Нортроп Фрайдың «Сыни анатомиясы»: Әдеби теориялар жинағы

Literary criticism book by Northrop Frye
the book by Northrop Frye

Anatomy of Criticism: Four Essays (Princeton University Press, 1957) is a book by Canadian literary critic and theorist Northrop Frye that attempts to formulate an overall view of the scope, theory, principles, and techniques of literary criticism derived exclusively from literature. Frye consciously omits all specific and practical criticism, instead offering classically inspired theories of modes, symbols, myths and genres, in what he termed "an interconnected group of suggestions." The literary approach proposed by Frye in Anatomy was highly influential in the decades before deconstructivist criticism and other expressions of postmodernism came to prominence in American academia circa 1980s. Frye's four essays are sandwiched between a "Polemical Introduction" and a "Tentative Conclusion." The four essays are titled "Historical Criticism: Theory of Modes", "Ethical Criticism: Theory of Symbols", "Archetypal Criticism: A Theory of Myths", and "Rhetorical Criticism: Theory of Genres."

The purpose of the introduction is to defend the need for literary criticism, to distinguish the nature of genuine literary criticism from other forms of criticism, and to clarify the difference between direct experience of literature and the systematic study of literary criticism. There are a number of reasons why the introduction is labeled as a "polemic". In defending the need for literary criticism, Frye opposes a notion common to Tolstoy and Romantic thought that "natural taste" is superior to scholarly learning (and by extension, criticism). Frye also accuses a number of methods of criticism (e. g. Marxist, Freudian, Jungian, Neo classical, etc.) as being embodiments of the deterministic fallacy. He is not opposed to these ideologies in particular, but sees the application of any external, ready made ideology to literature as a departure from genuine criticism. This results in subjecting a work of literature to an individual's pet philosophy and an elevation or demotion of authors according to their conformity to the pet philosophy. Another point is to distinguish the difference between personal taste and genuine criticism. Personal taste is too easily swayed by the prevailing morals, values and tastes of the critic's society at that point in history. If taste succumbs entirely to such social forces, the result is the same as that of consciously adopting an external ideology described above. Yet even if there is a consensus among critics that the works of John Milton are more fruitful than Richard Blackmore (to use Frye's example), a critic contributes little by saying so. In other words, value judgments contribute little to meaningful criticism. In place of meaningless criticism, Frye proposes a genuine literary criticism which draws its method from the body of literature itself. Literary criticism ought to be a systematic study of works of literature, just as physics is of nature and history is of human action. Frye makes the explicit assumption that in order for systematic study to be possible, the body of literature must already possess a systematic nature. Frye claims that we know very little about this system as yet and that the systematic study of literature has progressed little since Aristotle. Frye concludes his introduction by addressing the weaknesses of his argument. He mentions that the introduction is a polemic, but written in first person to acknowledge the individual nature of his views. He concedes that the following essays can only give a preliminary, and likely inexact, glimpse of the system of literature. He admits to making sweeping generalities that will often prove false in light of particular examples. Finally, he stresses that while many feel an "emotional repugnance" to schematization of poetry, the schematization should be regarded as an aspect of criticism, not the vibrant, personal, direct experience of the work itself—much as the geologist turns away from his or her systematic work to enjoy the beauty of the mountains.

The Latin dedication at the beginning, "Helenae Uxori" is to Northrop's wife, Helen. Bergson's Laughter may provide a complementary view on comedy. The book evolved out of an introduction to Spenser's The Faerie Queene: "the introduction to Spenser became an introduction to the theory of allegory" Frye allowed (p. vii).