Northrop Frye Quotes
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A public that tries to do without criticism, and asserts that it knows what it wants or likes, brutalizes the arts and loses its cultural memory. Art for art's sake is a retreat from criticism which ends in an impoverishment of civilized life itself.
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We do not live in a centred space any more, but have to create our own centres.
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Popular art is normally decried as vulgar by the cultivated people of its time; then it loses favor with its original audience as a new generation grows up; then it begins to merge into the softer lighting of
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Literature is not a subject of study, but an object of study.
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Work, as we usually think of it, is energy expended for a further end in view; play is energy expended for its own sake, as with children's play, or as manifestation of the end or goal of work, as in "playing" chess or the piano. Play in this sense, then, is the fulfillment of work, the exhibition of what the work has been done for.
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The world of literature is a world where there is no reality except that of the human imagination.
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Science begins with the world we have to live in, accepting its data and trying to explain its laws. From there, it moves toward the imagination: it becomes a mental construct, a model of a possible way of interpreting experience. The further it goes in this direction, the more it tends to speak the language of mathematics, which is really one of the languages of the imagination, along with literature and music. Art, on the other hand, begins with the world we construct, not with the world we see. It starts with the imagination, and then works toward ordinary experience.
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The ups and downs of this cosmos may sometimes be acknowledged to be metaphorical ups and downs, but until about Newton's time most people took the "up" of heaven and the "down" of hell to be more or less descriptive.
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The entire Bible, viewed as a "divine comedy," is contained within a U-shaped story of this sort, one in which man, as explained, loses the tree and water of life at the beginning of Genesis and gets them back at the end of Revelation.
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For the serious mediocre writer convention makes him sound like a lot of other people; for the popular writer it gives him a formula he can exploit; for the serious good writer it releases his experiences or emotions from himself and incorporates them into literature, where they belong.
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The twentieth century saw an amazing development of scholarship and criticism in the humanities, carried out by people who were more intelligent, better trained, had more languages, had a better sense of proportion, and were infinitely more accurate scholars and competent professional men than I. I had genius. No one else in the field known to me had quite that.
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We are always in the place of beginning; there is no advance in infinity.
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The operations of the human mind are also controlled by words of power, formulas that become a focus of mental activity.
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My subject is the educated imagination, and education is something that affects the whole person, not bits and pieces of him .
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The fact that creative powers come from an area of the mind that seems to be independent of the conscious will, and often emerge with a good deal of emotional disturbance in their wake, provides the chief analogy between prophecy and the arts... Some people pursue wholeness and integration, others get smashed up, and fragments are rescued from the smash of an intensity that the wholeness and integration people do not reach.
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We find rhetorical situations everywhere in life, and only our imaginations can get us out of them.
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The human landscape of the New World shows a conquest of nature by an intelligence that does not love it.
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Man is constantly building anxiety-structures, like geodesic domes, around his social and religious institutions.
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No human society is too primitive to have some kind of literature. The only thing is that primitive literature hasn't yet become distinguished from other aspects of life: it's still embedded in religion, magic and social ceremonies.
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Literature begins with the possible model of experience, and what it produces is the literary model we call the classic.
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It is of the essence of imaginative culture that it transcends the limits both of the naturally possible and of the morally acceptable.
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Americans like to make money, Canadians like to count it.
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Separatism is a very healthy movement within culture. It's a disastrous movement within politics and economics.
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Poetry is the most direct and simple means of expressing oneself in words: the most primitive nations have poetry, but only quitewell developed civilizations can produce good prose. So don't think of poetry as a perverse and unnatural way of distorting ordinary prose statements: prose is a much less natural way of speaking than poetry is. If you listen to small children, and to the amount of chanting and singsong in their speech, you'll see what I mean.