{"id":3023,"date":"2009-09-24T00:59:44","date_gmt":"2009-09-24T04:59:44","guid":{"rendered":"http:\/\/fryeblog.blog.lib.mcmaster.ca\/?p=3023"},"modified":"2009-09-24T00:59:44","modified_gmt":"2009-09-24T04:59:44","slug":"the-phases-and-modes-of-language","status":"publish","type":"post","link":"https:\/\/macblog.mcmaster.ca\/fryeblog\/2009\/09\/24\/the-phases-and-modes-of-language\/","title":{"rendered":"The Phases and Modes of Language"},"content":{"rendered":"

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

Frye may not have, as Trevor Losh\u2011Johnson<\/a> reports someone as saying, an \u201cetiological theory of linguistics,\u201d if that means a theory of the origin or causes of language, but he does have a theory of language\u2013\u2013in fact, several theories.\u00a0 He begins his talk \u201cThe Expanding World of Metaphor\u201d by saying:<\/p>\n

Let us start with literature, and with the fact that literature is an art of words.\u00a0 That means, in the first place, a difference of emphasis between the art and the words.\u00a0 If we choose the emphasis on words, we soon begin to relate the verbal structures we call literary to other verbal structures.\u00a0 We find that there are no clearly marked boundaries, only centres of interest.\u00a0 There are many writers, ranging from Plato to Sartre, whom it is difficult, or more accurately unnecessary, to classify as literary or philosophical.\u00a0 Gradually more and more boundaries dissolve, including the boundary between creators and critics, as every criticism is also a recreation.\u00a0 Sooner or later, in pursuing this direction of study, literary criticism, philosophy, and most of the social sciences come to converge on the study of language itself.\u00a0 The characteristics of language are clearly the essential clue to the nature of everything built out of language.(\u201cThe Secular Scripture\u201d and Other Writings on Critical Theory 1976\u20131991<\/em>, CW 18, 342\u20133)<\/p><\/blockquote>\n

The \u201ccharacteristics of language\u201d are naturally a part of Frye\u2019s theory of language, the two chief forms of which in his late work are in the first chapters of The Great Code<\/em> (phases of language) and Words with Power<\/em> (modes of language). \u00a0<\/em>The first chapter of The Great Code<\/em>, in typical Frye fashion, is elaborately schematic.\u00a0 It begins with Vico<\/a>\u2019s notion of the three ages of humanity, and then moves through more than a dozen different categories to classify the tripartite phases that language has, more or less historically, passed through: the poetic, the heroic, and the vulgar; the hieroglyphic, the hieratic, and the demotic; the mythical, the allegorical, and the descriptive; the metaphorical, the metonymic, and the similic, and so on.\u00a0 Frye glances at the historical locus of each of these phases, the way each formulates subject\u2011object relations, the meaning of such words as \u201cGod\u201d and \u201cLogos\u201d in each, and the typical form that prose takes in each phase.\u00a0 All of this anatomizing, devoid of Frye\u2019s examples and illustrations, can be summarized in this chart:<\/p>\n

