By John Miles Foley
"For those who find themselves attracted to Greek and Roman epic, the booklet is a treasure-house of ultimate variety.... The editor and the writer either deserve compliment for a really nice volume." (Journal of the Royal Asiatic Society)
"Blackwell's significant other to historical Epic does simply what the name indicates: it accompanies readers on trips of exploration during this large (in each experience) box. simply as importantly, the significant other will express new readers why they could are looking to immerse themselves in those poems.... the numerous highlights during this better half display the worth of asking students to put in writing for non-specialists. That pastime presents a stimulus for brand spanking new degrees of concentration and readability; even principles and fabrics that could be usual turn into clean back once they are awarded in such succinct distillations." (Bryn Mawr Classical overview)
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Extra info for A Companion to Ancient Epic
And as with any such anthropological explorations, the knowledge thereby gained only counts when taken further, as a means of fostering human communication. To put it negatively, we should not define ‘‘genre’’ or ‘‘epic’’ simply as an ideal Platonic form for static contemplation. Definitions need to be dynamic aids to learning and social integration. Modern handbooks of literary terms, in defining ‘‘epic,’’ inevitably mention features of content, such as a cosmic scale; a serious purpose; a setting in the distant past; the presence of heroic and supernatural characters; and plots pivoting on wars or quests.
One such, the Maninka jeli, recites the epic at high speed, accompanying himself on a small four-string instrument. Epic as Genre 17 Joyce Flueckiger’s research in northern and central India shows not only that ‘‘epic’’ can be done in widely different styles, but that even the same long, heroic narrative, like the Dhola-Maru tradition, sung in communities a few hundred miles apart, qualifies as ‘‘epic’’ in one but not the other (1999). Community self-identification, caste ambitions, and local religious cult all determine whether a people views the epic as its own defining narrative.
Thos and epos: Martin 1989. semantics of mu shamanism: Dodds 1951. 3 ‘‘Epic’’ cross-culturally African traditions: Stone 1988; Belcher 1999. Egyptian epic: Slyomovics 1987; Reynolds 1995, 1999. epic and myth: Dume´zil 1968, 1971, 1973. genres of discourse: Martin 1984; Todorov 1990. genres within epic: Martin 1984, 1989; Davidson 1998a. Indic performance: Flueckiger 1989, 1999. Irish bardic poetry: Bergin 1970. Mwindo epic of Nyanga: Biebuyck and Mateene 1969. relationship between lyric and epic traditions: Nagy 1990c.
A Companion to Ancient Epic by John Miles Foley