Download e-book for iPad: Ambition and Anxiety: Ezra Pound's 'Cantos' and Derek by Line Henriksen

By Line Henriksen

ISBN-10: 1429480750

ISBN-13: 9781429480758

ISBN-10: 9042021497

ISBN-13: 9789042021495

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 concept that of style is labored out and provided, in response to readings of Homer. The examine reads Pound's and Walcott's poetics within the mild of Roman Jakobson's notions of metonymy and metaphor, putting their lengthy poems on the respective contrary ends of those language poles. The inspiration of 'epic ambition' refers back to the poetic status connected to the epic style, while the (non-Bloomian) 'anxiety' happens whilst the poet faces not just the danger that his venture could fail, yet particularly the ethical implications of that ambition and the phobia that it could turn out presumptuous. The drafts of Walcott's Omeros are the following tested for the 1st time, and a focus can also be dedicated to Pound's inventive systems as illustrated via 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 compile 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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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. Only one Homeric woman is not explicitly scheming, nor does she weave: young Nausicaa. Scheid & Svenbro, The Craft of Zeus, 114. Seventeen of the twenty-four occurrences are in the Odyssey.

25 With variations and reversals, the tradition of rewriting the Homeric epics that begins with Virgil’s Aeneid repeats passages from the Odyssey and the Iliad, rendering these traditional topoi. This rewriting of episodes creates a relationship of ancestry among the epic poems, reflective of their general occuation with lineage. When Virgil continues the geneê of Dardanus and links Augustus to Aeneas, and Augustan Rome to Troy, he begins a tradition of establishing intertextual genealogy, affiliating himself with Homer, and the Aeneid with the Iliad and the Odyssey.

If genre is ultimately lineage and all writing allusive and Ong, Orality and Literacy, 21. 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.

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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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