<\/p>\n

Phases of Language: The Great Code<\/em>, chapter<\/strong> 1<\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
Vico\u2019s Three Ages<\/strong><\/td>\nPoetic\u00a0\u00a0\u00a0\u00a0\u00a0<\/td>\nHeroic or Noble<\/td>\nVulgar<\/td>\n<\/tr>\n
Frye\u2019s Three Ages<\/strong><\/td>\nHieroglyphic<\/td>\nHieratic<\/td>\nDemotic<\/td>\n<\/tr>\n
Uses of Language<\/strong><\/td>\nPoetic<\/td>\nAllegorical-Analogical-Dialectical<\/td>\nDescriptive<\/td>\n<\/tr>\n
Phases of Language<\/strong><\/td>\nMetaphorical (\u201cThis is that\u201d): used by everyone; no cultural ascendancy<\/td>\nMetonymic (\u201cThis is put for that\u201d): culturally ascendant language<\/td>\nSimilic (\u201cThis is like that\u201d): ordinary language that does not become culturally ascendant<\/td>\n<\/tr>\n
Locus of the Phases<\/strong><\/td>\nGreek literature before Plato; Homer; pre-Biblical Near East; much of Old Testament<\/td>\nPlato; the intellectual elite; the ascendant language is given authority by society<\/td>\nSixteenth century and following; Bacon and Locke<\/td>\n<\/tr>\n
Subject\/object relations<\/strong><\/td>\nNot clearly separated; linked by common power or energy (mana<\/em>); magic, charm, & spell play central role<\/td>\nMore consistently\u00a0 separated; idea of \u201creflection\u201d and mirror are foregrounded<\/td>\nClearly separated; subject exposes itself, in sense experience, to impact of objective world<\/td>\n<\/tr>\n
Use of words<\/strong><\/td>\nWords of power releasing magical energy or control<\/td>\nWords = outward expression of inner thoughts and ideas;\u00a0 importance of linear ordering<\/td>\nWords are servomechanisms of reflection<\/td>\n<\/tr>\n
Concrete > Abstract<\/strong><\/td>\nConcrete: no verbal abstractions<\/td>\nIntellectual and emotional operations of mind become distinguishable; development of abstraction and logic<\/td>\nConcrete \u201cthings\u201d in nature are prior<\/td>\n<\/tr>\n
Form of Prose<\/strong><\/td>\nDiscontinuous: epigrammatic; oracular (e.g., aphorisms of Heraclitus and Pythagoras). Truth: hypothetical<\/td>\nContinuous; deductive. Truth: consistent argument. Analogical language = verbal imitation of reality beyond itself.\u00a0 Dialectic and commentary foregrounded<\/td>\nContinuous prose; deduction subordinated to induction. Truth: correspondence to objective world<\/td>\n<\/tr>\n
\u201cGod\u201d Language<\/strong><\/td>\nPlurality of gods; embodiments of personality = nature; unifying element of verbal expression = \u201cgod\u201d or personal nature-spirit<\/td>\nMonotheistic God = trans-cendent reality all analogy points to; Aristotle\u2019s Unmoved Mover, Plato\u2019s Good; metonymic thinking translates metaphor into hieroglyphic language<\/td>\nReaction against transcendent perspective; religious questions are \u201cunmeaningful\u201d; \u201cgods\u201d no longer believed in<\/td>\n<\/tr>\n
Metonymic parallels of the three phases of language<\/strong><\/td>\nOne image is \u201cput for\u201d another image<\/td>\nVerbal expression is \u201cput for\u201d something that transcends actual verbal expression; analogical thinking<\/td>\nWord is \u201cput for\u201d object it describes<\/td>\n<\/tr>\n
Logos<\/strong><\/td>\nLogos = creative power (Hebrews, Heraclitus)<\/td>\nLogos = rational order in mathematical and verbal forms<\/td>\nLogos = event or reality that words describe second-hand<\/td>\n<\/tr>\n
Humanity (human entity using language or consciousness)<\/strong><\/td>\nSpirit = unifying principle of life that gives people a participating energy with nature<\/td>\nSoul returns to transcendent world; body returns to nature. Vertical imagery<\/td>\nMind\/brain.\u00a0 Horizontal imagery\u00a0\u00a0<\/td>\n<\/tr>\n
Powers<\/strong><\/td>\nLanguage is immediate and vital<\/td>\nLanguage is released from tyranny of nature<\/td>\nLanguage reveals richness in objective world<\/td>\n<\/tr>\n
Limitations<\/strong><\/td>\nLanguage restricted by an identity with nature<\/td>\nLanguage of deductive reason leads to nothing new<\/td>\nLanguage precludes imaginative experience<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

The problem Frye faces in applying his schematic account of language is that the Bible does not fit well into one or more of the phases.\u00a0 His way out is to devise another framework to account for the Bible\u2019s metaphorical origins and its \u201cconcerned\u201d or existential quality.\u00a0 Thus, he posits a fourth form of expression that is a special kind of rhetoric: kerygma.\u00a0 The three phases of language more or less disappear in Frye\u2019s subsequent writing, and except for the metaphoric phase Frye does little with the three phases in the other chapters of The Great Code<\/em>.\u00a0 But kerygma does not disappear.\u00a0<\/p>\n

Frye was apparently dissatisfied with this account of language in The Great Code<\/em>.\u00a0 In Words with Power<\/em>, in any case, he takes a somewhat different approach, developing a thesis about four modes of verbal communication: the descriptive, the dialectical, the ideological, and the imaginative.\u00a0 Each mode is connected to its successor by what Frye calls \u201cthe excluded initiative,\u201d \u201cinitiative\u201d meaning the motive necessary to get the verbal process going and \u201cexcluded\u201d referring to what remains in the background in one mode as an unexamined assumption but which comes to the foreground in the succeeding mode.\u00a0 Frye replaces the tripartite analysis of The Great Code<\/em> with a quadripartite one, represented in this chart.<\/p>\n

