By Roger V. Lucy
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Extra info for 1935 Armoured Car in Canadian Service
We may feel that Boswell had no right to be a great artist: that biographies should be factual and works of art fictional, and that they should keep apart. But there it is. Without using a single faked or illegitimate device as a biographer, Boswell has given us a real person who is also a great fictional character, and who keeps obstinately getting mixed up in our minds with Falstaff and Micawber. "1 To contrast either with the subtlety of Boswell is to get some idea of Bos well's achievement.
In listening to Pope's couplets we have a sense of continually fulfilled expectation which is the opposite of obviousness: a sense that eighteenth-century music also often gives us. Such a technique demands a clear statement of what sound patterns we may expect. We hear at once the full ring of the rhyming couplet, and all other sound patterns are kept to a minimum. In such a line as And strains from hard-bound brains eight lines a-year,4 the extra assonance is a deliberate discord, expressing the difficulties of constipated genius.
15 But Frye's earlier interpenetration with the mid-twentieth-century philosophy of consciousness and Being runs deep, and is a driver of his view that what we see in Romanticism is an adventure of consciousness itself. Indeed, years before Harold Bloom's influential account of Romanticism as "internalized quest romance,"16 Frye has seen that the Romantic poet is undertaking a consciousness quest in which the movement is "inside and downward" ("Drunken Boat," 85). The central Romantic theme is "a romance with the poet for hero" in which the object is "the attaining of an expanded consciousness, the sense of identity with God and nature" (117).