{"id":28748,"date":"2012-04-09T12:07:36","date_gmt":"2012-04-09T16:07:36","guid":{"rendered":"http:\/\/fryeblog.blog.lib.mcmaster.ca\/?p=28748"},"modified":"2012-04-09T12:07:36","modified_gmt":"2012-04-09T16:07:36","slug":"more-on-frye-and-borges-3","status":"publish","type":"post","link":"https:\/\/macblog.mcmaster.ca\/fryeblog\/2012\/04\/09\/more-on-frye-and-borges-3\/","title":{"rendered":"Frye and Borges"},"content":{"rendered":"

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

In the fourth essay of Anatomy of Criticism<\/em> Frye calls the two subconscious elements of association \u201cbabble\u201d and \u201cdoodle.\u201d\u00a0 He later gives the two elements more dignified names, \u201ccharm\u201d and \u201criddle.\u201d\u00a0 I think Borges\u2019 fictions appealed to Frye not because of their charm but because of their riddles.\u00a0 Like Joe Adamson<\/a>, I\u2019ve also been fascinated with Borges\u2019 \u201cTl\u00f6n, Uqbar, Orbis Tertius,\u201d a story about \u201cother worlds,\u201d about things that are quite distant from us, things that are strange.\u00a0 On the first two pages alone we have repeated references to things that are fallacious, vague, ambiguous, nebulous, fantastic, imaginary.\u00a0 The narrator eventually discovers that Tl\u00f6n is in fact an \u201cother world\u201d\u2014what he refers to as a \u201ccosmos.\u201d\u00a0 What we have is a kind of Chinese box: a story within a story within a story.\u00a0 That is, people invent the country of Uqbar in order to provide a base for the subsequent invention of Tl\u00f6n, which will eventually become a third world, Orbis Tertius.\u00a0 As people create fictional worlds within fantastic worlds, they cover their tracks as they go, hiding their fictions in rare editions of encyclopedias.\u00a0 What is Tl\u00f6n?\u00a0 We\u2019re not certain.\u00a0 In the Uqbar entry of the encyclopedia Tl\u00f6n is referred to as an \u201cimaginary region.\u201d\u00a0 In the 11th volume of the Encyclopedia of Tl\u00f6n it\u2019s referred to as a planet.\u00a0 The mystery of Tl\u00f6n is eventually cleared up in the \u201cPostscript,\u201d where we learn that Tl\u00f6n was an imaginary country invented by a secret society dating back to the seventeenth century.<\/p>\n

How strange, how odd all of this is.\u00a0 It does seem to be another world altogether.\u00a0 But is it really?\u00a0 Might Borges be suggesting that this strange, dehumanized, godless world is our world, the world that we\u2019re still in the process of constructing for ourselves?\u00a0 So, while the fiction of<\/em> Tl\u00f6n as conceived by the philosophers and propagated by Buckley\u2019s money is both ridiculous and in some ways deadly to life, the fiction about<\/em> Tl\u00f6n as conceived and told by Borges is delightful in its riddling wit and cleverness.\u00a0 Borges frequently presents us with riddles\u2013\u2013intellectual puzzles to be figured out.\u00a0 It\u2019s interesting to note, for example, that the postscript of \u201cTl\u00f6n, Uqbar, Orbis Tertius\u201d is dated 1943.\u00a0 Borges says that the story first appeared in the Anthology of Fantastic Literature<\/em> in 1940.\u00a0 That\u2019s the truth: it was published in 1940.\u00a0 So it appears to us that Borges added the postscript three years later.\u00a0 Why?\u00a0 Because he felt that readers were puzzled by the story and he needed to clear things up again?\u00a0 That seems to be a reasonable inference.\u00a0 The problem is, however, that the 1943 postscript was part of the story when it was originally published.\u00a0 Another example of Borges\u2019 trickery: some of the books he refers to in the story are real; some are fictitious.<\/p>\n

All fiction is about \u201cother worlds,\u201d worlds that have no existence except in our imaginations.\u00a0 Are Tl\u00f6n\u2019s philosophy and language and geometry any stranger or any more arbitrary than our own?\u00a0 In the account of the hr\u00f6nir<\/em>, we learn that the ideal influences the real.\u00a0 Lost objects begin to reduplicate themselves: the idea ends up shaping reality.\u00a0 And the story seems to end on a moralistic note in the comments on what has happened to people who become fascinated by symmetrical systems.\u00a0 Fearful symmetry, perhaps?<\/p>\n

