The canadian authors meet analysis essay
Nov 28, Zielvereinbarung beispiel essay minimum government maximum governance essay about myself essay writing video for people trouble writing. Socialites mixed with the popular poets and made them feel honoured and important. In the "Canadian Authors Meet", makes a scathing attack on such writers. We proceed chronologically, but we occasionally interrupt this path with recent texts that re-imagine of Canadian literature, the course will advance your skills in writing coherent paragraphs, focused Analysis of a passage, testing close reading skills .. 85 – Scott: “The Canadian Authors Meet,” “Laurentian. Shield.
I have never forgotten that morning, and its influence has always remained with me. Lampman, like others of his school, relied on the Canadian landscape to provide him with much of the imagery, stimulus, and philosophy which characterize his work Acutely observant in his method, Lampman created out of the minutiae of nature careful compositions of color, sound, and subtle movement.
Evocatively rich, his poems are frequently sustained by a mood of revery and withdrawal, while their themes are those of beauty, wisdom, and reassurance, which the poet discovered in his contemplation of the changing seasons and the harmony of the countryside.
Limited in range, they are nonetheless remarkable for descriptive precision and emotional restraint. Although characterized by a skilful control of rhythm and sound, they tend to display a sameness of thought.
For single poems or groups of poems he found outlets in the literary magazines of the day: Inwith the help of a legacy left to his wife, he published Among the millet and other poems ," his first book, at his own expense.
In Lampman was elected a Fellow of the Royal Society of Canadaand his second collection of poems, Lyrics of Earth, was brought out by a Boston publisher. In size, the volume is slighter than Among the Millet — twenty-nine poems in contrast to forty-eight — and in quality fails to surpass the earlier work. He was an outspoken socialista feministand a social critic.
Besides Alcyone, it included Among the Millet and Lyrics of Earth in their entirety, plus seventy-four sonnets Lampman had tried to publish separately, twenty-three miscellaneous poems and ballads, and two long narrative poems "David and Abigail" and "The Story of an Affinity".
May ," a dramatic retelling of the Battle of Long Saultwhich belongs with the great Canadian historical poems.
It was co-edited by E. Brownwho the same year published his own volume On Canadian Poetry: Brown considered Lampman and Scott the top Confederation Poets, well ahead of Roberts and Carman, and his view came to predominate over the next few decades.
Scott believed in poetry that was accessible to the masses and that addressed social issues. The next section of the poem focuses on the issue of gender in modernism. While Scott was writing, the CAA was composed of mostly middle-class, middle-aged women who shared anti-modernist sentiments.
The Ambiguous Social Vision of F.R. Scott
Here, Scott uses crude humour to depict the women as old and dried up. The commentary Scott makes is that the women of the CAA are unable to understand modernism, yet they continue to have strong anti-modernist sentiments. The poem quickly switches from gender social issues back to the issue of outdated Canadian poetry. These men are all very influential Canadian poets, who wrote Victorian and Romantic poetry, something to which Scott was opposed. Roberts, and Duncan Campbell Scott, as they are the four main Confederation poets.
However, there is a comma separating Campbell and Scott, which could mean that the author is referring to William Wilfred Campbell and Frederick George Scott, who is F.
It is curious that Scott leaves this ambiguity up to the reader to determine which Scott he is referring to.
Does he mean outopia "nowhere," a word that implies no qualitative judgments, or eutopia "good place" which is unquestionably positive? One presumes that, like Thomas More, he meant to evoke both, particularly since the word "dystopia" had come into usage to define the opposite state.
Scott does not claim perfection for his utopia but says simply that it is "as near as I could get. If "Mural" is a satire in the tradition of Lampman's "City of the End of Things," as critics have claimed, its absence from the pages of The Blasted Pine is a surprising one. It is also significant as social vision because it was written inthe year in which Scott travelled to Russia. In "Impressions of a Tour in the U. Just as people perish when there is no vision, so they live when there is vision.
The Soviet Union has its vision. It sees a brave new world where there is no war, poverty or insecurity, and in which free and equal men and women live active and cultured lives. In its Preface, Scott addresses the social ills that appear in several of his poems that criticize the government, the corporations, and even the church of a complacent, often corrupt capitalist society: Of course, the ambiguity of the poem may be as much a reflection of the ambiguity of socialism as that of Scott's attitude.
At the time Scott wrote "Mural" the harsh realities of Stalin's Russia were not widely known. Scott takes special care in choosing le motjuste for his titles because they invite the kind of wit and word play in which he delights, and "Mural" is no exception.
It should come as no surprise, however, that this title partakes of the ambivalence that is present throughout the poem. As an adjective "mural" means "of, pertaining to, or resembling a wall" OED. These implications of enclosure and limitation could relate to the technological "progress" which overshadows the poem.
However, both Milton's Paradise and the heavenly city described in Revelations are enclosed by walls. The primary meaning of "mural" is "a fresco or painting made directly on a wall" OED.
Scott's visits to the galleries and cathedrals of Europe and his marriage to painter Marion Dale in helped make him sensitive to the implications of art as metaphor.
In his "mural" he paints a portrait of a new society. Curiously, Thomas More gives the traveller who paints the wonders of his Utopia the name of Raphael. A contemporary of More's, Raphael was one of the greatest fresco painters of all time. An extension of the idea of decoration on the wall suggests the writing on the wall which Daniel inter prets as a warning to the decadent King Belshazzar in chapter five of Daniel.
This function of warning is central to much distopian literature.
F. R. Scott : Poems
An idea allied to that of inscription is that of epitaph, a possibility reinforced by the context of the poem's position in the two early collections in which it appeared. Bentley has pointed out, Scott "organized his earlier volumes with an eye to relations of contrast and juxtaposition between pairs and groups of poems.
