{"id":2834,"date":"2009-09-19T00:02:48","date_gmt":"2009-09-19T04:02:48","guid":{"rendered":"http:\/\/fryeblog.blog.lib.mcmaster.ca\/?p=2834"},"modified":"2009-09-19T00:02:48","modified_gmt":"2009-09-19T04:02:48","slug":"study-guide-some-notes-and-questions-on-the-educated-imagination","status":"publish","type":"post","link":"https:\/\/macblog.mcmaster.ca\/fryeblog\/2009\/09\/19\/study-guide-some-notes-and-questions-on-the-educated-imagination\/","title":{"rendered":"Study Guide: Some Notes and Questions on The Educated Imagination"},"content":{"rendered":"

\"ei\"<\/p>\n

With the school year beginning, a lot of students out there will be encountering Frye for the first time, and <\/em>The Educated Imagination<\/a> is likely to be their first encounter.\u00a0 Here, therefore, is a study guide and some questions for them to consider as they read.<\/em><\/p>\n

The spatial or schematic form of chapter 1:<\/strong><\/em><\/p>\n

Levels of Mind
\n<\/em>1.\u00a0 (Theoria<\/em> or dianoia<\/em>) Speculative or contemplative: one\u2019s mind is set over against nature.\u00a0 Separating, splitting, or analytic tendency: me vs. not me; intellect vs. emotions; art vs. science.
\n2.\u00a0 (Praxis<\/em>)\u00a0 Social participation: motivated by desire (one wants a better world); intellect and emotions now united; necessity (work what one has to do); adapting to environment; transforming nature.
\n3.\u00a0 (Poesis<\/em>)\u00a0 Vision and imagination: also motivated by desire but here it\u2019s a desire to bring a social human form into existence, i.e., civilization; freedom.<\/p>\n

Corresponding Levels of Language
\n<\/em>1.\u00a0 Language of consciousness or awareness; the language of nouns and adjectives.\u00a0 Language of thinking.
\n2.\u00a0 Language of practical sense and skills (work, technology); language of teachers, preachers, advertisers, lawyers, scientists, journalists, etc.); language of necessity.\u00a0 Language of action.
\n3.\u00a0 Language that unites consciousness (level 1) with practical skill (level 2); language of imagination; literary language; language of freedom. Language of construction.<\/p>\n

Attitudes
\n<\/em>1.\u00a0 Awareness that separates one from the rest of the world
\n2.\u00a0 Practical attitude of creating a human way of life in the world.
\n3.\u00a0 Imaginative attitude or vision of world as imagined or desired.<\/p>\n

Chapter 1, \u201cThe Motive for Metaphor\u201d<\/strong><\/em> (phrase from title of a Wallace Stevens poem<\/a>)<\/p>\n

1.\u00a0 What are the two points\u2014one simple and one complex\u2014Frye makes in connection with the relevance of literature for today (pp. 16ff.)?
\n2.\u00a0 What is the motive for metaphor?
\n3.\u00a0 What does Frye mean by \u201ca world completely absorbed and possessed by the human mind\u201d?
\n4.\u00a0 What does Frye mean my transforming nature into \u201csomething with a human\u00a0shape\u201d?\u00a0\u00a0 What does he mean by \u201cthe human form of nature,\u201d which he seems to say is the same thing as \u201cthe form of human nature.”<\/p>\n

<\/p>\n

Chapter 2, \u201cThe Singing School\u201d<\/strong><\/em> (phrase from Yeats\u2019s \u201cSailing to Byzantium<\/a>\u201d)<\/p>\n

1.\u00a0 Third level of language = the language of the imagination = associative language = metaphor.\u00a0 What does Frye mean by saying that the language of the imagination suggests an \u201cidentity between the human mind and the world outside it\u201d?\u00a0 A bit later he says that poetry is an act of \u201cidentifying the human and the nonhuman worlds.\u201d
\n2.\u00a0 Much of this chapter is devoted to a simple point\u2014one Frye is fond of making over and over: literature is made out of other literature.\u00a0 Why does Frye seem to place so much weight on convention?
\n3.\u00a0 What do you make of Frye\u2019s statement that \u201cit isn\u2019t what you say but how it\u2019s said that\u2019s important\u201d?\u00a0 His illustration of this is Campion\u2019s poem about the cruel mistress, which Frye says is \u201cpure convention.\u201d
\n4.\u00a0 The monomyth or the one great story, says Frye, is the \u201cstory of the loss and regaining of identity.\u201d\u00a0 What are its four forms?<\/p>\n

Chapter 3, \u201cGiants in Time\u201d<\/strong><\/em> (phrase from Proust<\/a>)<\/p>\n

