{"id":2318,"date":"2009-09-13T01:29:50","date_gmt":"2009-09-13T05:29:50","guid":{"rendered":"http:\/\/fryeblog.blog.lib.mcmaster.ca\/?p=2318"},"modified":"2009-09-13T01:29:50","modified_gmt":"2009-09-13T05:29:50","slug":"literal-metaphor-literal-paradox","status":"publish","type":"post","link":"https:\/\/macblog.mcmaster.ca\/fryeblog\/2009\/09\/13\/literal-metaphor-literal-paradox\/","title":{"rendered":"Literal Metaphor, Literal Paradox"},"content":{"rendered":"

\u00a0\"eschers_relativity\"<\/p>\n

A number of posts and comments over the last few days have touched on the matter of Frye and paradox.\u00a0\u00a0Yesterday I cited Wilde’s\u00a0aphorism that “The way of paradoxes is the way of truth.”\u00a0 Matthew Griffin\u00a0responds<\/a>:<\/p>\n

Wilde is cribbing, and making more pronounced, a point Coleridge makes in the Biographia Literaria<\/a>\u00a0<\/em>\u2013 itself a neat book for Frygians \u2013 that any meaningful truth can only be expressed in paradox.<\/p><\/blockquote>\n

So Coleridge — whose Biographia\u00a0Literaria<\/em> is one of Frye’s critical touchstones — is now in play.\u00a0<\/em>Is “paradox” an essential\u00a0aspect of Frye’s criticism?\u00a0 If so, where is it articulated?<\/p>\n

I think paradox is\u00a0for Frye a primal creative condition of\u00a0language\u00a0as laid out\u00a0in essay two of Anatomy,<\/em> “Ethical Criticism: Theory of Symbols.”\u00a0<\/p>\n

Frye’s theory of symbols presents an expanding dialectic of metaphorical meaning: the literal (symbol as motif), the descriptive (symbol as sign), the formal (symbol as image), the mythical (symbol as archetype), and the anagogic (symbol as monad).\u00a0 The only one of these I will deal with in any detail\u00a0here is “literal” metaphor,\u00a0effectively the singularity or\u00a0big bang of verbal phenomenon from which Frye’s “verbal universe” expands.\u00a0<\/p>\n

Frye points out in this essay what he repeats elsewhere; that language has both “centrifugal” or outwardly directed, and “centripetal” or inwardly directed reference. When reference\u00a0is primarily outwardly directed we have a “sign” whose function is to point to “the thing represented or symbolized by it” (AC 73). Hence, “cat”.\u00a0 However, when reference is primarily inwardly directed we have a\u00a0“motif” whose function is to “connect” elements of verbal phenomenon. Hence, “c – a – t”: that is,\u00a0the discrete constituents, whether written or uttered, that make up the centrifugally referenced\u00a0sign “cat.”\u00a0 Frye, in a famous reversal, calls the centripetal direction of meaning\u00a0“literal” metaphor, not because it\u00a0ensures accurate and reliable\u00a0descriptive<\/em> reference (as the word is most commonly used), but because it refers to artfully ambiguous “units of verbal structure” —\u00a0or that which is proper to the “letter” — whose primary\u00a0internal\u00a0relation is a necessary condition for meaning of any kind.<\/p>\n

As Frye goes on to observe, these “two modes of understanding take place simultaneously in all reading.” However, a distinction can still be made\u00a0between verbal structures whose final direction of meaning is either inward or outward.\u00a0 In “descriptive or assertive writing,” reassuringly enough, the direction of meaning\u00a0is centrifugal.\u00a0 In all literary verbal structures, on the other hand, the direction is centripetal:<\/p>\n

In literature the standards of outward meaning are secondary, for literary works do not pretend to describe or assert, and hence are not true, not false, and yet not tautological either, or at least not in the sense in which such a statement is “the good is better than bad” is tautological. Literary meaning may best be described, perhaps, as hypothetical, and a hypothetical or assumed relation to the external world is part of what is usually meant by the word “imaginative.” This word is to be distinguished from “imaginary,” which usually refers to an assertive verbal structure that fails to make good on its assertions. In literature, questions of fact or truth are subordinated to the primary literary aim of producing a structure of words for its own sake, and the sign-values of symbols are subordinated to their importance as a structure of interconnected motifs.\u00a0(AC 74)<\/p><\/blockquote>\n

