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By Thomas Bernhard

The final paintings of fiction by means of one of many 20th century’s maximum artists, Extinction is greatly thought of Thomas Bernhard’s magnum opus.
Franz-Josef Murau—the highbrow black sheep of a robust Austrian land-owning family—lives in Rome in self-imposed exile, surrounded by way of a coterie of creative and highbrow associates. On getting back from his sister’s marriage ceremony at the relatives property of Wolfsegg, having resolved by no means to move domestic back, Murau gets a telegram informing him of the dying of his mom and dad and brother in a vehicle crash. not just needs to he now return, he needs to accomplish that because the grasp of Wolfsegg. And he needs to come to a decision its destiny. Written within the seamless, enthralling sort for which Bernhard was
famous, Extinction is the last word facts of his notable literary genius.

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Sample text

Heraclitus’ Homeric Allegories (first or second century AD)19 gathers physical (the poem represents the forces or elements of the natural world in the form of gods), and ethical allegories (there are edifying concealed messages). Heraclitus, [Plutarch] 13 14 15 16 17 18 19 Epitome: Bekker 1833. In general, see Haslam 1994, with an overview of the papyri (pp. 107–18). See Montanari 1995b; van Rossum-Steenbeek 1998, 85–118; Montanari 2002b. Complete edition with commentary in Pagès Cebrián 2007. An earlier edition of the papyri is given by van Rossum-Steenbeek 1998, nos.

Cameron 1970, 266–7, comments on the tendency towards fewer but longer speeches and towards a reduction in the interchange of speeches (Homeric conversation) in favour of long, set speeches directed at silent interlocutors. On Nonnus’ speeches, see Wifstrand 1933, 140–51; Whitby 1994, 101–2, 114–16, 119–20 (“[120] Triphiodorus’ preference for realistic debate between specific individuals makes his speeches closer to those of Homer (and more remote from Nonnus) than the corresponding ones in Quintus”); Agosti 2005, 45–53; Miguélez-Cavero 2008, 336–9.

Cf. Martin 1997, 146: “[Homeric] Similes do not occur in the middle of an action. They draw attention either to the start of an action or to its finish”. ] De Homero 19–20 (Mor. 54), to be read with Ramos Jurado 1984. 90 It is in the portrayal of the horse as a multifarious artefact that Triph. makes the most of this rhetorical device. The wooden horse is presented: – as an ambush: 2 , 120 φ « «, 201 $ , 379b–90 (Cassandra) «/ «, 539 φ ; – as an artefact, at once human and divine in its origin (2 #A «¹ #A «, 57 9 « μ« #E «, 121 λ ξ $ 9 , $ 9 #A «, 137 $ « $ , 295 6I # #A φ #E «), and as a creation worthy of the gods: 104–5, 255–7, 298 4 μ Ν 9 #A , 303 …$ , 342 λ « ¹ , 432, 444–5); – as a monster: 58 , 288–9 , / «, $ φ «; – as a malign statue, because of the pain that it is going to cause: 58 T « μ Ν , 135–8, 317 φ « « φ φ «; – as a weapon of war: 78–9, 84–6 (ready to go into battle), 99 , 104b–5 worthy of Ares, 256 $ , 330 E # « « $ φ « λ «, 376 (Cassandra) $ ; – as a vessel, the means of transport by which the Achaeans can enter Troy: 60–1 (compared with the ships built for Paris), 62–4 (construction of the horse compared with the construction of a ship), 185 ¹ … «² , 344 ² ) ); – as a deception: 107 ; – as a means of conquering Troy: 174 T Ν #A ; – as a pregnant animal, ready to deliver the warriors: 200 « , 357 « $ , 379b–90 (Cassandra) pun on «/ «; – as a seductive work of art: 103–4a, 206–7 μ ,/ φ κ« » κ $ , 247 «… « , 255 ¹ ξ « «, 468 φ κ « .

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