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547:, or characterization and relates to how the protagonist is portrayed in respect to the rest of humanity and the protagonist's environment. Frye suggests that Classical civilizations progressed historically through the development of these modes, and that something similar happened in Western civilization during medieval and modern times. He speculates that contemporary fiction may be undergoing a return to myth, completing a full circle through the five modes. Frye argues that when irony is pushed to extremes, it returns to the mode of myth; this concept of the
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of dreams and the subconscious. It is closely related to the chant, and though it is found in all literature, it is more apparent in certain kinds of literature than others. At this point Frye suggests a connection between the four historical modes and the four genres. In this sense, the lyrical is typical of the ironic age—just as the ironic protagonist has turned away from society, the lyrical poet makes utterances without regard to the audience. The lyrical rhythm is very clearly seen in Joyce's
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note his counter-intuitive usage of the term "musical". He contends that the common usage of the term is inaccurate for purposes of criticism, drawn from analogy with harmony, a stable relationship. Music, however, does not consist of a plastic, static, continuously stable relationship, but rather a series of dissonances resolving at the end into a stable relationship. Poetry containing little dissonance, then, has more in common with the plastic arts than with music.
2907:"Fiction" is a vague term which Frye uses to avoid introducing too many new terms. Part of the difficulty comes from fact that this is the only of the four genres which has no precedent in antiquity. He acknowledges having used the term previously in a different sense. In this essay, the term refers to literature in which the author addresses the audience through a book, or more simply stated, prose. The rhythm of prose is that of continuity of meaning.
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literary works both prior and subsequent to the work in question. Frye argues that convention is a vital part of literature and that copyright is harmful to the process of literary creation. Frye points to the use of convention in
Shakespeare and Milton as examples to strengthen his argument that even verbatim copying of text and plot does not entail a death of creativity. Further, Frye argues that romantic, anti-conventional writers such as
40:
339:, 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.
2879:—the relation (or idealized relation) between author and audience—is a further consideration. Difference in genre relies not on topical considerations (science fiction, romance, mystery), nor in length (e.g. epics are long, lyrics are short), but in the radical of presentation. As such, Frye proposes a total of four distinct genres:
852:). Frye's representation of formalism here is unique; however, its setting as part of the larger system of literary criticism Frye outlines in the entire work. The notion of form (and perhaps Frye's literal phase) relies heavily on the assumption of inherent meaning within the text—a point contested by deconstructionist critics.
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of modes outlined in the first essay of
Anatomy of Criticism. I soon scrapped his loaded term "decline" for a more neutral conception of cultural aging, but his vision of cultural history superseded the onward- and-upward people I had read still earlier in youth, such as Bernard Shaw and HG Wells, who had obviously got it wrong.
1483:, but not identical. There is a great deal of variety in the imagery of these structures, but tame animals and wise rulers are common in structures analogical to the apocalyptic (analogy of innocence), while predatory aristocrats and masses living in squalor characterize analogy to the demonic (analogy of experience).
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phase exhibits the centrifugal, or outward, property of a symbol. For example, when a word such as 'cat' evokes a definition, image, experience or any property connected with the word 'cat' external to the literary context of the particular usage, we have the word taken in the descriptive sense. Frye
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The demonic aspect of historical time is clearer in Vico than in
Spengler, though Vico came later into my reading. In Vico there is also a projecting of authority, first on gods, then on "heroes" or human leaders, then on the people themselves. Vico lived at a time when there had been no permanently
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Classical lyrical poetry often presents a shepherd speaking of his love; he is overheard by his audience. However, the distinctiveness of lyric comes more from its peculiar rhythm than from this radical of representation. Frye describes this rhythm as associative rather than logical and is the stuff
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These four genres form the organizing principle of the essay, first examining the distinctive kind of rhythm of each, then looking at specific forms of each more closely. As Frye describes each genre, he explains the function of melos and opsis in each. To understand Frye's melos, it is important to
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that starts the cycle over again. In
Spengler there is no general cyclical movement of this kind, but there is one latent in his argument. Spengler's sense of a historically finite culture, exploiting and exhausting a certain range of imaginative possibilities, provided the basis for the conception
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would represent the bride of Christ, i.e., the
Catholic Church. Frye makes the argument that not only is there a lateral connection of archetypes through intertextuality, but that there is a transcendent almost spiritual unity within the body of literature. Frye describes the anagogic in literature
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refers to personal connotation and conventional definition. Finally, Frye draws an analogy between rhythm and harmony with the literal and descriptive phases respectively. The literal phase tends to be horizontal, dependent on what comes before and after the symbol while the descriptive phase tends
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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
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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
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Whereas mythos is the verbal imitation of action and dianoia the verbal imitation of thought (ethos being composed of the two), melos and opsis (with lexis composed of the two) correspond, though seen from a different (rhetorical) perspective. Frye identifies the connection as such: "The world of
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and considers the symbol in a work as interconnected with similar symbolism throughout the entire body of literature. While Frye deals with myths and archetypes from a broader perspective in the third essay, in this section he focuses on the critical method of tracing a symbol's heritage through
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Drama lies halfway between epos and fiction, or more accurately, its diction must fit the setting and the character. Some characters may be melos-oriented, speaking in meter or with various rhetorical effects in song and banter. Others may be opsis-oriented, speaking more in prose and conveying
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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
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The third essay is the culmination of Frye's theory in that it unites the elements of characterization and each of the five symbolic phases presented in the first two essays into an organic whole. This whole is organized around a metaphor of human desire and frustration as manifested in the
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Finally, Frye explores the nature of thematic literature in each mode. Here, the intellectual content is more important than the plot, so these modes are organized by what is considered more authoritative or educational at the time. Also, these modes tend to organize by societal structure.
