“The primary and literal meaning of the Bible, then, is its centripetal or poetic meaning.”
Source: "Quotes", The Great Code: The Bible and Literature (1982), Chapter Three, p. 61
Herman Northrop Frye was a Canadian literary critic and literary theorist, considered one of the most influential of the 20th century.
Frye gained international fame with his first book, Fearful Symmetry , which led to the reinterpretation of the poetry of William Blake. His lasting reputation rests principally on the theory of literary criticism that he developed in Anatomy of Criticism , one of the most important works of literary theory published in the twentieth century. The American critic Harold Bloom commented at the time of its publication that Anatomy established Frye as "the foremost living student of Western literature." Frye's contributions to cultural and social criticism spanned a long career during which he earned widespread recognition and received many honours.
Wikipedia
“The primary and literal meaning of the Bible, then, is its centripetal or poetic meaning.”
Source: "Quotes", The Great Code: The Bible and Literature (1982), Chapter Three, p. 61
2:568
"Quotes", Late Notebooks, 1982–1990: Architecture of the Spiritual World (2002)
Source: "Quotes", The Great Code: The Bible and Literature (1982), Chapter Four, p. 83
Source: "Quotes", Notebooks and Lectures on the Bible and Other Religious Texts (2003), p. 97
“One person by himself is not a complete human being.”
"Quotes", The Educated Imagination (1963), Talk 1: The Motive For Metaphor http://northropfrye-theeducatedimagination.blogspot.ca/2009/08/1-motive-for-metaphor.html
“We are always in the place of beginning; there is no advance in infinity.”
1:281
"Quotes", Late Notebooks, 1982–1990: Architecture of the Spiritual World (2002)
“A community`s art is its spiritual vision.”
Source: "Quotes", Notebooks and Lectures on the Bible and Other Religious Texts (2003), p. 206
“This story of loss and regaining of identity is, I think, the framework of all literature.(pg.18)”
"Quotes", The Educated Imagination (1963), Talk 2: The Singing School
"Quotes", The Educated Imagination (1963), Talk 6: The Vocation of Eloquence
Source: "Quotes", Notebooks and Lectures on the Bible and Other Religious Texts (2003), p. 108
Source: "Quotes", The Great Code: The Bible and Literature (1982), Chapter 8, p. 199
Introduction, p. xiii
"Quotes", The Great Code: The Bible and Literature (1982)
“Genius is a power of the soul and that powers of the soul can be developed by everyone.”
Source: "Quotes", Notebooks and Lectures on the Bible and Other Religious Texts (2003), p. 8
"Quotes", Anatomy of Criticism: Four Essays (1957), Mythical Phase: Symbol as Archetype
Source: "Quotes", The Great Code: The Bible and Literature (1982), Chapter Two, p. 31
2:579
"Quotes", Late Notebooks, 1982–1990: Architecture of the Spiritual World (2002)
Source: "Quotes", The Great Code: The Bible and Literature (1982), Chapter Six, p. 168
"Quotes", The Educated Imagination (1963), Talk 6: The Vocation of Eloquence
2:568
"Quotes", Late Notebooks, 1982–1990: Architecture of the Spiritual World (2002)
Source: "Quotes", The Great Code: The Bible and Literature (1982), Chapter 8, p. 200
"Quotes", The Educated Imagination (1963), Talk 6: The Vocation of Eloquence
2:618
"Quotes", Late Notebooks, 1982–1990: Architecture of the Spiritual World (2002)
2:716
"Quotes", Late Notebooks, 1982–1990: Architecture of the Spiritual World (2002)
"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.”
Source: "Quotes", The Great Code: The Bible and Literature (1982), Chapter Six, p. 158
“Yesterday's kook book becomes tomorrow's standard text.”
2:495
"Quotes", Late Notebooks, 1982–1990: Architecture of the Spiritual World (2002)
"Quotes", Anatomy of Criticism: Four Essays (1957), Anagogic Phase: Symbol as Monad
Source: "Quotes", The Great Code: The Bible and Literature (1982), Chapter Five, p. 136
"Quotes", The Educated Imagination (1963), Talk 3: Giants in Time
“My greater simplicity came from a deeper level than the labyrinth of the brain.”
1:61-2
"Quotes", Late Notebooks, 1982–1990: Architecture of the Spiritual World (2002)
Source: "Quotes", The Great Code: The Bible and Literature (1982), Chapter 8, p. 232
"Quotes", The Educated Imagination (1963), Talk 2: The Singing School
Source: "Quotes", Notebooks and Lectures on the Bible and Other Religious Texts (2003), p. 95-6
Source: "Quotes", Notebooks and Lectures on the Bible and Other Religious Texts (2003), p. 7
"Quotes", Anatomy of Criticism: Four Essays (1957), Formal Phase: Symbol as Image
Source: "Quotes", The Great Code: The Bible and Literature (1982), Chapter 8, p. 224
“Give me a place to stand, and I will include the world.”
19.333
"Quotes", Notebooks
33.47
"Quotes", Notebooks
"Quotes", The Educated Imagination (1963), Talk 1: The Motive For Metaphor http://northropfrye-theeducatedimagination.blogspot.ca/2009/08/1-motive-for-metaphor.html
Source: "Quotes", Notebooks and Lectures on the Bible and Other Religious Texts (2003), p. 215
Source: "Quotes", Anatomy of Criticism: Four Essays (1957), p. 70
“Literature is not a subject of study, but an object of study.”
"Quotes", Anatomy of Criticism: Four Essays (1957), Polemical Introduction
"Quotes", The Educated Imagination (1963), Talk 5: Verticals Of Adam
"Quotes", The Educated Imagination (1963), Talk 3: Giants in Time
"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.”
2:578-9
"Quotes", Late Notebooks, 1982–1990: Architecture of the Spiritual World (2002)
Source: "Quotes", Notebooks and Lectures on the Bible and Other Religious Texts (2003), p. 209
"Canadian Energy: Dialogues on Creativity: Northrop Frye." Descant 12, no. 32-3 (1981).
"Quotes", Interviews with Northrop Frye (2008)
Source: "Quotes", The Great Code: The Bible and Literature (1982), Chapter One, p. 13