Northrop Frye

Northrop Frye in 1984. Photo by Harry Palmer. Courtesy Wikipedia.

Northrop Frye

Born	14, 1912(1912-Template:MONTHNUMBER-14) Sherbrooke, Quebec, Canada
Died	23, 1991(1991-Template:MONTHNUMBER-23) (aged 78) Toronto, Ontario, Canada
School	archetypal literary criticism, Romanticism
Main interests	imagination, archetype, myth, Bible
Influenced by Giambattista Vico, William Blake, I.A. Richards, F.R. Leavis
Influenced Margaret Atwood, B.W. Powe

Herman Northrop "Norrie" Frye, CC, FRSC (July 14, 1912 – January 23, 1991) was Canada's most influential literary critic and literary and cultural theorist.

Life

Overview

Frye gained international fame with his 1st book, Fearful Symmetry (1947), which led to the reinterpretation of the poetry of William Blake. His lasting reputation rests principally on the theory of literary criticism that he developed in Anatomy of Criticism (1957), perhaps his most important works of literary theory; American critic Harold Bloom commented at the time of its publication that Anatomy established Frye as "the foremost living student of Western literature."

Frye's contributions to cultural and social criticism spanned a long career during which he earned widespread recognition and received many honors.

Youth and education

Frye was born in Sherbrooke, Quebec and grew up in Moncton, New Brunswick. He was the son of Herman Edward Frye and Catherine Maud Howard.

Frye went to Toronto to compete in a national typing contest in 1929.

He studied for his undergraduate degree at Victoria College in the University of Toronto. He then studied theology at Emmanuel College (which, like Victoria College, is a constituent part of the University of Toronto). After a brief stint as a student minister in Saskatchewan, he was ordained to the ministry of the United Church of Canada. He then studied at Merton College, Oxford, before returning to Victoria College, where he spent the remainder of his professional career.

Academic and writing career

Frye rose to international prominence with his earliest book, Fearful Symmetry, published in 1947. Until then, the prophetic poetry of William Blake had long been poorly understood, considered by some to be delusional ramblings. Frye found in it a system of metaphor derived from Paradise Lost and the Bible. His study of Blake's poetry was a major contribution. Moreover, Frye outlined an innovative manner of studying literature that was to deeply influence the study of literature in general. He was a major influence on, among others, Harold Bloom and Margaret Atwood.

In 1974–1975 Frye was the Norton professor at Harvard University.

Private life

Frye married Helen Kemp, an educator, editor and artist, in 1937. She died in Australia while accompanying Frye on a lecture tour. 2 years after her death in 1986, he married Elizabeth Brown.

He died in 1991 and was interred in Mount Pleasant Cemetery in Toronto.

Writing

Northrop Frye's Archetypal Criticism

New Criticism to Archetypal Criticism John Ransom Crowe, Northrop Frye (ENG)

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 earliest 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 10 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).

Criticism as a science

As A.C. Hamilton outlines in Northrop Frye: Anatomy of his Criticism, Frye's assumption of coherence for literary criticism carries important implications. Firstly and most fundamentally, it presupposes that literary criticism is a discipline in its own right, independent of literature. Claiming with John Stuart Mill that "the artist . . . is not heard but overheard," Frye insists that

The axiom of criticism must be, not that the poet does not know what he is talking about, but that he cannot talk about what he

knows. To defend the right of criticism to exist at all, therefore, is to assume that criticism is a structure of thought and knowledge existing in its own right, with some measure of independence from the art it deals with (Anatomy 5). This "declaration of independence" (Hart xv) is necessarily a measured one for Frye. For coherence requires that the autonomy of criticism, the need to eradicate its conception as "a parasitic form of literary expression, . . . a second-hand imitation of creative power" (Anatomy 3), sits in dynamic tension with the need to establish integrity for it as a discipline. For Frye, this kind of coherent, critical integrity involves claiming a body of knowledge for criticism that, while independent of literature, is yet constrained by it: "If criticism exists," he declares, "it must be an examination of literature in terms of a conceptual framework derivable from an inductive survey of the literary field" itself (Anatomy 7).