Modes of Language: Words with Power<\/em>, chapter 1<\/strong><\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
Aspect of Verbal Communication<\/strong><\/td>\nPerceptual<\/td>\nConceptual<\/td>\nIdeological<\/td>\nPoetic<\/td>\n<\/tr>\n
Mode of Language<\/strong><\/td>\nDescriptive<\/td>\nDialectical<\/td>\nRhetorical<\/td>\nImaginative<\/td>\n<\/tr>\n
Initiative<\/strong><\/td>\nOrdering of words<\/td>\nImpersonal argument<\/td>\nIdeology<\/td>\nMyth<\/td>\n<\/tr>\n
Excluded Initiative (what remains in the background as an unexamined assumption)<\/strong><\/td>\nSyntactical or grammatical ordering of words assumed but not the focus of attention<\/td>\nPersonal (subjective) desire or energy<\/td>\nMyth, along with the numinous or non-human personal<\/td>\nSpiritual vision of faith, opening the way to kerygma\u00a0<\/em><\/td>\n<\/tr>\n
Narrative Types<\/strong><\/td>\nTextbooks, histories, reference works<\/td>\nPhilosophical argument, metaphysical systems. Coordination is central.<\/td>\nDialectic: incorporated by rhetoric into a personal mode<\/td>\nPoetry<\/td>\n<\/tr>\n
Tropes<\/strong><\/td>\nAvoided or minimized<\/td>\nAmbiguity: positive and constructive force<\/td>\nMetaphor, allegory, rhythm, etc. strongly emphasized<\/td>\nMyth and metaphor: indispensable defining characteristics<\/td>\n<\/tr>\n
Criterion<\/strong><\/td>\nTruth outside language<\/td>\nTruth inside language: integrity of the verbal structure<\/td>\nMoral truth through dialectic; rationalizing of social authority through rhetoric<\/td>\nThe conceivable, hypothetical, or assumed<\/td>\n<\/tr>\n
Art\/Nature Relation<\/strong><\/td>\nNature (content) imitated by art (form)<\/td>\nNature (content) contained by art (form)<\/td>\nNature as hierarchy; human beings dominate nature<\/td>\nGods identified with nature<\/td>\n<\/tr>\n
\u201cPolitical\u201d Principle<\/strong><\/td>\nOpen and democratic<\/td>\nArgumentative, impersonal, objective, logical<\/td>\nExistential<\/td>\nIndividual: intensifying of consciousness. Social: focus of community<\/td>\n<\/tr>\n
Language as \u201cMirror\u201d<\/strong><\/td>\nData of sense perception reflected through language<\/td>\n\u201cBeing\u201d mirrored through speculative language (speculum<\/em> = mirror)<\/td>\nSpeaker\/writer mirrors speech and audience: identification of speaker and audience<\/td>\nLanguage of poetry as double\u2011mirror<\/td>\n<\/tr>\n
Corresponding Medieval Level<\/strong><\/td>\nLiteral<\/td>\nAllegorical<\/td>\nTropological<\/td>\nAnagogic<\/td>\n<\/tr>\n
Corresponding Hegelian Level<\/strong><\/td>\nConsciousness<\/td>\nReason<\/td>\nSpirit<\/td>\nReligion<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

