Abstract

I shall never forget my astonishment and delight on reading the 1949 essay, "The Function of Criticism at the Present Time," which in turn became the Polemic Introduction to Anatomy of Criticism, and my even greater astonishment and delight at the appearance of "Towards a Theory of Cultural History" , which eventually served as Essay 1 of the Anatomy, when revised and expanded. The remarkable thing about these articles was not so much their content as their assumption, namely, that criticism could at least try to become a science. This assumption was couched in the form of most general scientific orientations, in that Frye took literature in its own terms,1 to begin with, and then did not prejudicially segregate and then destroy the claims of particular "minority groups" within the whole commonwealth of literary life. I did not know it at the time, but Frye was then, as now, fighting for a mode of civil rights. He was then, as now, a libertarian. He first made his name writing on Blake— freedom enough, perhaps—but it has always seemed to me that his center is as much Milton as Blake. But then, to know Blake truly is to understand Milton. · 1. This assumption is to be distinguished from that of "early" Richards, which held that a science for literary studies had to come at literature from the outside, with chiefly psychological instruments. Richards' career has been the most complex critical "life" in our century, I believe, and it should be observed that he has held, and abandoned, more than one assumptive high ground during the course of his long and magnificent involvement with poetry. Angus Fletcher's numerous writings include Allegory: The Thought of a Symbolic Mode, The Prophetic Moment: An Essay on Spenser, The Transcendental Masque: An Essay on Milton's Comus, The Stranger God: A Theoretical Study of the Myth of Dionysus, and Thresholds: A Critical Approach to the English Renaissance. Northrop Frye's response, "Expanding Eyes" appears in the Winter 1975 issue