Caesar.

Frye in “History and Myth in the Bible”:

The ordinary notion of history and myth is that history really happened; myth is what didn’t happen, at least not in that form.  The historian, we feel, tries to capture the past in the present: if he is writing about Julius Caesar’s assassination, he tries to show us what we might have seen if we had been present at the event.  Truth, in this context, means truth of correspondence: a history, or structure of words, is aligned with a body of actions and is judged true if it is a satisfactory verbal replica of those actions.  But truth of correspondence is not the concern of the literary critic: he deals entirely with verbal forms which are not primarily related to external facts or to propositions, and are never true in that context.  To paraphrase Duke Theseus in Shakespeare, the poet, like the lover and the lawyer, is incapable of telling the truth by correspondence.  So far as truth is involved in poetry, it is contained in the verbal form and provides no external criterion for it.  (CW 13, 17)

Mazo de la Roche

Mazo_de_la_Roche

On this date Mazo de la Roche died (1879-1961).

Frye in “English Canadian Literature, 1929-1954”:

The Canadian novelist who is perhaps best known outside Canada is Mazo de la Roche, whose long “Jalna” series of stories began in 1927.  The formidable familiy with which these books deal is well representative of the colonial phase of Canadian development, and of the ability of well-to-do families during that phase to live apart from, and almost in defiance of, the real life of the nation around them.  (CW 12, 248)

In “View of Canada”:

And so we developed that curious streak of anxiety that distinguishes us from other North Americans.  Which we kept trying to sweep under the carpet . . . In the popular Jalna books, Mazo de la Roche manages to make life in Canada seem a pastoral idyll.  The Whiteoaks are a British county family transplanted to the colonies.  (ibid., 470)

“Act Against Slavery”

simcoe_jg

Lieutenant-Governor John Graves Simcoe of Upper Canada, anti-slavery advocate

On this date in 1793, the Act Against Slavery was passed in Upper Canada (present day Ontario), also prohibiting the importation of slaves into Lower Canada (present day Quebec).  This was a full fourteen years before the British Empire outlawed the slave trade, forty years before it outlawed slavery altogether, and sixty-nine years before Lincoln’s Emancipation Proclamation.

Percy Bysshe Shelley

Shelley

On this date Percy Bysshe Shelley died (1792-1822).

Frye in conversation with David Cayley:

Literature doesn’t argue.  That’s the principle of Shelley’s Defence of Poetry — that literature doesn’t argue.  As Yeats says, “You can refute Hegel but not the Song of Sixpence.”  The whole argumentative side is something that critics, without examining the matter, think must be true of criticism but not of literature.  But to me criticism is really the expression of the awareness of language.  And what I try to do in my writing is express awareness of language, particularly of literary language and what it’s trying to do.  (CW 24, 953-4)

Shelley’s “A Defense of Poetry” here.