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The Critical Prose of Alexander Pushkin With Critical Essays by Four Russian Romantic Poets
English, Russian (translation)
308 pages, Hardcover
First published January 1, 1971
About the author
Alexander Pushkin
2,923 books3,640 followersWorks of Russian writer Aleksandr Sergeyevich Pushkin include the verse novel
Eugene Onegin
(1831), the play
Boris Godunov
(1831), and many narrative and lyrical poems and short stories.
See also:
Russian: Александр Сергеевич Пушкин
French: Alexandre Pouchkine
Norwegian: Aleksander Pusjkin
Spanish:Aleksandr Pushkin
People consider this author the greatest poet and the founder of modern literature. Pushkin pioneered the use of vernacular speech in his poems, creating a style of storytelling—mixing drama, romance, and satire—associated ever with greatly influential later literature.
Pushkin published his first poem at the age of 15 years in 1814, and the literary establishment widely recognized him before the time of his graduation from the imperial lyceum in Tsarskoe Selo. Social reform gradually committed Pushkin, who emerged as a spokesman for literary radicals and in the early 1820s clashed with the government, which sent him into exile in southern Russia. Under the strict surveillance of government censors and unable to travel or publish at will, he wrote his most famous drama but ably published it not until years later. People published his verse serially from 1825 to 1832.
Pushkin and his wife Natalya Goncharova, whom he married in 1831, later became regulars of court society. In 1837, while falling into ever greater debt amidst rumors that his wife started conducting a scandalous affair, Pushkin challenged her alleged lover, Georges d'Anthès, to a duel. Pushkin was mortally wounded and died two days later.
Because of his liberal political views and influence on generations of Russian rebels, Pushkin was portrayed by Bolsheviks as an opponent to bourgeois literature and culture and a predecessor of Soviet literature and poetry. Tsarskoe Selo was renamed after him.
See also:
Russian: Александр Сергеевич Пушкин
French: Alexandre Pouchkine
Norwegian: Aleksander Pusjkin
Spanish:Aleksandr Pushkin
People consider this author the greatest poet and the founder of modern literature. Pushkin pioneered the use of vernacular speech in his poems, creating a style of storytelling—mixing drama, romance, and satire—associated ever with greatly influential later literature.
Pushkin published his first poem at the age of 15 years in 1814, and the literary establishment widely recognized him before the time of his graduation from the imperial lyceum in Tsarskoe Selo. Social reform gradually committed Pushkin, who emerged as a spokesman for literary radicals and in the early 1820s clashed with the government, which sent him into exile in southern Russia. Under the strict surveillance of government censors and unable to travel or publish at will, he wrote his most famous drama but ably published it not until years later. People published his verse serially from 1825 to 1832.
Pushkin and his wife Natalya Goncharova, whom he married in 1831, later became regulars of court society. In 1837, while falling into ever greater debt amidst rumors that his wife started conducting a scandalous affair, Pushkin challenged her alleged lover, Georges d'Anthès, to a duel. Pushkin was mortally wounded and died two days later.
Because of his liberal political views and influence on generations of Russian rebels, Pushkin was portrayed by Bolsheviks as an opponent to bourgeois literature and culture and a predecessor of Soviet literature and poetry. Tsarskoe Selo was renamed after him.
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Displaying 1 - 4 of 4 reviews
July 2, 2021
Worth the Effort for Examining Frye, Literary Criticism and/or the “Critical Path” - Northrop Frye’s “The Critical Path” openly addresses topics including the importance of literature to society, the responsibilities of critics, and the deeper rationales for studying literature.
Like two previous volumes from Frye talks at colleges or on radio (“The Well-Tempered Critic,” 1961 and “The Educated Imagination,” 1964), this book was compiled from lectures at Cornell, Indiana, California Berkley, and Duke Universities. As such it is somewhat more accessible or “friendly” than other Frye works such as “Anatomy of Criticism” that benefits from interpreters such as Robert Denham (see my review of Denham’s “Northrop Frye and Critical Method”).
