{"id":5033,"date":"2009-11-06T00:00:52","date_gmt":"2009-11-06T04:00:52","guid":{"rendered":"http:\/\/fryeblog.blog.lib.mcmaster.ca\/?p=5033"},"modified":"2009-11-06T00:00:52","modified_gmt":"2009-11-06T04:00:52","slug":"the-collected-poems-of-northrop-frye","status":"publish","type":"post","link":"https:\/\/macblog.mcmaster.ca\/fryeblog\/2009\/11\/06\/the-collected-poems-of-northrop-frye\/","title":{"rendered":"The Collected Poems of Northrop Frye"},"content":{"rendered":"<p style=\"text-align: left\"><img loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-5036\" src=\"http:\/\/macblog.mcmaster.ca\/fryeblog\/wp-content\/uploads\/sites\/4\/2009\/11\/cat.jpg\" alt=\"cat\" width=\"400\" height=\"323\" srcset=\"https:\/\/macblog.mcmaster.ca\/fryeblog\/wp-content\/uploads\/sites\/4\/2009\/11\/cat.jpg 400w, https:\/\/macblog.mcmaster.ca\/fryeblog\/wp-content\/uploads\/sites\/4\/2009\/11\/cat-300x242.jpg 300w\" sizes=\"auto, (max-width: 400px) 100vw, 400px\" \/><\/p>\n<p><strong>1.\u00a0 In letter to Helen Kemp, <\/strong><strong>15 July 1932<\/strong><strong>.<\/strong><\/p>\n<p>A man with a bad case of phthisis<\/p>\n<p>Kept asking his family for phkhisses<\/p>\n<p>Until his wife said,<\/p>\n<p>\u201cYou can\u2019t see your head<\/p>\n<p>So you don\u2019t know how rotten your phphiz is.\u201d<\/p>\n<p>&nbsp;<\/p>\n<p><strong>2.\u00a0 In letter to Helen Frye, <\/strong><strong>5 January 1939<\/strong><strong>.<\/strong><\/p>\n<p>I could fly as straight as an arrow,<\/p>\n<p>To visit my wife over there,<\/p>\n<p>If I could excrete my marrow,<\/p>\n<p>And fill my bones with air.<\/p>\n<p>&nbsp;<\/p>\n<p><strong>3. \u00a0Sonnet written on Frye\u2019s 23<sup>rd<\/sup> birthday (<\/strong><strong>14 July 1935<\/strong><strong>).\u00a0 In a letter to Roy Daniells.\u00a0 Frye refers to it as \u201chorrible doggerel, like all of my alleged poetry.\u201d<\/strong><\/p>\n<p>Milton considered his declining spring<\/p>\n<p>And realized the possibility<\/p>\n<p>That while he mused on Horton scenery<\/p>\n<p>Genius might join his youth in taking wing;<\/p>\n<p>Yet thought this not too serious a thing<\/p>\n<p>Because of God\u2019s well-known propensity<\/p>\n<p>To take and re-absorb inscrutably<\/p>\n<p>The lives of men, whatever gifts they bring.<\/p>\n<p>Of course I have a different heritage;<\/p>\n<p>I\u2019ve worked hard not to be young at all,<\/p>\n<p>With fair results; at least my blood is cooled,<\/p>\n<p>And I am safe in saying, at Milton\u2019s age,<\/p>\n<p>That if Time pays me an informal call<\/p>\n<p>And tries to steal my youth, Time will get fooled.<\/p>\n<p>&nbsp;<\/p>\n<p><strong>4. \u00a0Among the annotations Frye made in his copy of <em>The Wisdom of Laotse<\/em> (1948, trans. Lin Yutang) is this holograph verse at the end of chapter 4.<\/strong><\/p>\n<p><em>Laotse\u2019s Commentary of Genesis<\/em><\/p>\n<p>In the beginning God created heaven and earth.<\/p>\n<p>That was where the trouble started.<\/p>\n<p>Before, there was chaos,<\/p>\n<p>Which is what the wise man still seeks.<\/p>\n<p>He divided light from darkness, dry land from sea,<\/p>\n<p>But we got sea and darkness anyway.<\/p>\n<p>Silly blundering old bugger,<\/p>\n<p>Why couldn\u2019t he have left well enough alone.<\/p>\n<p>&nbsp;<\/p>\n<p><strong>5. \u00a0Among the annotations to Frye\u2019s copy of Lady Murasaki\u2019s <em>The Tale of Genji<\/em>, this couplet scribbled in the margin of page 153.<\/strong><\/p>\n<p>When night lets fall her sable hood<\/p>\n<p>How may one know which dame one scrood?<\/p>\n<p><!--more--><\/p>\n<p><strong>6.\u00a0 Frye\u2019s parody of modernist verse in his short story \u201cInterpreter\u2019s Parlour,\u201d along with his New Critical \u201cclose reading\u201d:<\/strong><\/p>\n<p><em>ARX<\/em><\/p>\n<p>A<\/p>\n<p>gold<\/p>\n<p>Ra-<\/p>\n<p>diance, di<\/p>\n<p>Vine, -in (e)<\/p>\n<p>Prunes and prisms.<\/p>\n<p>\u201cInterpreter\u2019s Parlour\u201d is an ostensible dialogue between a poet and an unnamed interlocutor, but the latter makes no contribution to the dialogue, serving only to punctuate the poet\u2019s clever interpretation of one of his own \u201cdifficult poems.\u201d\u00a0 It is a satirical tour de force, even though the poem is hardly a poem at all: the creativity emerges not from the poem but from the poet\u2019s creative reading, which becomes an elaborate exercise in comparative religion, illustrating that if you stare at the words long enough you can make coherence out of an incoherent riddle.