motive for metaphor thesis

Lit. Summaries

Biographies

The Power of Language: A Literary Analysis of Wallace Stevens’ ‘The Motive for Metaphor’

Wallace Stevens

In “The Motive for Metaphor,” Wallace Stevens explores the power of language and its ability to transform our perception of the world. Through a literary analysis of the poem, we can gain insight into the ways in which metaphorical language can shape our understanding of reality and the role of the poet as a creator of new meanings. This article will delve into the themes and techniques employed by Stevens in this thought-provoking work.

The Power of Language: A Literary Analysis of Wallace Stevens’ “The Motive for Metaphor”

Wallace Stevens’ “The Motive for Metaphor” is a poem that explores the power of language and the role of metaphor in shaping our understanding of the world. Through a series of vivid and evocative images, Stevens suggests that metaphor is not simply a decorative device, but a fundamental aspect of human thought and perception.

At the heart of the poem is the idea that language is not a neutral tool for communication, but a creative force that shapes our experience of reality. Stevens writes, “Language is not like the sun, / heating and scorching / but like the moon, / keeping secrets / and the arcane magic of the night / throwing stars / in the lilacs’ claws / till dawn.” Here, language is compared to the moon, a mysterious and elusive presence that illuminates the world in unexpected ways.

Stevens goes on to explore the idea that metaphor is a way of bridging the gap between the known and the unknown, the tangible and the intangible. He writes, “The poem / Must resist the intelligence / Almost successfully.” This suggests that the power of poetry lies in its ability to evoke emotions and ideas that cannot be fully articulated in rational terms.

Overall, “The Motive for Metaphor” is a powerful meditation on the nature of language and its role in shaping our understanding of the world. Through its vivid imagery and evocative language, the poem invites us to reconsider the power of metaphor and the ways in which it can transform our perceptions of reality.

The Importance of Metaphor in Literature

Metaphors are a powerful tool in literature, allowing writers to convey complex ideas and emotions in a way that is both accessible and memorable. In his poem “The Motive for Metaphor,” Wallace Stevens explores the importance of metaphor in language and the ways in which it can transform our understanding of the world around us. Through his use of vivid imagery and striking comparisons, Stevens demonstrates the power of metaphor to evoke emotion, challenge assumptions, and inspire new ways of thinking. Whether used to describe the beauty of nature, the complexities of human relationships, or the mysteries of the universe, metaphors have the ability to capture the essence of our experiences and communicate them in a way that is both universal and deeply personal. As Stevens writes, “The poem must resist the intelligence / Almost successfully.” In other words, the best poetry is not just about conveying information, but about creating an emotional and intellectual experience that stays with the reader long after the words have been read. By embracing the power of metaphor, writers can tap into this transformative potential and create works that resonate with readers on a profound level.

The Role of Language in Shaping Perception

Language plays a crucial role in shaping our perception of the world around us. It is through language that we are able to communicate our thoughts, feelings, and experiences to others. In his poem “The Motive for Metaphor,” Wallace Stevens explores the power of language to transform our understanding of reality. He argues that language is not simply a tool for describing the world, but rather a means of creating new worlds and new ways of seeing. Through the use of metaphor, Stevens suggests that language has the power to transcend the limitations of our everyday experience and open up new possibilities for understanding and interpretation. Ultimately, he suggests that language is not just a means of communication, but a fundamental aspect of our experience of the world.

The Relationship Between Language and Reality

The relationship between language and reality has been a topic of debate for centuries. Some argue that language is a reflection of reality, while others believe that language shapes our perception of reality. In Wallace Stevens’ poem “The Motive for Metaphor,” he explores the idea that language has the power to create new realities and shape our understanding of the world around us. Stevens suggests that metaphor is a way of transcending the limitations of language and accessing a deeper truth about the world. Through his use of vivid imagery and complex metaphors, Stevens invites readers to consider the ways in which language can both reflect and shape our understanding of reality.

The Function of Metaphor in Stevens’ Poem

In “The Motive for Metaphor,” Wallace Stevens explores the function of metaphor in poetry. He argues that metaphor is not just a decorative device, but rather a fundamental aspect of language that allows us to see the world in new ways. Stevens suggests that metaphor is a way of creating meaning, of making connections between seemingly disparate things. By comparing one thing to another, we can gain a deeper understanding of both. In this way, metaphor is a powerful tool for poets, allowing them to express complex ideas and emotions in a way that is both accessible and profound. Stevens’ poem is itself a testament to the power of metaphor, as he uses a variety of metaphors to explore the nature of language and the creative process. Through his use of metaphor, Stevens invites us to see the world in a new light, to question our assumptions and to embrace the power of language to transform our understanding of the world around us.