In Frye\u2019s new formulation the function of the descriptive or information-centered mode of writing is to transmit the nonverbal.\u00a0 The descriptive mode minimizes tropes; its criterion is truth; its typical narrative forms are histories, textbooks, and reference works.\u00a0 Its excluded initiative is syntax, the word-ordering process.\u00a0 That is, our attention as readers is directed away from the word-ordering process because in the descriptive mode language is assumed to be a transparent vehicle of communication: nature is the content reflected by language.\u00a0 Frye also refers to the descriptive mode as \u201cperceptual\u201d because descriptive language reflects what we see in nature.\u00a0 When the descriptive initiative is no longer excluded, it becomes the shaping force of the next mode, the dialectical or conceptual, which functions to coordinate verbal elements.\u00a0 This is the mode of metaphysical systems, the mode in which data are arranged and arguments constructed and in which nature is the content not reflected but contained by language.\u00a0 The excluded initiative in this mode \u2013\u2013 what begins the process of objective conceptual prose but which is not the focus \u2013\u2013 is subjective energy or desire.\u00a0 Again, when subjective energy does become the focus, the writer and what is written become identified, and we enter the ideological or rhetorical mode.\u00a0 Dialectic is incorporated into rhetoric in order to rationalize authority.\u00a0 The excluded initiative in this mode is what Frye calls \u201cthe non-human personal,\u201d a somewhat curious locution for the numinous or the divine: the personal non-human world is the world of the gods.\u00a0 Finally, once this initiative is no longer excluded, we enter the mythological mode, the mode where the fundamental element is no longer descriptive truth or conceptual argument or persuasion in the interest of ideology but the conceivable.\u00a0 This is the poetic and metaphorical mode of the imagination.\u00a0 Myth, in short, is the excluded initiative of ideology.\u00a0 In this four-part sequence of linguistic modes, where the emergence of the previously excluded initiative represents the Hegelian Aufhebung<\/em>, we can see the close connection in Frye\u2019s thinking between the religious initiative and the fundamental principles of literature: metaphor and myth.\u00a0 This is one of the ways Frye puts it:<\/p>\n

Myth takes us back to a time when the distinction between subject and object was much less continuous and rigid than it is now, and gods are the central characters of myth because they are usually personalities identified with aspects of nature.\u00a0 They are therefore built-in metaphors. . . . There is an infinite number of individual myths, but only a finite number\u2013\u2013in fact a very small number of species of myths.\u00a0 These latter express the human bewilderment of why we are here and where we are going, and include the myths of creation, of fall, of exodus and migration, of the destruction of the human race in the past (deluge myths) or the future (apocalyptic myths), of redemption in some phase of life during or after this one, however \u201cafter\u201d is interpreted.\u00a0 Such myths outline, as broadly as words can do, humanity\u2019s vision of its nature and destiny, its place in the universe, its sense both of inclusion in and exclusion from an infinitely bigger order.\u00a0 So while nothing ontological is asserted by literature as such, the imaginative or poetic mode of ordering words has to be the basis of any sense of the reality of nonhuman personality, whether angels, demons, gods, or God. (Words with Power<\/em>, 22\u20133)<\/p><\/blockquote>\n

The schematic theories of language outlined in The Great Code<\/em> and Words with Power<\/em> move in opposite directions: from the poetic to the descriptive in the former; from the descriptive to the poetic in the latter.\u00a0 In addition, the progression in the former is more or less historical; in the latter, this movement is reversed.\u00a0 At this point in the mental diagram of Frye\u2019s second schema there is no excluded initiative for the poetic mode.\u00a0 But there is an initiative that has been generally excluded from Frye\u2019s previous works, and this is the experience of metaphor by the reader, especially what Frye calls existential or ecstatic metaphor.\u00a0 He refers to this \u201csomething else\u201d as beyond the literary, and this something else turns out to be the excluded initiative of the poetic, though it takes him another seventy-five pages to say so.\u00a0 In Words with Power <\/em>the excluded initiative or the real kerygma is, similarly, \u201ca mode of language on the other<\/em> side of the poetic\u201d (Words with Power<\/em>, 101).\u00a0 The reference here is to the reader\u2019s experience of the Bible, but the power of the experience applies to poetic works as well.\u00a0 In fact, Frye says that we have to \u201cgo through the territory of literature\u201d to get there, and this is the point at which Words with Power<\/em> makes a radical departure from Frye\u2019s previous work.\u00a0 \u201cSpirit,\u201d he says in a different formulation, \u201cis the initiative excluded from literature\u201d (Late Notebooks<\/em>, 1:272).<\/p>\n

