New PDF release: Ambition and Anxiety: Ezra Pound's 'Cantos' and Derek

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By Line Henriksen

ISBN-10: 1429480750

ISBN-13: 9781429480758

ISBN-10: 9042021497

ISBN-13: 9789042021495

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 provided, in accordance 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 concept 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 specifically the ethical implications of that ambition and the phobia that it may end up presumptuous. The drafts of Walcott's Omeros are right here tested for the 1st time, and a spotlight is additionally dedicated to Pound's artistic approaches as illustrated by means of the drafts of the Cantos. even though 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 collect the full diversity 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)

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46 Lord thus differentiates between various classes of performer. Svenbro likewise discerns the divinely inspired singer (the aoidos), who creates and transforms the song as he sings, from the later rhapsode, who performs a Homeric text that he has learnt by heart: Despite the fact that they recite orally, those who have by now learnt the version of the Homeric text are no longer singers: they are rhapsodes. ”48 Svenbro argues that in order for Ion to defend and interpret a fixed, memorised Homeric song, the song must have been written down.

The technology of writing revolutionises poetic composition. In Virgil, the scroll now performs the function of memorisation which, for the Homeric singer, had meant reliance on the combination of metre and formulae. The formulae upon which oral composition had depended become aesthetic and allusive variations: their purpose is to achieve a poetic effect suggestive of the Homeric model. This observation should not, however, lead us to postulate a Virgilian epic that is liberated from indebtedness to the past.

Innumerable attempts have been made to define the epic as a literary genre. If we apply the question to the poems themselves and read within them for markers of generic identity, they will reveal that being an epic ultimately means belonging to the geneê of Homer. Just as Aeneas may trace his lineage back to an origin in Zeus, the modern epic in the Western tradition will define itself as a member of the family of poems that springs from a Homeric origin. A crucial step in this process of epic self-definition through intertextual genealogy is identifiable in Dante, who not only employs allusions and referSee Walter Ong, Orality and Literacy: The Technologizing of the Word (1982; London & New York: Routledge, 1988).

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Ambition and Anxiety: Ezra Pound's 'Cantos' and Derek Walcott's 'Omeros' as Twentieth-Century Epics (Cross Cultures 88) (Cross Cultures) by Line Henriksen

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