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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
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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.
676:, or human sacrifice. Yet ironic comedy may also offer biting satire of a society replete with snobbery. It may even depict a protagonist rejected by society (thus failing the typical comic reintegration) yet who appears wiser than the rejecting society. Aristophanes,
1494:, then, occupies the center of all four. This ordering allows Frye to place the modes in a circular structure and point to the cyclical nature of myth and archetypes. In this setting, literature represents the natural cycle of birth, growth, maturity, decline, death,
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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
2904:(that which is spoken), and when an author, speaker, or storyteller addresses a visible audience directly, we have epos. The rhythm of epos is that of recurrence (i.e. accent, meter, sound patterns). These are the rhythms most commonly associated with poetry.
784:(the first two phases constituting the first level). Also, Frye relates the five phases with the ages of man laid out in the first essay. Frye defines a literary symbol as: "ny unit of any literary structure that can be isolated for critical attention."
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Ironic comedy is perhaps more difficult, and Frye devotes a good deal more space to this than the other comedic modes. At one extreme, ironic comedy borders on savagery, the inflicting of pain on a helpless victim. Some examples of this include tales of
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phase, embodied by the image, in order to define the layer of meaning that results from the interplay of the harmony and rhythm of the signs and motifs. The most frequently repeated imagery sets the tone of the work (as with the color red in
367:, 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.
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900:(as a visual, auditory and textual art form), paintings (as visual art form) and music (as an auditory art form). The underlying structures and patterns of all these forms are similar, though they have a unique style of their own.
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ideological content. Most characters alternate according to the dramatic situation. Such a marriage of the appropriate language with the character and setting (ethos) defines a rhythm of decorum, the distinctive rhythm of drama.
872:. Rather than viewing the symbol as a unique achievement of the author or some inherent quality of the text, the archetypal phase situates the symbol in its society of literary kindred as a product of its conventional forebears.
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High mimetic comedy involves a strong central protagonist who constructs his or her own society by brute force, fending off all opposition until the protagonist ends up with all honor and riches due him or her—the plays of
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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
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Rhetoric means two things: ornamental (opsis) speech and persuasive (melos) speech. Rhetorical criticism, then, is the exploration of literature in the light of melos, opsis, and their interplay as manifested in lexis.
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successful example of a democracy, and from his study of Roman history he concluded that the people cannot recover the authority they project on others, and hence the third age of the people is followed by a
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social action and event . . . has a particularly strong association with the ear. . . . The world of individual thought and idea has a correspondingly close connection with the eye . . ." (Frye, 243).
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In the first three essays, Frye deals mainly with the first three elements of
Aristotle's elements of poetry (i.e. mythos, ethos, dianoia). In the fourth essay, he explores the last three elements:
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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
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In the romantic, the gods have retreated to the sky and it is up to chroniclers in a nomadic society to remember the lists of names of the patriarchs, the proverbs, traditions, charms, deeds, etc.
618:'s works provide many examples of such. At other times, the protagonist is not necessarily weaker than the average person yet suffers severe persecution at the hands of a deranged society.
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poetry. The first essay begins by exploring the different aspects of fiction (subdivided into tragic and comic) in each mode and ends with a similar discussion of thematic literature.
