By Line Henriksen
This comparative learn 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 couple of recurrent key topoi. A clean definition of the idea that of style is labored out and offered, in response to readings of Homer. The learn reads Pound's and Walcott's poetics within the mild of Roman Jakobson's notions of metonymy and metaphor, putting their lengthy poems on the respective contrary ends of those language poles. The inspiration of 'epic ambition' refers back to the poetic status hooked up to the epic style, while the (non-Bloomian) 'anxiety' happens whilst the poet faces not just the danger that his undertaking could fail, yet in particular the ethical implications of that ambition and the phobia that it could possibly end up presumptuous. The drafts of Walcott's Omeros are the following tested for the 1st time, and a focus is usually dedicated to Pound's artistic systems as illustrated by way of the drafts of the Cantos. even if there has already been an intermittent serious specialize in the 'classical' (and 'Dantean') antecedents of Walcott's poetry, the current learn is the 1st to compile the complete variety 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 learn 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 couple of recurrent key topoi. A clean definition of the idea that of style is labored out and awarded, in response to readings of Homer.
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Extra info for Ambition and Anxiety: Ezra Pound's 'Cantos' and Derek Walcott's 'Omeros' as Twentieth-Century Epics (Cross Cultures 88) (Cross Cultures)
The Perseus Project, July 2004. 20 Eric A. Havelock, A Preface to Plato (Oxford: Basil Blackwell, 1963): 46–47. 21 Havelock, Preface to Plato, 167. 22 Preface to Plato, 217–19. 23 Preface to Plato, 185. Homer and Genre 7 oral to written culture, and allows us to trace our tendency to group texts in abstract categories from the line that defines Glaucus according to the fame of his predecessors. The new sense that genos adopts with writing liberates it from the close tie to the family that geneê maintains.
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. ] But to Adam in what sort Shall I appear? shall I to him make known As yet my change, and give him to partake Full happiness with me, or rather not, But keep the odds of knowledge in my power Without copartner?
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. With what words do Homer and the singers he depicts refer to their own activity?
Ambition and Anxiety: Ezra Pound's 'Cantos' and Derek Walcott's 'Omeros' as Twentieth-Century Epics (Cross Cultures 88) (Cross Cultures) by Line Henriksen