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Unit 5: Epic and Myth

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Unit 5: Epic and Myth The Burning of Troy, 1606. Pieter Schoubroeck. 944 Archivo Iconografico, S.A./CORBIS UNIT FIVE Epic and Myth Looking Ahead Many centuries ago, before books, magazines, paper, and pencils were invented, people recited their stories. Some of the stories they told offered explanations of natural phenomena, such as thunder and lightning, or the culture’s customs or beliefs. Other stories were meant for entertainment. Taken together, these stories—these myths, epics, and legends—tell a history of loyalty and betrayal, heroism and cowardice, love and rejection. In this unit, you will explore the literary elements that make them unique. PREVIEW Big Ideas and Literary Focus BIG IDEA: LITERARY FOCUS: 1 Journeys Hero BIG IDEA: LITERARY FOCUS: 2 Courage and Cleverness Archetype OBJECTIVES In learning about the genres of epic and myth, • identifying and exploring literary elements you will focus on the following: significant to the genres • understanding characteristics of epics and myths • analyzing the effect that these literary elements have upon the reader 945 Genre Focus: Epic and Myth What is unique about epics and myths? Why do we read stories from the distant past? answer. He thought that in order for us to under- Why should we care about heroes and villains long stand the people we are today, we have to learn dead? About cities and palaces that were destroyed about those who came before us. One way to do centuries before our time? The noted psychologist that, Jung believed, was to read the myths and and psychiatrist Carl Jung thought he knew the epics of long ago. Epic The Epic An epic is a long narrative poem about a serious subject. Its action centers on the epic hero, whose primary goal is usually to save his nation or its people during a time of crisis. The purpose of an epic poem is threefold: to entertain, to teach, and to inspire with examples of how people can succeed against great odds. Epics often include descriptions of huge battles or wars. Epic Tales and Their Gods In epics, gods may Yet all the gods had pitied Lord Odysseus, take part in the action or at least take an interest all but Poseidon, raging cold and rough in what happens, sometimes intervening to affect against the brave king till he came ashore the course of events. at last on his own land. —Homer, from the Odyssey Structure The way an author organizes images, Sing in me, Muse, and through me tell the story ideas, words, and lines is called structure. Like of that man skilled in all ways of contending, many epics, the Odyssey begins with an invoca- the wanderer, harried for years on end, tion, a request to a muse to provide inspiration. after he plundered the stronghold In Greek mythology, the muses are nine god- on the proud height of Troy. desses who preside over the arts and sciences —Homer, from the Odyssey and inspire those who show talent in these areas. 946 UNIT 5 EPIC AND MYTH CORBIS Myth and the Archetype Myth A myth is a traditional story of anonymous ori- For a time she kept his birth secret from her father, gin. Many myths are about the creation of earth; but it became increasingly difficult to do so in the others are about love, adventure, trickery, or narrow limits of that bronze house and finally one revenge. In many myths, human action is con- day the little boy—his name was Perseus—was trolled or guided by gods, goddesses, and other discovered by his grandfather. “Your child!” Acrisius supernatural beings. cried in great anger. “Who is his father?” But when Danaë answered proudly, “Zeus,” he would not believe her. —Edith Hamilton, from “Perseus” Archetype An archetype is a thing, person, or pattern of cir- When the gods first saw the Fenris Wolf, he was so cumstances that appears repeatedly in literature. young that they thought they could tame him. They Most ancient myths, folktales, fables, ballads, took him to Asgard, therefore, and brave Tyr under- and legends contain archetypal characters, such took to feed and train him. Presently, however, the as the evil villain, the lovesick suitor, and the black monster grew so enormous that his open fool. They also may contain archetypal themes, jaws would stretch from heaven to earth, showing such as the hidden treasure or the rite of passage. teeth as large as the trunks of oak trees and as sharply pointed as knives. — Olivia Coolidge, from “The Fenris Wolf” Symbol A symbol is an object, person, place, or event I thought, as I wiped my eyes on the corner that has a literal meaning and a figurative mean- of my apron: ing. For example, a