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THE INCIDENTAL PRE-CONFEDERATION LITERATURE OF CANADA—ALEXANDER HENRY’S TRAVELS—MRS. BROOKE’S NOVELS—MRS. JAMESON’S NATURE-STUDIES—THE ÉMIGRÉ PRE-CONFEDERATION LITERATURE OF CANADA—MRS. SUSANNA MOODIE—ADAM KIDD—JOHN READE—GEORGE MURRAY—ALEXANDER M^cLACHLAN—WILLIAM WYE SMITH—ISABELLA V. CRAWFORD.

Broadly taken, the Incidental Pioneer Literature of Canada was produced by the wits and bon vivants amongst the officers of the British army and navy during or after the taking of Louisburg and Quebec, and by certain ‘birds of passage,’ British-born men and women, who were sojourning in the Canadas. It was considerable in quantity, embracing verse, narratives, social and nature studies and sketches, and even fiction. But it did not affect the life and ideals of the people. It was simply literature produced in the Canadas—incidentally.

From Louisburg to Quebec and Montreal the poets in the British navy and army exhibited a special preoccupation with a species of war poetry. In 1759, for instance, when the British frigate’s guns were breaching the walls of the French stronghold, Louisburg, Valentine Neville penned his poem The Reduction of Louisburgh. In 1760, George Cockings produced another war poem for the delight of London—The Conquest of Canada, or The Siege of Quebec: A Tragedy. In this species of literature, the most remarkable performance was Henry Murphy’s The Conquest of Quebec: An Epic Poem in Eight Books. It was published at Dublin in 1790 and runs to the amazing length of eight thousand lines. Quantity, not literary quality, was the only distinguishing mark of these early Canadian poems of heroism in war.

A really remarkable book, with genuine literary quality was the elder Alexander Henry’s narrative of his experience as a traveller and explorer, published in 1809 under the title Travels and Adventures in Canada and the Indian Territories. In point of publication it was anticipated by narratives dating as early as 1736, when John Gyles wrote his memoirs of Odd Adventures, an account of his experience while exploring the region through which runs the St. John River. There were many volumes of narratives, but the most of them lacked literary style and are of interest chiefly to the antiquarian.

Two women, however, deserve special notice as contributors to the Incidental Literature of Canada. These were Mrs. Frances Brooke, who was the wife of a chaplain of the forces at Quebec in the last quarter of the 18th century; and Mrs. Anna Brownell Jameson. While a resident of the Province of Quebec, Mrs. Brooke wrote what has been called ‘the first Canadian novel,’ The History of Emily Montague. Published in 1769, it ran into several editions. Mrs. Jameson possessed a rare pictorial sense of beauty in nature; and while visiting the Canadas she wrote Winter Studies and Summer Rambles in Canada. Published in three volumes at London in 1838, this work remains to this day the finest example of ‘color writing’ in the whole range of Canadian Literature.

With the exception of Mrs. Brooke and Mrs. Jameson, the writers of the Incidental Pioneer Literature of Canada merely took a passing view of what had interested them and put it into literary form decent enough for publication. It was the substance of what they wrote, not the style or literary art in their books, that interested their public in the Canadas, the United States, and the United Kingdom. The only faculty these books satisfied or delighted was the faculty of curiosity; and the only delights they really gave readers were vicarious thrills of adventure and wonder.

The Incidental Literature of Canada, therefore, must be merely noted as fact. In nowise, whether it be literature or not, had it any real influence in developing a Canadian sentiment or in awakening a Canadian literary spirit. Mrs. Brooke wrote her novel, The History of Emily Montague, strictly in imitation of the first English novelist, Samuel Richardson. But Canadian fiction, in any real sense, did not begin with Mrs. Brooke. It began with a native-born Canadian, John Richardson, who wrote historical romance, notably Wacousta, after the manner of, though not in imitation of, Fenimore Cooper.

