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Herman Northrop Frye, CC, FRSC byl kanadský literární kritik.

Frye vyrostl v Monctonu . Studoval teologii na Victoria University, části University of Toronto, a byl vysvěcen na kněze United Church of Canada. Po vysvěcení studoval nějaký čas v Oxfordu, aby se poté na zbytek své profesní kariéry vrátil na Victoria University, s výjimkou let 1974–1975, kdy byl "Nortonským profesorem " na Harvardově universitě.

Prvního mezinárodního uznání se dostalo jeho analýze veršů Williama Blakea , kterou publikoval již jako student. Frye ukázal, že jsou založeny na systému metafor z Bible a Miltonova Ztraceného ráje. Tato práce byla publikována roku 1947 pod názvem Fearful Symmetry. Analýze Bible se věnuje v práci Great code. Jeho vrcholným dílem byla kniha Anatomy of Criticism: Four Essays z roku 1957. V letech 1976–1983 šlo o třetí nejcitovanější publikaci v humanitních a sociálních vědách.. Stručnější a přístupnější formou zpracoval své názory v závěru života v knize The double vision. Wikipedia  

✵ 14. červenec 1912 – 23. leden 1991   •   Další jména Нортроп Фрай, Нортроп Фрај, ਨੋਰਥਰੋਪ ਫ੍ਰਾਈ
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“The fundamental job of the imagination in ordinary life…is to produce, out of the society we have to live in, a vision of the society we want to live in.”

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Northrop Frye

"Quotes", The Educated Imagination (1963), Talk 6: The Vocation of Eloquence

“I give the impression of elusiveness sometimes, and rightly, because I really do have an inner chamber in my temple I'm not mature enough to open.”

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Northrop Frye

2:618
"Quotes", Late Notebooks, 1982–1990: Architecture of the Spiritual World (2002)

“Finnegans Wake is a kind of hypnagogic structure, words reverberating on themselves without pointing to objects…This may be the hallucinatory verbal world within which God speaks.”

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1:399
"Quotes", Late Notebooks, 1982–1990: Architecture of the Spiritual World (2002)

“A purely individualized myth is an obsession, sometimes a psychosis. A purely socialized myth is an ideology, which sooner or later also becomes obsessive or psychotic. A myth that has either the direct current of transcendence or the alternating current of imagination rises clear of this grisly antithesis.”

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2:716
"Quotes", Late Notebooks, 1982–1990: Architecture of the Spiritual World (2002)

“The pursuit of beauty is much more dangerous nonsense than the pursuit of truth or goodness, because it affords a stronger temptation to the ego.”

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Northrop Frye

"Quotes", Anatomy of Criticism: Four Essays (1957), Mythical Phase: Symbol as Archetype

“We notice as the Bible goes on, the area of scared space shrinks.”

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Northrop Frye

Zdroj: "Quotes", The Great Code: The Bible and Literature (1982), Chapter Six, p. 158

“Yesterday's kook book becomes tomorrow's standard text.”

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Northrop Frye

2:495
"Quotes", Late Notebooks, 1982–1990: Architecture of the Spiritual World (2002)

“Culture's essential service to a religion is to destroy intellectual idolatry, the recurrent tendency in religion to replace the object of its worship with its present understanding and forms of approach to that object.”

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"Quotes", Anatomy of Criticism: Four Essays (1957), Anagogic Phase: Symbol as Monad

“Man creates what he calls history as a screen to conceal the workings of the apocalypse from himself.”

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Northrop Frye

Zdroj: "Quotes", The Great Code: The Bible and Literature (1982), Chapter Five, p. 136

“Experience is nearly always commonplace; the present is not romantic in the way the past is, and ideals and great visions have a way of becoming shoddy and squalid in practical life. Literature reverses this process.”

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Northrop Frye

"Quotes", The Educated Imagination (1963), Talk 3: Giants in Time

“My greater simplicity came from a deeper level than the labyrinth of the brain.”

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1:61-2
"Quotes", Late Notebooks, 1982–1990: Architecture of the Spiritual World (2002)

“Man is constantly building anxiety-structures, like geodesic domes, around his social and religious institutions.”

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Zdroj: "Quotes", The Great Code: The Bible and Literature (1982), Chapter 8, p. 232

“All writers are conventional, because all writers have the same problem of transferring their language from direct speech to the imagination. 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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"Quotes", The Educated Imagination (1963), Talk 2: The Singing School

“Nobody seriously thinks of television as a viewer's mode of perception…No matter how much he wants people to look at his product, the advertiser doesn't realize that television is [the viewer's] way of looking at him, & not his way of reaching them.”

