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 provided, in keeping with 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 concept 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 chance that his undertaking may well fail, yet in particular the ethical implications of that ambition and the phobia that it may well end up presumptuous. The drafts of Walcott's Omeros are right here tested for the 1st time, and a focus can be dedicated to Pound's inventive techniques as illustrated via the drafts of the Cantos. even if there has already been an intermittent severe concentrate on the 'classical' (and 'Dantean') antecedents of Walcott's poetry, the current examine is the 1st to compile the entire diversity of epic intertextualities underlying Omeros, and the 1st to learn this Caribbean masterpiece within the context of Pound's success.
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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)
Fitzgerald has “the grace of heaven has given us a song” in Homer, The Odyssey, tr. Robert Fitzgerald (1961; London: Harvill, 1996). 43 Nagy, The Best of the Achaeans, 17. 44 Minna Skafte Jensen, The Homeric Question and the Oral-Formulaic Theory (Copenhagen: Museum Tusculanum, 1980): 68. We should differentiate carefully between the application and status of the idea of ‘originality’ in classical and post-Romantic poetics respectively. Skafte Jensen employs the term in its modern signification: an ‘original’ composition is supposedly neither dependent nor derivative, but proceeds directly from its author.
Viii, 3; ix, 504; ix, 530. 77 Quint, Epic and Empire, 29. Homer and Genre 21 ILIADIC LINEARITY AND SECONDARY EPIC Within the Graeco-Roman epic tradition, the position of Homer’s Iliad and Odyssey remains unique. 78 The only long epic to survive intact from the period between Homer and Virgil is the Argonautica of Apollonius of Rhodes. ”79 78 The geneê discussed in this book is the one that traces its line to the first, Homeric components of the Graeco-Roman epic tradition. For the orality of the Anglo-Saxon epic and parallels between Beowulf and Homeric poetry, see John Miles Foley, Traditional Oral Epic: The “Odyssey”, “Beowulf”, and the Serbo-Croatian Return Song (Berkeley: U of California P , 1990).
Ix, 965 and x, 832–33. Homer and Genre 27 tertiary, or novelised, epic. Virgil himself plays a central role in this process of novelisation: it is through the inclusion of the Roman poet as a character within the Commedia that Dante formulates his views on genre and literary parentage. 101 The epic genre as such is to a high degree structured in a linear fashion; the dominance of that principle is reflected in the focus on, and of, the geneê, which in English is indeed rendered as ‘lineage’. Narrative and metrical continuity are other joint features that support a description of the epic genre as linear.
Ambition and Anxiety: Ezra Pound's 'Cantos' and Derek Walcott's 'Omeros' as Twentieth-Century Epics (Cross Cultures 88) (Cross Cultures) by Line Henriksen