The Use of Metaphor to Express Emotion

Metaphors are powerful tools in literature that allow writers to express complex emotions and ideas in a way that is relatable and understandable to readers. In Wallace Stevens’ poem “The Motive for Metaphor,” he explores the use of metaphor as a means of expressing emotion. Stevens argues that metaphor is not just a decorative element in language, but rather a fundamental aspect of how we understand and experience the world around us. Through the use of metaphor, we can convey emotions that are difficult to express in words alone, such as love, grief, and longing. By comparing one thing to another, we can create a sense of connection and resonance that goes beyond the literal meaning of the words. In this way, metaphor becomes a powerful tool for exploring the depths of human emotion and experience.

The Significance of Stevens’ Choice of Metaphors

Stevens’ choice of metaphors in “The Motive for Metaphor” is significant because it reflects his belief in the power of language to create meaning. By comparing language to a “crystal,” he suggests that words have the ability to refract and reflect meaning in different ways, depending on the angle from which they are viewed. Similarly, his metaphor of the “fire” suggests that language has the power to ignite the imagination and inspire creativity. Overall, Stevens’ metaphors serve to emphasize the importance of language in shaping our understanding of the world around us.

The Connection Between Metaphor and Imagination

Metaphors are powerful tools that allow us to express complex ideas and emotions in a way that is both creative and relatable. They are a fundamental part of language and play a crucial role in our ability to communicate effectively. However, the true power of metaphors lies in their ability to stimulate our imagination and evoke vivid mental images. By comparing one thing to another, metaphors allow us to see the world in a new light and explore new perspectives. In this way, they are not just linguistic devices, but also tools for creative thinking and problem-solving. As Wallace Stevens writes in “The Motive for Metaphor,” “The imagination is the power that enables us to perceive the normal in the abnormal, the opposite of chaos in chaos.” Through the use of metaphor, we are able to tap into this power and unlock new possibilities for understanding and expression.

The Influence of Philosophy on Stevens’ Poetry

Wallace Stevens’ poetry is heavily influenced by his philosophical beliefs. He was a student of philosophy and often incorporated philosophical concepts into his work. In “The Motive for Metaphor,” Stevens explores the power of language and its ability to create meaning and shape our understanding of the world. This theme is rooted in his philosophical belief that reality is subjective and that language plays a crucial role in shaping our perception of it. Stevens believed that language is not simply a tool for communication, but a means of creating and shaping our understanding of the world. This belief is reflected in his poetry, which often uses language in innovative ways to challenge traditional notions of reality and meaning. Overall, Stevens’ philosophy of language is a central theme in his poetry and is essential to understanding the deeper meaning and significance of his work.

The Use of Metaphor to Explore the Human Condition

Metaphors have been used in literature for centuries to explore the complexities of the human condition. By comparing one thing to another, metaphors allow writers to convey abstract ideas and emotions in a tangible way. In Wallace Stevens’ poem “The Motive for Metaphor,” he argues that the use of metaphor is essential to understanding the world around us. He writes, “It is not the metaphor, but the experience that is important.” This statement highlights the power of metaphor to help us make sense of our experiences and emotions. Through metaphor, we can see ourselves and our world in a new light, gaining a deeper understanding of the human condition.

The Relationship Between Language and Creativity

Language and creativity are intimately intertwined, as language is the primary tool for expressing and exploring creative ideas. In his poem “The Motive for Metaphor,” Wallace Stevens explores the relationship between language and creativity, arguing that metaphor is the key to unlocking the full potential of language. Stevens suggests that metaphor allows us to see the world in new and unexpected ways, and to make connections between seemingly disparate ideas. By using language creatively, we can expand our understanding of the world and ourselves, and tap into the limitless potential of the human imagination. Ultimately, Stevens’ poem reminds us of the power of language to inspire and transform, and the importance of embracing our own creative potential.

The Use of Metaphor in Stevens’ Exploration of the Nature of Art

In “The Motive for Metaphor,” Wallace Stevens explores the nature of art through the use of metaphor. He argues that metaphor is not just a literary device, but a fundamental aspect of human thought and perception. Stevens suggests that metaphor allows us to see the world in new and unexpected ways, and that it is through metaphor that we are able to create art that is both meaningful and transformative. Throughout the poem, Stevens uses a variety of metaphors to illustrate his point, from the “blackbird” that represents the creative impulse, to the “fire” that symbolizes the transformative power of art. By using these metaphors, Stevens invites the reader to see the world in a new light, and to appreciate the power of language to shape our understanding of the world around us. Ultimately, Stevens’ exploration of the nature of art through metaphor is a testament to the power of language to inspire and transform us, and to the enduring importance of art in our lives.

