By Elizabeth (Margaret Elizabeth Waterston
Rapt in Plaid combines mirrored image, feedback and memoir to demonstrate a curious and long-lasting connection among Scottish and Canadian literary traditions. Examples drawn from genres together with lyric poetry, narrative romance, conflict fiction, kid's literature, sentimental fiction, thrillers, household novels and brief tales hyperlink Canadian writers similar to John Richardson, Isabella Valancy Crawford, Sinclair Ross, Hugh MacLennan, Margaret Laurence and W.O. Mitchell to Scottish writers reminiscent of Robert Burns, Walter Scott, Thomas Carlyle, J.M. Barrie, Robert Louis Stevenson John Buchan and George Mackay Brown.
A line is traced in each one bankruptcy from without delay imitative nineteenth-century Canadian writers to fashionable Canadian works the place Scottish culture persists, occasionally reworked and occasionally distorted. vigorous biographical sketches and shut research of specific passages by means of Scottish and Canadian writers are set within the context of multi-cultural, narrative, postmodern and postcolonial theories. This learn illuminates the best way Scottish rules and values nonetheless wield wonderful strength in Canadian politics, schooling, theology, economics and social mores.
Although Professor Waterston's procedure is that of a literary historian, she frames each one part during this new paintings with affectionate stories of interpreting, discovering, and instructing Scottish and Canadian literature over a sixty yr period.
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Additional resources for Rapt in Plaid: Canadian Literature and Scottish Tradition
1-4), criticized in the first reviews of The Lady of the Lake as too 'geographical/ have kept tourist curiosity still unslaked, even after a century and a half of trips to Ben Leven and Loch Katrine. For Scots, Walter Scott's poems may have fed subliminal national aspirations and confirmed a stubborn northern resistance to the apparent takeover of the nation by British imperialism. Like the epic poets of the past, Scott had discerned and transmitted essential elements of the ethos of his own nation.
Eliot. His erudite, abstruse poetry was concentrated in hidden chains of metaphor, subtle gradations of sound, half-rhymes, and deliberately faltering rhythm. A new conception about poetry - or at least a revival of the metaphysical kind of poetry written in the seventeenth century by John Donne. In Canada, at McGill University, a group of young writers were already changing their assumptions about what poetry is, how it works, and what sort of readers can appreciate it. M. M. Klein, and Leo Kennedy were diverting the stream of lyric poetry into new channels.
Nor were his love songs (to his wife, mother of his eleven children) as passionate or haunting as the earlier poet's. But he did well with other Burnsian themes. In his newly chosen country, McLachlan, tailor, cobbler, unsuccessful farmer, taunted the would-be aristocrats - 'my lordly fellow-worm,' he called one of them. ' he scolded a submissive fellow who was prepared to take off his cap in deference to Canadian authority: Gie honour to the brave and good, To them, and them alone; E'en tho' inspired by gratitude, Man, keep your bonnet on.
Rapt in Plaid: Canadian Literature and Scottish Tradition by Elizabeth (Margaret Elizabeth Waterston