Homer Epic Poem
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Everything you need to know to read Homer's \
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And which of the gods was it that set them on to quarrel? It was the son of Jove and Leto; for he was angry with the king and sent a pestilence upon the host to plague the people, because the son of Atreus had dishonoured Chryses his priest. Now Chryses had come to the ships of the Achaeans to free his daughter, and had brought with him a great ransom: moreover he bore in his hand the sceptre of Apollo wreathed with a suppliant's wreath and he besought the Achaeans, but most of all the two sons of Atreus, who were their chiefs.
Tell me, o muse, of that ingenious hero who travelled far and wide after he had sacked the famous town of Troy. Many cities did he visit, and many were the nations with whose manners and customs he was acquainted; moreover he suffered much by sea while trying to save Brave Menelaus son of Atreus now came to know that Patroclus had fallen, and made his way through the front ranks clad in full armour to bestride him. As a cow stands lowing over her first calf, even so did yellow-haired Menelaus bestride Patroclus.
He held his round The generation of mankind is like the generation of leaves. The wind scatters the leaves on the ground, but the living tree burgeons with leaves again in the spring. I was inspired by the great poetic insperation of Homer His great epics impacted to change the entire western culture Please amend your otherwisw excellent website by giving Homer's approximate date to c BC. The initials BCE are unnecessarily offensive. O the great epic-poet, I have also a desire to write an epic-poem in Bangla, my mother language, on our great leader Bangabandhu.
He is also one of the most influential authors in the widest sense, for the two epics provided the basis of Greek education and culture throughout the Classical age and formed the backbone of humane education down to the time of the Roman Empire and the spread of Christianity The incomparable at his throne; Homer the legend. The epithets, as well as repeated background stories and longer epic similes, are common techniques in the oral tradition, designed to make the job of the singer-poet a little easier, as well as to remind the audience of important background information. It employs the seemingly modern idea later imitated by many other authors of literary epics of starting the plot at what is chronologically towards the end of the overall story, and describing prior events through flashbacks or storytelling.
This is appropriate, however, as Homer was elaborating on a story which would have been very familiar to his listeners, and there was little likelihood of his audience being confused, despite the numerous sub-plots. The character of Odysseus embodies many of the ideals the ancient Greeks aspired to: manly valour, loyalty, piety and intelligence. His intelligence is a mix of keen observation, instinct and street smarts, and he is a fast, inventive liar, but also extremely cautious. However, he is also portrayed as very human — he makes mistakes, gets into tricky situations, loses his temper and is often moved to tears — and we see him in many roles as a husband, father and son, but also as an athlete, army captain, sailor, carpenter, storyteller, ragged beggar, lover, etc.
Back to Top of Page. Synopsis — Odyssey Summary. Analysis — What is the Odyssey About. Since many long poems take the author's lifetime to complete, this concern is especially troubling to anyone who attempts the long poem. Ezra Pound is an example of this dilemma, with his poem The Cantos. The American long poem is under pressure from its European predecessors, revealing a special variety of this anxiety. Walt Whitman tried to achieve this idea of characterizing the American identity in Song of Myself. Thus, when the author feels that their work fails to reach such a caliber or catalyze a change within the intended audience, they might consider the poem a failure as a whole.
Poets attempting to write a long poem often struggle to find the right form or combination of forms to use. Since the long poem itself cannot be strictly defined by one certain form, a challenge lies in choosing the most effective form. Some critics, most emphatically Edgar Allan Poe , consider poetry as a whole to be more closely tied to the lyric. They complain that the emotional intensity involved within a lyric is impossible to maintain in the length of the long poem, thus rendering the long poem impossible or inherently a failure. In his article "The long poem: sequence or consequence?
Rozenthal and Sally M. Gall's "The Modern Poetic Sequence" inspired by Poe's sentiments, "What we term a long poem is, in fact, merely a succession of brief ones It is needless to demonstrate that a poem is such, only inasmuch as it intensely excites, by elevating, the soul; and all intense excitements are, through a psychal-necessity, brief. For this reason, at least one half of the Paradise Lost is essentially prose—a succession of poetical excitements interspersed, inevitably, with corresponding depressions—the whole being deprived, through the extremities of its length, of the vastly important artistic element, totality, or unity, of effect. In short, a poem to be truly a poem should not exceed a half hour's reading.
In any case, no unified long poem is possible. One genre theory claims that once a poem takes on multiple voices, it becomes a novel. Many long poems do make use of multiple voices, while still maintaining all the element of a poem, and therefore cause even more confusion when trying to define their genre. Critic Lynn Keller also expresses concerns about the genre in her essay "Pushing the Limits.
Therefore, this causes the other equally important subgenres to be subject to criticism for not adhering to the more "authentic" form of long poem. Many critics refer to the long poem by various adjective-filled subgenre names that often are made of various components found within the poem. These can lead to confusion about what a long poem is exactly. Below you will find a list describing the most common and agreed upon subgenre categories. The long poem genre has several advantages over prose and strictly lyric poetry. The most obvious difference between the long poem and other literary genres is the sheer difficulty of composing a long work entirely in verse. Poets who undertake the long poem face the serious problem of creating a work that is consistently poetic, sometimes taking strict forms and carrying them through the whole poem.
However, the poets who do choose the long poem turn this liability into an advantage—if a poet can write a long poem, they prove themselves to be worthy. The very difficulty gives the genre an implicit prestige. Long poems have been among the most influential texts in the world since Homer. By writing a long poem, a poet participates in this tradition and must prove their virtuosity by living up to the tradition. As discussed below, the traditionally difficult long poem's prestige can be revised to serve radical purposes. Enheduanna , High Priestess of the Moon Temple in the Sumerian City of Ur is the first named writer of an epic poem in recorded history.
Elizabeth Barrett Browning was one of the first female authors of the modern era to attempt an epic poem. Taylor posits that Browning began this process with the structure of her poem, "While earlier epics like the Aeneid and Paradise Lost have twelve books, Aurora Leigh was conceived as a nine-book epic; thus, the very structure of the work reveals its gestational nature. According to Sandra Donaldson, Barrett Browning's own experience at age forty-three of "giving birth and nurturing a child" greatly influenced her poetry "for the better", deepening her "sensitivity".
The most important "parent genre" to the long poem is the epic. An epic is a lengthy, revered narrative poem, ordinarily concerning a serious subject containing details of heroic deeds and events significant to a culture or nation. The term "long poem" includes all the generic expectations of epic and the reactions against those expectations. Many long poem subgenres share characteristics with the epic, including: telling the tale of a tribe or a nation, quests, history either recitation or re-telling in order to learn from the past , a hero figure, or prophecies.
Other subgenres of the long poem include lyric sequence, series, collage, and verse-novel. What unites each of these subgenres under the heading of long poem is that their length has importance in their meaning. Each subgenre, however, is unique in its style, manner of composition, voice, narration, and proximity to outside genres. Sequence poetry uses the chronological linking of poems to construct meaning, as each lyric builds on the poems previous to it.
Serial lyrics similarly depend on the juxtaposition and dialogue between individual lyrics to build a greater depth of meaning. Narrative poems rely heavily on. Often, these subgenres are blended, blurred or overlapped to create second-generation subgenres. The blurring between the lines of the subgenres is what makes the long poem so hard to define, but it also marks the growing creativity in the use of the form.
Critic Joseph Conte describes the epic as a long poem that "has to have grand voice and purpose. Yet that long poem, Keller notes, does not have a "specified end toward which the poem or speaker is directed," unlike a more traditional long poem. Though long poems do have roots in the epic form, that does not mean long poems that are epic-like are completely epic. A second example of long poems distancing themselves from the traditional epic form is seen in Helen In Egypt by H. Though traditional epics feature physical quests or journeys, Helen In Egypt is about the psychological journey of Helen.
Other characteristics of the epic include a hero figure, myths, and quests for the characters. Many such characteristics are seen in various long poems, but with some changes.
