Northrop Frye's Anatomy of Criticism - Summarzing the Four Essays

Anatomy of Criticism by Northrop Frye

    Northrop Frye is a Canadian literary critic and theorist whose Anatomy of Criticism, published in 1957 is a seminal work in archetypal literary criticism, consisting of four essays, each exploring different aspects of literary theory and analysis. 

Four Essays

1. Historical Criticism: A Theory of Modes

    The distinction between "fictional" and "thematic" serves as the foundation for Northrop Frye's organizational structure in the First Essay of Anatomy of Criticism. Within this essay, the term "mode" acquires dual meanings, intricately linked to what Frye defines as the ethical elements or ethos inherent in literary works. Ethos in Fictional and Thematic Modes:

Thematic Mode: Centers on the author-audience relationship, focusing on the deeper underlying themes, motifs, or ideas explored within the literary work.

Fictional Mode: Refers to works where characters primarily exist as elements within the plot, serving as functional components of the narrative structure. The "fictional mode" relates to the character's power of action, portraying the extent of their ability to influence events within the story. The two broader categories within which  the fictional modes are contained are: 

    Tragic Fictional Mode: Characterized by serious themes, usually involving the downfall or suffering of the protagonist due to a tragic flaw or external circumstances. In this mode, a God or the hero often faces conflicts that lead to a negative outcome, such as death or intense suffering. For example,  demise of gods, such as Hercules succumbing to poison, Orpheus being torn apart by the Bacchantes, Balder's murder by Loki, and Christ's crucifixion.

   Comical Fictional Mode: Comedy revolves around the integration of society, often involving the inclusion of a central character within it. For example, in the context of myths, the corresponding comedy to the death of the Dionysiac god is "Apollonian." This narrative revolves around how a hero is accepted by a society of gods. Examples can be found in Classical literature through stories of Hercules, Mercury, and other deities who underwent a form of probation. In Christian literature, it takes the form of salvation or assumption, depicted at the culmination of Dante's Commedia.

    Frye delineates five fundamental fictional modes of literature: Myth, Romance, High Mimetic, Low Mimetic, and Irony. These modes represent distinct narrative structures and characterizations prevalent in various literary works.

Myth:

• Characteristics: In this mode, stories revolve around divine or godlike beings, transcending the human and natural order.
• Narrative Elements: Typically explores ancient myths, legends, or tales involving gods and supernatural forces.
• Purpose: Provides narratives that exist beyond conventional literary categories, offering insights into extraordinary and divine realms.

Romance:

• Characteristics: Protagonists in this mode exhibit superiority over their environment, performing remarkable feats within a world where natural laws bend. In romance, the hero is often seen a half-God or God-like. 
• Narrative Elements: Features chivalrous stories, folk tales, and legends where characters engage in fantastical adventures.
• Purpose: Captures narratives that blend miraculous elements with earthly contexts, creating captivating and awe-inspiring tales.

High Mimetic:

• Characteristics: Protagonists possess superior abilities but function within societal and natural constraints.
• Narrative Elements: Primarily found in epic tales and tragedies, where characters with exceptional qualities navigate societal norms and moral dilemmas.
• Purpose: Reflects narratives where heroes' actions are subject to both societal critique and natural laws, highlighting the tension between individual capabilities and societal expectations.

Low Mimetic:

• Characteristics: Protagonists are relatable and resemble common humanity, operating within familiar and everyday settings.
• Narrative Elements: Often depicted in comedies and realistic fiction, showcasing ordinary individuals and their everyday experiences.
• Purpose: Explores narratives that resonate with readers through familiar characters and situations, reflecting the mundanity of everyday life.

Irony:

• Characteristics: Protagonists are often portrayed as inferior to readers, encountering absurdity or limitations.
• Narrative Elements: Commonly seen in satirical or ironic stories that challenge societal norms and perceptions.
• Purpose: Presents narratives where readers experience a sense of greater freedom compared to the characters, often highlighting the contradictions and shortcomings of human existence.

