Northrop Frye: Religious Visionary and Architect of the Spiritual World<\/em>:<\/p>\nIn The Great Code<\/em> Frye adopts the word \u201ckerygma\u201d to indicate that while the Bible has obvious poetic features, it is more than literary because it contains a rhetoric of proclamation.\u00a0 \u201cKerygma,\u201d <\/em>the form of proclamation made familiar by Bultmann, thus designates the existentially concerned aspect of the Bible, as opposed to its purely metaphoric features.\u00a0 Bultmann sought to \u201cdemythologize\u201d the New Testament narrative as an initial stage in interpretation: the assumptions of the old mythologies, such as demonic possession and the three-storied universe, had to be purged before the genuine kerygma could be \u201csaved,\u201d to use his word.\u00a0 Frye, of course, has exactly the opposite view of myth: \u201cmyth is the linguistic vehicle of kerygma<\/em>\u201d (Great Code<\/em>, 30). <\/em><\/p>\nBut having made his point about kerygma Frye drops the word altogether from the rest of The Great Code<\/em>, except for a passing reference toward the very end of the book (231).\u00a0 In Words with Power<\/em> the word \u201ckerygma\u201d is completely absent from Frye\u2019s analysis in the \u201csequence and mode\u201d (or \u201clanguage\u201d) chapter; we have to wait until chapter 4, where we learn that the excluded initiative\u2013\u2013what lies hidden in the background of the poetic\u2013\u2013is what leads to kerygma, even though Frye does not initially put it in these terms.\u00a0 He begins by saying, \u201cOur survey of verbal modes put rhetoric between the conceptual and the poetic, a placing that should help us to understand why from the beginning there have been two aspects of rhetoric, a moral and a tropological [figurative] aspect, one persuasive and the other ornamental.\u00a0 Similarly, we have put the poetic between the rhetorical and the kerygmatic, implying that it partakes of the characteristics of both\u201d (Words with Power<\/em> 111).\u00a0 Frye then begins to expand the meaning of kerygma far beyond what it had meant in The Great Code<\/em>.\u00a0 It now becomes synonymous with the prophetic utterance, the metaliterary perception that extends one\u2019s vision, the Longinian ecstatic response to any text, sacred or secular, that \u201crevolutionizes our consciousness\u201d (Words with Power<\/em> 111\u201314).\u00a0 Kerygma takes metaphorical identification \u201ca step further and says: \u2018you are what you identify with\u2019\u201d (ibid., 116).\u00a0 We enter the kerygmatic realm when the separation of \u201cactive speech and reception of speech\u201d merges into a unity (ibid., 118).<\/p>\nThis leads to an absorbing account of the \u201cspiritual\u201d as it is embedded in the descriptive, conceptual, and rhetorical \u201cfactors of the poetic,\u201d and the \u201cspiritual\u201d as extending the body into another dimension so that it reaches \u201cthe highest intensity of consciousness\u201d (ibid., 119\u201321, 128).\u00a0 Then, some twenty pages after Frye began his exploration of kerygma, he arrives finally at the excluded initiative of the poetic.\u00a0 He does not say what we might expect, that the excluded initiative is kerygma.\u00a0 What he says, in a statement that appears to be something of an anticlimax after all the elevated probing of Spirit, is that the excluded initiative of the poetic \u201cis the principle of the reality of what is created in the production and response to literature\u201d (ibid., 128).\u00a0 This teasing understatement has been anticipated by the declaration about the unity of \u201cactive speech and reception of speech\u201d just quoted.\u00a0 Or as Frye puts it in Notebook 53 in less pedestrian terms, kerygma is \u201cthe answering voice from God to the human construct\u201d (Late Notebooks<\/em>, 2:615).<\/p>\n<\/p>\n
