{"id":11318,"date":"2010-05-12T10:00:07","date_gmt":"2010-05-12T14:00:07","guid":{"rendered":"http:\/\/fryeblog.blog.lib.mcmaster.ca\/?p=11318"},"modified":"2010-05-12T10:00:07","modified_gmt":"2010-05-12T14:00:07","slug":"the-key-to-all-mythology","status":"publish","type":"post","link":"https:\/\/macblog.mcmaster.ca\/fryeblog\/2010\/05\/12\/the-key-to-all-mythology\/","title":{"rendered":"“The Key to all Mythology”"},"content":{"rendered":"

\"mythologies\"<\/a><\/p>\n

I<\/p>\n

In one of the notebooks for his first Bible book Frye writes, \u201cFor at least 25 years I\u2019ve been preoccupied by the notion of a key to all mythologies. I used to call this the \u2018Druid analogy,\u2019 & its components included Atlantis, reincarnation, cyclical symbolism.\u00a0 But surely that\u2019s all in the Bible, & the Bible as is (Atlantis-flood, reincarnation = historical repetition, etc.).\u00a0 I think I have to make this<\/em> book [The Great Code<\/em>] <\/em>the key to mythologies\u201d (CW 13, 198).\u00a0 By \u201cDruid analogy\u201d Frye means the religious myths and rituals of natural religion in its most primitive forms.\u00a0 In another of his Bible notebooks he calls it the \u201cpagan synthesis,\u201d which is an analogy to the Biblical and Christian mythology.<\/p>\n

In Fearful Symmetry<\/em> Frye speaks of the myths of inspired bards of the ancient Druid civilization and the earlier myth of Atlantis, combined with the myths of the giant Albion and of Ymir, as containing \u201cthe key to all mythologies, or at least to the British and Biblical ones\u201d (CW 14, 178).<\/p>\n

In The \u201cThird Book\u201d Notebooks <\/em>Frye writes that \u201cPart One of this book, the Book of Luvah, to some extent recapitulates AC [Anatomy of Criticism<\/em>] <\/em>by taking the mythos<\/em> of romance<\/em> as the key to all mythical structure.\u00a0 This incorporates the epic & the sentimental-romance speculations that got squeezed out of AC.\u00a0 From here one could go either into Urizen, speculative mythology in metaphysics and religion, by way of Dante & the church\u2019s thematic stasis of the Bible & the Druid analogy, or (as I favor now) into the applied mythology of contracts & Utopias (Tharmas) by way of Rousseau, William Morris,\u00a0 & various second-twist prose forms, including those of St. Augustine. (CW 9, 63)<\/p>\n

Frye made a valiant effort to provide a key to all mythology, trying to fit everything into what he called the Great Doodle, which was primarily his symbolic shorthand for the monomyth. \u00a0Originally Frye conceived of the Great Doodle as \u201cthe cyclical quest of the hero\u201d (CW 9, <\/em>214) or \u201cthe underlying form of all epics\u201d (ibid., <\/em>241).\u00a0 But as he began to move away from strictly literary terms toward both religious language and the language of Greek myth and philosophy, another pattern developed, one with an east-west axis of Nous-Nomos and a north-south axis of Logos-Thanatos. \u00a0At this point the Great Doodle took on an added significance, becoming a symbolic shorthand for what he called the narrative form of the Logos vision: \u201cthe circular journey of the Logos from Father to Spirit\u201d (ibid., <\/em>260) or \u201cthe total cycli\u00adcal journey of the incarnate Logos\u201d (ibid., <\/em>201). But the Great Doodle is never merely a cycle. \u00a0Its shape requires also the vertical axis mundi <\/em>and the horizontal axis separating the world of innocence and experience. \u00a0These, with their numerous variations, produce the four quadrants that are omnipresent in Frye\u2019s diagrammatic way of thinking. \u00a0In Notebook 7 he refers to the quadrants as part of the Lesser Doodle (par. 190), mean\u00ading only that the quadrants themselves are insufficient to establish the larger geometric design of the Great Doodle.<\/p>\n