2. Ethical Criticism: Theory of Symbols

    Northrop Frye's Ethical Criticism: Theory of Symbols delves into the relationship between literature, symbolism, and society. Frye defines ethical criticism as a keen consciousness of society's existence and impact within artistic creations. Art, for Frye, serves as a medium through which societies communicate their values, beliefs, and experiences from the past to the present. Within this framework, symbols play a pivotal role as the vehicles of this societal communication, bridging the gap between different eras and cultures.

    To explore the intricate connection between symbols and societal presence, Frye categorizes symbols into five distinct kinds: motif, sign, image, archetype, and monad. Each of these symbols corresponds to what Frye terms a "phase" of symbolism: literal, descriptive, formal, mythical, and anagogic, respectively.

The Literal Phase: At the foundational level, literature consists of words and their immediate meanings. Here, symbols manifest as motifs, representing the basic units of literary structure. These motifs, forming patterns within the text, generate aesthetic pleasure and stimulate emotional responses. Frye emphasizes that literature inherently possesses an ironic dimension, where what is stated differs from what is meant, adding depth to the literary experience.

The Descriptive Phase: Moving beyond the words themselves, this phase focuses on the narrative and events within the text. Symbols in this phase are seen as signs, pointing outward to refer to elements in the real world. These symbols, typically nouns, verbs, or significant phrases, bridge the gap between the literary work and the external world, inviting readers to engage with the narrative beyond its textual boundaries.

The Formal Phase: This phase involves the structural aspects of literature, the form of the poem or narrative itself. It delves into the interplay between form and meaning, where the essence of the literary work exists in its structure. Frye discusses form as both static and dynamic, suggesting that the formal critic isolates units that demonstrate a proportional analogy between the literary work and the reality it imitates.

The Mythical Phase: Here, Frye explores the conventional and genre-based aspects of literature. Genres, defined as conventions of structure rather than content, play a significant role. Frye contends that all art is convention-based, but this often goes unnoticed due to familiarity. He introduces a spectrum ranging from pure convention to pure variability, highlighting how genres structure our experience of literature - the fundamental human experience. 

The Anagogic Phase: In this phase, Frye attempts to explore universal meaning while acknowledging cultural specificities through the highly symbolical monads. It grapples with overarching themes transcending individual texts and delves into the broader implications of literature for humanity and the cosmos. The discussion verges on the mystical, hinting at an overarching cosmic consciousness manifested through literature.

3. Archetypal Criticism: Theory of Myths

    In Archetypal Criticism: Theory of Myths, Frye delves deeper into the world of archetypes and their collective manifestation as myths. This essay dissects the chapter's core concepts, emphasizing Frye's classification of archetypal imagery, the Great Chain of Being, the cyclic pattern within myths, and the derived mythoi within these cyclical structures.

The Great Chain of Being: A Hierarchical System of Imagery

    Frye introduces the Great Chain of Being, a hierarchical system encompassing seven distinct levels of existence. These levels, ranging from the divine to the watery world, feature five types of imagery—apocalyptic, romantic, high mimetic, realistic, and demonic—showcasing a spectrum from godly to base elements. This framework forms the basis for understanding archetypal imagery and its placement within a hierarchical order.

    The seven levels within the Great Chain of Being, as delineated by Northrop Frye represent a hierarchical classification system:

1. The Divine World: This encompasses the realm of gods or higher spiritual entities.
2. The Human World: This level represents humanity and its diverse aspects, including societal structures and individual lives.
3. The Animal World: Refers to the realm of creatures outside of human and divine entities.
4. The Vegetable World: Depicts the world of plants, forests, and natural vegetation.
5. The Mineral World: Encompasses inanimate objects and elements within the earth, such as rocks and minerals.
6. The Fire World: Represents the elemental aspect of fire or transformative energy.
7. The Watery World: Signifies the realm of water, including oceans, rivers, and other aqueous forms.