Seven chapters (un-named) progress from a definition of the “critical path” (derived from business as in the most important tasks required for project or other success) as the use of literature in seeking a desired or idealized world. More specifically in Chapter 1 Frye discusses criticism as a theory of literature, recurring structural patterns and arriving at meaning. Chapter 2 deals with rise of conventions, genres, and archetypes of literature, development of language through fables and myths from oral to written resulting mythologies of concern (e.g. core beliefs, tradition, group survival) and freedom (e.g. evidence, verification, objectivity/judgement, tolerance, individual respect). Chapter 3 addresses the dialectic/tension between myths of concern and freedom, exchange in characteristics as society has progressed, defenses of poetry by Sidney and Shelly. Chapter 4 treats the conception of the prophetic poet and the function of poetry. Chapter 5 departs from historical survey to discuss the contemporary scene, social function of criticism, reinterpretation of myth against changing social context. Chapter 6 goes on to explore education in the myth of concern (via family and society) versus that of the myth of freedom (via schools and universities), alienation and recovery of the myth of concern. Finally, Chapter 7 examines the social contract, ideal/utopian literature, social coherence and freedom derived from the imaginative world along the critical path.
Some aspects of the “The Critical Path” that I found particularly interesting include Frye’s comments of his own “critical path” and his earlier work on William Blake. Then there is his acceptance of being called a “Jungian” critic due to the way he considers archetypes an essential aspect of literature. Later Frye refers to the clichés to be found in advertising and communication media. In light of these remarks it is fascinating to note his observations on Marshall McLuhan’s work particularly in that McLuhan’s book “From Cliché to Archetype” appeared around the same time (hardback late 1970, paperback 1971).
Another source for this work and reference for scholars is “The Critical Path and Other Writings on Critical Theory, 1963-1975” edited by Eva Kushner and Jean O'Grady from the Collects Works of Northrop Frye. This volume is more costly, but includes 27 articles and commentary (on them) from the central period of Frye’s career.
As all Frye books, there is much packed into this relatively small volume (176 pages) and it is well worth the effort for those interested in Frye, literary criticism and/or examining the “critical path.”
Like two previous volumes from Frye talks at colleges or on radio (“The Well-Tempered Critic,” 1961 and “The Educated Imagination,” 1964), this book was compiled from lectures at Cornell, Indiana, California Berkley, and Duke Universities. As such it is somewhat more accessible or “friendly” than other Frye works such as “Anatomy of Criticism” that benefits from interpreters such as Robert Denham (see my review of Denham’s “Northrop Frye and Critical Method”).
Seven chapters (un-named) progress from a definition of the “critical path” (derived from business as in the most important tasks required for project or other success) as the use of literature in seeking a desired or idealized world. More specifically in Chapter 1 Frye discusses criticism as a theory of literature, recurring structural patterns and arriving at meaning. Chapter 2 deals with rise of conventions, genres, and archetypes of literature, development of language through fables and myths from oral to written resulting mythologies of concern (e.g. core beliefs, tradition, group survival) and freedom (e.g. evidence, verification, objectivity/judgement, tolerance, individual respect). Chapter 3 addresses the dialectic/tension between myths of concern and freedom, exchange in characteristics as society has progressed, defenses of poetry by Sidney and Shelly. Chapter 4 treats the conception of the prophetic poet and the function of poetry. Chapter 5 departs from historical survey to discuss the contemporary scene, social function of criticism, reinterpretation of myth against changing social context. Chapter 6 goes on to explore education in the myth of concern (via family and society) versus that of the myth of freedom (via schools and universities), alienation and recovery of the myth of concern. Finally, Chapter 7 examines the social contract, ideal/utopian literature, social coherence and freedom derived from the imaginative world along the critical path.
Some aspects of the “The Critical Path” that I found particularly interesting include Frye’s comments of his own “critical path” and his earlier work on William Blake. Then there is his acceptance of being called a “Jungian” critic due to the way he considers archetypes an essential aspect of literature. Later Frye refers to the clichés to be found in advertising and communication media. In light of these remarks it is fascinating to note his observations on Marshall McLuhan’s work particularly in that McLuhan’s book “From Cliché to Archetype” appeared around the same time (hardback late 1970, paperback 1971).
Another source for this work and reference for scholars is “The Critical Path and Other Writings on Critical Theory, 1963-1975” edited by Eva Kushner and Jean O'Grady from the Collects Works of Northrop Frye. This volume is more costly, but includes 27 articles and commentary (on them) from the central period of Frye’s career.
As all Frye books, there is much packed into this relatively small volume (176 pages) and it is well worth the effort for those interested in Frye, literary criticism and/or examining the “critical path.”
January 15, 2023
Just to correct the misinformation above, Frye was Canadian--NOT American.
October 18, 2023
Essential.
February 7, 2024
Excellent introduction to Frye's thought and a primer on most of his deep concerns. While somewhat esoteric in places (but what lit crit isn't?), it was brief, but immersive.
Displaying 1 - 4 of 4 reviews