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Or the thirty-six ways to paint Mount Fuji. In all of this, one finds that Frye’s approach seemed fully realized from the outset. He knew his own mind all along; hence there is no Early Frye or Late Frye, only Middle Frye. While many of these pages feature themes and some of the innumerable variations upon them, preference has been given to earlier formulations over later ones, to basic statements over detailed ones, and to popular expressions over academic ones. No special attempt has been made to “date” his utterances other than to identify the years of their earliest appearances in print.
However, he sought all his life to define a religion that did justice to man’s spirituality without falling into what he saw as superstitious idolatry. The religion he defined was radical to say the least. By the time of his last book, The Double Vision (1991), he had virtually jettisoned the ideas of God the father, of the historical Jesus as an atoning figure, of the afterlife, of the Creation as a historical event, and of the Apocalypse as something that was likely to happen. As we might guess, they’re all metaphors.
This approach to literature was so novel and so suggestive that within a few years Frye had become the darling of North American graduate-school English departments; carrying a copy of his book was the very hallmark of the serious and up-to-date student. ” Of course, this influence was subject to historical fluctuation: during the heyday of Deconstruction some years later, any attempt to see a grand structure was suspect, and Frye became for a while a past number. But even at the time of its publication, there was considerable resistance to The Anatomy of Criticism.