HOME
  
  
  
 

 

 

 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
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
 
SALISHAN [anonymous]:
"The Beginning of the World"
IN: Colombo (1983), II, 11-12.
Comment: First-Nation mythology.

SANGSTER, Charles (1822-1893):
"Autumn, like an old poet in a haze"
IN: A.J.M. Smith, (1957), 101
Comment: "Such lines have an old-fashioned artificial charm to which Sangster's fervid sensibility gives a warmth of feeling that is delightful (l.c.).
 
"Evening Scene"
IN: Dewart, 150-153.
Comment: Captures one of the moods evoked by the landscape. A poeticized landscape.
 
"The Fine Old Woods"
IN: Dewart, 78-80.
Comment: No specific features of the land are noticed.
 
"Lyric to the Isles" (1856)
IN: Brown & Bennett, I, 129-130.
Comment: Beauty of the isles is celebrated. Locus amoenus.
 
"I've almost grown a portion of this place"
IN: Gerson, 90.
Comment: Important statement: Speaker identifies himself with a specific place.
 
"On Queenston Heights"
IN: Gerson & Davies, 87-89.
Comments: Topographical and historical. Refers to Brock and the wars.
 
"The Rapid"
IN: Carman, 26-27; Dewart, 110-111; Garvin, 14-15.
Comment: Perception of characteristic geographical detail. The excitement caused by the rapid is described.
 
"From Sonnets in the Orilla Woods" (1860)
IN: Brown & Bennett, I, 130-131; Daymond & Monkman, I, 190-192; Gerson & Davies, 89-91.
Comment: "The birds sing merrily", "I've almost grown a portion of this place". Reflection on life. Life mirrored in nature:"Our life is like a forest, where the sun/ Glints sown upon us through the throbbing leaves ..."
 
"From The St. Lawrence and the Saguenay" (1856)
IN: Atwood, 11-12; Brown & Bennett, I, 128-129; Daymond & Monkman, I, 188-190; Smith, A.J.M. (1968), 13-15.
Comment: Classical piece. Nature's grandeur and majesty. Peaceful mood. Feeling of security.
 
"The Thousand Islands"
IN: Brown & Bennett, I, 128-129; Dewart, 119-120.
Comment: Topographical. In praise of the region. Elated mood and style.
 
"The Twofold Victory"
IN: Dewart, 125-126.
Comment: Topography and history interwoven.
 
SARAH, Robyn (b. 1949):
"Broom At Twilight"
IN: Norris, 239.
Comment: Nature watching. Persona goes out to watch the natural scenery.
 
"An Early Start in Mid-Winter"
IN: Norris, 238.
Comment: Modern winter poem would be worth contrasting with earlier winter poems.
 
SAVARD, Félix-Antoine (b. 1896)
"Saints of the Land"
IN: Glassco, 67-68.
Comment: Originally written in French. Transl. John Glassco. The conquerors of the land are 'canonized' and apostrophised as "saints" throughout the poem.
 
SAVOIE, Rick:
"Survival"
IN: Canadian Chamber of Contemporary Poetry, 523.
Comment: Shows humankind its limits. Ecological awareness of the human stance in the universe.
 
SCOTT, Frederick George (1861-1944):
"The Unnamed Lake" (1897)
IN: Atwood, 46-47; Gerson & Davies, 329-330.
Comment: Landscape painting full of gentle feelings: the lake "sleeps among the thousand hills"; "Great mountains tower above its shore"; "Sunrise and sunset crown with gold / The peaks of ageless stone..." ... . Once more "No echoes of the world afar / Disturb the night or day". One can see only the lonely heron flying. Human response: "We passed in silence, and the lake/ We left without a name".
 
SCOTT, Duncan Campbell (1862-1947):
"The Forsaken" (1905)
IN: Atwood, 49-51 Brown & Bennett, I, 204-205; Daymond & Monkman, I, 385-387; Gerson & Davies, 272-275; Pacey, 34-36.
Comment: Poem dealing with the fate of Indian peoples. Harsh climate and landscape condition human suffering.
 
"Fragment of an Ode to Canada" (1911)
IN: Gooch, 232-233.
Comment: Worth comparing with other odes dedicated to Canada. All the emphasis is on Canada as landmass, as a part of the natural geography. Awareness of specific geographic features.
 
