By Line Henriksen
This comparative examine 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 concept that of style is labored out and provided, in line with readings of Homer. The learn 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 idea 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 well fail, yet particularly the ethical implications of that ambition and the phobia that it may turn out presumptuous. The drafts of Walcott's Omeros are right here tested for the 1st time, and a spotlight is additionally dedicated to Pound's inventive methods as illustrated through the drafts of the Cantos. even though there has already been an intermittent serious specialize in the 'classical' (and 'Dantean') antecedents of Walcott's poetry, the current learn is the 1st to collect the entire 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 info for Ambition and Anxiety: Ezra Pound's 'Cantos' and Derek Walcott's 'Omeros' as Twentieth-Century Epics (Cross Cultures 88) (Cross Cultures)
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. 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.
Moreover, the theme of humility implicit in the description of Achille as “quiet” turns out to be a topos of the modern epic and thus another feature that, rather than distancing the poem from the epic, identifies it as such. 106 John Freccero, Dante: The Poetics of Conversion (Cambridge M A & London: Harvard U P , 1986): 260–65. 107 108 Quint, Epic and Empire, 45. Epic and Empire, 15. Homer and Genre 29 Skafte Jensen suggested that the Homeric poems were performed in their entirety as part of the Panathenaic contests.
In Modern Criticism and Theory: A Reader, ed. David Lodge (London & New York: Longman, 1988): 112. 86 Derrida, “Structure, Sign and Play,” 111. 87 Derrida, “The Law of Genre” (1979), tr. Avital Ronell, rev. Derek Attridge, in Acts of Literature, ed. Attridge (New York & London: Routledge, 1992): 227–28. 88 The paratext is a term coined by Gérard Genette to denote title-pages, colophons, etc: the parts of the book that do not constitute the text proper, but which point to the 84 85 24 AMBITION AND ANXIETY in this process, neighbouring words become images of words placed within what Bakhtin calls intonational quotation marks.
Ambition and Anxiety: Ezra Pound's 'Cantos' and Derek Walcott's 'Omeros' as Twentieth-Century Epics (Cross Cultures 88) (Cross Cultures) by Line Henriksen