The excluded initiative of the poetic is what permits the reader to move from the panoramic apocalypse, a detached vision, to the participating apocalypse, an engaged one \u2013\u2013 which is a kind of paravritti<\/em> or reversal for Frye himself.\u00a0 He does not emphasize this in Words with Power<\/em>, but he does remark in one of his notebooks for Words with Power <\/em>that \u201cthe recovery and incorporating of the excluded initiative of experiencing literature marked the first step from the Anatomy that I\u2019ve taken\u201d (Late Notebooks<\/em>, 1:297).\u00a0 Kerygma moves beyond the poetic, embracing the reader\u2019s existential experience.\u00a0 It is a key principle in Frye\u2019s expanded theory of language.\u00a0 [On kerygma, see Michael Happy, \u201cThe Reality of the Created: From Deconstruction to Recreation,\u201d in Frye and the Word<\/a>: Religious Contexts in the Writings of Northrop Frye<\/em>, ed. Jeffery Donaldson and Alan Mendelson (Toronto: University of Toronto Press, 2004), 81\u201396.]\u00a0 I wonder if some of Frye\u2019s observations about the phases and modes of language might not dovetail into Trevor Losh\u2011Johnson\u2019s interests.<\/p>\n","protected":false},"excerpt":{"rendered":"

\u00a0 Frye may not have, as Trevor Losh\u2011Johnson reports someone as saying, an \u201cetiological theory of linguistics,\u201d if that means a theory of the origin or causes of language, but he does have a theory of language\u2013\u2013in fact, several theories.\u00a0 He begins his talk \u201cThe Expanding World of Metaphor\u201d by saying: Let us start with […]<\/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":[11,16,72,87,92,170],"tags":[],"class_list":["post-3023","post","type-post","status-publish","format-standard","hentry","category-bible","category-bob-denham","category-great-code","category-kerygma","category-literary-criticism","category-words-with-power"],"yoast_head":"\nThe Phases and Modes of Language - 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\/24\/the-phases-and-modes-of-language\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"The Phases and Modes of Language - The Educated Imagination\" \/>\n<meta property=\"og:description\" content=\"\u00a0 Frye may not have, as Trevor Losh\u2011Johnson reports someone as saying, an \u201cetiological theory of linguistics,\u201d if that means a theory of the origin or causes of language, but he does have a theory of language\u2013\u2013in fact, several theories.\u00a0 He begins his talk \u201cThe Expanding World of Metaphor\u201d by saying: Let us start with […]\" \/>\n<meta property=\"og:url\" content=\"https:\/\/macblog.mcmaster.ca\/fryeblog\/2009\/09\/24\/the-phases-and-modes-of-language\/\" \/>\n<meta property=\"og:site_name\" content=\"The Educated Imagination\" \/>\n<meta property=\"article:published_time\" content=\"2009-09-24T04:59:44+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/macblog.mcmaster.ca\/fryeblog\/wp-content\/uploads\/sites\/4\/2009\/09\/ling1.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"367\" \/>\n\t<meta property=\"og:image:height\" content=\"400\" \/>\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=\"11 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/macblog.mcmaster.ca\/fryeblog\/2009\/09\/24\/the-phases-and-modes-of-language\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/macblog.mcmaster.ca\/fryeblog\/2009\/09\/24\/the-phases-and-modes-of-language\/\"},\"author\":{\"name\":\"Bob Denham\",\"@id\":\"https:\/\/macblog.mcmaster.ca\/fryeblog\/#\/schema\/person\/f0d6833dfde3f2793ecbbc6aacd83812\"},\"headline\":\"The Phases and Modes of Language\",\"datePublished\":\"2009-09-24T04:59:44+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/macblog.mcmaster.ca\/fryeblog\/2009\/09\/24\/the-phases-and-modes-of-language\/\"},\"wordCount\":2258,\"commentCount\":2,\"image\":{\"@id\":\"https:\/\/macblog.mcmaster.ca\/fryeblog\/2009\/09\/24\/the-phases-and-modes-of-language\/#primaryimage\"},\"thumbnailUrl\":\"http:\/\/macblog.mcmaster.ca\/fryeblog\/wp-content\/uploads\/sites\/4\/2009\/09\/ling1.jpg\",\"articleSection\":[\"Bible\",\"Bob Denham\",\"Great Code\",\"Kerygma\",\"Literary Criticism\",\"Words with Power\"],\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"https:\/\/macblog.mcmaster.ca\/fryeblog\/2009\/09\/24\/the-phases-and-modes-of-language\/#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/macblog.mcmaster.ca\/fryeblog\/2009\/09\/24\/the-phases-and-modes-of-language\/\",\"url\":\"https:\/\/macblog.mcmaster.ca\/fryeblog\/2009\/09\/24\/the-phases-and-modes-of-language\/\",\"name\":\"The Phases and Modes of Language - 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