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This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
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Excerpt from Jacques Cartier, His Life and Voyages In thus enlarging the number of his judges, the writer ventures to express the hope that the same kindly criticism which he has so far met with, may attend him in the wider field. Whatever of imperfection there may be in his work, he can at least honestly say, that his earnest endeavour has been to set out in plain and truthful language the facts connected with the earliest dawn of Canadian history, and to give an accurate and faithful picture of the central figure in the scene. To that end the original records have been diligently studied and compared, and the most trivial statements of fact, whenever practicable, carefully verified. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
Jacques Cartier's voyages of 1534, 1535, and 1541constitute the first record of European impressions of the St Lawrence region of northeastern North American and its peoples. The Voyages are rich in details about almost every aspect of the region's environment and the people who inhabited it. As Ramsay Cook points out in his introduction, Cartier was more than an explorer; he was also Canada's first ethnographer. His accounts provide a wealth of information about the native people of the region and their relations with each other. Indirectly, he also reveals much about himself and about sixteenth-century European attitudes and beliefs. These memoirs recount not only the French experience with the Iroquois, but alo the Iroquois' discovery of the French. In addition to Cartier's Voyages, a slightly amended version of H.P. Biggar's 1924 text, the volume includes a series of letters relating to Cartier and the Sieur de Roberval, who was in command of cartier on the last voyage. Many of these letters appear for the first time in English. Ramsay Cook's introduction, 'Donnacona Discovers Europe,' rereads the documents in the light of recent scholarship as well as from contemporary perspectives in order to understand better the viewpoints of Cartier and the native people with whom he came into contact.
The life of the sixteenth-century French navigator and explorer whose discovery of the St. Lawrence River and the fertile land beyond led to the establishment of a French colony in the Americas.
In the town hall of the seaport of St Malo there hangs a portrait of Jacques Cartier, the great sea-captain of that place, whose name is associated for all time with the proud title of 'Discoverer of Canada.' The picture is that of a bearded man in the prime of life, standing on the deck of a ship, his bent elbow resting upon the gunwale, his chin supported by his hand, while his eyes gaze outward upon the western ocean as if seeking to penetrate its mysteries. The face is firm and strong, with tight-set jaw, prominent brow, and the full, inquiring eye of the man accustomed both to think and to act. The costume marks the sea-captain of four centuries ago. A thick cloak, gathered by a belt at the waist, enwraps the stalwart figure. On his head is the tufted Breton cap familiar in the pictures of the days of the great navigators. At the waist, on the left side, hangs a sword, and, on the right, close to the belt, the dirk or poniard of the period. How like or unlike the features of Cartier this picture in the town hall may be, we have no means of telling. Painted probably in 1839, it has hung there for more than seventy years, and the record of the earlier prints or drawings from which its artist drew his inspiration no longer survives. We know, indeed, that an ancient map of the eastern coast of America, made some ten years after the first of Cartier's voyages, has pictured upon it a group of figures that represent the landing of the navigator and his followers among the Indians of Gaspe. It was the fashion of the time to attempt by such decorations to make maps vivid. Demons, deities, mythological figures and naked savages disported themselves along the borders of the maps and helped to decorate unexplored spaces of earth and ocean. Of this sort is the illustration on the map in question. But it is generally agreed that we have no right to identify Cartier with any of the figures in the scene, although the group as a whole undoubtedly typifies his landing upon the seacoast of Canada.
Describes the life and travels of the French navigator who made three voyages to what is today known as Canada, in search of a northwest passage to China.