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, 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 thought 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 fail, yet in particular the ethical implications of that ambition and the terror that it may well end up presumptuous. The drafts of Walcott's Omeros are right here tested for the 1st time, and a focus is additionally dedicated to Pound's artistic tactics as illustrated by means of the drafts of the Cantos. even supposing 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 assemble 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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Extra resources for Ambition and Anxiety: Ezra Pound's 'Cantos' and Derek Walcott's 'Omeros' as Twentieth-Century Epics (Cross Cultures 88) (Cross Cultures)
69 64 “The fundamental gesture of weaving is this interlacing of the warp and the woof of which spoke Plato in The Statesman”; Scheid & Svenbro, The Craft of Zeus, 5. 65 Scheid & Svenbro, The Craft of Zeus, 147. 66 The Craft of Zeus, 154–55. , iii, 212–15. , xiii, 301 and 386). 74 They are also schemers: Circe uses magic to turn men into beasts and to keep Odysseus with her; for a while, Calypso manages to achieve the same through simple seduction. On Olympus, Hera seduces her husband Zeus in order to distract his attention from the battle-scene (Iliad 20), while Athena is specifically goddess of mêtis.
When we now define and outline the formula in a rigid way we do so by a decontextualization and a simplification that necessarily distort the process of living Homeric diction” (239). 30 Pucci, Odysseus Polutropos, 239. 31 Odysseus Polutropos, 240. 32 Mikhail Bakhtin reminds us that the “speaker is not the biblical Adam, dealing only with virgin and still unnamed objects, giving them names for the first time” and that “something created is always created out of something given”; Bakhtin, Speech Genres and Other Late Essays, tr.
104 Lord, The Singer of Tales, 41. 105 Quint, Epic and Empire, 31. 106 With the Aeneid, ideological implications are added to the linear structure. Teleological linearity becomes constitutive of narration; only the end-oriented narration of the winner creates a proper narrative: Narrative itself thus becomes ideologically charged, the formal cause or consequence of that Western male rationality and historical identity that epic ascribes to the imperial victors. 107 The political secondary epic is composed by those who have a story to tell and a history to identify with.
Ambition and Anxiety: Ezra Pound's 'Cantos' and Derek Walcott's 'Omeros' as Twentieth-Century Epics (Cross Cultures 88) (Cross Cultures) by Line Henriksen