is the exploration of literature in the light of melos, opsis, and their interplay as manifested in lexis. In romantic comic modes, the setting is pastoral or idyllic, and there is an integration of the hero with an idealized simplified form of nature. Music, however, does not consist of a plastic, static, continuously stable relationship, but rather a series of dissonances resolving at the end into a stable relationship. Frye next introduces the formal phase, embodied by the image, in order to define the layer of meaning that results from the interplay of the harmony and rhythm of the signs and motifs. Rather than viewing the symbol as a unique achievement of the author or some inherent quality of the text, the archetypeal phase situates the symbol in its society of literary kindred as a product of its conventional forebears.
In Vico there is also a projecting of authority, first on gods, then on "heroes" or human leaders, then on the people themselves. A b c Frye, Northrop (1957). In this setting, literature represents the natural cycle of birth, growth, maturity, decline, death, resurrection, rebirth, and the repetition of the cycle. Low mimetic tragedy shows the death or sacrifice of an ordinary human being and evokes pathos, as with Thomas Hardy 's Tess or Henry James 's Daisy Miller. The individual author's own thoughts and ideas are now the center of authority, as instanced by William Wordsworth 's Prelude. Frye makes the argument that not only is there a lateral connection of archetypes through intertextuality, but that there is a transcendent almost spiritual unity within the body of literature. Seasons and their analogies to genres, life and myths by Frye 5 Season Genres Life Cycle Associated Myth Spring Comedy Birth (life) Myth of birth Summer Romance Youth, Growth Myth of triumph, harmony Autumn / Fall Tragedy Old, Maturity Myth of fall, decay, separation Winter. As Frye describes each genre, he explains the function of melos and opsis in each. "Ethical Criticism: Theory of Symbols" edit Now that Frye has established his theory of modes, he proposes five levels, or phases, of symbolism, each phase independently possessing its own mythos, ethos, and dianoia as laid out in the first essay.