But what is this \u201cprinciple of reality\u201d that is \u201cneither objective nor subjective\u201d\u2013\u2013the excluded initiative of the poetic?\u00a0 The short answer is religious faith.\u00a0 The long answer is Frye\u2019s commentary on Hebrews 11:1 (\u201cthe substance of things hoped-for, the evidence of things not seen\u201d), which he translates into \u201cthe reality of hope and of illusion,\u201d concluding with an exposition of spiritual presence that goes beyond the conventional formulations of dialectic and doctrine.\u00a0 The \u201creality of what is created in the production and response to literature\u201d turns out to be the presence of spiritual vision, the interpenetration of the human and the divine.\u00a0 Ironically, the proclamation is said to be beyond words, at least in one of Frye\u2019s formulations: \u201cWhat\u2019s the initiative excluded from the higher kerygma?\u00a0 Something that goes outside the verbal, which is why it can\u2019t have much of a role in my book.\u00a0 It starts after we\u2019ve finished the Bible and accepted its invitation to drink [Revelation 22:17].\u00a0 But Zen & others say that it\u2019s a renewal of vision, the same world but seen in enlightenment. . . . the conception of interpenetration can\u2019t be avoided\u201d (Late Notebooks<\/em>, 1:271).\u00a0 In the kerygmatic world one is released from the burden of speech and writing: \u201cThe gospels are written mythical narratives, and for casual readers they remain that.\u00a0 But if anything in them strikes a reader with full kerygmatic force, there is, using the word advisedly, a resurrection <\/em>of the original speaking presence in the reader. \u00a0The reader is the logocentric focus, and what he reads is emancipated both from writing and from speech.\u00a0 The duality of speaker and listener has vanished into a single area of verbal recognition\u201d (Words with Power<\/em>, 114; see also Late Notebooks<\/em>, 1:306).\u00a0 We do not speak in the kerygmatic world, but God does, which is why the voice of revelation is \u201crhetoric in reverse\u201d (Late Notebooks<\/em>, 2:660).\u00a0 When Frye uses \u201ckerygma\u201d in the sense of the prophetic or metaliterary utterance, human speech or writing does enter the picture, and while there is no metaliterary style, there is a metaliterary idiom which takes the kerygmatic as its model (Late Notebooks<\/em>, 1:369).\u00a0 Frye even projects his own kerygmatic anthology.\u00a0 He says, without commentary, that it would include Blake\u2019s The Marriage of Heaven and Hell<\/em>, Buber\u2019s I and Thou<\/em>, and selections from Dostoevsky, Kafka, Rimbaud, and H\u00f6lderlin (Late Notebooks <\/em>1:365; in the same entry Frye says that Nietzsche\u2019s Thus Spake Zarathustra<\/em> would be excluded from the anthology \u201cfor trying to hard\u201d).<\/p>\nIn The Double Vision<\/em> Frye says about kerygma only that the New Testament\u2019s myths to live by and its metaphors to live in are a transforming kerygmatic power \u201ccoming from the other side of mythical and metaphorical language\u201d (18).\u00a0 The word \u201ckerygma\u201d does not appear in either The \u201cThird Book\u201d Notebooks<\/em> (1964\u201372) or the notebooks on romance (1944\u201389), and it appears only twice in the notebooks for The Great Code<\/em>.\u00a0 But in the Late Notebooks<\/em> (1982\u201390) there are more than 160 instances of the word \u201ckerygma,\u201d an indication of the energy Frye devoted to searching for the other side of the poetic during the last decade of his life.\u00a0 In fact, kerygma as on the other side<\/em> of the poetic or as beyond <\/em>the imaginative gets emphasized in the notebooks: see, for example, Late Notebooks<\/em>, 1:259, 260, 303, 306, 334, 337\u20138, 365, 369, 394, 415, 2:660, 663, 673, 696, 702, 704, and 715.\u00a0 And never satisfied with the point at which he has arrived, Frye even wonders at one point, \u201cWhat\u2019s on the other side of kerygma?\u201d\u00a0 He proceeds shortly to answer the question: \u201cthe world of words as seen by the Word\u201d (Late Notebooks<\/em>, <\/em>1:343).\u00a0 Otherwise in the Late Notebooks<\/em>\u2013\u2013and it is an extensive otherwise\u2013\u2013kerygma <\/em>is said to announce a world beyond speech (2:715) and to be the purloined-letter archetype (\u201cthe verbal message everybody wants to kidnap but can\u2019t get hold of\u201d) (1:219).\u00a0 It is the transformation of Kierkegaard\u2019s \u201caesthetic\u201d category (1:251; Frye sees Kierkegaard as a genuinely prophetic figure but thinks he could never prevent conceptual rhetoric from usurping the kerygmatic).