Northrop Frye - Contribution To Literary Criticism

Contribution To Literary Criticism

The insights gained from his study of Blake set Frye on his critical path and shaped his contributions to literary criticism and theory. He was the first critic to postulate a systematic theory of criticism, "to work out," in his own words, "a unified commentary on the theory of literary criticism" (Stubborn Structure 160). In so doing, he shaped the discipline of criticism. Inspired by his work on Blake, Frye developed and articulated his unified theory ten years after Fearful Symmetry, in the Anatomy of Criticism (1957). He described this as an attempt at a "synoptic view of the scope, theory, principles, and techniques of literary criticism" (Anatomy 3). He asked, "what if criticism is a science as well as an art?" (7), Thus, Frye launched the pursuit which was to occupy the rest of his career—that of establishing criticism as a "coherent field of study which trains the imagination quite as systematically and efficiently as the sciences train the reason" (Hamilton 34).

Read more about this topic:  Northrop Frye

Famous quotes containing the words contribution to, contribution, literary and/or criticism:

    He left behind, as his essential contribution to literature, a large repertoire of jokes which survive because of their sheer neatness, and because of a certain intriguing uncertainty—which extends to Wilde himself—as to whether they really mean anything.
    George Orwell (1903–1950)

    If melodrama is the quintessence of drama, farce is the quintessence of theatre. Melodrama is written. A moving image of the world is provided by a writer. Farce is acted. The writer’s contribution seems not only absorbed but translated.... One cannot imagine melodrama being improvised. The improvised drama was pre-eminently farce.
    Eric Bentley (b. 1916)

    I shall christen this style the Mandarin, since it is beloved by literary pundits, by those who would make the written word as unlike as possible to the spoken one. It is the style of all those writers whose tendency is to make their language convey more than they mean or more than they feel, it is the style of most artists and all humbugs.
    Cyril Connolly (1903–1974)

    People try so hard to believe in leaders now, pitifully hard. But we no sooner get a popular reformer or politician or soldier or writer or philosopher—a Roosevelt, a Tolstoy, a Wood, a Shaw, a Nietzsche, than the cross-currents of criticism wash him away. My Lord, no man can stand prominence these days. It’s the surest path to obscurity. People get sick of hearing the same name over and over.
    F. Scott Fitzgerald (1896–1940)