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 few recurrent key topoi. A clean definition of the idea that of style is labored out and awarded, according to 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 hooked up to the epic style, while the (non-Bloomian) 'anxiety' happens while the poet faces not just the danger that his venture may well fail, yet in particular the ethical implications of that ambition and the terror that it may well turn out presumptuous. The drafts of Walcott's Omeros are the following tested for the 1st time, and a focus can be dedicated to Pound's artistic methods as illustrated by means of the drafts of the Cantos. even supposing there has already been an intermittent serious concentrate on the 'classical' (and 'Dantean') antecedents of Walcott's poetry, the current examine is the 1st to assemble the full diversity 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)
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. 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.
These poems point to the shortcomings of, and dangers inherent in, the authority that the genre both enjoys and establishes. 86 Elsewhere, however, Derrida identifies the point where a text defines the genre to which it believes itself to belong as a point that necessarily escapes this definition. ”87 Consequently, the text cannot criticise that to which it belongs; it cannot both employ and distance itself from the language that belongs to and defines the genre. With an apparent paradox, only the point where the text formulates an explicit desire to belong escapes this definition.
The history of the term thus involves the shift from corpus. Aristotle uses ‘genos’ 361 times and does not employ geneê/genea at all. The Perseus Project, July 2004. 20 Eric A. Havelock, A Preface to Plato (Oxford: Basil Blackwell, 1963): 46–47. 21 Havelock, Preface to Plato, 167. 22 Preface to Plato, 217–19. 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.