Of Poets, Poetry, Politicians, and Parliament Hill

Yet another gloriously sunny September weekend, I spent most of it stacking firewood in preparation for winter. The high point came early Saturday morning when I found myself in Ottawa's ByWard Market with an hour to kill. It was so early, that Patrick McGahern Books hadn't yet opened, and so I made for Parliament Hill to see how the restoration of the Centre Block is progressing.

Quite well, it seems.

Despite the early hour, there were swarms of tourists from the United Kingdom and China... but then it was noon in London and early evening in Shanghai.

It had been nearly twenty-four years since I'd walked around the building. The last time was on Sunday, October 1, 2000, when Pierre Elliott Trudeau's body lay in state in the Centre Block's Hall of Honour. I was there with my birth parents, both staunch Liberals. Here I am waiting in the eight-hour line with my birth mother; I have no idea as to the identity of the man in the turquoise cap:

The pins we are wearing were distributed on the evening PET made his farewell speech. I'm no Grit, but the conclusion of that speech has always inspired.

Enough nostalgia.

What I most wanted to see was the Library of Parliament. Its restoration took four years, beginning in  2002. From the outside, the library looks better than I remember. Money well spent, I say!

Several statues have had to be relocated during the restoration, but not the one honouring D'Arcy McGee. His still stands in place, though you really have to look.

See it?

It's not a good photo, but I remind that Saturday was gloriously sunny. I took a better snap of this plaque, which I'd never seen before:

cliquez pour agandir

As you can see, it lies just outside the construction zone. I really like the design and text. Sadly, "the female figure, representing Memory" is currently hidden by the fence. McGee, something of a hero to me,  made his greatest impact as a politician and journalist, of course, but I like that his work as a poet and historian is also recognized. The reference to McGee's verse sent me off walking toward what I think is the most interesting statue on Parliament Hill.

I knew just where to find it.

'A Canadian Galahad' memorializes the heroism of Henry Albert Harper, who on 6 December 1901 died attempting to save Bessie Blair, a young woman who had fallen though the ice while skating on the Ottawa River. The Dictionary of Canadian Biography features a brief entry on Harper by H. Blair Neatby. William Lyon Mackenzie King provides a more thorough biography in The Secret of Heroism: A Memoir of Henry Albert Harper (New York: Revell, 1906). The future prime minister's book, his first, was published the year after 'A Canadian Galahad' was unveiled by Prime Minister Wilfrid Laurier. Three thousand people were in attendance.

The deaths of Henry Harper and Bessie Blair shook the national's capital, in part because the young lady's father, Andrew George Blair, was the Minister of Railways and Canals. The statue was funded by public donations. Inspiration was drawn from a reproduction of George Frederic Watts' 'Sir Galahad,' which Harper had placed above his desk.

To this Canadian, 'A Canadian Galahad,' a statue inspired by a painting, is forever linked with verse. Within days of the tragedy, William Wilfred Campbell, who had a mutual friend in King, wrote a tribute to the doomed hero. This version comes from The Collected Poems of Wilfred Campbell (Toronto: Briggs, 1905):

HENRY A. HARPER

(Drowned in the Ottawa River while trying to save Miss Blair)

               We crown the splendours of immortal peace,

               And laud the heroes of ensanguined war.

               Rearing in granite memory of men

               Who build the future, recreate the past.

               Or animate the present dull world's pulse

               With loftier riches of the human mind.

               But his was greatness not of common mould,

               And yet so human in its simple worth,

               That any spirit plodding its slow round

               Of social commonplace and daily moil.

               Might blunder on such greatness, did he hold

               In him the kernel sap from which it sprung.

               Men in rare hours great actions may perform,

               Heroic, lofty, whereof earth will ring,

               A world onlooking, and the spirit strung

               To high achievement, at the cannon's mouth.

               Or where fierce ranks of maddened men go down.

               But this was godlier. In the common round

               Of life's slow action, stumbling on the brink

               Of sudden opportunity, he chose

               The only noble, godlike, splendid way.

               And made his exit, as earth's great have gone,

               By that vast doorway looking out on death.

               No poet this of winged, immortal pen;

               No hero of an hundred victories;

               Nor iron moulder of unwieldy states.

               Grave counsellor of parliaments, gold-tongued.

               Standing in shadow of a centuried fame.

               Drinking the splendid plaudits of a world.

               But simple, unrecorded in his days,

               Unostentatious, like the average man

               Of average duty, walked the common earth.

               And when fate flung her challenge in his face.

               Took all his spirit in his blinded eyes.

               And showed in action why God made the world.

               He passes as all pass, both small and great,

               Oblivion-clouded, to the common goal; —

               And all unmindful moves the dull world round.

               With baser dreams of this material day.

               And all that makes man petty, the slow pace

               Of small accomplishment that mocks the soul.