Conceptual framework for literature

In seeking integrity for criticism, Frye rejects what he termed the deterministic fallacy. He defines this as the movement of "a scholar with a special interest in geography or economics [to] express ... that interest by the rhetorical device of putting his favorite study into a causal relationship with whatever interests him less" (Anatomy 6). By attaching criticism to an external framework rather than locating the framework for criticism within literature, this kind of critic essentially "substitute[s] a critical attitude for criticism." For Frye critical integrity means that "the axioms and postulates of criticism . . . have to grow out of the art it deals with" (Anatomy 6).

Taking his cue from Aristotle, Frye's methodology in defining a conceptual framework begins inductively, "follow[ing] the natural order and begin[ning] with the primary facts" (Anatomy 15). The primary facts, in this case, are the works of literature themselves. And what did Frye's inductive survey of these "facts" reveal? Significantly, they revealed "a general tendency on the part of great classics to revert to [primitive formulas]" (Anatomy 17). This revelation prompted his next move, or rather, 'inductive leap':

suggest that it is time for criticism to leap to a new ground from which

it can discover what the organizing or containing forms of its conceptual framework are. Criticism seems to be badly in need of a coordinating principle, a central hypothesis which, like the theory of evolution in biology, will see the phenomena it deals with as parts of a whole (Anatomy 16).

Arguing that "criticism cannot be a systematic [and thus scientific] study unless there is a quality in literature which enables it to be so," Frye puts forward the hypothesis that "just as there is an order of nature behind the natural sciences, so literature is not a piled aggregate of 'works,' but an order of words" (Anatomy 17). This order of words constitutes criticism's conceptual framework, its coordinating principle.

The order of words

The recurring primitive formulas Frye noticed in his survey of the "greatest classics" provide literature with an order of words, a "skeleton" which allows the reader "to respond imaginatively to any literary work by seeing it in the larger perspective provided by its literary and social contexts" (Hamilton 20). Frye identifies these formulas as the "conventional myths and metaphors" which he calls "archetypes" (Spiritus Mundi 118). The archetypes of literature exist, Frye argues, as an order of words, providing criticism with a conceptual framework and a body of knowledge derived not from an ideological system but rooted in the imagination itself. Thus, rather than interpreting literary works from some ideological 'position' — what Frye calls the "superimposed critical attitude" (Anatomy 7) — criticism instead finds integrity within the literary field itself.

Criticism for Frye, then, is not a task of evaluation — that is, of rejecting or accepting a literary work — but rather simply of recognizing it for what it is and understanding it in relation to other works within the 'order of words' (Cotrupi 4). Imposing value judgments on literature belongs, according to Frye, "only to the history of taste, and therefore follows the vacillations of fashionable prejudice" (Anatomy 9). Genuine criticism "progresses toward making the whole of literature intelligible" (Anatomy 9) so that its goal is ultimately knowledge and not evaluation. For the critic in Frye's mode, then,

a literary work should be contemplated as a pattern of knowledge, an act that must be distinguished, at least initially, from any direct

experience of the work, . . . [Thus] criticism begins when reading ends: no longer imaginatively subjected to a literary work, the critic tries to make sense out of it, not by going to some historical context or by commenting on the immediate experience of reading but by seeing its structure within literature and literature within culture

