Archetypal criticism with illustrations.-northrop frye.

Name : Gohel Daya B.

Assignment topic: Archetypal criticism with illustrations. – Northrop Frye.

Paper -7

Roll no – 3

Sem-2

Submitted to: - Maharaja Krishnakumarsingh University.

Department of English.

Email id :- dayagohil47@gmail.com

 Introduction:-

                 In the archetypal criticism the term of archetype denotes recurrent narratives pattern of action, designs, themes, character types and images. The identifiable in a variety of the work literature. Throughout the myths, dream and even social rituals. The recurrent items of the result element of human psyche. The profound response from the attentive reader shares the psychic archetypes expressed by the author. An important antecedent of the literary theory of archetype treatment of myth by a group of comparative anthropologists at Cambridge University.

Ø      James G.frazer

The Golden bough (1890-1915)

                 The identified element patterns of myth and ritual. An even more important antecedent the depth psychology of

Ø      Carl G. Jung (1875-1961)

Mythological and archetypal approaches.

v     Definition of misconception.

 The Joseph Campbell recounts a curious phenomenon of the animal behavior. Newly hatched chickens, bits of egg-shells still clinging to their tails, will dart for cover when a hawk flies overhead: yet they remain unaffected by other birds. Furthermore, a wooden model of a hawk, drawn forward along a wire above their coop, will send them scurrying (if the model is pulled backward, however, there is no response). "Whence," Campbell asks, "this abrupt seizure by an image to which there is no counterpart in the chicken's world? Living gulls and ducks, herons and pigeons, leave it cold, but the work of art strikes some very deep chord!"

v      Some example of criticism.

  The established the significance of myth, relationship to archetypes and archetypal patterns. Every people have its own distinctive mythology that may be reflected in legend, folklore, and ideology in other words, myths take their specific shapes from the cultural environments.  The general sense, universal. Furthermore, similar motifs or themes may be found among many different mythologies, and certain images that recur in the myths of people widely separated in time and place tend to have a common meaning or, more accurately, tend to elicit comparable psychological responses and to serve similar cultural functions. Such motifs and images are called archetypes. Stated simply archetypes are universal symbols. As Philip Wheelwright explains in Metaphor and Reality (Bloomington: Indiana University Press, 1962)

Those which carry the same or very similar meanings for a large portion, if not all, of mankind. It is a discoverable fact that certain symbols, such as the sky father and earth mother, light blood, up-down, the axis of a wheel, and others, recur again and again in cultures so remote from one another in space and time that there is no likelihood of any historical influence and causal connection among them .,

Examples of these archetypes and the symbolic meanings with which they tend to be widely associated follow.

·      Image.

          Water a mystery of creation according to the Jung.

a. The sea: the mother of all life.

b. Rivers: death and rebirth the flowing of time into eternity.

·      Colors.

Red: blood, sacrifice

Green: Growth, sensation, hope

Blue, black , white.

v      Archetypal Motifs or Patterns

·      Creation: perhaps the most fundamental of all archetypal  every mythology is built on some account of how the cosmos, nature, and humankind  brought into existence by some supernatural Being or beings.

·      Immortality: another fundamental archetype, generally taking one of two basic narrative forms:

Ø "return to paradise," the state of perfect, timeless bliss enjoyed by man and woman before their tragic Fall into corruption and mortality. <See Myth of the Eternal Return>

Ø the theme of endless death and regeneration--human beings achieve a kind of immortality by submitting to the vast, mysterious rhythm of Nature's eternal cycle, particularly the cycle of the seasons. <Eliade would show how b is a version of a)

3. Hero archetypes (archetypes of transformation and redemption):

a. The quest: the hero (savior, deliverer) undertakes some long journey during which he or she must perform impossible tasks, battle with monsters, solve unanswerable riddles, and overcome insurmountable obstacles in order to save the kingdom.

b. Initiation: the hero undergoes a series of excruciating ordeals in passing from ignorance and immaturity to social and spiritual adulthood, that is, in achieving maturity and becoming a full-fledged member of his or her social group. The initiation most commonly consists of three distinct phases

(1) Separation

 (2) Transformation

 (3) Return

   This is a variation of the death-and-rebirth archetype.

c. The sacrificial scapegoat: the hero, with whom the welfare of the tribe or nation is identified.

v      ARCHETYPES AS GENRES

Images and motifs, archetypes may be found in even more complex combinations as genres or types of literature that conform with the major phases of the seasonal cycle.