The Great Doodle has still further elaborations. \u00a0In the extensive notes he made for his Norton Lectures at Harvard (The Secular Scripture) <\/em>Frye remarks self-referentially that in book 14 of Longfellow\u2019s Hiawatha <\/em>the heroine \u201cinvents picture-writing, including the Great Doodle of Frye\u2019s celebrated masterpieces\u201d (Notes on Romance, weblog). \u00a0The reference is to Hia\u00adwatha\u2019s painting on birch-bark a series of symbolic and mystic images: the egg of the Great Spirit, the serpent of the Spirit of Evil, the circle of life and death, the straight line of the earth, and other ancestral totems in the great chain of being. \u00a0Frye elaborates his Great Doodle in a similar way, the Hiawathan \u201cshapes and figures\u201d becoming for him points of epiphany at the circumference of the circle\u2014what he twice refers to as beads on a string (CW 9, <\/em>241, 245). The beads are various topoi and loci along the circumferential string. \u00a0They can be seen as stations where the questing hero stops in his journey (CW 5, 416) or as the cardinal points of a circle (CW 9, <\/em>147\u20138, 159, 177, 198, 200, 204, 249, 254). \u00a0Frye even over lays one form of the Logos diagram with the eight trigrams of the I Ching, <\/em>saying that they \u201ccan be connected with my Great Doodle\u201d (ibid., <\/em>209), and one version of the Great Doodle recapitulates what he refers to throughout his notebooks as \u201cthe Revelation diagram\u201d (CW 13, 193), the intricately designed chart that Frye passed out in his Bible course.<\/p>\n

The Great Doodle, then, is a representation, though a hypothetical one, that contains the large schematic patterns in Frye\u2019s memory theatre: the cyclical quest with its quadrants, cardinal, and epiphanic points; and the vertical ascent and descent movements along the chain of being or the axis mundi. <\/em>It contains as well all of the lesser doodles that Frye cre\u00adates to represent the diagrammatic structure of myth and metaphor and that he frames in the geometric language of gyre and vortex, centre and circumference.<\/p>\n

There are other large frameworks that structure Frye\u2019s imaginative uni\u00adverse, such as the eight-book fantasy\u2014the ogdoad\u2014that he invokes re\u00adpeatedly throughout his career, or the Hermes-Eros-Adonis-Prometheus (HEAP) scheme that begins in Notebook 7 (late 1940s) and dominates the notebook landscape of Frye\u2019s last decade. \u00a0The ogdoad, which Michael Dolzani has definitively explained (\u201cThe Book of the Dead: A Skeleton Key to Northrop Frye\u2019s Notebooks,\u201d in Rereading Frye: The Published and Unpublished Works<\/em>, ed. David Boyd and Imre Salusinszky [Toronto: U of Toronto P, 1999], 19\u201338), is fundamentally a conceptual key to Frye\u2019s own <\/em>work, though it is related in a slippery and often vague way to the Great Doodle. \u00a0The HEAP scheme, in its half-dozen variations, is clearly used to define the quadrants of the Great Doodle, and there are countless other organizing devices, serving as Lesser Doodles, that Frye draws from alchemy, the zodiac, musical keys, colours, the chess board, the omnipresent \u201cfour kernels\u201d (commandment, aphorism, oracle, and epiphany), the shape of the human body, Blake\u2019s Zoas, Jung\u2019s personality types, Bacon\u2019s idols, the boxing of the compass by Plato and the Romantic poets, the greater arcana of the Tarot cards, the seven days of Creation, the three stages of religious awareness, numerological schemes, and so on.<\/p>\n

All of these schematic formulations are a part of the key to all mythologies.\u00a0 But where did they come from?\u00a0 The came, of course, from Frye\u2019s extensive knowledge of the literary tradition, the myths of literature arranging themselves in his expansive memory theater.\u00a0 But they also came from Frye\u2019s reading of the mythographers.<\/p>\n

