Abstract

This article grew out of a profound disinclination to make the kind of comment that I was invited to make on Angus Fletcher's article in a previous issue [June 1975]. I felt that such a writer as Mr. Fletcher, who clearly understands me, and, more important, himself, ought to be allowed the last word on both subjects. Besides that, I have a rooted dislike of the "position paper" genre. In all arts, adhering to a school and issuing group manifestoes and statements of common aims is a sign of youthfulness, and to some degree of immaturity; as a painter or writer or other creative person grows older and acquires more authority, he tends to withdraw from all such organizations and become simply himself. Others in the same field become friends or colleagues rather than allies. I see no reason why that should not be the normal tendency in criticism and scholarship also. About twenty years ago I was asked, in a hotel lobby during an MLA conference, "What is your position relative to Kenneth Burke?" I forgot what I mumbled, but my real answer was, first, that I hadn't the least idea and, second, that anyone who could really answer such a question would have to be a third person, neither Burke nor Frye. Northrop Frye's contribution to contemporary thought has been discussed by prominent critics in Northup Frye in Modern Criticism: Selected Papers from the English Institute . The most comprehensive bibliography of his publications and of commentaries on them has been compiled by Robert D. Denham in Northup Frye: An Enumerative Bibliography . Angus Fletcher's interpretation of Professor Frye's works, "The Critical Passion," appeared in the June 1975 issue of Critical Inquiry