EL – 117 LITERRAY

Module 5 CRITICISM
Course: EL – 117 Literary Criticism
Unit No. 5
 Romblon State University
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Learning Objectives:

At the end of the lesson, you should be able to:

1. Trace the development of psychoanalytical, Mythological and archetypal approach

2. Determine the method of reading these approaches
3. apply the method to a text

Engage

Before reading the exploration text, Try to answer the questions below. This will
not be part of the recorded output,

How do you understand the words psychoanalytical, mythological and archetypal?

Explore

PsychoanalyticalTheory.
This theory applies the ideas of Freudian psychology to literature Freud sees the component
parts of the psyche as three groups or functions. The id, directly related to the instinctual drives; the
ego, an agency which regulates and opposes the drives, and the superego, another part of the ego
with a critical judging function. It encourages the reader/critic to be creative in speculating about the
characters or author motivation, drives, fears, or desires. The belief here is that creative writing is like
dreaming it disguises what cannot be confronted 'directly - the critic must decode what is disguised. A
direct relation between the text and the author is presupposed and made the center of inquiry.

O Rose, thou art sick!

The invisible worm,
That flies in the night.
In the howling storm,

Has found out thy bed

Of crimson joy.
And his dark secret love
Does thy life destroy.

William Blake

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Open the power point presentation and reflect on how the Psychoanalytic criticism is done,
Mythological/Archetypal Approach.

This approach to literary study is based on Carl Jung's theory of the collective unconscious.
Repeated or dominant images or patterns of human experience are identified in the text: the changing
of seasons, the cycle of birth, death and rebirth, the heroic quest, or immortality. Myths are universal
although every nation has its own distinctive mythology. Similar motifs or themes may be found among
many different mythologies, and certain images that recur in the myths of people separated in time and
place tend to have a common meaning, elicit comparable psychological responses, and serve similar
Cultural functions. Such motifs and images are called archetypes.

This approach also uses Northrop Frye’s assertion that literature consists of variations on a great
mythic theme that contains the following:

 the creation and life in paradise garden

 Displacement or banishment from paradise. Alienation
 a time of trial and tribulation, usually a wandering journey
 a self-discovery as a result of struggle epiphany
 a return to paradise. rebirth/resurrection

e.g.
Lam-ang- archetype of immortality
Superman in the movie Superman Returns- death and rebirth archetype
Gandalf in The Lord of the Rings –wise old man archetype
Odysseus -hero o initiation
Aeneas- hero of the quest
Jesus Christ- sacrificial scapegoat

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 Romblon State University
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THE MYTH OF PYGMALION AND GALATEA

The myth of Pygmalion and Galatea is probably one of the most known stories in Greek
Mythology. The myth of Pygmalion and Galatea is also one of the most influential and
inspiring ancient Creek myths, and became the main theme for theatrical plays, movies and
artistic paintings.

Pygmalion the Sculptor

Pygmalion was a talented Greek sculptor from Cyprus. After becoming disgusted by some
local prostitutes, he lost all interest in women and avoided their company completely.
Pygmalion saw women as flowed creatures and vowed never to waste any moment of his life
with them. He dedicated himself to his work and soon created Galatea, a beautiful stature of
a woman out of ivory.

Ironically, the masterpiece of his life was this statue of a woman. Perhaps he sought to
correct in marble the flaws he saw in women of flesh and blood.

Pygmalion's Statue
Pygmalion the sculptor whatever the case Pygmalion worked so long and with such
inspiration on the statue of Galatea, that t became more beautiful than any woman that had
ever lived or been carved in stone. As he finished the statue's features, they became
exquisitely lovely, and he found himself applying the strokes of hammer and chisel with
increasing affection. When his chisel finally stopped ringing there stood before him a woman
of such perfection that Pygmalion, who had professed his disdain of all females, fell deeply
in love.

He would bring it gifts, caress it, kiss it and talk to it every day. He brought it gifts he
thought women would enjoy, such as pretty seashells, beads, songbirds, baubles and
flowers. He would dress the statue in fine clothing, and put rings on her fingers, necklaces
around her neck and even earrings. However, what irony that he who had scorned women
should fall in love with a woman who could never love him in return!

Pygmalion and Aphrodite

Such a passion could not go unnoticed by the goddess of love, Aphrodite. She took pity on
the young man and, when Pygmalion went to her temple to sacrifice a bull, Aphrodite gave
him a sign. As the offering burned on the temple, the flames shot up one, two, three times.

“Shine and Serve with Honor and Excellence.”

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Pygmalion went home, wondering what to make of the manifestation he had seen. When he
entered his studio, however, and saw the statue, all other thoughts were banished from his
mind.

He ran to his statue and embraced it.

The Myth of Pygmalion Galatea and Aphrodite Did she seem warm to his touch, or was it just
residual heat form the sunset that had warmed the stone? He kissed her. Did the statue's
lips seem soft? He stood back and regarded her. Did there appear the glow of life from
within the marble form? Was he imagining it? No. Aphrodite had given life to the statue,
whose name was Galatea.

Pygmalion and Galatea

Pygmalion's mind oscillated between doubt and joy. Fearing he may be mistaken, again and
again with a lover's ardor he touches the object of his hopes.

It was indeed alive! The veins when pressed yielded to the finger and again resumed their
roundness. Slowly it dawned on Pygmalion that the animation of his sculpture was the result
of his prayer to Goddess Aphrodite who knew his desire. At last, the votary of Aphrodite
found words to thank the goddess. Pygmalion humbled himself at the Goddess' feet.

Pygmalion and Galatea Soon Pygmalion and Galatea were wed, and Pygmalion never forgot
to thank Aphrodite for the gift she had given him. Aphrodite blessed the nuptials she had
formed and this union between Pygmalion and Galatea produced a son named Paphos, from
whom the city of Paphos in Cyprus (this city was sacred to Aphrodite), recelved its name.