               But he hath taught us by this splendid deed,

               That under all the brutish mask of life
               And dulled intention of ignoble ends,
               Man's soul is not all sordid; that behind

               This tragedy of ills and hates that seem,

               There lurks a godlike impulse in the world,

               And men are greater than they idly dream.

Henry Albert Harper
1873-1901

Elizabeth "Bessie" Blair
1879-1901

RIP

Related post:

A Dedication Born of Tragedy

A Romance of Toronto: CanLit Most Verbose

A Romance of Toronto (Founded on Fact)

Mrs Annie G. Savigny
Toronto: William Briggs, 1888
229 pages

The first chapter, 'Toronto a Fair Matron,' begins:

Two gentlemen friends saunter arm in arm up and down the deck of the palace steamer Chicora as she enters our beautiful Lake Ontario from the picturesque Niagara River, on a perfect day in delightful September, when the blue canopy of the heavens seems so far away, one wonders that the mirrored surface of the lake can reflect its color.

Dale and Buckingham are the two gentlemen friends. In their sauntering, the former teases the latter for being a bachelor. Dale brags that he has not only wed, but has managed to father a child, whilst friend Buckingham prefers the company of his gentleman's club.

I describe this opening scene because it suggests an intriguing read.

Sadly, A Romance of Toronto is not.

Buckingham has joined Dale, Mrs Dale, their child, and pretty governess Miss Crew on a voyage from New York to Toronto. His presence aboard the Chicora is something of a mystery, but then the same might be said of the Dales and young Miss Crew. All may or may not involve a certain Mrs Gower, who has put to pen "a letter descriptive of Toronto." Dale reads it aloud as the palace steamer approaches Ontario's capitol. Four pages are consumed, these being the middle two:

Cliquez pour agrandir.

A Romance of Toronto is not a long novel but it demands a good amount of time and a great deal of concentration and patience. The reader may feel lost in the early chapters, but will eventually come upon a path. That same path will split in two, and then come together in the final pages.

In her introductory note, Mrs Savigny describes A Romance of Toronto as a novel consisting of two plots.

Dale and Buckingham have nothing to do with either.

The first involves young Charles Babbington-Cole. He knows Mrs Gower through his father, Hugh Babbington-Cole. A widower in frail health, Babbington-Cole père was once engaged to a wealthy Englishwoman. Tragically, the union was prevented through conniving and lies told the bride-elect by the sister of his late wife. The Englishwoman instead married her guardian with whom she had a daughter. When the sister-in-law's malfeasance was exposed Hugh Babbington-Cole and the Englishwoman – identified only as "Pearl" – vow that their offspring will one day wed and together inherit her riches.

And so, Charles Babbington-Cole bids Mrs Gower adieu, embarking for England and a storyline that reads like a very bad imitation of May Agnes Fleming; kidnapping, false identity, forced marriage, and a gothic manor house will figure.

The second plot – much more absurd, yet somehow less interesting – concerns Mrs Gower herself. A woman who has has twice worn the black robes of widowhood, she is cornered into accepting a marriage proposal from Mr Cobbe, by far the most repellent of her social set. Mrs Gower tells Mrs Drew how this came to be in 'The Oath in the Tower of Toronto University,' the novel's sixteenth chapter. This is its beginning:

Cliquez pour agrandir.

Several more pages pass in Mrs Gower's telling, but it comes down to this: Cobbe, who has been pestering Mrs Gower to marry him, fools her into believing that they've become locked in the tower overnight. Fearing scandal, Mrs Gower promises to marry Cobbe if he can only find a way out of their situation. The two descend only to find that the tower door isn't locked, and yet she holds herself to the oath.

Is Mrs Gower doomed to marry Cobbe? Is there not a means through which she can be released from her promise? Might the mysterious woman who has been haunting the grounds of Mrs Gower's home hold the key? The situation is made all the more dire when she meets and falls in love with Alexander Blair, a barrister newly arrived from Scotland.

Nothing is spoiled in reporting that all ends happily; the first of the novel's two epigraphs suggests as much.

Mrs Savigny's note makes it plain that A Romance of Toronto (Founded on Fact) is a roman à clef. but who are its models? Her two plots – "one of which was told to me by an actor therein; the other I have myself watched" – are "living facts." Who are the originals?  

A Montrealer, I hope to hear the answer from one of Toronto's fair children.

Trivia: The epigraph attributed to Charles Darwin – "I would like the Government to forbid the publication of all novels that did not end well." – is a false quote. Sleuthing led to the December 3, 1887 number of The Illustrated London News, which cites "Darwin's delightful biography [sic]" as the source. In The Autobiography of Charles Darwin (1887), the naturalist writes of the pleasure he receives from novels, adding: "A surprising number have been read aloud to me, and I like all if moderately good, and if they do not end unhappily—against which a law ought to be passed."

