St Johns Ravenscourt School - Eagle Yearbook (Winnipeg, Manitoba Canada)

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tomorrow’s world. To be able to walk along St. Paul Street, the oldest road in the city, noting where the city’s east wall once was and where the Chateau de Ramezaz was built, off St. Claude Street, and then for the pedestrian to board the recently extended Montreal Subway, to dismount shortly in the heart of Expo, the grapes of our future by way of the present. This span is a real addition to our life. The years 1867 through 1967 have been the intro¬ duction to the Canadian nation. The Montreal World’s Fair valuable as it is as a promoter of new ideas, still, it does play the role of ending that introduction and her¬ alding the essentially more important second stage. Ture, much has been accomplished in our first hundred years but this is only the feeble beginning, the future holds the prospect for so much more progress, Expo, in its glorious portrayal of Canada’s history is saluting the termination of a period. Whereas Expo in its vast displays and exhibits of the latest in architecture, science and all fields of man’s world, is welcoming a fresh era. The farewell and the welcome are beautifully blended into one; new foundations are being laid on historic Montreal. Finally, as a student in his last year of school, I wish to go to Expo. How important it is that every student in Canada should be exposed to, and therefore be a part of, this World’s Fair. My generation will pioneer the second century of Canada’s history. To begin in such a flame of glory it would be tragic to end in ashes. A trip to Montreal in 1967 will invigorate Can¬ adians, motivate ambitions, and remain an event to be cherished and remembered all one’s life. If every young Canadian went to Expo ’67, they would not let the flame” die, for they would be proudly aware of their heritage. Thus, Expo ’67 is a point of departure, firstly; a stimulus and an impetus for Canada and the world. And I would like to contribute to its success. DARREL LAIRD FORM VI ODE TO AGE When life is bottled as wine Her savouries sweet of all the Rhine Are looked away for quite some time To mature and then to shine. When age with glory beams aloud Life’s meant to throb and not to shroud, The day is light and not of cloud. The eyes look up and still are proud. Life is hardened by the march There’s strength through age, arch through arch, The scorns of time, they try to parch And blast old age and all its starch. But truth is strong and age is true As granite stands as storms pursue, Some may crumble but only few Most age dwells on and wholesome too. The duel is fierce but age is brave The tol of time on age doth rave, The whips of life in age doth clave The epitaph and then the grave. DAVID JAMES - FORM VI The beauty of it strikes me Like a knife striking home. Its big bright burning blade As it eats into my body. There is a gnawing and gnashing of teeth As I pull the very pain from out of me. Bang! It knocks me down. It turns me mellow yellow Like an electrified banana. This is the clinching sentence Which runs through my poem As the Nile through Egypt. My poem will be rejected As Socrates. Too bad. My rhyme Is out of spite. Oh, that this Too, too solid poem would melt. GORDON WYATT - FORM VI 65

