What, then, is the status of Canadian poetry in the poetry of the

Empire? Canadian nature-poetry, in variety of theme, substance, color,

imagery and artistry, at its best, surpasses that of the other

Dominions. Much of Overseas poetry is concerned with social life. In the

past Canadians displayed an insistent sense of a call to work out their

own destiny, and a profound pride in the resources and institutions of

their country. In the verse of Canadian poets the ‘note’ in this regard

is somewhat too insistent, almost strident. But the stridency of the

national ‘note’ is nothing compared with another defect. The moral

earnestness of Canadian poets is so obtrusive that it either causes a

neglect of form in order to get the important thing said, or it

effervesces in insincere and melodramatic utterances. Australian, New

Zealand, and South African poets do not exhibit the same intense

consciousness nationality and destiny. They still hold to the idea of

the Motherland, still feel their connection with the Old Country. For

this reason they write of social life in their respective countries with

more objectivity than do the Canadians, revealing the joys and humor and

pathos of life with a realism that is veracious and sincere.

So far no Overseas poetry, Canadian or other, has contributed anything

novel or original to the forms and aesthetic values of English poetry.

In this respect no Overseas poetry is ‘great’ poetry, although much of

it is genuinely ‘real’ and excellent poetry. But in aesthetic content,

as in its Nature-painting or Nature-psychology, and in moral substance,

all Overseas poetry—all the best of it—is admirable. Canadian poetry,

however, ranks highest, particularly in self-reliance, in faith in the

land and the people, in serenity and a profound trust in the

providential government of nations that love righteousness and pursue

it.

Summarily: Canadian poetry, excepting the realism of Service, is the

sincerest poetry written in the Overseas Dominions of the British

Empire. It is not always the most joyous, the most winning, the most

moving, or the most transporting. But it is the most sincere and serene,

and, therefore, the most satisfying, verse in the poetry of the British

Overseas Dominions.

CHAPTER XXVIII

Essayists _and_ Color Writers

THE ESSAYISTS AND COLOR WRITERS OF CANADA—CARMAN—MACMECHAN—

BLAKE—KATHERINE HALE—KING—DEACON—LEACOCK.

Canadian essays, familiar studies of life and manners, or essays in

_belles lettres_, are too meagre in quantity and too ephemeral or slight

in aesthetic substance as yet to be significant. Pure criticism of fine

arts, including literature, is also slight in quantity and insignificant

in form and substance. Both literary criticism and essays in

_belles-lettres_ are possible only under certain social and mental

conditions. There must be a considerable degree of economic independence

and leisure so as to permit writers to view Nature and existence with

detachment. The writers themselves must be specially gifted with a light

literary touch, a delicate sensibility to impressions from Nature and

character, and a refined sense of the relative values of good and evil,

tragedy and comedy, in the world, a whimsical or gracious humor and a

faculty for gentle revery. In short, detachment, an eye for beauty in

Nature and the human spirit and a genuine humor are necessary in writers

who would achieve distinction in the field of the Familiar Essay and in

Belletristic Literature. In Canada, however, where life is strenuous and

where men and women must take pragmatic or moralistic attitudes to

existence, detachment, humor, and a light touch are rarely possible. The

result is that the belletristic literature of Canada is slight and as

yet insignificant.

The most notable work of the kind appears to be the essays of Bliss

Carman. He has published four volumes, considerable in quantity, on the

philosophy of Nature and the Spirit, distinguished by a clear,

well-knit, and readable prose style, and rich in poetic suggestiveness

and spiritual power. These volumes are _The Kinship of Nature_, _The

Friendship of Art_, _The Poetry of Life_, and _The Making of

Personality_. Plato, the Greek Gnostics and Mystics, and the

Transcendentalism of Emerson informed Carman’s heart and sublimated his

imagination pantheistically and mystically. Carman applied his poetic

imagination to a special philosophical interpretation and appreciation

of Man’s kinship with Nature, and of the metaphysical meaning of the

human personality or spirit in its relation to Nature and the universe.

In truth, Carman’s prose and poetry are related as the converse and

obverse sides of his inner being. Indeed the secret of the inner springs

of his lyricism is to be discovered beautifully, lyrically, expressed in

his prose essays.

But Carman’s essays are not prose poetry. He did not attempt, as Roberts

attempted in his prose, to write impressionistic prose. Carman does not

aim at mere color-writing for its own sake. What he attempts and

achieves is a subtle analysis of the history of the spirit in its

relations to man and to God and the whole universe. Because this was his

aim, Carman was solicitous about his style—especially about clarity of

diction and pure beauty of imagery, and about the simplicity and

readableness of the structure of his sentences. In short, Carman’s prose

style has the same simplicity and directness and chaste beauty of

imagery and spiritual exaltation which we find in his lyrics. For this

reason we may signalize Carman’s prose as ‘lyrical’ prose. But we are by

no means to allow this epithet to connote anything like sensuous

impressionism or vague imagination. It is all solid, if sublimated,

thought about profound matters, addressed to the imaginative reason or

the religious imagination, and addressed in a style so clear and direct

and so emotionally pure that it affects the heart and the imagination

lyrically.

An essayist in another style is Archibald MacMechan. Dr. MacMechan has

published two volumes, _The Porter of Bagdad_ (1901) and _The Life of a

Little College_ (1914); and he has published several booklets of essays

in a series of ‘chap books.’ Dr. MacMechan is unsurpassed in Canada as a

writer of the Light Essay. He differs of course from Carman in bent of

genius as an essayist. Carman employs the religious or metaphysical

imagination and appeals to our sensibilities. Dr. MacMechan employs the

fancy. His essays are essentially, as he indicates in the title of _The

Porter of Bagdad_, ‘fantasies’ or reveries. His style has a lightness of

touch which is inviting and ingratiating, and he has a delicate and

pleasant gift of humor. He is hardly Addisonian, but the substance of

his essays, their diction, and the movement of his sentences engage the

attention and delight the sense of form with the readiness and pleasant

intrigue of the essays of Addison.

Not in so light a style and not with such playful fancy as Dr.

MacMechan’s are the essays of W. H. Blake, widely known as the

translator of Louis Hémon’s romantic idyll of French Canada, _Maria

Chapdelaine_. Mr. Blake’s _Brown Waters and Other Sketches_, _In a

Fishing Country_, and _A Fisherman’s Luck_ indicate the scope and method

of his essays. They are ‘sketches’ of objective experiences. They are

not fantasies or reveries. The intellect, rather than the fancy, is the

creative faculty most employed in them. Mr. Blake’s essays, therefore,

have not the lightness and the limpidity of MacMechan’s but they contain

happy revealments of Nature in Canada and of the human spirit against a

background of Nature. At times, they contain patches of engaging

‘color-writing.’

In the field of systematic ‘color-writing’ Katherine Hale is an artist

by herself. In aesthetic criticism Katherine Hale’s _forte_ had always

been a gift of causing the imagination and sensibilities to appreciate

one art, say, music, in terms of another art, say, painting. Her musical

criticism is not musical, but _literary impressionism_. Its effect all

depends upon suggestion, particularly suggestion of color. When,

therefore, Katherine Hale turned to employ her pictorial imagination in

a field where the sense of color in Nature and of the ‘color of life’

would be absolutely free and directly at home, she produced work which

is unique in its kind, as in her _Canadian Cities of Romance_ (1922).

The romance in this case is not the romance of sentiment and of wonder

and of curiosity. It is the romance that exists for the eyes which

perceive beauty in ancient by-ways, strange and eerie places, and in the

dress, manners and habits of peculiar peoples in towns and cities which

still retain a residue of an old and lost civilization and culture. Her

_Canadian Cities of Romance_ is a book by which to transport the

pictorial imagination and to win the imaginative eye with aesthetic

delights of ‘color’ in character, incident, and the dramatic movement of

life. Her literary style is piquant, swift-moving, realistically

faithful and yet suffused with tints from Nature’s palette and with

imaginative light. Its analogue is found in the travel essays of E. V.

Lucas.

In another form of the Essay, namely, the Practical, Reflective Essay,

very little has been achieved, because rarely attempted, in Canada.

Canadians do not seem to have the same desire as their cousins in the

United States for homilies or practical preachments on the secret of

‘getting along’ in the world. An excellent, if singular, example of the

Practical, Reflective Essay is _The Secret of Heroism_ by the Rt. Hon.

MacKenzie King, Premier of Canada. _The Secret of Heroism_ is a

biography of a human spirit, which, having served nobly on earth,

passed, and in passing left the effluence of his life, which is still

potent, to win men to the love of ‘otherworldliness.’ Aside from the

matter, it is notable as an example of what is rare in Canadian prose,

namely, ‘infused’ style, which requires that the matter and the form,

the thought and the expression, be indivisible.

A pragmatic people, as are the Canadians, have little or no taste for

the Whimsical Essay. The matter of the whimsical essay counts for

nothing. Its appeal is altogether by way of piquancy in what is said.

Piquancy—not mordancy! For mordancy would only make what is said

satiric, and cause pain. The whimsical essay must cause mere smiles and

chuckles. It must be _clever_—and nothing more. Canadians are beginning

to turn more and more to this form of Essay. Its character and manner

are well exemplified in William A. Deacon’s _Pens and Pirates_ (1923).

The essays in this volume have novelty of theme, over which plays

precisely the light of a ‘whimsical’ fancy and humor. They are informed,

however, with the strictly literary color of allusion and quotation from

the poets and prosemen of all ages to the present, but in such an

incidental and light way that there is no show of pedantry. The allusion

and quotation are natural to Mr. Deacon’s professional office as a

reviewer of contemporary literature. His style is journalistic in the

French sense—‘style _coupe_’—as regards sentence length. But he adds a

piquancy to it which makes it somewhat ‘winged’ and which thus

pleasantly engages the sensibility.

No Canadian as yet has appeared as a systematic writer of the Critical

Essay. Such essays of this genre as were published have been ‘fugitive,’

and their aim and method have been pragmatic and pedagogical rather than

literary. There is, however, much room and great need in Canada for

systematic Essays in Criticism which shall have dignity of thought,

imaginative light, and grace or power of style, and which in themselves

shall be literature. Thomas O’Hagan’s Essays in _Canadian Literature_

are too fragmentary and didactic to be literature, though they are

literary. L. J. Burpee’s _A Little Book of Canadian Essays_ contains

brief but illuminating critical studies of seven Canadian writers.

Stephen Leacock’s _Essays and Literary Studies_ are too heterogeneous in

theme and too variable (perhaps variegated) in style to be credited with

the dignity of systematic Essays in Criticism. They are interesting but

not weighty literary ‘Studies.’ The master critic has yet to appear in

Canada.

CHAPTER XXIX

Anthologies

CANADIAN BIRTHDAY BOOK (SERANUS)—DEWART’s SELECTIONS FROM

CANADIAN POETS—LIGHTHALL’S ‘SONGS OF THE GREAT DOMINION’—OXFORD

BOOK OF CANADIAN VERSE—GARVIN’S CANADIAN POETS, ETC.

