Problem: Background: Herman Northrop Frye  (July 14, 1912 - January 23, 1991) was a Canadian literary critic and literary theorist, considered one of the most influential of the 20th century. Frye gained international fame with his first book, Fearful Symmetry (1947), which led to the reinterpretation of the poetry of William Blake. His lasting reputation rests principally on the theory of literary criticism that he developed in Anatomy of Criticism (1957), one of the most important works of literary theory published in the twentieth century. The American critic Harold Bloom commented at the time of its publication that Anatomy established Frye as "the foremost living student of Western literature."
Context: Once asked whether his critical theory was Romantic, Frye responded, "Oh, it's entirely Romantic, yes" (Stingle 1). It is Romantic in the same sense that Frye attributed Romanticism to Blake: that is, "in the expanded sense of giving a primary place to imagination and individual feeling" (Stingle 2). As artifacts of the imagination, literary works, including "the pre-literary categories of ritual, myth, and folk-tale" (Archetypes 1450) form, in Frye's vision, a potentially unified imaginative experience. He reminds us that literature is the "central and most important extension" of mythology: ". . . every human society possesses a mythology which is inherited, transmitted and diversified by literature" (Words with Power xiii). Mythology and literature thus inhabit and function within the same imaginative world, one that is "governed by conventions, by its own modes, symbols, myths and genres" (Hart 23). Integrity for criticism requires that it too operates within the sphere of the imagination, and not seek an organizing principle in ideology. To do so, claims Frye,  . . . leaves out the central structural principles that literature derives from myth, the principles that give literature its communicating power across the centuries through all ideological changes. Such structural principles are certainly conditioned by social and historical factors and do not transcend them, but they retain a continuity of form that points to an identity of the literary organism distinct from all its adaptations to its social environment (Words with Power xiii).  Myth therefore provides structure to literature simply because literature as a whole is "displaced mythology" (Bates 21). Hart makes the point well when he states that "For Frye, the story, and not the argument, is at the centre of literature and society. The base of society is mythical and narrative and not ideological and dialectical" (19). This idea, which is central in Frye's criticism, was first suggested to him by Giambattista Vico.
Question: did he have any critics?
Answer: ). This idea, which is central in Frye's criticism, was first suggested to him by Giambattista Vico.

Problem: Background: Bhaktisiddhanta Sarasvati (Bhaktisiddhanta Sarasvati; Bengali: bhktisiddhaant srsbtii; Bengali: [bhoktisiddhanto SoroSboti] ( listen); 6 February 1874 - 1 January 1937), born Bimala Prasad Datta (Bimala Prasad Datta, Bengali: [bimola proSad dotto]), also referred to as Bhaktisiddhanta Sarasvati Thakura, was a prominent guru and spiritual reformer of Gaudiya Vaishnavism in the early 20th century in India. Bimala Prasad was born in 1874 in Puri (Orissa) a son of Kedarnath Datta Bhaktivinoda Thakur, a recognised Bengali Gaudiya Vaishnava philosopher and teacher. Bimala Prasad received both Western and traditional Indian education and gradually established himself as a leading intellectual among the bhadralok (Western-educated and often Hindu Bengali residents of colonial Calcutta), earning the title Siddhanta Sarasvati ("the pinnacle of wisdom"). Under the direction of his father and spiritual preceptor, Bimala Prasad took initiation (diksha) into Gaudiya Vaishnavism from the Vaishnava ascetic Gaurakishora Dasa Babaji, receiving the name Shri Varshabhanavi-devi-dayita Dasa (Sri Varsabhanavi-devi-dayita Dasa, "servant of Krishna, the beloved of Radha"), and dedicated himself to arduous ascetic discipline, recitation of the Hare Krishna mantra on beads (japa), and study of classical Vaishnava literature.
Context: The encounter with and initiation from Gaurakishora Dasa Babaji, an illiterate yet highly respected personality, had a transformational effect on Siddhanta Sarasvati. Later, reflecting on his first meeting with the guru, Bhaktisiddhanta Sarasvati recalled:  It was by providential dispensation that I was able fully to understand the language and practical side of devotion after I had met the practicing master [Gaura Kishora Das Babaji]....No education could have prepared me for the good fortune of understanding my master's attitude....Before I met him my impression was that the writings of the devotional school could not be fully realised in a practical life in this world. My study of my master, and then the study of the books, along with the explanations by Thakura Bhaktivinoda [Bhaktisiddhanta's father Kedarnatha Datta], gave me ample facility to advance toward true spiritual life. Before I met my master, I had not written anything about real religion. Up to that time, my idea of religion was confined to books and to a strict ethical life, but that sort of life was found imperfect unless I came in touch with the practical side of things.  After receiving initiation, Siddhanta Sarasvati went on a pilgrimage of India's holy places. He first stayed for a year in Jagannath Puri, and in 1904 travelled to South India, where he explored various branches of Hinduism, in particular the ancient and vibrant Vaishnava Shri and Madhva sampradayas, collecting materials for a new Vaishnava encyclopaedia. He finally settled in Mayapur 130 km north of Calcutta, where Bhaktivinoda had acquired a plot of land at the place at which, according to his research, Chaitanya Mahaprabhu was born in 1486. At that time, Bhaktivinoda added the prefix "bhakti" (meaning "devotion") to Siddhanta Sarasvati, acknowledging his proficiency in Vaishnava studies.  Starting from 1905, Bhaktisiddhanta Sarasvati began to deliver public discourses on the philosophy and practice of Chaitanya Vaishnavism, gathering a following of educated young Bengalis, some of whom became his students. While assisting Bhaktivinoda in his developing project in Mayapur, Bhaktisiddhanta vowed to recite one billion names of Radha (Hara) and Krishna - which took nearly ten years to complete - thus committing himself to the lifelong practice of meditation on the Hare Krishna mantra taught to him first by his father and then by his guru. The aural meditation on Krishna's names done either individually (japa) or collectively (kirtana) became a pivotal theme in Bhaktisiddhanta's teachings and personal practice.
Question: How did people view this?
Answer:
Bhaktisiddhanta vowed to recite one billion names of Radha (Hara) and Krishna - which took nearly ten years to complete