A. P. David
- Published in print:
- 2006
- Published Online:
- September 2007
- ISBN:
- 9780199292400
- eISBN:
- 9780191711855
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199292400.001.0001
- Subject:
- Classical Studies, Poetry and Poets: Classical, Early, and Medieval
This book develops an authentic and revolutionary musical analysis of ancient Greek poetry. It brings the interpretation of ancient verse into step with the sorts of analyses customarily enjoyed by ...
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This book develops an authentic and revolutionary musical analysis of ancient Greek poetry. It brings the interpretation of ancient verse into step with the sorts of analyses customarily enjoyed by works in all the more recent poetical and musical traditions. It departs from the abstract metrical analyses of the past in that it conceives the rhythmic and harmonic elements of poetry as integral to the whole expression, and decisive in the interpretation of its meaning. Such an analysis is now possible because of a new theory of the Greek tonic accent, set out in the third chapter, and its application to Greek poetry understood as choreia — the proper name for the art and work of ancient poets in both epic and lyric, described by Plato as a synthesis of dance rhythm and vocal harmony, in disagreement moving toward agreement. The book offers a thorough-going treatment of Homeric poetics: here some remarkable discoveries in the harmonic movement of epic verse, when combined with some neglected facts about the origin of the hexameter in a ‘dance of the Muses’, lead to essential new thinking about the genesis and the form of Homeric poetry. The book also gives a foretaste of the fruits to be harvested in lyric by a musical analysis, applying the new theory of the accent and considering concretely the role of dance in performance.Less
This book develops an authentic and revolutionary musical analysis of ancient Greek poetry. It brings the interpretation of ancient verse into step with the sorts of analyses customarily enjoyed by works in all the more recent poetical and musical traditions. It departs from the abstract metrical analyses of the past in that it conceives the rhythmic and harmonic elements of poetry as integral to the whole expression, and decisive in the interpretation of its meaning. Such an analysis is now possible because of a new theory of the Greek tonic accent, set out in the third chapter, and its application to Greek poetry understood as choreia — the proper name for the art and work of ancient poets in both epic and lyric, described by Plato as a synthesis of dance rhythm and vocal harmony, in disagreement moving toward agreement. The book offers a thorough-going treatment of Homeric poetics: here some remarkable discoveries in the harmonic movement of epic verse, when combined with some neglected facts about the origin of the hexameter in a ‘dance of the Muses’, lead to essential new thinking about the genesis and the form of Homeric poetry. The book also gives a foretaste of the fruits to be harvested in lyric by a musical analysis, applying the new theory of the accent and considering concretely the role of dance in performance.
Isobel Hurst
- Published in print:
- 2006
- Published Online:
- September 2007
- ISBN:
- 9780199283514
- eISBN:
- 9780191712715
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199283514.001.0001
- Subject:
- Classical Studies, Literary Studies: Classical, Early, and Medieval
This book brings together two lines of enquiry in recent criticism: the reception of ancient Greece and Rome, and women as writers and readers in the 19th century. A classical education has been ...
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This book brings together two lines of enquiry in recent criticism: the reception of ancient Greece and Rome, and women as writers and readers in the 19th century. A classical education has been characterized as almost an exclusively male prerogative, but women writers had a greater imaginative engagement with classical literature than has previously been acknowledged. To offer a more accurate impression of the influence of the classics in Victorian women's literary culture, women's difficulties in gaining access to classical learning are explored through biographical and fictional representations of the development of women's education from solitary study at home to compulsory classics at university. The restrictions which applied to women's classical learning liberated them from the repressive and sometimes alienating effects of a traditional classical education, enabling women writers to produce distinctive literary responses to the classical tradition. Women readers focused on image, plot, and character rather than grammar, leading to imaginative and often subversive reworkings of classical texts. Elizabeth Barrett Browning and George Eliot have been granted an exceptional status as 19th-century female classicists. This book places them in a literary tradition in which revising classical narratives in forms such as the novel and the dramatic monologue offered women the opportunity to express controversial ideas. The reworking of classical texts serves a variety of purposes: to validate women's claims to authorship, to demand access to education, to highlight feminist issues through the heroines of ancient tragedy, and to repudiate the warrior ethos of ancient epic.Less
This book brings together two lines of enquiry in recent criticism: the reception of ancient Greece and Rome, and women as writers and readers in the 19th century. A classical education has been characterized as almost an exclusively male prerogative, but women writers had a greater imaginative engagement with classical literature than has previously been acknowledged. To offer a more accurate impression of the influence of the classics in Victorian women's literary culture, women's difficulties in gaining access to classical learning are explored through biographical and fictional representations of the development of women's education from solitary study at home to compulsory classics at university. The restrictions which applied to women's classical learning liberated them from the repressive and sometimes alienating effects of a traditional classical education, enabling women writers to produce distinctive literary responses to the classical tradition. Women readers focused on image, plot, and character rather than grammar, leading to imaginative and often subversive reworkings of classical texts. Elizabeth Barrett Browning and George Eliot have been granted an exceptional status as 19th-century female classicists. This book places them in a literary tradition in which revising classical narratives in forms such as the novel and the dramatic monologue offered women the opportunity to express controversial ideas. The reworking of classical texts serves a variety of purposes: to validate women's claims to authorship, to demand access to education, to highlight feminist issues through the heroines of ancient tragedy, and to repudiate the warrior ethos of ancient epic.