A theory of the imagination

Once asked whether his critical theory were Romantic, Frye responded, "Oh, it's entirely Romantic, yes" (Stingle 1). It is Romantic in the same sense that Frye attributed Romanticism to Blake: that is, "in the expanded sense of giving a primary place to imagination and individual feeling" (Stingle 2). As artifacts of the imagination, literary works, including "the pre-literary categories of ritual, myth, and folk-tale" (Archetypes 1450) form, in Frye's vision, a potentially unified imaginative experience. He reminds us that literature is the "central and most important extension" of mythology: ". . . every human society possesses a mythology which is inherited, transmitted and diversified by literature" (Words with Power xiii). Mythology and literature thus inhabit and function within the same imaginative world, one that is "governed by conventions, by its own modes, symbols, myths and genres" (Hart 23). Integrity for criticism requires that it too operates within the sphere of the imagination, and not seek an organizing principle in ideology. To do so, claims Frye,

leaves out the central structural principles that literature derives

from myth, the principles that give literature its communicating power across the centuries through all ideological changes. Such structural principles are certainly conditioned by social and historical factors and do not transcend them, but they retain a continuity of form that points to an identity of the literary organism distinct from all its adaptations to its social environment (Words with Power xiii).

Myth therefore provides structure to literature simply because literature as a whole is "displaced mythology" (Bates 21). Hart makes the point well when he states that "For Frye, the story, and not the argument, is at the centre of literature and society. The base of society is mythical and narrative and not ideological and dialectical" (19). This idea, which is central in Frye's criticism, was suggested to him by Giambattista Vico.

Frye's critical method

Frye uses the terms 'centripetal' and 'centrifugal' to describe his critical method. Criticism, Frye explains, is essentially centripetal when it moves inwardly, towards the structure of a text; it is centrifugal when it moves outwardly, away from the text and towards society and the outer world. Lyric poetry, for instance, like Keats's "Ode on a Grecian Urn", is dominantly centripetal, stressing the sound and movement and imagery of the ordered words. Rhetorical novels, like Uncle Tom's Cabin, are dominantly centrifugal, stressing the thematic connection of the stories and characters to the social order. The "Ode" has centrifugal tendencies, relying for its effects on elements of history and pottery and visual aesthetics. Cabin has centripetal tendencies, relying on syntax and lexical choice to delineate characters and establish mood. But the one veers inward, the other pushes outward. Criticism reflects these movements, centripetally focusing on the aesthetic function of literature, centrifugally on the social function of literature.

While some critics or schools of criticism emphasize 1 movement over the other, for Frye, both movements are essential: "criticism will always have two aspects, one turned toward the structure of literature and one turned toward the other cultural phenomena that form the social environment of literature" (Critical Path 25). He would therefore agree, at least in part, with the New Critics of his day in their centripetal insistence on structural analysis. But for Frye this is only part of the story: "It is right," he declares, "that the first effort of critical apprehension should take the form of a rhetorical or structural analysis of a work of art. But a purely structural approach has the same limitation in criticism that it has in biology." That is, it doesn't develop "any explanation of how the structure came to be what it was and what its nearest relatives are. Structural analysis brings rhetoric back to criticism, but we need a new poetics as well . . ." (Archetypes 1447).

Archetypal criticism as "a new poetics"

For Frye, this "new poetics" is to be found in the principle of the mythological framework, which has come to be known as 'archetypal criticism'. It is through the lens of this framework, which is essentially a centrifugal movement of backing up from the text towards the archetype, that the social function of literary criticism becomes apparent. Essentially, "what criticism can do," according to Frye, "is awaken students to successive levels of awareness of the mythology that lies behind the ideology in which their society indoctrinates them" (Stingle 4). That is, the study of recurring structural patterns grants students an emancipatory distance from their own society, and gives them a vision of a higher human state — the Longinian sublime — that is not accessible directly through their own experience, but ultimately transforms and expands their experience, so that the poetic model becomes a model to live by. In what he terms a "kerygmatic mode," myths become "myths to live by" and metaphors "metaphors to live in," which ". . . not only work for us but constantly expand our horizons, [so that] we may enter the world of [kerygma or transformative power] and pass on to others what we have found to be true for ourselves" (Double Vision 18).

