ЕПІЧНА МАНІЯ: ВІДПОВІДЬ ПАУНДА Е. ПО ТА Т. Г’ЮМУ

Abstract

The article is devoted to the analysis of a specific component in the post-epic artistic picture of the world contextualized in the genre experiments with epic forms that symbolize the search for new ways to express the substantial unity of the individual with a society. It is important that in «The Poetic Principle» (1850) Poe appeals to the epic tradition and expresses an essential thesis about the paradigm of the epic and the lyrical in precedent texts and mentions a significant lyrical inderpinning in Homer's Iliad. In «A Lecture on Modern Poetry» (1908), Hume posits that the very assumption that in modern poetry there will appear an artist capable of synthesizing all the experience of modern peroson in the form of a great epic is an utter misunderstanding of the tendencies in modern poetry. Both Pound and Yuri Klen consider the creation of a modern epic in the coordinates of the continuum of the national poetic canon. The concept of «return» constitutes an omnipresent aesthetic program of the Pound’s epic. The poetics of repetitions in the Cantos is based on the versification models of the European fixed poetic forms that are extensively represented against the background of new emphases and reformatting of the ancient epic forms, making new their conventions and motives. Creative and receptive aspects of the innovative application of specific features in the epic composition (recurrent historical plots, the νόστος topos) deeply correlate with the artistic form of the modern epic. The author’s personal contribution has been made in reading and comparative contextualization of Pound's Cantos as a response to Poe and Hume's pessimistic prediction about the eventuality or aesthetic significance of the modern epic where Pound draws on the precedent texts and topoi of the ancient Greek epic.