{"id":7922,"date":"2010-02-04T01:04:14","date_gmt":"2010-02-04T05:04:14","guid":{"rendered":"http:\/\/fryeblog.blog.lib.mcmaster.ca\/?p=7922"},"modified":"2010-02-04T01:04:14","modified_gmt":"2010-02-04T05:04:14","slug":"criticism-in-society","status":"publish","type":"post","link":"https:\/\/macblog.mcmaster.ca\/fryeblog\/2010\/02\/04\/criticism-in-society\/","title":{"rendered":"Criticism in Society"},"content":{"rendered":"

\"imre-salusinszky\"<\/a><\/p>\n

Imre Salusinszky in his new role as columnist for <\/em>The Australian<\/p>\n

Imre Salusinszky\u2019s<\/em> Criticism in Society stands above all other similar collections of interviews with contemporary critics.\u00a0 Here is a footnote to Russell\u2019s post<\/a>, adapted from something I wrote in the introduction to the Collected Works <\/em>Anatomy.<\/em><\/strong><\/p>\n

In Imre Salusinszky\u2019s Criticism in Society<\/em><\/a>, an <\/em>exemplary collection of interviews with Frye, Derrida, and seven others in the pantheon of the literary establishment (Harold Bloom, Geoffrey Hartman, Frank Kermode, Edward Said, Barbara Johnson, Frank Lentricchia, and J. Hillis Miller), it is clear that Frye remained an informing critical presence in the late 1980s in the consciousness of most of these critics. (Outside of Derrida<\/a>, Barbara Johnson<\/a> is the only interviewee who does not refer to Frye.)\u00a0 The interviews begin with Derrida and Frye, and those that follow often play off against the two grand masters.\u00a0 Each critic read the previous interviews and thus had the opportunity to comment on what had come before. [Note that most of these interviews can be read at the above link to the text.]\u00a0 This, along with the comments each critic (save Derrida) is asked to give about Wallace Stevens\u2019s \u201cNot Ideas about the Thing but the Thing Itself<\/a>,\u201d gives a coherence to the collection. [An animated video of Steven’s reading the poem is included after the jump.] The first interviewee, following the conversations with Derrida and Frye, is Harold Bloom, whose influence of Frye is substantial and longstanding.<\/p>\n

Harold Bloom<\/a> read Fearful Symmetry<\/em> shortly after it was published, and he reports that it \u201cravished my heart away.\u00a0 I thought it was the best book I\u2019d ever read about anything.\u00a0 I must have read it a hundred times between 1947 and 1950, probably intuitively memorized it, and will never escape the effect of it.\u201d\u00a0 Bloom adds that he \u201cwouldn\u2019t want to go read it now because I\u2019m sure I would disagree with all of it \u201cCriticism in Society <\/em>62).\u00a0 In his foreword to the Anatomy<\/em>, Bloom remarks that Frye\u2019s view of poetic influence was, as mentioned earlier, a matter of \u201ctemperament and circumstances.\u201d\u00a0 This is a reference to correspondence the two had in 1969 about Bloom\u2019s theory of \u201cthe anxiety of influence<\/a>.\u201d\u00a0 Bloom had written Frye: \u201cI can understand why you do not see Poetic Influence as an anxiety or melancholy, as I do, because of what you call the myth of concern\u201d (letter of 18 January 1969).\u00a0 Frye replied: \u201cIf you mean influence in the more literal sense of transmission of thought and imagery and the like from earlier poet to later one, I should think that was simply something that happens, and might be a source either of anxiety or of release from it, depending on circumstances and temperament.\u00a0 But of course it is true that the great poet\u2019s maturity brings with it a growing sense of isolation, of the kind one feels in Yeats\u2019 Last Poems<\/em>, Stevens\u2019 The Rock<\/em>, and perhaps even Blake\u2019s Job series\u201d (letter of 23 January 1969).\u00a0 Bloom then replied, \u201cI don\u2019t, as you say, mean influence in any literal sense, since I agree that it simply happens, and temperament alone governs whether it causes anxiety or not.\u00a0 I think that I am studying what your other remark indicates, the deepening isolation of the strong poet\u2019s maturity, particularly as one feels it in the later stages, in Paradise Regained<\/em> & Samson<\/em>, in Wordsworth from 1805 on, in Jerusalem<\/em>, as well as in late Stevens and Yeats\u201d (letter of 27 January 1969).\u00a0 These remarks suggest that Frye did not at all reject Bloom\u2019s theory of the anxiety of influence because influence was a matter of \u201ccircumstances and temperament\u201d: they agree that anxiety has something to do with the mature poet\u2019s isolation.\u00a0 Bloom is, therefore, very selective in his Foreword to the Anatomy <\/em>about what Frye had conveyed to him in their correspondence.<\/p>\n