The appeal of Borges for Frye lay in the dianoia<\/em> of his fictions, not in their ethos<\/em>.\u00a0 We feel little engagement or identification with Borges\u2019 characters.\u00a0 Frye told David Cayley that when he was writing his short fables for the Canadian Forum<\/em> back in the 1930s, he knew \u201cmore about ideas than . . . about people. If some-body like Borges had been known to me at the time, I would have tried to pick up that kind of tradition.\u201d<\/p>\n

Frye owned seven of Borges\u2019 books, all of which he annotated, and there are references to a half dozen of Borges\u2019 ficciones<\/em> in Frye writings: \u201cThe Immortal,\u201d \u201cPierre Menard, Author of Don Quixote<\/em>,\u201d \u201cThe Gospel according to Mark,\u201d \u201cThe Garden of Forking Paths,\u201d \u201cBorges and I,\u201d and \u201cThe Aleph.\u201d\u00a0 The scattered references to Borges throughout Frye\u2019s work are collected in what follows.<\/p>\n

 <\/p>\n

 <\/p>\n

The realist finds his material in waking experience, or, more accurately, he finds the analogies to his material in waking experience (because he seldom if ever transcribes directly from experience).\u00a0 It would be silly and misleading just to say that the romancer finds the analogies to his material in dreams, in spite of all the remarks (there\u2019s one by Borges) about how all writing of fiction is really controlled dreaming.\u00a0 But if we expand the term \u201cdream,\u201d as I do in AC [Anatomy of Criticism<\/em>], to cover all the conflicts of desire with reality, it would make more sense.\u00a0 Impenetrable disguises, where the same person is two people at least; metamorphosis of people into animals; anxieties of shipwreck and \u201cfalling\u201d (sinking into water); fantasies in which a hero kills an impossible number of enemies\u2014all these are reminiscent of what Freud calls \u201cthe dream work.\u201d\u00a0 It would include conscious fantasy or day-dreaming, where the erotic drive is more controlled and subordinated. (\u201cNotes 56a,\u201d CW 15: 209\u201310)<\/p>\n

 <\/p>\n

For most of my life I have felt that I didn\u2019t have enough to say in the ordinary fiction form to bother turning my full attention on it, when there were so many things as a critic I could say that were distinctive.\u00a0 But I\u2019ve also had a persistent feeling that if I had the outline of some work of fiction by me, it would be useful as a counterweight or ballast, like a second weight on a cuckoo clock.\u00a0 I should not think of this as something eventually to be published in any form, merely as something there to be thought about as a mental exercise.\u00a0 Although for a while I had a novel in mind, set in western Canada, and very naively realistic in style, that was obviously getting me nowhere and I gave it up.\u00a0 I now realize that my gift in fiction, if I have such a thing at all, would be in one of the \u201canatomy\u201d genres rather than in the conventional novel or romance forms.\u00a0 Apart from the small things I printed in my graduate student days, nothing has emerged in a big shape, and isn\u2019t likely to unless I get a revelation out of line with what I\u2019ve so far received.\u00a0 My early things were based mainly on Richard Garnett\u2019s Twilight of the Gods\u2014if Borges had been available then I might have got further with it. (\u201cThe Academic Novel,\u201d CW 25:153)<\/p>\n

 <\/p>\n

I keep vacillating between the feeling that there are four areas & the feeling that there\u2019s just one area with variations.\u00a0 Thus Oedipus seems to be the labyrinth one, but there are labyrinths in Eros too.\u00a0 Prometheus is the emergence from the labyrinth or cave: it features follow-the-leader games, where (see a passage in Yeats) an ordinary man gains immortality through attaching himself to his shepherd king.\u00a0 Harrowing of Hell.\u00a0 Egypt: Book of the Dead.\u00a0 (Hero as the dead king moving toward identity).\u00a0 Blake\u2019s picture of Earth in GP [The Gates of Paradise<\/em>]; Caliban; Borges\u2019 story \u201cThe Immortal.\u201d Parodied by Satan\u2019s journey through chaos in P.L.[Paradise Lost<\/em>], with its Ulysses echoes.\u00a0 Old Comedy: the Odyssey as a narrative<\/em> Old Comedy, labyrinth followed by dialectic emergence of identity of Odysseus at Ithaca. (\u201cNotebook 12,\u201d CW 9:165)<\/p>\n

 <\/p>\n

I mention Borges, who seems to me one of the guides, along with the Alice books & Poe.\u00a0 He says in connection with Quixote that literature not only begins but ends in mythology, & he tells the story of the man who rewrote Quixote\u2014a parable of the way every great work is polarized between meaning then & meaning now [\u201cPierre Menard, Author of Don Quixote\u201d]. (\u201cNotebook 12,\u201d CW 9:165\u20136)<\/p>\n