"At Gull Lake: August 1810" (1935)
IN: Atwood, 53-56; Daymond & Monkman, I, 396-399; Gerson & Davies, 284-288; Gooch, 259-262; A.J.M. Smith (1968), 98-102.
Comment: Narrative Poem.Topographical history. Landscape as backcloth to an historical event.
 
"The Height of Land." (1916)
IN: Daymond & Monkman, I, 392-395; Gerson & Davies,277-281; Gooch, 240-244.
Comment: Loco-descriptive poem. Grasping the specific features of the Canadian landscape.
 
"Night Hymns on Lake Nipigon" (1900)
IN: Brown & Bennett, I, 240; Gerson & Davies, 270-272.
Comment: Correlation of natural setting and religious feelings.
 
"A Night in June" (1893)
IN: Pacey, 28.
Comment: Impressionistic. A record of moods experienced in the landscape.
 
"Night in the Pines" (1893)
IN: Daymond & Monkman, I, 378-379.
Comment: Poem empathises with a First-Nation person. Natural setting.
 
"Ottawa - Before Dawn" (1889)
IN: Gerson & Davies, 266.
Comment: Poem seemingly written in imitation of William Wordsworth's (1770-1850) sonnet "Composed on Westminster Bridge, September 3, 1802". The ideas of nature and Canada's national destiny are fused.
 
"Prairie Wind" (1926)
IN: Gooch, 257-258.
Comment: Topographical interest.
 
"Rapids at Night"
IN: Carman, 122-123.
 
"En route" (1935)
IN: Atwood, 57.
Comment: A snapshot glimpse of the landscape. The images the speaker sees have repercussions in his unconscious.
 
"A Scene at Lake Manitou" (1935)
IN: Gooch, 262-266.
Comment: Narrative poem. Topographical history. Landscape as site of an historical event. This is a potential predecessor of the palimpsest approach as practised e.g. by Robert Kroetsch.
 
"A Summer Storm" (1893)
IN: Pacey, 27.
Comment: Could be taken as an argument against the garrison syndrome.
 
"The Wood Peewee" (1905)
IN: Gerson & Davies,276.
Comment: Bird motif explored.
 
SCOTT, Francis Reginald (1899-1985):
"Lakeshore" (1954)
IN: Atwood, 93-94; Daymond & Monkman, II, 101-102; A.J.M. Smith (1957), 201-202.
Comment: Poem that reflects upon the human role. Swimming in the lake reminds speaker of the evolution that resulted in humans growing "Upright in posture, false-erect".
 
"Laurentian Shield" (1954)
IN: Atwood, 95; Colombo (1978), 108; Pacey, 49; A.J.M. Smith (1968), 182-183; Wilson (1967), 91.
Comment: Awareness of the land as a given that exists in its own right and demands understanding. The people living there are also considered. Silence of the land is emphasized. It is "Not written on by history, empty as paper". The land "will choose its language". There is also an ecological concern in this poem: "The long sentence of exploitation" has been written on the country. Mysterious ending: Mention is made of the "millions whose hands can turn this rock into children". Important poem because it links geography with language.
 
"Mackenzie River"
IN: Newlove, 233-234.
Comment: River seen as it is. Modern topographical poem.
 
"North Stream" (1945)
IN: Daymond & Monkman, II, 100-101.
Comment: Text relying on minimal verbal evocation of a 'north stream'.
 
"Surfaces"
IN: Litteljohn & Pearce, 16.
Comment: This text is important because it deals with Canada's geography. Consider the diverging emotional evaluation. Reflective, stoic, stance.
 
"Trees in Ice" (1945)
IN: Daymond & Monkman, II, 98.
Comment: The snow's cruelty is interpreted as "a formal loveliness/ on a tree's torn limbs/ this glittering pain".
 
SEPASS, Chief K'Hhalserten (1841?-1943):
"The Beginning of the World" (1911-1915)
IN: Gerson & Davies, 354-357.
Comment: Creation myth of the Chilliwack Salish tribe in southwestern British Columbia.
 
SERVICE, Robert W. (1874-1958):
"The Call of the Wild"
IN: Garvin, 361-362.
Comment: Wilderness motif. Wilderness interpreted as testing ground for humans. By going into the wild, one 'grasps a glory' (362).
 
