He values literature, first, because of “its encouragement of tolerance” (p. 77), produced by “the power of detachment in the imagination” (p. 78). For a literary critic, Frye writes simply and poetically, and I was surprised by how quick and good to read and soul-filling this book is.I really enjoyed this book! Among his numerous books are The Educated Imagination, Fearful Symmetry: A Study of William Blake, Anatomy of Criticism, The Great Code, Divisions On a Ground, and The Bush Garden. His first suggestion is that literature can educate the imagination:* “Literature speaks the language of the imagination, and the study of literature is supposed to train and improve the imagination” (p. 134)* “We have only the choice between a badly trained imagination and a well trained one” (pp. If the ship you were wrecked in was a Western ship, you’d probably feel that your intellect tells you more about what’s really there in the outer world, and notrhrop your emotions tell you more about what’s going on inside you.
The Educated Imagination CBC Massey Lectures Northrop Frye Sample Chapter ↓ "What good is the study of literature? We’d love your help.
This leads to conventions in form as well as content: “Literature can derive its forms only from itself” (p. 42), he says and again, “The writer of literature can only write out what takes shape in his mind” (p. 46), Literary conventions enable the writer to incorporate personal experience into literature.The major conventions of Western literature–tragedy, comedy, satire, and romance–are “typical ways in which stories get told” (p. 49). The CBC Massey Lecture series is a national treasure. Welcome back.
Dr. Frye's proposals for the teaching of literature include an early emphasis on poetry, the "central and original literary form," intensive study of the Bible, as literature, and the Greek and Latin classics, as these embody all the great enduring themes of western man, and study of the great literary forms: tragedy and comedy, romance and irony.Herman Northrop Frye was born in 1912 in Quebec, Canada. What am I supposed to get out of it?
Frye's first two books, Fearful Symmetry (1947) and Anatomy of Criticism (1957) set forth the influential literary principles upon which he continued to elaborate in his numerous later works.
Hence there is a progressive element in the study and teaching of literature: as we read more works, we become able to generalize from our experience of literature.Frye can now anticipate the social function of literature, to be discussed in chapter 6. Sensitivity to the use of words, freedom from cliché, is only possible for people who use their imagination (p. 154).
For a literary critic, Frye writes simply and poetically, and I was surprised by how quick and good to read and soul-filling this book is.I was impelled to finally finish this book because of its relevance to ideas raised by David Hicks in Norms and Nobility.
An educated imagination allows you to think in the highest level which is, “the third level…a vision or model in your mind of what you want to construct.”(7) This stage allows you the power to construct models of human experience and sets us apart from the animal kingdom. As always, Frye is very thought provoking. “A writer’s desire to write can only have come from previous experience of literature,” says Frye, “and he’ll start by imitating whatever he’s read” (p. 40). Once a person like Mark Anthony or Cleopatra becomes a literary character (like the heroes of Shakespeare’s tragedy) we think of them differently. “To bring anything really to life in literature we can’t be lifelike: we have to be literature-like” (p. 91). That is so because myths are conventional, because one myth inspires another. The educated imagination knows what to make of advertising; indeed, says Frye, “Our reaction to advertising is really a form of literary criticism” (p. 138). However, he insists that there is a useful analogy between primitive myths and the most sophisticated works of literature.
The language of this stage allows us to function in society. These cookies will be stored in your browser only with your consent.
Frye concedes that the modern reader stranded on a desert island, and forming a new society there, does not have the same experience of language as the “primitive.” A modern reader will bring his or her experiences of language and literature.
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