Because of its important social function, Frye felt that literary criticism was an essential part of a liberal education, and worked tirelessly to communicate his ideas to a wider audience. "For many years now," he wrote in 1987, "I have been addressing myself primarily, not to other critics, but to students and a nonspecialist public, realizing that whatever new directions can come to my discipline will come from their needs and their intense if unfocused vision" (Auguries 7). It is therefore fitting that his last book, published posthumously, should be one that he describes as being "something of a shorter and more accessible version of the longer books, The Great Code and Words with Power," which he asks his readers to read sympathetically, not "as proceeding from a judgment seat of final conviction, but from a rest stop on a pilgrimage, however near the pilgrimage may now be to its close" (Double Vision Preface).

See also: Archetypal literary criticism

Influences: Vico and Blake

Vico, in The New Science, posited a view of language as fundamentally figurative, and introduced into Enlightenment discourse the notion of the role of the imagination in creating meaning. For Vico, poetic discourse is prior to philosophical discourse; philosophy is in fact derivative of poetry. Frye readily acknowledged the debt he owed to Vico in developing his literary theory, describing him as "the first modern thinker to understand that all major verbal structures have descended historically from poetic and mythological ones" (Words with Power xii).

However, it was Blake, Frye's "Virgilian guide" (Stingle 1), who first awakened Frye to the "mythological frame of our culture" (Cotrupi 14). In fact, Frye claims that his "second book [Anatomy] was contained in embryo in the first [Fearful Symmetry]" (Stubborn Structure 160). For it was in reflecting on the similarity between Blake and Milton that Frye stumbled upon the "principle of the mythological framework," the recognition that "the Bible was a mythological framework, cosmos or body of stories, and that societies live within a mythology" (Hart 18). Blake thus led Frye to the conviction that the Bible provided Western societies with the mythology which informed all of Western literature. As Hamilton asserts, "Blake's claim that 'the Old and New Testaments are the Great Code of Art' became the central doctrine of all [Frye's] criticism" (39). This 'doctrine' found its fullest expression in Frye's appropriately named The Great Code, which he described as "a preliminary investigation of Biblical structure and typology" whose purpose was ultimately to suggest "how the structure of the Bible, as revealed by its narrative and imagery, was related to the conventions and genres of Western literature" (Words with Power xi).

Contribution to the theorizing of Canada

Frye's international reputation allowed him to champion Canadian literature at a time when to do so was considered provincial. Frye argued that regardless of the formal quality of the writing, it was imperative to study Canadian literary productions in order to understand the Canadian imagination and its reaction to the Canadian environment. During the 1950s, Frye wrote annual surveys of Canadian poetry for the University of Toronto Quarterly, which led him to observe recurrent themes and preoccupations in Canadian poetry. Subsequently, Frye elaborated on these observations, especially in his conclusion to Carl F. Klinck's Literary History of Canada (1965). In this work, Frye presented the idea of the "garrison mentality" as the attitude from which Canadian literature has been written. The garrison mentality is the attitude of a member of a community that feels isolated from cultural centres and besieged by a hostile landscape. Frye maintained that such communities were peculiarly Canadian, and fostered a literature that was formally immature, that displayed deep moral discomfort with "uncivilized" nature, and whose narratives reinforced social norms and values.

Frye collected his disparate writings on Canadian writing and painting in The Bush Garden: Essays on the Canadian imagination (1971). He also aided James Polk in compiling Divisions on a Ground: Essays on Canadian culture (1982). In the posthumous Collected Works of Northrop Frye, his writings on Canada occupy the thick 12th volume.

Based on his observations of Canadian literature, Frye concluded that, by extension, Canadian identity was defined by a fear of nature, by the history of settlement and by unquestioned adherence to the community. However, Frye perceived the ability and advisability of Canadian (literary) identity to move beyond these characteristics. Frye proposed the possibility of movement beyond the literary constraints of the garrison mentality: growing urbanization, interpreted as greater control over the environment, would produce a society with sufficient confidence for its writers to compose more formally advanced detached literature.

Recognition

The Canadians Northrop Frye

Frye was elected to the Royal Society of Canada in 1951 and awarded the Royal Society's Lorne Pierce Medal (1958) and its Pierre Chauveau Medal (1970).