\u00a0 The monologue prefigures the close readings that the New Critics would later develop into critical orthodoxy, though the monologue is of course a parody of such readings.\u00a0 Here\u2019s the poet\u2019s \u201cinterpretation\u201d:<\/p>\n<p>\u201cNothing there but a few crabbed words, seemingly, yet it\u2019s an entire essay on comparative religion. . . .You see, every great religion thinks in terms of two leading ideas, heaven and earth: heaven because it\u2019s the source of <em>light<\/em>, earth because it\u2019s the source of <em>life<\/em>.\u00a0 So every god worshipped as a supreme being is connected both with the sun and with the coming of rain to a waste land. . . .\u201d<\/p>\n<p>\u201cThe first three lines work out the solar part of the symbolism.\u00a0 Ra, you remember was the Egyptian <em>sun<\/em> god.\u00a0 The connection of \u2018gold\u2019 with the sun is pretty easy, except that you have to realize that it represents the <em>diffusion<\/em> of the light among men.\u00a0 Gold is the basis of all commerce and trade, and of course I\u2019m taking it for granted that gold became the standard of coinage because it originally represented the sun. . . .\u201d<\/p>\n<p>\u201cBut of course trade only accounts for part of the communications among men: the rest comes mainly from writing, which is based on the alphabet.\u00a0 The \u2018A\u2019 symbolizes the alphabet, only to link it with the solar symbolism you have to assume that the alphabet (which began in Egypt, of course, connecting up with Ra) was derived from some sort of lunar calendar, there being twenty-eight days in a lunar month and almost that many letters in the alphabet.\u00a0 That represents the <em>reflection<\/em> of the sun\u2019s light, and marks the extreme limit of its diffusion. . . .\u201d<\/p>\n<p>\u201cAnd that\u2019s why the formal characteristics of those three lines are so sharp and clear.\u00a0 \u2018A\u2019 is a direct rhyme to \u2018Ra\u2019, and as Ra is a <em>god<\/em>, that\u2019s a pretty easy assonance with \u2018gold.\u2019\u00a0 The next two lines, dealing with the fertility side of the symbolism, are harder.\u00a0 They have to be.\u00a0 Life, in contrast to light, is tangled, tortured and mysterious.\u00a0 That\u2019s why the important words are broken up and concealed.\u00a0 The god is <em>divided<\/em> among men, you see, which is why the word \u2018divine\u2019 is broken.\u00a0 That gives you the word \u2018vine\u2019, which is an obvious fertility symbol, and the connection of \u2018vine\u2019 with the \u2018gold\u2019 above suggest the Golden Bough which Aeneas took when he, like the Ra of this poem, descended to a lower state of existence. . . .\u201d<\/p>\n<p>\u201cAnd just as the first three lines suggest the fixity of heaven by the oracular echolalia of assonance and rhyme, so the rest of the poem is based on alliteration, reminiscent of the powerful repeated rhythms of the fertility dance.\u00a0 That accounts for the repetition of \u2018di\u2019 and \u2018ine,\u2019 and, of course, the two \u2018pr\u2019 sounds below.\u00a0 But the \u2018e\u2019 of the second \u2018ine\u2019 is in parenthesis, which means that you are free to take just the \u2018in\u2019 part of it and connect it with the Ra who brings <em>rain<\/em>. . . .\u201d<\/p>\n<p>\u201cThe prunes and prisms . . . represent the fact that all religions degenerate into automatic routine morality.\u00a0 The phrase is used by Dickens to symbolize the most rigid kind of conventional propriety [\u201cPapa, potatoes, poultry, prunes and prism, all very good words for the lips,\u2014especially prunes and prism\u201d (Charles Dickens, <em>Little Dorrit<\/em>, bk. 2, chap. 5)].\u00a0 In fact, the words depend for their effect, even in Dickens, on the sound-associations of \u2018prude\u2019 and \u2018precision.\u2019\u00a0 The unimaginative and needless repetition of the \u2018ine\u2019 sound above warns you what\u2019s coming.\u00a0 And then, of course, a prune is a dried-up and sterile fruit, which shows the exhaustion of the fertility impulse, and the prism is the distortion and fragmentary breaking-up of the clear radiance of the light-god Ra.