In A Map of Misreading<\/em><\/a> Bloom remarks that Frye\u2019s myths of freedom and concern are a Low Church version of Eliot\u2019s Anglo-Catholic myth of Tradition and the Individual Talent<\/a>, but that such an understanding of the relation of the individual to tradition is a fiction. \u201cThe fiction,\u201d Bloom says, \u201cis a noble idealization, and as a lie against time will go the way of every noble idealization.\u00a0 Such positive thinking served many purposes during the sixties, when continuities, of any kind, badly required to be summoned, even if they did not come to our call.\u00a0 Wherever we are bound, our dialectical development now seems invested in the interplay of repetition and discontinuity, and needs a very different sense of what our stance is in regard to literary tradition\u201d (A Map of Misreading<\/em> 30).\u00a0 This remark contains more than a hint of the anxiety of influence.\u00a0 But regardless of whether one agrees with Bloom\u2019s projection about what our development \u201cseems\u201d to involve, it is mistaken to suggest that Frye has failed to observe the \u201cinterplay between repetition and discontinuity.\u201d\u00a0 In words that could stand as a motto for theories of misprision, he says that \u201cthe recreating of the literary tradition often has to proceed . . . through a process of absorption followed by misunderstanding\u201d (The Secular Scripture <\/em>163).\u00a0 Even if Frye\u2019s ultimate allegiances are to a continuous intellectual and imaginative universe, to order rather than chaos, to romance rather than irony, he cannot be accused of having turned his back upon the discontinuities in either literature or life.\u00a0 Nor should we let Bloom\u2019s remark deceive us into thinking that in the 1960s Frye began suddenly to summon continuities as a bulwark against the changing social order.\u00a0 The central principles in Frye\u2019s universe remained constant over the years.<\/p>\n

The history of Bloom\u2019s relationship to Frye is one of attraction and repulsion.\u00a0 Bloom can say, on the one hand<\/p>\n

To compare lesser things with greater, my relation to Frye\u2019s criticism is Pater\u2019s relation to Ruskin\u2019s criticism, or Shelley\u2019s relation to Wordsworth\u2019s poetry: the authentic precursor, no matter how one tries to veil it or conceal it both from oneself and from others.\u00a0 Frye is surely the major critic in the English language.\u00a0 Now that I am mature, and willing to face my indebtedness, Northrop Frye does seem to me . . . a kind of Miltonic figure.\u00a0 He is certainly the largest and most crucial literary critic in the English language since the divine Walter [Pater] and the divine Oscar [Wilde]: he really is that good.\u00a0 I have tried to find an alternative father in Mr Burke, who is a charming fellow, but I don\u2019t come from Burke: I come out of Frye. (Criticism in Society<\/em> 62)<\/p><\/blockquote>\n

