Greek Lyric Poetry: A Commentary on Selected Larger Pieces by G. O. Hutchinson
By G. O. Hutchinson
This e-book provides a brand new textual content and a close observation for plenty of of the primary items of Greek lyric poetry. The ebook joins textual and literary feedback of the poets jointly, offering an in depth and sustained research of vital poems around the style, and allows the reader to work out intimately the advance and variety of a extraordinary physique of poetry.
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Additional info for Greek Lyric Poetry: A Commentary on Selected Larger Pieces
28 Widukind's Saxon account traces the Saxons back to the remnants of the Macedonian forces under Alexander the Great. 29 The Macedonians, according to some medieval accounts, were considered Trojans. The Trojan origin of Britain which follows on this version is a common variant, and is widely distributed through Geoffrey of Monmouth. Aylett Sammes' (ca. 1636-ca. " 31 Even the supporters of a Northern "Gothic" origin of Romance, however, admitted the possibility of earlier cultural contact with the East, perhaps through the mythical conquest of Odin or the diffusion of "Scandza" Goths throughout the world.
Ker also adhered to the political tradition of romantic medievalism; a lifelong conservative, his celebration of heroic poetry appropriates some of the virtues the socialist Morris also ascribed to it. As what we would call a comparatist, Ker could also explicitly pay homage to Gaston Paris. Yet in rejecting precisely the idea of romance that Paris was helping to construct and in celebrating an image of an earlier Middle Ages, Ker was in fact constructing a paradigm of medieval literature that was English, nordic, and primitive rather than French and cosmopolitan.
19 His statement is heavily freighted with a set of characteristic assumptions. The world of the Middle Ages is a lost Golden Age, perhaps even a childhood, to which we can never return. Imagination holds the place in the Middle Ages that reason holds in the eighteenth-century present-a way of defining and creating culture. Romance itself is valued as a therapeutic and subjective means of recovering that imaginative coherence. If, rather than unpacking these assumptions, we rewrite them, the message is even clearer: the Middle Ages is imagined as a romance.