SIR JOHN MARTIN-HARVEY COLLECTION Personal Correspondence
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Robertson Davies Fifth Business Fifth Business Definition: Those Roles Which, Being Neither Those of Hero Nor Heroine, Confidant
Robertson Davies Fifth Business Fifth Business Definition: Those roles which, being neither those of Hero nor Heroine, Confidante nor Villain, but which were nonetheless essential to bring about the Recognition or the denouement, were called the Fifth Business in drama and opera companies organized according to the old style; the player who acted these parts was often referred to as Fifth Business. —Tho. Overskou, Den Daaske Skueplads I. Mrs. Dempster 1 My lifelong involvement with Mrs. Dempster began at 8 o’clock p.m. on the 27th of December, 1908, at which time I was ten years and seven months old. I am able to date the occasion with complete certainty because that afternoon I had been sledding with my lifelong friend and enemy Percy Boyd Staunton, and we had quarrelled, because his fine new Christmas sled would not go as fast as my old one. Snow was never heavy in our part of the world, but this Christmas it had been plentiful enough almost to cover the tallest spears of dried grass in the fields; in such snow his sled with its tall runners and foolish steering apparatus was clumsy and apt to stick, whereas my low-slung old affair would almost have slid on grass without snow. The afternoon had been humiliating for him, and when Percy as humiliated he was vindictive. His parents were rich, his clothes were fine, and his mittens were of skin and came from a store in the city, whereas mine were knitted by my mother; it was manifestly wrong, therefore, that his splendid sled should not go faster than mine, and when such injustice showed itself Percy became cranky. -
The Poet As Novelist
THE POET AS NOVELIST Linda Hutcheon 1IN 1965 NORTHROP FRYE WROTE: "A striking fact about Can- adian poetry is the number of poets who have turned to narrative forms (including closet drama) rather than lyrical ones."1 It is indeed true that we possess a rather rich tradition of narrative poetry in this country, and, as Frye has also pointed out,2 much of our poetry that is lyrical in form is not at all lyrical in spirit. Yet it is also a fact that at least two of our decidedly lyric poets have turned to narrative, but narrative in prose: Leonard Cohen and Margaret Atwood. They have not totally rejected what Frye calls "the more manipulated comic and romantic formu- las of prose fiction" but they do seem to have used narrative for its natural affinities with ironic tones and themes.3 Unlike Pratt's tragic and impersonal narrative poems, the novels of Cohen and Atwood in particular are both ironic and per- sonal — that is, lyrical and not autobiographical. These novels are lyrical or poetic in yet another way, one that seems to set them apart from the creations of Canadian novelists proper. This difference would seem to lie in the particular structural use made of imagery and symbolism within the novels. It is not that the poet/novelists use more oí these devices, but that they use them in a different manner : they appear to be willing to trust the reader with the image. Poets, after all, have no choice; in their poetry, they have to. Novelists, on the other hand, have a different set of rhetorical tools at their command: among these, plot and character exposition and narrative explanation. -
A Will and Two Ways the Ambivalence of Evil in Robertson Davies's the Deptford Trilogy