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of human desire. In this state, the literary structure points toward unification of all things in a single analogical symbol. The ultimate of the divine is the deity, of the human is
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phase wherein a symbol is treated as a monad. The anagogic level of medieval allegory treated a text as expressing the highest spiritual meaning. For example, Dante's
Beatrice in the
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means nearly the opposite of its usage in common speech; to say that something "literally" means something generally involves referring to a definition external to the text. Instead,
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Finally, in the ironic mode, the poet figures as a mere observer rather than an authoritative commentator, producing writing that tends to emphasize discontinuity and anti-epiphany.
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In the low mimetic, thematic exposition tends toward individualism and romanticism. The individual author's own thoughts and ideas are now the center of authority, as instanced by
848:), with less repeated imagery working in contrast with this tonal background. This section of the essay gives a faithful representation of literary formalism (also known as
813:. He does not define the sign beyond this sense of pointing to the external, nor does he refer to any particular semiotic theory. In opposition to the sign stands the
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The ironic mode often shows the death or suffering of a protagonist who is both weak and pitiful compared to the rest of humanity and the protagonist's environment;
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tend to follow convention anyway. In criticism, the study of the archetypal phase of a symbol is akin to the "nature" perspective in the psychological debate over
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as "the imitation of infinite social action and infinite human thought, the mind of a man who is all men, the universal creative word which is all words."
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Frye divides his study of tragic, comic, and thematic literature into five "modes", each identified with a specific literary epoch: mythic, romantic, high
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thought that "natural taste" is superior to scholarly learning (and by extension, criticism). Frye also accuses a number of methods of criticism (e.g.
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phase. This phase demonstrates the inward, or centripetal, direction of meaning, best described as the contextual meaning of the symbol. To Frye,
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In romantic comic modes, the setting is pastoral or idyllic, and there is an integration of the hero with an idealized simplified form of nature.
1498:, rebirth, and the repetition of the cycle. The remainder of the chapter deals with the cycle of the four seasons as embodied by four mythoi:
351:(to use Frye's example), a critic contributes little by saying so. In other words, value judgments contribute little to meaningful criticism.
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that of consciously adopting an external ideology described above. Yet even if there is a consensus among critics that the works of
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imagery which typifies the unfulfillment, perversion, or opposition of human desire. In this state, things tend toward
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Frye then identifies the mythical mode with the apocalyptic, the ironic with the demonic, and the romantic and
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Finally we have the analogical imagery, or more simply, depictions of states that are similar to paradise or
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Mythic comedy deals with acceptance into the society of gods, often through a number of trials as with
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Low mimetic tragedy shows the death or sacrifice of an ordinary human being and evokes pathos, as with
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Low mimetic comedy often shows the social elevation of the hero or heroine and often ends in marriage.
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to be laid out in space, having external meanings that vary in nearness to the contextual meaning.
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In the high mimetic mode society is structured around a capital city, and "national" epics such as
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3158:, available in Daisy format for the disabled (requires Library of Congress key), at
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The Latin dedication at the beginning, "Helenae Uxori" is to
Northrop's wife, Helen.
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Frye's systemization of literature begins with three aspects of poetry given by
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Now that Frye has established his theory of modes, he proposes five levels, or
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epos - Author speaks directly to audience (e.g. story telling, formal speech).
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as laid out in the first essay. These phases are based on the four levels of
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fiction - Author and audience are hidden from each other (e.g. most novels).
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At one pole we have apocalyptic imagery which typifies the revelation of
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refers to the symbol's meaning in its specific literary situation while
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Romantic tragedy features elegies mourning the death of heroes such as
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offer examples of the wide range of ironic comic possibility.
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3007:(1980), in which Chapter One, 'The Place of Northrop Frye's
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622:'s Hester Prynne, and Hardy's Tess exemplify this treatment.
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254:, 1957) is a book by Canadian literary critic and theorist
3027:. Internet Archive. Princeton, Princeton University Press.
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Seasons and their analogies to genres, life and myths by
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Spiritus Mundi: Essays on
Literature, Myth, and Society
2863:- the element dealing with visual aspects of literature
3110:. Princeton, New Jersey: Princeton University Press.
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came to prominence in American academia circa 1980s.
1225:applied to different types of imagery discussed by
64:. Unsourced material may be challenged and removed.
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626:Comedy is concerned with integration of society.
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267:was highly influential in the decades before
570:Mythic tragedy deals with the death of gods.
3011:', begins by calling the book 'monumental'.