"The Law of the Yukon"
IN: Carman, 177-181; Garvin, 362-365.
Comment: The harshness of the landscape. Human endeavour is challenged and tested. "Eternal truths that shame our soothing lies" (180).
 
"The Spell of the Yukon"
IN: Litteljohn & Pearce, 38-39.
Comment: Highlights the fascination triggered off by the wilderness. Speaker, weary of civilization, wants to come back to the wilderness. Final stanza:
"It's the great, big, broad land 'way up yonder,
It's the forests where silence has lease;
It's the beauty that thrills me with wonder,
It's the stillness that fills me with peace."
 
SHERMAN, Francis (1871-1926):
"The Last Storm" (1897)
IN: Gerson & Davies, 325.
Comment: Sonnet. Reflection on, and tolerant attitude towards, the harshness of nature: "I shall not grieve for this night's hurricane".
 
SHREVE, Sandy:
"Whale Watching" (1992)
IN: Lebowitz, ix-x.
Comment: A more recent animal poem.
 
SIDNEY, Angela (b. 1902):
"How the World Began" (1990)
IN: Lebowitz,12-21.
Comment: Creation poem by a Native woman.
 
SINGH, Jeanette A.:
"Winter's Passing"
IN: Canadian Chamber of Contemporary Poetry, 550.
Comment: Belief in the existentially comforting effect of spring.
 
SKELTON, Robin (b. 1925):
"Eagle" (1974)
IN: Atwood, 242.
Comment: Poem illustrates what the world looks like from the point of view of an eagle. Reminds of British poet Ted Hughes' "Hawk Roosting". Comparison with Hughes would be fruitful.
 
"Lakeside Incident" (1974)
IN: Atwood, 240-241.
Comment: Narrative structure. Nature as backdrop. A kind of emblematic reading of nature as an objective correlative for a state of mind.
 
SMITH, A.J.M. (1902-1980):
"The Lonely Land" (1936)
IN: Atwood, 98-99; Daymond & Monkman, II, 120; Litteljohn & Pearce, 61-62; Colombo (1978), 113-114; Grady, 61-62.
Comment: Captures the aggressive character of the country. "Cedar and jagged fir/ uplift sharp barbs/ against the grey/ and cloud-piled sky". A new aesthetic: the paradoxes and "dissonances" of the land are recognized. They lend themselves to poetic treatment. Remarkable lines: "This is a beauty/ of dissonance /This is the beauty/ of strength/ broken by strength/ and still strong."
 
"Wild Raspberry. For W.W.E. Ross" (1962)
IN: Daymond & Monkman, II, 122-123.
Comment: Sensuous awareness of wild raspberries: "The eye feasts on them/ and feels refreshed."
 
"Sea Cliff"
IN: Daymond & Monkman, II, 120; Wilson 1967, 105.
Comment: Nature watching. A marked interest in the landscape.
 
SMYTHE, Albert E.S. (1861-1947):
"November Sunshine"
IN: Garvin, 350.
Comment: Seasons theme treated in the traditional romantic mode.
 
SOLWAY, David (b. 1941):
"Jellyfish"
IN: Harris, 311-313.
Comment: Unpleasant encounter with jellyfish recorded.
 
SOUSTER, Raymond (b. 1921):
"Lagoons, Hanlan's Point" (1952)
IN: Atwood, 220.
Comment: A place poem. Experience of boy in a lagoon seeing ships at the bottom of the water and wonders about them.
 
"These Wild Crab-Apples" (1977)
IN: Daymond & Monkman, II, 393.
Comment: Persona's response to small wild sour apple.
 
SPARSHOTT, Francis (b. 1926):
"Three Seasons" (1979).
IN: Atwood, 259-260.
Comment: Love relationship placed in the context of summer, autumn and winter.
 
STANSBURY, Joseph (1742-1809):
"To Cordelia" (ca. 1783, published 1860)
IN: Atwood, 2-3; Carman, 8-9; Colombo (1978), 32-33; Daymond & Monkman, I, 51-52; Gerson & Davies, 30-31;
Comment: Fits the garrison syndrome. Canada is not yet accepted.
 
STRINGER, Arthur (1874-1950):
"Morning in the North-West"
IN: Carman, 164-165; Garvin, 321.
Comment: Nature vs. the corruption in cities.