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Poems
Listed Alphabetically by Name of Author
 
A | B | C | D | E | F | G | H | I | J | K | L | M | N | O | P | R | S | T | V | W | Y | Z
 
REANEY, James (b. 1926):
"To the Avon River Above Stratford Canada"
IN: Wilson 1964, 132-133.
Comment: See also 'First Letter to the Avon River above Stratford, Canada', IN: Newlove, p. 223-224. Identification with the Canadian namesake of the English river. The river is felt inside the speaker's mind.
 
"The Morning Dew" (1972)
IN: Daymond & Monkman, II, 408-409.
Comment: Poetic elaboration on morning dew motif.
 
"The Upper Canadian" (1949)
IN: Atwood, 254.
Comment: Speaker feels estranged from both landscape and nature. "I wish I had been born beside a river". Is this attitude nostalgic or ironic?
 
REDHILL, Michael (b. 1966):
"Indian Summer"
IN: Crozier, 145-146.
Comment: Love poem and natural setting.
 
REID, Monty (b. 1952):
"The Shorebirds"
IN: Norris, 226-227.
Comment: Nature watching. Preciseness of observation and concomitant reflection. Phenomenological approach.
 
ROBERTS, Dorothy (b. 1906)
"Cold" (1957)
IN: Sullivan, 47-48.
Comment: Reflection on winter has a theological dimension. Endurance thematised.
 
"Winter" (1976)
IN: Sullivan, 50-51.
Comment: Winter as a matter of experience and metaphysics. Some strong lines, e.g. "The cold settles in arrested where the wind whittled/ the landscape into forms of strange wisdom ... ."
 
ROBERTS, Sir Charles G.D. (1860-1943):
"Ave! (An Ode for the Shelley Centenary, 1892)" (1892)
IN: Gerson & Davies, 202-213.
Comment: Relates to the rural setting of Tantramar [see "Tantramar Revisited"].
 
"Burnt Lands" (1893)
IN: Brown & Bennett, I, 159.
Comment: Sonnet. Destruction considered.
 
"As Down the Woodlands Ways" (1937)
IN: Brown & Bennett, I, 165.
Comment: Poem celebrating the continuity of life.
 
"The Flight of the Geese" (1893)
IN: Brown & Bennett, I, 161.
Comment: Striking lines: "The sound/ Of their confused and solemn voices ... / ... Comes with ... an awe profound,/ A boding of unknown , foreshadowed things." Mystification.
 
"Ice" (1898)
IN: Brown & Bennett, I, 164.
Comment: Small poem. Aestheticized perception of winter.
 
"The Iceberg" (1936)
IN: Carman, 81-87; Gerson & Davies, 218-226.
Comment: Impersonation of an iceberg speaking in the first-person singular. Interesting in its reflectiveness and comment. The ‘iceberg’s’ environmental awareness is comprehensive.
 
"Kinship" (1896)
IN: Brown & Bennett, I, 162-163.
Comment: Wordsworthian praise of, and yearning after, an original state of existence.
 
"The Mowing" (1893)
IN: Atwood, 30; Brown & Bennett, I, 159; Daymond & Monkman, I, 327; Pacey, 5-6.
Comment: Sonnet. Praises of the cultivated landscape.
 
"In an Old Barn" (1893)
IN: Brown & Bennett, I, 160.
Comment: Life of settlers recorded realistically.
 
"The Pea-Fields" (1893)
IN: Atwood, 30; Daymond & Monkman, I, 327; Gerson & Davies, 201-202; Pacey, 5.
Comment: Praise of the cultivated landscape.
 
"The Potato Harvest" "(1886)
IN: Atwood, 29; Gerson & Davies, 199.
Comment: Sonnet. Impressionistic.
 
"The Salt Flats" (1893)
IN: Carman, 78; Daymond & Monkman, I, 326; Gerson & Davies, 202.
Comment: Interesting poem because the land is presented as eerie; it is shown as experiencing some unfair treatment in the course of evolution.
 
"In September" (1893)
IN: Daymond & Monkman, I, 325.
Comment: Sonnet. Theme: "The air.../ Foreboding of the summer soon."
 
"The Sower" (1866)
IN: Brown & Bennett, I, 158; Pacey, 4-5.
Comment: Praises the settler, "Godlike, he makes provision for mankind". The cultivation of the land is considered in positive terms.
 
"The Tantramar Revisited" (1886)
IN: Atwood, 27-29; Brown & Bennett, I, 157-158; Daymond & Monkman, I, 322-323.Gerson & Davies, 193-196; Gooch and Niwa, 91-93; Pacey, 3-4; A.J.M. Smith, (1968), 66-69.
Comment: "Yet the deepest and most enduring expression of nationalism is to be found in Roberts' poems of nature and the Acadian countryside, where its expression is implicit and indirect, as it is in the best of his sonnets of country life, in the delicate little idyl, 'The Solitary Woodsman', and in his masterpiece of recollected emotion, 'Tantramar Revisited'." (A.J.M. Smith 1957, 167)
 
"In the Wide Awe and Wisdom of the Night" (1893)
IN: Daymond & Monkman, I, 325.
Comment: Sonnet. Theme: The "universe" corresponding with "the august infinitude of Man".
 
"The Winter Fields" (1893)
IN: Brown & Bennett, I, 160.
Comment: Sonnet. Destructiveness of the winter. Hope for spring. Realistic.
 
ROBERTS, Theodore Goodridge (1877-1953):
"The Blue Heron" (1934)
IN: Atwood, 65; Carman, 184; Daymond & Monkman, I, 437-438; Grady, 25; Littlejohn/Pearce, 25; A.J.M. Smith (1968), 117-118.
Comment: Heron a frequent motif in Canadian poetry.
 
ROSE, Greta Leora:
"Spring is at Work with the Beginnings of Things"
IN: Carman, 363.
Comment: Gaia-consciousness.
 
ROSS, W.W.E. (1894-1966)
"Blue Flowers" ( 1968)
IN: Daymond & Monkman, II, 78-79.
Comment: Picking wild flowers by the roadside.
 
"The Creek" ( 1968)
IN: Daymond & Monkman, II, 80.
Comment: Fine perception of local detail and atmosphere.
 
"Flowers" ( 1956)
IN: Daymond & Monkman, II, 76-77.
Comment: Theme of flowers making the private garden "one garden in the sun".
 
"The Diver"
IN: Gustafson, 132-133; Daymond & Monkman, II, 79.
Comment: Poem can be interpreted at a symbolic level. Archetypal experience of the landscape. Predominant emotions: fear, on the one hand, and comfort and reassurance, on the other.
 
"If Ice" (1968)
IN: Atwood, 88; Daymond & Monkman, II, 80.
Comment: Celebration of the mystery of nature and life. If-then relationship. An assurance of the continuity of life and nature.
 
"Night Scene" ( 1956)
IN: Daymond & Monkman, II, 77.
Comment: Impressionistic in awareness and tone.
 
"Pine Gum" (1939)
IN: Daymond & Monkman, II, 76.
Comment: Visual impression of "white gum" and its mystifying effect on the beholder.
 
"The Snake Trying" (1968).
IN: Atwood, 88.
Comment: Approval of the existence of the snake. Persona is intrigued by its deftness and beauty
 
"Winter Scene" ( 1956)
IN: Daymond & Monkman, II, 78.