By the Emigré Literature of Canada we mean in general the poetry and prose written in Canada by permanent residents who were not born in any of the British North American Provinces. It is a moot question whether the literary historian should class the poetry of Isabella Valancy Crawford and of William Henry Drummond under the category of Emigré Canadian Literature. They were born outside of Canada; but they came to Canada at an age when their minds were young and unformed and readily susceptible to Canadian influences, naturalistic, social, and spiritual. Poets like Heavysege and John Reade came to Canada when their minds were mature and their attitudes to life were fixed. It is certain that Valancy Crawford and W. H. Drummond did write from the Canadian point of view and did influence Canadian literature, as well as contribute, somewhat uniquely, to its quantity and quality. It is equally certain that several of the maturely minded émigré writers influenced, by their presence and example, the development of Canadian Literature.

From the point of view of influence, both of production and example, we include in the one category of Emigré Literature the poetry and prose of the permanent residents who came to Canada when mature in mind and of those who came in childhood. With the exception of the poetry of Miss Crawford and W. H. Drummond the Emigré Literature of Canada is derivative in form and substance. In Miss Crawford’s case we discover a considerable element of Canadian theme and a form of her own. In the case of Drummond we come upon what Louis Fréchette has called a ‘Pathfinder’—a poet with a new substance and a new form absolutely and uniquely indigenous to Canada.

Though Confederation in 1867 sounded the death knell of the Emigré Literature of Canada, actual production of it continued for a decade or two past Confederation. It may be said to have lasted for about a hundred years; or from the Fall of Montreal in 1760 till the publication of Charles G. D. Roberts’ In Divers Tones (1887) twenty years after Confederation.

In the first form, it was strictly pioneer literature, and naturally had the crudity of thought and structure which belong to literature composed under unsettled conditions. Gradually it came to have better aesthetic substance and artistic form. This growth in it from crudity to decent literary form evolved according to the social and spiritual development of Canada in the Pioneer and the later Pre-Confederation periods. As existence in Canada became more and more settled, and education and culture became more and more distributed and appreciated, the literature produced in the country was written more and more to appeal to the aesthetic sensibilities and the artistic conscience. The reason for this is that when an émigré writer, such as Mrs. Susanna Moodie, undertook to write social and nature sketches, the substance counted for everything, and the form and movement were free, unhampered by traditional laws of expression. It was speech transcribed on paper. But the émigré poets were bound by English models according to which they must write, or not write at all. In émigré verse, therefore, rather than in émigré prose, we observe evidences of an evolution in substance and artistic structure.

John Fleming came to Montreal early in the 19th century. Suddenly his imagination grew poetic wings, and forthwith he produced An Ode of the Birthday of King George III. He made his poem as intellectualized and stilted with imitative poetic phrases as he possibly could. There was nothing Canadian about it. In 1830 Adam Kidd, who came to Canada from Ireland, produced a volume of poetry, The Huron Chief and Other Poems, which is definitively Canadian in theme and is remarkable for really engaging descriptions of Canadian scenery. It is in a traditional English form, but from the point of view of its substance it may be regarded as the first example of a genuinely Canadian poem by an émigré writer, as distinguished from a ‘nativistic’ writer, as, for instance, Oliver Goldsmith, 2nd, who was born in Nova Scotia and published The Rising Village in 1825.

The names and work of the émigré versifiers might be extended so as to include several significant poets, such as Charles D. Shanly, James McCarroll, Alexander McLachlan, William Wye Smith, Thomas D’Arcy McGee and others down to John Reade, who published The Prophecy of Merlin and Other Poems in 1870. In their verse we note a constantly increasing regard for aesthetic substance and artistic craftsmanship. The name and work, however, of one émigré poet deserves special notice, more particularly because he is constantly being classified as a Canadian poetic dramatist. This was Charles Heavysege.

Heavysege was thirty-seven years of age when he arrived in Canada. The accident of his having remained in Canada and of having published at Montreal his Saul, which, as a matter of fact, had been conceived in England, does not give him as much right, if any at all, to be considered a Canadian émigré poet as attaches to Kidd or Mrs. Moodie.

Saul was published in 1857. As a poetic drama there is no other poem which was written in Canada that is so much in the grand manner. Its theme is Biblical, and it is really treated with epic grandeur and romantic intensity. But with all its excellences, it had no influence, by way of example, on subsequent Canadian poetic dramatists, such as Charles Mair, Wilfred Campbell, or Robert Norwood. The first Canadian poetic dramatist, native-born, was Charles Mair. Though the theme of his Tecumseh is not so sublimated as Heavysege’s Saul, it is Canadian; and though its style is not so altiloquent as that of Saul, Mair’s Tecumseh is an original and notable contribution to the ‘nativistic’ literature of Canada.

