{"id":4969,"date":"2009-11-05T11:51:53","date_gmt":"2009-11-05T15:51:53","guid":{"rendered":"http:\/\/fryeblog.blog.lib.mcmaster.ca\/?p=4969"},"modified":"2009-11-05T11:51:53","modified_gmt":"2009-11-05T15:51:53","slug":"who-was-elizabeth-fraser","status":"publish","type":"post","link":"https:\/\/macblog.mcmaster.ca\/fryeblog\/2009\/11\/05\/who-was-elizabeth-fraser\/","title":{"rendered":"Who Was Elizabeth Fraser?"},"content":{"rendered":"
\"Fraser's

Illustration by Elizabeth Fraser<\/p><\/div>\n

In mid\u2011October 1936 Frye has a chance encounter with Elizabeth Fraser, a Canadian graphic artist and book illustrator with whom he and Helen Kemp had had a passing acquaintance in Toronto and who was living in London and (sometimes) in Oxford. \u00a0\u201cWe parted with expressions of esteem,\u201d Frye writes to Helen, \u201cand promises to come together later. \u00a0I may give a tea for her and [Douglas] LePan soon. \u00a0She looks interesting.\u201d \u00a0But before he can send an invitation, Fraser asks him over for a meal, which he accepts, showing up at her place two weeks later. \u00a0Thus begins the most intriguing relationship Frye has during the year. \u00a0Fraser, a pipe\u2011smoking free spirit who is twelve years older than Frye, is trying to survive in Oxford by illustrating books, always living on the brink of insolvency. \u00a0One of her projects, described in some detail in Frye\u2019s letter of 3 November 1936, mystifies him because he cannot imagine why she is drawn to the turgid prose of the text. \u00a0Fraser completes twenty or so extraordinary drawings for the book, which turns out to be Plato\u2019s Academy: The Birth of the Idea of Its Rediscovery <\/em>by Pan Aristophron<\/a>, published in 1938 by Oxford University Press.\u00a0 Frye says that Fraser is \u201ca very remarkable girl\u201d and is attracted to her ideas, which he says \u201chave been gradually developing the way mine have on Blake, into a more and more objective unity all the time,\u201d as well as to her drawings, which he sees \u201cas sincere as the book is faked, and as concrete as the book is vague.\u201d<\/p>\n

Aristophron says nothing at all in his preface about Fraser\u2019s drawings, which are identified only by her stylized initials\u2014EF\u2014tucked away in the corner of several of the illustrations.\u00a0 The book was printed by John Johnson, \u201cPrinter to the University\u201d and also a friend of Fraser\u2019s.<\/p>\n

Fraser was also interested in preserving wall paintings in medieval churches, and so she and Frye would go to churches in and around Oxford and sketch the paintings, which are in various states of disintegration.\u00a0 They share each other\u2019s company on a number of occasions during November and December 1936, having tea together, going on a \u201cpub\u2011crawl,\u201d hiking to the countryside and surrounding villages on numerous occasions, and seeing plays and movies together. \u00a0\u201cGod knows what one can make of the girl,\u201d Frye tells Helen. \u201cHer relief at finding someone who wouldn\u2019t blush and look the other way when she powdered her nose and who wouldn\u2019t think she was a fallen woman if she wanted to go find a bush in the course of the walk suggested that she had been making rather a fool of herself in front of Englishmen recently\u2014I suspect she has a genius for that.\u201d \u00a0They continue to see each other frequently throughout the 1937 Easter term. \u00a0Toward the end of the term Frye writes to Helen that Elizabeth is \u201ca lonely girl with lots of courage, pride and sensitiveness, but she is a swell girl. \u00a0She hits hard and rubs people the wrong way, in a way I think you understand, after six years of me, but she\u2019s more honest and straightforward than I am and has more guts. \u00a0You\u2019ll love her when you meet her.\u201d \u00a0Both Frye and Fraser frequently borrow money from each other, and each is attracted to the other\u2019s creative bent, even though Frye hardly knows how to respond to some of her illustrations and designs.<\/p>\n