Every anthology of national literature must be critically appreciated

from the point of view of the aim of the author. Properly, according to

the roots of the word anthology, care, and even fastidiousness, are

implied on the part of the compiler. The world-famous collection of

Greek verse known as _The Greek Anthology_ is properly, that is both

etymologically and aesthetically, an ‘anthology.’ For the poems in it

were most carefully chosen before being collected together; and they

were selected strictly according to ideals of beauty in thought and

expression. So that the term anthology hardly if ever applies strictly

to the so called anthologies of Canadian verse. As a matter of fact such

collections of Canadian verse as have been compiled, actually do not

bear the title anthology; they bear some such title as ‘A Treasury,’ or

‘A Wreath,’ or ‘Flowers,’ of Canadian Verse. Sometimes the collections

have the plainest of practical titles, such as _Canadian Poets_ or

_Canadian Singers and Their Songs_, or _The Oxford Book of Canadian

Verse_.

It is quite irrelevant and an elaboration of the obvious to dispraise,

as some Canadian critics have done, the contents of certain anthologies

of Canadian poetry, as of ‘unequal merit.’ They might as well say that

the culture and the cultural institutions of Canada are of ‘unequal

merit.’ Relatively to the poetry of old civilizations the poetry of

Canada is poor or mediocre or indifferent or fine in aesthetic substance

and artistic structure and form according to the culture and genius of

the country’s poets. Secondly, all Canadian anthologies, whether the aim

was to select the very best of the very best poetry or to select

representative poems from each period or all periods, contain poetry

which is not all on the same level of excellence.

The first anthology to engage public attention and to win critical

appreciation was a book which now belongs to the _rarissimae_ of

collectors of ‘Canadiana,’ namely, _The Canadian Birthday Book_, by

‘Seranus’ (pseudonym of Mrs. S. Frances Harrison), published at Toronto

in 1887. It was compiled, with exquisite taste, in both English and

French; and it is notable for the fact that its selections date as far

back as the year 1732, with a poem by Jean Taché who, as the compiler

has said in her notes, is ‘probably the first French-Canadian poet to

publish.’ It is notable also for the fact that it contains some verses

by the Indian Chief Tecumseh, and is, likewise, one of the earliest

volumes to contain the work of such poets as Bliss Carman, Wilfred

Campbell, Pauline Johnson, and Archibald Lampman. In a real sense, that

is, in the Greek sense of the term, the _Canadian Birthday Book_ is the

first Canadian anthology. The poems in it, are dainty in themselves and

the artistry of the poems also is dainty—‘little flowers’ of pretty or

beautiful Canadian verse, pioneer, _émigré_, nativistic, and native and

national.

Twenty years before the appearance of Seranus’ miniature anthology Rev.

Edward Hartley Dewart published, under the plain title of _Selections

From Canadian Poetry_, what may be called the first treasury of Canadian

verse (1864). Dewart’s _Selections_ was simply a ‘collection’ of poems

for ‘good reading,’ or for pedagogical purposes in the Provinces of

Canada. It was not intended to be received as literary anthology, but

only as a volume of representative poems from the earlier periods of

Canadian history up to the year of publication. Its audience was limited

to Canada and it had only local or provincial appreciation.

The next anthology was W. D. Lighthall’s _Songs of the Great Dominion_

(1889). It was informed with the Canadian outlook on life and national

achievement within the twenty years after the formation of the

Confederacy, and with the Canadian prevision of a national destiny which

seemed implied in the genius of the Canadian people for autonomous

government, in the vast resources of the Dominion, and in the relations

which would inevitably develop between Canada and the United States and

the other nations of the world. The aim of Dr. Lighthall was both

literary and pragmatic. He desired to present to the English-speaking

world the ideals and genius of Canada as these ideals and genius were

embodied and expressed in the best poetry by _émigré_ and by native-born

Canadian poets.

Dr. Lighthall’s inclusive and pragmatic aim determines both the scope

and the method of his aptly named _Songs of the Great Dominion_. In his

Introduction he carefully explains the scope and method of his

anthology. The order of this collection is in sections, treating of the

Imperial Spirit, the New Nationality, the Indian, the _Voyageur_ and

_Habitant_, Settlement Life, Sports and Free Life, Historical Incidents,

Places and Seasons. He says: They give merely, it should be understood,

a sketch of the range of the subjects. Canadian history, for example, as

any one acquainted with Parkman will know, perfectly teems with noble

deeds and great events, of which only a small share have been sung,

whereof there is only space here for a much smaller share. The Northwest

and British Columbia, that Pacific clime of charm—the gold-diggings

Province, land of salmon rivers, and of the Douglas firs which hide

daylight at noonday—have been scarcely sung at all, owing to their

newness. The poetry of the Winter Carnival, splendid scenic spectacle of

gay Northern arts and delights, is only rudimentary also. Those who have

been present at the thrilling spectacle of the nocturnal storming of the

Ice Palace in Montreal, when the whole city, dressing itself in the

picturesque snow-shoe costume and arraying its streets in lights and

colors, rises as one man in a tumultuous enthusiasm, must feel that

something of a future lies before the poetry of these strange and

wonderful elements.’

What Lighthall in his _Songs of the Great Dominion_ attempts to do is

not to present us with a mere quantity of Canadian poetry which we may

receive with delight or reject, but to invite us to the home of the

Canadian National Spirit and to show us what the Canadian spirit, as it

is envisaged and expressed in the poetry of the Dominion since

Confederation, has achieved and means to achieve. One who reads

Lighthall’s anthology cannot escape catching in it glimpses of the

essential Canadian spirit. In the poems in Lighthall’s volume the

Canadian spirit sings clearly its full gamut. We hear the ‘notes’ always

of courage; of self-reliance; of hope; of exultation; and of good cheer

and serenity; and these notes of courage and faith and exultation and

indomitable will and heroism and good cheer and peace in the heart of

man in Canada _are but the antiphons to the voices of the land and the

sea and the forest, the great waters and the sky and the maples, and

elms in their strength and also in their gentler and peaceful humors_.

The Canadian spirit, as evisaged and expressed in the _Songs of the

Great Dominion_, is manly; and the supreme quality of the poetry in

Lighthall’s anthology is the quality of _manliness_. But this is a moral

quality. What of the aesthetic quality of the _Songs of the Great

Dominion_? Agreeing that poets should rise and drop with their subjects,

we note a high level of excellence in thought and in craftsmanship in

the poems in Lighthall’s volume. Considering its scope and the variety

of the subjects and styles of form in the volume, and considering also

its expression of the full gamut of the notes of the Canadian spirit,

Lighthall’s _Songs of the Great Dominion_ not only implies a kind of

creative vision and imagination on the part of the compiler, but

distinctly and unmistakably appeals to the same faculties in the reader.

In other words, Lighthall’s volume delights the heart and the

imagination by way of the intrinsic beauty and the moral substance of

the poetry in it; but it delights more the constructive imagination of

the reader by way of the illumination it sheds on the essential nature,

will, and ideals of the Canadian spirit, of the Canadian people. It

differs in this constructive way from all anthologies of Canadian verse

that have preceded it and all that have followed it. In short,

Lighthall’s _Songs of the Great Dominion_, on the side of embodying and

expressing spiritual essences, is unique amongst Canadian anthologies of

native and national poetry.

_Later Canadian Poems_ (1893), edited by J. E. Wetherell, is a much

slighter volume than Lighthall’s but is significant as an expression of

the new spirit in Canadian Literature, containing, as it does, the first

publication of some of the work of Bliss Carman, Charles G. D. Roberts,

Duncan Campbell Scott, and Pauline Johnson.

It might have been expected that _The Oxford Book of Canadian Verse_

(1913), inasmuch as it was seemingly compiled by Wilfred Campbell, one

of the more important poets of Canada, would be on the level of the

ideal required by the Oxford Press and superior to other anthologies of

Canadian verse. As a matter of fact _The Oxford Book of Canadian Verse_,

as originally compiled by Wilfred Campbell, was not according to the

standard of the Oxford Press. The necessary re-compilation was made by

two hands, Mr. S. B. Gundy, Canadian Representative of the Oxford Press

at Toronto, and J. D. Logan who selected and added fifty poems (Nos. 211

to the end, inclusive) from the work of the younger Canadian poets.

Campbell’s Oxford Press anthology has been frequently appreciated as the

best of the treasuries of Canadian poetry. But how a volume of such

fortuitous origin and construction can be the best of the Canadian

anthologies, passes understanding. As an anthology _The Oxford Book_ is

more than any of the other anthologies of Canadian verse a volume of

poetry ‘of unequal merit.’ But the defect most conspicuous in the book

is psychological rather than artistic, spiritual rather than aesthetic.

It contains 251 poems by 100 poets. It is the slightest of the three

great anthologies, and the most classical. Its contents have dignity,

taste, correctness.

Of the other two chief anthologies—Theodore Harding Rand’s _A Treasury

of Canadian Verse_ (1900) and John W. Garvin’s _Canadian Poets_

(1916)—the Rand anthology was compiled from the point of view of the

history, rather than the aesthetics, of Canadian poetry, whereas the

Garvin anthology was compiled from the point of view of modernity in the

aesthetic substance and artistic construction of Canadian poetry.

Garvin’s volume contains the work of only fifty-two poets, whereas

Rand’s and Lighthall’s contain the work of more than twice that number

of poets. Garvin’s volume is better suited to its century than is any of

the others. It is not only a repository of modern Canadian poetry but

also a critical _vade mecum_ to 20th Century Canadian poetry. For in

addition to the poems in the volume, each poet’s work is prefaced by a

biographical sketch and by critical appreciation or comment by others

than the compiler. The latter fact relieves the critical apparatus

itself of the charge of personal bias on the part of the compiler. The

Garvin anthology, again, is distinguished by a peculiarity of singular

spiritual import. It contains nothing that is not _typical_ of the

Canadian national spirit and Canadian civilization and culture.

Lighthall’s volume, despite its good sense and genuinely aesthetic

quality, had such variety and diversity of ‘notes’ of the spirit in it

that it is hard to distinguish which is the essential note, the typical

voice, and which the ‘overtones’ of the Canadian spirit. _The Oxford

Book_, again, is untypical of the Canadian spirit by way of too many

poems that are ‘poet’s poems’—too much of art for art’s sake. But

Garvin’s _Canadian Poets_ contains the work of such poets, both of the

older and the younger generation, as expresses the typical work of each

of the singers and the typical spirit of the Canadian people. It is a

companionable volume; and it has the distinct advantage of biographical

and critical comment, which fit it, according to its scope, for private

reading and enjoyment and for critical study of the history of Canadian

poetry. In those regards Garvin’s _Canadian Poets_ is an anthology which

is at once aesthetically satisfying and pragmatically the most

serviceable in the field that it covers. Mr. Garvin is also the compiler

of the only anthology of the Canadian poetry of the Great War.

Several other anthologies of Canadian poetry require no more notice here

than to mention their names and scope. L. J. Burpee’s _Flowers From a

Canadian Garden_ is a genuine anthology in the Greek meaning of the

term. It is a bijou anthology containing seventy-five fastidiously

selected short lyrics, lovely ‘little flowers’ of Canadian poetry. The

selections in Mr. Burpee’s _A Century of Canadian Sonnets_ are also most

carefully chosen. E. S. Caswell’s _Canadian Singers and Their Songs_ is

a unique volume of selected poems in fac-similes of the authors’

holograph manuscripts; and is illustrated with portraits of the authors

of the poems. It is essentially a literary curiosity, and meets the

express design of the compiler, namely, to produce a book of

‘personalia’ which would be appreciated as a gift book. Mrs. C. M. Whyte

Edgar’s _A Wreath of Canadian Song_ (1910) is too fragmentary in the

poetry which chiefly forms its substance to be considered a genuine

anthology. Moreover, it is limited to the verse of Canadian poets who

have died. Aesthetically viewed it is a work of no significance; but it

contains historical and bibliographical data that is curious and useful

for critical purposes. _Our Canadian Literature_ (1923) is a collection

of Canadian poetry and prose by Dr. Lorne Pierce and Dr. A. D. Watson.