The\u00a0significance of this imaginative, hypothetical,\u00a0and centripetally “literal” meaning to a properly\u00a0literary<\/em> criticism is crucial:<\/p>\n

Now as a poem is literally a poem, it belongs, in its literal context, to the class of things called poems, which in their turn form part of the larger class known as works of art. The poem from this point of view presents a flow of sounds approximating music on one side, and an integrated pattern of imagery approximating the pictorial on the other. Literally, then, a poem’s narrative is its rhythm or movement of words… Similarly, a poem’s meaning is literally its pattern or its integrity as a verbal structure. Its words cannot be separated and attached to sign-values: all possible sign-values of a word are absorbed into a complexity of verbal relationships. (AC 78)<\/p><\/blockquote>\n

The dialectical direction of\u00a0what Frye calls a\u00a0“complexity of verbal relationships” is to a large extent what the remainder of\u00a0this essay\u00a0addresses\u00a0as he works through literal meaning\u00a0to the\u00a0 anagogic,\u00a0where the\u00a0apocalyptic turn of the imagination\u00a0perceives at last\u00a0that the whole of nature may be regarded as a\u00a0human artifact recreated by specifically human concerns.\u00a0 But here, at the very\u00a0genesis of meaning, is a\u00a0centripetal\u00a0verbal power to assert that which is not, but which nevertheless possesses dialectically expanding significance<\/em>.\u00a0 Metaphor, as Frye regularly reminds us,\u00a0expresses both what\u00a0is and is not.\u00a0\u00a0What it expresses, however, is real<\/em>, inasmuch as it articulates a human condition — including our capacity for language —\u00a0that has the (anagogic)\u00a0potential to become fully aware of itself as such.<\/p>\n

The famous illustration above is M.C. Escher’s “Relativity,” which nicely captures the “what is” \/ “what is not” capability of the human imagination where even an “absence” is still a “presence” because it can be expressed.\u00a0 The concept of “relativity” is as distinct from “relativism” as the “imaginative” is from the “imaginary.” “Relativism” seems to dominate\u00a0current\u00a0literary criticism which somehow finds its criteria (in\u00a0ideological constructions such as\u00a0gender, class, race, and so on) outside of literature as though literature were primarily centrifugal in reference.\u00a0“Relativity,” on the other hand, requires a constant: in Einstein’s case, that constant\u00a0accounts\u00a0for bodies in motion relative to one another.\u00a0 And, it seems, the same is true for Frye as well; the constant in this case\u00a0being those primary human concerns which are everywhere evident in literature and provide the impetus for us to\u00a0communicate at all.\u00a0Concern is the gestalt of verbal expression; and literature — in its simultaneous acknowledgement of\u00a0what is and is not as an integral part of its\u00a0saying — confronts the inadequacies of the world\u00a0we inhabit\u00a0with a world we are trying to\u00a0create through the\u00a0imaginative expression of our universally shared\u00a0but individually possessed\u00a0concerns.<\/p>\n","protected":false},"excerpt":{"rendered":"

\u00a0 A number of posts and comments over the last few days have touched on the matter of Frye and paradox.\u00a0\u00a0Yesterday I cited Wilde’s\u00a0aphorism that “The way of paradoxes is the way of truth.”\u00a0 Matthew Griffin\u00a0responds: Wilde is cribbing, and making more pronounced, a point Coleridge makes in the Biographia Literaria\u00a0\u2013 itself a neat book […]<\/p>\n","protected":false},"author":20,"featured_media":0,"comment_status":"open","ping_status":"open","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":[4,92,99,125],"tags":[],"class_list":["post-2318","post","type-post","status-publish","format-standard","hentry","category-anatomy-of-criticism","category-literary-criticism","category-metaphor","category-primary-concern"],"yoast_head":"\nLiteral Metaphor, Literal Paradox - 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