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 accordance 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 inspiration 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 danger that his undertaking 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 can also be dedicated to Pound's inventive approaches as illustrated via 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 learn is the 1st to collect the full 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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Additional resources for Ambition and Anxiety: Ezra Pound's 'Cantos' and Derek Walcott's 'Omeros' as Twentieth-Century Epics (Cross Cultures 88) (Cross Cultures)
S. , iv, 428–31) The Trojan army, by contrast, is anything but quiet: The Trojans were not silent: like the flocks that huddle countless in a rich man’s pens, waiting to yield white milk, and bleating loud continually as they hear their own lambs cry, just so the war-cry of the Trojans rose through all that army – not as a single note, not in a single tongue, but mingled voices of men from many countries. ” Quoted from Polybius, The Histories, X V , 12, 8–9, tr. R. P. Putnam’s Sons, 1925): vol.
Stanley J. Kahrl (Hamden C T : Archon, 1968): 317–51. For a fundamental criticism of the assumption on the part of traditional classical scholarship that Greek civilisation represents the birth of (superior) Western culture and arose without precedents or connections to an outside world, see the monumental work of Martin Bernal, Black Athena: The Afroasiatic Roots of Classical Civilization (London: Free Association Books, 1987), vol. 1 of 3. Bernal argues for the validity of an “ancient” model, according to which Greek culture is the result of colonisation by Egyptians and Phoenicians around 1500 BC.
See also Svenbro, La Parole et le marbre, 188–89; 205–207. 58 59 17 Homer and Genre According to Svenbro, the coining of the name for the rhapsode as he who stitches the song together likewise belongs to this period and reflects the process through which the work of the singer is assimilated to that of the craftsman. The different perceptions of the role of the rhapsode reflect the gap between the singer’s own claims about the origins of his song and our actual knowledge of the formulaic tradition and technique.