William S. Sax
- Published in print:
- 2002
- Published Online:
- November 2003
- ISBN:
- 9780195139150
- eISBN:
- 9780199871650
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/0195139151.001.0001
- Subject:
- Religion, Hinduism
Explores the way personhood is constructed in public ritual performance. The performances are pandav lilas, ritual dramatizations of India's great epic, Mahabharata. They take place in the former ...
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Explores the way personhood is constructed in public ritual performance. The performances are pandav lilas, ritual dramatizations of India's great epic, Mahabharata. They take place in the former Hindu kingdom of Garhwal, located in the central Himalayas of North India. The book begins by summarizing the theoretical literature on personhood (or ”selfhood”) and performance and providing a brief summary of the epic. Next, it describes one particular performance in detail and then goes on to discuss questions of caste, gender, and locality – all in the context of an overarching discussion of the performative construction of the self. The last few chapters describe a fascinating valley in the Western part of Garhwal, where the villains of the Mahabharata are worshiped as local, divine kings. The major conclusion reached by the book is that public ritual performances are one of the chief arenas where ”persons” are constructed – in Garhwal as well as in other cultures.Less
Explores the way personhood is constructed in public ritual performance. The performances are pandav lilas, ritual dramatizations of India's great epic, Mahabharata. They take place in the former Hindu kingdom of Garhwal, located in the central Himalayas of North India. The book begins by summarizing the theoretical literature on personhood (or ”selfhood”) and performance and providing a brief summary of the epic. Next, it describes one particular performance in detail and then goes on to discuss questions of caste, gender, and locality – all in the context of an overarching discussion of the performative construction of the self. The last few chapters describe a fascinating valley in the Western part of Garhwal, where the villains of the Mahabharata are worshiped as local, divine kings. The major conclusion reached by the book is that public ritual performances are one of the chief arenas where ”persons” are constructed – in Garhwal as well as in other cultures.
Michael Madhusudan Datta
- Published in print:
- 2004
- Published Online:
- October 2005
- ISBN:
- 9780195167993
- eISBN:
- 9780199835805
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/0195167996.001.0001
- Subject:
- Religion, Hinduism
“The poem is rising into splendid popularity. Some say it is better than Milton — but that is all bosh — nothing can be better than Milton; many say it licks Kalidasa; I have no objection to that. I ...
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“The poem is rising into splendid popularity. Some say it is better than Milton — but that is all bosh — nothing can be better than Milton; many say it licks Kalidasa; I have no objection to that. I don't think it impossible to equal Virgil, Kalidasa, and Tasso.” Michael Madhusudan Datta wrote this in a letter to a friend about his verse narrative, The Slaying of Meghanada (1861). The epic, a Bengali version of the Ramayana story in which Ravana, not Rama, is the hero, has become a classic of Indian literature. Datta lived in Bengal at the height of what is frequently called the Bengal Renaissance, a time so labeled for its reinvigoration and reconfiguration of the Hindu past and for the florescence of the literary arts. It was also a period when the Bengali city of Kolkata was a center of world trade-the second city of the British empire — and thus a site of cultural exchange between India and the West. Datta was the perfect embodiment of this time and place. The Slaying of Meghanada is deeply influenced by western epic tradition, and is sprinkled with nods to Homer, Milton, and Dante. Datta's deft intermingling of western and eastern literary traditions brought about a sea change in South Asian literature, and is generally considered to mark the dividing line between pre-modern and modern Bengali literature. Datta's masterpiece is now accessible to readers of English in this translation, which captures both the sense and the spirit of the original. The poem is supplemented by an extensive introduction, notes, and a glossary.Less
“The poem is rising into splendid popularity. Some say it is better than Milton — but that is all bosh — nothing can be better than Milton; many say it licks Kalidasa; I have no objection to that. I don't think it impossible to equal Virgil, Kalidasa, and Tasso.” Michael Madhusudan Datta wrote this in a letter to a friend about his verse narrative, The Slaying of Meghanada (1861). The epic, a Bengali version of the Ramayana story in which Ravana, not Rama, is the hero, has become a classic of Indian literature. Datta lived in Bengal at the height of what is frequently called the Bengal Renaissance, a time so labeled for its reinvigoration and reconfiguration of the Hindu past and for the florescence of the literary arts. It was also a period when the Bengali city of Kolkata was a center of world trade-the second city of the British empire — and thus a site of cultural exchange between India and the West. Datta was the perfect embodiment of this time and place. The Slaying of Meghanada is deeply influenced by western epic tradition, and is sprinkled with nods to Homer, Milton, and Dante. Datta's deft intermingling of western and eastern literary traditions brought about a sea change in South Asian literature, and is generally considered to mark the dividing line between pre-modern and modern Bengali literature. Datta's masterpiece is now accessible to readers of English in this translation, which captures both the sense and the spirit of the original. The poem is supplemented by an extensive introduction, notes, and a glossary.
Ronald Hendel
- Published in print:
- 2005
- Published Online:
- February 2006
- ISBN:
- 9780195177961
- eISBN:
- 9780199784622
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/0195177967.001.0001
- Subject:
- Religion, Biblical Studies
The past in the Hebrew Bible is a represented past, not the past itself. This book argues that the biblical portrayal of the past consists of a complex interplay of historical memory, folklore, ...