It was really, however, the later émigré men of letters, particularly John Reade and George Murray, who by their own work in verse and in literary criticism held up the ideal of native production of worthy poetry in Canada. They were active in the first and second decade after Confederation. They did much to awaken the literary spirit in Canada and to correct the literary or artistic conscience of native-born writers. But when they had done this, their work for Canadian Literature was at an end.

Archibald McLachlan came to Canada in his twenties and he followed, in much of his writing, the themes, the dialect, and even the stanza-forms of Robert Burns. Both poets were intensely patriotic, both sang the gospel of the brotherhood of man. To both life was very much a mystery, a mystery tinged with pathos. The work of McLachlan which may be regarded as purely Canadian in tone and subject is found chiefly in the depiction of scenes of pioneer life, treated objectively: The Fire in the Woods, The Old Hoss, The Backwood’s Philosopher; and in The Emigrant he projected a pioneer epic, which opens with an apostrophe to Canada and traces the progress of the emigrant from the old land to his arrival and settlement in the new. The cutting of the first tree, the building of the log-cabin and the Indian battle are successive incidents of the poem. The style of the poem is rather formal, and recalls Scott’s Lady of the Lake, but is without so much life or color. The poet loved the spirit of freedom and independence which he found in the new land and voiced this love in some stirring patriotic lyrics, such as Hurrah for the New Dominion.

Although William Wye Smith left Scotland in his infancy and was for almost four score years a Canadian by adoption, almost all his writings show the influence of the language, the literature, the history, the religious and philosophic spirit of his homeland. A deep spiritual note is present in many of his lyrics. Yet he did on occasion enter fully into the Canadian spirit and show an appreciative understanding of Canadian conditions, the beauties of Canadian landscape, historic themes and national aspirations. Some of his best known poems are: The Second Concession of Deer, The Sheep-washing, Ridgeway, The Burial of Brock, Here’s to the Land!, Canadians on the Nile.

There was one émigré poet who deserves detailed appreciation as a creative interpreter of Western chevalerie and as a lyrist with an exquisite fancy and delicate artistry. This was Isabella Valancy Crawford. Born in Ireland in 1850, she came to Canada when but a child of eight years, her family settling in Ontario, and, later, moving to the Kawartha Lakes. Her father was a physician and it must be presumed that the daughter came under cultural influences in her home. More important is the fact she lived in Canadian districts which must have peculiarly affected her young, impressionable, and receptive mind. Undeniably she was born a poet; that is to say, she was born with a genius for seeing spiritual beauty and meaning in all common things, natural and human. Thus gifted and thus left free to be impressed by Canadian Nature and life around her, and also by Nature and life in the Western prairie regions, of which she had read, Valancy Crawford set about imaginatively to interpret and express in verse her appreciation of Nature and life in Canada.

Whether it was her sheer genius that created her sympathy with pioneer and cowboy life in Western Canada, or whether it was her imaginative sympathy with that life that fired her poetic faculty, is a question in literary psychology that does not here require discussion. The outstanding fact is that Miss Crawford’s most notable faculty was a profound sympathy with and a clear vision of the elemental dignity of the heart of men and women whose lot was cast in rude and unspiritualizing circumstances. It was out of this sympathy that she was able to handle her themes of Western chevalerie with a subtle, veracious, and genuinely human but not coarse humor. Miss Crawford saw, as no one in Canada before her or since has seen, the poetry and the poetic or religious significance of life and chevalerie in the early days in Western Canada. She took the rude material and sublimated it, not with rhetoric, but rather with verisimilitude of diction and phrase and imagery, to the dignity and beauty of authentic poetry.

We may summarize the qualities of her poetry of Western chevalerie, as in her Old Spookses’ Pass, under four distinctions. It is noted for dramatic (not melodramatic) force, rugged but characteristic humor, graphic character-drawing, and power of conveying to us the sense of the war of the elements which is felt by the wild creatures, such as cattle herds, who become the ‘playthings’ of those elements. The extraordinary fact is that, though all these qualities were, on her part, sheer imaginative invention, yet they are truer to the facts than if they had been written by an actual eye-witness. In short, Miss Crawford, as a poet of Western chevalerie, stands out as gifted with sheer and intense imaginative power and as an authentic imaginative creator.

