Answering Russell’s response to my earlier post:

I guess it’s about getting the emphasis right, Russell.  To say, as Frye does, that literature is “primarily” centripetal is not to say that it is exclusively centripetal.  Frye himself regularly makes the point Greenblatt does in Hamlet in Purgatory: that an understanding of the external “referents” in any given work of literature can only deepen our appreciation of it.  However, that’s about where agreement between them ends.  Frye’s reading scenario is usually laid out something like this: as readers we are confronted with a work of literature with lots of hard words to be looked up and unfamiliar allusions to be traced back to their source, not to mention a contemporary intellectual milieu to be absorbed.  And, of course, it’s a good thing we make the necessary effort to do that; it is certainly an integral part of literary scholarship, as Frye invariably points out.  But once we have done all of that, we are still confronted with a work of literature that must be interpreted as such because, as Frye says in The Educated Imagination, literature does not reflect reality, it swallows it.  And, as he says in Anatomy, once an ideology is taken into a work of literature, it is no longer ideological in reference, it is literary.

Both of the Shakespeare plays you cite, Hamlet and The Taming of the Shrew, provide excellent opportunities to demonstrate how this works.  While it is true, for example, that our appreciation of the afterlife misery of Hamlet’s father’s ghost is enhanced by an understanding of the theological conceptions of the afterlife at the time, it’s pretty clear that no audience of Hamlet requires anything approaching a scholarly knowledge of such a thing.  The archetype of the dread surrounding death is more than sufficient to communicate to us what is happening at the elemental level of understanding.  Death is terrifying, the afterlife a nausea-inducing mystery. “To be or not to be…”  Nuff said.

The same goes with The Taming of the Shrew.  We don’t, as you say, have to live in a “ideal world” to see that the normative misogyny of the world of the play is ugly and absurd.  The play itself shows us that!  One of the things that makes Taming of the Shrew remarkable — and, of course, entirely consistent with the canon as a whole — is its pronounced metaliterary perspective.  In this case, it mostly takes the form (like A Midsummer Night’s Dream) of a dramatically superfluous fifth act.  That is to say, the standard New Comedy plot is long since resolved by the time of the wedding banquet where Katherine gives her notorious speech in which she entreats the women present to submit themselves to their husbands, even to the point of exhorting them to “place your hands beneath your husband’s foot.”  But this little pantomime is no more than that: it’s a fully self-aware show that Petruchio and Katherine are putting on for the benefit (or is it at the expense?) of their less imaginitively adept peers.  We in the audience proper know better.  We know that by this point Katherine and Petruchio have successfully (albeit with a tremendous amount of rough and tumble) negotiated together a world of play where nothing is quite what it seems — where the sun may be the moon or vice versa, and an old man encountered on the road to Padua may be mistaken for a “young budding virgin” — or, more accurately (and much more interestingly) be pretended to be mistaken for one.  Do I also have to mention the Christopher Sly framing device that gives the play an absolutely explicit metaliterary dimension?  The ironies of the fifth act are so rich and evocative that any attempt to reduce them to a flatly declarative ideological intent, however good those intentions, is demonstrably contrary to the inner workings of the play itself.

Here’s my point.  I know that many can and do dispute such a reading of the play.  However, it is also undeniable that this reading is at least possible with reference to what goes on within the play and without reference to any ideological anxiety beyond it.  We are, of course, not compelled to see the play in these terms; but we are free to do so on very good authority (that is, the centripetal focus of the play as such), and that is always Frye’s point.  All of our limits, when it comes to literature, are self-imposed.  As Merv Nicholson might say, “what makes Frye different” is the articulation of the possibility that we might voluntarily recognize those self-imposed limitations and stroll happily and unencumbered right past them.

Responding to Michael Happy:

You say, Michael, “you don’t need to believe in ghosts to appreciate Hamlet.” This reminds me of something at the MLA in 1993. Walter Benn Michaels made the comment that “we no longer believe in ghosts,” then interrupted himself to say that he had just read in a newsmagazine that a majority of Americans believed in supernatural entities. He gestured around the room; “We don’t believe in ghosts,” he corrected himself.

To pursue the discussion a bit further: yes, literature creates a hypothetical world where there are ghosts, whether we “believe” in them or not. But on the other hand, Stephen Greenblatt, in Hamlet in Purgatory, shows how our reading of Hamlet is enriched by some knowledge of contemporary debates about what happens after you die. Why does the ghost of old Hamlet walk at night? What does it mean to die “Unhousel’d, disappointed, unanel’d”?

I think the point Bogdan is making, where she differs from Frye, is that literature always retains some element of reference, a centrifugal element, and that in teaching it you cannot ignore that element. Her example is to question Frye’s assertion that “the preposterous sexual ideology” of The Taming of the Shrew is “never taken very seriously.” Perhaps in an ideal world it wouldn’t be. Which is not to say that, not living in an ideal world, one shouldn’t teach the text or perform it, only to acknowledge that in certain contexts it is going to be interpreted in part in the context of what it has to say about gender relations.

One more example. Frye comments about Measure for Measure that it is simply a romantic comedy “where the chief magical device used is the bed trick instead of enchanted forests or identical twins.” This is one of those startling places where Frye just seems to me to miss something crucial. The reason that Measure for Measure has been seen as a “problem” is that there is something about the tone of it, from beginning to end, that is not really in the spirit of Shakespearean comedy. I think that here, and in the comment on Taming of the Shrew, it is Frye’s acute sense of the conventions at work that leads him to a conclusion at odds with the experience of many readers and spectators. Because although it is hypothetical, although it is centripetal, literature still does say things.

Perhaps, Michael, you see me grasping confidently for the greased pig! (By the way, your last sentence is very Bloomian, featuring both anxiety and struggle!!). But I will agree with you so far as to say that the greatness of The Tempest or Measure for Measure or Hamlet is not a function of what they reveal about Renaissance ideology. And I don’t want to become the contrarian of this blog, so I will write something more positive for my next post.