The Connection Between Metaphor and Perception of Time

Metaphors have the power to shape our perception of time. In Wallace Stevens’ poem “The Motive for Metaphor,” he explores the connection between language and time. He suggests that metaphors allow us to see time in a new way, to break free from the constraints of linear time and experience it in a more fluid and dynamic way. By comparing time to a river or a flame, for example, we can begin to understand it as something that is constantly changing and evolving, rather than something that is fixed and unchanging. This can have a profound impact on our understanding of the world around us, and our ability to navigate the complexities of life. Ultimately, Stevens argues that the power of language lies in its ability to shape our perception of reality, and that metaphors are one of the most powerful tools we have for doing so.

The Use of Metaphor to Explore the Nature of Reality

Metaphors have been used throughout history to explore the nature of reality. In literature, they are often used to convey complex ideas and emotions in a way that is easily understood by the reader. Wallace Stevens’ poem “The Motive for Metaphor” is a prime example of how metaphors can be used to explore the nature of reality. In the poem, Stevens uses metaphors to describe the relationship between language and reality. He argues that language is not a reflection of reality, but rather a way of creating it. Stevens suggests that the use of metaphor is essential to our understanding of reality because it allows us to see things in a new light. By comparing one thing to another, we are able to see the similarities and differences between them, and in doing so, we gain a deeper understanding of the world around us. Stevens’ poem is a powerful reminder of the importance of language in shaping our perception of reality, and the role that metaphors play in this process.

The Influence of Stevens’ Poetry on Contemporary Literature

Wallace Stevens’ poetry has had a significant impact on contemporary literature. His use of language and imagery has inspired many writers to experiment with new forms and styles. Stevens’ emphasis on the power of metaphor and the importance of imagination has also influenced the way that writers approach their craft. Many contemporary poets have cited Stevens as a major influence on their work, and his legacy continues to shape the literary landscape today.

The Use of Metaphor to Explore the Relationship Between the Self and the World

In Wallace Stevens’ poem “The Motive for Metaphor,” the speaker explores the relationship between the self and the world through the use of metaphor. Metaphor is a powerful tool in literature that allows the writer to compare two seemingly unrelated things in order to create a deeper understanding of the subject. In this poem, Stevens uses metaphor to explore the idea that the self is not separate from the world, but rather a part of it. He compares the self to a “sea-discoverer” who is constantly exploring the world around them, and the world to a “sea” that is constantly changing and evolving. Through this metaphor, Stevens suggests that the self and the world are inextricably linked, and that our understanding of the world is shaped by our own experiences and perceptions. This idea is further reinforced by the use of other metaphors throughout the poem, such as the comparison of the self to a “mirror” that reflects the world back to us. Overall, Stevens’ use of metaphor in “The Motive for Metaphor” highlights the power of language to explore complex ideas and emotions, and to create a deeper understanding of the world around us.

The Significance of Stevens’ Poem in the Context of Modernist Literature

Wallace Stevens’ poem “The Motive for Metaphor” is a significant work in the context of modernist literature. The poem explores the power of language and the role of metaphor in shaping our understanding of the world. In the modernist era, writers and artists were interested in breaking away from traditional forms and exploring new ways of expressing themselves. Stevens’ poem is a prime example of this experimentation with language and form. The poem is structured as a series of questions and answers, with each stanza building on the previous one to create a complex and layered exploration of the nature of metaphor. Stevens’ use of language is also notable, as he employs vivid imagery and unexpected juxtapositions to create a sense of surprise and wonder. Overall, “The Motive for Metaphor” is a powerful example of the ways in which modernist writers sought to push the boundaries of language and form in order to create new and innovative works of art.

The Use of Metaphor to Explore the Nature of Language Itself

In “The Motive for Metaphor,” Wallace Stevens explores the nature of language itself through the use of metaphor. He argues that language is not simply a tool for communication, but rather a means of creating and shaping our understanding of the world around us. Stevens uses metaphor to illustrate this point, suggesting that language is like a “crystal,” which both reflects and refracts the world in unique and complex ways. By using metaphor to explore the nature of language, Stevens invites us to consider the ways in which our use of language shapes our perception of reality, and to reflect on the power and potential of language as a tool for both communication and creative expression.

