Lucan and the Sublime: Power, Representation and Aesthetic by Henry J. M. Day

By Henry J. M. Day

This can be the 1st entire learn of the chic in Lucan. Drawing upon renewed literary-critical curiosity within the culture of philosophical aesthetics, Henry Day argues that the class of the chic bargains a way of relocating past readings of Lucan's Bellum civile by way of the poem's political dedication or, then again, nihilism. Demonstrating in discussion with theorists from Burke and Kant to Freud, Lyotard and Ankersmit the continued power of Longinus' foundational treatise at the elegant, Day charts Lucan's advanced and instructive exploration of the connection among sublimity and moral discourses of freedom and oppression. in the course of the Bellum civile's cataclysmic imaginative and prescient of civil battle and metapoetic bills of its personal genesis, via its heated linguistic texture and proclaimed results upon destiny readers, and, such a lot powerfully of all, via its illustration of its dual protagonists Caesar and Pompey, Lucan's nice epic emerges as a important textual content within the historical past of the elegant.

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Russell (1965) xvi; Kirwan (2005) 159; Thomas (2007) 219. Contra Russell (1965) xvii, who explains his use of the term ‘sublimity’ to translate Ìyov as a direct attempt to ‘diminish some of the associations which “the sublime” has had since the later eighteenth century’. 36 sources and theories into (hopefully illuminating) dialogue. As I aim to show, Longinus’ concerns (and Lucan’s) do reveal important connections with those of these later theorists; moreover, as their texts often explicitly demonstrate, these theorists themselves clearly had Longinus in mind.

For all the sublime’s traditionally masculine appeal, its coimplication with the feminine persists: see the discussion in Chapter 2 of the Longinian Pythia (De sub. 2) and of the Lucanian figures of the Bacchic matrona (Luc. 430–830). On Sappho fr. 31 and the sublime, see further eg. DeJean (1989) 84–7; Warren (1989) 204; Freeman (1995) 13–26. On the female sublime more broadly, see Battersby (1989); Yaeger (1989); Maxwell (2001); Shaw (2006) 56–63, 105–11. Porter (forthcoming). See Porter (2001) and (forthcoming); cf.

31 ‘in the general context of a discussion of Ìyov, is in fact much more suprising than is often acknowledged’. Notwithstanding Demetrius’ identification of 38 sources and theories beloved, feels her body dissolve so that she thinks herself ‘very near to death’: fa©neta© moi k nov ­sov q”oisin ›mmenì ßnhr, Àttiv –n†nti»v toi «z†nei kaª pl†sion du fwne©sav ÉpakoÅei kaª gela©sav «mer»en, t» mì § m‡n kard©an –n stžqesin –pt»aisen. âv g‡r <–v> sì ­dw br»ceì ßv me fÛnav oÉd•n ›tì e­keiá ˆll‡ k‡m m•n glässa ›ageá l”pton dì aÉt©ka cr pÓr Épodedr»maken ½pp†tessi dì oÉd•n Àrhmmì, –pir»mbeisi dì Škouaiá ˆ d” mì ­drwv kakc”etai, tr»mov d• pa±san Šgrei, clwrot”ra d• po©av ›mmiá teqn†khn dì ½l©gw ìpideÅhv fa©nomì <–maut >á ˆll‡ p n t»lmaton, –peª .

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