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WHY I WANT TO GO TO EXPO ’67 In reference to art in general, Wassily Kastclinsky once said, The inner element in a work of art is the emotion in the soul of the artist, this emotion has the abiltiy to evoke a similar emotion in the soul of the observer. The emotion must exist; otherwise the work of art is a sham. The inner element determines the form of the work of art.” I know that Expo ’67 is a work of art: Canadian art. Thus next year’s world exhibition attracts me in two fundamental ways: as an art lover, and as a Canadian. Like all great art the theme of Expo trans¬ mutes from the commercially inspired, superficially stunning, yet basically trite work to a wonderfully con¬ ceived, spirtually founded vehicle, which will surely enlighten mankind. For the theme is universal and transcends the year 1967 to give meaning to all time; the theme is Man and His World.” Again like true art Expo ’67 will be presented in a manner befitting its theme. Sixty coun¬ tries, unified in objective and in their common Canadian expositional setting, will contribute their individual influences. Personal freedom in interpretating art is perhaps the chief reason why I want to go to this World Exhibition. I believe Expo ’67 symbolizes a point of departure; from what and to what I will later reveal. On the other level I mentioned. Expo ’67 has tremendous significance to me who as a proud Canadian awaits eagerly this exhibition which will promulgate our great history to all those who attend. Particularly important is my viewing, experiencing, and my becom¬ ing actually aware of this display because I will be actively participating in the second century since Canada’s birth. The idea of Man and His World” contains four sub-themes. Man the Explorer, Man the Producer, Man the Creator, and Man in the Community.” Under these four headings all aspects of man are studies. No theme could be more relevant or more opportune. Today we are too materialistic, too preoccupied with petty motives, petty objectives, and thus displaced from the valuable illumination of life which is the function of art. Habitat ’67 is a model community designed to solve one of the most urgent problems confronting the world today. The tremendous population expansion is typical of the problems that the 1967 World’s Fair not only poses and explains but for which presents a possible solution. Anyone who wishes to remain in ignorance of such vital knowledge is obviously an un¬ realistic thinker. But I want to be made aware of serious problems; I want to see their possible solutions; and so I want to go to Expo ’67! Another individual exhibit which I cite which intrigues me is the African Complex. Canada salutes the newly independent African states. But I never lose sight of this exhibition as a collection of the truly great advances in art. Opera, sculpture, painting, will all be exposed at their finest to the Expo visitor. Such an intense whole! As I mentioned in the introduction I am most in¬ terested in this exhibition because of my personal interpretation of Expo as a piece of art. Expo ’67 is largely built on several man-made islands in the St. Lawrence River. Thus the exhibition is a breaking away from the old, that is the main land, and symbol¬ izes a departure for art, for Canada, for the World. It is a new concept in art. Instead of being created either by an individual, for example a painter, or by a limited group, for example a symphony orchestra, this first world exhibition of the First Category even author¬ ized on the North American continent, demands for its creation world support. This piece of art takes its enthusiasm from those countries who sent exhibits. This enthusiasm must be transmitted to every individual attending visitor. In this way the millions of people who will attend Expo ’67 contribute to the creation of an original and beautiful work of art. The effects of the success of this fair are far reaching. Possibly the greatest effect would lead to greater respect and love among the countries of this world. On the other basic level lie my reasons as a Canadian for wishing to attend the Montreal World’s Fair. From the end of April through to the end of October, Canada’s one hundred years of growth will be specially honored. The huge display of historical information dramatically and thoughtfully organized will highlight our history in a fashion no treatise or history book can do. This representation of our past will tend to bind together the presently distinct units. The vivid portrayal of the union of the two arch foes, John A. MacDonald and George Brown, for their common country will surely ease the French English conflict. I wish to see this magnificant display of history partly for itself and partly to see the changes in attitude it will cause among the Canadians visitors from British Columbia to Newfoundland. Also what will be the re¬ actions of foreigners? Canada will be shown in a new and brighter glow that will clear and sharpen her features. A distinct history of our country will deepen the understanding between Canada and other nations. A love of contrast further attracts me to our World’s Fair. In 1535 Jacques Cartier landed on the future site of Expo ’67, and thus began the history of Montreal! There will be a tremendous opportunity to view the changes that several centuries have wrought in Montreal. This is the position of the Montreal of 1775 when Ethan Allen and his Green Mountain Boys were taken prisoner, and the Montreal of 1967 with its preview of 64

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PURPOSE A.E.H. Like a Lark the morning rises Painting crimson chariots, The clouds fly fast across the sky, What know they or human lots? Lots and lots of humans go, Toward the Happy Hunting Ground But placidly the morning rises, Lighting the land around. The silent youth wanders Near the edge of Night; Wet reflections on the pavement Show the changing shades of light. Endlessly he paces between Rows on rows of elms; The reflections recalled reflections Of lights of long ago. The sunrise is a hypocrite, Promising a world unchained, Sunset seems the truer sky, Representing all man’s gains. DAVID GARGETT - FORM VI ODE TO THE NORTH WIND Quietly he wondered how Things had come to be; A crash had crushed all His hopes and all he hoped to be. The eve had become the night And the night became the dawn; He wandered till the silver dusk Had filled the night with dawn. Now breezes blow brassy horn But cornet, trumpet, bugle Have not ever to these ears born So orchestrated fugal Sound. And now the wind is north and cold Short, hard, harsh, bold Too, the south bound of old. With a full intension of freezing stiff The anti-arctic shivering populace who used to strive Like zealots of folly, against the riff Sounded by first drain” trumpet men; the trum¬ pet is alive! Pearcing those aesthetic and creative men Who dare to abstruct its chill and windy wend, The owl for all his feathers was a cold”, to mend. Now this uncool predicament of the greatest Bird, One swings to the shelter of the avant-garde from the whistling northern sting: Tchicai, Rudd, Ayler A., Graves, Ayler D. These gloriously wind defying, cold checking, instru¬ mental saviours sing; Their time will upstage and out blow the icy gale. They play rightly; teaching: . . .not born for death, immortal Bird! in their truthful tale. Now we hear moanin’ low, the swan’s cry north — south sail. JIM RAMSAY - FORM VI THE GUARD Deep beneath the prison walls In a dungeon damp and gray, Wrinkled with age, And wet with sweat, Old Sole, the keeper, goes Pacing the corridors up and down With only contempt and dismay Checking, prying, but not speaking The Guard goes on his way: Seeing the musty dingy cells Where everyone wishes him not so well While the anthracite floor needs a scrub And the hand-carved woodwork needs a rub The battered-up doorways need repair And the stagnant hallways need some air The hallway walls need some new moss Old Sole feels chained to an albatross And then what is it that one can see? Why sure enough they’ve all got free The doors are thrown open And the light streams in A cool puff of air causes a wind The night transforms into day Old Sole still wants to stay. DARRELL LAIRD PETER SHEEN - FORM VI -FORM VI 66