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The past in the Hebrew Bible is a represented past, not the past itself. This book argues that the biblical portrayal of the past consists of a complex interplay of historical memory, folklore, cultural self-definition, and literary brilliance. The chapters of this book attempt to survey and, to the degree possible, untangle these various layers, concentrating on the foundational narratives of the patriarchs, the Exodus, and the united monarchy. The biblical sense of the past combines traits that we separate into different genres — myth, epic, and history — but form a seamless synthesis in the biblical conception.Less
The past in the Hebrew Bible is a represented past, not the past itself. This book argues that the biblical portrayal of the past consists of a complex interplay of historical memory, folklore, cultural self-definition, and literary brilliance. The chapters of this book attempt to survey and, to the degree possible, untangle these various layers, concentrating on the foundational narratives of the patriarchs, the Exodus, and the united monarchy. The biblical sense of the past combines traits that we separate into different genres — myth, epic, and history — but form a seamless synthesis in the biblical conception.
Thomas L. Brodie
- Published in print:
- 2001
- Published Online:
- November 2003
- ISBN:
- 9780195138368
- eISBN:
- 9780199834037
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/0195138368.003.0008
- Subject:
- Religion, Biblical Studies
In contrast with the documentary theory, which presumed that the sources of Genesis were lost, George Smith indicated in 1872 that source‐like material from Assyria concerning the flood story is ...
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In contrast with the documentary theory, which presumed that the sources of Genesis were lost, George Smith indicated in 1872 that source‐like material from Assyria concerning the flood story is still extant. Today it is possible to identify other extant materials that Genesis used in diverse ways. These materials include historiography, epic, prophetic books, and law.Less
In contrast with the documentary theory, which presumed that the sources of Genesis were lost, George Smith indicated in 1872 that source‐like material from Assyria concerning the flood story is still extant. Today it is possible to identify other extant materials that Genesis used in diverse ways. These materials include historiography, epic, prophetic books, and law.
Benjamin Sammons
- Published in print:
- 2010
- Published Online:
- September 2010
- ISBN:
- 9780195375688
- eISBN:
- 9780199871599
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195375688.001.0001
- Subject:
- Classical Studies, Literary Studies: Classical, Early, and Medieval
This study takes a fresh look at a familiar element of the Homeric epics—the poetic catalogue. It aims to uncover the great variety of functions fulfilled by catalogue as a manner of speech within ...
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This study takes a fresh look at a familiar element of the Homeric epics—the poetic catalogue. It aims to uncover the great variety of functions fulfilled by catalogue as a manner of speech within very different contexts, ranging from celebrated examples such as the poet’s famous “Catalogue of Ships,” to others less commonly treated under this rubric, such as catalogues within the speech and rhetoric of Homer’s characters or seemingly unassuming catalogues of objects. It shows that catalogue poetry is no ossified or primitive relic of the old tradition, but a living subgenre of poetry that is deployed by Homer in a creative and original way. The catalogue form may be exploited by the poet or his characters to reflect or distort the themes of the poem as a whole, to impose an interpretation on events of the narrative as they unfold, and possibly to allude to competing poetic traditions or even contemporaneous poems. Throughout, the study focuses on how Homer uses the catalogue form to talk about the epic genre itself: As a compendious and venerable poetic form, it allows the poet to explore the boundaries of the heroic world, the limits of heroic glory, and the ideals and realities of his own traditional role as an epic bard.Less
This study takes a fresh look at a familiar element of the Homeric epics—the poetic catalogue. It aims to uncover the great variety of functions fulfilled by catalogue as a manner of speech within very different contexts, ranging from celebrated examples such as the poet’s famous “Catalogue of Ships,” to others less commonly treated under this rubric, such as catalogues within the speech and rhetoric of Homer’s characters or seemingly unassuming catalogues of objects. It shows that catalogue poetry is no ossified or primitive relic of the old tradition, but a living subgenre of poetry that is deployed by Homer in a creative and original way. The catalogue form may be exploited by the poet or his characters to reflect or distort the themes of the poem as a whole, to impose an interpretation on events of the narrative as they unfold, and possibly to allude to competing poetic traditions or even contemporaneous poems. Throughout, the study focuses on how Homer uses the catalogue form to talk about the epic genre itself: As a compendious and venerable poetic form, it allows the poet to explore the boundaries of the heroic world, the limits of heroic glory, and the ideals and realities of his own traditional role as an epic bard.
Tim Stover
- Published in print:
- 2012
- Published Online:
- September 2012
- ISBN:
- 9780199644087
- eISBN:
- 9780191741951
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199644087.001.0001
- Subject:
- Classical Studies, Literary Studies: Classical, Early, and Medieval, European History: BCE to 500CE
This book offers a new reading of Valerius Flaccus' Argonautica, a poem which is here dated to Vespasian's regime (70–79 ce). Its primary purpose is to show that Valerius' epic reflects the ...