\u00a0 The kerygmatic combines the counter-historical myth and the counter-logical metaphor (2:695); it is spiritual rhetoric (1:306, 403) and revelation (1:342); and it serves as a new context for the Logos in John\u2019s gospel (2:647).\u00a0 In the kerygmatic universe the gods and spirits of myth have been transformed into God and Spirit (1:270).\u00a0 The \u201ckerygmatic breakthrough always contains some sense of \u2018time has stopped.\u2019\u00a0 The sequential movement has become a focus, or fireplace.\u00a0 In intensified consciousness the minute particular shines by its own light (or burns in its own life-fire)\u201d (1:290).<\/p>\nThe notebooks contain a distinction between lower and higher <\/em>kerygma, a distinction that Frye did not retain for Words with Power<\/em>.\u00a0 Lower kerygma is the social proclamation that derives from dialectic, \u201cthe stage of law, full of prohibitions & penalties, & increasingly given to censorship in the arts,\u201d as in Plato\u2019s restriction of art in the Republic <\/em>(1:265, 271).\u00a0 The lower kerygma of the notebooks is actually the rhetorical mode of language in Words with Power<\/em>, and higher kerygma is what Frye calls simply kerygma in that book.\u00a0 Higher kerygma in the Late Notebooks<\/em> is defined as the interpenetration of Word and Spirit and as close to Martin Buber\u2019s \u201cThou\u201d (1:209), and it entails the sense of complete \u201cotherness\u201d (1:271).\u00a0 It therefore goes beyond its conventional New Testament associations.\u00a0 Even the antithesis between esoteric and exoteric does not hold in the kerygmatic world (1:334).\u00a0 <\/em><\/p>\nKerygma, because it lies beyond the poetic, is all content and so without form, as we see in this notebook riddle: \u201cIn descriptive writing the verbal content (not what we usually think of as content in that connection) is syntactic prose.\u00a0 When this content turns into form, a content of metaphor reveals itself within.\u00a0 When that becomes form, myth (order, narrative, time, quid agas) becomes the content.\u00a0 When myth becomes form, kerygma becomes the content\u201d (1:269).\u00a0 In this enigmatic aphorism we have a familiar Aufhebung <\/em>or lifting operation, one that moves through four stages of content and form:<\/p>\nform of myth \u2192 content of kerygma<\/p>\n
\u2191<\/p>\n
form of metaphor \u2192 content of myth<\/p>\n
\u2191<\/p>\n
form of prose \u2192 content of metaphor<\/p>\n
\u2191<\/p>\n
verbal content of prose<\/p>\n
<\/p>\n
Kerygma is too discontinuous to assume a form itself, except in the provisional form it takes in sacred texts (1:269).<\/p>\n
This brief survey of the numerous meanings that cluster around the word \u201ckerygma\u201d illustrates Frye\u2019s dogged determination to clarify the mystery of spiritual rhetoric.\u00a0 He keeps struggling to find the proper verbal formula.\u00a0 It illustrates as well Frye\u2019s fundamental desire during the 1980s to move beyond the poetic world into a world of spiritual vision.\u00a0 This does not mean that Frye abandons his interest in the first-phase language of metaphor in The Great Code<\/em> or the fourth, imaginative mode of language in Words with Power<\/em>.\u00a0 Far from it.\u00a0 According to the principle of Aufhebung<\/em>, the poetic is never cancelled but lifted up and preserved in a higher level.<\/p>\n","protected":false},"excerpt":{"rendered":"Following up on Michael Happy\u2019s question about kerygma, here\u2019s an adaptation of a little study of the word I did for Northrop Frye: Religious Visionary and Architect of the Spiritual World: In The Great Code Frye adopts the word \u201ckerygma\u201d to indicate that while the Bible has obvious poetic features, it is more than literary […]<\/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":[16,72,87,170],"tags":[],"class_list":["post-4814","post","type-post","status-publish","format-standard","hentry","category-bob-denham","category-great-code","category-kerygma","category-words-with-power"],"yoast_head":"\n
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