By Line Henriksen
This comparative research investigates the epic lineage that may be traced again from Derek Walcott's Omeros and Ezra Pound's Cantos via Dante's Divina Commedia to the epic poems of Virgil and Homer, and identifies and discusses intimately a few recurrent key topoi. A clean definition of the idea that of style is labored out and offered, in keeping with readings of Homer. The examine reads Pound's and Walcott's poetics within the gentle of Roman Jakobson's notions of metonymy and metaphor, putting their lengthy poems on the respective contrary ends of those language poles. The concept of 'epic ambition' refers back to the poetic status connected to the epic style, while the (non-Bloomian) 'anxiety' happens whilst the poet faces not just the chance that his venture may well fail, yet in particular the ethical implications of that ambition and the phobia that it could turn out presumptuous. The drafts of Walcott's Omeros are right here tested for the 1st time, and a focus is additionally dedicated to Pound's artistic approaches as illustrated via the drafts of the Cantos. even though there has already been an intermittent severe specialise in the 'classical' (and 'Dantean') antecedents of Walcott's poetry, the current learn is the 1st to collect the complete diversity of epic intertextualities underlying Omeros, and the 1st to learn this Caribbean masterpiece within the context of Pound's fulfillment.
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This comparative examine investigates the epic lineage that may be traced again from Derek Walcott's Omeros and Ezra Pound's Cantos via Dante's Divina Commedia to the epic poems of Virgil and Homer, and identifies and discusses intimately a few recurrent key topoi. A clean definition of the idea that of style is labored out and offered, in line with readings of Homer.
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Additional info for Ambition and Anxiety: Ezra Pound's 'Cantos' and Derek Walcott's 'Omeros' as Twentieth-Century Epics (Cross Cultures 88) (Cross Cultures)
41 The Best of the Achaeans, 16. ”42 The aoidos never presents himself as the producer of his own work, but simply as transmitting to his audience the song that he receives from the muses. It is through this gift of the muses that the singer is able to sing of that of which he has no personal knowledge. ”43 Accordingly, the singer relates what he hears, not what he sees. The authority of oral epic is linked precisely to this religious relation between song and reality: the song is divine, the singer merely an instrument of the muses’ inspiration.
If genre is ultimately lineage and all writing allusive and Ong, Orality and Literacy, 21. Milman Parry, The Making of Homeric Verse, 270. 35 Maurice Bowra, From Virgil to Milton (1945; London: Macmillan & New York: St. Martin’s, 1972): 4. 36 Bakhtin, Speech Genres and Other Late Essays, 69. 33 34 11 Homer and Genre thus formulaic, these observations turn out to be relevant to literature as such. They remain inescapable in our discussion of Homer’s descendants. ORAL POETICS For a further understanding of the epic genre, we will now turn to the view of poetic craft and mission presented in the Homeric poems.
Ii, 93–95; xix, 139–40; and xxiv, 128–30 unites the weaving of a fabric and the creation of the scheme. ” For the connection between women and mêtis, which she glosses as “cunning intelligence,” see Ingrid E. 1 (1997): 1–33. , vi, 456; xxii, 440) weave. , i, 356–58. , x, 222). 70 71 20 AMBITION AND ANXIETY The scheming, wilful character of women in epic, in many cases reflective of an urge to possess the male, reappears in Virgil’s Dido and Tasso’s Armida, and also in Eden, where Milton goes further than merely holding Eve responsible for the Fall.