Architecture and Design
Asian and Pacific Studies
Business and Economics
Classical and Ancient Near Eastern Studies
Computer Sciences
Cultural Studies
Engineering
General Interest
Geosciences
Industrial Chemistry
Islamic and Middle Eastern Studies
Jewish Studies
Library and Information Science, Book Studies
Life Sciences
Linguistics and Semiotics
Literary Studies
Materials Sciences
Mathematics
Social Sciences
Sports and Recreation
Theology and Religion
Publish your article
The role of authors
Promoting your article
Abstracting & indexing
Publishing Ethics
Why publish with De Gruyter
How to publish with De Gruyter
Our book series
Our subject areas
Your digital product at De Gruyter
Contribute to our reference works
Product information
Tools & resources
Product Information
Promotional Materials
Orders and Inquiries
FAQ for Library Suppliers and Book Sellers
Repository Policy
Free access policy
Open Access agreements
Database portals
For Authors
Customer service
People + Culture
Journal Management
How to join us
Working at De Gruyter
Mission & Vision
De Gruyter Foundation
De Gruyter Ebound
Our Responsibility
Partner publishers

Your purchase has been completed. Your documents are now available to view.

15. The Motive for Metaphor

From the book from a metaphorical point of view.

Ernan McMullin
X / Twitter

Supplementary Materials

Please login or register with De Gruyter to order this product.

Chapters in this book (26)

Biblioklept

“The Motive for Metaphor” — Wallace Stevens

“The Motive for Metaphor”

Wallace Stevens

You like it under the trees in autumn, Because everything is half dead. The wind moves like a cripple among the leaves And repeats words without meaning.

In the same way, you were happy in spring, With the half colors of quarter-things, The slightly brighter sky, the melting clouds, The single bird, the obscure moon–

The obscure moon lighting an obscure world Of things that would never be quite expressed, Where you yourself were not quite yourself, And did not want nor have to be,

Desiring the exhilarations of changes: The motive for metaphor, shrinking from The weight of primary noon, The A B C of being,

The ruddy temper, the hammer Of red and blue, the hard sound– Steel against intimation–the sharp flash, The vital, arrogant, fatal, dominant X.

Published by Biblioklept

View all posts by Biblioklept

5 thoughts on ““The Motive for Metaphor” — Wallace Stevens”

wallace stevens?

Like Liked by 1 person

Absolutely Wallace Stevens, and not W.H. Auden, as an earlier version of this post incorrectly titled it.

I have no idea what happened, other than my posting it near 10pm after a few too many glasses of red wine.

Cheers to wine and poetry, and to biblioklept! : )

So greate http://daiphuoclotus.vn/

[…] [7] Wallace Stevens’ Motive for Metaphor […]

Your thoughts? Cancel reply

This site uses Akismet to reduce spam. Learn how your comment data is processed .

Already have a WordPress.com account? Log in now.
Subscribe Subscribed
Copy shortlink
Report this content
View post in Reader
Manage subscriptions
Collapse this bar

Western Theories of Poetry : Reading Wallace Stevens’s “The Motive for Metaphor”

Published: November 2016
Standard View
Open the Chapter PDF for in another window
Permissions
Cite Icon Cite

J. Hillis Miller, 2016. "Western Theories of Poetry : Reading Wallace Stevens’s “The Motive for Metaphor” ", Thinking Literature across Continents, Ranjan Ghosh, J. Hillis Miller

Download citation file:

Reference Manager

After an initial, admiring discussion of Ghosh’s development of a subtle, complex, and capacious theory of poetry in his chapter 3, Miller asserts that what is most striking about Western theories of poetry is their diversity and their rootedness in changing historical contexts. He then goes on to try to account for just what happens in his mind, feelings, and body when he does a detailed reading of a poem by Wallace Stevens, “The Motive for Metaphor.” He stresses that he did not know initially where his reading was going to lead. Though Miller makes reference to a number of theorists (Aristotle, Benjamin, de Man, and Stevens himself), his empirically reached conclusion is that all the theoretical knowledge in the world is of little help in the actual business of reading a given poem in its uniqueness and in its resistance to inevitably oversimplifying theoretical presuppositions.

BIBLIOGRAPHY

Figures & tables.

Thinking Literature across Continents

Ranjan Ghosh teaches in the Department of English, University of North Bengal, and is the author of, most recently, Transcultural Poetics and the Concept of the Poet: From Philip Sidney to T. S. Eliot .

J. Hillis Miller is UCI Distinguished Professor Emeritus at the University of California, Irvine and the author of, most recently, An Innocent Abroad: Lectures in China .

‹ Prev
Next ›

Email alerts

Related book chapters, related topics, related articles.