Mrs Savigny attributes her second epigraph – "What would the world do without story-books" – to Charles Dickens. I've not been able to find this quote or anything resembling it outside the pages of her novel.

Trivia II: The University of Toronto is referred to only once as such; "Toronto University" is used throughout the rest of the novel. I asked Amy Lavender Harris, author of Imagining Toronto, about this. She suggests that "Toronto University" might have been used to connote familiarity.

Bloomers: There are two, both expressed by Mrs Gower. The first is upon learning of Charles Babbington-Cole's departure for England:

"Don't you think, Lilian, that the opposite sex is usually chosen to lend an ear?" she said, carelessly, to conceal a feeling of sadness at the out-going of her friend; for she is aware that the old friendly intercourse is broken, now that he has gone to his wedding.

In the second, Mrs Gower is speaking of the man she loves:

"I am so glad he has come into my life: I feel lonely at times; and he is so companionable, I know. What dependent creatures we are, after all—houses and lands, robes a la mode, even, don't suffice. Intercourse we must have."

Object and Access: A deceptively slim hardcover. Fifty years after publication, my copy was added to the library of the Department of the Secretary of State. One wonders why. Might it have something to do with the suggestion that A Romance of Toronto is a roman à clef? I'm guessing not, but like to imagine otherwise. 

I don't know what to make of the binding, which is markedly different than Harvard University's copy:

I purchased A Romance of Toronto three years ago. As I write this just two copies are listed for sale online. The least expensive – $65 – is "good only." At $247, the alternative is "very fine." Take your pick.

A Romance of Toronto was reprinted in 1973 by the University of Toronto. If anything, that edition is even more rare. Long in the public domain, it continues to be picked over by print on demand vultures. This cover is my favourite by far:

Related post:

Susanna Moodie's Bloomers

Isabel Ecclestone MacKay's Cold, Colourless, Bitter, Empty, Lonely, Dreary November

An old poem for the New Month by daughter of Woodstock, Ontario Isabel Ecclestone MacKay. This one comes from Between the Lights, her 1904 collection published by William Briggs.

Related posts:

Virna Sheard Sees November as a Hooded Friar

Stringer's 'The Song-Sparrow in November'
Archibald Lampman's 'In November'
'November the First' by the Master of All Poets

Ten Poems for National Poetry Month, Number 9: 'My Own Canadian Girl' by W.M. MacKeracher

For the month, the ninth of ten poems

I find interesting, amusing, and/or infuriating.

What could be considered romantic verse from W.M. (William MacKay) MacKeracher's Canada, My Land and Other Compositions in Verse (Toronto: William Briggs, 1908).

MY OWN CANADIAN GIRL

                    The demoiselles of sunny France

                         Have gaiety and grace;

                    Britannia's maids a tender glance,

                         A sweet and gentle face;

                    Columbia's virgins bring to knee

                         Full many a duke and earl;

                    But there is none can equal thee,

                         My own Canadian girl.

                    Thy hair is finer than the floss

                         That tufts the ears of corn;

                    Its tresses have a silken gloss,

                         A glory like the morn;

                    I prize the rich, luxuriant mass,

                         And each endearing curl

                    A special grace and beauty has,

                         My own Canadian girl.

                   Thy brow is like the silver moon

                        That sails in summer skies.

                   The mirror of a mind immune

                        From care, serene and wise.

                   Thy nose is sculptured ivory;

                        Thine ears are lobes of pearl;

                   Thy lips are corals from the sea,

                        My own Canadian girl.

                   Thine eyes are limpid pools of light,

                        The windows of thy soul;

                   The stars are not so clear and bright

                        That shine around the pole.

                   The crimson banners of thy cheeks

                        To sun and wind unfurl;

                   Thy tongue makes music when it speaks,

                        My own Canadian girl.

                   God keep thee fair and bright and good

                        As in thy morning hour,

                   And make thy gracious womanhood

                        A still unfolding fiow'r.

                   And stay thy thoughts from trifles vain,

                        Thy feet from folly's whirl,

                   And guard thy life from every stain,

                        My own Canadian girl!

 

Ten Poems for National Poetry Month, Number 3: 'My Little Suffragette' by Thaddeus A. Browne

For the month, the third of ten poems

I find interesting, amusing, and/or infuriating.

Thaddeus A. Browne had a decades-long career as an Ottawa civil servant, though his Citizen obituary (9 March 1935) makes more about his standing as a literary figure.

I'm not sure that Browne was a widely known as a writer of poems and prose; I'd never encountered his name before buying The White Plague and Other Poems (Toronto: William Briggs, 1909). Of its twenty-two poems, 'My Little Suffragette' is the second to take on soldiers in petticoats. 

MY LITTLE SUFFRAGETTE

                         Little blue-eyed suffragette,
                         What for suffrage calling yet?
                         Stop your worry, cease your fret,
                              Don't you see the harm it brings? 

                         If a vote were given you,
                         Many things no doubt you'd do,

                         You might mould the world anew

                              As upon its course it swings. 

                         But I want to tell you this,

                         Winsome little suffrage miss,

                         You are keeping me from bliss

                              By your interest in such things. 

                         You have worried my poor mind,

                         You have been to me unkind;

                         Good it is that Love is blind,

                              Or he might have taken wings. 

                         What! you did it just to tease!

                         Little minx, give me a squeeze.

                         Love you give me ecstasies

                              What's your choice of wedding rings?

Remarkably, the poet did marry... though not until middle age.

 Thaddeus Augustine Browne
1878-1935
RIP

A Woman Who Did

The Untempered Wind
Joanna E. Wood
Ottawa: Tecumseh, 1994
354 pages

In Henry James Morgan's Types of Canadian Women, published in 1903 by William Briggs, Joanna E. Wood is described as a "well known Canadian novelist."

She is not today.

She was not a half-century ago.

She was not a century ago.

"Meteor-like" is the word Barbara Goddard uses to describe Wood's career. In fact, it ended the very year Types of Canadian Women appeared.

The novelist was all of thirty-five.

Joanna E Wood was twenty-six when The Untempered Wind, her first novel, was published. Its heroine, Myron Holder, has had a child out of wedlock; she is "a mother, but not a wife," and so suffers the scorn of Jamestown, the small Ontario village in which she was born and raised. Myron's own mother is dead, as is her father. Her unloving grandmother is very much alive and shares a modest house with Myron and her baby boy.

When first published in 1894, The Untempered Wind proved a critical and commercial success, encouraging three printings, each featuring the same ten illustrations. The frontispiece was used on the cover of the Tecumseh edition:

Had I been involved in its publication, I would have chosen one of the illustrations depicting Myron. This is my favourite:

Still, I understand the selection. Myron may be the protagonist of The Untempered Wind, but more pages are given over to those so quick to pass judgement. Mrs Deans, the most prominent, leverages her employ of Myron as an act of sacrifice and charity: "I feel a duty to have her here, but it goes ag'in me, Mr. Long [the ragman] it does that; but there, we all have our cross and we must help along as well as we can." Other women of the village visit Myron's grandmother on the pretence of providing sympathy. Each hopes to be the one who uncovers the identity of the child's father, but not even old Mrs Holder knows his name.

Not everyone in Jamestown condemns Myron; some are too drunk to care, while others are oblivious to her situation. This reader was struck by young Bing White, an elfish lad who today's reader will recognise as displaying all the early interests and obsessions of a serial killer:

There was something hideously repulsive in this boy's secret cruelties, horrible to relate, sickening to contemplate. But the creatures he tormented, maimed, killed, knew neither anticipation nor remembrance; the "corporeal pang" was all.

A boy drawn to blood, including his own, Bing is unique in nineteenth-century Canadian literature, as is Jamestown. The village stands in stark contrast with the surrounding farmland as a place poisoned by an atmosphere of envy, greed, cruelty, and hypocrisy:

The Jamestown people, in making a pariah of Myron Holder, were not urged to the step by imperative feeling of hurt honor or pained surprise. Such faults as hers were not uncommon there; but never before had the odium rested upon one only. Besides, there had always been some "goings on" and some "talk" indicative of the affair. In Myron Holder's case, the Jamestown people had been caught napping. In such eases a marriage and reinstatement into public favor was the usual sequel, arrived at after much exhilarating and spicy gossip, much enjoyable speculation, much meditation upon the part of the matrons, and much congratulation that all had ended so well.

Myron is ostracised for not following that well-trod path. After a time, she comes to have a friend in Homer Wilson, by far the most intelligent person in Jamestown, whose ambitions have been crushed by manipulative, guilt-inducing parents. 

The Untempered Wind was first published the year before The Woman Who Did by fellow Upper Canadian Grant Allen. The latter, also a story of an unwed mother, was a succès de scandale. Wood's novel didn't raise as much stink, but it was a success. The three printings by original publisher New York's J Slewing Tait and Sons were followed in 1898 by an Ontario Publishing Company edition.

Together The Untempered Wind and The Woman Who Did stand as two of the most remarkable Canadian novels of the nineteenth century.

Neither was so much as mentioned in my CanLit classes.

Object and Access: A trade paperback with introduction by Klay Dyer, The Untempered Wind is the seventh volume in Tecumseh's essential Early Canadian Women Writers Series. I purchased my less than pristine copy eight years ago at London's Attic Books. Price: $2.23. It's available from the publisher at $17.95 (plus postage) through this link.

Current Literature, November 1894

The Tait and Sons first edition can be read online here, but this scan of the third printing – reproduced in the Tecumseh edition – is much easier on the eyes.

