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The Educated Imagination
Northrop Frye
Top 10 Best Quotes
“Nobody is capable of of free speech unless he knows how to use language, and such knowledge is not a gift: it has to learned and worked at. [p.93]”
“Literature as a whole is not an aggregate of exhibits with red and blue ribbons attached to them, like a cat-show, but the range of articulate human imagination as it extends from the height of imaginative heaven to the depth of imaginative hell.”
“The poet, however, uses these two crude, primitive, archaic forms of thought (simile and metaphor) in the most uninhibited way, because his job is not to describe nature, but to show you a world completely absorbed and possessed by the human mind.”
“The particular myth that's been organizing this talk, and in a way the whole series, is the story of the Tower of Babel in the Bible. The civilization we live in at present is a gigantic technological structure, a skyscraper almost high enough to reach the moon. It looks like a single world-wide effort, but it's really a deadlock of rivalries; it looks very impressive, except that it has no genuine human dignity. For all its wonderful machinery, we know it's really a crazy ramshackle building, and at any time may crash around our ears. What the myth tells us is that the Tower of Babel is a work of human imagination, that its main elements are words, and that what will make it collapse is a confusion of tongues. All had originally one language, the myth says. The language is not English or Russian or Chinese or any common ancestor, if there was one. It is the language that makes Shakespeare and Pushkin authentic poets, that gives a social vision to both Lincoln and Gandhi. It never speaks unless we take the time to listen in leisure, and it speaks only in a voice too quiet for panic to hear. And then all it has to tell us, when we look over the edge of our leaning tower, is that we are not getting any nearer heaven, and that it is time to return to earth. [p.98]”
“I don't see how the study of language and literature can be separated from the question of free speech, which we all know is fundamental to our society. [p.92]”
“So, you may ask, what is the use of studying the world of imagination where anything is possible and anything can be assumed, where there are no rights or wrongs and all arguments are equally good? One of the most obvious uses, I think, is its encouragement of tolerance. In the imagination our own beliefs are also only possibilities, but we can also see the possibilities in the beliefs of others. Bigots and fanatics seldom have any use for the arts, because they're so preoccupied with their beliefs and actions that they can't see them as also possibilities. It's possible to go to the other extreme, to be a dilettante so bemused by possibilities that one has no convictions or power to act at all. But such people are much less common than bigots, and in our world much less dangerous.”
“We have to look at the figures of speech a writer uses, his images and symbols, to realize that underneath all the complexity of human life that uneasy stare at an alien nature is still haunting us, and the problem of surmounting it still with us. Above all, we have to look at the total design of a writer's work, the title he gives to it, and the his main theme, which means his point in writing it, to understand that literature is still doing the same job that mythology did earlier, but filling in its huge cloudy shapes with sharper lights and deeper shadows. [p.32]”
“Literature keeps presenting the most vicious things to us an entertainment, but what it appeals to is not any pleasure of these things, but the exhilaration of standing apart from them and being able to see them for what they are because they aren't really happening. The more exposed we are to this, the less likely we are to find an unthinking pleasure in cruel or evil things. As the eighteenth century said in a fine mouth-filling phrase, literature refines our sensibilities.”
“The motive for metaphor ... is a desire to associate, and finally to identify, the human mind with what goes on outside it, because the only genuine joy you can have is in those rare moments when you feel that although we may know in part, as Paul says, we are also a part of what we know.”
“I feel separated and cut off from the world around me, but occasionally I've felt that it was really a part of me, and I hope I'll have that feeling again, and that next time it won't go away. That's a dim, misty outline of the story that's told so often, of how man once lived in a golden age or a garden of Eden or the Hesperides ... how that world was lost, and how we some day may be able to get it back again. ... This story of the loss and regaining of identity is, I think, the framework of all literature.”
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Book Keywords:
golden-age, narratology, stories, wisdom, identity, unity-of-literature, myth, lost-unity, writing, imagination, literary-criticism, free-speech, knowledge-as-identification, literature, metaphor, psychology