David Lucking A Will and Two Ways The Ambivalence of Evil in Robertson Davies's The Deptford Trilogy Orthodox Christianity has always had for me the difficulty that it really won't come ... to grips with the problem of evil. It knows an enormous amount about evil, it discusses evil in fascinating terms, but evil is always the other thing: it is something which is apart from perfection, and man's duty is to strive for perfection. I could not reconcile that with such experience of life as I had, and the Jungian feeling that things tend to run into one another, that what looks good can be pushed to the point where it becomes evil, and that evil very frequently bears what can only be regarded as good fruit—this was the first time I'd ever seen that sort of thing given reasonable consideration, and it made enormous sense to me. I feel now that I am a person of strongly religious temperament, but when I say "religious" I mean immensely con- scious of powers of which I can have only the dimmest appre- hension, which operate by means that I cannot fathom, in directions which I would be a fool to call either good or bad. Robertson Davies, Interview with Donald Silver Cameron (Davis 82) Vi/hile it might seem something of an exaggeration to ascribe anything so elaborate as a systematic theology to Robertson Davies's The Deptford Trilogy, there is such a large component in it of metaphysical speculation as to the role of the sacred in temporal affairs that it would be difficult to think of a more appropriate term. -
Cumulative List of Jury Members For
CUMULATIVE LIST OF PEER ASSESSMENT COMMITTEE MEMBERS FOR THE GOVERNOR GENERAL'S LITERARY AWARDS LISTE CUMULATIVE DES MEMBRES DES COMITÉS D’ÉVALUATION PAR LES PAIRS POUR LES PRIX LITTÉRAIRES DU GOUVERNEUR GÉNÉRAL YEAR CHAIRPERSON ENGLISH SECTION FRENCH SECTION ANNÉE PRÉSIDENT SECTION ANGLAISE SECTION FRANÇAISE 1958 Donald Grant Northrop Frye (Chair/prés.) Guy Sylvestre (Chair/prés.) Robertson Davies Jean-Charles Bonenfant Douglas LePan Robert Élie 1959 Donald Grant Northrop Frye (Chair/prés.) Guy Sylvestre (Chair/prés.) Robertson Davies Jean-Charles Bonenfant Douglas LePan Roger Duhamel 1960 Guy Sylvestre Northrop Frye (Chair/prés.) Roger Duhamel (Chair/prés.) Alfred Bailey Jean-Charles Bonenfant Robertson Davies Clément Lockquell 1961 Guy Sylvestre Northrop Frye (Chair/prés.) Roger Duhamel (Chair/prés.) Alfred Bailey Léopold Lamontagne Roy Daniells Clément Lockquell 1962 Northrop Frye Roy Daniells (Chair/prés.) Roger Duhamel (Chair/prés.) F.W. Watt Léopold Lamontagne Mary Winspear Clément Lockquell 1963 Northrop Frye Roy Daniells (Chair/prés.) Roger Duhamel (Chair/prés.) F.W. Watt Léopold Lamontagne Mary Winspear Clément Lockquell 1964 Roger Duhamel Roy Daniells (Chair/prés.) Léopold Lamontagne (Chair/prés.) F.W. Watt Bernard Julien Mary Winspear Clément Lockquell 1965 Roger Duhamel Roy Daniells (Chair/prés.) Léopold Lamontagne (Chair/prés.) F.W. Watt Bernard Julien Mary Winspear Adrien Thério 1966 Roy Daniells Robert Weaver (Chair/prés.) Léopold Lamontagne (Chair/prés.) Henry Kreisel Jean Filiatrault Mary Winspear Bernard Julien 1967 -
Proquest Dissertations
UNIVERSITY OF CALGARY Prize Possession: Literary Awards, the GGs, and the CanLit Nation by Owen Percy A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF ENGLISH CALGARY, ALBERTA JANUARY 2010 ©OwenPercy 2010 Library and Archives Bibliotheque et 1*1 Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington OttawaONK1A0N4 OttawaONK1A0N4 Canada Canada Your file Votre inference ISBN: 978-0-494-64130-9 Our file Notre r6f6rence ISBN: 978-0-494-64130-9 NOTICE: AVIS: The author has granted a non L'auteur a accorde une licence non exclusive exclusive license allowing Library and permettant a la Bibliotheque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par Nnternet, preter, telecommunication or on the Internet, distribuer et vendre des theses partout dans le loan, distribute and sell theses monde, a des fins commerciales ou autres, sur worldwide, for commercial or non support microforme, papier, electronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in this et des droits moraux qui protege cette these. Ni thesis. Neither the thesis nor la these ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent etre imprimes ou autrement printed or otherwise reproduced reproduits sans son autorisation. -
Toronto As Neglected Factor in International Cultural and Intellectual History