 <\/p>\n

[from one of Frye\u2019s pipe-dreams about a 64-section book] Fourteen, Sections 53-56: The new Hermes or Perseus.\u00a0 Doubles, clocks, mirrors, nympholepsy & alastor figures: growing mechanistic & conspiratorial worlds (Poe, Kafka, Borges); the dystopia; breakup of language as we approach Phase One. (\u201cNotebook 24,\u201d CW 9:306)<\/p>\n

<\/p>\n

I\u2019ve often said that if I understand the two Alice books I\u2019d have very little left to understand about literature.\u00a0 Actually I think the Alice books, while they carry over, begin rather than sum up\u2014a new twist to fiction that has to do with intellectual paradox & the disintegrating of the ego.\u00a0 Borges especially, along with some Kafka, FW [Finnegans Wake<\/em>], some conspiracy novels like [Thomas Pynchon\u2019s] The Crying of Lot 49<\/em>, some elements in<\/em> detective stories & science fiction, come down from this.\u00a0 (\u201cNotebook 24,\u201d CW 9:329)<\/p>\n

 <\/p>\n

Chapter 7 invites students to put their knowledge together in a consideration of meaning, not only in established and realistic writers such as Porter, London, and Dostoevsky, but in newer, experimental, and \u201cabsurd\u201d authors such as Le Guin, Lem, Borges, and Pynchon.\u00a0 (\u201cPreface\u201d to The Practical Imagination<\/em>, CW 18:183)<\/p>\n

 <\/p>\n

In Borges\u2019s little story, The Gospel According to Mark<\/em>, we are in a remote part of South America, as far as we can get from all our normal cultural habits and references.\u00a0 Yet the story which is familiar to us in the Gospels makes its way there, too, in a most disconcerting form.\u00a0 (\u201cMeaning,\u201d from The Practical Imagination<\/em>, CW 18:190).<\/p>\n

 <\/p>\n

Less dogmatic writers than Bunyan adopt more flexible forms of journeys.\u00a0 Even Bunyan\u2019s figure is Y-shaped, that is, there is a choice to be made between the right way and the wrong way.\u00a0 A similar figure turns up in Greek mythology in the story of the choice of Hercules, who chooses between pleasure and virtue in the form of a forking road.\u00a0 But, of course, the doctrine of original sin, and parallel doctrines in other religions, indicate that every man is on the wrong path to begin with.\u00a0 Hence the frequency of such themes as that of Robert Frost\u2019s The Road Not Taken<\/em>, which is based on the fact that every choice excludes every other choice, and that every life is full of roads not taken that continue to haunt us with a sense of possible missed opportunities.\u00a0 Eliot\u2019s Quartets<\/em> begin by saying that some rigorously fatalistic cause-effect philosophies may tell us that the phrase \u201cit might have been\u201d is entirely futile, but, as soon as it has told us that, we instantly begin again with \u201cit might have been\u201d fantasies.6 The reason is ultimately that mankind took the wrong way at the fall, and all such fantasies are connected with nostalgia for the unfallen state.\u00a0 Here again, of course, the same theme can be treated ironically: Borges\u2019 story The Garden of Forking Paths<\/em> encloses a number of paths within a cycle of unvarying identity.\u00a0 (\u201cThe Journey as Metaphor,\u201d CW 18:412)<\/p>\n

 <\/p>\n

Add to doubles in Seven: the mystery of iniquity is Antichrist, and the Iagos of the world are tragic parasites, who can\u2019t exist except in a destructive relation to someone else.\u00a0 There are also science-fiction doubles, anticipated by Henry James in his time-travel double (The Sense of the Past) and parallel-worlds double (The Jolly Corner).\u00a0 The Ivan-Smerdyakov relation in Dostoevsky is closer to the Iago-Othello one (someone existing destructively in relation to someone he would otherwise be forced to admire) in the regular \u201cdouble\u201d form.\u00a0 I haven\u2019t mentioned the male-female double in Twelfth Night<\/em>, either: cf. Balzac\u2019s S\u00e9raphita.\u00a0 Borges and I. (\u201cNotebook 44,\u201d CW 5:214\u201315)<\/p>\n

 <\/p>\n

Cave dialogue begins in the womb of the mother and the intense will to identify with animal forms.\u00a0 Painting as \u201cunborn\u201d and sculpture as \u201cborn\u201d arts.\u00a0 The emergence of the (threatened) son in the \u201cark\u201d (Noah-Moses-Exodus sequence).\u00a0 Preservation of original darkness & mystery in the Holy of Holies.\u00a0 Labyrinths & false directions; world of seeds, most of whom are \u201clost\u201d\u2013the potential other worlds or paths.\u00a0 Roads not taken of course consolidate in the fall story.\u00a0 Manger & ox & ass\u2013I\u2019ve got all that in GC [The Great Code<\/em>], for God\u2019s sake.\u00a0 Look up Borges\u2019 story The Garden of Forking Paths\u2013I suspect it may go back to Shelley\u2019s Zoroaster meeting himself in a garden [Prometheus Unbound<\/em>, 1.1.192\u20134].\u00a0 (\u201cNotebook 50,\u201d CW 5:285)<\/p>\n