It is much more valuable as a reading course or class room textbook than

as a treasury of aesthetic poetry and prose. _A Book of Canadian Verse

and Prose_ (1923) is the compilation of Professor E. K. Broadus and Mrs.

Broadus. It is a collection of Canadian poetry and prose in English and

French.

A number of compilations of Canadian poetry and prose have been made

from time to time for school use. Among these are _Patriotic Recitations

and Arbor Day Exercises_, by G. W. Ross; _Selections from Canadian

Poets_ and _Selections from Canadian Prose_, both by E. A. Hardy; _The

Standard Canadian Reciter_, by Donald G. French; _The Canadian Poetry

Book_, by D. J. Dickie.

CHAPTER XXX

Canadian Journalism

CANADIAN JOURNALISM IN RELATION TO PERMANENT CANADIAN LITERATURE;

A SUMMARY CRITICAL HISTORY OF THE CHIEF CANADIAN NEWSPAPERS AND

MAGAZINES.

The question: Are Newspapers and Magazines literature? has various

answers, negative and affirmative. There cannot be any doubt that

Newspapers and Magazines can be literature, because they have been

literature; or that Newspapers and Magazines promote literature, because

they have done this. The fact is that the first journalism in English

was at the very outset literature. _The Tatter_ and _The Spectator_ were

founded in the years 1709 and 1711, respectively. _The Rambler_ was

founded later. These periodicals, whose pages were the popular reading

of the times, and whose pages were made ‘living epistles’ by the pens of

Richard Steele, Joseph Addison, Samuel Johnson, and Oliver

Goldsmith—four of the greatest prose writers of the 18th century—were

the predecessors of the modern Newspaper. Their pages, especially those

of _The Spectator_, combined the functions of a newspaper, a literary

miscellany and a review of society, life, and world happenings. In

particular, Joseph Addison was ‘the father’ of the modern newspaper

‘leader’ and ‘editorial’ and of the special article in theatrical and

art criticism. Samuel Johnson was the inventor of the modern ‘society

page’ and ‘woman’s page’ as we know them in our day. In short, Steele,

Addison, Johnson, Goldsmith, Defoe and others of considerable literary

reputation in the 18th century were the creators of England’s first

‘people’s literature’—a journalistic literature.

Journalism and Magazine writing in Canada began with the same ideals of

scope and literary dignity as obtained in the days of Addison and

Johnson in England. The first newspaper to be established in any of the

Provinces which later became confederated in the Canadian Union was _The

Halifax Gazette_ which was established at Halifax, Nova Scotia in 1752;

that is, 43 years after the founding of _The Tatler_. The first magazine

to be established in Canada was published at Halifax in 1789 and was

named _The Nova Scotia Magazine_. As a newspaper, however, _The Halifax

Gazette_ was devoted chiefly to the publication of military and

governmental intelligence. It was not till Joseph Howe purchased _The

Novascotian_, at Halifax, in 1828, that journalism in Canada harked back

to the ideals of _The Tatler_ and _The Spectator_. Joseph Howe must be

regarded as the first and foremost literary, as well as practical,

journalist in the history of Canada.

It is sufficient here to remark Howe’s strict literary ideals, even as a

journalist, and to observe not only that in his own journalistic writing

he strove after literary form and color, but also that in the writings

of his contributors he saw to it that there was a very considerable

literary flavor. His ideals were emulated by other Canadian journalists,

as for instance Etienne Parent, in Quebec, and George Brown of the

Toronto _Globe_ and Charles Lindsey, in Ontario, and by later

journalists in Canada. Yet we must here emphasize, for our own times,

the inclusiveness of the ideals which inspired Howe and which resulted

in his producing newspapers whose influence abides to this day.

By some sort of intuition, Howe knew, as Addison and Steele before him

knew, that the secrets of successful journalism are two: _Variety_ of

interests in reading matter, and _Readableness_ or the power to hold the

attention by the manner or style of what is written. Howe also had

aesthetic and moral ideals. He aimed to produce journalism that would

entertain and at the same time improve literary taste and educate the

sensibilities and moral imagination. Howe saw that the unpardonable sins

of all newspapers are the lack of humanized matter, and dullness in

style; and that, therefore, no matter how high and worthy the moral aims

of journalism may be, unless a newspaper possesses variety and

readableness, it is doomed to fail both as a newspaper that otherwise

might have endured and as a newspaper that might have been perennially

the voice and the educator of the spirit. In other words, Joseph Howe

saw that the supreme virtues of first rate journalism, the virtues which

raise journalism to the dignity of literature, are two: _Humanity_ and

_Urbanity_.

Five years after the fall of Quebec, that is, in 1764, when Quebec city

had acquired a considerable English-speaking population, the second of

the pioneer Canadian newspapers was established. This was the _Quebec

Gazette_. For seventy-eight years this newspaper was printed in two

languages—English and French. From 1848 till 1880 it was printed wholly

in English. With the coming of the Loyalists, while New Brunswick was

still part of Nova Scotia, there appeared at St. John, in 1783, the

_Royal St. John Gazette and Nova Scotia Intelligencer_. In the following

year, when New Brunswick had become a separate Province, this newspaper

changed its name to the _Royal Gazette & New Brunswick Advertiser_. In

1785 the _Gazette_ was established at Montreal. In 1791 and in 1793

newspapers were established at Charlottetown, Prince Edward Island, and

Niagara, Ontario. In 1806 and in 1810 newspapers were established at

Fredericton, N.B. and Kingston, Ont. Up to 1810 the newspapers of

Canada, with the notable exception of the _Quebec Gazette_, were not at

all in the spirit of constructive journalism, but with the founding of

_The Herald_ at Montreal in 1811, _The Acadian Recorder_ at Halifax in

1813, the _Colonial Advocate_ at Queenston in 1824, and _The

Novascotian_ at Halifax in 1824 (purchased by Joseph Howe in 1828),

journalism in Canada took on the scope and complexion of literary and

constructive journalism.

The Pioneer Newspapers, as contrasted with the Pioneer and later

Canadian Magazines, served very considerably as ‘the people’s’ reading

and as the popular educator. They were instrumental in creating a desire

for intelligence about Canada, the United States, and the United

Kingdom. The demand was chiefly for commercial and social, and political

news. And so with the desire for news came into existence an ardent

desire for an education in the so-called ‘three R’s.’ As to the style of

the reading matter in the Pioneer Newspapers, it conformed, with notable

exceptions, to the conditions, social and political, of the times. As a

matter of fact, politics were paramount in pioneer days and up to the

triumph of Responsible Government, or to the middle of the 19th Century.

Naturally, therefore, the newspapers contained considerable satiric

writing and letters on practical matters, including reforms in

Government. Accordingly the general style of the newspapers was

straightforward, often overpointed in vigorous vernacular, with no care

for purity of diction and coherency of sentential structure. The thing

to be said, the matter, must be said at all hazards—plainly, bluntly,

vigorously, and unmistakably. In all these regards, which were not

according to the English style of journalism under Addison and Steele,

the better newspapers, such as _The Montreal Gazette_, and _The

Novascotian_, were notable exceptions to the general run of the Pioneer

Newspapers. Howe, for example, did see to it, with considerable

solicitude, that his newspapers, especially _The Novascotian_, should

contain genuine literary matter and that the style of the general

reading matter which appeared in his newspapers should be in decent

readable English.

On the whole, therefore, the Pioneer Newspapers of Canada and those

which appeared up to Responsible Government and Confederation, and

later, conformed to the two ideals of purveyors of intelligence and

disseminators of popular culture. Except in rare instances, however,

they did not foster the creative literary spirit. That function was left

to the Canadian Magazines.

As, in the case of daily journalism, Nova Scotia had priority in

establishing newspapers, so, in the case of Canadian magazines, Nova

Scotia also was first in enterprise. The first magazine to be published

in any of the Provinces of Canada was the _Nova Scotia Magazine_, which

appeared at Halifax in 1789, and ceased publication in 1792. The second

Canadian magazine to be published was the _Quebec Magazine_, which

appeared at Quebec in 1791 (2). It also went out of existence in two or

three years. The difficulty then was the same as in the present day. The

Canadian editor and publisher of native magazines could not compete with

the British and the United States magazines, because the foreign

periodicals were more readable and cheaper. The matter, however, of the

earlier Canadian magazines was, for the most part, genuinely literary

and fostered culture.

The first magazine in Canada to spread culture and at the same time to

foster amongst native-born or resident _émigré_ writers the creative

literary spirit, and to publish contributions in the form of essays,

Nature sketches, and poems by native-born and permanently resident

writers, was the _Literary Garland_. It flourished from 1838 to 1851,

and numbered amongst its contributors such men and women of parts as

William Dunlop, who may be regarded as the first _émigré_ Canadian

humorist in distinction from Haliburton, the first native-born humorist,

Charles Sangster, who was the first native-born Canadian poet of

significant power in original creation, Susanna Moodie who was a

versatile writer of colorful prose, and the first singer of Canadian

Martial Verse, and her sister Catharine Parr Traill, whose Nature

studies and sketches are still eminently worth reading.

In the year which saw the consummation of the Confederacy George

Stewart, a man of fine critical taste, established _Stewart’s Quarterly_

at St. John, N.B. His ideal was that of the English Quarterlies; and the

articles which appeared in his magazine were notably solid in substance

and distinguished in literary style. _Stewart’s Quarterly_ did much to

promote culture and to encourage creative writing on the part of

native-born Canadian writers. Several other magazines which conformed

more to the matter and style of the _Literary Garland_ were established

in the first 25 years following Confederation. They all eventually went

out of existence. The first magazine to endure as a cultural agency and

genuine fosterer of the literary spirit was the _Canadian Magazine_,

founded in 1893 by J. Gordon Mowat. Under his editorship it grew and

further progressed under the editorship of John A. Cooper. In 1907 the

_Canadian Magazine_ came under the editorship of Mr. Newton MacTavish.

From 1907, when Mr. MacTavish became editor, there was a distinct and

continually progressive change in the editorial policy of the _Canadian

Magazine_. Patriotically he set out to foster the appreciation and

production of fine arts and literature by native-born Canadians. To do

this he reproduced in the magazine paintings and drawings by Canadian

artists, along with special articles, critically appraising Canadian

artists and their art. He also published essays, criticism, fiction, and

poetry, by native-born Canadian writers. In fact, it was considerably

due to the sympathetic and respectful encouragement which Mr. MacTavish

gave to native-writers, that Canadian poets and prose writers achieved

as splendidly as they have done in the first quarter of the 20th

century, and that constructive literary criticism and literary history

significantly developed in Canada.

With the _Canadian Magazine_ should be mentioned two others, the

_Queen’s Quarterly_ and the _University Magazine_. The latter was edited

by Sir Andrew Macphail, and did much to foster letters and criticism in

Canada. Amongst other distinctions, the _University Magazine_ published

not only the best verse but also the first book of poems by Marjorie

Pickthall, _Drift of Pinions_ (1913). It ceased publication in 1921. The

_Queen’s Quarterly_, always well edited, is still potent in fostering

letters and criticism in Canada. _The Dalhousie Review_, founded in

1921, essayed some of the ideals of the _University Magazine_. But it is

given too much to critical writing by foreign _literati_ to be potent in

fostering letters and criticism in Canada.