In The Eye of the Needle, "Mural" follows "To Certain Friends" in which those whose "knowledge of how to use knowledge grows smaller and smaller" are chastised. These foreboding implications provide one context for reading the poem, but in that same collection "Mural" is followed by "Social Notes," stinging satiric portraits of poverty, exploitation and consumerism, social woes all apparently eliminated from the world of Scott's "Mural.
That same ambiguity accompanies the interpolation of an echo from a hymn or, in this case, a Christmas carol into the poem "Mural.
This opening line can be interpreted in several ways. It could signify the death of religion, paternity, and the pastoral ideal. However, the shepherd figure is not eliminated, only reassigned, suggesting the context of the Twenty-third Psalm, a framework that is reinforced by the use of the biblical "shall" throughout the poem, and the calm and ordered couplets of iambic tetrameter, a meter often used in hymns.
Once again, Scott is interpreting "the new scientific reality in terms of the older religious mythology," an imaginative device Dudek considers central to all of Scott's best poetry. Scott's Anglo-Catholicism was marked by compassionate social activism and Scott often draws upon this inheritance to support and strengthen his social vision.
However, Scott's willingness to appropriate the language and symbols of Christianity for his socialist purposes creates some disturbing ambiguities.
Scott often uses the language of his religious past to explore his vision of a scientific future; after all, they both deal in miracles. The opening lines of "Mural" introduce the reader to a world that resembles the laboratories of Huxley's Brave New World, and yet they can also be interpreted as futuristic equivalents to the agricultural husbandry so essential to More's Utopia. In "Mural" the eggs are laid "without the cluck of boasting hens," and Raphael tells his incredulous listeners that in Utopia, "they breed an enormous number of chickens by a marvelous method.
Men hatch the eggs not hens, by keeping them in a warm place at an even temperature" The phrase "wormless fruits" also picks up the thread of biblical symbolism by suggesting that this world may, in fact, be paradise regained. Is this the Eden to which man's knowledge has allowed him to return?The National for Tuesday, December 25, 2018 — Trump’s Wall, Indonesia Tsunami, Humboldt Broncos
This appears to be Scott's idea of Paradise, the natural world free of man's exploitation, the northern lake untouched by the small civilized foot. No longer reliant on a "precious, prayed-for and uncertain" nature CPhumanity, with the help of science, can assure proper nutrition to all.
Canadian Poetry Online | University of Toronto Libraries | F. R. Scott
In "Mural" the health that is the primary aim of More's Utopians becomes a legal right. The implementation of universal health care is also a central tenet of Social Planning for Canada which laid the groundwork for the CCF platform. However, the image is still ambiguous; Scott's use of the word "bound" in the "Mural" couplet implies unity, but also fetters and is reminiscent of Satan entering Paradise "at one slight bound" like a "Thief into God's Fold" Paradise Lost 9: These negative connotations are compounded by the direct reference to Aldous Huxley in the line that follows and to biological processes that resemble those of the "Central London Hatchery and Conditioning Center" that appears in Brave New World published in The line "And babies nuzzle buna taps" begs to be interpreted negatively.
This line, apparently demonstrating a total rejection of maternal love and natural human relations, convinces critics that Scott could not have been serious in claiming to present "a credible Utopia. Yet, Scott's use of the word "unsterile" seems to indicate he is merely concerned with the cleanliness vital to a healthy society. The "zoo-like home" at first suggests enclosure and confinement, but this "home" is not a zoo, only "zoo-like" in that scarcity and threat have once more been removed from the garden.
The rhymes "roam" and "home" provide two contrasting but positive images, the first of freedom and the second of haven. Yet, there is no indication that this bio-engineering is directed toward creating a caste system like the one in Huxley's novel, but could be interpreted instead as a symbol of reunification. Scott was always vocal in his support of ethnic minorities. Could this be an echo of the desire voiced by Duncan Campbell Scott a generation earlier, to answer the native question by interbreeding to build a great new race, here projected onto a world scale?
This description of how each "bridal pair" will be chosen, leads up to the turning point of the poem: Then, on the Eden air, shall come A gentle, low, electric hum, Apotheosis of the Wheel That cannot think and cannot feel, A lingering echo of the strife That crushed the old pre-technic life. This crucial passage leading up to the poem's very first period demands a careful look. Dudek interprets the Wheel that governs Scott's "technologi cal utopia" as a symbol of man's lost humanity "which for Scott lies in the power to choose, and to choose good" Scobie insists that the couplet on the Wheel "is the poem's most direct and unambiguous denunciation" of a world that has destroyed "all human values"as have the nightmare wheels of Lampman's poem.
- Archibald Lampman
- The canadian authors meet analysis essay
This "biggish hall which contained a large collection of articles of manufacture and art from the last days of the machine period. Other than the fact that its hum is an electric one, there is nothing to indicate that the Wheel must be interpreted as a symbol of technology.
Wheels are an element of the vision of judgement that appears to Ezekiel Ezekiel 1: Perhaps the members of "Mural" society have at last conquered mutability and death. A similar interpretation arises from an application of Eliot's use of wheel imagery, a comparison that is not inappropriate from what we know of Eliot's influence on Scott: In Studies in T.
Naik describes the symbolism of the wheel: Perhaps the Apotheosis of the Wheel is not technology at all, but rather the wheel of life and death which crushed "the old pre-technic life" before science intervened to deliver man from that terrible inevitable cycle. Ultimately, however, the syntax and the ambiguous time frame make the passage undecidable. Is it the Wheel itself that shall come "on the Eden air or only its "gentle" hum?
Is that hum the "lingering echo of the strife," or is it the Wheel's lack of mind that echoes the strife?