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Northrop frye's wide-ranging analysis of William Blake's art in Fearful Symmetry and in other criticism has long been appropriated by Blake scholars in their support of the archetypal tradition, with its emphasis on the meaning and sources of symbolism in the works of Blake. Such criticism has been viewed as standing in opposition to the historical research of David Erdman and others, whose view of Blake's poetry and art results from a close inspection of the life and times of the artist. However, Frye's contribution in this field has endured due to his insistence on relating Blake's ideas to other traditions of literary and religious thought and his ability to analyze Blake's symbols and their interconnections.
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Frye's study of Blake has had enormously important repercussions for literary critical studies, as it helped to form the basis of his own system of critical theory in the Anatomy of Criticism: Four Essays (1957). In the Anatomy, Frye provides an analysis of four different types of literary expression, the third of which is the archetypal. In this article, it is my intention to partially explore the archetypal tradition of criticism, to which Frye is a prominent contributor, and to highlight the ways in which Frye's analysis of archetypal symbolism in Blake created a new direction in literary criticism. The first section will give a brief synopsis of typical literature from the archetypal [End Page 173] critical tradition and explain Frye's position within the field in relation to his use of Jung's theories and study of Blake. Secondly, there is a discussion of certain aspects of Frye's interest in the archetypal visionary elements of William Blake's poetry. The third section focuses on the extent to which Frye uses Jungian ideas in his discussion of archetypes.