He won the Canada Council Molson Prize in 1971, and the Royal Bank Award in 1978.

In 1987 he received the Governor General's Literary Award and the Toronto Arts Lifetime Achievement Award.

He was an Honorary Fellow or Member of the following:

• American Academy of Arts and Sciences (1969)
• Merton College, Oxford (1974)
• British Academy (1975)
• American Philosophical Society (1976), and
• American Academy and Institute of Arts and Letters (1981).

Northrop Frye was made a Companion of the Order of Canada in 1972.

In 2000, he was honored by the government of Canada with his image on a postage stamp.

Northrop Frye Hall, University of Toronto. Photo by Simon P. Licensed under Creative Commons, courtesy Wikimedia Commons.

An international literary festival The Frye Festival, named in Frye's honour, takes place every April in Moncton, New Brunswick.

The Northrop Frye Centee, part of Victoria College at the University of Toronto, was named in his honor, as was the humanities stream of the Vic One program at Victoria College and the Northrop Frye Centre for Comparative Literature at the University of Toronto.

Northrop Frye School in Moncton was named for him.

Publications

Fiction

• Northrop Frye's Fiction and Miscellaneous Writings (edited by Robert D. Denham & Michael Dolzani). Toronto: University of Toronto Press, 2007.

Non-fiction

• Fearful Symmetry: A study of William Blake. Princeton, NJ: Princeton University Press, 1947.
• Anatomy of Criticism: Four essays. Princeton, NJ: Princeton University Press, 1957.
• The Educated Imagination: The Massey lectures, second series. Toronto: Canadian Broadcasting Corporation, 1963; Bloomington, IN: Indiana University Press, 1964; Concord, ON: Anansi, 1993.
• Fables of Identity: Studies in poetic mythology. New York & London: Harcourt Brace & World, 1963.
• T.S. Eliot. Chicago: University of Chicago Press, 1963; Edinburgh: Oliver & Boyd, 1968.
• The Well-Tempered Critic. Bloomington, IN: Indiana University Press, 1963; Markham, ON: Fitzhenry & Whiteside, 1983.
• A Natural Perspective: The Development of Shakespearean Comedy and Romance. New York & London: Columbia University Press, 1965.
• The Return of Eden: Five essays on Milton's epics. Toronto: University of Toronto Press, 1965.
• Blake: A collection of critical essays. Englewood Cliffs, NJ; Prentice-Hall, 1966.
• Romanticism Reconsidered. New York: Columbia University Press, 1966.
• Fools of Time: Studies in Shakespearean Tragedy. Toronto: University of Toronto Press, 1967.
• The Modern Century. Toronto: Oxford University Press, 1967.
• A Study of English Romanticism. Chicago: University of Chicago Press, 1983; Brighton, UK: Harvester, 1983.
• "Critical Approaches," in Myth and Symbol: Critical approaches and applications (edited by Bernice Slote). Lincoln, NE: University of Nebraska Press, 1967.
• The Stubborn Structure: Essays on criticism and society. Ithaca, NY: Cornell University Press, 1970; London: Methuen, 1970.
• The Bush Garden: Essays on the Canadian imagination. Toronto: Anansi, 1971.
• The Critical Path: An essay on the social context of literary criticism. Bloomington, IN: Indiana University Press, 1971.
• On Teaching Literature. New York: Harcourt Brace Jovanovich, 1972.
• The Secular Scripture: A study of the structure of romance. Cambridge, MA: Harvard University Press, 1976.
• Spiritus Mundi: Essays on literature, myth, and society. Bloomington, ON: Indiana University Press, 1976; Richmond Hill, ON: Fitzhenry & Whiteside, 1991.
• Creation and Recreation. Toronto: University of Toronto Press, 1980. ISBN 0-8020-6422-1
• The Great Code: The Bible and literature. New York, San Diego, NM, & London: Harcourt, 1981; London & Melbourne: Routledge & Kegan Paul, 1982; Toronto: Academic Press Canada, 1982.
• Divisions on a Ground: Essays on Canadian culture. Toronto: Anansi, 1982.
• The Myth of Deliverance: Reflections on Shakespeare's problem comedies. Toronto, Buffalo, NY, & London: University of Toronto Press, 1983.
• Harper Handbook to Literature (with Sheridan Baker & George W. Perkins). New York: HarperCollins, 1985.
• On Education. Markham, ON: Fitzhenry & Whiteside, 1987; Ann Arbor, MI: University of Michigan Press, 1982.
• Words with Power: Being a second study of the Bible and literature. San Diego, NM: Harcourt Brace Jovanovich, 1992.
• The Double Vision: Language and meaning in religion [Of language, nature, time, and God]. Toronto: University of Toronto Press, 1991.
• A World in a Grain of Sand: Twenty-two interviews with Northrop Frye (edited by Robert D. Denham). New York: Peter Lang, 1991.
• David Cayley, Northrop Frye in Conversation. Toronto: Ananzi, 1992.
• The Eternal Act of Creation: Essays, 1979-1990 (edited by Robert D. Denham). Bloomington, IN: Indiana University Press, 1990.