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This book offers a new reading of Valerius Flaccus' Argonautica, a poem which is here dated to Vespasian's regime (70–79 ce). Its primary purpose is to show that Valerius' epic reflects the restorative ideals of Vespasianic Rome, a thesis that sets it apart from the largely ‘pessimistic’ readings of other scholars. An important element of Valerius' poetics of recovery is an engagement with Lucan's iconoclastic Bellum Civile, a poem whose deconstructive tendencies offered Valerius a poetic point of departure for his attempt to renew the epic genre in the context of the political renewal triggered by Vespasian's accession to power. Thus, a secondary purpose of this study is to examine Valerius' response to his most recent epic predecessor, Lucan, a topic that has been woefully understudied. Accordingly, this work interprets Valerius' Argonauticaas a reaction to two primary stimuli, one poetic — Lucan's deconstructive epic of civil war — and one political — Vespasian's restoration of order following the destructive civil war of 68–69. The approach is thus both formalist and historicist: the book seeks not only to elucidate Valerius' dynamic appropriation of Lucan but also to associate the Argonautica's formal gestures with a specific socio-political context.Less
This book offers a new reading of Valerius Flaccus' Argonautica, a poem which is here dated to Vespasian's regime (70–79 ce). Its primary purpose is to show that Valerius' epic reflects the restorative ideals of Vespasianic Rome, a thesis that sets it apart from the largely ‘pessimistic’ readings of other scholars. An important element of Valerius' poetics of recovery is an engagement with Lucan's iconoclastic Bellum Civile, a poem whose deconstructive tendencies offered Valerius a poetic point of departure for his attempt to renew the epic genre in the context of the political renewal triggered by Vespasian's accession to power. Thus, a secondary purpose of this study is to examine Valerius' response to his most recent epic predecessor, Lucan, a topic that has been woefully understudied. Accordingly, this work interprets Valerius' Argonauticaas a reaction to two primary stimuli, one poetic — Lucan's deconstructive epic of civil war — and one political — Vespasian's restoration of order following the destructive civil war of 68–69. The approach is thus both formalist and historicist: the book seeks not only to elucidate Valerius' dynamic appropriation of Lucan but also to associate the Argonautica's formal gestures with a specific socio-political context.
Jeffrey G. Snodgrass
- Published in print:
- 2006
- Published Online:
- September 2006
- ISBN:
- 9780195304343
- eISBN:
- 9780199785063
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/0195304349.001.0001
- Subject:
- Religion, Hinduism
Based on three years of anthropological fieldwork in the Indian state of Rajasthan, this book explores the manner that semi-nomadic performers known as Bhats understand and also subvert caste ...
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Based on three years of anthropological fieldwork in the Indian state of Rajasthan, this book explores the manner that semi-nomadic performers known as Bhats understand and also subvert caste hierarchies. A number of scholars have recently contended that caste is invented and thus a fiction of a kind. Focus in these studies, however, is typically placed on the way that caste is imagined according to the agendas and desires of elite Westerners such as colonial officials. By contrast, this book argues that Bhats themselves understand the imaginative dimensions of caste relations. It focuses on the way that Bhats (literally, “Bards”) now entertain a variety of contemporary sponsors — village patrons, foreign and domestic tourists, urban elites, government officials, development experts, and Hindu nationalists — with ballads, epics, and puppet plays detailing the exploits of Rajasthan’s long-dead kings and heroes. As the book delves deeper into the complexities and contradictions of Bhat art, identity, and political resistance, the complexities and contradictions of modern India are likewise revealed.Less
Based on three years of anthropological fieldwork in the Indian state of Rajasthan, this book explores the manner that semi-nomadic performers known as Bhats understand and also subvert caste hierarchies. A number of scholars have recently contended that caste is invented and thus a fiction of a kind. Focus in these studies, however, is typically placed on the way that caste is imagined according to the agendas and desires of elite Westerners such as colonial officials. By contrast, this book argues that Bhats themselves understand the imaginative dimensions of caste relations. It focuses on the way that Bhats (literally, “Bards”) now entertain a variety of contemporary sponsors — village patrons, foreign and domestic tourists, urban elites, government officials, development experts, and Hindu nationalists — with ballads, epics, and puppet plays detailing the exploits of Rajasthan’s long-dead kings and heroes. As the book delves deeper into the complexities and contradictions of Bhat art, identity, and political resistance, the complexities and contradictions of modern India are likewise revealed.
Jill Mann
- Published in print:
- 2009
- Published Online:
- February 2010
- ISBN:
- 9780199217687
- eISBN:
- 9780191712371
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199217687.003.0009
- Subject:
- Literature, Early and Medieval Literature, European Literature
The Conclusion re‐emphasizes the two major themes running through the works discussed. The first is the power of nature, which is sometimes connected with the idea of social hierarchy, and sometimes ...
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The Conclusion re‐emphasizes the two major themes running through the works discussed. The first is the power of nature, which is sometimes connected with the idea of social hierarchy, and sometimes with attitudes to sexuality. The second is the contrast between words and deeds (dicta and facta) or rhetoric and reality. Whereas fable is mistrustful of words, which are seen as a mere camouflage for the appetites that govern behaviour, in beast epic words run riot and the human ability to pour forth endless interpretations of reality is seen as a matter for comic celebration. A strain of self‐reflexivity also runs through these works: conscious of the tendency of words to mislead not only others but the speaker him/herself, writers must also be conscious that this is true of their own words as well. Hence the frequency of an ironic relation between writer and work in this tradition.Less
The Conclusion re‐emphasizes the two major themes running through the works discussed. The first is the power of nature, which is sometimes connected with the idea of social hierarchy, and sometimes with attitudes to sexuality. The second is the contrast between words and deeds (dicta and facta) or rhetoric and reality. Whereas fable is mistrustful of words, which are seen as a mere camouflage for the appetites that govern behaviour, in beast epic words run riot and the human ability to pour forth endless interpretations of reality is seen as a matter for comic celebration. A strain of self‐reflexivity also runs through these works: conscious of the tendency of words to mislead not only others but the speaker him/herself, writers must also be conscious that this is true of their own words as well. Hence the frequency of an ironic relation between writer and work in this tradition.
Jeffrey G. Snodgrass
- Published in print:
- 2006
- Published Online:
- September 2006
- ISBN:
- 9780195304343
- eISBN:
- 9780199785063
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/0195304349.003.0004
- Subject:
- Religion, Hinduism
This chapter presents Bhat ballads featuring linguistically talented bards who dominate and control their lords and benefactors. Bhat praise of kings and patrons in their practice as well as in their ...
