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 couple of recurrent key topoi. A clean definition of the idea that of style is labored out and offered, 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 suggestion of 'epic ambition' refers back to the poetic status hooked up to the epic style, while the (non-Bloomian) 'anxiety' happens while the poet faces not just the danger that his undertaking may possibly fail, yet particularly the ethical implications of that ambition and the phobia that it may possibly turn out presumptuous. The drafts of Walcott's Omeros are right here tested for the 1st time, and a spotlight can also be 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 learn is the 1st to collect the total variety of epic intertextualities underlying Omeros, and the 1st to learn this Caribbean masterpiece within the context of Pound's success.
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Extra resources for Ambition and Anxiety: Ezra Pound's 'Cantos' and Derek Walcott's 'Omeros' as Twentieth-Century Epics (Cross Cultures 88) (Cross Cultures)
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.
Putnam’s Sons, 1925): vol. 4. S. Eliot, The Waste Land (1922) in Collected Poems 1909–1962 (London: Faber & Faber, 1963): ll. 62–63. , iii, 55–57. ” 95 Fitzgerald’s translation. Murray: “and the rest marched on in silence; thou wouldst not have deemed that they that followed in such multitudes had any voice in their breasts, all silent as they were through fear of their commanders” and “but for the Trojans, even as ewes stand in throngs past counting in the court of a man of much substance to be milked of their white milk, and bleat without ceasing as they hear the voices of their lambs: even so arose the clamour of the Trojans throughout the wide host; for they had not all like speech or one language, but their tongues were mingled, and they were a folk 26 AMBITION AND ANXIETY This opposition between unity, sameness and self-control on the one side and disorder, difference and a lack of control on the other is significantly widened in the Aeneid and schematised by Virgil’s ekphrasis of the battle of Actium depicted on Aeneas’ shield.
E. ” The formula, which Parry defines as “a group of words which is regularly employed under the same metrical conditions to express a given essential idea,”34 represents a Homeric characteristic to be imitated by would-be descendants. With the written epic, of which Virgil is the most prominent early representative, formulaic repetition in identical form, central in Homer for mnemonic reasons, becomes variation. Maurice Bowra describes the new role played by the formula in Virgil: Even when he follows Homer in using the oral device of repetition, Virgil goes his own way and makes variations on a given form.