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Anatomy of Criticism, by Northrop Frye
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The book description for the forthcoming "Anatomy of Criticism" is not yet available.
- Sales Rank: #425677 in eBooks
- Published on: 2015-02-18
- Released on: 2015-02-18
- Format: Kindle eBook
Review
"Simply overpowering in the originality of its main concepts, and dazzling in the brilliance of its applications of them. Here is a book fundamental enough to be entitled Principia Critica."--Commonweal
"An attempt to give a synoptic view of the scope, theory, principles, and techniques of literary criticism ... the book is continuously informed by original and incisive thought, by fine perception, and by striking observations upon literature in general and upon particular works."--Modern Language Review
"Does literary criticism need a conceptual universe of its own? Professor Frye has written a brilliantly suggestive and encyclopedically erudite book to prove that it does; and he has done his impressive best to provide a framework for this universe. His book is a signal achievement; it is tight, hard, paradoxical, and genuinely witty. . . . [Professor Frye] is the most exciting critic around; I do not think he is capable of writing a page which does not offer some sort of intellectual reward."--Hudson Review
"This is a brilliant but bristling book, an important though thoroughly controversial attempt to establish order in a disorderly field.... Mr. Frye has wit, style, audacity, immense learning, a gift for opening up new and unexpected perspectives in the study of literature.... It would be hopeless to attempt a brief summary of Mr. Frye's dazzlingly counterpointed classifications."--The Nation
From the Back Cover
Striking out at the conception of criticism as restricted to mere opinion or ritual gesture, Northrop Frye wrote this magisterial work proceeding on the assumption that criticism is a structure of thought and knowledge in its own right. In four brilliant essays on historical, ethical, archetypical, and rhetorical criticism, employing examples of world literature from ancient times to the present, Frye reconceived literary criticism as a total history rather than a linear progression through time.
Literature, Frye wrote, is "the place where our imaginations find the ideal that they try to pass on to belief and action, where they find the vision which is the source of both the dignity and the joy of life". And the critical study of literature provides a basic way "to produce, out of the society we have to live in, a vision of the society we want to live in".
Harold Bloom contributes a fascinating and highly personal foreword that examines Frye's mode of criticism and thought (as opposed to Frye's criticism itself) as being indispensable in the modern literary world.
About the Author
Northrop Frye was University Professor in the University of Toronto and Professor of English in Victoria College, University of Toronto. His books include Fearful Symmetry: A Study Of William Blake (Princeton).
Most helpful customer reviews
108 of 111 people found the following review helpful.
Most important work of literary theory in the 20th century
By A Customer
Whether you agree with him or not, there's no denying that Northrop Frye is the most important literary critic from North America-- and quite probably the most influential English- language critic of the 20th-century. His influence, I should add, is not limited to literary scholarship, but has been felt in other disciplines as well (e.g. Hayden White's classic historiographical study "Metahistory").
Although he's written many books on a host of specific subjects, "An Anatomy of Criticism" is Frye's magnum opus. In it, he outlines a general theory of literature-- what it is, how it is structured, and how it "works". These questions are answered in the volumes four essays, each of which approaches the subject from a different theoretical perspective: (1) a theory of modes", (2) a "theory of symbols", (3) a "theory of myths", and (4) a "theory of genres". Although these theories are not 100% unified into a larger structure, they are interrelated and complementary-- and, taken together, they do form what I believe can be called a (multifacted) "general theory of literature".
The book begins with a "Polemical Introduction". Here, Frye makes an argument that is at once simple and profound. For too long, he claims, literary criticism has revolved primarily around matters of taste, with critics pronouncing judgement on the relative merits of different authors and works. Frye believes that this has prevented literary criticism from really coming into its own as a serious scholarly activity-- and he wants to make literary scholarship a genuinely scholarly subject. The way to do this, he argues, is by eschewing any criticism whose goal is to attribute "merit" or "value" to works-- to say that they are good or bad. Instead, the true literary scholar needs to see himself as a scientist and to survey the field of literature as a whole, taking it on its own terms, and describing what seem to be the basic principles, structures, and unstated "laws" governing it. An important point here (and one that I think is especially compelling) is that Frye insists that literary scholarship needs to derive its understanding of literature from literature itself-- and not from other fields like psychoanalysis (e.g. Freudian/Jungian interpretations), from history (biograhical criticism), politics (Marxist criticism), etc. "An Anatomy of Criticism", Frye states, is his attempt to do just that-- to derive a theory of literature (or rather four complementary theories of literature) from literature itself, taking into account that literature, understood broadly, is work consisting primary of words, arranged in such a way as to create structures such as we call plots, characters, images, themes, etc.