As of this writing, only the Tecumseh edition is listed for sale online.

Related post:

Getting to Know the Woman Who Did

The Dustiest Bookcase: M is for Machar

The Dustiest Bookcase:

Short pieces on books I've always meant to review (but haven't).

Marjorie's Canadian Winter: A Story of the Northern Lights

Agnes Maule Machar

Toronto: Briggs, 1906

315 pages

Another winter has come and gone... the twelfth since I found this book at the Stratford Salvation Army Thrift Store. It spent the season on my night table, vying for attention with The Sleeping Bomb, The Terror of the Tar Sands, A Gift to Last, The Wronged Wife, and all kinds of unkind works about Maria Monk. Snubbed yet again, Marjorie's Canadian Winter has been returned to the living room bookshelves.

Miss Machar's most popular novel, I feel it must be read in winter.

Why?

Don't know. After all, I'm always up for hearing "Theme from A Summer Place." Doesn't matter what time of year.

Because I dislike spoilers, I've made a point of skipping over all references to Marjorie's Canadian Winter when reading about Agnes Maule Machar. However, for the purposes of this post, I allowed myself this review of the original edition from the December 24, 1892 number of The Critic:

I can attest to the engravings being neat. Sure looks like Marjorie had fun.

Must admit, I'm intrigued by the reference to her encounters with those "not so satisfactory."

Ah, but I can wait 'til at least December. Spring is here! Besides, I found this today folded between pages 62 and 63:

There are conifers that need planting.

Doctor Logan's Ode for Thanksgiving Day

Verse for the day by son of Antigonish J.D. Logan. This version is taken from his Songs of the Makers of Canada and Other Homeland Lyrics (Toronto: Briggs, 1911).

LAND BLEST WITH YOUTH

An Ode for Thanksgiving Day

Land blest with youth and strength, with wealth and peace—

These are thy dower with which to rear a realm

Where men shall own their full enfranchisement

In recompense for purer purposes

Than elder empires' sordid gluttonies.

These are senescent now. The frosts of Fate

Have touched their Tree of Life: the blighted leaves

Are dropping swift and yellowing in decay

Autumnal:—and in His own time Who plans

The universal destiny and doom,

Profoundest glacial snows shall cover them

And no requick'ning sun shall rise to melt

Their gelid grave. Forever they shall lie

Wrapt up in silence in their lethal bed.

But thou, young Titan of the West, whose years

Are leafy yet, thy branches full of sap,

And green already with Life's ampler deeds,

Give thanks, this day, for thy predestined task!

For He whose throne is everywhere, and guides

The courses of the million million worlds,

Hath consecrated thee—thy youth and strength,

Thy peace and gifts of earthly plenitude—

To service for our race—disquieted

By Mammon's crew—till we at length behold

The Dayspring of the Brotherhood of Man.

Give thanks, and trust thy sons, O Canada—

Their prayers are with thee and their present deeds

Are fateful of the nobler race to come!

E'en now upon thy brow the radiance shines

Of lofty Statehood, unassorted and free,

While unseen hands unfold thy destiny.

Wishing all a happy and safe Thanksgiving.

Related posts:

An Old Thanksgiving Ode by James McIntyre

Jean Blewett's 'Thanksgiving Song'

Jean Blewett's 'Thanksgiving Prayer'

Edna Jaques' Award-Winning Thanksgiving Verse

Thanksgiving in the Midst of War
'October in War Time'

A Thanksgiving Hymn

Thanksgiving Day Advice

'Thanksgiving Morn'

An Expatriate Canadian Poet's New England Thanksgiving

for Canadian Thanksgiving

Atypical Easter Verse by Agnes Maule Machar

For this Easter Sunday, 'In Memoriam—H.W.L., A Noble Teacher' by  Agnes Maule Machar, "first of Dominion poetesses." It is a celebration of a holy day, a celebration of faith, and a memorial to a beloved teacher. The version below is taken from Lays of the 'True North' and Other Canadian Poems (Toronto: Copp, Clark, 1899), in which the poet provides a note identifying "H.W.L." as "Hannah W. Lyman, first Principal of Vassar College, New York State, and previously an esteemed teacher in Montreal, Canada."

I admit to having being confused when I first came upon this poem; it was my understanding that Agnes Maule Machar's father, Presbyterian clergyman John Machar, had been solely responsible for her education. Further investigation revealed that daughter Agnes had spent one – and only one – year at Ipswich Seminary, a Montreal boarding school run by Miss Lyman.