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Zdroj: "Quotes", Notebooks and Lectures on the Bible and Other Religious Texts (2003), p. 95-6

“One of the major activities of art consists in sharpening the edge of platitudes to make them enter the soul as realities.”

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Zdroj: "Quotes", Notebooks and Lectures on the Bible and Other Religious Texts (2003), p. 7

“It is clear that all verbal structures with meaning are verbal imitations of that elusive psychological and physiological process known as thought, a process stumbling through emotional entanglements, sudden irrational convictions, involuntary gleams of insight, rationalized prejudices, and blocks of panic and inertia, finally to reach a completely incommunicable intuition.”

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"Quotes", Anatomy of Criticism: Four Essays (1957), Formal Phase: Symbol as Image

“Literally, the Bible is a gigantic myth, a narrative extending over the whole of time from creation to apocalypse, unified by a body of recurring imagery that "freezes" into a single metaphor cluster, the metaphors all being identified with the body of the Messiah, the man who is all men, the totality logoi who is one Logos, the grain of sand that is the world.”

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Zdroj: "Quotes", The Great Code: The Bible and Literature (1982), Chapter 8, p. 224

“Continuous prose suggests complete identification with the representing, observing, immersing-in-object self. Aphorisms suggest a richer & varied personality made up more of internal conflicts and decisions. An epiphanic sequence suggests the highest mystery of personality.”

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33.47
"Quotes", Notebooks

“A person who knows nothing about literature may be an ignoramus, but many people don't mind being that.”

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"Quotes", The Educated Imagination (1963), Talk 1: The Motive For Metaphor http://northropfrye-theeducatedimagination.blogspot.ca/2009/08/1-motive-for-metaphor.html

“In imaginative thought there is no real knowledge of anything but similarities (ultimately identities): knowledge of differences is merely a transition to a new knowledge of similarities.”

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Zdroj: "Quotes", Notebooks and Lectures on the Bible and Other Religious Texts (2003), p. 215

“A reader who quarrels with postulates, who dislikes Hamlet because he does not believe that there are ghosts or that people speak in pentameters, clearly has no business in literature.”

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Zdroj: "Quotes", Anatomy of Criticism: Four Essays (1957), p. 70

“Literature is not a subject of study, but an object of study.”

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"Quotes", Anatomy of Criticism: Four Essays (1957), Polemical Introduction

“The fable says that the tortoise won in the end, which is consoling, but the hare shows a good deal of speed and few signs of tiring.”

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"Quotes", The Educated Imagination (1963), Talk 5: Verticals Of Adam

“No matter what direction we start off in, the signposts of literature always keep pointing the same way, to a world where nothing is outside the imagination. If even time, the enemy of all living things, and to poets, the most hated and feared of all tyrants, can be broken down by the imagination, anything can be.”

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Northrop Frye

"Quotes", The Educated Imagination (1963), Talk 3: Giants in Time

“Writers don't seem to benefit much by the advance of science, although they thrive on superstitions of all kinds.”

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"Quotes", The Educated Imagination (1963), Talk 1: The Motive For Metaphor http://northropfrye-theeducatedimagination.blogspot.ca/2009/08/1-motive-for-metaphor.html

“If you haven't got an excremental vision you have no business setting up as a major satirist.”

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2:578-9
"Quotes", Late Notebooks, 1982–1990: Architecture of the Spiritual World (2002)

“Belief has nothing to do with knowledge, & credo ut intelligam [I believe in order that I might understand] is horseshit.”

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Zdroj: "Quotes", Notebooks and Lectures on the Bible and Other Religious Texts (2003), p. 209

“I think that everybody tries to produce what Marshall McLuhan called a ‘counter environment.’ That is, you set yourself in opposition to the kind of mass tendencies which the media set up. That’s what’s so important about the humanities in the uni­versity…There’s something of a personal dialogue between one human being and another. And the fact that this dialogue is being car­ried out in the teeth of all the mass emotion techniques of the electronic media is a very important side of the humanities.”

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"Canadian Energy: Dialogues on Creativity: Northrop Frye." Descant 12, no. 32-3 (1981).
"Quotes", Interviews with Northrop Frye (2008)

“The objective world is the order of nature, thinking or reflection follows the suggestions of sense experience, and words are the servomechanisms of reflection.”

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Zdroj: "Quotes", The Great Code: The Bible and Literature (1982), Chapter One, p. 13