Copyright © 2024
Duke University Press
905 W. Main St. Ste. 18-B
Durham, NC 27701
(888) 651-0122
International
+1 (919) 688-5134
Information For
Advertisers
Book Authors
Booksellers/Media
Journal Authors/Editors
Journal Subscribers
Prospective Journals
Licensing and Subsidiary Rights
View Open Positions
email Join our Mailing List
catalog Current Catalog
Accessibility
Get Adobe Reader

This Feature Is Available To Subscribers Only

The Educated Imagination

The Educated Imagination Study Guide

As you read Northrop Frye's The Educated Imagination , respond to the following questions. You may want to read the individual chapters first, then reread them as you answer the questions. As you read, pay attention to the rhetorical structure. Identify the thesis of each chapter. Ask yourself how those ideas work towards the thesis of the entire text. I wrote these years ago, they may need editing.

Northrop Frye (1912-1991) was one of the world's preeminent literary critics. As a scholar, he wrote many literary texts while teaching at the University of Toronto. Professor Frye also served as the chancellor of Victoria College (Uof T). The Educated Imagination was originally delivered as a series of 6 CBC radio broadcasts in 1962.

Pre-reading Questions:

Because The Educated Imagination was originally delivered as a series of radio broadcasts, how do you think it will be structurally different than a traditional text?

What is criticism?

Remember a time when you and a friend both watched the same film, but had different reactions. How did you attempt to justify your criticism?

Chapter 1: “The Motive for Metaphor” Questions

How do you identify anything?

What is a metaphor? Why do you use them?

What are the “simple” questions according to Frye?

What style does Frye say he is going to use? Why?

What are the first two things Frye would like to discuss?

What do we use to understand literature?

What are the two specific questions that Frye poses?

Why does Frye use the word objective to describe the island?

What are the things you notice in that objective world?

How does Frye explain the way you would feel on the island?

What alternates constantly on this 1st “level” (consciousness / awareness) ? Why?

What is the “language” of the 1st level? Why?

Why does science begin on this level?

When would you have peacefulness and joy on this island? What does Frye call theses moods? Why?

Explain “have and want” in relation to the island.

What will you construct? Why? What do you build it with?

What are the “human forms of nature, or the form of human nature”?

What is the “language” of the 2nd level? Why?

What is the “language” of the 3rd level? Why?

How does the imagination of man factor in to the “have and want” construct? What can the imagination build?

What are typical uses of the three levels?

What does the study of science constantly do? How does this contrast to literature?

Can we expect linear growth with literature?What is Frye's “simple point”?

Note that Frye takes us back to the island one more time. Why?

What is the limit of the imagination?

How does understanding occur?

Using our poetry notes, read Stevens' “The Motive for Metaphor” . What sensory imagery do you find?

Define metaphor using the last 2 paragraphs.

Define simile using the last 2 paragraphs.

What is the job of the poet?

What is Stevens' definition of metaphor?

Chapter 2: “The Singing School” Questions

Think about how The Educated Imagination was first delivered. Why does Frye structure the first paragraph of “The Singing School” in this way?

What does Frye say about identification? Reread your answer to question 1 of the previous section.

If you were shipwrecked on a deserted island, what would you do? Why? What would influence you? What would primitive people do? Why?

What happens to ideas when the stop being beliefs? How does Frye prove this using the ancient poet Horace?

How does literature develop? What do the various forms derive from?

What is a convention? Give an example of a convention from your favourite music genera

.What is Frye's “principle” ? How does this “principle” effect literary forms?

How does Frye clarify what he is saying about “there's nothing new”?

What are his two points? Please note that the second point begins at the end of the Campion paragraph?

What are you reminded of as you read any novel or watch any movie or listen to any song?

Why must you read more?

Frye makes an allusion to “the hero with a thousand faces” (Joseph Campbell's Monomyth). What is so important about this reoccurring cycle?

Why does he describe all of the primitive stories as a backbone? What is the backbone of?

Why does Frye take you back to the island one last time?

What is the feeling of identity?

When you don't belong, what does the metaphor attempt to do?

What is the framework of all literature? Why?

What still haunts modern man? Who fills in the shadows of the cloud? Why?

What is “The Singing School”?

Chapter 3: “Giants in Time” Questions

What do we meet in literature?

What is the poet's job?

Why watch Macbeth, or anything for that matter (theme)?

Could Achilles ever be real? What are characters?

What do sheep and grass have to with symbols(imagery into symbol)?

What is allegory?

What is allusion?

Why are allusions so important to Frye's thesis?

If western civilization is based on “the Bible and the central stories of Greek and Roman literature”, what must you understand? Why?

How / what do we relate poems and novels to?

How did Roman literature evolve? What does this mean for any culture?