CHAPTER XXXI

Narrative Literature

NARRATIVE LITERATURE—HISTORY—BIOGRAPHY—EXPLORATION—TRAVELS—

SPORT OR OPEN-AIR LIFE.

_I. History._

Two general conditions have made the writing of ‘true history’ in Canada

an impossibility. On the personal side, there were the lack of adequate

culture, of a sense of the historic process and of history as the

narrative of spiritual development, and of any genius, save curiosity,

on the part of those who essayed the writing of history. Men with the

historic imagination did not exist in Canada, and only ‘minor’

historians were active, up to the beginning of the 20th century. On the

material or instrumental side, there were the heterogeneity of Canadian

civilization, the want of political unity, the lack of access to

documents and of facilities for historical research, and other untoward

circumstances. Unimaginative minds and the heterogeneity of life and

thought in Canada, before and after Confederation, limited history for

the most part to annals, chronicles, period and sectional narratives.

The number of these uninspired, unimaginative ‘minor’ Canadian

historians is legion. The more important were George Heriot, William

Smith, Robert Christie, Alexander Begg, Beamish Murdock, Duncan

Campbell, William Kingsford, James Hannay, and Egerton Ryerson. Oddly,

the two first native-born historians to write with a show of imagination

and a sense of true history were Thomas Chandler Haliburton, the

humorist, and Major John Richardson, the romancer.

Haliburton’s _Historical and Statistical Account of Nova Scotia_ was

published by Joseph Howe in 1829. Though the two volumes are, in a

degree, a compendium of facts, Haliburton was not interested in the

facts so much as in the romantic or dramatic story of civilization and

life in Nova Scotia. The way Haliburton imaginatively handled his

material, the way he romantically told the story and made the whole a

colorful and generally absorbing narrative, constitutes his work as

‘true history.’ It is Haliburton’s conception of history and his method

of writing it that make him important—though he was not potent—in this

department of Canadian Literature. His work is an outstanding native

example of the romantic method of writing history as literature; and

Haliburton himself appears as the first Canadian Historian to write

history as if he were writing imaginative literature. But if he was not

potent in his own country, that is, in British North America, he had,

there is good ground to believe, considerable influence on Francis

Parkman. For Parkman read Haliburton’s _Historical and Statistical

Account of Nova Scotia_, and not only had his imagination fired by such

a romantic story as Haliburton tells of the Expulsion of the Acadians,

but also adopted the romantic method of Haliburton in writing his own

historical works.

The best account of the War of 1812 came from the pen of Major John

Richardson, who had served in the conflict. It is the account of an

eye-witness. It was written hurriedly for publication serially in his

newspaper the _New Era_, and was reprinted in book form in 1842. As

might be expected, Richardson presents vividly the drama or dramatic

movement of his story, and makes it a colorful, gripping narrative. But

though, like Haliburton, Richardson wrote graphically, romantically, he

is superior to Haliburton in an important respect. The Nova Scotia

historian and humorist did not have any gift for sharp

character-drawing; his characters, like Dickens’ or Twain’s, stand out

and hold us by what they say. But Richardson’s characters in his account

of the War of 1812, especially Brock and Tecumseh, are vividly drawn by

their _action_, and stand out sharply individualized. In Haliburton’s

_Historical Account of Nova Scotia_ we get only colorful romance. In

Richardson’s _War of 1812_ we get colorful romance, dramatic movement,

and memorable character portraiture. It, too, is ‘true history,’ and his

work, like Haliburton’s, is an outstanding native example of the

romantic method of writing history as literature.

After Haliburton and Richardson, all history of Canada, or the

Provinces, by native-born or _émigré_ writers was fragmentary in

conception and dry-as-dust in matter and method. They all show

inquisitiveness, diligence, though not careful research, and no

imagination, and certainly no sense of history as the outward expression

and movement of a people’s social and spiritual evolution. Yet the work

of one man must be specially remarked. He was Alpheus Todd, who, in the

department of Constitutional History, wrote a work which was long

regarded as the greatest study of the English constitution written by

any British subject. This really ‘monumental’ historical work was

entitled _Parliamentary Government in England; its Origin, Development,

and Practical Operation_. The first volume was published in 1867, the

year of Canadian Confederation. But while Todd’s work is a ‘monument’ to

his scholarship and industry, and while it has historic perspective, it

is, like the work of preceding historians, without imagination and was

written by one who had no conception of constitutional history as the

expression of the social conscience gradually realizing, under changing

conditions, the ideal of the rights of the spirit.

From the beginning of the 20th century, Canadian historians based their

work on documentary research and wrote history with a lively sense of

imaginative or romantic values which corresponded to the method and

manner of Haliburton and Richardson. This change in the method of

writing ‘true history’ is notably exemplified in _Quebec Under Two

Flags_ and in _The Cradle of New France_ by A. G. Doughty; in _The Fight

for Canada_, by William Wood; and, later, in _The Conquest of the Great

North-West_, _Pathfinders of the West_, and _Vikings of the Pacific_, by

Agnes Laut. Doughty was a poet before he became an historian, and in

writing history let his imagination play over the facts, thus

transmuting the documentary material into literature. William Wood also

applied the romanticist’s imagination to the facts, and, besides, wrote

history with a fine feeling for style and characterization somewhat in

the manner of Parkman. Miss Laut, basing her matter on thorough

research, humanized it with a sympathetic appreciation of the struggles

of the pioneers of the Canadian West and with a picturesque literary

style.

Sectional and local histories of Canada abound. There are also race

histories and several so-called School Histories. But these are all of

popular quality and have no distinction in literary style, although the

narratives of W. J. Rattray, George Stewart, H. Scadding, J. Ross

Robertson, John Murray Gibbon, Sir John Bourinot and Charles G. D.

Roberts show a considerable solicitude for style and actually achieve

good literary style.

_II. Biography._

As with general history, so with personal or spiritual history.

Biographical writing in Canada is sparse in quantity and, on the whole,

insignificant in literary quality. Often the subject of a biographical

narrative was great enough to compel imaginative and artistic creation

on the part of the writer. Seldom, however, does any biographer of a

Canadian man of distinction rise to his subject either in conception or

in style. But of those who did rise to their subject, one was Charles

Lindsey, who wrote _The Life and Times of William Lyon MacKenzie_.

Lindsey handled his material so as to present the proper values in the

political and social problems in the time of the famous leader of the

Rebellion of 1837. Another of those who rose to his subject and who

wrote with a sense of the really significant events in the life of his

subject, presenting the salients with decent respect for truth, with

adequate detail, and yet with readable style, was Sir Joseph Pope, who

gave the literary world a compelling and vigorously moving biographical

volume, _Memoirs of the Right Honourable Sir John Alexander Macdonald_.

It is a vigorous narrative, but rather inflexible in style. Sir John

Stephen Willison’s _Sir Wilfrid Laurier and The Liberal Party_ is an

outstanding biography. Like Lindsey, Sir John Willison was a thoroughly

trained journalist before he attempted biographical writing. Along with

the journalist’s vigor and vivacity of style, Sir John Willison wrote

with feeling for dignified and elegant diction. His _Wilfrid Laurier_ is

notable chiefly for its refinement in prose style.

George Monro Grant’s _Joseph Howe_ is a _tour de force_ in brilliant

word painting and hero worship. It misses the significance of Howe as an

original and constructive mind. Longley’s _Joseph Howe_ is a popular

narrative, careless of logic and literary style.

Several other individual biographies of Canadians by Canadians have been

published. The best of them are Duncan Campbell Scott’s _John Graves

Simcoe_, Adam Shortt’s _Lord Sydenham_, George M. Wrong’s _Life of Lord

Elgin_, Arnold Haultain’s _Goldwin Smith: His Life and Opinions_, Grant

and Hamilton’s _George Monro Grant_, and Edith J. Archibald’s _Life and

Letters of Sir Edward Mortimer Archibald_. But a genuinely great

biography of a great man remains to be written in Canada.

Deserving of mention are three short popular biographies—Owen

McGillicuddy’s sketch of the life and achievements of Rt. Hon. MacKenzie

King, Premier of Canada, which appears under the title _The Making of a

Premier_ (1922); John W. Dafoe’s _Laurier_ (1922) and Peter McArthur’s

_Laurier_ (1922). These biographies are by practical journalists, and

are journalistic in style. Dafoe’s Laurier is the most acute and

weighty.

A genuine literary achievement in biographical writing is M. O.

Hammond’s _Confederation and Its Leaders_ (1917). It is based on

thorough research, and, as a series of intimate political biographies in

the form of narrative sketches, is packed with human interest, and is

marked by a straightforward, commonsense style. It has a high

seriousness, and in this respect contrasts with the lighter, more

piquant but less persuasive style of Augustus Bridle’s _Sons of

Canada_—a work which is essentially a series of familiar portraits,

done as _jeux d’esprit_.

_III. Travels, Exploration, Sport._

Canada has a considerable quantity of the literature of travels,

explorations and sport but the literary interest of the most of it is

far from obvious. A really remarkable book in this genre is the elder

Alexander Henry’s _Travels and Adventures in Canada and The Indian

Territories_, published in New York in 1809. Henry was a man of acute

observation, and also possessed a graphic pen for character limning. His

_Travels and Adventures_ engages both the intellect and the imagination,

the scientist and the literary artist. For it contains the most

interesting observations on the flora and fauna of the countries he

visited, and really graphic and colorful pictures of the peoples and the

characters he met and observed. Henry had also a gift like that of

Thucydides—the gift and skill of dramatically reporting a speech as,

for instance, the speech of the Ojibwa Chief Minavavana. The book really

forms an entrancing and instructive volume of Travel and Adventure.

The same may be said of Sir Alexander Mackenzie’s _Voyages From Montreal

Through the Continent of North America, 1789-1793_. This work was

published at London in 1801. Mackenzie came from a people—the Gaels of

the Island of Lewis—who have a racial gift of colorful imagination and

of felicity of language in nature description. Mackenzie, moreover, was,

like Henry, a keen observer. His _Voyages_, therefore, as might be

expected, are marked by colorful style and the imaginative presentation

of the scenes he visited and of the inspiring or sublime phenomena he

observed. John Howison’s _Sketches of Upper Canada_ conforms only to the

ideal of fact. It is, as the title suggests, merely a series of

‘sketches,’ written in a vigorous style with only a touch here and there

of finer literary style.

With the work of Anna Brownell Jameson we meet with the first

‘color-writing’ in and about Canada. Her _Winter Studies and Summer

Rambles in Canada_, published in London in 1838, has not yet been

excelled by a native Canadian ‘color writer.’ At the time, Canada was a

wilderness for the most part, with a few settlements, but Mrs. Jameson,

with the eye of an artist, saw everywhere in Nature in Canada and in

Canadian life and character much to delight the eye and the

sensibilities and much to satisfy the pictorial and dramatic

imagination. Her _Winter Studies and Summer Rambles_, in three volumes,

are a library of winsome Nature sketches and critical appreciations of

human personality—a work of art, and a permanent contribution to the

Incidental Pioneer Literature of Canada.

The aesthetic sense and the artistic conscience were uppermost in Paul

Kane’s _Wanderings of An Artist Among The Indian Tribes of North

America_. Kane was a celebrated Canadian painter; and, having the gift

of style, he wrote, with the eye of the pictorial artist, about his

‘wanderings’ among the western tribes. It is an informing volume and

makes genuinely interesting and satisfying reading.

