9780809306404 - forms of glory: structure and sense in virgil's aeneid (literary structures) von hunt, john william (1 Ergebnisse)
Sprache: Englisch
Verlag: Edwardsville: Southern Illinois University Press, 1973
- Hardcover
Anbieter: Borkert, Schwarz und Zerfaß GbR, Berlin, DeutschlandBorkert, Schwarz und Zerfaß GbR
Verkäufer/-in kontaktierenVerkäufer/-in mit 5 SternenZustand: Gebraucht - Sehr gut
EUR 22,00
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Zustand: Sehr gut. 123 p. From the library of Prof. Wolfgang Haase, long-time editor of ANRW and the International Journal of the Classical Tradition (IJCT). - Zustand: Minimal beriebener sowie vergilbter Schutzumschlag mit leichten Einrissen. Bleistiftvermerk auf Fliegendem Blatt. Ansonsten im sehr guten Zustand. / Condition: M…inimally rubbed and yellowed dust jacket with light tears. Pencil note on flyleaf. Otherwise in very good condition. - Content: In recommending critical readings of the Aeneid to students, one can suggest numerous hooks and articles which clarify the epics historical setting, treat selected portions in depth, or comment on its qualities of propaganda and panegyric. But one often finds that the perspective which emerges is extrinsic, partial, or one-sided. What seems to be needed is an analysis which offers three qualities in combination, as simply as the breadth and complexity of Virgils poem allow. The analysis needed, it has seemed to me, is an intrinsic one devoted exclusively to the epic as a poetic expression, an organic approach complete in its treatment of the entire poetic design, and a balanced study attentive to the formal elements that qualify the poems theme of glory. My purpose in this book has been to provide such an analysis. The forms of glory are also doubly viewed throughout: both as the complex art of the epic giving the glory a singular poetic tone, and as an objective quality of life illumined by the poets vision. Since the book is designed primarily for students and for the educated general reader, I have tried throughout to keep the scholarly support to a minimum and to present the argument as simply as I could, still doing justice to a great poetone returning to favor in the wake of our own current dilemmas of empire. Exploring the metaphorical world of Virgils narrative as an interwoven architectural design, I range throughout the poem in each of the books six chapters, viewing its parts in relation to the structure of the whole as a unique aesthetic representation. In other words, I consider the entire poem from six distinct but related points of view. More specifically, the plan of this book is as follows: The first chapter sketches the general scope and structure of the poem, discusses the interrelationship of its major parts, and suggests the principal themes to be illustrated. None of these three matters will be new to readers of recent critical work on Virgil,1 but the necessary fusion of all three gives fresh perspective. Chapters two and three deal chiefly with imagery: chapter two discusses the main lines of the plot with emphasis on the function of gifts and prizes and trophies, and analyzes the role of the gods as a super-plot; chapter three treats of the four leading imagesland, sea, glory, and shadowand closes with an examination of the role of Palinurus in relation to all of them. Chapters four and five treat of character, the former dealing with the tragic figures Dido and Turnus, the latter with the development of Aeneas, both chapters commenting on the function of minor characters. Chapter four studies the two chief secondary characters in connection with their parallel tragedies framing the central section of the poem. Chapter five traces the interior development of the central hero in his relation to figures and themes discussed earlier. The closing chapter returns to questions of general structure, exploring the relationship to Aeneas of the Dido and Turnus patterns and reviewing this tripartite scheme of the poem through an analysis of recurring imagery in the final twelfth book. In general, I hope this application of organistic formalism to the entirety of a major classical work may strengthen the bond between classical scholarship and contemporary criticism. Each of the six chapters proceeds from an analysis of a passage from the poem quoted at the start, and the six passages are selected with two purposes in mind. First, in fine with the tripartite scheme of the epic, each.