Some ideas worth thinking about and discussing:
\n\u2014poetry gives us the typical, the recurring, the universal event
\n\u2014\u201cMany people think that the original writer is always directly inspired by life, and that only commonplace or derivative writers get inspired by books. That\u2019s nonsense.\u201d
\n\u2014\u201cThere is really no such thing as self-expression in literature.\u201d
\n\u2014\u201cWe relate the poems and plays and novels we read and see, not to the men who wrote them, nor even directly to ourselves; we relate them to each other.\u201d
\nNote on p. 31 that the issue of identity comes up again. What does Frye say about detachment? What does Frye mean by saying that literature \u201cswallows\u201d life, an image he got from Milton? What\u2019s the relationship of literature to real life?\u00a0 What is \u201creal\u201d life, anyway? Difference between imaginary (unreal) and imaginative (what poets create). Poets render not reality but the typical, recurring, universal experience. Notion of absorption: Sheep and flowers get absorbed and digested by literature, i.e., there\u2019s some literary reason for using them.\u00a0 \u201cThe allusiveness of literature is part of its symbolic quality, its capacity to absorb everything from natural or human life into its own imaginative body.\u201d
\nWhat do you make of all this body talk\u2014swallowing, digestion, and the like?
\nSymbol \u2014 allegory\u00a0 \u2014 allusion
\nOriginal writers aren\u2019t inspired by life; they\u2019re inspired by books. We don\u2019t relate poems & plays to their authors or even to ourselves. (We don\u2019t?) We relate them to each other.\u00a0 (We do?)
\nPossession.\u00a0 p. 75.\u00a0 Identity.\u00a0 p. 77.\u00a0 Why study literature?\u00a0 Tolerance, p. 78.\u00a0 What does Frye mean by the somewhat curious metaphor of possession? But literature gives more: Vision: see last two paragraphs.\u00a0 What does Frye mean by vision?<\/p>\n

Chapter 4,\u00a0 \u201cKeys to Dreamland\u201d<\/strong><\/em> (phrase from Finnegans Wake<\/a>)<\/p>\n

The conventions of literature show little connection with real life. Imagination not related directly to life or reality, but to literature (p. 95). Para. on the blinding scene in Lear, 98-9.\u00a0 What\u2019s the function of this illustration? Top and bottom halves of literature: absorption and detachment:
\n\u2014detachment: standing apart and seeing things for what they really are because they\u2019re not really happening. How does Frye think we can best develop or educate our imaginations? Do Frye\u2019s three levels of response (precritical, critical, possession) correspond to your own experience in reading?\u00a0 How?\u00a0 Why?\u00a0 Or why not?<\/p>\n

Chapter 5, \u201cVerticals of Adam\u201d<\/strong><\/em> (phrase from Dylan Thomas<\/a>)<\/p>\n

How to educate the imagination:
\n\u2014Bible; classical mythology
\n\u2014structure of the literary forms: tragedy, comedy, irony, romance
\n\u2014other languages; other arts
\n\u2014relation of literature to other subjects (philosophy, history, social sciences, etc.). How does Frye\u2019s program for the education of the imagination conform to your own reading experience?
\n\u2014What does Frye mean in last para. by the transfer of imaginative energy?<\/p>\n

Chapter 6, \u201cThe Vocation of Eloquence\u201d<\/strong><\/em> (phrase from St. John Perse<\/a>)<\/p>\n

\u2014social function: contra advertising, propaganda
\n\u2014fighting against the social mythology, the illusions that society threatens us with: good old days, ideas of progress
\n\u2014free speech: freedom comes from practice
\n\u2014vision of society: where does this come from?\u2014 not from society itself
\n\u2014conclusion about the Tower of Babel<\/a> myth. What do you understand to be the social function of literature from Frye\u2019s perspective? How would Frye answer someone who said that the study of literature might be OK if we want to get a little cultural bulk in our diets or if we want to prepare ourselves for cocktail party chit-chat but that such study really has nothing to do with the \u201creal world\u201d and doesn\u2019t actually prepare us for living?\u00a0 Again, has Frye made you question the ordinary meaning of the phrase \u201creal world\u201d?<\/p>\n","protected":false},"excerpt":{"rendered":"

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The spatial or schematic form of chapter 1: Levels […]<\/p>\n","protected":false},"author":24,"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":[16,43,152],"tags":[],"class_list":["post-2834","post","type-post","status-publish","format-standard","hentry","category-bob-denham","category-educated-imagination","category-study-guide"],"yoast_head":"\nStudy Guide: Some Notes and Questions on The Educated Imagination - 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\/2009\/09\/19\/study-guide-some-notes-and-questions-on-the-educated-imagination\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Study Guide: Some Notes and Questions on The Educated Imagination - The Educated Imagination\" \/>\n<meta property=\"og:description\" content=\"With the school year beginning, a lot of students out there will be encountering Frye for the first time, and The Educated Imagination is likely to be their first encounter.\u00a0 Here, therefore, is a study guide and some questions for them to consider as they read. 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