Though a Montrealer – born, bred, and educated – it wasn't until recently that I'd so much as heard the name Hannah W. Lyman. Henry James Morgan's wonderful two-volume Types of Canadian Women and of Women Who Are or Have Been Connected with Canada (Toronto: William Briggs, 1903) – source of the images used in this post – speaks to her importance and influence on the city:

Miss Hannah Willard Lyman, a successful and inspiring teacher of youth, was born at Old Northampton, Mass., in 1816, and died at Poughkeepsie, N.Y., where she was vice- principal of Vassar College, February 21st, 1871. She commenced to teach at Gotham Academy, Maine, and she subsequently taught in Mrs. Gray's Seminary for Young Ladies at Petersburg, Virginia. For the next twenty-two years she conducted a seminary for young ladies, in Montreal, which took the lead of all similar institutions in the Canadas. Her natural gifts, amounting almost to a genius for her profession, were enriched by an education of no ordinary range. She was a sister of Rev. Henry Lyman, a missionary, who was murdered by the natives in Sumatra in 1832, and whose life she has written {New York: 1857); also of the late Lieut.-Colonel Theodore Lyman, and the late Colonel S.J. Lyman, of Montreal. The Rev. Dr. Campbell, in his "History of the St. Gabriel Street Church, Montreal," says that "the name of Miss Lyman is yet as ointment poured forth in many hearts and homes, not only in Montreal, but all through Canada, for the blessed influences which she exerted as an instructor of young ladies." A memorial of her is preserved in McGill University by the "Hannah Willard Lyman Fund," raised by subscriptions from her former pupils, and invested as a permanent endowment to furnish annually a scholarship or prizes in a college for women affiliated to the university, or in classes for the higher education of women. Her remains were brought to Montreal and laid in Mount Royal Cemetery.

Sadly, it seems the memorial preserved in McGill University is no more.

A remarkable woman. Would that I could've visited her gravesite this Easter, but in this time of crisis it's closed for all but essential services.

IN MEMORIAM

H. W. L., A NOBLE TEACHER 

      'Tis once again the Eastertide,
            So bright, so full of summer calm;
      So fair the quiet waters glide,
            The air so full of fragrant balm,
      That earth and sky and crystal tide
            Seem chanting sweet an Easter psalm;
      So, to her risen Saviour-King,
      Methinks—a ransomed earth might sing. 

      How brightly in the sacred chain
            Of thoughts that with the season blend,
      Thy well-known image shines again
            In memory's light, beloved friend!
      Though now we seek thy smile in vain,
            Our converse hath not here its end;
      So linked art thou with this blest day
      Thou scarcely seemest passed away! 

      Thine Easter song shall sweetly flow,
            Unmingled now with loss or pain,
      And we in shadow here below
            Can almost hear the joyous strain;
      For 'Worthy is the Lamb,' we know,
            Is evermore the glad refrain;
      How, in the sunshine of His grace,
      Must thou rejoice to see His face! 

      We still must keep the feast below,
            Partake the sacramental wine;
      Thou needest no memorials now
            In presence of the Living Vine.
      Yet, though our tears will have their flow
            We would not at thy gain repine;
      For our communion still shall be
      With thee—through Christ in Him with Thee! 

      We know not what new realms of thought
            Have opened to thine eager gaze;
      We know not how thy soul is taught
            The knowledge of God's hidden ways;
      How problems once with mystery fraught
            Now fill thy heart with grateful praise,
      While we must wander still and wait
      In the dim light without the gate! 

      But well we know thy longing heart
            Hath seen fulfilled its sweetest dreams;
      Hath found its ever-blessed part
            In that deep love whose gladsome beams
      It sought afar—as seeks the hart,
            Athirst, the crystal-flowing streams,
      Now, bathing in that glorious tide,
      At last, at last is—satisfied!

      Well—though we cannot grasp the bliss
            That fills thy cup of gladness there,
      Nor know what we shall gain or miss
            In life that tends—we know not where,
      We may go forward, knowing this—
            Who cared for thee for us will care—
      And, in the 'many mansions,' we
      At last shall share thy rest with thee. 

      But while on earth shall lie our lot,
            We cherish still the thought of thee;
      The living lesson thou hast taught
      Of faith and hope and charity.
      The life with patient labour fraught,
            From self and selfish aims set free;
      A power our slower hearts to move,
      To follow in thy path of love! 

      We thank God for thy life below,
            We thank Him for the quiet rest
      Of which such toilers only know
            The sweetness, when at length possessed.
      The words that here thou lovedst so,
            In whose fulfilment thou art blest,
      Those words of comfort, still and deep,
      We softly murmur while we weep:
      'He giveth His beloved sleep!'

Wishing all a Happy Easter.

Stay healthy.

Stay safe.

Related posts:

'The Eastern Winds' by Liliian Leveridge

Dorothy Dumbrille's Easter Prayer

Easter Verse by Ethel Ursula Foran
'Easter Dawn' by Jean Blewett
'The Easter Parade, 1915' by Robert Stanley Weir

Uncollected Easter Verse by Arthur Stringer

'Communion Pascale' de Émile Nelligan

"April Night" by Archibald Lampman

Not as our home looks today, but as it did late last April.

