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Aeneas Flees Burning Troy, by Federico Barocci (1598). Galleria Borghese, Rome, Italy Map of Aeneas' fictional journey. The Aeneid (/ ɪ ˈ n iː ɪ d / ih-NEE-id; Latin: Aenēĭs [ae̯ˈneːɪs] or [ˈae̯neɪs]) is a Latin epic poem that tells the legendary story of Aeneas, a Trojan who fled the fall of Troy and travelled to Italy, where he became the ancestor of the Romans.
In his work Poetics, Aristotle defines an epic as one of the forms of poetry, contrasted with lyric poetry and drama (in the form of tragedy and comedy). [12] Epic poetry agrees with Tragedy in so far as it is an imitation in verse of characters of a higher type. They differ in that Epic poetry admits but one kind of meter and is narrative in form.
An epic catalogue is a long, detailed list of objects, places or people that is a characteristic of epic poetry. ... In the Aeneid, ...
Mu'allaqat, Arabic poems written by seven poets in Classical Arabic, these poems are very similar to epic poems and specially the poem of Antarah ibn Shaddad; Parsifal by Richard Wagner (opera, composed 1880–1882) Pasyón, Filipino religious epic, of which the 1703 and 1814 versions are popular; Popol Vuh, history of the K'iche' people
Aristeia is also seen, to some extent, in the Aeneid, when Nisus and Euryalus leave the Trojan defences in Book 9 to slaughter the Latin captains while they sleep. [15] It also features in Book 10, when Mezentius takes the place of Turnus and strikes down all in his path: [16] it draws upon Homeric models, using a simile.
Lewis explains Milton's unique approach to similes. Unlike traditional similes that draw clear analogies, Milton's similes often have superficial logical connections but profound emotional or thematic resonances. The "Miltonic simile" thus operates on two levels: a surface-level logical connection and a deeper, emotional or thematic linkage.
A characteristic of Homer's style is the use of epithets, as in "rosy-fingered" Dawn or "swift-footed" Achilles.Epithets are used because of the constraints of the dactylic hexameter (i.e., it is convenient to have a stockpile of metrically fitting phrases to add to a name) and because of the oral transmission of the poems; they are mnemonic aids to the singer and the audience alike.
An example is the opening line of Lucan's epic on the Civil War: bella per Emathios – plus quam civilia – campos "Wars through the Emathian – more than civil – plains" Another example is the opening of Ovid's mythological poem Metamorphoses where the word nova "new" is in a different line from corpora "bodies" which it describes: