By John Miles Foley
A significant other to historical Epic offers for the 1st time a finished, up to date evaluate of historical close to jap, Greek and Roman epic. It bargains a multi-disciplinary dialogue of either longstanding rules and more moderen views. A better half to the close to jap, Greek, and Roman epic traditionsConsiders the interrelation among those varied traditionsProvides a balanced review of longstanding principles and more moderen views within the learn of epicShows how scholarship over the past 40 years has remodeled the ways in which we conceive of and comprehend the genreCovers lately brought issues, comparable to the position of girls, the historical past of reception, and comparability with residing analogues from oral traditionThe editor and participants are major students within the fieldIncludes a close index of poems, poets, technical phrases, and critical figures and occasions
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Additional resources for A Companion to Ancient Epic (Blackwell Companions to the Ancient World)
Richard P. Martin that while something resembling ‘‘epic’’ can be distinguished from other forms, it is even more significant to see it in relation to its accompanying genres in performance; that the specifics of textual or performance style cannot be used to determine whether or not a performance is ‘‘epic’’; that the epic ‘‘genre’’ has symbiotic ties with folktale, myth, and especially praisepoetry; that, above all, epic stands out as the most pervasive, ‘‘unmarked’’ genre, in terms of when and where it can be performed, while at the same time it is the culturally most significant and ‘‘marked’’ form in terms of its ambitions and attitudes.
A starting point for imagining this rich and varied archaic verbal tapestry comes from Aristotle’s own notion that Homer was not the composer of the Iliad and Odyssey exclusively; he also authored the Margites, a poem (now almost entirely lost) using a mixture of hexameter and iambic meter to narrate the ridiculous adventures of a numbskull, the title figure. Aristotle places this composition within the category of ‘‘blame’’ or ‘‘lampoon’’ (psogos) and speculates that there must have been many such poems before Homer, although the Margites was the earliest to Epic as Genre 13 survive to his own day.
This has several implications. First, it means that he nowhere tries to define ‘‘epic’’ as a closed category distinct from other genres. g. Poetics 1455b16). For Aristotle, drama is as self-evident and singular an experience as film is for us; opposing it to epopoiia (his word for ‘‘epicverse-making’’ or ‘‘epic’’) is more akin to contrasting film and ‘‘the novel’’ taken as a whole – without regard to particular sub-genres like romance, western, techno-thriller, mystery, or other. The smaller-scale features that might be used to separate out subcategories of poetry are, for Aristotle, less important than the matter of imitation (mimeˆsis, his overarching concern in the Poetics).
A Companion to Ancient Epic (Blackwell Companions to the Ancient World) by John Miles Foley