Nevertheless, her art is all authentic realism, totally free from crass and hectic melodrama. Moreover, Miss Crawford achieved, not solely because she had imagination and a true sense of realistic values, but also because she saw that style in poetry was the only antiseptic for picaresque realism and hectic melodrama. She had genius, not merely a tale to tell.

Certainly Lowell, Bret Harte, John Hay, and others of their school, writing in dialect, did no better work than did Miss Crawford in Old Spookses’ Pass; and most certainly Robert Service did nothing so elementally human and so spiritualizing with his material from rude or picaresque life in Canada.

We shall not wait to detail the qualities of Miss Crawford’s art in other species of verse. We observe, however, that her long poem Malcolm’s Katie is specially remarkable for fine imagery, colorful descriptive passages, and for a glowing impressionism which is taken directly from Canadian Nature. Moreover, it is notable for its lyrical interludes, which as lyrics, are as dainty and as delicately constructed, as full of fancy and imagination in small form, as any one of the kind in English literature. Miss Crawford’s lyrical interlude, beginning ‘O, Love builds on the azure sea,’ is beyond criticism, and is ‘the gem’ of several Canadian anthologies. We quote the whole lyric:—

O, Love builds on the azure sea,

And Love builds on the golden sand;

And Love builds on the rose-winged cloud,

And sometimes Love builds on the land!

O, if Love build on sparkling sea,

And if Love build on golden strand,

And if Love build on rosy cloud,

To Love these are the solid land!

O, Love will build his lily walls,

And Love his pearly roof will rear

On cloud, or land, or mist, or sea—

Love’s solid land is everywhere!

As an outstanding example of Miss Crawford’s genius and art in lyrical impressionism, Canadian Literature contains nothing more colorful and musical than her ‘Lily-Song’ from Malcolm’s Katie:—

While, Lady of the silvered lakes—

Chaste goddess of the sweet, still shrine

The jocund river fitful makes

By sudden, deep gloomed brakes—

Close sheltered by close warp and woof of vine,

Spilling a shadow gloomy—rich as wine

Into the silver throne where thou dost sit,

Thy silken leaves all dusky round thee knit!

Mild Soul of the unsalted wave,

White bosom holding golden fire,

Deep as some ocean-hidden cave

Are fixed the roots of thy desire,

Thro’ limpid currents stealing up.

And rounding to the pearly cup.

Thou dost desire,

With all thy trembling heart of sinless fire,

But to be filled

With dew distilled

From clear, fond skies that in their gloom

Hold, floating high, thy sister moon,

Pale chalice of a sweet perfume,

Whiter-breasted than a dove,

To thee the dew is—love!

When, in 1884, Isabella Valancy Crawford’s unpretentious little volume of poems appeared, it won high praise from the critics of the London Athenaeum, The Spectator, The Graphic, and The Illustrated London News. They all noted that she had an excess of riches in fancy and in imagination, and a poetic style of her own which was distinguished both by beauty and exquisite artistry. In 1905 her poems were collected and edited by John W. Garvin, B.A., and published with a critical Introduction by Miss Ethelwyn Wetherald. This remains the definitive edition of the poetry of Isabella Valancy Crawford, whom Miss Wetherald describes as ‘a brilliant and fadeless figure in the annals of Canadian literary history.’

The Canadian Emigré writers in the Pre-Confederation period, are, then, to be appreciated by the literary historian as men and women who, first, drew attention to the fact that Canadian life and culture needed expression and, next, awoke in native-born sons and daughters of the Dominion the ambition to undertake this expression in verse and prose. We must, therefore, honor the earlier and later émigré poets and prose writers of Canada, not for the intrinsic merit of their work, but for the fact that they engendered in the native-born the ideal of expressing the consciousness of a Canadian homeland and spirit in literature which should possess originality in substance, and beauty in form and in technical artistry.

The quotations from Isabella Valancy Crawford’s work in this chapter are from The Collected Poems of Isabella Valancy Crawford, edited by John W. Garvin, B.A., (Ryerson Press: Toronto).