After completing his examinations at the end of his first term at Oxford, Frye finds himself miserable and penniless, waiting to receive the next instalment of his Royal Society grant so he can go to London for the Christmas vacation. \u00a0But his spirits are lifted by the arrival of \u20a450 from the Royal Society and by \u201ca fairly concentrated dose\u201d of Elizabeth Fraser. \u00a0On 19 December he escapes to London for the holidays, staying with Edith and Stephen Burnett, friends of Kemp through Norah McCullough, the educational supervisor at the Art Gallery of Toronto. \u00a0Elizabeth Fraser shows up in London on 26 December for a five\u2011day visit, and she and Frye attend two performances of Murder in the Cathedral<\/em>. <\/em>(Fraser gets sick at the first performance and has to be hauled home in a taxi). They also wander out to Hampton Court to see a painting by Mantegna.<\/p>\n

<\/p>\n

In addition to his tutorials with Edmund Blunden Frye has been working on his Blake manuscript throughout the year.\u00a0 Blunden has suggested Faber & Faber as a publisher, and a day or so before he returned to Canada in late June 1937 Frye does send off his manuscript, which he has called The Blake Prophecies<\/em>, to R.E. Stoneman at Faber & Faber. \u00a0What Frye submits is actually only the first two chapters; he takes chapters three and four, which are twice as long as the first two, back to Canada with him, where he intends to make a final revision. \u00a0Meanwhile Elizabeth Fraser serves as his intermediary, the correspondence with Faber & Faber being directed through her. \u00a0On 6 July Stoneman rejects the manuscript because he \u201ccannot foresee a wide enough sale.\u201d \u00a0Fraser mails the rejection letter to Frye at Gordon Bay, but holds on to the manuscript so it can be sent out again, asking him to forward to her \u201ca series of fresh & inspired letters to all the publishers.\u201d \u00a0Frye obliges in late July with a letter to Cambridge University Press.<\/p>\n

At this point Fraser seeks Blunden\u2019s advice, which is to send the manuscript to Jonathan Cape if Cambridge rejects it. \u00a0\u201cBlunden,\u201d Fraser reports, \u201cthinks it is a good book, but he wishes it was more freely supplied with breaks, of the sort he describes as `landing\u2011stages.\u2019 \u00a0He would like you every now and then to get off from your subject & sidle up to it. \u00a0He wants in other words bits of relief. \u00a0The pictures will supply this to some extent, & if the selection is right I myself feel that they will supply it all.\u201d \u00a0Blunden also advises Frye to inform Geoffrey Keynes that the manuscript has been sent to Cambridge. \u00a0Fraser, now acting more or less as Frye\u2019s agent, does send the manuscript to Cambridge on 31 July, saying that the other two\u2011thirds of the book will follow in September.\u00a0 Cambridge replies, not unexpectedly, that it will consider the manuscript, but only after it has the complete text in hand. \u00a0Frye does send the manuscript back in the fall, but in November Cambridge rejects it, and Fraser posts it back to Frye, thus bringing to an unsuccessful close Frye\u2019s first effort to have his Blake book published. It will be ten more years before it finds its way into print.<\/p>\n

When I was editing Frye\u2019s Diaries <\/em>I was never successful I uncovering much information about Fraser.\u00a0 I felt that her letters to John Johnson of Oxford University Press might be revealing , but these letters, in the archives of OUP, are restricted.\u00a0 John Ayre describes the relationship between Frye and Fraser as a \u201clonely hearts\u201d one that \u201ccentred on discussions of art and the damnation of poverty\u201d (Northrop Frye: A Biography<\/em>, <\/em>133). It is certainly that, but there may have been a romantic involvement as well.\u00a0\u00a0 The thirty or so letters from Fraser to Frye (in the Helen Frye Fonds of the Northrop Frye Papers) strongly suggest such an involvement.\u00a0 Here are some sample passages: <\/em><\/p>\n

\u00a0<\/em><\/p>\n

55 A High Street<\/em> <\/em><\/p>\n

Oxford<\/em>. <\/em>13 January 1936<\/em><\/p>\n

The beautiful part about you is that you are not \u201cyoung.\u201d\u00a0 I have had a pipeful, since reading your letter, & the more I puff, & the more I think you over, the more I glow,\u2014with pleasure. . . .<\/p>\n

Darling Norrie, all along I have said to myself \u201cthis cannot be.\u00a0 The man is, in point of fact, twenty-four\u201d\u00a0 …. But deep down, as you would say, I know that 24 means nothing.\u00a0 What con\u00adfused me, if anything, was the word you used in October\u2014\u201cfiancee.”\u00a0 It is not your word.<\/p>\n

Sweet Norrie (an absurd word, but you are sweet.\u00a0 For one thing you smell like a <\/em>baby.\u00a0 And you have a beautiful face, and you know about your ears) I do not want to marry you.\u00a0 I do not want to marry anybody just now.\u00a0 At thirty-eight I may succumb to marriage.\u00a0 It will likely be a bad one.<\/p>\n