 <\/p>\n

[T]he study<\/em> of the arrested-flux is a process in which the movement of time is resumed.\u00a0 Here the flat surface becomes, in Borges phrase, a garden of forking paths. (\u201cNotebook 50,\u201d CW 5:317)<\/p>\n

 <\/p>\n

That skit of Borges had something: the Goldberg theme played at the end of the quest or conspectus of variations is not the same thing as the original theme. [This is not a reference to Bach\u2019s Goldberg Variations<\/em> in one of Borges\u2019s stories.\u00a0 Frye is referring rather to Borges\u2019s practice of repeating the original theme at the end of his stories, as in \u201cTheme of the Traitor and the Hero,\u201d which does contain a play.] (\u201cNotebook 50,\u201d CW 5:415)<\/p>\n

 <\/p>\n

Borges has several stories, notably The Aleph, which illustrate the principle of interpenetration, everything everywhere at once. (\u201cNotes 52,\u201d CW 6:448)<\/p>\n

 <\/p>\n

One of my predecessors in the Norton Lectures, J.L. Borges, says, in a little story called \u201cThe Gospel According to Mark\u201d: \u201cgenerations of men, throughout recorded time, have always told and retold two stories–that of a lost ship which searches the Mediterranean seas for a dearly loved island, and that of a god who is crucified on Golgotha.\u201d The Crucifixion is an episode in the Biblical epic: Borges is clearly suggesting that romance, as a whole, provides a parallel epic in which the themes of shipwreck, pirates, enchanted islands, magic, recognition, the loss and regaining of identity, occur constantly, as they do in the last four romances of Shakespeare. Borges is referring to different episodes of the two complete stories, but he puts his finger on an essential structural problem of criticism.\u00a0 (The Secular Scripture<\/em>, CW 18:14)<\/p>\n

 <\/p>\n

Of Borges\u2019 two retold stories, the Biblical and the romantic, the Biblical story finally ends with the Book of Revelation, in a fairytale atmosphere of gallant angels fighting dragons, a wicked witch, and a wonderful gingerbread city glittering with gold and jewels. But the other story, the ship searching the Mediterranean for a lost island, never seems to come to an end. It may go into the Atlantic looking for happy islands here, or into the Pacific, as in Melville\u2019s Mardi, or into outer space, journeying to planets so remote that light itself is too slow a vehicle. When we study the great classics of literature, from Homer on, we are following the dictates of common sense, as embodied in the author of Ecclesiastes: \u201cBetter is the sight of the eye than the wandering of desire.\u201d Great literature is what the eye can see: it is the genuine infinite as opposed to the phony infinite, the endless adventures and endless sexual stimulation of the wandering of desire. But I have a notion that if the wandering of desire did not exist, great literature would not exist either. (The Secular Scripture<\/em>, CW 18:24)<\/p>\n

 <\/p>\n

This attitude [of identification] has recently revived as a form of existential criticism. Its method is brilliantly satirized in Borges\u2019 story of Pierre Menard, whose life\u2019s work it was to rewrite a couple of chapters of Don Quixote<\/em>, not by copying them, but by total identification with Cervantes. Borges quotes a passage from Cervantes and a passage from Menard which is identical with it to the letter, and urges us to see how much more historical resonance there is in the Menard copy. The satire shows us clearly that nothing will get around the fact that writer and reader are different entities in time and space, that whenever we read anything, even a letter from a friend, we are translating it into something else. (The Secular Scripture<\/em>, CW 18:105)<\/p>\n

 <\/p>\n

But in the second part of the book, Sancho Panza is given an island to rule, and rules it very well: while he is doing so, Don Quixote offers him advice which is surprisingly sensible. Earlier I quoted Borges as describing the story we are calling the secular scripture as a search for some dearly loved Mediterranean island. I suspect that Borges\u2019 island has a good deal to do with Cervantes\u2019 island, a society where Sancho Panza, who is not a Machiavellian prince but one of us, is ruler, and where Don Quixote, possibly the greatest figure in the history of romance, has recovered his proper function as a social visionary. (The Secular Scripture<\/em>, CW 18:117)<\/p>\n

