Download PDF by Tobias Gregory: From Many Gods to One: Divine Action in Renaissance Epic

By Tobias Gregory

ISBN-10: 0226307557

ISBN-13: 9780226307558

Epic poets of the Renaissance regarded to emulate the poems of Greco-Roman antiquity, yet doing so provided a quandary: what to do in regards to the gods? Divine intervention performs a big half within the epics of Homer and Virgil—indeed, quarrels in the relatives of Olympian gods are necessary to the narrative constitution of these poems—yet poets of the Renaissance famous that the cantankerous Olympians couldn't be imitated too heavily. The divine motion in their classical types needed to be remodeled to accord with modern tastes and Christian belief.

From Many Gods to One bargains the 1st comparative research of poetic techniques to the matter of epic divine motion. via readings of Petrarch, Vida, Ariosto, Tasso, and Milton, Tobias Gregorydescribes the narrative and ideological results of the epic’s flip from pagan to Christian. Drawing on scholarship in different disciplines—religious reviews, classics, background, and philosophy, in addition to literature—From Many Gods to One sheds new gentle on matters of tolerating value in Renaissance reviews: the precarious stability among classical literary versions and Christian non secular norms and the function of faith in drawing strains among allies and others.

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New PDF release: From Many Gods to One: Divine Action in Renaissance Epic

Epic poets of the Renaissance seemed to emulate the poems of Greco-Roman antiquity, yet doing so offered a drawback: what to do in regards to the gods? Divine intervention performs a big half within the epics of Homer and Virgil—indeed, quarrels in the kin of Olympian gods are necessary to the narrative constitution of these poems—yet poets of the Renaissance famous that the cantankerous Olympians couldn't be imitated too heavily.

Extra resources for From Many Gods to One: Divine Action in Renaissance Epic

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The Africa, though not artistically successful, warrants attention as an early example of the humanist impulse to imitate the Aeneid on its own terms. The Christiad receives more extensive treatment, both because it is a stronger poem and because its twofold commitment to Virgilian form Introduction 29 and orthodox Catholic theology brings the problems of divine action very clearly into focus. Chapter 3 is devoted to Orlando furioso, first of the great vernacular epics of the sixteenth century.

In theory, the project of analysis can be extended indefinitely. We can find older 41. See Armstrong, History of God, 14ff. 28 Introduction and deeper forms of syncretism as far back as the historical record allows us to look. In practice, any such investigation has its limits, not only because the historical record is always finite but because while a given object is being analyzed, at least some of its constituent parts must be treated as primitive. In order to discuss Ariosto’s syncretism of Virgilian epic and Boiardesque romance, we must, for the time being, treat “Virgilian epic” and “Boiardesque romance” as unities, setting aside the facts that Boiardo’s poem is itself a syncretism of Arthurian and Carolingian strands of chivalric narrative and that the Aeneid too draws upon and synthesizes various prior literary, historical, and mythological traditions.

It accords with her high position, Hera suggests, that she be able to ruin a city when she wants to, and although it appears that Zeus is less impressed by the strength of her argument than simply weary of quarrelling, he does not prevent her. The same state of affairs obtains in the Aeneid. 308) see my purposes frustrated, when other gods lay waste to whom they please? 304–10). ]. Juno makes no pretense here to act as an executor of divine justice; indeed, it is precisely the power to set justice aside and inflict undeserved suffering on mortals that Juno claims as her privilege.

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From Many Gods to One: Divine Action in Renaissance Epic by Tobias Gregory


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