George M. Grant was a man of splendid force of character and strength of

will tempered with a singular gift of humor and pathos. He travelled

across Canada in the last five years of the first decade following

Confederation, he met all peoples, dwelt in camps, visited trading

posts, and stopped at the hotels of the larger centres. On his journey

he was impressed by the _life_, _energy_, and the _striving_ of the

Canadian people for a self-reliant and worthy history and destiny. And

so Grant’s volume of travel, _Ocean to Ocean_, is noted for its acute

observation, for its colorful and vitalizing descriptions of Nature in

Canada, and for its seriousness, at all times relieved by an unusual

quality of humor and of pathos. In ‘color-writing’ too, the volume is,

at times, incomparable.

J. W. Tyrrell’s _Across the Sub-Arctics of Canada_ and his _The St.

Lawrence Basin and Its Border-Lands_, Lawrence J. Burpee’s _The Search

for The Western Sea_, Vilhjalmur Stefannson’s _The Friendly Arctic_ and

his _Hunters of the Great North_, Arthur Heming’s _Drama of the

Forests_, are all noted for their literary style and for the dramatic

pictures they make of Nature scenes and of human characters.

Two really notable books under the head of Sport, as a form of travel

and adventure, are Arthur Silver’s _Farm, Cottage, Camp and Canoe In

Maritime Canada_ (1884) and Phil. H. Moore’s _With Gun and Rod in

Canada_ (1922). Silver’s volume makes pleasant reading, but the style is

much more pedestrian than Moore’s work, which is heightened and colored

by picturesque diction and images and by considerable characteristic

humor. Midway between the greater books of Travel and Adventure and

these books of Sport come Wilfred Grenfell’s volumes descriptive of

Labrador and the late C. Gordon Hewitt’s _Conservation of the Wild Life

of Canada_. The latter, though scientific in aim and method, is full of

aesthetic and literary charm and is written in an interesting literary

style.

Index

This index covers the names of Canadian writers, Canadian books,

journals, individual poems, or stories referred to in the text. Names of

authors are in roman type; all titles of books, journals, poems,

stories, etc., are in _italic_.

_Above St. Irénée_, 164.

_Acadia_, 60, 96.

_Across the Sub-Arctics of Canada_, 402.

_Address to the Freemen of Canada_, 340.

_Admiral’s Daughter, The_, 193.

_Adventurer of the North, An_, 244.

_Afoot_, 17.

_After a Night of Storm_, 165.

_After the Battle_, 342.

Agar, Paul, 271.

_Ahkoond of Swat, The_, 325-326.

Aikins, Carroll, C., 295, 333-334.

Alexander, W. J., 364.

Allen, Adam, 39.

Alline, Henry, 36-37, 355.

_Amateur Orlando_, The, 325.

_Americans at Home, The_, 67, 77, 78.

_Anastasis_, 255.

_Anatomy of Melancholy, The_, 166.

Anderson, Robert, T., 271.

_Angel’s Shoes_, 309.

_Anne of Avonlea_, 300.

_Anne of Green Gables_, 299.

_Anne’s House of Dreams_, 301.

_Anne of the Island_, 301.

_Annunciation_, 211.

_Answer, The_, 292.

_Anti-Traditionist, The_, 37.

_Antoinette de Mirecourt_, 93.

_April Airs_, 142, 149.

Archibald, Edith J., 399.

_At Husking Time_, 209.

_At Noon_, 292.

_Attaché, The_, 67, 80, 82, 83.

_Attic Guest, The_, 257.

_Autumn’s Orchestra_, 201.

_Ave!_ 229, 231-235, 239.

_Aylesford_, 17.

_Backwoodsman, The_, 253.

_Backwood’s Philosopher, The_, 49.

Bailey, Jacob, 39.

_Bail Jumper, The_, 307.

Baker, Ray Palmer, 8, 42, 364.

_Ballads and Lyrics_, 141.

_Ballads of Lost Haven_, 150-151.

Barrington, E., 309.

Bartlett, Gertrude, 295, 346, 351.

Bates, Walter, 39.

_Battle of the Strong, The_, 244, 245.

_Battles Royal Down North_, 304.

_Beautiful Joe_, 253.

_Beautiful Rebel, A_, 250.

_Beauty and Life_, 161, 165, 166.

Beck, L. Adams, 311.

Begg, Alexander, 395.

_Behind the Arras_, 142, 157.

_Behind the Veil_, 230, 239-240.

_Bells of St. Stephens, The_, 302.

Bennett, Ethel Hume, 306.

_Bereavement of the Fields_, 229.

_Between the Battles_, 223.

_Between the Lights_, 229.

_Bill Boram_, 315-319.

_Billy Topsail & Company_, 304.

_Biography of a Grizzly_, 251.

_Birch and Paddle_, 120.

_Bird’s Lullaby, The_, 208.

Blackburn, Grace, 295, 296, 297, 351.

_Black Creek Stopping House, The_, 303.

_Black Rock_, 254, 255, 256.

_Black Stole, The_, 80.

Blake, W. H., 304, 376.

_Blessed Dead, The_, 351.

Blewett, Jean, 221, 222, 278, 346, 351.

_Bliss Carman_, 141.

_Blue Nose, The_, 60.

_Blue Pete; Half Breed_, 307.

_Blue Water_, 304.

_Boarding House Geometry_, 328.

_Bobcaygeon, Chapbook, A._, 295.

_Bonnie Prince Fetlar_, 253.

_Book of Canadian Verse and Prose_, 387.

_Book of the Myths, The_, 142.

_Book of the Native, The_, 122, 123.

_Boss of the World, The_, 260.

Bourinot, Arthur S., 295, 346, 348.

Bourinot, Sir John, 398.

Bowen, Minnie Hallowell, 346.

Bowman, Louise Morey, 295, 296, 297, 346, 351.

Branscombe, Gena, (Mrs. J. F. Tenney), 213.

_Brave Hearts_, 254.

Breakenridge, John, 278.

_Bride, The_, 211.

_Bridge, The_, 310.

Bridle, Augustus, 400.

_Brier_, 207.

Broadus, E. K., 387.

Broadus, Mrs., 387.

_Brock_, 97.

_Brockenfiend, The_, 193.

Brooke, Mrs. Francis, 45, 46.

_Brookfield_, 229, 238-239.

Brooks, Lillie A., 351.

_Brothers in Arms_, 334, 335.

_Brothers in Peril_, 308.

Brown, George, 389.

Bruce, Charles T., 295.

_Buffalo Meat_, 294.

_Burial of Brock, The_, 50.

Burpee, Lawrence J., 322, 379, 386, 402.

Byles, Mather, 39.

_By the Aurelian Wall_, 157.

_By the Marshes of Minas_, 263.

Cameron, Charles Innis, 361.

Campbell, Duncan, 395.

Campbell, Wilfred, 17, 18, 26, 49, 55, 99, 102, 105, 107, 113, 132, 133,

184-194, 195, 229, 235-236, 250, 271, 278, 316, 334, 371, 384.

_Camper, The_, 201.

_Canada_, 191.

_Canadian Birthday Book, A_, 226.

_Canadian Birthday Book, The_, 381.

_Canadian Born_, 26, 200, 201.

_Canadian Brothers, The_, 89, 91-93.

_Canadian Folk Song, A_, 190.

_Canadian Magazine, The_, 8, 331, 393-394.

_Canadian Poems of the Great War_, 8, 346.

_Canadians on the Nile_, 50.

_Canadian Cities of Romance_, 291.

_Canadian Hymns and Hymn Writers_, 358.

_Canadian Poetry Book, The_, 387.

_Canadian Poets_, 5, 8, 380, 385-386.

_Canadian Singers and Their Songs_, 380, 386.

_Canadian Twilight_, A, 346.

Cappon, James, 364.

_Captain of Raleigh’s, A_, 308.

Carleton, John L., 319.

Carman, Bliss, 16, 17, 18, 26, 27, 43, 55, 99, 101, 102, 105, 107, 111 _et

seq._, 128, 132, 133, 139-158, 159, 160, 163-164, 167, 172-177, 180, 195,

209, 217, 219, 223, 226, 229, 233-235, 271, 278, 279, 284, 368, 371,

375.

_Carmichael_, 309.

Caswell, E. S., 386.

_Cattle_, 313.

_Cattle Thief, The_, 202, 203, 207.

_Champions, The_, 351.

_Chaste Diana, The_, 309.

_Child’s House, The_, 313.

Christie, Robert, 395.

_Christmas Bells in War Time_, 351.

_Chronicles of Avonlea_, 301.

_City and the Sea, The_, 203.

Clelland, Rev. James, 356.

Cleveland, Aaron, 355.

Cleveland, Benjamin, 355.

_Clockmaker, The_, 58, 65, 66, _et seq._, 80, 81, 83, 84.

_Clontarf_, 319.

Cockings, George, 44.

Cody, H. A., 306.

_Collected Poems_, (Campbell), 185.

_Collected Poems_, (Carman), 158.

_Collected Poems_, (F. G. Scott), 215.

Coleman, Helena, 226, 278, 346, 351.

_Colonial Advocate_, 391.

_Come Quietly, England_, 350.

_Coming of the Winter, The_, 110.

_Confederation and Its Leaders_, 400.

_Confession of Tama the Wise, The_, 17.

Connor, Ralph, (_pseud._), 254-256.

_Conquest of Canada, The_, 44.

_Conquest of Quebec, The_, 44.

_Conquest of the Great Northwest, The_, 398.

_Conservation of Wild Life in Canada_, 403.

Cooney, Percival J., 309.

Cooper, John A., 393.

_Corduroy Road, The_, 270.

Cornell, Beaumont, 313.

_Cornflower, The_, 221.

_Corn-Planting, The_, 227.

_Corporal Cameron_, 255.

Cotes, Mrs. (Sara Jeanette Duncan), 268, 326.

_Cowpuncher, The_, 307.

_Cradle of New France, The_, 398.

_Crawford, Isabella Valancy_, 46, 47, 50-54, 128, 207, 265, 342.

Creelman, Wm. A., 295.

_Crimson Wing, The_, 319.

_Cripple, The_, 17, 217.

_Crowning, The_, 214.

_Cry from an Indian Wife, A_, 202, 203.

_Cumner’s Son_, 244.

_Cun-ne-wa-bum_, 294.

_Curé of Calumette, The_, 270.

Curzon, Sarah A., 334, 342.

_Daffodil from Vimy Ridge, A_, 351.

Dafoe, John W., 400.

_Daily Star_ (_Montreal_), 324.

_Daisies_, 149.

_Dalhousie Review, The_, 394.

_Daulac_, 193, 194.

Davis, Roy, 331, 332.

_Dawn_, 216.

_Dawn at Shanty Bay, The_, 257.

_Day Dawn_, 201.

Deacon, William A., 378.

de la Roche, Mazo, 313.

De Mille, James, 18, 95, 108, 229, 239-240, 268, 322, 323.

Denison, Merrill, 334-336.

_Dennison Grant_, 307.

_De Profundis_, 351.

_Deserted Nest, The_, 61.

_Deserted Pasture, The_, 155.

_Desjardins, The_, 261.

Dewart, Edward Hartley, 361, 381.

Dickie, D. J., 387.

_Divine Lady, The_, 309.

_Doctor Luke of the Labrador_, 304.

_Doctor, The_, 254.

_Dodge Club Series_, 323.

_Dodge Club, The_, 323.