 <\/p>\n

My examples are good: they might include, on the critical side, Borges\u2019 story about the man who wrote Don Quixote. (\u201cNotebook 21,\u201d CW 13:146)<\/p>\n

 <\/p>\n

One again: the ultimate authority for law & prophecy being God, individuality & authorship do not exist.\u00a0 The tape recorder theory of inspiration is the parody of this.\u00a0 Use the paradoxes of Borges in this chapter, & lead up to hearing the Muse of music in Bach or Beethoven. (\u201cNotebook 21,\u201d CW 13:200)<\/p>\n

 <\/p>\n

Re belief: it\u2019s gone into reverse now: Borges says he does not believe in immortality, because he doesn\u2019t want to endorse the Church\u2019s irresponsible teachings on the subject.\u00a0 In one of his stories [\u201cThe Immortal\u201d] he remarks that we believe as though we did believe in it. (\u201cNotebook 11d,\u201d CW 13:268)<\/p>\n

 <\/p>\n

Heidegger seems to live in that world of Borges where there are no nouns, only verbs.\u00a0 (Frye\u2019s marginal annotation to page 202 of his copy of Heidegger\u2019s Poetry, Language, Thought)<\/em><\/p>\n

 <\/p>\n

Q:\u00a0 How can you explain that in Latin American cultures or Spanish and so on, there isn\u2019t much criticism?\u00a0\u00a0 Octavio Paz\u00a0\u00a0 in one of his former lectures, [\u201cOn Criticism,\u201d in Alternating Current<\/em> (New York: Viking Press, 1973), 35\u20139] berates the Spaniards and the Portuguese for not entering criticism. And yet it seems to me that Latin American writing is very, very lively and quite interesting and speaks to me personally.<\/p>\n

FRYE:\u00a0 I simply don’t know why there isn’t criticism, more prominence given to criticism in Latin American countries. It may be that there is a much lower proportion of young people going to university. And, of course, the university is a great employer of critics. But, on the other hand, I\u2019ve read criticism of Borges, who is one of the few Latin American authors I have looked into and that must have come out of something and there must be a tradition behind that.\u00a0 (from an unpublished interview with Frye in 1976 at the Thomas More Institute, Montreal)<\/p>\n

 <\/p>\n

Cayley: I believe some of your literary productions as an undergraduate were satires. You were attracted to this form of satire<\/em>?<\/p>\n

Frye: I was always attracted to that form, because at that time certainly, like most students, I knew more about ideas than I did about people. If some-body like Borges had been known to me at the time, I would have tried to pick up that kind of tradition, I think. (\u201cNorthrop Frye in Conversation,\u201d CW 24:938)<\/p>\n

 <\/p>\n

In caricature, and to some extent occupationally as well, the humanist seems to resemble that heroic if somewhat confused bird mentioned by Borges [in The Book of Imaginary Beings<\/em>], who always flies backward because he doesn\u2019t care about where he\u2019s going, only about where he\u2019s been. (\u201cThe Bridge of Language,\u201d CW 11:316)<\/p>\n

 <\/p>\n

There are all kinds of wonderful things in your essay, including parenthetical remarks (Borges is more cheerful than Kafka because he\u2019s more elegiac), and your suggestion that the real way out is not through remembrance but through creative repetition in a new dimension, as in that little book of Kierkegaard\u2019s that\u2019s always fascinated me so much.\u00a0 (Frye\u2019s letter to Angus Fletcher, 5 March 1983, published in Selected Correspondence<\/em> 1934\u20131991)<\/p><\/blockquote>\n","protected":false},"excerpt":{"rendered":"

