By Richard Littlejohns, Sara Soncini
'Myths of Europe' specializes in the identification of Europe, looking to reconsider its cultural, literary and political traditions within the context of the twenty first century. Over 20 authors - historians, political scientists, literary students, paintings and cultural historians - from 5 international locations right here input right into a debate. How a long way are the myths in which Europe has outlined itself for hundreds of years suitable to its position in international politics after Sept. 11? Can 'Old Europe' retain its conventional id now that the ecu Union contains nations formerly purported to be on its outer edge? How has Europe dealt with kinfolk with the non-European different some time past and the way is it reacting now to an inflow of immigrants and asylum seekers? It turns into transparent that founding myths equivalent to Hamlet and St Nicholas have helped build the eu cognizance but additionally that those and different eu myths have demanding Eurocentric implications. Are those myths nonetheless workable this present day and, if this is the case, to what quantity and for what function? This quantity sits at the interface among tradition and politics and is necessary analyzing for all these drawn to the transmission of fable and in either the prior and the way forward for Europe. Contents Acknowledgments Richard LITTLEJOHNS and Sara SONCINI: advent: Myths of 'Europe', and 'Myths' of Europe Manfred PFISTER: Europa/Europe: Myths and Muddles Guido PADUANO: Electras and Hamlet Mark RAWLINSON: Myths of Europe: Ted Hughes's 'Tales from Ovid' Pierangiolo BERRETTONI: Myths of Masculinity: Adonis and Heracles Graham JONES: St Nicholas, Icon of Mercantile Virtues: Transition and Continuity of a eu fantasy Elena ROSSI: Re-writing a delusion: Dryden's 'Amphitryon' and its assets Roberta FERRARI: 'A Foundling on the Crossroads': Fielding, Tradition(s) and a 'Dantesque' analyzing of 'Tom Jones' Antje STEINHOEFEL: Viewing the Moon: among delusion and Astronomy within the Age of the Enlightenment Alessandra GREGO: George Eliot's Use of Scriptural Typology: Incarnation of principles Mario CURREL
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Then in the same grave shalt thou lie; and never shalt thou abandon him in death’. Only in death can Clytemnestra be faithful – albeit to the very man who led her to infidelity. The myth of affection beyond death, made familiar by the image of Achilles’ and Patroclus’s common grave in the Iliad, is here reversed in the grotesque representation of two sinners fettered together for eternity. 23 Here too Kells is ready to highlight the analogy with Hamlet (p. 98). 24 Also Euripides’ Electra stages the theme of the soiled bed (166 and 212), while Clytemnestra’s frivolity is blamed by a particularly astringent Electra (ll.
2 But such a thought experiment tells us little about Ovid’s persistence in English culture. According to Hughes himself, this continual presence is due to the way Ovid captures the frisson of contact between the ‘all-too-human’ and the mythic or divine. 4 We should not be surprised that Hughes’s style — which has, since the days of Alvarez’s New Poetry (1962), been contrasted with the urbanity of Larkin and the Movement — is matched to the wit and cruelty of the Latin poet, so that Hughes can inhabit Ovid’s retelling of familiar stories and seem at home.
And has this anything to tell us about the state of European culture, and its representation of itself? S. Eliot — like Plath an American poet whose legacy has been deemed a challenge to English parochialism — invoked ‘the mind of Europe’ as a cultural and spiritual bulwark against modernity’s headlong rush to disintegration. 1 By virtue of The Waste Land, Eliot himself belongs to the line, from Chaucer onwards, of adaptors of Ovid into English. And of course his myths of Europe, those redemptive conceptions of ‘tradition’ and ‘myth’ (‘manipulating a continuous parallel between contemporaneity and antiquity’), became influential tokens of a fantasy of being able to hold things together, particularly after 1945, by which time these things had really fallen apart.
Myths of Europe by Richard Littlejohns, Sara Soncini