Dollard, James B., 319, 334, 347.

_Dominique_, 270.

_Donovan Pasha_, 244.

Donovan, Peter, 330.

Dougall, Lily, 18.

Doughty, A. G., 398.

Duncan, Norman, 247, 303-304, 318.

_Duncan, Polite_, 299.

Duncan, Sara Jeanette, 326.

Dunlop, William, 392.

Durkin, Douglas, 307, 346.

_Drama of the Forests_, 402.

_Dreamland and Other Poems_, 25, 99, 206.

_Drift of Pinions_, 27, 280, 283, 394.

Drummond, William Henry, 46, 47, 128, 265-270, 370, 371, 372.

_Drums Afar_, 307.

_Earth’s Enigmas_, 252.

_Eavesdropper, The_, 157.

Edgar, Pelham, 364.

Edgar, Mrs. C. M. Whyte, 386.

_Embers_, 210, 213.

_Emigrant, The_, 49.

_Emigration of the Fairies, The_, 323.

_Emily of New Moon_, 301.

_Enchantment_, 293.

_End of the Day, The_, 17.

_End of the Rainbow, The_, 302.

_England Over Seas_, 294.

_English-Canadian Literature_, 8.

_Erie Waters_, 201.

_Fables from the World_, 324.

_Falls of Chaudière, The_, 98.

_False Chevalier, The_, 242.

_Farm, Cottage, Camp and Canoe in the Maritime Provinces_, 402.

_Fasting_, 203.

_Feet of the Furtive_, 252.

Field, George B., 271.

_Fight for Canada, The_, 398.

_Fighting Men of Canada, The_, 346, 348-349.

_Fire-Flies, The_, 100.

_Fire in the Woods, The_, 49.

_Fires of Driftwood_, 227.

_Flag of Old England_, 60.

Fleming, John, 48.

_Flint and Feather_, 197 _et seq._

_Flood, The_, 247.

_Flowers from a Canadian Garden_, 386.

_Foreigner, The_, 255.

_Forest Fugitives_, 308.

_Forest of Bourg Marie, The_, 248.

_Forge in the Forest, A_, 248.

_Forging of the Pikes, The_, 308.

_For He was Scotch and so Was She_, 222.

_Forsaken, The_, 180.

_Fragment of a Letter, The_, 167.

Fraser, Alexander Louis, 295, 361.

Fraser, D. A., 372.

Fraser, W. A., 253-254, 263, 310.

Fréchette, Louis, 268.

French, Donald G., 7, 364, 387.

_Friendly Arctic, The_, 402.

_Frogs, The_, 135.

_From Ocean Unto Ocean_, 358-360.

_From the Book of Myths_, 157.

_From the Book of the Green Bards_, 154.

_From the Book of Valentines_, 157.

_From Their Own Place_, 334, 335.

_Frontiersman, The_, 306.

_Frost Magic_, 159.

_Gaff Linkum_, 310.

_Galahads, The_, 351.

_Garden of the Sun, The_, 224.

Garvin, John, 5, 8, 346, 385.

Garvin, Mrs. John, 364.

_Gaspards of Pine Croft, The_, 255.

_Gauntlet of Alceste, The_, 310.

_Gazette (Halifax), The_, 40.

_Gazette (Montreal), The_, 390, 391.

_George Monro Grant_, 399.

_Geraniums_, 120.

Gibbon, John Murray, 8, 307, 398.

Giffen, Clare, 295.

_Give us Barabbas_, 203.

_Glengarry School Days_, 254.

_Globe, (Toronto), The_, 184, 202, 389.

_Going North_, 293.

_Golden Dicky_, 253.

_Golden Dog, The_, 94-95, 241, 243.

_Golden Road, The_, 301.

Goldsmith, Oliver, (2nd), 42, 48, 96, 108.

_Goldwin Smith_, 399.

Gordon, Charles W., 105, 254-256.

Gordon, 327.

_Gouging School, The_, 80.

Grahame, Gordon Hill, 306.

Graham, Isabel, 346.

Graham, Jean, 278, 364.

Grant and Hamilton, 399.

Grant, George Monro, 399, 402.

_Gravedigger, The_, 151.

_Grave Tree, The_, 17.

_Green Book of the Bards, The_ 142.

Grenfell, Wilfred, 403.

_Grey Knitting_, 291, 293.

_Grey Rocks and Greyer Sea_, 16.

Griffin, Martin, 364, 365.

Gundy, S. B., 385.

Gyles, John, 46.

_Habitant, The_, 267.

Hale, Katherine, (_pseud._), 278, 290-294, 296, 346, 364, 377.

_Half-Breed Girl, The_, 180.

Haliburton, Thomas Chandler, 17, 40, 42, 43, 55, 57, 63-88, 89, 96, 108,

268, 270, 322, 328, 332, 393, 395, 396-398.

_Halifax Gazette, The_, 389.

Ham, George Henry, 327-328.

Hammond, M. O., 8, 202, 364, 400.

Hannay, James, 395.

_Harbor Master_, 308.

_Harbor Tales Down North_, 304.

Hardy, E. A., 387.

Harrison, S. Frances (‘Seranus’), 226, 248, 346.

Hathaway, R. H., 8, 141, 364.

Haultain, Arnold, 364, 399.

_Haunters of the Silence, The_, 252.

Haverson, James P., 272.

_Hayfield, The_, 220.

_Hearts and Faces_, 307.

_Heart Songs_, 221.

_Heat_, 137.

Heaveysege, Charles, 46, 48-49, 108, 316.

_Height of Land, The_, 183.

Heming, Arthur, 402.

Hémon, Louis, 21, 305, 376.

Henry, Alexander, 46, 400.

_Hephaestus_, 314.

_Heralds of Empire_, 249-250.

_Herald, The (Montreal)_, 391.

_Here’s to the Land_, 50.

Heriot, George, 395.

_Hesperus_, 97.

Hewitt, C. Gordon, 403.

_Hickory Stick, The_, 305.

_Higher Kinship_, 185.

_Hildebrand_, 193.

_Hills and the Sea, The_, 17.

_His Darkest Hour_, 351.

_His Lady of the Sonnets_, 211, 289.

_Historical and Statistical Account of Nova Scotia_, 42, 77, 396.

_History of Emily Montague, The_, 45, 46.

_History of English-Canadian Literature to Confederation, A_, 8, 364.

_History of Manitoba_ (Gunn’s), 249.

_Hoch de Kaiser_, 327.

Hodgins, Norris, 330.

Holland, Norah, 295, 319.

_Homesteader, The_, 307.

_Honest Newsboy, The_, 325.

Hood, Robert, A., 307.

_Hoof and Claw_, 253.

_Homing Bee, The_, 202, 205.

_House of Trees, The_, 220.

_How Bateese Came Home_, 270.

Howe, John, 40, 57.

Howe, Joseph, 40, 42, 43, 56-62, 96, 109, 268, 322, 389, 391.

Huestis, Annie Campbell, 226.

Hunter-Duvar, John, 108, 323.

_Hunters of the Great North_, 402.

_Hurrah for the New Dominion_, 50.

_Huron Chief and Other Poems, The_, 48.

_Hymn of Empire_, 217.

_Hymns and Spiritual Songs_, 37, 355.

_Ian of the Orcades_, 250.

_Ida Beresford_, 92.

_Idlers_, 206.

_If I Must_, 350.

_Ilicet_, 148.

_Immortality_, 347.

_Imperfectly Proper_, 330.

_In a Country Churchyard_, 164.

_In Candlelight Days_, 308.

_In Divers Tones_, 26, 47, 112, 113, 118-119, 121-122, 123, 214, 220.

_In Flanders Fields_, 345, 347.

_In Grey Days_, 201.

_In Memorabilia Mortis_, 224.

_Inner Door, The_, 305.

_In Noonday_, 291.

_In Orchard Glen_, 302.

_Insulters of Death, The_, 346.

_In the Afternoon_, 120.

_In the Battle Silences_, 215.

_In the House of Dreams_, 164.

_In the Shadows_, 17.

_In the Study_, 187.

_In the Village of Viger_, 17, 260.

_In the Wake of the Eighteen-Twelvers_, 308.

_Introduction to Browning_, 364.

_Irish Folk Song, An_, 214.

_Irish Poems_, 227.

_Italy in 1859_, 323.

_I Used to Wear a Gown of Green_, 292.

Jameson, Anna Brownell, 45, 401.

Jamieson, Nina Moore, 305.

_Jess of the River_, 308.

_Jimmy Goldcoast_, 253.

_Joe_, 201.

_John Graves Simcoe_, 399.

_Johnnie Corteau_, 270.

Johnson, Pauline, 17, 18, 26, 55, 99, 102, 105, 107, 113, 128, 133,

139-140, 160, 177, 195-209, 219, 271, 277, 278, 285.

_Joseph Howe_, 399.

_Judgment House, The_, 244, 245, 246.

_Judy of York Hill_, 306.

_Kaleedon Road_, 144.

Kane, Paul, 401.

Keith, Marian, (_pseud._), 299, 302.

_Key of Dreams, The_, 311.

_Key of Life, The_, 215.

Kidd, Adam, 48.

_Kilmeny of the Orchard_, 301.

_Kindred of the Wild, The_, 252.

King, Rt. Hon. Mackenzie, 377, 400.

_King’s Consort, The_, 201.

Kingsford, William, 395.

_Kinship_, 17.

_Kinsmen_, 309.

Kirby, William, 43, 93-95, 96, 241, 267.

_Kitchener and Other Poems_, 275.

_Kitchener’s Work_, 351.

Knowles, Robert E., 256-257, 303.

_Labor and the Angel_, 180, 181-183.

Lacey, Amy (Luke Allan, _pseud._), 307.

_Ladies, The_, 309.

_Lady Icicle_, 201.

_Lady Lorgnette_, 201, 208.

_Lake Huron_, 17, 188.

_Lamp of Poor Souls, The_, 282, 283.

Lampman, Archibald, 16, 17, 26, 55, 98, 99, 100, 105, 107, 110, 111, 113,

120, 122, 127-138, 139, 141, 149, 152-153, 159, 160, 162, 163-164, 167,

180, 184, 195, 209, 217, 219, 235, 236, 271, 284, 287, 368.

Lanigan, George T., 61, 268, 322, 324-327, 332.

_Lantern Marsh_, 313.

_Larry, or the Avenging Terrors_, 306.

_Last Robin, The_, 220.

_Last Songs from Vagabondia_, 157.

_Later Canadian Poems_, 384.

_Later Poems_, 141.

_La Tristesse_, 299.

_Laurentian Lyrics_, 295, 346, 348.

_Laurier_, 400.

Lauriston, Victor, 311.

Laut, Agnes C., 249-250, 398.

_Lazarus_, 189, 192.

Leacock, Stephen, 269, 322, 323, 328-330, 332, 379.

Lee, H. D. C., 141.

_Legislative Reviews_, 59.

Leprohon, Mrs., 241.

Le Rossignol, James, 299.

_Letterbag of the Great Western, The_, 67, 81.

Leveridge, Lilian, 346, 351.

_Life and Journal (Alline)_, 37.

_Life and Letters of Sir Edward Mortimer Archibald_, 399.

_Life and Times of William Lyon Mackenzie_, 399.

_Life of Lord Elgin_, 399.

_Lifting of the Mist, The_, 201.

Lighthall, William Douw, 242, 351, 382.

Lindsey, Charles, 399.