In the fourth essay of Anatomy of Criticism Frye calls the two subconscious elements of association \u201cbabble\u201d and \u201cdoodle.\u201d\u00a0 He later gives the two elements more dignified names, \u201ccharm\u201d and \u201criddle.\u201d\u00a0 I think Borges\u2019 fictions appealed to Frye not because of their charm but because of their riddles.\u00a0 Like Joe Adamson, I\u2019ve also been fascinated […]<\/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":[1],"tags":[],"class_list":["post-28748","post","type-post","status-publish","format-standard","hentry","category-uncategorized"],"yoast_head":"\nFrye and Borges - 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\/2012\/04\/09\/more-on-frye-and-borges-3\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Frye and Borges - The Educated Imagination\" \/>\n<meta property=\"og:description\" content=\"In the fourth essay of Anatomy of Criticism Frye calls the two subconscious elements of association \u201cbabble\u201d and \u201cdoodle.\u201d\u00a0 He later gives the two elements more dignified names, \u201ccharm\u201d and \u201criddle.\u201d\u00a0 I think Borges\u2019 fictions appealed to Frye not because of their charm but because of their riddles.\u00a0 Like Joe Adamson, I\u2019ve also been fascinated […]\" \/>\n<meta property=\"og:url\" content=\"https:\/\/macblog.mcmaster.ca\/fryeblog\/2012\/04\/09\/more-on-frye-and-borges-3\/\" \/>\n<meta property=\"og:site_name\" content=\"The Educated Imagination\" \/>\n<meta property=\"article:published_time\" content=\"2012-04-09T16:07:36+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/macblog.mcmaster.ca\/fryeblog\/wp-content\/uploads\/sites\/4\/2012\/04\/200px-Tlon_Uqbar_Orbis_Tertius_by_Rikki1.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"200\" \/>\n\t<meta property=\"og:image:height\" content=\"316\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Bob Denham\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Bob Denham\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"16 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/macblog.mcmaster.ca\/fryeblog\/2012\/04\/09\/more-on-frye-and-borges-3\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/macblog.mcmaster.ca\/fryeblog\/2012\/04\/09\/more-on-frye-and-borges-3\/\"},\"author\":{\"name\":\"Bob Denham\",\"@id\":\"https:\/\/macblog.mcmaster.ca\/fryeblog\/#\/schema\/person\/f0d6833dfde3f2793ecbbc6aacd83812\"},\"headline\":\"Frye and Borges\",\"datePublished\":\"2012-04-09T16:07:36+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/macblog.mcmaster.ca\/fryeblog\/2012\/04\/09\/more-on-frye-and-borges-3\/\"},\"wordCount\":3301,\"commentCount\":0,\"image\":{\"@id\":\"https:\/\/macblog.mcmaster.ca\/fryeblog\/2012\/04\/09\/more-on-frye-and-borges-3\/#primaryimage\"},\"thumbnailUrl\":\"http:\/\/macblog.mcmaster.ca\/fryeblog\/wp-content\/uploads\/sites\/4\/2012\/04\/200px-Tlon_Uqbar_Orbis_Tertius_by_Rikki1-189x300.jpg\",\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"https:\/\/macblog.mcmaster.ca\/fryeblog\/2012\/04\/09\/more-on-frye-and-borges-3\/#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/macblog.mcmaster.ca\/fryeblog\/2012\/04\/09\/more-on-frye-and-borges-3\/\",\"url\":\"https:\/\/macblog.mcmaster.ca\/fryeblog\/2012\/04\/09\/more-on-frye-and-borges-3\/\",\"name\":\"Frye and Borges - The Educated Imagination\",\"isPartOf\":{\"@id\":\"https:\/\/macblog.mcmaster.ca\/fryeblog\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\/\/macblog.mcmaster.ca\/fryeblog\/2012\/04\/09\/more-on-frye-and-borges-3\/#primaryimage\"},\"image\":{\"@id\":\"https:\/\/macblog.mcmaster.ca\/fryeblog\/2012\/04\/09\/more-on-frye-and-borges-3\/#primaryimage\"},\"thumbnailUrl\":\"http:\/\/macblog.mcmaster.ca\/fryeblog\/wp-content\/uploads\/sites\/4\/2012\/04\/200px-Tlon_Uqbar_Orbis_Tertius_by_Rikki1-189x300.jpg\",\"datePublished\":\"2012-04-09T16:07:36+00:00\",\"author\":{\"@id\":\"https:\/\/macblog.mcmaster.ca\/fryeblog\/#\/schema\/person\/f0d6833dfde3f2793ecbbc6aacd83812\"},\"breadcrumb\":{\"@id\":\"https:\/\/macblog.mcmaster.ca\/fryeblog\/2012\/04\/09\/more-on-frye-and