2949:The book evolved out of an introduction to
2466:A Dialogue Concerning Oratorical Partitions
3145:Toronto: University of Toronto Press,1990.
2900:The original presentation of the epic was
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2818:
142:
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124:Learn how and when to remove this message
3143:Northrop Frye: Anatomy of his Criticism.
3040:Northrop Frye and the poetics of process
2556:Copia: Foundations of the Abundant Style
1522:"Rhetorical Criticism: Theory of Genres"
290:", and "Rhetorical Criticism: Theory of
16:Literary criticism book by Northrop Frye
989:tree of death, sinister forest, cactus
907:applied to tragic and comedy vision by
888:"Archetypal Criticism: Theory of Myths"
371:"Historical Criticism: Theory of Modes"
3167:
791:Literal/descriptive (motifs and signs)
764:"Ethical Criticism: Theory of Symbols"
148:Cloth front cover of the first edition
3138:New Jersey: Princeton U. Press, 1957.
2759:Rhetoric of social intervention model
1490:with their respective analogies. The
1182:, the animal is a predator such as a
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3097:
3095:
3093:
3020:
2942:may provide a complementary view on
1020:sea of destruction, water of death,
422:Fictional and Thematic Types by Mode
62:adding citations to reliable sources
33:
13:
19:This article is about the book by
14:
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3149:
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3024:Anatomy of criticism; four essays
247:Anatomy of Criticism: Four Essays
3195:Princeton University Press books
2924:
1545:
1371:horse (animal of proud beauty),
1314:king with courtly love mistress
1113:Myth of fall, decay, separation
892:Frye begins the essay regarding
393:(characterization/setting), and
38:
1435:labyrinth in modern acropolis,
1391:tree of death, sinister forest
1129:Myth of chaos, death, darkness
817:which is a symbol taken in the
49:needs additional citations for
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1452:water of death, sea monsters,
1:
3128:
2974:Archetypal literary criticism
2729:List of feminist rhetoricians
1002:desert, rock, ruined castles
759:exemplify this thematic mode.
2719:Glossary of rhetorical terms
1159:, and of the mineral is the
7:
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2566:Language as Symbolic Action
1454:sea-storm, whirlpool, snow
1402:garden with large building
297:
10:
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3200:Canadian non-fiction books
1441:city with court at center
1166:At the opposite pole lies
1151:, of the vegetable is the
999:Mineral (applied to city)
875:Finally, Frye proposes an
269:deconstructivist criticism
252:Princeton University Press
190:Princeton University Press
18:
2476:De Optimo Genere Oratorum
1423:desert, abandoned castle
1399:farm, agricultural field
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1097:Myth of triumph, harmony
933:Mythical associations in
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837:Frye next introduces the
809:labels any such symbol a
271:and other expressions of
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3037:Cotrupi, Caterina Nella
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2963:" Frye allowed (p. vii).
955:evil man, tyrant leader
638:or assumption as in the
29:The Anatomy of Criticism
3134:Northrop Frye, Herman.
3102:Frye, Northrop (1957).
3021:Frye, Northrop (1971).
3005:After the New Criticism
2877:radical of presentation
2416:De Sophisticis Elenchis
1473:(as disciplined river)
1334:(parody of ideal life)
1196:", and the city is the
347:are more fruitful than
286:Criticism: A Theory of
3180:Books by Northrop Frye
3175:1957 non-fiction books
3084:April 3, 2005, at the
3069:
2536:De doctrina Christiana
2526:Dialogus de oratoribus
2446:Rhetorica ad Herennium
1672:Captatio benevolentiae
1466:(salty, polluted sea)
1327:leaders with evil ego
690:Sir Arthur Conan Doyle
303:Polemical introduction
73:"Anatomy of Criticism"
3136:Anatomy of Criticism.