<\/p>\n

II<\/p>\n

In 1956 James Reaney signed up for Frye\u2019s course in Spenser, which was now called Literary Symbolism.\u00a0 Frye did eventually get around to lecturing on Spenser, but the bulk of the course consisted in Frye\u2019s lecturing (without notes) on the principles that would appear the next year in Anatomy of Criticism<\/em>.\u00a0 Reaney\u2019s notes for the course, which he called Frye\u2019s \u201cPoetics course,\u201d have been preserved.\u00a0 In May 1999 he sent me a photocopy of his notebook for the course, which had \u201cFRYE\u201d printed in large letters on the top of the cover and, at the bottom, the cryptic note \u201c+Romanesque pattern of Regardie.\u201d\u00a0 (There are several pages of notes on Israel Regardie, a popularizer of the legacy of the Hermetic Order of the Golden Dawn.\u00a0 Whether these came from Frye\u2019s lectures or are Reaney\u2019s reading notes is uncertain.)\u00a0 The notebook contains a variety of material, including notes for Reaney\u2019s own creative productions, a complete fair copy of Dylan Thomas\u2019s A Winter\u2019s Tale<\/em>, notes on Hr\u00f3lfr Kraki and The Saga of Grettir the Strong<\/em>, an opening lecture on Eliot\u2019s Four Quartets<\/em> and Reaney\u2019s whimsical doodling.\u00a0 The bulk of the notebook, however, is devoted to Frye\u2019s theories of symbols, myths, and modes\u2013\u2013material he had been working on for ten years and which had been accepted for publication by Princeton University Press in October 1955.<\/p>\n

On the first day of this course, 3 December 1956, Frye provided the students with a \u201cBibliography,\u201d after which Reaney wrote \u201carchetypal patterns.\u201d\u00a0 But the list is actually the most complete account we have of the scope of Frye\u2019s reading in the mythological tradition.\u00a0 The Anatomy<\/em> might be seen as providing what George Eliot\u2019s Casaubon could not\u2013\u2013a key to all mythologies.\u00a0 Some of the mythographers in the bibliography are familiar: Sir James Frazer, Jane Ellen Harrison, F.M. Cornford, Carl Jung, and Robert Graves.\u00a0 Others are less so.\u00a0 Two are mentioned in only a single place in Frye\u2019s writing: Edward B. Hungerford\u2019s Shores of Darkness <\/em>(1940) (CW 16, 282) and Edward Davies\u2019s Celtic Researches on the Origin, Tradition, and Languages of the Ancient Britons<\/em> (CW 14, 176\u20137)<\/p>\n

Some enterprising student of Frye might be interested in tracing the sources of Frye\u2019s own key to all mythologies by examining his debts to the books and writers that he provided on the first day of this class in Literary Symbolism fifty four years ago:<\/p>\n

 <\/p>\n

Bibliography for Literary Symbolism<\/em><\/p>\n

Sir James Frazer, trans. and commentary, Pausanius\u2019s Description of Greece<\/em> (1898)<\/p>\n

______, The Golden Bough<\/em><\/p>\n

Vol. 6, pt. 3.\u00a0 The Dying God<\/em><\/p>\n

Vol. 7, pt. 4.\u00a0 Adonis, Attis, Osiris<\/em><\/p>\n

Vol. 13, pt. 7.\u00a0 Balder the Beautiful<\/em><\/p>\n

Vol. 11, pt. 6.\u00a0 The Scapegoat<\/em><\/p>\n

Jane Ellen Harrison, Prolegomena to the Study of Greek Religion <\/em>(1903)<\/p>\n

______, Themis a Study of the Social Origins of Greek Religion with an Excursus on the Ritual Forms Preserved in Greek Tragedy by Gilbert Murray <\/em>(1912; revised 1927)<\/p>\n

Gilbert Murray, Aristophanes: A Study<\/em> (1933)<\/p>\n

______, The Rape of the Locks: The Perikeiromene of Menander<\/em> (1942)<\/p>\n

______, The Arbitration: the Epitrepontes of Menander<\/em> (1945)<\/p>\n

F.M. Cornford, Origins of Attic Comedy<\/em> (1934)<\/p>\n

E.K. Chambers, The Medieval Stage<\/em> (1903)<\/p>\n

Bertha Philpotts, Edda and Saga<\/em> (1931)<\/p>\n

Theodore Gaster, Thespis:<\/em> Ritual, Myth, and Drama in the Ancient Near East<\/em> (1950)<\/p>\n

Jessie Weston, From Ritual to Romance <\/em>(1920)<\/p>\n

______, The Quest for the Holy Grail <\/em>(1913)<\/p>\n

Colin Still:\u00a0 Shakespeare\u2019s Mystery Play, A Study of \u201cThe Tempest\u201d <\/em>(1921)<\/em><\/p>\n

Robert Eisler, Orpheus\u2013\u2013The Fisher: Comparative Studies in Orphic and Early Christian Symbolism<\/em> (1921)<\/p>\n