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This chapter presents Bhat ballads featuring linguistically talented bards who dominate and control their lords and benefactors. Bhat praise of kings and patrons in their practice as well as in their myths and epics is less an acknowledgment of Rajput (former feudal landlords of Rajasthan) or Kshatriya (Warrior) supremacy — be it based on generous patronage, martial sacrifice, or some other virtue — and more a Bhat tactic for establishing their own importance as cunning bards who themselves defend and protect their patron-lords. In shifting the focus from patrons to the insights of the author’s bardic informants and the power of linguistic representation, this chapter hopes to draw more explicit attention to the imaginative dimensions of caste hierarchies and the arbitrariness of social centers and peripheries, It also argues that Bhat poetics parallel many of the insights of contemporary postmodern and poststructuralist theories. This chapter ends by exploring the manner Bhats use stories and puppet dramas placing themselves in close relationship to kings and nobles to help them appropriate the roles and statuses associated with royal bards, which in turn enables them to better exploit the modern tourist industry.Less
This chapter presents Bhat ballads featuring linguistically talented bards who dominate and control their lords and benefactors. Bhat praise of kings and patrons in their practice as well as in their myths and epics is less an acknowledgment of Rajput (former feudal landlords of Rajasthan) or Kshatriya (Warrior) supremacy — be it based on generous patronage, martial sacrifice, or some other virtue — and more a Bhat tactic for establishing their own importance as cunning bards who themselves defend and protect their patron-lords. In shifting the focus from patrons to the insights of the author’s bardic informants and the power of linguistic representation, this chapter hopes to draw more explicit attention to the imaginative dimensions of caste hierarchies and the arbitrariness of social centers and peripheries, It also argues that Bhat poetics parallel many of the insights of contemporary postmodern and poststructuralist theories. This chapter ends by exploring the manner Bhats use stories and puppet dramas placing themselves in close relationship to kings and nobles to help them appropriate the roles and statuses associated with royal bards, which in turn enables them to better exploit the modern tourist industry.
David Quint
- Published in print:
- 2014
- Published Online:
- October 2017
- ISBN:
- 9780691161914
- eISBN:
- 9781400850488
- Item type:
- book
- Publisher:
- Princeton University Press
- DOI:
- 10.23943/princeton/9780691161914.001.0001
- Subject:
- Literature, Criticism/Theory
Inside “Paradise Lost” opens up new readings and ways of reading John Milton's epic poem by mapping out the intricacies of its narrative and symbolic designs and by revealing and exploring the deeply ...
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Inside “Paradise Lost” opens up new readings and ways of reading John Milton's epic poem by mapping out the intricacies of its narrative and symbolic designs and by revealing and exploring the deeply allusive texture of its verse. This book demonstrates how systematic patterns of allusion and keywords give structure and coherence both to individual books of Paradise Lost and to the overarching relationship among its books and episodes. Looking at poems within the poem, the book provides new interpretations as he takes readers through the major subjects of Paradise Lost—its relationship to epic tradition and the Bible, its cosmology and politics, and its dramas of human choice. The book shows how Milton radically revises the epic tradition and the Genesis story itself by arguing that it is better to create than destroy, by telling the reader to make love, not war, and by appearing to ratify Adam's decision to fall and die with his wife. The Milton of this Paradise Lost is a Christian humanist who believes in the power and freedom of human moral agency. As this indispensable guide and reference takes us inside the poetry of Milton's masterpiece, Paradise Lost reveals itself in new formal configurations and unsuspected levels of meaning and design.Less
Inside “Paradise Lost” opens up new readings and ways of reading John Milton's epic poem by mapping out the intricacies of its narrative and symbolic designs and by revealing and exploring the deeply allusive texture of its verse. This book demonstrates how systematic patterns of allusion and keywords give structure and coherence both to individual books of Paradise Lost and to the overarching relationship among its books and episodes. Looking at poems within the poem, the book provides new interpretations as he takes readers through the major subjects of Paradise Lost—its relationship to epic tradition and the Bible, its cosmology and politics, and its dramas of human choice. The book shows how Milton radically revises the epic tradition and the Genesis story itself by arguing that it is better to create than destroy, by telling the reader to make love, not war, and by appearing to ratify Adam's decision to fall and die with his wife. The Milton of this Paradise Lost is a Christian humanist who believes in the power and freedom of human moral agency. As this indispensable guide and reference takes us inside the poetry of Milton's masterpiece, Paradise Lost reveals itself in new formal configurations and unsuspected levels of meaning and design.
Roger P. H. Green
- Published in print:
- 2006
- Published Online:
- January 2010
- ISBN:
- 9780199284573
- eISBN:
- 9780191713804
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199284573.001.0001
- Subject:
- Classical Studies, Poetry and Poets: Classical, Early, and Medieval, Literary Studies: Classical, Early, and Medieval
The topic of the book is three Christian epic poets of Late Antiquity who, though somewhat neglected in modern times, are notable in many ways, especially in their aim of harnessing the tradition of ...