MID-ATLANTIC JOURNAL OF CANADIAN STUDIES (1986) 55-70 Toronto as Neglected Factor in International Cultural and Intellectual History Dr. Tomas W. Cooper It is enti e!" #$ssi%!e t&'t T$ $nt$( )* in+ t&e 1950s t& $*+& t&e 1980s( &'s # $,ided 's -*.& inte!!ect*'! di,e sit"( insi+&t( 'nd . $ss-disci#!in' " inte /'ce 's 'n" cit" in N$ t& A-e i.' 'nd #$ssi%!" t&e 0$ !)1 2e &',e &e' d -*.& '%$*t 3e ke!e"( C'-% i)+e( St'n/$ )( 'nd 5 incet$n( %*t !itt!e '%$*t T$ $nt$1 6e $*t#$* in+s $f F "e 'nd D',ies( t&e Innis/McL*&'n .$ es#$ndence( J$&n Le"e !e's Cent e /$ Medie,'! St*dies( 'nd t&e 9'!*es : $*# $f t&e 1940s ' e '-$n+ t&e &i+&!" in<*enti'! .$nste!!'ti$n $f inde#endents 0&$se .$!!ecti,e 0$ k t$*.&es 0$ !d t&$*+&t1 Re.$+niti$n( ese' .&( 'nd 0 itin+s s* $*ndin+ t&e .$!!ecti,e in<*ence $f t&is *n.$nsci$*s .$--*nit" is ,it'! 'nd $,e )*e1 C'n'di'n in<*ence *#$n t&e United St'tes in.!*des t&e in,isi%!e in<*ence $f ide's( .*!t* '! #'tte ns( 'nd # $+ '--in+1 6e ess'" be!$0 0i!! /$.*s e=.!*si,e!" *#$n C'n'di'ns in T$ $nt$ 'nd )$.*-ent t&e in<*ence $f t&e .'se $f !e'din+ .&' 'cte s *#$n U1S t&$*+&t 'nd .*!t* e1 At t&e $*tset .!' i>.'ti$n is e?*i ed e+' din+ *s'+e $f t&e 0$ ds @T$ $nt$ni'n@ 'nd @in<*ence1@ C$--ent' " e+' din+ t&e infuence $f indi,i)*'!s 'nd instit*ti$ns &$*sed in T$ $nt$ (&ence T$ $nt$ni'n)( )$es n$t &$!d 's # e e?*isite t&'t t&e indi,i)*'! be %$ n 'nd e)*.'ted in T$ $nt$( n$ t&'t t&e instit*ti$n be /$*nded n$ e,en ')-iniste ed %" n'ti,e T$ $nt$ni'ns1 Rat&e AT$ $nt$ni'n in<*enceB infe s t&'t t&e # i-' " indi,i)*'!s 'nd instit*ti$ns dis.*ssed ' e $ 0e e %'sed in T$ $nt$ /$ 't !e'st $ne de.'de )* in+ t&e &ei+&t $f t&ei ese' .&( $*t e'.&( 'nd e.$+niti$n1 A!t&$*+& -'n" T$ $nt$ni'ns 0e e %$ n 'nd e)*.'ted /' / $- T$ $nt$( '!! e-e +ed 'n) <$0e ed 0it&in t&e T$ $nt$ inte!!ect*'! 'nd .*!t* '! -i!ie*1 6ei % e'kt& $*+&s( -'C$ #*%!i.'ti$ns( 'nd si+ni>.'nt -eetin+s $..* ed in T$ $nt$1 N$ t& $# F "e is #e &'#s t&e -$st $*tst'ndin+ e='-#!e $f .$ntin*in+ in<*ence *#$n United St'tes 'nd indeed inte n'ti$n'! s.&$!' s&i#1 6e 0$ !d- en$0ned # $fess$ ( '*t&$ ( 'nd !ite ' " . -
Macmillan, 1985. Pp.436
Patricia Monk Review Article Robertson Davies Recently What's Bred in the Bone. By Robertson Davies. Toronto: Macmillan, 1985. Pp.436. $22.9~i. The Papers of Sam~·el Marchbanks. By Robertson Davies. Toronto: Irwin Publishing, 1985. Pp.540. $24.95. Robertson Davies. By Michael Peterman. Twayne World Authors Series TW AS 780. Eioston: Twayne Publishers 1986. Pp.178. $19.95. In What's Bred in the Bone, Davies's fiction exhibits more strongly than ever before the "savage and often melancholy wisdom" for which, in the persona of Samuel Marchbanks, he once praised the operas of Gilbert and Sullivan. It is perhaps appropriate, therefore, that Davies's latest novel should appear simultaneously with his rumbus tious Doppelganger s Papers, for the cord that links them is clearly intact and influence~~ are running both ways. What's Bred in the Bone is the second volume in the Spook trilogy, which began with the story of the events following the death of Francis Cornish in The Rebel Angels (1981). Opening some time after the end of The Rebel AngeL, What's Bred in the Bone begins with Francis's official biographer, Si m on Darcourt (whom we have previously met as one of the two eo- :tarrators of The Rebel Angels), attempting to explain why the biography is not going well and despairing of ever being able to discover what was "bred in the bone" of his subject. What's Bred in the B'Jne then doubles back in time, however, and gives us the life of Francis Cornish, as it is reviewed by the Angel of Biography, the Les1;er Zadkiel, and by Francis's personal tutelary spirit, the Daimon Maimas. -
The Canadian Forces' Decorations