heart is often used as a sym- Penelope did this too. bol of love, while a book might be used as a And more than once: you can’t keep symbol of knowledge. Some symbols have more weaving all day than one figurative meaning, and their meanings And undoing it all through the night . may change or evolve through a literary work. —Edna St. Vincent Milay, from “An Ancient Gesture” Study Central Visit www.glencoe.com to review epics and myths. INTRODUCTION 947 Literary Analysis Model How do literary elements help us enjoy epics and myths? The Ramayana, which was written by a man named of India), his wife, Sita, and his close companion Maharishi Valmiki, is a Hindu epic of 24,000 verses and brother, Lakshmana. The Ramayana is thought divided into seven chapters, or books. It tells the to contain the teachings of ancient Hindu sages. story of Prince Rama of Ayodhya (an ancient city APPLYING The Wedding from the Ramayana Literary Elements translated by R. K. Narayan Symbol King Janaka had in his possession an enormous bow which at one time Here, as in many myths belonged to Shiva, who had abandoned it and left it in the custody and epics, the bow is of an early ancestor of Janaka’s, and it had remained an heirloom. Sita, as a symbol of war and a baby girl, was a gift of Mother Earth to Janaka, being found in a furrow vengeance. This bow when a field was ploughed. Janaka adopted the child, tended her, and belonged to Shira, a she grew up into a beauty, so much so that several princes who consid- Hindu god also known ered themselves eligible thronged Janaka’s palace and contended for as the “Destroyer.” Sita’s hand. Unable to favor anyone in particular, and in order to ward them off, King Janaka made it a condition that whoever could lift, bend, and string Shiva’s bow would be considered fit to become Sita’s husband. When her suitors took a look at the bow, they realized that it was a hope- less and unacceptable condition. They left in a rage, and later returned with their armies, prepared to win Sita by force. But Janaka resisted their aggression, and ultimately the suitors withdrew. As time passed Janaka became anxious whether he would ever see his daughter married and settled—since the condition once made could not be withdrawn. No one on earth seemed worthy of approaching Shiva’s bow. Janaka sighed. “I tremble when I think of Sita’s future, and question my own judgment in linking her fate with this mighty, divine heirloom in our house.” “Do not despair,” said Viswamithra soothingly. “How do you know it was not a divine inspiration that gave you the thought?” “In all the worlds, is there anyone who can tackle this bow, the very sight of which in Shiva’s hand made erring gods and godlings tremble and collapse—until Shiva put it away and renounced its use?” “With your permission, may we see it?” Janaka said, “I’ll have it brought here. It has lain in its shed too long. Who knows, moving it out may change all our fates.” He called on his attendants to fetch the bow. Style The bow was placed in a carriage on eight pairs of wheels and arrived Most epics are written in drawn by a vast number of men. During its passage from its shed through a grand or elevated style. the streets, a crowd followed it. It was so huge that no one could compre- Language is formal, and hend it at one glance. “Is this a bow or that mountain called Meru, which descriptions can be churned the Ocean of Milk in ancient times?” people marveled. “What extensive. 948 UNIT 5 EPIC AND MYTH The marriage of Rama and his brothers from the Sangri Ramayana, ca. 1760–65. Pahari School. National Museum, New Delhi, Delhi, India. target is there to receive the arrow shot out of this bow, even if someone lifts and strings it!” wondered some. “If Janaka meant seriously to find a son-in-law, he should have waived this condition. How unwise of him!” Archetype Rama looked at his master. Viswamithra nodded as if to say, “Try it.” As Rama approached the bow with slow dignity, the onlookers held their The handsome suitor breath and watched. Some prayed silently for him. Some commented, forced to earn the “How cruel! This supposed sage is not ashamed to put the delicate, trust and admiration marvelous youth to this harsh trial!” “The King is perverse and cruel to of the bride’s father is place this godlike youth in this predicament. If he was serious about a thematic archetype. it, he should have just placed Sita’s hand in his instead of demanding all this acrobatic feat. .” “The King’s aim is to keep Sita with him forever— this is one way of never facing separation!” While they were speculating thus, Rama approached the bow.
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