-borges-3\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/macblog.mcmaster.ca\/fryeblog\/2012\/04\/09\/more-on-frye-and-borges-3\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/macblog.mcmaster.ca\/fryeblog\/2012\/04\/09\/more-on-frye-and-borges-3\/#primaryimage\",\"url\":\"https:\/\/macblog.mcmaster.ca\/fryeblog\/wp-content\/uploads\/sites\/4\/2012\/04\/200px-Tlon_Uqbar_Orbis_Tertius_by_Rikki1.jpg\",\"contentUrl\":\"https:\/\/macblog.mcmaster.ca\/fryeblog\/wp-content\/uploads\/sites\/4\/2012\/04\/200px-Tlon_Uqbar_Orbis_Tertius_by_Rikki1.jpg\",\"width\":200,\"height\":316},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/macblog.mcmaster.ca\/fryeblog\/2012\/04\/09\/more-on-frye-and-borges-3\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/macblog.mcmaster.ca\/fryeblog\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Frye and Borges\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\/\/macblog.mcmaster.ca\/fryeblog\/#website\",\"url\":\"https:\/\/macblog.mcmaster.ca\/fryeblog\/\",\"name\":\"The Educated Imagination\",\"description\":\"A Website Dedicated to Northrop Frye\",\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\/\/macblog.mcmaster.ca\/fryeblog\/?s={search_term_string}\"},\"query-input\":{\"@type\":\"PropertyValueSpecification\",\"valueRequired\":true,\"valueName\":\"search_term_string\"}}],\"inLanguage\":\"en-US\"},{\"@type\":\"Person\",\"@id\":\"https:\/\/macblog.mcmaster.ca\/fryeblog\/#\/schema\/person\/f0d6833dfde3f2793ecbbc6aacd83812\",\"name\":\"Bob Denham\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/secure.gravatar.com\/avatar\/2e142dc4b6eec3365c24a599621bb9d757dd5f86d31eb62d98586fead4050d33?s=96&d=mm&r=g\",\"url\":\"https:\/\/secure.gravatar.com\/avatar\/2e142dc4b6eec3365c24a599621bb9d757dd5f86d31eb62d98586fead4050d33?s=96&d=mm&r=g\",\"contentUrl\":\"https:\/\/secure.gravatar.com\/avatar\/2e142dc4b6eec3365c24a599621bb9d757dd5f86d31eb62d98586fead4050d33?s=96&d=mm&r=g\",\"caption\":\"Bob Denham\"},\"url\":\"https:\/\/macblog.mcmaster.ca\/fryeblog\/author\/denham\/\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"Frye and Borges - The Educated Imagination","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/macblog.mcmaster.ca\/fryeblog\/2012\/04\/09\/more-on-frye-and-borges-3\/","og_locale":"en_US","og_type":"article","og_title":"Frye and Borges - The Educated Imagination","og_description":"In the fourth essay of Anatomy of Criticism Frye calls the two subconscious elements of association \u201cbabble\u201d and \u201cdoodle.\u201d\u00a0 He later gives the two elements more dignified names, \u201ccharm\u201d and \u201criddle.\u201d\u00a0 I think Borges\u2019 fictions appealed to Frye not because of their charm but because of their riddles.\u00a0 Like Joe Adamson, I\u2019ve also been fascinated […]","og_url":"https:\/\/macblog.mcmaster.ca\/fryeblog\/2012\/04\/09\/more-on-frye-and-borges-3\/","og_site_name":"The Educated Imagination","article_published_time":"2012-04-09T16:07:36+00:00","og_image":[{"width":200,"height":316,"url":"https:\/\/macblog.mcmaster.ca\/fryeblog\/wp-content\/uploads\/sites\/4\/2012\/04\/200px-Tlon_Uqbar_Orbis_Tertius_by_Rikki1.jpg","type":"image\/jpeg"}],"author":"Bob Denham","twitter_card":"summary_large_image","twitter_misc":{"Written by":"Bob Denham","Est. reading time":"16 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/macblog.mcmaster.ca\/fryeblog\/2012\/04\/09\/more-on-frye-and-borges-3\/#article","isPartOf":{"@id":"https:\/\/macblog.mcmaster.ca\/fryeblog\/2012\/04\/09\/more-on-frye-and-borges-3\/"},"author":{"name":"Bob Denham","@id":"https:\/\/macblog.mcmaster.ca\/fryeblog\/#\/schema\/person\/f0d6833dfde3f2793ecbbc6aacd83812"},"headline":"Frye and