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Introduction Introduction E.J. Pratt's eminence in Canadian literary history rests on the firm foundation of his poetry, but, as both David G. Pitt's two- volume biography E.J. Pratt: The Truant Years, 1882-1927 and E.J. Pratt: The Master Years, 1927-1964 and Lila Laakso's 'Descriptive Bibliography' have documented, Pratt also wrote extensively in prose. 1 Undeniably of interest for the light it casts on Pratt as poet, his prose also has merit in its own right. The title I have created for this selection of his prose, 'Pursuits Amateur and Ac- ademic,' is intended to reflect two dimensions of his character and writing: the more playful side represented in personal and informal stories and essays like '"Hooked": A Rocky Mountain Experience' and 'Golfomania,' and the scholarly side evident in his formal theological, psychological, and literary prose. The .23 August 1907 edition of the St John's Daily News carried Pratt's earliest known publication, a prose work entitled' A North- ern Holiday.'2 Though in most respects amateurish, it already dis- plays what was to become a characteristic of Pratt's narrative tech- nique, namely, the laying of a groundwork of realistically de- scribed circumstances or phenomena (in this case a description of Notre Dame Bay in Newfoundland, where he had gone to ped- dle his notorious Universal Lung Healer in order to finance his education) before a flight of comic fancy. The fanciful flight here is an account of Newfoundland's answer to the mainland rattle- xvi Introduction snake: an oversized mosquito with an equally oversized appe- tite. Pratt's planned career as a clergyman provided him with a pre- text - and the financing - for a visit to the prairies, but his passion for the secular word prompted the literary reconstruction of the adventures and misadventures of that enterprise. The title of the piece, 'A Western Experience,' suggests that Pratt conceived it in the same mode as, and perhaps even as an extension of, the earlier newspaper article. The humorously presented dramatic struggle between the East, in the form of a tourist disguised as a student minister, and the West, embodied in a creature 'qual- ified, by both heredity and education, as a broncho' (6), is again characteristic Pratt. His exploiting the comic potential of juxta- posing Canadian character types anticipates the Leacock who makes humorous fare of such comparisons as that of city with town or Maritimers with Mariposans in the Pupkin episodes of Sunshine Sketches of a Little Town (1912). Moreover, Pratt's bringing together of Eastern and Western Canada predates by over a quar- ter century Leacock's My Discovery of the West: A Discussion of East and West in Canada (1937), of which the opening and closing chap- ters and intermittent paragraphs share the exuberant spirit of Pratt's comic expose of East gone West.J Like 'A Western Experience,' "'Hooked": A Rocky Mountain Experience' can be read as high-spirited autobiography - in this instance slightly transmuted - and readers can find an account of the factual basis of all three early works in The Truant Years. However, the precedence given to character-typing over facts in- vites a different kind of reading. Instead of full names and exact dates, the reader is first offered the information that 'three men were seated around a blazing log-fire one cool, still night in June ... ' (11), and then invited to know the men as a Westerner by the name of Dan and two Easterners identified only as 'Scotty' and 'Irish' or 'the Hibernian.' As a portrait of male camaraderie of the type Pratt so clearly enjoyed, 'Hooked' has its interest, but the understated ironies and hyperbolic diction of the narrative also encourage the attention of those studying the development of Pratt's characteristic tone and style. Introduction xvii The ironic tone and blending of fact and comic exaggeration in these stories prompt further comparison with such Leacock prose as those sketches gathered under the subtitle 'Travel and Movement' in Winnowed Wisdom or the later work 'What Can Isaak Walton Teach Us?' from Last Leaves . The Smiths and Joneses of Leacock's 'The Gasoline Goodbye,'4 for instance, are as generic and subservient to comic narrative purpose as Scotty and Irish of Pratt's 'Hooked.' The strong sense of a speaking voice, which is a hallmark of Leacock's narrative style, is also a feature of the Pratt prose gathered in Section A, though Pratt's narrators are less studiously funny than the characteristic Leacock persona. The cultivated but whimsical personality projected through the speaking voice of 'What Can Izaak Walton Teach Us?'s is, how- ever, markedly like that projected in Pratt's'A Northern Holiday' and' A Western Experience.' David Pitt has already pointed to the Leacockian touches in Pratt's early prose (TY Bo and 94), but the opportunity for a more detailed comparison exists and will, I hope, be facilitated