{"id":3462,"date":"2009-10-01T00:04:02","date_gmt":"2009-10-01T04:04:02","guid":{"rendered":"http:\/\/fryeblog.blog.lib.mcmaster.ca\/?p=3462"},"modified":"2009-10-01T00:04:02","modified_gmt":"2009-10-01T04:04:02","slug":"archetype","status":"publish","type":"post","link":"https:\/\/macblog.mcmaster.ca\/fryeblog\/2009\/10\/01\/archetype\/","title":{"rendered":"Archetype"},"content":{"rendered":"

\"archetype2\"<\/em><\/strong><\/p>\n

Responding the Clayton Chrusch<\/a>:<\/em><\/strong><\/p>\n

Frye uses the word \u201carchetype\u201d in different contexts for different purposes.\u00a0 Peter Yan reminds us that Frye called himself a \u201cterminological buccaneer,\u201d and Frye was forever taking over his critical language from other writers.\u00a0 The obvious example is his borrowing mythos<\/em>, ethos<\/em>, dianoia<\/em>, melos<\/em>, lexis<\/em>, and opsis <\/em>from Aristotle\u2019s account of the qualitative parts of dramatic tragedy.\u00a0 In Frye these words hardly resemble at all the meanings that the literal\u2011minded Aristotle assigned them in the Poetics<\/em>.\u00a0 Frye redefines them and greatly expands their meaning for his own purposes.\u00a0 In this respect Frye is no different from any other critic.\u00a0 It often takes considerable digging to discover what critics mean by this or that term.\u00a0 A great deal of ink has been spilt in the effort to speculate on what Plato meant by mimesis<\/em> (certainly different from what Aristotle meant by the term), and to what Aristotle<\/a> meant by katharsis<\/em>, Longinus<\/a> by ekstasis<\/em>, Sidney<\/a> by \u201cfiguring forth,\u201d Dryden<\/a> by \u201cnature,\u201d Pope<\/a> by \u201cwit,\u201d Keats<\/a> by \u201cNegative Capability,\u201d and so on.<\/p>\n

The word \u201carchetype\u201d was perhaps an unfortunate choice because of its association with Jung<\/a>.\u00a0 Thus, David Richter is led to call Frye a psychoanalytic critic because, like Jung, he used the word \u201carchetype.\u201d\u00a0 Frye read a good deal of Jung, but his appropriation of the word archetype antedates most of what he read in Jung.\u00a0 In reading around in the eighteenth\u2011century as preparation for writing Fearful Symmetry<\/em>, he stumbled on the conception of archetype in The<\/em> Minstrel<\/em> by James Beattie<\/a> (the writer mentioned by Peter Yan<\/a>).\u00a0 No one would have ever guessed that a footnote in a relatively obscure poem by an obscure poet (and moral philosopher) would have been the source of Frye\u2019s conception of the archetype, <\/em>given many obvious possibilities from Plato\u2019s \u201cforms\u201d<\/a> on, and we might think Frye to be engaging in a bit of leg\u2011pulling here were it not for his more extensive discussion of his debt to Beattie\u2019s footnote in \u201cCriticism, Visible and Invisible<\/a>.,\u201d where he writes:<\/p>\n

It is true that I call the elements of literary structure myths, because they are myths; it is true that I call the elements of imagery archetypes, because I want a word which suggests something that changes its context but not its essence. \u00a0James Beattie, in The Minstrel<\/em>, says of the poet\u2019s activity:<\/p><\/blockquote>\n

From Nature\u2019s beauties, variously compared<\/p><\/blockquote>\n

And variously combined, he learns to frame<\/p>\n

Those forms of bright perfection<\/p><\/blockquote>\n

and adds a footnote to the last phrase: \u201cGeneral ideas of excellence, the immediate archetypes of sublime imitation, both in painting and in poetry.\u201d \u00a0It was natural for an eighteenth-century poet to think of poetic images as reflecting \u201cgeneral ideas of excellence\u201d; it is natural for a twentieth-century critic to think of them as reflecting the same images in other poems. \u00a0But I think of the term as indigenous to criticism, not as transferred from Neoplatonic philosophy or Jungian psychology. However, I would not fight for a word, and I hold to no \u201cmethod\u201d of criticism beyond assuming that the structure and imagery of literature are central considerations of criticism. Nor, I think, does my practical criticism illustrate the use of a patented critical method of my own, different in kind from the approaches of other critics. \u00a0(\u201cThe Critical Path\u201d and Other Writings on Critical Theory 1963\u20131975<\/em>, 154\u20135)<\/p><\/blockquote>\n