3059:
2704:Communication studies
2546:De vulgari eloquentia
2406:Rhetoric to Alexander
1449:water of life, river
896:as the source of all
870:nature versus nurture
137:Anatomy of Criticism
3106:Anatomy of Criticism
3009:Anatomy of Criticism
1325:tyrants, dictators,
1311:(very little space)
1245:Apocalyptic imagery
1239:Great Chain of Being
1223:Great Chain of Being
1038:Great Chain of Being
944:angry, devilish God
919:Great Chain of Being
905:Great Chain of Being
797:Mythical (archetype)
58:improve this article
2709:Composition studies
2640:Health and medicine
2506:Institutio Oratoria
1713:Eloquentia perfecta
1287:Nature & Reason
1257:Analogical imagery
1229:
1194:Young Goodman Brown
1052:
911:
620:Nathaniel Hawthorne
424:
401:driven, as in most
138:
3185:Literary criticism
2794:Terministic screen
2576:A General Rhetoric
2106:Resignation speech
1643:Studia humanitatis
1625:Byzantine rhetoric
1409:(applied to city)
1221:
1161:heavenly Jerusalem
1047:
903:
728:William Wordsworth
653:or something like
420:
260:literary criticism
176:Literary criticism
136:
23:. For the book by
3058:p.113 quotation:
3001:Frank Lentricchia
2956:The Faerie Queene
2842:
2841:
2769:Rogerian argument
2516:Panegyrici Latini
1608:The age of Cicero
1477:
1476:
1235:(as described in
1133:
1132:
1033:
1032:
917:(as described in
787:Symbolic phases:
782:medieval allegory
714:The Faerie Queene
557:Giambattista Vico
555:is familiar from
553:historical cycles
535:
534:
349:Richard Blackmore
243:
242:
206:Publication place
134:
133:
126:
108:
3207:
3160:Internet Archive
3141:Hamilton, A. C.
3122:
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2827:
2820:
2734:List of speeches
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2521:
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2491:
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2471:
2461:
2451:
2441:
2431:
2421:
2411:
2401:
2391:
2381:
2185:Neo-Aristotelian
1752:Figure of speech
1613:Second Sophistic
1549:
1526:
1525:
1464:destructive sea
1251:Demonic imagery
1230:
1220:
1192:or Hawthorne's "
1163:or city of God.
1065:Associated Myth
1053:
1046:
912:
902:
800:Anagogic (monad)
674:murder mysteries
425:
233:
197:Publication date
146:
139:
135:
129:
122:
118:
115:
109:
107:
66:
42:
34:
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3086:Wayback Machine
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2754:Public rhetoric
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2630:Native American
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2200:
2199:
2190:
2189:
2133:
2132:
2121:
2120:
2011:Funeral oration
2001:Farewell speech
1958:Socratic method
1914:
1913:
1904:
1903:
1666:
1665:
1656:
1655:
1561:
1560:
1524:
1322:good man, hero
1241:by Aristotle)
1026:water of life,
966:birds of prey (
958:good man, hero
890:
861:intertextuality
766:
561:Oswald Spengler
373:
305:
300:
214:Media type
198:
149:
130:
119:
113:
110:
67:
65:
55:
43:
32:
17:
12:
11:
5:
3213:
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3150:External links
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2918:Finnegans Wake
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2496:On the Sublime
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2045:Lightning talk
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1830:Method of loci
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1600:
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1578:
1573:
1566:Ancient Greece
1562:
1556:
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1554:
1551:
1550:
1542:
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1535:
1534:
1523:
1520:
1475:
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1468:
1462:
1461:, river water
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1443:
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1397:
1395:Garden of Eden
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1110:Old, Maturity
1108:
1103:
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1094:Youth, Growth
1092:
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1083:
1082:
1081:Myth of birth
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1060:
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1024:
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1000:
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993:Garden of Eden
990:
987:
983:
982:
979:
964:
960:
959:
956:
953:
949:
948:
945:
942:
938:
937:
931:
929:Tragic vision
925:
923:by Aristotle)
889:
886:
802:
801:
798:
795:
794:Formal (image)
792:
765:
762:
761:
760:
756:Finnegans Wake
746:The Waste Land
737:
724:
709:
706:
698:
697:
686:Henry Fielding
665:
662:
646:
643:
624:
623:
612:
593:
582:
571:
533:
532:
531:discontinuity
529:
524:
519:
514:
509:
505:
504:
499:
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489:
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479:
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469:
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434:
431:
428:
409:driven, as in
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46:
44:
37:
15:
9:
6:
4:
3:
2:
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3117:9780691069999
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2925:Miscellaneous
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2830:
2828:
2823:
2821:
2816:
2815:
2813:
2812:
2805:
2802:
2800:
2799:Toulmin model
2797:
2795:
2792:
2790:
2787:
2785:
2784:Talking point
2782:
2780:
2779:Speechwriting
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2775:
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2765:
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2760:
2757:
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2722:
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2717:
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2712:
2710:
2707:
2705:
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2700:
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2695:
2694:
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2685:
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2673:
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2628:
2626:
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2621:
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2611:
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2606:
2603:
2601:
2600:Argumentation
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2597:
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2557:
2553:
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2523:
2518:
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2513:
2508:
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2487:
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2473:
2468:
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2463:
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2448:
2447:
2443:
2438:
2437:
2436:De Inventione
2433:
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2423:
2418:
2417:
2413:
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2403:
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2203:
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2176:
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2171:
2168:
2166:
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2149:
2146:
2145:
2144:
2141:
2139:
2136:
2135:
2131:
2125:
2124:
2117:
2116:War-mongering
2114:
2112:
2109:
2107:
2104:
2100:
2097:
2096:
2095:
2092:
2088:
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2084:
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2082:Progymnasmata
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2076:
2073:
2071:
2068:
2066:
2063:
2062:
2061:
2058:
2056:
2053:
2051:
2050:Maiden speech
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1900:
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1659:
1652:
1651:Modern period
1649:
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1622:
1621:
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1604:
1601:
1599:
1598:Ancient India
1596:
1592:
1589:
1587:
1584:
1582:
1581:Attic orators
1579:
1577:
1574:
1572:
1569:
1568:
1567:
1564:
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1438:
1434:
1432:
1428:
1425:
1422:
1420:
1416:
1413:Bethlehem in
1412:
1410:
1406:
1405:
1401:
1398:
1396:
1393:
1390:
1387:
1384:
1383:
1380:
1379:
1375:
1370:
1368:
1364:
1360:
1357:
1354:
1351:
1347:
1344:
1341:
1338:
1337:
1333:
1330:
1328:
1324:
1321:
1318:
1317:
1310:
1308:
1305:
1302:
1300:
1296:
1293:
1292:
1289:
1288:
1284:
1281:
1279:
1278:
1274:
1271:
1269:
1268:
1264:
1261:
1260:
1254:
1248:
1242:
1240:
1236:
1231:
1228:
1224:
1219:
1217:
1216:
1211:
1207:
1203:
1199:
1195:
1191:
1190:
1185:
1181:
1177:
1173:
1169:
1164:
1162:
1158:
1154:
1150:
1146:
1142:
1139:and ultimate
1138:
1128:
1125:
1123:
1120:
1117:
1116:
1112:
1109:
1107:
1104:
1101:
1100:
1096:
1093:
1091:
1088:
1085:
1084:
1080:
1078:Birth (life)
1077:
1075:
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1069:
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1064:
1061:
1058:
1055:
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1045:
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1023:
1022:sea monsters
1019:
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936:
935:Comic vision
932:
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906:
901:
899:
895:
885:
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881:Divine Comedy
878:
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867:
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858:
853:
851:
850:New Criticism
847:
846:
840:
835:
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828:
824:
820:
816:
812:
807:
799:
796:
793:
790:
789:
788:
785:
783:
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776:, ethos, and
775:
771:
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748:
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742:
738:
735:
734:
729:
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710:
707:
704:
703:
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695:
694:Graham Greene
691:
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683:
679:
675:
671:
666:
663:
661:are examples.
660:
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527:individualism
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337:Neo-classical
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273:postmodernism
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256:Northrop Frye
253:
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158:Northrop Frye
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78:
75: –
74:
70:
69:Find sources:
63:
59:
53:
52:
47:This article
45:
41:
36:
35:
30:
26:
25:Henry Hazlitt
22:
21:Northrop Frye
3142:
3135:
3105:
3074:
3063:
3060:
3054:
3052:Frye (1991)
3048:
3039:
3033:
3023:
3016:
3008:
3004:
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2913:
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2901:
2899:
2895:
2876:
2874:
2870:
2866:
2860:
2854:
2848:
2843:
2724:Glossophobia
2696:
2615:Constitutive
2574:
2564:
2554:
2544:
2534:
2524:
2514:
2504:
2494:
2484:
2474:
2464:
2454:
2444:
2434:
2424:
2414:
2404:
2394:
2384:
2374:
2198:Rhetoricians
2111:Stump speech
2028:Invitational
1981:
1966:Dissoi logoi
1964:
1943:Deliberative
1935:Controversia
1933:
1896:
1889:
1863:
1856:
1849:
1822:
1815:
1803:Pronuntiatio
1801:
1794:
1787:
1780:
1773:
1732:
1720:
1711:
1694:
1687:
1670:
1641:
1603:Ancient Rome
1496:resurrection
1492:high mimetic
1485:
1478:
1465:
1453:
1436:
1419:city of God
1418:
1408:
1372:
1326:
1286:
1285:
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1265:
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1252:
1246:
1237:
1234:
1213:
1205:
1200:embodied by
1187:
1165:
1153:Tree of Life
1134:
1102:Autumn/fall
1034:
1021:
934:
928:
922:
916:
891:
876:
874:
866:Walt Whitman
856:
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822:
818:
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805:
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786:
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769:
767:
754:
744:
731:
723:are typical.