Carl Jung, Psychology of the Unconscious: A Study of the Transformations and Symbolisms of the Libido <\/em>(1915)<\/p>\n

______, Symbols of Transformation<\/em> (1952; revision of previous entry)<\/p>\n

______, Psychology and Alchemy<\/em> (1944)<\/p>\n

Herbert Silberer, Problems of Mysticismand Its Symbolism<\/em> (1915)<\/p>\n

Ethan Hitchcock, Alchemy and the Alchemists<\/em> (1857)<\/p>\n

H.P. Blavatsky, Isis Unveiled<\/em> (1977)<\/p>\n

______, Secret Doctrine<\/em> (1888)<\/p>\n

Robert Graves, The White Goddess: A Historical Grammar of Poetic Myth<\/em> (1948)<\/p>\n

Dante: Helen Flanders Dunbar, Symbolism in Medieval Thought and Its Consummation in \u201cThe Divine Comedy<\/em>\u201d<\/em> (1929).<\/p>\n

Natalis Comes, Mythologiae<\/em> (1567)<\/p>\n

Henry Reynolds, Mythomystes<\/em> (1632)<\/p>\n

George Sandys, translation and commentary on Ovid\u2019s Metamorphoses <\/em>(1632)<\/p>\n

Francis Bacon, The Wisdom of the Ancients<\/em> (1619)<\/p>\n

Samuel Purchas, Hakluytus Posthumus<\/em> or Purchas his Pilgrimes, Contayning a History of the World in Sea Voyages and Lande Travells by Englishmen and Others<\/em> (1625)<\/p>\n

Macrobius (395\u2013423 A.D.) <\/em><\/p>\n

Giovanni Boccaccio<\/p>\n

Gaius Julius Hyginus (64 B.C.\u2013A.D. 17)<\/p>\n

Sir Walter Raleigh<\/p>\n

Apuleius<\/p>\n

After providing this list, according to Reaney\u2019s notes, Frye said there were four periods of archetypal criticism:<\/p>\n

Alexandria\u2013\u2013Plutarch, Philo, Clement of Alexandria\u2013\u2013biblical typology<\/p>\n

Elizabethan favorites: Plutarch, Apuleius<\/p>\n

18th century.\u00a0 Blake, Shelley, Keats, Goethe.\u00a0 What they read in Edward B. Hungerford, Shores of <\/em><\/p>\n

Darkness <\/em>(1940)<\/p>\n

20th century<\/p>\n

Other books mentioned in Reaney\u2019s class notes, which are not a part of the initial bibliography, are:<\/p>\n

Edward Davies, Celtic Researches on the Origin, Tradition, and Languages of the Ancient Britons, with Some<\/em><\/p>\n

Intrductory Sketches on Primitive Society<\/em> (1804)<\/p>\n

Israel Regardie.\u00a0 One of the twentieth century\u2019s most significant popularizers of the occult, specifically<\/p>\n

the legacy of the Hermetic Order of the Golden Dawn.<\/p>\n

B.L. Manning, The People\u2019s Faith in the Time of Wycliffe<\/em> (1919)<\/p>\n","protected":false},"excerpt":{"rendered":"

I In one of the notebooks for his first Bible book Frye writes, \u201cFor at least 25 years I\u2019ve been preoccupied by the notion of a key to all mythologies. I used to call this the \u2018Druid analogy,\u2019 & its components included Atlantis, reincarnation, cyclical symbolism.\u00a0 But surely that\u2019s all in the Bible, & the […]<\/p>\n","protected":false},"author":24,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","_links_to":"","_links_to_target":""},"categories":[8,16,92,103],"tags":[],"class_list":["post-11318","post","type-post","status-publish","format-standard","hentry","category-archetype","category-bob-denham","category-literary-criticism","category-myth"],"yoast_head":"\n"The Key to all Mythology" - The Educated Imagination<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/macblog.mcmaster.ca\/fryeblog\/2010\/05\/12\/the-key-to-all-mythology\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\""The Key to all Mythology" - The Educated Imagination\" \/>\n<meta property=\"og:description\" content=\"I In one of the notebooks for his first Bible book Frye writes, \u201cFor at least 25 years I\u2019ve been preoccupied by the notion of a key to all mythologies. 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