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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 idea that of style is labored out and awarded, 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 thought of 'epic ambition' refers back to the poetic status connected to the epic style, while the (non-Bloomian) 'anxiety' happens while the poet faces not just the chance that his venture may fail, yet specifically the ethical implications of that ambition and the terror that it could end up presumptuous. The drafts of Walcott's Omeros are the following tested for the 1st time, and a spotlight can be dedicated to Pound's artistic techniques as illustrated via the drafts of the Cantos. even though there has already been an intermittent severe specialize in the 'classical' (and 'Dantean') antecedents of Walcott's poetry, the current examine is the 1st to compile the total 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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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.

Dante’s relation to Virgil thus personifies the mechanisms of genre, which Homer has enabled us to define as lineage or genealogy. By identifying its genealogy, Dante’s poem declares and makes explicit its own ambition of inclusion within the epic tradition. ”28 Nevertheless, Pucci sees the formula and its repetition as the result of an intertextual practice particular to the Homeric poems: “the recycling of formulaic expressions completely conceals their eventual allusive intention; the reworking of variations opens so many allusive possibilities that it dissipates the force of any 26 Parry’s work is collected in The Making of Homeric Verse: The Collected Papers of Milman Parry, ed.

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.

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