<\/p>\n

The footnote is in book 2 of The Minstrel<\/em>.\u00a0 It glosses \u201cforms of bright perfection\u201d as \u201cGeneral ideas of excellence, the immediate archetypes of sublime imitation, both in painting and in poetry.\u00a0 See Aristotle\u2019s Poetics, and the Discourses <\/em>of Sir Joshua Reynolds<\/a>\u201d (\u201cThe Minstrel,\u201d Minor English Poets<\/em>, comp. David P. French (New York: Benjamin Bloom, 1967), 8:299.\u00a0 This volume is a selection from Alexander Chalmer\u2019s The English Poets<\/em> (1810).<\/p>\n

In Anatomy of Criticism<\/em> the word \u201carchetype\u201d comes to the fore in essay 2, Frye\u2019s \u201cTheory of Symbols,\u201d where it is used to denote the kinds of symbols found in the mythical phase.\u00a0 To substitute the word \u201cconvention\u201d in this context would make little sense: an archetype to be sure is a convention, but there are many conventions, such as genre, narrative patterns (mythoi)<\/em>, and symbol, that are not archetypes.<\/p>\n

Now it\u2019s true that Frye\u2019s critical language is often slippery.\u00a0 The word \u201cmyth,\u201d for example, has several different meanings.\u00a0 It can mean mythos<\/em>, and mythos<\/em> itself has a variety of meanings: a type of story (comic, tragic, romantic, ironic) or simply narrative per se.\u00a0 In addition, when mythos<\/em> is considered simply as the narrative of a work of literature, the Anatomy<\/em> calls on us to keep straight five different definitions of the word, depending on the level of criticism we\u2019re engaged in: mythos<\/em> as the grammar or order of words at the literal level, as plot or argument at the descriptive level, as a typical event or example at the formal level, as imitation of generic and recurrent action (ritual) at the archetypal level, and as the total conceivable action at the anagogic level.\u00a0 Then, when we read in the Tentative Conclusion of the Anatomy<\/em> that \u201c[i]n literary criticism myth means ultimately mythos<\/em>, a structural organizing principle of literary form\u201d (341), we may wonder whether the distinctions Frye has exerted no little effort to establish have not dissipated.\u00a0 But this does not mean that we can\u2019t attach fairly precise meanings to the words \u201cmyth\u201d and \u201carchetype\u201d in a given context.<\/p>\n

When asked by David Lawton whether he accepted \u201carchetypal criticism\u201d as a label to describe his work, Frye replied, \u201cOn the understanding that \u2018archetypal\u2019 means recurrent patterns in literary experience which gives unity to the criticism of literature, I would consider that it was all right. \u00a0I use the term \u201carchetypal\u201d in its Neoplatonic<\/a> sense, only as something immanent and not as something belonging to another world and generating things in a lower world. \u00a0But I used the word without realising how completely Jung had taken it over and, while ultimately Jung seems to mean much the same thing by archetype that I do, in practice his archetypes are psychological entities, which would have the effect of turning the whole of literature into a gigantic allegory of Jungian individualism.\u201d<\/p>\n

To call Frye an \u201carchetypal critic,\u201d however, provides a label only for his early work.\u00a0 The words \u201carchetype\u201d and \u201carchetypal\u201d tend to disappear from his later writing.\u00a0 They appear but seven times in Words with Power <\/em>and \u201carchetypal\u201d appears only once in The Double Vision <\/em>(compared with 528 instances of the word in the Anatomy<\/em> and the notebooks for the Anatomy<\/em>).\u00a0 As it turned out then, Frye didn\u2019t really \u201cfight for the word\u201d: he more or less abandoned it.\u00a0 Still, I don\u2019t think we\u2019d want to call Frye a \u201cconventional critic,\u201d and I don\u2019t think we\u2019d want to purge his criticism of its Greek words.\u00a0 Such a move would require getting rid of \u201canatomy,\u201d \u201ckerygma,\u201d \u201cmimetic,\u201d \u201cirony,\u201d \u201cmetaphor,\u201d \u201capocalyptic,\u201d \u201canagnorisis,\u201d \u201cpharmakos,\u201d \u201clyric,\u201d \u201ctheme,\u201d \u201ckatharsis,\u201d \u201canagogy,\u201d and a host of other terms.\u00a0 I don\u2019t see anything to be gained by finding Latin substitutions for these terms.<\/p>\n","protected":false},"excerpt":{"rendered":"

Responding the Clayton Chrusch: Frye uses the word \u201carchetype\u201d in different contexts for different purposes.\u00a0 Peter Yan reminds us that Frye called himself a \u201cterminological buccaneer,\u201d and Frye was forever taking over his critical language from other writers.\u00a0 The obvious example is his borrowing mythos, ethos, dianoia, melos, lexis, and opsis from Aristotle\u2019s account of […]<\/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":[8,16,92],"tags":[],"class_list":["post-3462","post","type-post","status-publish","format-standard","hentry","category-archetype","category-bob-denham","category-literary-criticism"],"yoast_head":"\nArchetype - 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