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The topic of the book is three Christian epic poets of Late Antiquity who, though somewhat neglected in modern times, are notable in many ways, especially in their aim of harnessing the tradition of classical Latin epic to the task of presenting the New Testament to the learned readers, whether they be Christian believers or curious enquirers, perhaps put off by the style of Bible translations. This triad were pioneers in their time but their works would soon become staple ingredients of the medieval curriculum. The book carefully introduces each author, setting them in their own contexts and backgrounds (one was from the fourth, one from the fifth, and one from the sixth century), and examines their work in detail. Particular themes illustrated and discussed are their strategies in rendering, sometimes literally, sometimes not, the Biblical narratives, the ways in which they reflect and exploit the classical epic poets in their design, style and vocabulary, and the particular theological agendas which they may pursue, implicitly or explicitly. The book engages fully and critically with recent studies of Biblical epic and investigates critically and in detail numerous other questions. Full details of all modern studies that relate to these poets and their backgrounds are given in a large bibliography.Less
The topic of the book is three Christian epic poets of Late Antiquity who, though somewhat neglected in modern times, are notable in many ways, especially in their aim of harnessing the tradition of classical Latin epic to the task of presenting the New Testament to the learned readers, whether they be Christian believers or curious enquirers, perhaps put off by the style of Bible translations. This triad were pioneers in their time but their works would soon become staple ingredients of the medieval curriculum. The book carefully introduces each author, setting them in their own contexts and backgrounds (one was from the fourth, one from the fifth, and one from the sixth century), and examines their work in detail. Particular themes illustrated and discussed are their strategies in rendering, sometimes literally, sometimes not, the Biblical narratives, the ways in which they reflect and exploit the classical epic poets in their design, style and vocabulary, and the particular theological agendas which they may pursue, implicitly or explicitly. The book engages fully and critically with recent studies of Biblical epic and investigates critically and in detail numerous other questions. Full details of all modern studies that relate to these poets and their backgrounds are given in a large bibliography.
Adele Reinhartz
- Published in print:
- 2007
- Published Online:
- May 2007
- ISBN:
- 9780195146967
- eISBN:
- 9780199785469
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195146967.003.0001
- Subject:
- Religion, History of Christianity
The Jesus movies are to be viewed as “biopics”, that is, biographical films. As such, they follow the narrative template common to this genre and make a claim to authenticity or historical accuracy ...
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The Jesus movies are to be viewed as “biopics”, that is, biographical films. As such, they follow the narrative template common to this genre and make a claim to authenticity or historical accuracy at least to some degree. What they do best, however, is provide a vehicle through which filmmakers can address contemporary concerns. This chapter explains the biopic genre and provides a historical introduction to the major Jesus films that will be considered in the study.Less
The Jesus movies are to be viewed as “biopics”, that is, biographical films. As such, they follow the narrative template common to this genre and make a claim to authenticity or historical accuracy at least to some degree. What they do best, however, is provide a vehicle through which filmmakers can address contemporary concerns. This chapter explains the biopic genre and provides a historical introduction to the major Jesus films that will be considered in the study.
Gian Biagio Conte
S. J. Harrison (ed.)
- Published in print:
- 2007
- Published Online:
- January 2010
- ISBN:
- 9780199287017
- eISBN:
- 9780191713262
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199287017.001.0001
- Subject:
- Classical Studies, Poetry and Poets: Classical, Early, and Medieval
This volume presents a collection of pieces from a celebrated world-class scholar and interpreter of Latin poetry, focusing on the interpretation of Virgil's Aeneid. It forms the sequel to two widely ...
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This volume presents a collection of pieces from a celebrated world-class scholar and interpreter of Latin poetry, focusing on the interpretation of Virgil's Aeneid. It forms the sequel to two widely influential earlier books on Virgil by the same author and translates and adds to a collection of papers published in Italian in 2002. Its central concern is the way in which Virgil reworks earlier poetry (especially that of Homer) at the most detailed level to produce very broad literary and emotional effects. Through detailed scholarly analysis, the book explores a central issue in Virgilian studies, that of how the Aeneid manages to create a new and effective mode of epic in a period when the genre appears to be debased or exhausted.Less
This volume presents a collection of pieces from a celebrated world-class scholar and interpreter of Latin poetry, focusing on the interpretation of Virgil's Aeneid. It forms the sequel to two widely influential earlier books on Virgil by the same author and translates and adds to a collection of papers published in Italian in 2002. Its central concern is the way in which Virgil reworks earlier poetry (especially that of Homer) at the most detailed level to produce very broad literary and emotional effects. Through detailed scholarly analysis, the book explores a central issue in Virgilian studies, that of how the Aeneid manages to create a new and effective mode of epic in a period when the genre appears to be debased or exhausted.
Joshua A. Berman
- Published in print:
- 2008
- Published Online:
- January 2009
- ISBN:
- 9780195374704
- eISBN:
- 9780199871438
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195374704.003.0002
- Subject:
- Religion, Judaism, Biblical Studies
This chapter contains the argument that drives the rest of the book. The rejection of hierarchy is rooted in a major theological shift. Social and political hierarchy in the ancient Near East ...