The Canadian Forces’ Decoration Christopher McCreery Foreword by His Royal Highness The Duke of Edinburgh CONTACT US To obtain more information contact the: Directorate of Honours and Recognition National Defence Headquarters 101 Colonel By Drive Ottawa, ON K1A 0K2 http://www.cmp-cpm.forces.gc.ca/dhr-ddhr/ 1-877-741-8332 DGM-10-04-00007 The Canadian Forces’ Decoration Christopher McCreery Foreword by His Royal Highness The DukeThe Canadian of Edinburgh Forces’ Decoration | i Her Majesty Queen Elizabeth II wearing her uniform as Colonel- in-Chief of the Scots Guards during a ceremony of Trooping the Colour in London, United Kingdom. The Canadian Forces’ Decoration she received as a Princess in 1951 can be seen at the end of her group of medals The Canadian Forces’ Decoration Dedication ...............................................................................................iv Frontispiece ................................................................................................v Foreword H.R.H. The Duke of Edinburgh, KG, KT, PC, OM, GBE, AC, QSO, GCL, CD, ADC ..............................vii Preface General Walter Natynczyk, CMM, MSC, CD .........................ix Author’s Note ................................................................................................x Acknowledgements ...............................................................................................xi Introduction .............................................................................................xiii Chapter One Early Long Service -
Tech Tools Enhance Services Screens, Videos Increase Participation
PAGE 2 PAGE 3 PAGE 6 Caribbean festival Old storefronts Priest bridges starts at church given new life great divide TheTHE NEWSPAPER OF THE DIOCESE OF TORONTO A A SECTION OF THE ANGnLICAN JOURNAL g l www.tiorontoc.anglican.ca n SEPTEMBER 2014 Tech tools enhance services Screens, videos increase participation This is the first in a series on how the diocese’s Our Faith-Our Hope: Re-Imagine Church cam - paign is helping churches pro - claim and live out the Gospel in new ways. BY STUART MANN ON Father’s Day, the 11 o’clock congregation at St. Paul on-the- Hill, Pickering, sat in rapt atten - tion as some young people from the parish talked about why they liked their fathers. It was a de - lightful moment, bringing smiles to many. The difference was, the chil - dren were speaking in a short video that was shown on an elec - tronic screen at the front of the Parishioner Bill Bradbury operates the video camera and inputs the liturgy wording from the control desk at St. Paul on-the-Hill, Pickering. PHOTO church. With expert lighting, BY MICHAEL HUDSON sound and editing, they were able to tell their stories – and the con - out the building, including the camera technology, enabling it to addition to broadcasting the serv - morning. gregation was able to watch and parish hall. This helps with over - broadcast the service on screens ice, we can show things like pre - The church is using technology listen to them -- in a powerful way. flow crowds for things like wed - in the sanctuary. -
150 Canadian Books to Read
150 CANADIAN BOOKS TO READ Books for Adults (Fiction) 419 by Will Ferguson Generation X by Douglas Coupland A Better Man by Leah McLaren The Girl who was Saturday Night by Heather A Complicated Kindness by Miriam Toews O’Neill A Fine Balance by Rohinton Mistry The Handmaid’s Tale by Margaret Atwood Across The Bridge by Mavis Gallant Helpless by Barbara Gowdy Alias Grace by Margaret Atwood Home from the Vinyl Café by Stuart McLean All My Puny Sorrows by Miriam Toews Indian Horse by Richard Wagamese And The Birds Rained Down by Jocelyne Saucier The Island Walkers by John Bemrose Anil’s Ghost by Michael Ondaatje The Jade Peony by Wayson Choy Annabel by Kathleen Winter jPod by Douglas Coupland As For Me and My House by Sinclair Ross Late Nights on Air by Elizabeth Hay The Back of the Turtle by Thomas King Lives of the Saints by Nino Ricci Barney’s Version by Mordecai Richler Love and Other Chemical Imbalances by Adam Beatrice & Virgil by Yann Martel Clark Beautiful Losers by Leonard Cohen Luck by Joan Barfoot The Best Kind of People by Zoe Whittall Medicine Walk by Richard Wagamese The Best Laid Plans by Terry Fallis Mercy Among The Children by David Adams The Birth House by Ami McKay Richards The Bishop’s Man by Linden MacIntyre No Great Mischief by Alistair Macleod Black Robe by Brian Moore The Other Side of the Bridge by Mary Lawson Blackfly Season by Giles Blunt The Outlander by Gil Adamson The Book of Negroes by Lawrence Hill The Piano Man’s Daughter by Timothy Findley The Break by Katherena Vermette The Polished Hoe by Austin Clarke The Cat’s Table by Michael Ondaatje Quantum Night by Robert J. -