On the other hand, Bloom never abandoned his quarrel with his critical father.\u00a0 In the Salusinszky interview, he reaffirms the statement he made about Frye\u2019s \u201cmyth of concern\u201d being a Low Church version of Eliot, though he says he would \u201cphrase it a little more genteelly now, out of respect for Mr. Frye\u201d (ibid., 63).\u00a0 Moreover, Frye was never agonistic enough for Bloom (\u201cFrye may be the first great critic in English literature whose pugnacity is diverted to other purposes\u201d), and Frye\u2019s view of the common reader and of democratizing the critical process always grated against Bloom\u2019s elitist sensibility:<\/p>\n

Mr Frye has, thank heavens, nothing in common with the Marxists, pseudo-Marxists, neo-Marxists, und so weiter<\/em>, but like them he has idealized the whole question of what might be called\u2013\u2013to use his own trope for it\u2013\u2013the extension of the franchise in the realm of literature and literary study.\u00a0 Idealization is very moving: it is also very false.\u00a0 It allows profound self-deceptions, at both the individual and the societal level.\u00a0 Literature does not make us better, it does not make us worse; the study of it does not make us better, it does not make us worse.\u00a0 It only confirms what we are already, and it cannot authentically touch us at all unless we begin by being very greatly gifted. (ibid., 58)<\/p>\n

<\/p><\/blockquote>\n

The history of criticism, like that of literature, is a history of the anxiety of influence.\u00a0 Few questions remain to be asked after Aristotle, Horace, and Longinus, even if they are oppositional questions: we are still carried along on the shoulders of these giants.\u00a0 The burden of the past\u2013\u2013Walter Jackson Bate<\/a>\u2019s less Freudian version of the issue\u2013\u2013remains a heavy burden.\u00a0 This means that any critic\u2019s forebears are difficult to throw off, Bloom\u2019s relationship to Frye being a good example.<\/p>\n

Salusinszky\u2019s interview with Geoffrey Hartman<\/a> touches only briefly on Frye: the \u201cschematic and skeletal\u201d nature of Frye\u2019s later work is declared to be thinner than what came before; what remains attractive about Frye is his verbal wit and aphoristic play (ibid., 87\u20138).\u00a0 Hartman, who thinks that the divide between pre\u2011 and post\u2011Derrida is exaggerated (ibid., 80), wrote one of the major early essays on Frye in which he suggested that Frye\u2019s power as a critic descended from his universalism and unlimited reach, his effort to democratize criticism, and his recovery of the role of romance in the imagination (Northrop Fre in Modern Criticism<\/em> 109\u201331).\u00a0 He confronted Frye\u2019s work in a number of later essays, pointing out what he saw as limitations in Frye\u2019s approach: his \u201ccreative\u201d approach to literature actually accommodates its power, ignores the discontinuity of myth, and neglects historical consciousness.<\/p>\n

In the fifth interview in Salusinszky\u2019s Criticism in Society<\/em>, Frank Kermode<\/a>, like Bloom, discloses his difficulty with Frye\u2019s wanting to ban value judgments from both the beginning and end of the critical process. In 1965, the year that Frank Lentricchia<\/a> declared that Frye had become a \u201cuseless relic,\u201d Kermode was asked which book published in the past ten years he found himself returning to most often.\u00a0 He replied that Frye\u2019s Anatomy<\/em> was the book \u201cbecause of the amount of positive thinking I had to do in order to resist it.\u00a0 Frye offers you the choice of thinking him entirely right or entirely wrong.\u00a0 I choose the second alternative, but pay my respects to the best mind in the business except for William Empson<\/a>\u2019s\u201d (American Scholar<\/em> 34 (Summer 1965): 484).\u00a0 Kermode grants that Frye \u201cis certainly the finest prose writer among modern critics,\u201d but he finds little in Frye that is new since the Anatomy<\/em> and he thinks that Frye\u2019s approaching literature from a middle distance can never capture the immediacy of the reading process (Criticism in Society<\/em> 104, 107).<\/p>\n