718:
712:
699:
651:Aristophanes
625:
609:Daisy Miller
597:Thomas Hardy
565:
548:
542:
536:
492:aristophanic
436:High Mimetic
421:
394:
390:
386:
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374:
361:
353:
341:
310:
306:
277:
264:
246:
245:
244:
120:
111:
101:
94:
87:
80:
68:
56:Please help
51:verification
48:
2980:Green World
2804:Wooden iron
2764:Rhetrickery
2739:Oral skills
2675:Composition
2610:Contrastive
2430:(c. 350 BC)
2420:(c. 350 BC)
2410:(c. 350 BC)
2400:(c. 350 BC)
2390:(c. 370 BC)
2250:Demosthenes
2230:Brueggemann
2165:Ideological
2016:Homiletics‎
1929:Declamation
1919:Apologetics
1769:Five canons
1637:Renaissance
1620:Middle Ages
1488:low mimetic
1348:, vulture,
1247:(heavenly)
1233:Six Worlds
1180:anti-Christ
1141:fulfillment
1062:Life Cycle
915:Six Worlds
831:descriptive
806:descriptive
751:James Joyce
741:T. S. Eliot
655:Shakespeare
634:or through
616:Franz Kafka
605:Henry James
522:nationalism
439:Low Mimetic
345:John Milton
3169:Categories
3129:References
2660:Technology
2650:Procedural
2470:(c. 50 BC)
2456:De Oratore
2320:Quintilian
2315:Protagoras
2170:Metaphoric
2094:Propaganda
1977:Epideictic
1891:Sotto voce
1845:Persuasion
1840:Operations
1782:Dispositio
1678:Chironomia
1437:wasteland
1385:Vegetable
1367:chimpanzee
1303:angry God
1283:Analogy of
1277:Experience
1273:Analogy of
1263:Analogy of
1253:(hellish)
1215:The Castle
986:Vegetable
898:literature
720:The Lusiad
678:Ben Jonson
670:lynch mobs
482:apollonian
284:Archetypal
114:April 2021
84:newspapers
3156:Full text
2774:Seduction
2605:Cognitive
2593:Subfields
2520:(100–400)
2275:Isocrates
2215:Augustine
2205:Aristotle
2180:Narrative
2130:Criticism
2075:Philippic
1989:Panegyric
1972:Elocution
1953:Dialectic
1873:Situation
1734:Facilitas
1728:Enthymeme
1707:Eloquence
1689:Delectare
1431:Jerusalem
1427:Bethlehem
1415:Jerusalem
1331:children
1267:Innocence
1012:, temple
1010:Jerusalem
1006:Bethlehem
636:salvation
549:recursion
517:chronicle
512:scripture
508:Thematic
472:scapegoat
451:dionysiac
377:Aristotle
357:Aristotle
186:Publisher
3190:Rhetoric
3082:Archived
2968:See also
2961:allegory
2939:Laughter
2645:Pedagogy
2625:Feminist
2396:Rhetoric
2386:Phaedrus
2380:(380 BC)
2330:Richards
2300:Perelman
2148:Pentadic
2143:Dramatic
2087:Suasoria
2065:Diatribe
2006:Forensic
1983:Encomium
1948:Demagogy
1817:Imitatio
1789:Elocutio
1775:Inventio
1745:Informal
1664:Concepts
1591:Sophists
1586:Calliope
1576:Atticism
1571:Asianism
1539:Rhetoric
1531:a series
1529:Part of
1407:Mineral
1198:dystopia
877:anagogic
857:mythical
659:Prospero
632:Hercules
497:Menandic
460:classic
433:Romantic
389:(plot),
329:Freudian
321:Romantic
298:Contents
180:rhetoric
164:Language
3064:ricorso
2951:Spenser
2934:Bergson
2690:Related
2665:Therapy
2655:Science
2620:Digital
2500:(c. 50)
2490:(46 BC)
2480:(46 BC)
2460:(55 BC)
2450:(80 BC)
2440:(84 BC)
2376:Gorgias
2345:Toulmin
2340:Tacitus
2290:McLuhan
2265:Gorgias
2260:Erasmus