Borges","datePublished":"2012-04-09T16:07:36+00:00","mainEntityOfPage":{"@id":"https:\/\/macblog.mcmaster.ca\/fryeblog\/2012\/04\/09\/more-on-frye-and-borges-3\/"},"wordCount":3301,"commentCount":0,"image":{"@id":"https:\/\/macblog.mcmaster.ca\/fryeblog\/2012\/04\/09\/more-on-frye-and-borges-3\/#primaryimage"},"thumbnailUrl":"http:\/\/macblog.mcmaster.ca\/fryeblog\/wp-content\/uploads\/sites\/4\/2012\/04\/200px-Tlon_Uqbar_Orbis_Tertius_by_Rikki1-189x300.jpg","inLanguage":"en-US","potentialAction":[{"@type":"CommentAction","name":"Comment","target":["https:\/\/macblog.mcmaster.ca\/fryeblog\/2012\/04\/09\/more-on-frye-and-borges-3\/#respond"]}]},{"@type":"WebPage","@id":"https:\/\/macblog.mcmaster.ca\/fryeblog\/2012\/04\/09\/more-on-frye-and-borges-3\/","url":"https:\/\/macblog.mcmaster.ca\/fryeblog\/2012\/04\/09\/more-on-frye-and-borges-3\/","name":"Frye and Borges - The Educated Imagination","isPartOf":{"@id":"https:\/\/macblog.mcmaster.ca\/fryeblog\/#website"},"primaryImageOfPage":{"@id":"https:\/\/macblog.mcmaster.ca\/fryeblog\/2012\/04\/09\/more-on-frye-and-borges-3\/#primaryimage"},"image":{"@id":"https:\/\/macblog.mcmaster.ca\/fryeblog\/2012\/04\/09\/more-on-frye-and-borges-3\/#primaryimage"},"thumbnailUrl":"http:\/\/macblog.mcmaster.ca\/fryeblog\/wp-content\/uploads\/sites\/4\/2012\/04\/200px-Tlon_Uqbar_Orbis_Tertius_by_Rikki1-189x300.jpg","datePublished":"2012-04-09T16:07:36+00:00","author":{"@id":"https:\/\/macblog.mcmaster.ca\/fryeblog\/#\/schema\/person\/f0d6833dfde3f2793ecbbc6aacd83812"},"breadcrumb":{"@id":"https:\/\/macblog.mcmaster.ca\/fryeblog\/2012\/04\/09\/more-on-frye-and-borges-3\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/macblog.mcmaster.ca\/fryeblog\/2012\/04\/09\/more-on-frye-and-borges-3\/"]}]},{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/macblog.mcmaster.ca\/fryeblog\/2012\/04\/09\/more-on-frye-and-borges-3\/#primaryimage","url":"https:\/\/macblog.mcmaster.ca\/fryeblog\/wp-content\/uploads\/sites\/4\/2012\/04\/200px-Tlon_Uqbar_Orbis_Tertius_by_Rikki1.jpg","contentUrl":"https:\/\/macblog.mcmaster.ca\/fryeblog\/wp-content\/uploads\/sites\/4\/2012\/04\/200px-Tlon_Uqbar_Orbis_Tertius_by_Rikki1.jpg","width":200,"height":316},{"@type":"BreadcrumbList","@id":"https:\/\/macblog.mcmaster.ca\/fryeblog\/2012\/04\/09\/more-on-frye-and-borges-3\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/macblog.mcmaster.ca\/fryeblog\/"},{"@type":"ListItem","position":2,"name":"Frye and Borges"}]},{"@type":"WebSite","@id":"https:\/\/macblog.mcmaster.ca\/fryeblog\/#website","url":"https:\/\/macblog.mcmaster.ca\/fryeblog\/","name":"The Educated Imagination","description":"A Website Dedicated to Northrop Frye","potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/macblog.mcmaster.ca\/fryeblog\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"en-US"},{"@type":"Person","@id":"https:\/\/macblog.mcmaster.ca\/fryeblog\/#\/schema\/person\/f0d6833dfde3f2793ecbbc6aacd83812","name":"Bob Denham","image":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/secure.gravatar.com\/avatar\/2e142dc4b6eec3365c24a599621bb9d757dd5f86d31eb62d98586fead4050d33?s=96&d=mm&r=g","url":"https:\/\/secure.gravatar.com\/avatar\/2e142dc4b6eec3365c24a599621bb9d757dd5f86d31eb62d98586fead4050d33?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/2e142dc4b6eec3365c24a599621bb9d757dd5f86d31eb62d98586fead4050d33?s=96&d=mm&r=g","caption":"Bob Denham"},"url":"https:\/\/macblog.mcmaster.ca\/fryeblog\/author\/denham\/"}]}},"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/macblog.mcmaster.ca\/fryeblog\/wp-json\/wp\/v2\/posts\/28748","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/macblog.mcmaster.ca\/fryeblog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/macblog.mcmaster.ca\/fryeblog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/macblog.mcmaster.ca\/fryeblog\/wp-json\/wp\/v2\/users\/24"}],"replies":[{"embeddable":true,"href":"https:\/\/macblog.mcmaster.ca\/fryeblog\/wp-json\/wp\/v2\/comments?post=28748"}],"version-history":[{"count":0,"href":"https:\/\/macblog.mcmaster.ca\/fryeblog\/wp-json\/wp\/v2\/posts\/28748\/revisions"}],"wp:attachment":[{"href":"https:\/\/macblog.mcmaster.ca\/fryeblog\/wp-json\/wp\/v2\/media?parent=28748"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/macblog.mcmaster.ca\/fryeblog\/wp-json\/wp\/v2\/categories?post=28748"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/macblog.mcmaster.ca\/fryeblog\/wp-json\/wp\/v2\/tags?post=28748"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}