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This chapter contains the argument that drives the rest of the book. The rejection of hierarchy is rooted in a major theological shift. Social and political hierarchy in the ancient Near East received metaphysical legitimation, as the heavenly order was construed as paralleling the terrestrial one. The common person in this scheme emerges as a servant, the lowest rung in the hierarchy, as evidenced in Mesopotamian creation epics Atrahasis, and echoed in Egypt and Ugarit well. The theology of covenant in the Pentateuch rejects this. In light of parallels with Late Bronze Age suzerainty treaties, the covenant narratives implicitly suggest that the whole of Israel—not its king, not his retinue, not the priests—bears the status of a vassal king entered into treaty with a sovereign king, God. While much of this material has been extant in the scholarship for some fifty years, the material is examined here in new light, and from two directions. The first borrows observations from the field of anthropology concerning the role and display of honor between superiors and subordinates that offers new insight into the suzerain‐vassal paradigm for the relationship between God and Israel. The second is a revisiting of the Hittite treaties whose form and language are paralleled in the covenantal material in the Pentateuch. This study concludes that not only does Israel as a collective whole attain the status of a subordinate king, but that, indeed, hierarchy is eschewed as every man in Israel becomes endowed with this status as well. Parallels are drawn between the Israel as vassal paradigm, and Israel as spouse paradigm.Less
This chapter contains the argument that drives the rest of the book. The rejection of hierarchy is rooted in a major theological shift. Social and political hierarchy in the ancient Near East received metaphysical legitimation, as the heavenly order was construed as paralleling the terrestrial one. The common person in this scheme emerges as a servant, the lowest rung in the hierarchy, as evidenced in Mesopotamian creation epics Atrahasis, and echoed in Egypt and Ugarit well. The theology of covenant in the Pentateuch rejects this. In light of parallels with Late Bronze Age suzerainty treaties, the covenant narratives implicitly suggest that the whole of Israel—not its king, not his retinue, not the priests—bears the status of a vassal king entered into treaty with a sovereign king, God. While much of this material has been extant in the scholarship for some fifty years, the material is examined here in new light, and from two directions. The first borrows observations from the field of anthropology concerning the role and display of honor between superiors and subordinates that offers new insight into the suzerain‐vassal paradigm for the relationship between God and Israel. The second is a revisiting of the Hittite treaties whose form and language are paralleled in the covenantal material in the Pentateuch. This study concludes that not only does Israel as a collective whole attain the status of a subordinate king, but that, indeed, hierarchy is eschewed as every man in Israel becomes endowed with this status as well. Parallels are drawn between the Israel as vassal paradigm, and Israel as spouse paradigm.
Eva De Clercq
- Published in print:
- 2008
- Published Online:
- January 2009
- ISBN:
- 9780195380040
- eISBN:
- 9780199869077
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195380040.003.0003
- Subject:
- Religion, Religion and Society, World Religions
In “The Great Men of Jainism In Utero,” an overview is provided of the intrauterine lives of the sixty-three heroes of the “Universal History” of the Jains. A central motif in these accounts is a ...
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In “The Great Men of Jainism In Utero,” an overview is provided of the intrauterine lives of the sixty-three heroes of the “Universal History” of the Jains. A central motif in these accounts is a series of prophetic dreams that the mothers experience upon conception. In general, these dreams and other events surrounding the hero’s time in the womb parallel what happens to him in his life beyond the womb. The chapter further examines some similarities in Hinduism and Buddhism.Less
In “The Great Men of Jainism In Utero,” an overview is provided of the intrauterine lives of the sixty-three heroes of the “Universal History” of the Jains. A central motif in these accounts is a series of prophetic dreams that the mothers experience upon conception. In general, these dreams and other events surrounding the hero’s time in the womb parallel what happens to him in his life beyond the womb. The chapter further examines some similarities in Hinduism and Buddhism.
Bruce Heiden
- Published in print:
- 2008
- Published Online:
- January 2009
- ISBN:
- 9780195341072
- eISBN:
- 9780199867066
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195341072.001.0001
- Subject:
- Classical Studies, Poetry and Poets: Classical, Early, and Medieval
Although scholars routinely state that the Iliad is an “oral poem,” it has circulated as a text stabilized in writing since near the time of its composition. Thus, the Iliad undoubtedly has features ...
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Although scholars routinely state that the Iliad is an “oral poem,” it has circulated as a text stabilized in writing since near the time of its composition. Thus, the Iliad undoubtedly has features that render it satisfactory to readers and reading. But the question of what these features might be has been difficult for Homeric scholarship to address within the research paradigm of “oral poetics.” This book delineates a new approach aimed at evaluating what the Iliad furnishes to readers. Its program conceptualizes the act of reading as a repertoire of cognitive functions a reader might deploy in collaboration with the poem's signs. By positing certain functions hypothetically and applying them to the poem, its experiments uncover the kind and degree of suitable “reading material” the poem provides. These analyses reveal that the trajectory of events in the Iliad manifests the central agency of one character, Zeus, and that the transmitted articulation of the epic into “books” conforms to distinct narrative subtrajectories. The analyses also show that the sequence of “books” functions as a design that cues attention to the major crises in the story, as well as to themes that develop its significance. The transmitted arrangement therefore furnishes an implicit cognitive map that both eases comprehension of the storyline and indicates pathways of interpretation.Less
Although scholars routinely state that the Iliad is an “oral poem,” it has circulated as a text stabilized in writing since near the time of its composition. Thus, the Iliad undoubtedly has features that render it satisfactory to readers and reading. But the question of what these features might be has been difficult for Homeric scholarship to address within the research paradigm of “oral poetics.” This book delineates a new approach aimed at evaluating what the Iliad furnishes to readers. Its program conceptualizes the act of reading as a repertoire of cognitive functions a reader might deploy in collaboration with the poem's signs. By positing certain functions hypothetically and applying them to the poem, its experiments uncover the kind and degree of suitable “reading material” the poem provides. These analyses reveal that the trajectory of events in the Iliad manifests the central agency of one character, Zeus, and that the transmitted articulation of the epic into “books” conforms to distinct narrative subtrajectories. The analyses also show that the sequence of “books” functions as a design that cues attention to the major crises in the story, as well as to themes that develop its significance. The transmitted arrangement therefore furnishes an implicit cognitive map that both eases comprehension of the storyline and indicates pathways of interpretation.