Ms Coll 00050 Davies (Robertson) Papers 1
Ms Coll 00050 Davies (Robertson) Papers Robertson Davies Papers (gift of June Davis) Dates: 1929-2008 Extent: 115 boxes (22 metres) Biographical Description: Robertson Davies was born in Thamesville, Ontario in 1913 and was the third son of W. Rupert Davies and Florence Sheppard McKay. Davies’ father, Rupert Davies was born in Wales and was the publisher of The Kingston Whig Standard and was appointed to the Senate as a Liberal in 1942, a position he would hold until his death in 1967. As a young child, Robertson Davies moved with his family to Renfrew, Ontario, where his father managed the local newspaper, the Renfrew Mercury. The family would later relocate to Kingston in 1925. Between 1928 and 1932, Davies attended Upper Canada College in Toronto, where he performed in theatrical performances and wrote and edited the school paper, The College Times. After graduating, Davies attended Queen’s University in Kingston, where he was enrolled as a special student as he was not working towards a specific degree. Between 1932 and 1935, Davies wrote for the school paper and performed and directed theatrical plays. In 1935, Davies traveled to England to study at Baillol College at Oxford, where he was enrolled in a Bachelor of Letters degree. At Oxford, Davies performed with the Oxford University Dramatic Society and was a co- founder of the Long Christmas Dinner Society. After graduating in 1938, Davies published his thesis, Shakespeare’s Boy Actors through the publisher J.M Dent & Sons in 1939. In 1938, Davies joined the Old Vic theatre company, where he had roles in The Taming of the Shrew, She Stoops to Conquer, and A Midsummer Night’s Dream and also worked as a teacher of dramatic history at their drama school. -
A CYCLE COMPLETED the Nine Novels of Robertson Davies
A CYCLE COMPLETED The Nine Novels of Robertson Davies George Woodcock GLENDOWER : I can call spirits from the vasty deep. HOTSPUR: Why, so can I, or so can any man, But will they come if you do call to them? GLENDOWER : Why, I can teach you cousin, to command The devil. HOTSPUR : And I can teach thee, coz., to shame the devil By telling truths : tell truth and shame the devil. (William Shakespeare, Henry IV, Part 7, in.i.53-59) W THE PUBLICATION in the autumn of 1988 of The Lyre of Orpheus, Robertson Davies has completed the third of his fictional trilogies, each centred on a different Ontario town, and each dominated by a central group of characters through whose varying perceptions and memories the current of events that characterizes the trilogy is perceived. The completion of the triple triad is, as Davies has undoubtedly recognized, an event that stirs a multitude of numerological, folkloric, and mythological echoes. Nine was one of the three mystical numbers of the Pythagoreans, and though three was a perfect number which Pythagoras made the sign of the deity, nine had its specific significance as a trinity of trinities, the perfect plural. For Pythagoras, and later for the great classical astronomer Ptolemy, the universe moved in nine spheres. In various contexts we find the number particularly associated with inspiration and imagination. There were nine Muses, nine Gallicenae or virgin priestesses of the Druid oracles, and nine Sibylline books transmitted from Cumae to Rome. Echoed constantly in Davies' novels is the ancient concept of a nine day's wonder: as the old proverb has it, "A wonder lasts nine days, and then the puppy's eyes are open." But most relevant of all in considering The Lyre of Orpheus as the last Davies novel to date — and perhaps the last of the kind to which we have become accus- tomed since Fifth Business appeared in 1970 — is the role which nine plays in music, for nine was the Pythagorean diapason, man being the full chord, or eight notes, and nine representing the deity, ultimate harmony.