Northrop Frye, in his Anatomy of Criticism indicates the correspondent genres for the four seasons as follows:

The mythos of spring: comedy

Comedy is aligned with spring because the genre of comedy is characterized by the birth of the hero, revival and resurrection. Spring symbolizes the defeat of winter and darkness.

 The mythos of summer: romance

Romance and summer are paired together because summer is the culmination life in the seasonal calendar, and the romance genre culminates with some sort of triumph, usually a marriage.

 The mythos of fall: tragedy

Autumn is the dying stage of the seasonal calendar, which parallels the tragedy genre because it is, Above all, known for the “fall” or demise of the protagonist.

 The mythos of winter: irony

Satire is metonymized with winter on ground s that satire is a “dark” genre. Satire is a disillusioned and mocking from of the three other genres. It is noted for its darkness, dissolution, the return of chaos, and defeat of the heroic figure.

E.g-Akhari Rasta. 

With brilliant audacity Fry identifies myth with literature, asserting that myth is a "structural organizing principle of literary form" and that an archetype is essentially an "element of one's literary experience" And in The Stubborn Structure that "mythology as a whole provides a kind of diagram or blueprint of what literature as a whole is all about, an imaginative survey of the human situation from the beginning to the end, from the height to the depth, of what is imaginatively conceivable"

o The archetypal criticism argues that archetypes determine the form and function of literary works. The archetypal cultural meaning is shaped by cultural and psychological myths. The personified or concretized in recurring images, symbol, patterns which may include. Archetypal critics find new criticism to atomistic in ignoring intersexual elements and in approaching the text as if it existed in a vacuum. After all, we recognized story pattern and symbolic associations at least from other texts we have read. The sure meaning cannot exist solely on the page of a work nor can that work be treated as an independent entity. The archetypal criticism origins are rooted in two other academic disciplines, social anthropology and psychoanalysis.

o The Northrop Frye’s trying prove by an analogy of physics to nature the treatment of myth by a group of comparative anthropologists. The identities elementals patterns of myth and ritual that claimed recur in the legends and ceremonials of divers and far-flung culture and religion. An   even more important antecedent was the depth psychology of applied this term.

o The criticism as an argued body of knowledge mentions a systemized and organized body of knowledge. Science dissects and analysis nature and facts. Similarly criticisms inter priest literature. The literature is a part of humanities include philosophy provide a kind of pattern understanding literature. The different type of criticism and most of them reclaim commentaries on text. This type of formalistic structural criticism. The Archetypal criticism is a synthesis of structural criticism and historical criticism.

o The inductive method of analysis structural criticism and analysis. The close first section, Fry contends that structural criticism will help a reader in understanding a text in his analysis, he proceeds inductively. That is form of particular truth. The jealousy, Othello, in the Shakespearean play. This called inductive method of analysis under structural criticism and Fry disuses this in detail in this section of the essay.

o The Deductive method with reference to an archetypal critic under the deductive method of analysis proceeds to establish the meaning of a work from the general truth to the particular truth. Literature is like music and painting Rhythm is an essential characteristic of music and painting is spatial. In literature both rhythm means the narrative and the narrative presents all the events and episodes as a sequence and hastens action. 

Concusion:-

                        Thus we can say that in archytype literature images, paintings and other artifact things were very important to recognise the work of art.