Pygmalion and Galatea brought gifts to her temple throughout their life and Aphrodite
blessed them with happiness and love in return. The unusual love that blossomed between
Pygmalion and Galatea enthralls all. Falling in love with one's creation and then getting the
desired object as wife- perhaps this was destined for Pygmalion.

Even to this day, countless people and young lovers are mesmerized by this exceptional
love that existed between two persons at a time when civilization was in its infancy.

MYTHOLOGY SUMMARY AND ANALYS1S OF CUPID AND PSVCHE

A stunningly beautiful girl, Psyche, is born after two older sisters. People throughout the land
worship her beauty so deeply that they forget about the goddess Venus. Venus becomes
angry that her temples are falling to ruin, so she plots to ruin Psyche. She instructs her son,
Cupid, to pierce the girl with an arrow and make her fall in love with the most vile, hideous
man alive. But when Cupid sees Psyche in her radiant glory, he shoots himself with the
arrow instead Meanwhile, Psyche and her family become worried that she will never find a
husband, for although men admire her beauty, they always seem content to marry someone
else. Psyche's father prays to Apollo for help, and Apollo instructs her to go to the top of a
hill, where she will marry not a man but a serpent. Psyche bravely follows the instructions
and falls asleep on the hill. When she wakes up, she discovers a stunning mansion. Going
inside, she relaxes and enjoys fine food and luxurious treatment. At night, in the dark, she
meets and falls in love with her husband.

She lives happily with him, never seeing him, until one day he tells her that her sisters have
been crying for her. She begs to see them, but her husband replies that it would not be wise
to do so. Psyche insists that they visit, and when they do, they become extremely jealous of
Psyche's beautiful mansion and lush quarters. They deduce that Psyche has never seen her
husband, and they convince her that she must sneak a look. Confused and conflicted,
Psyche turns on a lamp one night as her husband Iies next to her.

When she sees the beautiful Cupid asleep on her bed, she weeps for her lack of faith. Cupid
awakens and deserts her because Love cannot live where there is no trust. Cupid returns to
his mother, Venus, who again decides to enact revenge on the beautiful girl.

“Shine and Serve with Honor and Excellence.”

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Psyche, meanwhile, journeys all over the land to find Cupid. She decides to go to Venus
herself in a plea for love and forgiveness, and when she finally sees Venus, the great
goddess laughs aloud. Venus shows her a heap of seeds and tells her that she must sort
them all in one night's time if she wants to see Cupid again. This task is impossible for one
person alone, but ants pity Psyche and sort the seeds for her. Shocked, Venus then orders
Psyche to sleep on the cold ground and eat only a piece of bread for dinner. But Psyche
survives the night easily. Finally,

Venus commands her to retrieve a golden fleece from the river. She almost drowns herself
in the river because of her sorrow, but a reed speaks to her and suggests that she collect
the golden pieces of fleece from the thorny briar that catches it. Psyche follows these
instructions and returns a sizable quantity to Venus. The amazed goddess, still at it, now
orders Psyche to fill a flask from the mouth of the River Styx. When Psyche reaches the head
of the river, she realizes that this task seems impossible because the rocks are so
dangerous. This time, an eagle helps her and fills the flask. Venus still does not give in. She
challenges Psyche to go into the underworld and have Persephone put some of her beauty in
a box. Miraculously, Psyche succeeds.

On her way toward giving the box to Venus, she becomes curious, opens the box, and
instantly falls asleep. Meanwhile, Cupid looks for Psyche and finds her sleeping. He awakens
her, puts the sleeping spell back in the box, and takes her to Zeus to request her
immortality. Zeus grants the request and makes Psyche an immortal goddess. She and
Cupid are married. Venus now supports the marriage because her son has married a
goddess-and because Psyche will no longer distract the men on earth from Venus.

Assignment :

Write a brief comparison of the stories Pygmalion and Galatea and Cupid and
Psyche. Make your own analysis of the love story. What mythic themes of
Northrop Frye are included in the story.

NOTE: READ THE INSTRUCTIONS CAREFULLY.

1. This assignment will be accomplished individually.
2. The interpretation or analysis must be brief but meaningful
3. Formatting:.
a. Font Style: Arial
b. Font Size: 12 pts
c. Page Size: 8.5” by 11” (Letter Size Format/Short)
d. Page Margin: 1” (All Margins)
e. Line Spacing: 1.5
3. The assignment should be an MS Word Document and must be submitted with the
following File Name on through google classroom or email.
Deadline.. April 5, 2021 emelia_ramos@yahoo.com

Your Surname_Your First Name_Assigment #______

Prepared by: EMELIA B. RAMOS, Ph.D.

References:

Ashcroft, B. et al. (1991). The empire writes back (theory and practice in post-colonial litreratures). New
York: Routlegde
Charles, Bresler E. (1994). Literary criticism: An introduction to theory and practice. New Jersey: Printice
hall Englewoods Cliffs
Selden, Raman. (1976). Practicing Theory and Reading Literature. Kentucky: The University Press of
Kentucky
Eagleton, Terry. (1983). Literary Theory an introduction. Cornwall, UK: Basil Blackwell Ltd.
Richer, David H. (1989). The critical tradition classic texts and contemporary trends. Boston:St. Martin’s
Press

“Shine and Serve with Honor and Excellence.”

 Romblon State University
San Fernando, Romblon
Technology Education Department

RSU-SFC TED Form No. 005: Course Module Format

Davis, Robert C. (1986). Contemporary Literary Criticism. New York: Longnam Inc.

“Shine and Serve with Honor and Excellence.”