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RISS 인기검색어
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- 저자 : ( Laurence K P Wong ) (검색결과 2 건)
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Homer as a Point of Departure: Epic Similes in the Divine Comedy
( Laurence K P Wong ) 부산외국어대학교 지중해지역원 2011 The Mediterranean Review Vol.4 No.1
Contrary to the view-current among certain critics-that it is only decorative, the epic simile, starting from Homer and carried on by Virgil and Milton, performs many functions, functions that help to make an epic what it is. In the development of the epic in general and of the epic simile in particular, Homer, Virgil, and Milton, three mainstream epic poets, were linked by a similar tradition and shared close affinities in the way they employed this rhetorical device. While drawing on the Homer-Virgil tradition, using the epic simile as Homer, Virgil, and Milton did, Dante in The Divine Comedy took Homer as a point of departure. This paper discusses what functions Dante`s epic similes perform, how they differ from those of Homer, Virgil, and Milton, and how they scale new heights, heights which are beyond the epic similes of the mainstream epic poets, attaining, as Eliot put it, to "the highest point poetry has ever reached or ever can reach."
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The Ultimate Portraiture: God in Paradise Lost and in the Divine Comedy
( Laurence K P Wong ) 부산외국어대학교 지중해지역원 2011 The Mediterranean Review Vol.4 No.2
Arguably the two greatest poets of the Christian world, Milton and Dante have both written about God, respectively in Paradise Lost and in The Divine Comedy. Though equally influenced by the Bible and Christian thought and sharing many affinities, the two poets adopted different approaches in portraying the Supreme Being, a task that taxes the imaginative powers of the greatest of poets. While Milton`s portraiture of God is highly anthropomorphic, reminding one very much of the epics of pre-Christian times, Dante`s parts company with that of the classical epics in a direction of its own, and is indebted for its success not to anthropomorphism, but, rather, to the avoidance of anthropomorphism. In the end, while Milton`s God is more interesting, more intriguing, and more "story-worthy" as a character, Dante`s comes closer to the true image of the Christian Supreme Being. This paper discusses the Christian God as he appears in Paradise Lost and in The Divine Comedy, compares the two poets` approaches with reference to Homer, Virgil, Goethe, and Chinese mythology, shows how, eventually, Dante turns out to be the greater master in representing the ineffable, the indescribable, and the inapprehensible.
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