Edward Said<\/a>\u2019s comments on Frye in the Salusinszky interview are mainly a critique. He sees no reason for Frye\u2019s continual effort to define what is literary, draws back from his \u201cclerical attitude,\u201d and wishes Frye had developed \u201cthe relationship between the scheme of the Anatomy<\/em> and tonal music\u201d (ibid, 138, 140, 141).\u00a0 Similarly, with J. Hillis Miller<\/a>, who thinks Frye\u2019s centrality in American criticism is overstated.\u00a0 Miller resisted the paradigmatic forms of criticism Frye advocates in the Anatomy<\/em> because they do not facilitate reading (ibid., 238\u201340).<\/p>\n

It is difficult to find a common thread in the opinions about Frye scattered throughout Criticism in Society<\/em>, but it is not difficult to conclude that Frye has not disappeared from the consciousness of these major critical voices, most identified with one form or another of poststructuralism<\/a>.\u00a0 There are, of course, numerous centres of interest in literary studies, many of which do not have \u201cde-\u201c or \u201cpost\u2011\u201c attached to them.\u00a0 The Anatomy<\/em> often figures in these more traditional forms of inquiry, which would include Hayden White<\/a>\u2019s use of Frye\u2019s mythoi<\/em> in his studies of the shapes of historical narratives and Jan Gorak<\/a>\u2019s astute assessment of Frye and canon formation.\u00a0 On the vexing question of whether or not literature can be distinguished from nonliterature, Paul Hernadi <\/a>has argued that \u201cThe Rhetoric of Non\u2011Literary Prose\u201d in the Fourth Essay does not permit the question to be answered unambiguously: in Frye\u2019s view \u201call texts are somewhat literary and somewhat nonliterary . . . and the same texts can be both produced and received with more or less literary attitudes.\u201d \u00a0Ratio<\/em> thus both contains and is contained by oratio<\/em>.\u00a0 Hernadi then distinguishes Frye\u2019s both\/and<\/em> position, first, from that of the formalists<\/a> (New Critics, Czech Structuralists, and Russian Formalists) who have distinguished literariness on the basis of some criterion (irony and paradox, defamiliarization<\/a>, self\u2011referentiality<\/a>); and, second, from the positions of Paul de Man<\/a> and Terry Eagleton<\/a>.\u00a0 Frye\u2019s relation to the French structuralists<\/a> is also addressed by Tzvetan Todorov<\/a>: he is more interested in substance; they, in form; he writes an encyclopedia; they, a dictionary (Literature and Its Theorists<\/em><\/a>, 89\u2013105).<\/p>\n

\u2013 \u2013 \u2013<\/p>\n

Imre Salusinszky has gotten a good deal of exposure as a conservative columnist for The Australian<\/em><\/a>, but it\u2019s a pity, in my view, that we have lost a first\u2011rate reader of Frye to journalism.\u00a0 He has just written a humorous piece (3 February) on Salinger<\/a>.<\/p>\n

httpv:\/\/www.youtube.com\/watch?v=IyrAt7Eiq5A<\/p>\n","protected":false},"excerpt":{"rendered":"

Imre Salusinszky in his new role as columnist for The Australian Imre Salusinszky\u2019s Criticism in Society stands above all other similar collections of interviews with contemporary critics.\u00a0 Here is a footnote to Russell\u2019s post, adapted from something I wrote in the introduction to the Collected Works Anatomy. In Imre Salusinszky\u2019s Criticism in Society, an exemplary […]<\/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":[16,50,148,165],"tags":[],"class_list":["post-7922","post","type-post","status-publish","format-standard","hentry","category-bob-denham","category-frye-contemporary-criticism","category-society","category-video"],"yoast_head":"\nCriticism in Society - 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\/2010\/02\/04\/criticism-in-society\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Criticism in Society - The Educated Imagination\" \/>\n<meta property=\"og:description\" content=\"Imre Salusinszky in his new role as columnist for The Australian Imre Salusinszky\u2019s Criticism in Society stands above all other similar collections of interviews with contemporary critics.\u00a0 Here is a footnote to Russell\u2019s post, adapted from something I wrote in the introduction to the Collected Works Anatomy. 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