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Northrop Frye's thinking has had a pervasive impact on contemporary interpretations of our literary and cultural heritage. In his Anatomy of Criticism, a landmark in the history of modern critical theory, he demonstrated his genius for mapping out the realm of imaginative creation. In The Secular Scripture he turns again to the task of establishing a broad theoretical framework, bringing to bear his extraordinary command of the whole range of literature from antiquity to the present. Romance, a mode of literature trafficking in such plot elements as mistaken identity, shipwrecks, magic potions, the rescue of maidens in distress, has tended to be regarded as hardly deserving of serious consideration; critics praise other aspects of the Odyssey, The Faerie Queene, Shakespeare's last plays, and Scott's Waverley novels, for example, while forgiving the authors' indulgence in childishly romantic plots. Frye, however, discerns in the innumerable romantic narratives of the Western tradition an imaginative universe stretching from an idyllic world to a demonic one, and a pattern of action taking the form of a cyclical descent into and ascent out of the demonic realm. Romance as a whole is thus seen as forming an integrated vision of the world, a "secular scripture" whose hero is man, paralleling the sacred scripture whose hero is God. The clarity of Northrop Frye's perception, the scope and suggestiveness of his conceptualizing, the wit and grace of his style, have won him universal admiration.… (mere)
Northrup Frye is a lively literary critic. He limns the geography of an imaginative universe, and points out the Biblical structures which outline that world of literature.
Among other things, Frye says: "The heroine who is saved from rape or sacrifice, even if she merely avoids Mr. Wrong and marries Mr. Right, is reenacting the ancient ritual which in Greek religion is called the anabasis of Kore, the rising of a maiden, Psyche or Cinderella or Richardson's Pamela or Aristophanes' Peace, from a lower to a higher world." [163]
Frye suggests a radical "revolutionary" quality in romance. While in Christianity, "the archetype of the completed romance is Christ rising from the dragon of death" (sic at 163), the central figure need not be so "portentous". He mentions the many examples of "the rising of the maiden", from a lower to a higher world. And we always find we get around to a woman. Rising again.
Oplysninger fra den engelske Almen VidenRedigér teksten, så den bliver dansk.
This book is concerned with some principles of storytelling.
Citater
Oplysninger fra den engelske Almen VidenRedigér teksten, så den bliver dansk.
The heroine who is saved from rape or sacrifice, even if she merely avoids Mr. Wrong and marries Mr. Right, is reenacting the ancient ritual which in Greek religion is called the anabasis of Kore, the rising of a maiden, Psyche or Cinderella or Richardson's Pamela or Aristophanes' Peace, from a lower to a higher world. [163]
Sidste ord
Oplysninger fra den engelske Almen VidenRedigér teksten, så den bliver dansk.
A good deal has been said since then about the relation of language and silence, but real silence is the end of speech, not the stopping of it, and it is not until we have shared something of this last Sabbath vision in our greatest romance that we may begin to say that wwe have earned the right to silence.
Northrop Frye's thinking has had a pervasive impact on contemporary interpretations of our literary and cultural heritage. In his Anatomy of Criticism, a landmark in the history of modern critical theory, he demonstrated his genius for mapping out the realm of imaginative creation. In The Secular Scripture he turns again to the task of establishing a broad theoretical framework, bringing to bear his extraordinary command of the whole range of literature from antiquity to the present. Romance, a mode of literature trafficking in such plot elements as mistaken identity, shipwrecks, magic potions, the rescue of maidens in distress, has tended to be regarded as hardly deserving of serious consideration; critics praise other aspects of the Odyssey, The Faerie Queene, Shakespeare's last plays, and Scott's Waverley novels, for example, while forgiving the authors' indulgence in childishly romantic plots. Frye, however, discerns in the innumerable romantic narratives of the Western tradition an imaginative universe stretching from an idyllic world to a demonic one, and a pattern of action taking the form of a cyclical descent into and ascent out of the demonic realm. Romance as a whole is thus seen as forming an integrated vision of the world, a "secular scripture" whose hero is man, paralleling the sacred scripture whose hero is God. The clarity of Northrop Frye's perception, the scope and suggestiveness of his conceptualizing, the wit and grace of his style, have won him universal admiration.
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Among other things, Frye says: "The heroine who is saved from rape or sacrifice, even if she merely avoids Mr. Wrong and marries Mr. Right, is reenacting the ancient ritual which in Greek religion is called the anabasis of Kore, the rising of a maiden, Psyche or Cinderella or Richardson's Pamela or Aristophanes' Peace, from a lower to a higher world." [163]
Frye suggests a radical "revolutionary" quality in romance. While in Christianity, "the archetype of the completed romance is Christ rising from the dragon of death" (sic at 163), the central figure need not be so "portentous". He mentions the many examples of "the rising of the maiden", from a lower to a higher world. And we always find we get around to a woman. Rising again.