How is tolerance formed? How does detachment play a role?

Why must literature be kept alive? What purpose does it serve?

What does the title of this chapter mean?

Chapter 4: “The Keys to Dreamland” Questions

Where does Frye set you in the beginning of this chapter? Why?

Is there such a thing as a morally bad novel? Why?

What do you relate literature to?

Explain the castle metaphor.

What does literature keep presenting us? Why?

What is the best way to develop your imagination?

What are the two powers of literature?

What are the two kinds of response?

Why is it important to focus our critical response?

The definition of apocalypse is revelation. What is the apocalypse of literature? Who is responsible for this?

What does the title of this chapter mean?

Chapter 5: “Verticals of Adam” Questions

What question does Frye want to tackle in this chapter?

In the second paragraph, note Frye's argument structure. What 5 things does he remind you of? Why place this so close to the beginning?

How does he frame the Christian Bible (Old and New Testaments)?

Why teach this text as literature?

What should children be taught next as literature?

What should be done with the reoccurring stories found in both texts?

Explain the myth sequence that the Romans, Greeks and authors of the Bible used.

What are the four forms. How should they be taught?

What is the most important critical habit that teachers want their students to do? Why?

Explain the baking soda (stomach antacid / heartburn) reference.

Why is listening part of basic training? Who is responsible for this facet of a child's education?

Once the framework is present, what should students attempt next?

Explain what is meant by "construction". How does this affect the reader and the writer?

What is the centre of literature? Why study this first?

What is poetry?

What is the "real place for literature"?

What is the "hare-and-tortoise" race? How does teaching literature fit into this?

What is the, "end of literary teaching"? What do teachers want to transfer?

What does the title mean? Who is Adam, and what does he represent? Reread your answer to Chapter 2, question 13. What are the verticals?

Chapter 6: "The Vocation of Eloquence" Questions

What is the language of the imagination? What is the importance of its study?

What is the simple choice Frye begins this chapter with?

What does advertising/media have to do with the presentation of the elements of literature?

What is the voice of the imagination? How does it work?

Why can emotional responses be dangerous?

What is the "fundamental job of the imagination"?

What does the imagination protect us from?

What appeal does advertising make to the imagination?

Why do corporations, government and institutions use jargon (anti-personnel bomb, IED, insurgent, casualty) ?

What is the myth of the past?

What is the myth of progress?

What happens in a society that changes rapidly? Note that Frye is talking about the western world in 1962. What about our frantic world?

What does "the power of choice" have to do with your imagination?

What is fundamental to our society? What is the battleground?

Explain the piano reference.

What does man realize? Where is the vision?

The last 3 paragraphs recap the entire text. What is the power of the imagination outlined in the first and second of these last 3 paragraphs?

What is the Tower of Babel? What does Frye warn us about?

The second last sentence begins with "It never [...]", what is "it"? How do humans like Gandhi, Shakespeare, Lincoln use "it"?

Pre-Assessment

Please complete the Educated Imagination Study Guide, write page numbers down when you answer these questions. It will help you during the assignment.

Use your study guide answers and any notes from our class discussions for your assignment.

Assessment - The Educated Imagination Presentation

Create a Google Slides presentation which:

Identifies the thesis of each individual chapter.

3 supporting points (or more) that support the thesis.

Explain how your chapter plays a role in the entire text.

Identify the thesis of the whole text.

Considerations

Groups will be have 6 students each. Each student is responsible for one chapter of The Educated Imagination .

Your presentation must be made with your STUDENT GOOGLE ACCOUNT.

Students are marked individually.

While the speaker presents, the slides or questions that are shown or asked are solely theirs. You will only be evaluated for the slides or questions that appear while you present.

The second slide must include the first and last names of all members.

If any member of your group opens, checks, views, "unsubmits", or edits the presentation in the CLASSROOM DROPBOX after the deadline, ALL MEMBERS WILL BE MARKED LATE. If you want a copy of the presentation to practice with, please download a pdf of it, and share that pdf with your group.

Educated Imagination Presentation Rubric

The Educated Imagination - The Motive for Metaphor

Northrop Frye - The Educated Imagination - Part 1 of 6 - The Motive for Metaphor

The Educated Imagination - The Singing School

Northrop Frye - The Educated Imagination - Part 2 of 6 - The Singing School

The Educated Imagination - Giants in Time

Northrop Frye - The Educated Imagination - Part 3 of 6 - Giants in Time

The Educated Imagination - The Keys to Dreamland

Northrop Frye - The Educated Imagination - Part 4 of 6 - The Keys to Dreamland

The Educated Imagination - Verticals of Adam

Northrop Frye - The Educated Imagination - Part 5 of 6 - Verticals of Adam

The Educated Imagination - The Vocation of Eloquence

Northrop Frye - The Educated Imagination - Part 6 of 6 - The Vocation of Eloquence

The Educated Imagination - Study Guide

A Study Guide to the Critical Perspectives of Northrop Frye is a detailed overview of Frye's ideas hosted at St. John's College High school.