_Lines in Memory of Edmund Morris_, 229, 236-238.

_Lily-Song_, 53.

_Literary Garland, The_, 92-93, 392-393.

_Literary Lapses_, 328.

_Little Bateese_, 270.

_Little Book of Canadian Essays, A_, 379.

_Little Fauns to Proserpine, The_, 281.

_Little Hearts_, 309-310.

_Little Milliner, The_, 261.

_Little Stories of Quebec_, 299.

Livesay, Florence Randal, 295, 296, 346, 351.

_Lives of the Hunted_, 251.

_Lizbeth of the Dale_, 302.

Lloyd, Rev. Dean, 319.

_Lobstick Trail, The_, 307.

Logan, J. D., 346, 364, 385.

_Lone Wharf, The_, 17.

_Long Lane’s Turning, The_, 244.

Longley, 399.

_Lords of the North_, 249-250.

_Lord Sydenham_, 399.

_Love in a Wilderness_, 181.

_Love of the Wild_, 308.

_Lover Lads of Devon, The_, 351.

_Lover’s Diary, A_, 210, 211.

_Lover to His Lass, A_, 17, 175.

_Lower Slopes, The_, 324.

_Low Tide on Grand Pré_, 112, 142, 143, 149.

_Lullaby of the Iroquois_, 201, 208.

_Lundy’s Lane_, 165.

_Lyrics From the Hills_, 295.

MacCrossan, Charles W., 272.

MacDonald, Elizabeth Robert, 226.

MacDonald, Peter McLaren, 295.

Macdonald, Rev. J. A., 254.

Macdonald, Wilson, 296, 297.

MacGregor, James, 133.

Machar, Agnes Maule, 226, 342, 346, 351.

Mackay, Isabel Ecclestone, 226, 227, 228, 310-311, 346, 351.

Mackenzie, Sir Alexander, 401.

Mackinnon, Lilian Vaux, 305.

MacLean, H. J., 295.

MacLennan, William, 249.

MacMechan, Archibald, 239, 364, 376.

MacMurchy, Marjory, 364.

MacPhail, Sir Andrew, 239, 305, 364, 394.

MacTavish, Newton, 8, 331, 393-394.

_Magic House, The_, 162, 164.

Mahon, A. W., 358.

Mair, Charles, 18, 25, 43, 48, 55, 99-102, 132, 193, 206, 278, 334.

_Major, The_, 255.

_Making of a Premier, The_, 400.

_Malcolm’s Katie_, 52-53.

_Man from Glengarry_, 255.

_Manor House of de Villerai, The_, 93.

_Marguerite de Roberval_, 248, 249.

_Maria Chapdelaine_, 18, 305.

Marquis, T. G., 8, 248-249, 364.

Marshall, William E., 18, 43, 229, 238-239.

_Marsh Hay_, 335.

_Marshlands_, 201.

_Mary Callaghan and Me_, 213.

_Mary Shepherdess_, 281-282.

_Master of Life, The_, 242.

_Matins_, 223.

McArthur, Peter, 226, 227, 278, 330-331.

McCarroll, James, 48.

McClung, Nellie L., 299, 303.

McCollum, Alma Frances, 226.

McCrae, John, 345, 347.

McCully, Laura E., 295.

McGee, Thomas D’Arcy, 48.

McGillicuddy, Owen, 400.

_McGrath’s Bad Night_, 259.

McIlwraith, Jean N., 18, 249.

McKishnie, Archie, 308-309, 310.

McLachlan, Alexander, 48, 49-50.

_Mediaeval Hun, The_, 319.

_Memoirs of Rt. Hon. Sir John A. Macdonald_, 399.

_Men of Canada, The_, 351.

_Merchant of Venice, The, (Lanigan)_, 324.

Merkel, Andrew D., 295.

Merrill, Helen M., 226.

Middleton, Jesse Edgar, 346.

_Miracle Songs of Jesus, The_, 297.

_Mirage of the Plain, The_, 144.

_Miriam of Queens_, 305.

_Mission of the Trees, The_, 180.

_Mists of the Morning, The_, 310.

_Money Master, The_, 245.

Montgomery, Lucy M., (Mrs. Ewan Macdonald), 43, 278, 295, 299-302, 346.

_Montreal Star, The_, 8.

Moodie, Susanna, 47, 48, 339-341.

Moody, James, 39.

_Moonset_, 209.

Moore, Phil H., 402.

_Moorhouse, Hopkins_, 311.

_Mooswa_, 253.

_Mordred_, 193, 316.

_More Animal Stories_, 252.

Morgan-Powell, S., 8, 351.

_Morning_, 193.

_Morning in the West_, 290-294.

Mortimer, John T., 271.

_Mother Gives, The_, 351.

_Mother, The_, 17, 192.

_Mountain and the Lake, The_, 275, 276.

Mowatt, J. Gordon, 393.

Muddiman, Bernard, 364.

Mullins (Leprohon), Rosanna, 43, 92-93, 96.

Murdock, Beamish, 395.

Murphy, Henry, 44.

Murray, George, 49, 364.

Murray, Robert, 358-360.

_My Brave and Gallant Gentleman_, 307.

_My Discovery of England_, 329.

_My Madonna_, 274.

_My Spanish Sailor_, 243.

_Nancy’s Pride_, 16.

_Nature and Human Nature_, 67, 79-80, 84, 86.

_Neighbors_, 307.

Neville, Valentine, 44.

_New Apocalypse, The_, 346.

_New Era_, 396.

_New Joan, The_, 293.

_New Pathology, The_, 328.

_New World Lyrics and Ballads_, 180.

_Ninth Vibration, The_, 311.

_Nocturne_, 209.

_Nocturne of Consecration, A_, 16.

North, Anison, (_pseud._), 308, 309.

_Northern Lights_, 244.

Norwood, Robert, 18, 43, 49, 211-212, 288-290, 296, 315-319, 321, 334.

_Nova Scotia Magazine, The_, 40, 389, 392.

_Nova Scotian Afloat, The_, 59.

_Nova Scotian in England, The_, 59.

_Novascotian, The_, 40, 57-59, 63, 66, 389, 391.

_Ocean to Ocean_, 402.

_Odd Adventures_, 46.

_Ode for Keats Centenary_, 178.

_Ode for the Centenary of Shelley’s Birth, An_, 231.

_Ode on the Birthday of King George III., An_, 48.

_Ode to the Canadian Confederacy_, 114, 191.

O’Dell, Jonathan, 39.

_Off Pelorus_, 120.

_O Flower of all the World_, 214.

O’Hagan, Thomas, 346, 379.

_Oh, Not When April Wakes the Daffodils_, 351.

_Ojistoh_, 202, 207.

_Old Hoss, The_, 49.

_Old Judge, The_, 67, 79, 80, 84, 85, 86, 87.

_Old Lady, An_, 294.

_Old Man Savarin_, 259.

_Old Spookses’ Pass_, 51-52.

Onoto Watanna (_pseud._), 313.

_On the Creek_, 120, 124.

_On the Death of Claude Debussy_, 168.

_On the Iron at Big Cloud_, 303.

_Openway_, 310.

_O Red Rose of Life_, 16.

_Orion and Other Poems_, 26, 107, 110, 112, 114, 116-117.

Osborne, Marion, 295.

_Our Canadian Literature_, 387.

_Our Lads to the Front_, 342.

_Our Little Life_, 305.

_Outcasts, The_, 253.

_Over ’Ere and Back Home_, 330.

_Overlooked_, 206.

_Over the Hills of Home_, 351.

_Oxford Book of Canadian Verse, The_, 380, 384-385.

_Packard, Frank L._, 303.

_Pagan Love_, 307.

Parent, Etienne, 389.

Parker, Gilbert, 18, 26, 55, 94, 105, 210-214, 227, 243, 263, 267, 298,

309.

Parkman, Francis, 396.

_Parliamentary Government in England_, 397.

Partridge, Dean, 358.

_Passing of Autumn, The_, 17.

_Passing of Oul-I-But, The_, 303.

_Pathfinders of the West_, 398.

_Patriotic Recitations and Arbor Day Exercises_, 387.

_Patrol of the Cypress Hills, The_, 244.

_Patrol of the Sun Dance Trail, The_, 255.

_Paul Farlotte_, 261.

Pennington, Amy, 295.

_Pens and Pirates_, 378.

_Penseroso_, 203.

_Perfume of the Rainbow, The_, 311.

_Persephone at Enna_, 314.

_Petherick’s Peril_, 260.

Phelps, Arthur, L., 295.

Pickthall, Marjorie L. C., 28, 140, 160, 177, 207, 278, 280-288, 296, 299,

309, 319-321, 394.

Pierce, Dr. Lorne, 387.

_Pierre and His People_, 244.

_Pine, Rose and Fleur de Lis_, (S. F. Harrison), 226.

_Piper of Arll, The_, 176, 179.

_Plaint of the Children, The_, 351.

_Plumber’s Revenge, The_, 325.

_Poems_ (A. L. Phelps), 295.

_Poems Grave and Gay_, 224.

Pope, Sir Joseph, 398.

_Portrait of Mrs. Clarence Gagnon_, 161.

_Possession_, 313.

_Potato Harvest, The_, 120, 135.

_Prairie Child, The_, 312.

_Prairie Greyhound_, 201, 202, 207-208, 277.

_Prairie Mother, The_, 312.

_Prairie Wife, The_, 312.

_Presbyterian Witness, The_, 358.

_Prisoner of Mademoiselle, The_, 248.

_Privilege of the Limits, The_, 259.

_Prodigal, The_, 201, 227.

_Prophecy of Merlin_, 25, 48.

_Prospector, The_, 254.

_Pulvis et Umbra_, 157, 158.

_Purple Springs_, 303.

_Quebec_, 221.

_Quebec Gazette_, 390.

_Quebec Magazine, The_, 392.

_Quebec Under Two Flags_, 398.

_Queen’s Quarterly_, 394.

_Quest of Alistair, The_, 307.

_Radiant Road, The_, 220.

_Raid from Beauséjour, The_, 248.

Rand, Sheila, (pseud.), 346.

Rand, Silas T., 361.

Rand, Theodore Harding, 385.

_Rapids, The_, 305.

_Rapid, The_, 99.

Rattray, W. J., 398.

_Rayton_, 308.

Reade, John, 25, 46, 48, 49, 105, 278, 364, 365.

_Recessional_, 17.

_Recorder, Acadian, The_, 391.

_Red Fox_, 252.

_Red Headed Windego_, 259.

Redpath, Beatrice, 295, 297, 346, 351.

_Reduction of Louisbourg, The_, 44.

_Reminiscences of a Raconteur_, 327-328.

_Reverie, A_, 17.

_Rhymes of a Rolling Stone_, 271.

_Richardson, Major John_, 43, 46, 55, 89-92, 96, 108, 241, 395-398.

_Riders of the Plains, The_, 207.

_Ridgeway_, 50.

_Right of Way, The_, 244, 245.

_Rilla of Ingleside_, 301.

_Rising Village, The_, 48, 96.

_Rivers of Canada, The_, 144.

Roberts, Charles, G. D., 16, 17, 18, 26, 27, 43, 47, 56, 99, 100, 102,

105, 107, 110-126, 127, 128, 136, 138, 139, 141, 149, 154, 195, 214, 217,

219, 220, 224, 226, 229, 231-235, 259, 247, 248, 252-253, 262, 263, 271,

277, 278, 294, 308, 310, 349, 364, 368, 398.

