By Line Henriksen
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 concept that of style is labored out and awarded, according to readings of Homer. The research 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 idea 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 undertaking may possibly fail, yet particularly the ethical implications of that ambition and the phobia that it may 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 inventive methods as illustrated by means of the drafts of the Cantos. even if there has already been an intermittent severe specialize in the 'classical' (and 'Dantean') antecedents of Walcott's poetry, the current examine 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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Extra info for Ambition and Anxiety: Ezra Pound's 'Cantos' and Derek Walcott's 'Omeros' as Twentieth-Century Epics (Cross Cultures 88) (Cross Cultures)
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. ’24 In an oral culture, identity is established by lineage. ’]”25 With variations and reversals, the tradition of rewriting the Homeric epics that begins with Virgil’s Aeneid repeats passages from the Odyssey and the Iliad, rendering these traditional topoi.
A ‘them’. ”91 Quint, however, refers us to Polybius’ reading of Iliad 4, which finds an opposition with ideological markers in Homer’s description of Trojans and Greeks; Greek silence and self-control are contrasted with the noise and war reading strategy with which the text wishes to be received. See Genette, Paratexts: Thresholds of Interpretation, tr. Jane E. Lewin (Cambridge & New York: Cambridge U P , 1997). 89 Bakhtin, Speech Genres and Other Late Essays, 80. Such re-accentuation leads either to stylisation or to parody.
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? A consideration of archaic poetics will involve issues of authority, originality and a discussion of an apparent oxymoron: the ‘oral text’.
Ambition and Anxiety: Ezra Pound's 'Cantos' and Derek Walcott's 'Omeros' as Twentieth-Century Epics (Cross Cultures 88) (Cross Cultures) by Line Henriksen