2255:Derrida
2220:Bakhtin
2210:Aspasia
2175:Mimesis
2138:Cluster
2070:Eristic
2060:Polemic
2055:Oratory
2033:Lecture
1796:Memoria
1740:Fallacy
1683:Decorum
1630:Trivium
1558:History
1508:tragedy
1504:romance
1388:Garden
1378:Phoenix
1374:unicorn
1352:, wolf
1350:serpent
1339:Animal
1294:Divine
1189:Inferno
1176:tyranny
1172:anarchy
1168:demonic
1118:Winter
1106:Tragedy
1090:Romance
1086:Summer
1070:Spring
1059:Genres
1056:Season
1042:seasons
976:vulture
972:serpent
963:Animal
941:Divine
845:Macbeth
827:literal
823:literal
819:literal
778:dianoia
733:Prelude
682:Molière
590:Oedipus
586:Othello
579:Beowulf
539:mimetic
487:idyllic
462:tragedy
456:elegiac
447:Tragic
442:Ironic
415:lyrical
403:fiction
395:dianoia
382:Poetics
379:in his
333:Jungian
325:Marxist
317:Tolstoy
313:polemic
280:Symbols
265:Anatomy
172:Subject
167:English
98:scholar
3114:
3079:review
2944:comedy
2902:ta epe
2749:Pistis
2744:Orator
2670:Visual
2580:(1970)
2570:(1966)
2560:(1521)
2550:(1305)
2486:Orator
2426:Topics
2355:Weaver
2285:Lysias
2280:Lucian
2270:Hobbes
2245:de Man
2240:Cicero
2038:Public
2021:Sermon
1996:Eulogy
1924:Debate
1912:Genres
1858:Pathos
1824:Kairos
1811:Hypsos
1757:Scheme
1722:Eunoia
1702:Device
1696:Docere
1516:satire
1510:, and
1500:comedy
1471:Thames
1446:Water
1346:dragon
1319:Human
1307:Christ
1299:Christ
1202:Orwell
1145:Christ
1137:heaven
1126:Death
1074:Comedy
1017:Water
952:Human
839:formal
774:mythos
770:phases
692:, and
575:Arthur
502:sadism
478:Comic
467:pathos
430:Mythic
411:essays
405:, and
387:mythos
365:poetry
292:Genres
238:230039
209:Canada
154:Author
100:
93:
86:
79:
71:
27:, see
2987:Notes
2861:opsis
2855:lexis
2849:melos
2540:(426)
2530:(102)
2368:Works
2335:Smith
2325:Ramus
2310:Plato
2305:Pizan
2235:Burke
2225:Booth
2160:Genre
2155:Frame
1898:Topos
1883:Grand
1878:Style
1865:Logos
1851:Ethos
1835:Modes
1762:Trope
1512:irony
1363:tiger
1355:lamb
1342:lamb
1297:God,
1210:Kafka
1122:Irony
981:lamb
815:motif
640:Bible
544:ethos
391:ethos
288:Myths
222:Pages
217:Print
105:JSTOR
91:books
3112:ISBN
3043:p.18
2999:See
2875:The
2714:Doxa
2510:(95)
2350:Vico
2099:Spin
1481:hell
1459:wine
1227:Frye
1206:1984
1184:lion
1157:vine
1149:lamb
1050:Frye
1028:wine
968:wolf
947:God
909:Frye
894:myth
855:The
811:sign
804:The
749:and
717:and
601:Tess
559:and
413:and
407:idea
399:plot
319:and
282:", "
232:OCLC
201:1957
77:news
2953:'s
2936:'s
2789:TED
2635:New
2295:Ong
1514:or
1429:in
1359:ape
1212:'s
1208:or
1204:'s
1174:or
1155:or
1008:in
753:'s
743:'s
730:'s
657:'s
607:'s
603:or
599:'s
588:or
577:or
551:of
294:."
225:383
60:by
3171::
3092:^
3003:,
1533:on
1518:.
1506:,
1502:,
1417:,
1376:,
1365:,
1361:,
1218:.
1044:.
978:)
974:,
970:,
688:,
684:,
680:,
672:,
563:.
385::
359:.
335:,
331:,
327:,
178:;
3120:.
2946:.
2833:e
2826:t
2819:v
736:.
642:.
611:.
592:.
581:.
250:(
127:)
121:(
116:)
112:(
102:·
95:·
88:·
81:·
54:.
31:.
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