Roberts, Lloyd, 294-295, 349, 350.

Roberts, Theodore, Goodridge, 308.

Robertson, John Ross, 398.

_Robespierre_, 193.

_Rododactulos_, 188.

_Rod of the Lone Patrol_, 306.

_Romany of the Snows, A_, 244.

Rose, 327.

_Rose à Charlitte_, 243.

_Rose of Acadie_, 243.

_Rose of a Nation’s Thanks, The_, 342.

Ross, G. W., 387.

Rothwell-Christie, Anna, 342, 343, 344.

_Roughing it in the Bush_, 339.

_Royal Gazette and New Brunswick Advertiser_, 390.

_Royal St. John Gazette and Nova Scotia Intelligencer_, 390.

Ryerson, Egerton, 395.

_Salt_, 120.

Salverson, Laura Goodman, 312.

_Sam Slick_, 58, 268.

_Sam Slick’s Wise Saws and Modern Instances_, 67.

_Samson_, 217.

Sangster, Charles, 43, 55, 97-99, 132, 278.

_Sanio_, 193.

_Sapphics_, 129, 134.

_Sappho_, 142, 152.

_Sappho in Leucadia_, 314, 315.

_Sartor Resartus_, 364.

_Saul_, 48-49, 316.

Saunders, Marshall, 26, 43, 55, 105, 243, 252, 253, 298.

_Sa’-Zada Tales_, 253.

Scadding, H., 398.

Scott, Duncan Campbell, 8, 17, 18, 26, 27, 99, 102, 105, 107, 113, 133,

138, 140, 159-183, 184, 185, 195, 209, 219, 229, 236-238, 271, 278, 284,

351, 360, 368, 399.

Scott, Frederick, G., 17, 26, 55, 107, 113, 115, 184, 214-218, 219,

260-264, 271, 278, 351, 371.

Scrace, Richard, (_pseud._), 278, 346.

Scriven, Joseph, 355-358.

_Sea Dogs and Men at Arms_, 346.

_Seamark, A_, 229, 233.

_Search for the Western Sea_, 402.

_Seasons of the Gods, The_, 224-225.

_Season, Ticket, The_, 42, 67, 79, 80.

_Seats of the Mighty, The_, 243, 244.

_Second Chance, The_, 303.

_Second Concession of Deer, The_ 50.

_Secret of Heroism, The_, 377.

_Sedan_, 261.

_Selections from Canadian Poets_, 387.

_Selections from Canadian Prose_, 387.

_Selections from Tennyson_, 364.

_Selections of Canadian Poetry_, 381.

Selfridge, Erica, 295.

_September_, 16.

_Sergeant Blue_, 275.

Service, Robert, 26, 27, 128, 220, 269, 271-279, 280, 281, 306, 368, 370,

372, 373.

Seton, Ernest Thompson, 251-253, 263, 310.

Sewell, Jonathan, 39.

_Shacklocker, The_, 304.

_Shadow River_, 201, 205.

_Shamballah_, 144.

Shanly, Charles D., 48.

Sheard, Virna, 226, 278, 346, 351.

_Sheep-washing, The_, 50.

Shepard, Odell, 141.

_Shepherd’s Purse_, 296.

Sherman, Francis, 222-224.

_Shining Cross of Rigaud, The_, 259.

_Shining Ship, The_, 227-228.

_Ships of St. John, The_, 17.

_Shooting of Dan McGrew, The_, 273-274.

Shortt, Adam, 399.

_Siege of Quebec, The_, 44.

_Silent Toast, The_, 351.

Silver, Arthur, 402.

_Silver Maple, The_, 302.

Sime, J. G., 305.

_Sir Wilfrid Laurier and the Liberal Party_, 399.

_Sister to Evangeline, A_, 248.

_Sky Pilot, The_, 255, 256.

_Sleeping Giant_, 202, 205.

Smith, Goldwin, 110, 199.

Smith, William, 395.

Smith, William Wye, 48, 50.

Smythe, Albert Ernest Stafford, 224-226, 278, 351.

Snider, C. H. J., 308.

_Snow_, 186.

_Snowflakes and Sunbeams_, 186.

_Solitary Woodsman, The_, 123, 124.

_Song My Paddle Sings, The_, 201, 204.

_Songs of a Sourdough_, 26, 220, 271, 274, 276.

_Songs of Heroic Days_, 346.

_Songs of the Common Day_, 124, 135.

_Songs of the Great Dominion_, 382-384.

_Songs of the Prairie Land_, 297.

_Songs of the Sea Children_, 152.

_Songs of Ukraina_, 296.

_Songs of Vagabondia_, 142.

_Songster, The_, 208.

_Son of the Sea, A_, 150.

_Sons of Canada_, 400.

_Sower, The_, 17, 120, 123, 135, 277.

_Sowing Seeds in Danny_, 299, 303.

_Soul’s Quest, The_, 215.

_Span o’ Life, The_, 249.

_Specimen Spinster, The_, 299.

_Spring on Mattagami_, 165, 166, 181.

_Spring Song_, 17.

_Standard Canadian Reciter, The_, 387.

Stansbury, Joseph, 39.

_St. Cuthbert’s_, 256-257, 303.

Stefansson, Vilhjalmur, 402.

Stead, Robert J. C., 271-279, 307, 372.

Stewart, George, 364, 393, 398.

_Stewart’s Quarterly_, 393.

_St. Lawrence and the Saguenay, The_, 97.

_St. Lawrence Basin and its Borderlands, The_, 402.

_Story Girl, The_, 301.

_Study of Shadows, A_, 293.

_Strange Manuscript Found in a Copper Cylinder, A_, 95.

Street, Eloise, 346.

Stringer, Arthur, 213, 226, 278, 310, 312, 314-315, 351.

Strong, Ruth, 346.

Sullivan, Alan, 303, 304, 305.

Sullivan, Archibald, 351.

_Sunshine Sketches of a Little Town_, 328-329.

_Swartz Diamond, The_, 260.

_Tales of the Selkirks_, 254.

_Tall Master, The_, 247.

_Tangled in the Stars_, 220.

_Tantramar Revisited_, 120, 122.

_Tecumseh_, 49, 193, 206.

_Te Deum_, 158.

Teskey, Adeline M., 299, 308.

Thomson, Edward W., 139, 259-260.

Thomson, John Stuart, 351.

_Thor_, 217.

_Thoroughbreds_, 254.

_Three-Flower Petals_, 110.

_Threnody for Robert Louis Stevenson, A_, (_A Seamark_), 233.

_Thrown In_, 331.

_Time_, 217.

_To a Canadian Aviator_, 351-353.

_To a Canadian Lad Killed in the War_, 351.

_To a Lady_, 62.

_To Ann_, 62.

_Toast, A_, 60.

Todd, Alpheus, 397.

_To England_, 191.

_To Him That Hath_, 255.

_To Mary_, 60.

_To the Birds_, 227.

_To the Linnet_, 61.

_To the Mayflower_, 61.

_To the Memory of Rupert Brooke_, 295.

_To the United States_, 191.

_Trail of Ninety-Eight, The_, 306.

_Trail of the Sandhill Stag, The_, 251.

_Trail to Lillooet, The_, 201, 208.

_Train Among the Hills, The_, 277.

_Traits of American Humor_, 67, 77.

_Translation of a Savage, The_, 244.

_Travels and Adventures in Canada and the Indian Territories_, 45, 400.

_Treasure of Ho, The_, 311.

_Treasure Valley_, 302.

_Treasury of Canadian Verse, A_, 385.

Trotter, Bernard Freeman, 295, 346.

_Truce of the Manitou, The_, 144.

_Twenty-First Burr, The_, 311.

_Two Little Savages_, 252.

Tyrrell, J. W., 402.

_Ultimate Hour, The_, 291.

_Unabsolved_, 17, 192.

_Under Canvas_, 209.

_Undertow, The_, 257.

_Unheroic North, The_, 334, 336.

_University Magazine, The_, 239, 319, 394.

_Vagabond Song, A_, 155.

_Van Elsen_, 17, 217.

_Vapor and Blue_, 17.

_Vancouver_, 144.

_Variations on a Seventeenth Century Theme_, 169-174.

_Vestal Virgin, The_, 319.

_Vestigia_, 143, 157.

_Via Borealis_, 165, 180, 181.

_Victory in Defeat_, 334.

_Viking Blood, The_, 304.

_Viking Heart, The_, 312.

_Vikings of the Pacific, The_, 398.

_Voice and the Dusk, The_, 176.

_Voyage from Montreal Through the Continent of North America_, 401.

_Wacousta_, 46, 69, 89, 91-92.

Walker, Louisa, 361.

Wallace, Frederick William, 303-305, 319.

_Wanderlied_, 287.

_Watchers in the Swamp, The_, 263.

_Watchers of the Trails, The_, 252.

_Wanderings of An Artist Among the Indian Tribes of North America_, 401.

Watson, Albert D., 361, 387.

Watson, Robert, 307.

_Wave-Won_, 206.

_Wa-Wa_, 144.

_Way of the Sea, The_, 304.

_Weather Breeder, The_, 335.

_Weaver, The_, 17.

_Weavers, The_, 244, 245, 246, 247.

_Web of Time, The_, 257.

_Week, The_, 110, 199.

_We, too, Shall Sleep_, 17.

_Welcome Home_, 342, 343.

Welsh, Canon, 358.

_Western Rambles_, 42, 59.

_Westminster, The_, 254.

Wetherald, Ethelwyn, 220, 278.

_What a Friend We Have in Jesus_, 355-357.

_What Time the Morning Stars Arise_, 221.

_When Albani Sang_, 270.

_When Half Gods Go_, 319.

_When Valmond Came to Pontiac_, 244, 245, 246.

_Where the Sugar Maple Grows_, 299.

_White Comrade_, 291, 292.

_White Garden, The_, 351.

_White Gull, The_, 148, 293.

_White Wampum, The_, 18, 200, 201.

_Why Don’t You Get Married?_ 330.

Wigle, Hamilton, 272.

_Wild Animals I Have Known_, 251.

Wilkins, Harriet A., 342.

Williamson, Mrs. J. B., 346.

Willison, Sir John, 399.

_Window Gazer, The_, 310.

_Winter_, 120.

_Winter Night, A_, 188.

_Winter Studies and Summer Rambles in Canada_, 45, 401.

_Wire Tappers, The_, 310.

_Wise Saws_, 79, 82, 83, 84, 86.

_Witching of Elspie, The_, 17, 262.

_Witch of Endor, The_, 315-317.

_With Rod and Gun in Canada_, 402.

Wood, William, 398.

_Wolverine_, 207.

_Woman in the Rain, The_, 226.

_Woman’s Part, The_, 343.

_Wood Carver’s Wife, The_, 283, 319-321.

_Wood Myth and Fable_, 252.

_Wooing of Monsieur Cuerrier, The_, 261.

_Work for the Night is Coming_, 361.

_Works of Gilbert Parker, The_, 211.

_World-Mother, The_, 191.

_World in the Crucible, The_, 246.

_Wreath of Canadian Poetry_, 386.

_Wreck of the Julie Plante, The_, 270.

Wrong, George M., 399.

Yeigh, Kate Westlake, 299.

Yorke, Milton W., (Derby Bill), 271.

_Young Baptist, The_, 287.

_You’ll Travel Far and Wide_, 214.

_You Never Know Your Luck_, 244.

_Young Knight, The_, 351.

_Young Seigneur, The_, 242.

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