Identifying Recurring Patterns: Cyclical Phases within Myths

    A pivotal aspect of Frye's analysis is the observation of cyclical patterns within myths. He notes four predominant phases—akin to the four seasons, daily phases, water-cycle stages, and life cycle phases—termed as "mythoi." These phases structure myths and serve as fundamental units shaping archetypes. The cyclic nature of these phases contributes significantly to the understanding of how myths resonate across different literary works.

Deriving Mythoi: Comedy, Romance, Tragedy, and Satire

    Within the cyclic structure, Frye derives four key mythoi—comedy, romance, tragedy, and satire—aligning each with a specific phase of the year: spring, summer, autumn, and winter, respectively. Each mythos encapsulates a distinct mood and symbolic representation corresponding to different stages of life or societal development. These mythoi become foundational concepts, pre-genres that set the stage for the emergence of specific literary genres.

4. Rhetorical Criticism: Theory of Genres

    Rhetorical Criticism: Theory of Genres serves as a pinnacle in Frye's effort to redefine and expand the understanding of literary genres. Through an exploration of presentation modes, Frye introduces a taxonomy comprising four genres: drama, epos, fiction, and lyric. Each genre is delineated by its distinct radical of presentation and subsequently characterized by its unique attributes, including the relationship between the poet/author, the audience, the represented subject matter, and the genre’s specific rhythm.

Greek Foundation and the Radical of Presentation

    Frye commences by revisiting the ancient Greek classification, highlighting drama, epic, and lyric as foundational genres categorized based on their specific modes of presentation—acted, spoken, and chanted/sung, respectively. Emphasizing the significance of the radical of presentation, Frye contends that this fundamental form shapes and distinguishes genres.

The Fourth genre

    Frye expands upon the Greek categories by introducing the fourth modern genre—fiction. He classifies it as fundamentally meant to be read and includes novels and printed texts within this genre, distinct from the oral presentation of epics. Each genre—drama, epos, fiction, and lyric—embodies its radical of presentation, shaping its essential characteristics.

Frye's Theoretical Framework of distinct genres

Recurrence as Epos: Echoes of Repetition and Direct Address

    "Epos," the genre representing recurrence, aligns with the notion of repeated elements or themes within literary works. This genre often involves direct communication between the author and the audience, showcasing narratives that frequently circle back to fundamental themes or motifs. Epos emphasizes the cyclical nature of storytelling, using repetitive elements to engage the audience in a continuous dialogue.

Continuity as Prose: Smooth Narrative Flow and Logical Progression

    "Prose," characterized by continuity, encapsulates the uninterrupted flow and logical progression of a narrative. Much like the fluidity of prose writing, continuity ensures a seamless connection between various plot points, themes, or events within a literary work. It focuses on maintaining coherence and consistency to guide readers through the storyline without abrupt interruptions.

Decorum as Drama: Appropriateness and Aptness within a Context

    "Drama," synonymous with decorum, emphasizes the appropriateness and aptness of elements within a specific context or setting. In theatrical performances, decorum dictates the suitability of actions, dialogue, and characters within the play's framework. Similarly, in literature, drama encompasses the artistic alignment of elements to ensure their harmony and suitability within the genre or narrative context.

Association as Lyric: Interconnectedness and Introspective Expression

    "Lyric," representing association, revolves around the interconnectedness of themes, emotions, and expressions within a literary work. This genre often focuses on introspective or emotionally charged elements that are intricately linked, creating a rich tapestry of associations between different facets of human experience. Lyric poetry, in particular, showcases the interwoven nature of emotions and imagery. 

Subgenres of Fiction

    A significant focus lies in Frye’s exploration of various subgenres within fiction. Utilizing the variables of introverted/extroverted and personal/intellectual, he classifies romances, confessions, anatomies, and novels. He demonstrates how many works straddle these subgenres, embodying multiple conventions in a cohesive, integrated manner.

Evolution and Openness of Genre Taxonomy

    While Frye's taxonomy of genres offers a comprehensive framework, it poses inquiries about its adaptability and completeness. Frye's open taxonomy allows for the inclusion of new genres, given changes in presentation modes and literary conventions over time.