Collected editions

• Northrop Frye on Culture and Literature: A collection of review essays (edited by Robert D. Denham). Cambridge, MA: Harvard University Press, 1977.
• Northrop Frye on Shakespeare (edited by Robert Sandler). New Haven, CT, & London: Yale University Press, 1986; Toronto: Fitzhenry & Whiteside, 1989.
• No Uncertain Sounds (edited by Gordon Lawson Maclennan). Toronto: Chartres Books, 1988.
• Myth and Metaphor: Selected essays, 1974-1988 (edited by Robert D. Denham). Charlottesville, VA: University Press of Virginia, 1990.
• Reading the World: Selected writings, 1935-1976 (edited by Robert D. Denham). New York: Peter Lang, 1990.
• Reflections on the Canadian Literary Imagination: A Selection of Essays by Northrop Frye (edited by Branko Gorjup). Rome: Bulzoni Editore, 1991.
• Collected Works (general editor Alvin A. Lee). (30 volumes), Toronto & Buffale, NY: University of Toronto Press, 1996-2012
  • Vol. 1 & 2: The Correspondence of Northrop Frye and Helen Kemp, 1932-1939 (edited by Robert D. Denham). (2 volumes), 1996.
  • Vol. 3: Northrop Frye's Student Essays, 1932-1938 (edited by Robert D. Denham). 1997.
  • Vol. 4: Northrop Frye on Religion (edited by Alvin Lee & Jean O'Grady). 2000.
  • Vol. 5 & 6: Late Notebooks, 1982-1990: Architecture of the spiritual world (edited by Robert D. Denham). (2 volumes), 1999.
  • Vol 7: Northrop Frye's Writing on Education (edited by Goldwin Sylvester French & Jean O'Grady). 2001.
  • Vol. 8: The Diaries of Northrop Frye, 1942-1955 (edited by Robert D. Denham). 2001.
  • Vol. 9: The "Third Book" Notebooks of Northrop Frey, 1964-1972: The critical comedy (edited by Michael Dolzani). 2001.
  • Vol. 10:Northrop Frye on Literature and Society, 1936-1989: Unpublished papers (edited by Robert D. Denham). 2002.
  • Vol. 11: Northrop Frye on Modern Culture (edited by Jan Gorak). 2002.
  • Vol. 12: Northrop Frye on Canada (edited by Jean O'Grady & David Staines). 2003.
  • Vol. 13: Northrop Frye's Notebooks and Lectures on the Bible, and other texts (edited by Robert D. Denham). 2003.
  • Vol. 14: Northrop Frye's Fearful Symmetry (edited by Nicholas Halmi). 2004.
  • Vol. 15: Northrop Frye's Notebooks on Romance (edited by Michael Dolzani). 2004.
  • Vol 16: Northrop Frye on Milton and Blake (edited by Angela Esterhammer)). 2005.
  • Vol. 17:Northrop Frye's writings on the eighteenth and nineteenth century (edited by Angela Esterhammer, Imre Salusinszky, Michael Dolzani, & Robert D. Denham). 2005.
  • Vol. 18: The Secular Scripture, and other writings on critical theory, 1976-1991 (edited by Joseph Adamson & Jean Wilson). 2005.
  • Vol. 19: The Great Code: The Bible and literature (edited by Alvin A. Lee). 2006.
  • Vol. 20: Northrop Frye's Notebooks on Renaissance Literature (edited by Michael Dolzani). 2006.
  • Vol. 21: The Educated Imagination, and other writings on critical theory, 1933-1962 (educated by Germaine Warkenton). 2006.
  • Vol. 23: Northrop Frye's Notebooks for 'Anatomy of Criticism' (edited by Angela Esterhammer, Imre Salusinszky, Michael Dolzani, & Robert D Denham). 2007.
  • Vol. 24: Interviews with Northrop Frye (edited by Jean O'Grady). 2008.
  • Vol. 25: Northrop Frye's Fiction and Miscellaneous Writings (edited by Robert D. Denham & Michael Dolzani). 2007.
  • Vol. 26: Words with Power (edited by Michael Dolzani). 2008.
  • Vol. 27: The Critical Path, and other writings on critical theory, 1963-1975 (edited by Jean O'Grady). 2009.
  • Vol. 28: Northrop Frye's Writings on Shakespeare and the Renaissance (edited by Troni Y. Grande & Garry Sherbert). 2010.
  • Vol. 29: Northrop Frye on 20th-Century Literature (edited by Glen Robert Gill). 2010.
  • Vol 30: Index (edited by Jean O'Grady). 2012.
• Mythologizing Canada: Essays on the Canadian Literary Imagination (edited by Branko Gorjup). New York & Ottawa: Editions Legas, 1997.
• Northrop Frye Unbuttoned: Wit and wisdom from the notebooks and diaries (edited by Robert D. Denham). Toronto: Anansi, 2004.
• Uncollected Prose (edited by Robert D. Denham). Toronto & Buffalo, NY: University of Toronto Press, 2015.