Ritchie Robertson
- Published in print:
- 2009
- Published Online:
- February 2010
- ISBN:
- 9780199571581
- eISBN:
- 9780191722356
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199571581.001.0001
- Subject:
- Literature, European Literature, 18th-century Literature
This is a study of a genre of poetry that flourished in English, French, and German literature from the early eighteenth to the mid‐nineteenth century. Although some of the texts discussed are ...
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This is a study of a genre of poetry that flourished in English, French, and German literature from the early eighteenth to the mid‐nineteenth century. Although some of the texts discussed are canonical and familiar, the relations among them have not been noticed. There is a well‐known genre of mock‐heroic poetry which parodies epic. Mock epic differs in being written at a time when serious epic, though still a highly respected genre with many writers and readers, was also in a state of stasis or stagnation, failing to produce any acknowledged masterpiece after Paradise Lost (1667). Epic was often criticized as depending on supernatural machinery and barbarous heroic values that were unsuitable for the modern world. Mock epic therefore both satirizes the epic genre and expands its scope beyond mock heroic to address satirically a wide range of ambitious themes. It includes satire on pedantic scholarship (Pope's Dunciad), anticlerical satire (Voltaire's La Pucelle, Blumauer's travesty of the Aeneid), satire on religion (Parny's La Guerre des dieux), a liberal, but not necessarily libertine, exploration of the relation between the sexes (Wieland's Oberon, Byron's Don Juan), and the relation between Europe and its Oriental ‘other’ (Wieland and Byron again). Besides mock heroic, it draws on other literary traditions, notably the Italian romance epic (especially Ariosto), but also traditions of parody and travesty, and it foregrounds its relation to prior texts—including earlier mock epics—through an elaborate display of intertextuality. By 1847, when the last text discussed, Heine's Atta Troll, was published, the elements that composed the mock‐epic genre were dispersing, but the genre has (as the Epilogue shows) an afterlife in early twentieth‐century modernism.Less
This is a study of a genre of poetry that flourished in English, French, and German literature from the early eighteenth to the mid‐nineteenth century. Although some of the texts discussed are canonical and familiar, the relations among them have not been noticed. There is a well‐known genre of mock‐heroic poetry which parodies epic. Mock epic differs in being written at a time when serious epic, though still a highly respected genre with many writers and readers, was also in a state of stasis or stagnation, failing to produce any acknowledged masterpiece after Paradise Lost (1667). Epic was often criticized as depending on supernatural machinery and barbarous heroic values that were unsuitable for the modern world. Mock epic therefore both satirizes the epic genre and expands its scope beyond mock heroic to address satirically a wide range of ambitious themes. It includes satire on pedantic scholarship (Pope's Dunciad), anticlerical satire (Voltaire's La Pucelle, Blumauer's travesty of the Aeneid), satire on religion (Parny's La Guerre des dieux), a liberal, but not necessarily libertine, exploration of the relation between the sexes (Wieland's Oberon, Byron's Don Juan), and the relation between Europe and its Oriental ‘other’ (Wieland and Byron again). Besides mock heroic, it draws on other literary traditions, notably the Italian romance epic (especially Ariosto), but also traditions of parody and travesty, and it foregrounds its relation to prior texts—including earlier mock epics—through an elaborate display of intertextuality. By 1847, when the last text discussed, Heine's Atta Troll, was published, the elements that composed the mock‐epic genre were dispersing, but the genre has (as the Epilogue shows) an afterlife in early twentieth‐century modernism.
Fernanda Moore
- Published in print:
- 2010
- Published Online:
- September 2010
- ISBN:
- 9780199212989
- eISBN:
- 9780191594205
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199212989.003.0011
- Subject:
- Classical Studies, Prose and Writers: Classical, Early, and Medieval
This chapter contrasts La Chanson de Roland's successful canonization as France's national epic with the Byzantine epic Digenes Akrites, which seemed destined to serve the same function for Modern ...
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This chapter contrasts La Chanson de Roland's successful canonization as France's national epic with the Byzantine epic Digenes Akrites, which seemed destined to serve the same function for Modern Greece when it was rediscovered in 1868. However, Digenes’ manuscript problems became embroiled in contentious and crippling debates between demoticists and purists. The epic suffered further from Henri Grégoire's erudite but naive attempt to ground it in historical fact and from his failure to link the poem to the current political climate. By contrast, Gaston Paris, France's pre‐eminent late nineteenth‐century medievalist, secured Roland's spot at the head of the French literary canon by appealing to nationalist sentiment and establishing a powerful analogy between the France of the poetic Charlemagne and the nineteenth‐century French nation. A close examination of each scholar's methods reveals the cultural and intellectual climate necessary to produce a national epic.Less
This chapter contrasts La Chanson de Roland's successful canonization as France's national epic with the Byzantine epic Digenes Akrites, which seemed destined to serve the same function for Modern Greece when it was rediscovered in 1868. However, Digenes’ manuscript problems became embroiled in contentious and crippling debates between demoticists and purists. The epic suffered further from Henri Grégoire's erudite but naive attempt to ground it in historical fact and from his failure to link the poem to the current political climate. By contrast, Gaston Paris, France's pre‐eminent late nineteenth‐century medievalist, secured Roland's spot at the head of the French literary canon by appealing to nationalist sentiment and establishing a powerful analogy between the France of the poetic Charlemagne and the nineteenth‐century French nation. A close examination of each scholar's methods reveals the cultural and intellectual climate necessary to produce a national epic.
