Seamus Heaney's Beowulf and the Limits of Lyric.
Whereas most historical poetics scholarship characterizes the passage of time as something that obscures some earlier formal coherence, works such as Seamus Heaney's Beowulf translation (2000), Derek Walcott's Omeros (1990), and Patience Agbabi's Telling Tales (2014) view the centuries if not millen...
| Publicado en: | Modern Philology Vol. 122; no. 2; pp. 286 - 308 |
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| Formato: | Artículo |
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University of Chicago Press
Nov2024
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=180476153&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 180476153 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 00268232 MPH jtl: Modern Philology issn: 00268232 maglogo: N pubinfo: dt: Nov2024 vid: 122 iid: 2 pid: 415 pub: University of Chicago Press artinfo: ui: 180476153 10.1086/732131 ppf: 286 ppct: 22 formats: fmt: – @attributes: type: T – @attributes: type: P size: 1.7MB tig: atl: Seamus Heaney's Beowulf and the Limits of Lyric. aug: au: Miller, Peter affil: Reed College su: Heaney, Seamus, 1939-2013 Beowulf Poetics Omeros (Poem : Walcott) Agbabi, Patience sug: subj: Heaney, Seamus, 1939-2013 Beowulf Poetics Omeros (Poem : Walcott) Agbabi, Patience ab: Whereas most historical poetics scholarship characterizes the passage of time as something that obscures some earlier formal coherence, works such as Seamus Heaney's Beowulf translation (2000), Derek Walcott's Omeros (1990), and Patience Agbabi's Telling Tales (2014) view the centuries if not millennia separating them from a canonical precursor (e.g., Homer, Chaucer) as a source of generic and cultural possibility. Such works, produced by contemporary poets most at home in the relatively short, non-narrative, first-person mode of lyric, pursue a generic dialectic of sorts, in which the prior work's narrative, socializing, obdurate basis in history is made answerable to the inward, idiosyncratic, dehistoricizing impulses of lyric, even as the modern poets' lived experiences as global and postcolonial subjects find unexpected parallels in the premodern literary past. Focusing on Heaney, this essay moves freely between his Beowulf translation and individual lyrics of the same period, structuring its inquiry around two resonant Irish words— thole and hoke —that appear in both contexts. It argues that the brand of historical poetics Heaney develops, like that developed in Walcott's and Agbabi's creative retellings, is valuable precisely for its willingness to admit and even celebrate formal abstraction and transformation as necessary components of any attempt to connect across wide swaths of time and space. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Modern Philology is the property of University of Chicago Press and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Modern Philology holder: University of Chicago Press dt: @attributes: year: 2024 holdings: @attributes: islocal: N |
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