Other writing

• essays and chapters that appear in over 60 books
• over 100 articles and reviews in academic journals
• from 1950 to 1960, annual critical and bibliographical survey of Canadian poetry for "Letters in Canada," University of Toronto Quarterly

Letters

• The Correspondence of Northrop Frye and Helen Kemp, 1932-1939 (edited by Robert D. Denham). Toronto: University of Toronto Press, 1996. Volume 1: 1932-1935, Volume 2: 1936-1939.
• A Glorious and Terrible Life with You: Selected correspondence of Northrop Frye and Helen Kemp, 1932-1939 (edited by Margaret Burgess & Robert D. Denham). Toronto & Buffalo, NY: University of Toronto Press, 2009.

Except where noted, bibliographical information courtesy WorldCat.

Audio / video

• Bill Moyers, A Conversation with Northrop Frye (VHS). Alexandria, VA: PBS Video, 1988.

See also

• List of literary critics

References

Fonds

• The Northrop Frye Collection at the Victoria University Library at the University of Toronto A comprehensive collection of Northrop Frye's published work, literary manuscripts, correspondence, personal and professional writings, photographs and audiovisual materials.

External links

Books

• Northrop Frye at Amazon.com

Audio / video

• Northrop Frye channel at YouTube

About

• Northrop Frye in the Encyclopædia Britannica
• Northrop Frye at NNDB
• Herman Northrop Frye in the New Brunswick Literary Encyclopedia
• An essay on Northrop Frye's life and ideas
• "Questioning Northrop Frye's Adaptation of Vico". An article in Interpretation: A Journal of Political Philosophy, Spring 2010, Vol. 37:3.
• The Educated Imagination. A blog dedicated to Northrop Frye

Etc.

• The Frye Festival. An international literary festival in Moncton, New Brunswick.