In the first essay, the theory of modes, Frye articulates a theory of literature in terms of its level of realism, noting that this can exist in several degrees, which Frye expresses in terms of characters' relation of power to ordinary people and to the world. On the one extreme, we have myth, with gods who are nearly omnipotent, and on the other irony, with characters who are helpless and ineffectual. This is a short essay, and very readable, but is not as insightful as it could have been, if Frye had expanded it to discuss the mimetic level of the "world" in which the character exists as well.
The second essay is Frye's theory of symbols. It is, by far, the densest and most complicated of the four essays. It also has the most jargon, using lots of terms borrowed from Aristotelian and medieval criticism. Nonetheless, it is worth
reading, as Frye wrestles at length with question of what a symbol is, particularly within the context of literature. He also outlines the existence and workings of 5 different levels on which literary symbols work, raning from the literal (where individual words simply symbolize their mundane meanings) to the anagogic, which is an almost mystical level of symbolization-- a level that is more typically reserved for works of perceived religious or spiritually import (although Frye seems like he wants to acknowledge the possibility tha any work's symbols can be read on any of the five levels of symbolization).
The third essay is the "theory of myths". This is also the longest, and probably the most important essay here. Here, Frye outlines his theory that there are essentially four main plots, or "mythoi" (to use the Greek word for "plots") that literature uses-- comedy, romance, tragedy, and irony. Moreover, he notes, the various symbols, motifs, characters, and events that appear in all literary works can be understood within the context of a mythical opposition between a divine, ideal world (which he calls the "apocalyptic") and a demonic, nightmare world (which he calls "demonic). Contrary to what some folks believe, Frye does *not* use this to claim that literature is essentially "derived" from myths-- rather, he insists that those tales that we call myths simply present these structures in their clearest, baldest, most direct forms. In other forms of literature, the same structures exist, but they are displaced, toned down, or made incidental so as to fit into our basic canon of plausibility.
The fourth essay, the theory of genres, is perhaps the least successful of the four. Essentially, Frye seeks here to outline the difference among different types of literature (dramatic, lyric, epic, etc.) in terms of its performative aspect.
When all's said and done, it has to be said that Frye's book (now approx. 50 years old), is hardly the alpha and omega of literary criticism. Like all great books, it asks as many questions as it answers-- and like all general theories, it leaves the reader wondering whether it actually works for
all/most specific cases. And of course, there are many questions that aren't even discussed-- particularly about the world of non-western literature. Additionally, one wonders whether or not Frye's general theory can be expanded to include such basic aspects of literary interest as "style" and whether there is a place at all for biographical criticism within his
vision of what literary science could be. And of course, to someone reading this book today (a half-century after it was written), certain aspects of his argument and terminology may seem a bit outdated. Nonetheless, this is truly a milestone in literary theory and it is a standard by which other works have to be measured. If you haven't read this, I heartily recommend you do-- it may change the way you view literature as whole (for the better!). However, be warned-- this occasionally does get to be tough going (particularly essay 2). Those seeking a more 'accessible' version of Frye's ideas might turn to "The Educated Imagination"-- which waters them down a *lot* and leaves out a lot of the rigor and nuance-- but is still a passable introduction to the subject.
27 of 28 people found the following review helpful.
The World on the Head of a Pin
By A Customer
As any student of English literature knows, a life without reading Frye is a life with eyes closed to a multitude of possibilities. References to Frye drove me to him; Why else would the world of critical analysis place him in such high esteem by quoting him if not for his ability to make sense of literature? But for all his ability to codify and characterize modes, symbols, myths, and genres, his text seems calls upon the scientific efforts of new criticism. This seems particularly ironic since Frye often demurs the new critical effort. His call for a universal criticism also seems farfetched, primarily because a multiplicity of individual approaches prevents a singular opinion from emerging. However, for the most part, Frye's work both stuns and astounds, forcing the reader not only to understand literature in terms of proto-generic forms, but also to pursue Frye's conjectures into the realms of literature beyond his 1957 publication date. An extensive reading list (from the Greeks to the early twentieth century) assists Frye in his pursuit of the illusive patterns of literature, as well as an encyclopedic concern for definitive examples. Previous definitions of generic categories fall victim to Frye's ruthless pursuit of new possibilities, splitting drama and poetry into more easily digestible shards of subtlety. Frye's use of archetypes proves particularly fruitful, infusing the every-day (or perhaps modern-day) interpretations of lifeless texts with an alternative possibility of generative renewal for the observant, critical thinker. All in all, Frye's text proves well worth the time and effort.
17 of 17 people found the following review helpful.
A must read, a source of invaluable insight.
By A Customer
In seven years of graduate school and six years of working on problems related to those touched upon by Frye, I have not encountered any texts written in this century that surpasses its usefulness. Frye's insights have served me well in circumstance after circumstance, in case after case. They are applicable to and illuminate virtually any kind of text. I have never encountered an effective objection to them, or been let down by conclusions reached on the basis of Frye's insights. Anyone working in critical theory in general or structuralist theory in particular would be foolish not to study this text.
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