Archetypal literary criticism

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Archetypal literary criticism is a type of critical theory that interprets a text by focusing on
recurring myths and archetypes (from the Greek archē, or beginning, and typos, or imprint) in
the narrative, symbols, images, and character types in a literary work. As a form of literary
criticism, it dates back to 1934 when Maud Bodkin published Archetypal Patterns in Poetry.

Archetypal literary criticism’s origins are rooted in two other academic disciplines, social
anthropology and psychoanalysis; each contributed to the literary criticism in separate ways,
with the latter being a sub-branch of the critical theory. Archetypal criticism was its most popular
in the 1950s and 1960s, largely due to the work of Canadian literary critic Northrop Frye.
Though archetypal literary criticism is no longer widely practiced, nor have there been any major
developments in the field, it still has a place in the tradition of literary studies.[citation needed]

Contents
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 1 Origins
o 1.1 Frazer
o 1.2 Jung
 2 Frye
 3 Critiques of Archetypal Criticism
 4 Examples of Archetypes in Literature
 5 See also
 6 References

[edit] Origins
[edit] Frazer

The anthropological origins of archetypal criticism can pre-date its psychoanalytic origins by
over thirty years. The Golden Bough (1890–1915), written by the Scottish anthropologist James
G. Frazer was the first influential text dealing with cultural mythologies. Frazer was part of a
group of comparative anthropologists working out of Cambridge University who worked
extensively on the topic. The Golden Bough was widely accepted as the seminal text on myth
that spawned numerous studies on the same subject. Eventually, the momentum of Frazer’s work
carried over into literary studies.

In The Golden Bough Frazer identifies shared practices and mythological beliefs between
primitive religions and modern religions. Frazer argues that the death-rebirth myth is present in
almost all cultural mythologies, and is acted out in terms of growing seasons and vegetation. The
myth is symbolized by the death (i.e. final harvest) and rebirth (i.e. spring) of the god of
vegetation. As an example, Frazer cites the Greek myth of Persephone, who was taken to the
Underworld by Hades. Her mother Demeter, the goddess of the harvest, was so sad that she
struck the world with fall and winter. While in the underworld Persephone ate 6 of the 12
pomegranate seeds given to her by Hades. Because of what she ate, she was forced to spend half
the year, from then on, in the underworld, representative of autumn and winter, or the death in
the death-rebirth myth. The other half of the year Persephone was permitted to be in the mortal
realm with Demeter, which represents spring and summer, or the rebirth in the death-rebirth
myth.

[edit] Jung

While Frazer’s work deals with mythology and archetypes in material terms, the work of Carl
Gustav Jung, a Swiss born psychoanalyst, is, in contrast, immaterial in its focus. Jung’s work
theorizes about myths and archetypes in relation to the unconscious, an inaccessible part of the
mind. From a Jungian perspective, myths are the “culturally elaborated representations of the
contents of the deepest recess of the human psyche: the world of the archetypes” (Walker 4).

Jungian psychoanalysis distinguishes between the personal and collective unconscious, the latter
being particularly relevant to archetypal criticism. The collective unconscious, or the objective
psyche as it is less frequently known, is a number of innate thoughts, feelings, instincts, and
memories that reside in the unconsciousness of all people. Jung’s definition of the term is
inconsistent in his many writings. At one time he calls the collective unconscious the “a priori,
inborn forms of intuition,” (Lietch 998) while in another instance it is a series of “experience(s)
that come upon us like fate” (998). Regardless of the many nuances between Jung’s definitions,
the collective unconsciousness is a shared part of the unconscious.

To Jung, an archetype in the collective unconscious, as quoted from Leitch et al., is

“irrepresentable, but has effects which make visualizations of it possible, namely, the archetypal
images and ideas” (988), due to the fact they are at an inaccessible part of the mind. The
archetypes to which Jung refers are represented through primordial images, a term he coined.
Primordial images originate from the initial stages of humanity and have been part of the
collective unconscious ever since. It is through primordial images that universal archetypes are
experienced, and more importantly, that the unconscious is revealed.

With the same death-rebirth myth that Frazer sees as being representative of the growing seasons
and agriculture as a point of comparison, a Jungian analysis envisions the death-rebirth archetype
as a “symbolic expression of a process taking place not in the world but in the mind. That
process is the return of the ego to the unconscious—a kind of temporary death of the ego—and
its re-emergence, or rebirth, from the unconscious” (Segal 4).

By itself, Jung’s theory of the collective unconscious accounts for a considerable share of
writings in archetypal literary criticism; it also pre-dates the height of archetypal literary
criticism by over a decade. The Jungian archetypal approach treats literary texts as an avenue in
which primordial images are represented. It would not be until the 1950s when the other branch
of archetypal literary criticism developed.

[edit] Frye
Bodkin’s Archetypal Patterns in Poetry, the first work on the subject of archetypal literary
criticism, applies Jung’s theories about the collective unconscious, archetypes, and primordial
images to literature. It was not until the work of the Canadian literary critic Northrop Frye that
archetypal criticism was theorized in purely literary terms. The major work of Frye’s to deal with
archetypes is Anatomy of Criticism but his essay “The Archetypes of Literature” is a precursor to
the book. Frye’s thesis in “The Archetypes of Literature” remains largely unchanged in Anatomy
of Criticism. Frye’s work helped displace New Criticism as the major mode of analyzing literary
texts, before giving way to structuralism and semiotics.