Northrop Frye Ceiling

This was the ceiling of room 233 at Our Lady of Mount Carmel (DPCDSB). I don't know the new room number, but I know which room it was... In 2006, my Grade 12 students (D. Sebastian specifically) painted their favourite quotes from Northrop Frye's the Educated Imagination on it. The photo was taken by Ms. Dragicevic in 2010.

At some point in 2010 that picture was mentioned on Prof. Robert Denham's Frye blog, thank you.

In 2016 the ceiling tiles were taken down during a safety inspection. I've archived the pictures here.

Northrop Frye Stamp

I was in Ottawa, lost in a museum. I wandered into a stamp collection. I find a Northrop Frye Stamp.

Northrop Frye - The Educated Imagination

1. The Motive for Metaphor

16 comments:

the poem during the end of the reading says The A B C of Being not "the A B G of being,"

Thanks for posting! I needed to read this for school

thanks for the correction, much appreciated - now fixed :-)

Thanks for having this posted. I needed it because I lost my book. Thanks.

thank you !!! this was such a big help!

Thanks for posting as there is some big wig discussion on here: Ted Cohen, Paul Fry, Susan Stewart, Frederick Turner, Rosanna Warren. Tried commenting on it as they were on same topic, but my comments were to be moderated and never appeared: seems they only allow " Wow, great' and so on. They were only talking about metaphor and what it is, not its motive. Quoted this off the top of my head, but now have it at hand. Thanks.

I don't get the difference between the human world and objective world.

Another correction in the poem: it should read "the single bird, the obscure moon".

thanks again - in fact there were a number of 'die's in there, fixed now

I have now corrected a handful of additional typos in the process of converting from pdf or scanning and 'reading' scanned images some typos are generated, usually I find these during the addittional process of formatting with HTML but not always I prefer text-in-html because it is easy to copy&paste for whatever reason which pdfs and other formats are not be well, Alfred.

The last line should not read "as Paul says", as far as I can remember.

I wasn't sure either so I looked at my paperback copy (Anansi 1993) and sure enough, "as Paul says" is in there - referring to Frist Corinthians 13 good to follow up on things like that, I always remembered Shakespeare's "music to soothe a savage beast" but it is really "Musick has Charms to sooth a savage Breast" and it's Congreve not Shakespeare, someone took me up on it and now I know better thanks for taking an interest here, be well.

As far as I can recall, without having a copy in front of me, the last line should not read "as Paul says".

I'm trying to properly cite this article. Any further info about the specifics of the article would be appreciated

Northrop Frye, (a book called) 'The Educated Imagination', chapter 1 'The Motive for Metaphor' ... (is this not obvious?)

How is English as the mother tongue the most practical subject in the world ?

Comics / Tirinhas (& boobage).
Fables of Identity
The Educated Imagination
Creation and Recreation
The Double Vision
The Bush Garden
The Anatomy Of Criticism
The Great Code (empty)
Words With Power (empty)
Charles Taylor - A Secular Age

The Educated Imagination

A website dedicated to northrop frye, study guide: some notes and questions on the educated imagination.

With the school year beginning, a lot of students out there will be encountering Frye for the first time, and The Educated Imagination is likely to be their first encounter. Here, therefore, is a study guide and some questions for them to consider as they read.

The spatial or schematic form of chapter 1:

Levels of Mind 1. ( Theoria or dianoia ) Speculative or contemplative: one’s mind is set over against nature. Separating, splitting, or analytic tendency: me vs. not me; intellect vs. emotions; art vs. science. 2. ( Praxis ) Social participation: motivated by desire (one wants a better world); intellect and emotions now united; necessity (work what one has to do); adapting to environment; transforming nature. 3. ( Poesis ) Vision and imagination: also motivated by desire but here it’s a desire to bring a social human form into existence, i.e., civilization; freedom.

Corresponding Levels of Language 1. Language of consciousness or awareness; the language of nouns and adjectives. Language of thinking. 2. Language of practical sense and skills (work, technology); language of teachers, preachers, advertisers, lawyers, scientists, journalists, etc.); language of necessity. Language of action. 3. Language that unites consciousness (level 1) with practical skill (level 2); language of imagination; literary language; language of freedom. Language of construction.