by the present work. Less prolific a writer than Leacock, Pratt none the less can usefully be compared with him on several grounds in addition to those just sketched. Leacock published extensively both as a 'professor of political science and economics' and as a humorist, and Pratt, the erstwhile theologian.;,and-psychologist- turned-literary-scholar, left a written record of his work in all three academic disciplines, in addition to the poetry for which he is primarily remembered. As professors, both were generally indifferent scholars, though their academic writing on occasion records memorable insights and ideas. Their popularity as lec- turers, however, probably rested a good deal more on their skills and reputations as witty speakers than on their originality of thought in their respective disciplines. Academic writing is the foundation of Pratt's multidimen- sional career as a prose writer, and much of his later work is of this type. His earliest academic prose extant is the result of his study for the Methodist ministry. His master's thesis, 'The Demonology of the New Testament in Its Relation to Earlier De- velopments, and to the Mind of Christ,' was shaped by contem- xviii Introduction porary progressive Christian theology's concern with recon- structing the historical Jesus. The demystifying work of scholars like David Friedrich Strauss, author of Das Leben ]esu [The Life of Jesus] (1835-6, trans. 1848), must have appealed to that dimension of Pratt that sought to bring together scientific methods and hu- manistic concerns. Undoubtedly the value of Pratt's own theo- logical writings today is largely if not exclusively limited to their ability to illuminate one part of the intellectual background of his poetry. In E.J. Pratt: The Evolutionary Years, Sandra Djwa links Pratt's mas- ter's thesis with his need to come to terms with the demonic forces of nature that assault humankind from without, and, in the form of atavistic impulses, threaten civilization, or at least civilized behaviour, from within.6 The portions of the thesis ex- tracted here, however, show that the interest of this material for Pratt scholars extends beyond such links, because the thesis stud- ies the relationship between myth, allegory, and history, as well as the psychology of interpretation. Pratt expressly dismisses wholly mythic, allegorical, or reputedly objective historical ac- counts of the demonological narratives, and offers instead his own 'natural' explanation of how these narratives function: 'The nat- ural explanation is not the choice of one and only one alternative, not all myth or all history, all allegory or all fact, but rather an historical incident coloured by subjective prepossessions, and reported through the medium of a crude popular vocabulary, steeped in mythical notions inherited from the past' (18). Clearly the work Pratt did for his master's thesis offered him an early opportunity to understand some ways in which elements of myth, allegory, and history could be blended in a compelling narrative, a lesson that would stand him in good stead when he came to write his historical narrative poems. The master's thesis is also of interest for the indications it gives of a mind already fascinated with language and poetry, and quite capable of recognizing sentimental excess in 'the poetry of the Christian pulpit' (.20) when he encountered it. The thesis makes clear Pratt's well-developed awareness of the crucial link between form and meaning, when, in seeking to establish the Introduction xix grounds on which an argument about Christ's view of demons could be built, Pratt asserts, 'The form of the language in which Christ expressed his thought would make all the difference in the world to a question of interpretation' (2.4). Pratt's doctoral dissertation, Studies in Pauline Eschatology and Ifs Background, yields even more evidence of the incipient poet, for his attraction to Paul seems in no small part to have been based on his admiration for the apostle's skills with language: 'The fig- ures of speech, the striking similes, the illuminating illustrations that light up the epistles are a lasting monument to his skill in driving home a message as they reflect the range of his intellectual insight, and practical sagacity. His burning ethical exhortations place under tribute the whole field of Jewish, Roman, and Greek metaphor' (33). The work dwells at some length on the imagery that both Paul and his spiritual forebears used to convey certain theological concepts, and is in fact primarily an examination of Paul's language, most centrally the terms 'spirit' and 'soul.' In support of his particular line of inquiry Pratt cites Adolf Deiss- mann's assertion that '[o]ne might write the history of religion as the history of religious terms, or more correctly, one must apprehend the history of religious terms as being a chapter in the history of religion' (31).
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