Frye’s work breaks from both Frazer and Jung in such a way that it is distinct from its
anthropological and psychoanalytical precursors. For Frye, the death-rebirth myth that Frazer
sees manifest in agriculture and the harvest is not ritualistic since it is involuntary, and therefore,
must be done. As for Jung, Frye was uninterested about the collective unconscious on the
grounds of feeling it was unnecessary: since the unconscious is unknowable it cannot be studied.
How archetypes came to be was also of no concern to Frye; rather, the function and effect of
archetypes is his interest. For Frye, literary archetypes “play an essential role in refashioning the
material universe into an alternative verbal universe that is humanly intelligible and viable,
because it is adapted to essential human needs and concerns” (Abrams 224-225).

There are two basic categories in Frye’s framework, comedic and tragic. Each category is further
subdivided into two categories: comedy and romance for the comedic; tragedy and satire (or
ironic) for the tragic. Though he is dismissive of Frazer, Frye uses the seasons in his archetypal
schema. Each season is aligned with a literary genre: comedy with spring, romance with
summer, tragedy with autumn, and satire with winter.

Comedy is aligned with spring because the genre of comedy is characterized by the birth of the
hero, revival and resurrection. Also, spring symbolizes the defeat of winter and darkness.
Romance and summer are paired together because summer is the culmination of life in the
seasonal calendar, and the romance genre culminates with some sort of triumph, usually a
marriage. 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. Satire is metonymized
with winter on the grounds that satire is a “dark” genre; satire is a disillusioned and mocking
form of the three other genres. It is noted for its darkness, dissolution, the return of chaos, and
the defeat of the heroic figure.

The context of a genre determines how a symbol or image is to be interpreted. Frye outlines five
different spheres in his schema: human, animal, vegetation, mineral, and water. The comedic
human world is representative of wish-fulfillment and being community centred. In contrast, the
tragic human world is of isolation, tyranny, and the fallen hero. Animals in the comedic genres
are docile and pastoral (e.g. sheep), while animals are predatory and hunters in the tragic (e.g.
wolves). For the realm of vegetation, the comedic is, again, pastoral but also represented by
gardens, parks, roses and lotuses. As for the tragic, vegetation is of a wild forest, or as being
barren. Cities, a temple, or precious stones represent the comedic mineral realm. The tragic
mineral realm is noted for being a desert, ruins, or “of sinister geometrical images” (Frye 1456).
Lastly, the water realm is represented by rivers in the comedic. With the tragic, the seas, and
especially floods, signify the water sphere.

Frye admits that his schema in “The Archetypes of Literature” is simplistic, but makes room for
exceptions by noting that there are neutral archetypes. The example he cites are islands such as
Circe’s or Prospero’s which cannot be categorized under the tragic or comedic.

[edit] Critiques of Archetypal Criticism

It has been argued that Frye’s version of archetypal criticism strictly categorizes works based on
their genres, which determines how an archetype is to be interpreted in a text. According to this
argument the dilemma Frye’s archetypal criticism faces with more contemporary literature, and
that of post-modernism in general, is that genres and categories are no longer distinctly separate
and that the very concept of genres has become blurred, thus problematizing Frye’s schema. For
instance Beckett’s Waiting For Godot is considered a tragicomedy, a play with elements of
tragedy and satire, with the implication that interpreting textual elements in the play becomes
difficult as the two opposing seasons and conventions that Frye associated with genres are pitted
against each other. But in fact arguments about generic blends such as tragicomedy go back to
the Renaissance, and Frye always conceived of genres as fluid. Frye thought literary forms were
part of a great circle and were capable of shading into other generic forms. (He contemplated
including a diagram of his wheel in Anatomy of Criticism but thought better of it.)

[edit] Examples of Archetypes in Literature

Femme Fatale: A female character type who brings upon catastrophic and disastrous events. Eve
from the story of Genesis or Pandora from Greek mythology are two such figures.

The Journey: A narrative archetype where the protagonist must overcome a series of obstacles
before reaching his or her goal. The quintessential journey archetype in Western culture is
arguably Homer’s Odyssey.

Archetypal symbols vary more than archetype narratives or character types. The best archetypal
pattern is any symbol with deep roots in a culture's mythology, such as the forbidden fruit in
Genesis or even the poison apple in Snow White. These are examples of symbols that resonate
with archetypal critics. Archetypal Villian

[edit] See also

 Comparative mythology
 Jungian archetypes
 Monomyth
 The Hero with a Thousand Faces
[edit] References
 Abrams, M. H. "Archetypal Criticism." A Glossary of Literary Terms. Fort Worth: HBJ,
1993. 223 - 225
 Bates, Roland. Northrop Frye. Toronto: McClelland and Stewart, 1971.
 Frye, Northrop. "The Archetypes of Literature." The Norton Anthology: Theory and
Criticism. Ed. Vincent B. Leitch. New York: Norton, 2001. 1445 - 1457
 Knapp, Bettina L. "Introduction." A Jungian Approach to Literature. Carbondale and
Edwardsville: Southern Illinois University Press, 1984. ix - xvi
 Leitch, Vincent B. "Northrop Frye." The Norton Anthology: Theory and Criticism. Ed.
Vincent B. Leitch. New York: Norton, 2001. 1442 - 1445
 -- "Carl Gustav Jung." The Norton Anthology: Theory and Criticism. Ed. Vincent B.
Leitch. New York: Norton, 2001. 987 - 990
 Segal, Robert A. "Introduction." Jung on Mythology. Princeton: Princeton University
Press, 1998. 3 - 48
 Sugg, Richard P., ed. Jungian Literary Criticism. Evanston, Ill.: Northwestern University
Press, 1992. (439 pgs.)
 Walker, Steven F. Jung and the Jungians on Myth. New York: Garland Publishing, 1995.
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