But I do want to have a baby, for the most practical of reasons.\u00a0 The only trouble is that there are equally practical ones (or is it \u201c-cable\u201d) against having one.\u00a0 We shall weigh them when you come.\u00a0 I think the \u201cn\u2019s\u201d should have it. . . . Darling, you are just a little<\/em> young.\u00a0 Thank God.<\/p>\n

\u00a0<\/em><\/p>\n

5 January 1937<\/em>\u00a0<\/em><\/p>\n

55 A. High Street<\/em>\u00a0<\/em><\/p>\n

Oxford<\/em>\u00a0<\/em><\/p>\n

(Wednesday)<\/em><\/p>\n

Darling Norrie!\u2014<\/p>\n

By the by, do you know yet that my knowledge of anatomy is far more exact than yours?\u00a0 Last night it at long last occurred to me to look into my Cunningham [Cunningham\u2019s Manual of Practical Anatomy<\/em>], & Holy Moses if you weren\u2019t trying to bust into my bladder or body in general.\u00a0 There sure would have been an explosion, &, I might say, a yell.\u00a0 Seriously, ask Edith if you\u2019re supposed to get into the uterus itself, because it doesn\u2019t look any more possible than it feels, as long as I still, as pray heaven I do, belong to the nulliparae [women who have never given birth to a child].\u00a0 Nice term that: Means you have lost caste both ways . . . .<\/p>\n

\u00a0<\/em><\/p>\n

Monday, tea\u2011time [undated]<\/em><\/p>\n

Darling, our jobs are the same.\u00a0 It is that that I saw with alarm the very first day you came to tea.\u00a0 There is always the danger that we will confirm this with living arrangements.\u00a0 Sometimes the two are best linked, sometimes not.\u00a0 I think that Helen might make you the more effective.\u00a0 At any rate you must see her.\u00a0 And this term we are living at Oxford, I in the Bachelor home, you at Merton.\u00a0 Darling, let us clasp hands & be good.<\/p>\n

And I want when you play.\u00a0 I want very very much to come when you play.\u00a0 Ask me to, Norrie.<\/p>\n

<\/em><\/p>\n

55A.\u00a0 Monday [undated]<\/em><\/p>\n

And let me know, silly, if you ever do get the flu, & I shall send Mrs. Bachelor [EF is living at the Bachelor house] around with a basket over her arm, & over the basket a napkin, & under the basket a dozen fresh eggs and a milk, jelly & me, of course, sweetness!<\/p>\n

\u00a0<\/em><\/p>\n

Sunday night [undated]<\/em><\/p>\n

You were<\/em> wanted to-day, badly, as you may have gathered from Mrs. Boyd\u2019s message.\u00a0 Come to tea.<\/p>\n

<\/em><\/p>\n

7 August 1937<\/em><\/em><\/p>\n

<\/em>Wednesday<\/em><\/p>\n

Darling (how I hate that word, but there is no other) life is getting all cluttered up.\u00a0 I shall have to move.\u00a0 I hate to be cluttered up with little things.\u00a0 I would like to love you & have a baby & earn its bread & do books, & collaborate with you.\u00a0 Nor\u00adrie darling, I would like to collaborate with you!<\/p>\n

And.<\/em> <\/em>if you don\u2019t stop sending me neatly dove-tailed love messages I shall have a fit of apoplexy.\u00a0 This habit is akin to the one of bestowing kisses on the nape of my neck in the presence of another male.\u00a0 It is thoroughly despicable and relates you unpleasantly to people like Pelham Edgar.<\/p><\/blockquote>\n","protected":false},"excerpt":{"rendered":"

In mid\u2011October 1936 Frye has a chance encounter with Elizabeth Fraser, a Canadian graphic artist and book illustrator with whom he and Helen Kemp had had a passing acquaintance in Toronto and who was living in London and (sometimes) in Oxford. \u00a0\u201cWe parted with expressions of esteem,\u201d Frye writes to Helen, \u201cand promises to come […]<\/p>\n","protected":false},"author":24,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","_links_to":"","_links_to_target":""},"categories":[16,26,98,114],"tags":[],"class_list":["post-4969","post","type-post","status-publish","format-standard","hentry","category-bob-denham","category-correspondence","category-memoir","category-oxford"],"yoast_head":"\nWho Was Elizabeth Fraser? 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