Download e-book for kindle: Ambition and Anxiety: Ezra Pound's 'Cantos' and Derek by Line Henriksen
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, in accordance with 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 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 may fail, yet in particular the ethical implications of that ambition and the phobia that it will possibly turn out 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 techniques as illustrated by means of 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 research 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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Extra info for Ambition and Anxiety: Ezra Pound's 'Cantos' and Derek Walcott's 'Omeros' as Twentieth-Century Epics (Cross Cultures 88) (Cross Cultures)
The new sense that genos adopts with writing liberates it from the close tie to the family that geneê maintains. ’24 In an oral culture, identity is established by lineage. ’]”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.
59 Svenbro, however, points out that we do not find metaphors identifying song and weaving in archaic poetics preceding Pindar and Bacchylide. The example that Nagy cites to back his claim is, indeed, from Pindar. ”60 Svenbro sees the post-Homeric metaphoric linkage between poetry and weaving as the result of a process in which the singer becomes a professional. 62 For Svenbro, the choice of ‘poiêsis’ (a ‘making’, ‘fabrication’, ‘creation’, ‘production’) for the poet’s work reflects his need to assimilate his profession to that of the artisan: Through metaphors that define discourse not only as something “woven” but also as a “construction,” [the choral poets] insisted so much on the materiality of discourse that – in about 450 B.
G. Zetzel (Princeton N J : Princeton U P , 1985). 27 Ong, Orality and Literacy, 23. 28 Nagy, The Best of the Achaeans (Baltimore M D & London: Johns Hopkins U P , 1979): 42. 30 Towards the end of his study, Pucci states that all the language of Homer is allusive: to different degrees, all the epic language plays constantly with references in a ludic display of intertextual noddings, winks, and gestures […] This signifying level, that of the allusive sense, is unknown to the characters, may also fully or in part escape the intention of the poets, and constitutes an implicit addition for the reader to decode in order to interpret the text.
Ambition and Anxiety: Ezra Pound's 'Cantos' and Derek Walcott's 'Omeros' as Twentieth-Century Epics (Cross Cultures 88) (Cross Cultures) by Line Henriksen