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 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 suggestion of 'epic ambition' refers back to the poetic status connected to the epic style, while the (non-Bloomian) 'anxiety' happens while the poet faces not just the chance that his undertaking may perhaps fail, yet specifically the ethical implications of that ambition and the terror that it may 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 artistic strategies as illustrated via the drafts of the Cantos. even though there has already been an intermittent severe specialize in the 'classical' (and 'Dantean') antecedents of Walcott's poetry, the current research is the 1st to compile 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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Additional resources for Ambition and Anxiety: Ezra Pound's 'Cantos' and Derek Walcott's 'Omeros' as Twentieth-Century Epics (Cross Cultures 88) (Cross Cultures)
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. 90 Speech Genres and Other Late Essays, 132. , i, 152–54. Murray has “I came not hither to fight by reason of the spearmen of Troy, seeing they are no whit at fault toward me. ” Quint talks of “the impartiality for which Homer is famous, an impartiality that is also a sympathy for Greeks and Trojans alike”; Quint, Epic and Empire, 48.
Milman Parry, The Making of Homeric Verse, 270. 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.
79 Brooks Otis, Virgil: A Study of Civilized Poetry (Oxford: Clarendon, 1963): 15. 22 AMBITION AND ANXIETY With Virgil’s Aeneid (19 B C ), the rewriting of stock episodes becomes a characteristic of the epic genre. We may say that the genre becomes overtly concerned with intertextuality, or simply, and with Pucci, that it becomes conscious of itself as literature. ”80 Homeric epic tells the story of the community, the tale of the tribe. Virgilian epic is a highly self-conscious composition that sees itself as linked to a parallel literary tradition or geneê.
Ambition and Anxiety: Ezra Pound's 'Cantos' and Derek Walcott's 'Omeros' as Twentieth-Century Epics (Cross Cultures 88) (Cross Cultures) by Line Henriksen