Attitudes 1. Awareness that separates one from the rest of the world 2. Practical attitude of creating a human way of life in the world. 3. Imaginative attitude or vision of world as imagined or desired.

Chapter 1, “The Motive for Metaphor” (phrase from title of a Wallace Stevens poem )

1. What are the two points—one simple and one complex—Frye makes in connection with the relevance of literature for today (pp. 16ff.)? 2. What is the motive for metaphor? 3. What does Frye mean by “a world completely absorbed and possessed by the human mind”? 4. What does Frye mean my transforming nature into “something with a human shape”? What does he mean by “the human form of nature,” which he seems to say is the same thing as “the form of human nature.”

Chapter 2, “The Singing School” (phrase from Yeats’s “Sailing to Byzantium ”)

1. Third level of language = the language of the imagination = associative language = metaphor. What does Frye mean by saying that the language of the imagination suggests an “identity between the human mind and the world outside it”? A bit later he says that poetry is an act of “identifying the human and the nonhuman worlds.” 2. Much of this chapter is devoted to a simple point—one Frye is fond of making over and over: literature is made out of other literature. Why does Frye seem to place so much weight on convention? 3. What do you make of Frye’s statement that “it isn’t what you say but how it’s said that’s important”? His illustration of this is Campion’s poem about the cruel mistress, which Frye says is “pure convention.” 4. The monomyth or the one great story, says Frye, is the “story of the loss and regaining of identity.” What are its four forms?

Chapter 3, “Giants in Time” (phrase from Proust )

Some ideas worth thinking about and discussing: —poetry gives us the typical, the recurring, the universal event —“Many people think that the original writer is always directly inspired by life, and that only commonplace or derivative writers get inspired by books. That’s nonsense.” —“There is really no such thing as self-expression in literature.” —“We relate the poems and plays and novels we read and see, not to the men who wrote them, nor even directly to ourselves; we relate them to each other.” Note on p. 31 that the issue of identity comes up again. What does Frye say about detachment? What does Frye mean by saying that literature “swallows” life, an image he got from Milton? What’s the relationship of literature to real life? What is “real” life, anyway? Difference between imaginary (unreal) and imaginative (what poets create). Poets render not reality but the typical, recurring, universal experience. Notion of absorption: Sheep and flowers get absorbed and digested by literature, i.e., there’s some literary reason for using them. “The allusiveness of literature is part of its symbolic quality, its capacity to absorb everything from natural or human life into its own imaginative body.” What do you make of all this body talk—swallowing, digestion, and the like? Symbol — allegory — allusion Original writers aren’t inspired by life; they’re inspired by books. We don’t relate poems & plays to their authors or even to ourselves. (We don’t?) We relate them to each other. (We do?) Possession. p. 75. Identity. p. 77. Why study literature? Tolerance, p. 78. What does Frye mean by the somewhat curious metaphor of possession? But literature gives more: Vision: see last two paragraphs. What does Frye mean by vision?

Chapter 4, “Keys to Dreamland” (phrase from Finnegans Wake )

The conventions of literature show little connection with real life. Imagination not related directly to life or reality, but to literature (p. 95). Para. on the blinding scene in Lear, 98-9. What’s the function of this illustration? Top and bottom halves of literature: absorption and detachment: —detachment: standing apart and seeing things for what they really are because they’re not really happening. How does Frye think we can best develop or educate our imaginations? Do Frye’s three levels of response (precritical, critical, possession) correspond to your own experience in reading? How? Why? Or why not?

Chapter 5, “Verticals of Adam” (phrase from Dylan Thomas )

How to educate the imagination: —Bible; classical mythology —structure of the literary forms: tragedy, comedy, irony, romance —other languages; other arts —relation of literature to other subjects (philosophy, history, social sciences, etc.). How does Frye’s program for the education of the imagination conform to your own reading experience? —What does Frye mean in last para. by the transfer of imaginative energy?

Chapter 6, “The Vocation of Eloquence” (phrase from St. John Perse )

—social function: contra advertising, propaganda —fighting against the social mythology, the illusions that society threatens us with: good old days, ideas of progress —free speech: freedom comes from practice —vision of society: where does this come from?— not from society itself —conclusion about the Tower of Babel myth. What do you understand to be the social function of literature from Frye’s perspective? How would Frye answer someone who said that the study of literature might be OK if we want to get a little cultural bulk in our diets or if we want to prepare ourselves for cocktail party chit-chat but that such study really has nothing to do with the “real world” and doesn’t actually prepare us for living? Again, has Frye made you question the ordinary meaning of the phrase “real world”?