(04/27/2008) A Mixture Of Frailties by Robertson Davies. New York. 1958. Scribners. keywords: Literature Canada. 379 pages. Jacket design by Robert Galster.

FROM THE PUBLISHER -

   When LEAVEN OF MALICE was published, Orville Prescott called it 'immensely amusing' and Edmund Fuller said in The Saturday Review: 'One of the funniest, shrewdest, wittiest, and withal wisest novels to come along in recent seasons. ' Robertson Davies has written his new book with the wit and the alert sense of the absurd that made his earlier one delightful; but A MIXTURE OF FRAILTIES is far richer, in character, background, and story. It tells the story of the making of a singer. A native of the Canadian city of Salterton Monica Gall sings soprano in the Heart and Hope Gospel Quartet, feels a vague dissatisfaction with her job in the Glue Works, but certainly is not consumed by artistic ambition. Then, quite suddenly, the freakish provisions of a rich old lady's will give Monica the opportunity for a serious training in music. Her life hi London, her education as a singer and as a human being make up the story. The London which Monica discovers with astonishment, some agony, and delight is composed chiefly of Sir Benedict Domdaniel, a conductor of international renown; Murtagh Molloy, the Irish voice coach; Giles Revelstoke, a brilliant young composer; and the erratic and vehement Bohemian types surrounding Revelstoke, whom he calls the 'menagerie. ' For Monica, the new life means very hard work and places severe strain on her good sense: it plunges her into a love affair, it causes her to help finance the production of an opera, and in the end it changes a rather amorphous young girl into a distinct individual. The episodes of Monica Gall's career offer Mr. Davies a fine variety of chances for comedy, and he does not miss them. Wherever he sights human frailty he neatly impales it, but without cruelty. Mr. Davies likes his characters even when they are ridiculous, and so will the reader. What is more, Mr. Davies knows how to make fascinating the inner workings of the musical life. The result is an absorbing novel, comic in the true sense, vivid, and frequently very moving.

William Robertson Davies, was a Canadian novelist, playwright, critic, journalist, and professor. He was one of Canada's best-known and most popular authors, and one of its most distinguished 'men of letters', a term Davies is sometimes said to have detested. Davies was the founding Master of Massey College, a graduate college at the University of Toronto. Growing up, Davies was surrounded by books and language. His father, Senator William Rupert Davies, was a newspaperman, and both his parents were voracious readers. He, in turn, read everything he could. He also participated in theatrical productions as a child, where he developed a lifelong interest in drama. He attended Upper Canada College in Toronto from 1926 to 1932 and while there attended services at the Church of St. Mary Magdalene. He would later leave the Presbyterian Church and convert to Anglicanism over objections to Calvinist theology. After Upper Canada College, he studied at Queen's University in Kingston, Ontario from 1932 until 1935. At Queen's he was enrolled as a special student not working towards a degree, and wrote for the student paper, The Queen's Journal. He left Canada to study at Balliol College, Oxford, where he received a BLitt degree in 1938. The next year he published his thesis, Shakespeare's Boy Actors, and embarked on an acting career outside London. In 1940 he played small roles and did literary work for the director at the Old Vic Repertory Company in London. Also that year Davies married Australian Brenda Mathews, whom he had met at Oxford, and who was then working as stage manager for the theatre. Davies' early life provided him with themes and material to which he would often return in his later work, including the theme of Canadians returning to England to finish their education, and the theatre. Davies and his new bride returned to Canada in 1940, where he took the position of literary editor at the magazine Saturday Night. Two years later, he became editor of the Peterborough Examiner in the small city of Peterborough, Ontario, northeast of Toronto. Again he was able to mine his experiences here for many of the characters and situations which later appeared in his novels and plays. Davies, along with family members William Rupert Davies and Arthur Davies, purchased several media outlets. Along with the Examiner newspaper, they owned the Kingston Whig-Standard newspaper, CHEX-AM, CKWS-AM, CHEX-TV, and CKWS-TV. During his tenure as editor of the Examiner, which lasted from 1942 to 1955, and when he was publisher from 1955 to 1965, Davies published a total 18 books, produced several of his own plays and wrote articles for various journals. For example, Davies set out his theory of acting in his Shakespeare for Young Players and then put theory into practice when he wrote Eros at Breakfast, a one-act play which was named best Canadian play of the year by the 1948 Dominion Drama Festival. Eros at Breakfast was followed in close succession by Fortune, My Foe in 1949 and At My Heart's Core, a three-act play, in 1950. Meanwhile, Davies was writing humorous essays in the Examiner under the pseudonym Samuel Marchbanks. Some of these were collected and published in The Diary of Samuel Marchbanks, The Table Talk of Samuel Marchbanks, and later in Samuel Marchbanks' Almanack Also during the 1950s, Davies played a major role in launching the Stratford Shakespearean Festival of Canada. He served on the Festival's board of governors and collaborated with the Festival's director, Sir Tyrone Guthrie, in publishing three books about the Festival's early years. Although his first love was drama and he had achieved some success with his occasional humorous essays, Davies found greater success in fiction. His first three novels, which later became known as The Salterton Trilogy, were Tempest-Tost, Leaven of Malice, and A Mixture of Frailties These novels explored the difficulty of sustaining a cultural life in Canada, and life on a small-town newspaper, subjects of which Davies had first-hand knowledge. In 1960 Davies joined Trinity College at the University of Toronto, where he would teach literature until 1981. The following year he published a collection of essays on literature A Voice From the Attic, and was awarded the Lorne Pierce Medal for his literary achievements. In 1963 he became the Master of Massey College, the University of Toronto's new graduate college. During his stint as Master, he initiated the tradition of writing and telling ghost stories at the yearly Christmas celebrations. His stories were later collected in his book High Spirits Davies drew on his interest in Jungian psychology to create what was perhaps his greatest novel: Fifth Business, a book that draws heavily on Davies' own experiences, his love of myth and magic and his knowledge of small-town mores. The narrator, like Davies, is of immigrant Canadian background, with a father who runs the town paper. The book's characters act in roles that roughly correspond to Jungian archetypes according to Davies' belief in the predominance of the spirit over the things of the world. Davies built on the success of Fifth Business with two more novels: The Manticore, a novel cast largely in the form of a Jungian analysis, and World of Wonders Together these three books came to be known as The Deptford Trilogy. When Davies retired from his position at the University, his seventh novel, a satire of academic life, The Rebel Angels, was published, followed by What's Bred in the Bone These two books, along with The Lyre of Orpheus, became known as The Cornish Trilogy. During his retirement he continued to write novels which further established him as a major figure in the literary world: The Lyre of Orpheus, Murther and Walking Spirits and The Cunning Man A third novel in what would have been a further trilogy was in progress at Davies' death. He also realized a long-held dream when he penned the libretto to an opera: The Golden Ass, based on The Metamorphoses of Lucius Apuleius, just like that written by one of the characters in Davies' 1958 A Mixture of Frailties. The opera was performed by the Canadian Opera Company at the Hummingbird Centre in Toronto, in April, 1999, several years after Davies' death. Davies was a fine public speaker: deft, often humorous, and unafraid to be unfashionable.

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