\u00a0 The words also suggest that the reasons for the exhaustion of a religious impulse are its tendency to become a formal and unintelligible ritual on the one hand and to break up into sects and heresies on the other\u2014in other words, runes and isms. . . .\u201d<\/p>\n<p>[As for the title,] \u201cWell, although a prism bends or bows a clear light, the connection with the rain above irresistibly suggests \u2018rainbow.\u2019\u00a0 And a rainbow is the symbol of hope and promise, as you remember from the story of the Flood.\u00a0 \u2018Arx\u2019 means both the <em>ark<\/em> of Noah and the <em>arc<\/em> of the rainbow.\u00a0 So, although you seem to have a straight linear descent from the sunlight of summer, down through the dying earth of the autumn into the prunes and prisms of the apparently sterile winter, still the breaking up of the snows into the <em>floods<\/em> of spring revives the spirit of hope, so that we come back in a circle after all.\u00a0 That\u2019s why the poem has twelve syllables, representing the sun\u2019s passage through the Zodiac and the cycle of seasons.\u201d<\/p>\n<p><strong>\u00a0<\/strong><\/p>\n<p><strong>7. From <em>Acta Victoriana<\/em> 56, no. 3 (December 1931): 42.<\/strong><\/p>\n<p>OUR MONTHLY CURRENT<\/p>\n<p>An attractive young Sophette from Tait House<\/p>\n<p>Went out to a party at Gate House,<\/p>\n<p>Which was not at all wild,<\/p>\n<p>But her don said, \u201cMy child,<\/p>\n<p>This place is your home, not a date house.\u201d<\/p>\n<p>&nbsp;<\/p>\n<p>MY BELOVED\u2019S SHOES<\/p>\n<p>The loved one\u2019s shoes are small and neat,<br \/>\nAnd my beloved is light and fleet<br \/>\nBut one thing seems to me unmeet<br \/>\nThey are so awfully full of feet.<\/p>\n<p>&nbsp;<\/p>\n<p>Three more unsigned ditties may have come from Frye\u2019s pen when he was on the editorial board of <em>Acta Victoriana<\/em> 55, no 7 (May\u2013June 1931):<\/p>\n<p>Here lies the body of Mary Ann<\/p>\n<p>Safe in the bosom of Abraham:<\/p>\n<p>Very nice for Mary Ann,<\/p>\n<p>But rather hard on Abraham.<\/p>\n<p>&nbsp;<\/p>\n<p>POOR FROSH!<\/p>\n<p>He comes from the pasture\u2011fields lazy<\/p>\n<p>Where the mild\u2011eyed Jerseys browse;<\/p>\n<p>And we ask how he grew midst the daisies,<\/p>\n<p>And escaped the omnivorous cows!<\/p>\n<p>&nbsp;<\/p>\n<p>ROMANCE ON ICE!<\/p>\n<p>A maiden from Annesley Hall,<\/p>\n<p>At the rink had a fortunate fall,<\/p>\n<p>For one of the men<\/p>\n<p>Quickly raised her again,<\/p>\n<p>There\u2019ll be a church union next fall.<\/p>\n<p>&nbsp;<\/p>\n<p>[We should all thank our lucky stars that Frye chose criticism over poetry.]<\/p>\n","protected":false},"excerpt":{"rendered":"<p>1.\u00a0 In letter to Helen Kemp, 15 July 1932. A man with a bad case of phthisis Kept asking his family for phkhisses Until his wife said, \u201cYou can\u2019t see your head So you don\u2019t know how rotten your phphiz is.\u201d &nbsp; 2.\u00a0 In letter to Helen Frye, 5 January 1939. I could fly as [&hellip;]<\/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":[16,26,162],"tags":[],"class_list":["post-5033","post","type-post","status-publish","format-standard","hentry","category-bob-denham","category-correspondence","category-unpublished-work"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.2 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>The Collected Poems of Northrop Frye - 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\/11\/06\/the-collected-poems-of-northrop-frye\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"The Collected Poems of Northrop Frye - The Educated Imagination\" \/>\n<meta property=\"og:description\" content=\"1.\u00a0 In letter to Helen Kemp, 15 July 1932. A man with a bad case of phthisis Kept asking his family for phkhisses Until his wife said, \u201cYou can\u2019t see your head So you don\u2019t know how rotten your phphiz is.\u201d &nbsp; 2.\u00a0 In letter to Helen Frye, 5 January 1939. 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A man with a bad case of phthisis Kept asking his family for phkhisses Until his wife said, \u201cYou can\u2019t see your head So you don\u2019t know how rotten your phphiz is.\u201d &nbsp; 2.\u00a0 In letter to Helen Frye, 5 January 1939. 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