By Kirilyuk, Andrei P
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Extra resources for 75 Years of Matter Wave: Louis de Broglie and Renaissance of the Causally Complete Knowledge
Since Satan is the permanent, irreconcilable adversary of God and man, it is scarcely possible for a poet to show God granting him the liberal temporary indulgence Jupiter grants Juno in the Aeneid, the sort of indulgence that enables epic plot. God has no reason equivalent to Zeus’s ties of kinship to accommodate Satan voluntarily. If the epic conflict is to be framed as a conflict between heaven and hell, the poem must exhibit a de facto narrative Manicheanism, with God and the devil locked in combat for the length of the story.
As traditions develop, new influences are absorbed without jettisoning the old; at some point the old is reinterpreted to harmonize with the new, and with the passage of time the disparities between old and new become rationalized or forgotten and gradually fade from general view. The project of analysis—the identification and study of disparate elements within a given tradition—is one task of literary scholarship. It can illuminate its object in one of two ways: by showing how said disparate elements hang together or by showing how they pull apart.
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. The queen of Olympus, whether in Greek or Latin guise, may be an especially vindictive goddess, but she is not the only Olympian who asserts the right to destroy as a matter of maintaining prestige. In Odyssey 13, when the Phaeacian oarsmen have delivered Odysseus in safety to Ithaca, Poseidon appeals to Zeus: these seafarers have flouted my wishes, and will the gods respect me if mortals do not?