It will again.

For now, this from Archibald Lampman's Poems (Toronto: William Briggs, 1915):

APRIL NIGHT

How deep the April night is in its noon,
The hopeful, solemn, many-murmured night!
The earth lies hushed with expectation; bright
Above the world's dark border burns the moon,
Yellow and large; from forest floorways, strewn
With flowers, and fields that tingle with new birth,
The moist smell of the unimprisoned earth
Come up, a sigh, a haunting promise. Soon 

Ah, soon, the teeming triumph! At my feet
The river with its stately sweep and wheel
Moves on slow-motioned, luminous, gray like steel.
From fields far off whose watery hollows gleam,
Aye with blown throats that make the long hours sweet,
The sleepless toads are murmuring in their dreams.

Related posts:

'When April Comes!' by Virna Sheard

Now That April's Here, Virna Sheard's 'April'
Verse from an April a Century Past

A Literary Vampire Alights upon an Impoverished Poet; or, A Newer New Grub Street in Manhattan

The Silver Poppy
Arthur Stringer
New York: Appleton, 1903
291 pages

Educated Englishman John Hartley has seen much sadness in his young life. Four or five years ago, his father, Sir Harry Hartley, was killed in the Dunstable Hunt. John next suffered through the illness and death of a fiancée, Connie Meredith, to whom he had dedicated his debut volume of verse. These tragedies rendered John directionless until celebrated portrait painter Repellier suggests that he set sail for a new life in New York.

The city isn't quite as welcoming as was hoped. Unable to sell his literary efforts, and short of funds, John takes a job in the grimy offices of the United News Bureau, where he's reduced to toiling amongst hacks and exhausted, alcoholic has-beens. And yet, John holds no ill will. Standing on the rooftop of Repellier's studio, as one of the painter's Bohemian parties draws to a close, John chances to meet Kentucky girl Cordelia Vaughan. He doesn't recognize her, though he should; Cordelia is the author of The Silver Poppy, a literary debut that is being touted not only as the novel of the season novel, but a novel for all time. A blonde beauty with a penchant for yellow and gold dresses, blouses and skirts, pictures of Cordelia are everywhere. The celebrated author expresses interest in John's writing, does a kindness in offering an exclusive interview, and two become fast friends.

Not long into their relationship, Cordelia shares her frustration in writing a second novel, The Unwise Virgins. The poet offers to read the manuscript, and finds it a failure. The Unwise Virgins has "none of the power and movement of The Silver Poppy, none of those whimsical tendernesses and quaint touches of humor and pathos that had half muffled the razor edge of her earlier satiric touch." John had never found Cordelia to have a great sense of humour, and so wonders if "she had not drained off, as it were, her vanished reservoirs of mirth; if her mental blitheness had not been lost with the too labored advent of her firstborn."

The poet is gentle in suggesting changes that might improve the novel, but the authoress has had enough of it. Her mood improves when he offers to make the changes himself. In return, the frustrated novelist suggests they share the royalties. When John refuses the offer, she insists that he send her some of his short stories. Though they've been rejected by numerous magazines, Cordelia rightly believes that her support will help in getting them published. John's stories sell, which makes it easier to leave the United News Bureau. Cordelia next offers John an apartment she'd intended for her father (he was reluctant to leave his old Kentucky home) and the poet ramps up his work on improving The Unwise Virgins.

Months pass, during which Repellier finally finds time to read The Silver Poppy. He finds it identical to a work in progress read to him by a friend not three earlier. This friend, one of "the brightest and most scholarly editorial writers on all Park Row," had been sickly. He'd sought a cure in fresh air of the hills of Kentucky, where he'd subsequently died. Repellier threatens to share his knowledge of the true author of The Silver Poppy unless Cordelia breaks things off with John.

Repellier presumes. Up to this point, Cordelia and John have been not much more than friends. True, two of their meetings featured kissing and petting, but they ended quickly and were of the oh-dear-I don't-know-what-got-into-me kind. But, after Repellier's threat, when they're next alone:

The two white arms came together and folded over him and drew him in like wings.
     Time and the world were nothing to her then; time and the world were shut out from him. It was the lingering, long-delayed capitulation of the more impetuous, profounder love she had held back from him, of the finer and softer self she had all but famished in the citadel of her grim aspirations. She no longer allured him, or cared to allure him; she had nothing to seek of him thereafter; she had only the ruins of her broken life to give him.
     And he, too — he felt those first thin needles of bliss that crept and projected themselves over the quiet waters of friendship, and he knew that a power not himself was transforming those waters of change and unrest and ebb and flow into the impenetrable solidity of love itself.

For "capitulation" read "copulation."

I've done a disservice in quoting this particular passage, though it is an example of the work's greatest flaw. A first novel, The Silver Poppy – Stringer's, not Cordelia's – so often falls victim to verbosity, but not so often that it ruins a really good story. The worst aspects of the writing life, as it was at the dawn of the last century, are exposed. The United News Bureau seeks funds from eminent men looking to guarantee a favourable obituary, and feeds off material outside of copyright:

An English novel or any less substantial publication which came to it unprotected by the arm of the law was pounced on at once, rapaciously and gleefully. It was renamed, abridged or expanded as the case might require, and in less time than it took the original author to indite his first chapter, it was on the market as a new and thrilling serial, “secured by special arrangement.”

Cordelia's novel is bought by Broadway. Though two playwrights are brought in to adapt it for the stage, only her name is credited. Sent out on lecture tour, Cordelia reads words written by a speechwriter hired by her publisher. She encourages John to submit one of his poems, 'The Need of War,' to a newspaper that is offering a great deal of money for her thoughts on armed conflict:

“But it’s not what newspapers print or care to print.”
     “It’s a beautiful thing,” she cried. “They’d jump at it.” And then she added, as an afterthought, “ If it had been written by any one with a name.”
     “That’s just it,” he explained. “ The offer hasn’t been made to me, you see.”
     “Yes, I know,” she began. “And that’s why I hesitated about suggesting the thing.”
     He seemed to be weighing the matter, and she waited for him to speak.
     “Of course it’s awfully good of you to extend the offer to me at the last moment, and all that sort of thing. But I know well enough this paper would never think of offering me any such sum for the lines.”
     She looked at him steadily.
     “They would if it appeared over my name.”
     “But I couldn’t ask you to do that—and for a mere matter of money,” he cried.
     “I would gladly, for you.”
     “But it would scarcely be fair, either to you or to me.”
     She almost hated him, she felt, when he stood so proudly behind that old-time integrity of character of his. Even as she argued, though, she secretly hoped against hope that he would hold out, that he would defeat her where she stood. Then remembering again more than one scene of inward humiliation over what he seemed to have accepted as her womanly proneness to tangle the devious skeins of ethics and expediency, a touch of the tyrant came to her once more.
     “I want you to have this money,” she pleaded. “It’s only right that you should."

Cordelia is alive! A country girl caught up in literary New York, she quickly learns to navigate, becoming all too familiar with the fabrication, hypocrisy, and deceit of its publishing houses.

Arthur Stringer: Son of the North
Victor Lauriston
Toronto: Ryerson, 1941

In his very short biography of the author, friend Victor Lauriston writes: "Newspaper identification of a prominent woman writer of that period with Stringer's 'Cordelia Vaughan' precipitated a controversy, and the book startled the author by going through five editions."

The Kentucky New Era
19 September 1903 

My own investigation confirms the validity of Lauriston's statement. Newspapers did indeed liken the character to a famous authoress of the day; frustratingly, I've yet to find one that names the lady in question. And so I put it to you, who is Cordelia Vaughhan?

Trivia I: The word "plagiarism" does not feature in the novel.

Trivia II: Five years after publication, Stringer accused George Sylvester Viereck, Edgar Allan Woolf of plagiarizing The Silver Poppy in their play The Vampire. The latter is based on Viereck's 1907 novel The House of Vampire, in which American Reginald Clarke feeds off the literary and artistic work of others.

The New York Times
31 January 1909

The working title of The  Silver Poppy was "The Yellow Vampire." The word "vampire" exists six times in the text, used by Repellier in a too subtle tale to warn John about Cordelia.

I've found no evidence that Viereck and Woolf followed through on their threat.

Object: A very attractive hardcover, typical of its time, except that it features no illustrations. The book's final six pages are given over to adverts for titles by Anna McClure Sholl, Ellen Thorneycroft Fowler, Arthur Stirling, Julien Gordon, Frank T. Bullen, J Aubrey Tyson, Elisa Armstrong Bengough, Mrs Burton Harrison, and Mrs Poultney Bigelow.

I didn't make up one of those names.

The image at the top of this post does not do justice. Those poppies really are silver! I purchased my copy, a first edition, four years ago from Attic Books, not one kilometre from the author's childhood home. Price: $10.

Access: The Silver Copy is held by the Chatham-Kent Public Library, the London Public Library, and twenty-one of our academic libraries. The novel may have had five printings, but only three copies are listed for sale online. As of this writing, at US$18, the cheapest is an Appleton first. I'm intrigued by the offer of a later A.L. Burt cheapo because it features a fontispiece. A Canadian edition as published in 1903 by William Briggs. A UK edition was published in 1904 by Methuen.

The print on demand vultures are all over this novel. My favourite cover is this one, presumably put together after misreading the title:

No dogs feature in the book

Related posts:

Richardson's End

The Most Depressing Canadian Novel of All Time?

Arthur Stringer Under the Influence
Arthur Stringer from Chatham to London