Cornell University Library The original of tliis book is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924027089246 Cornell University Library PN 1303.C59 History of epic poetry (post-Virgilian' 3 1924 027 089 246 A History of Epic Poetry A History of Epic Poetry (POST-VIRGILIAN) BY JOHN CLARK. M.A. Second Classical Master in the High School of Dundee Author of "Manual of Linguistics" U ne suffit pas, pour connaitre I'^popee d'avoir lu Virgile et Homere. Voltaire, Essai snr la Foesie Epique. EDINBURGH OLIVER AND BOYD LONDON: SIMPKIN, MARSHALL, HAMILTON, KENT & CO., LIMITED 1900 _^ PREFACE The following pages are meant to exhibit the different national renderings of a variety of poetry that perhaps more than any other has given status to the literature possessing a great specimen of it, and supremacy to the poet of that specimen. I have restricted my formal examination of poems to those of the post - Virgilian period. So much excellent criticism has been made on Homer and Virgil that it seemed presumption on my part, as well as a needless increase of the bulk of the book, to adventure a full statement of the epical position of these two princely poets. It is clear, however, that no history of epic poetry could be called satisfactory that did not contain some reference to these poets—that did not, indeed, to a definite if limited extent, take into account and appraise their work. I have therefore in the Introduction devoted some pages to a consideration of certain aspects of the epical quality of their respective poems. Other pre-Virgilian epics than those of Homer claim, and have received, a certain amount of attention. A study like mine, to reach true conclusions, needs observation not only of the great masters of epic, but also of humbler poets whose good intentions have not been reinforced by potent inspiration. It needs an examination not only of mature specimens of varying quality, but of those earlier specimens that are often vi PREFACE immature only as regards poetic dressing and amplifica- tion, and that have a movement and vigour not always associated with maturity. I have tried by the consideration of some three dozen poems representing different qualities and different stages of the epopee to supply what is needed. I should say that the history of the literature of a particular poetry ought, by a comparison of poems and by reflection on the facts of the evolution of the species, to be able to set down something of value regarding its nature and possibilities. This I have essayed to do according to the measure of my ability. Although I have treated the subject under national names, my reader must not expect from me a full history of national epics. Such a work would have required several volumes for its satisfactory completion, and would, I think, by the size and independence of the separate accretions have defeated my aim, which was, to write a short history of a poetical variety as such. All my quotations are translated. I think the author of a book like this, which professes to be the history of a poetry in which all are interested, has no right to inflict on the general reader the presumably slow understanding of numerous quotations from poems written in different tongues. The history of literature has been written in various ways. It has been written in panorama, it has been written in periods, it has been written from national standpoints, it has been written with reference to the work of individuals. I think there is much to be said for writing it under the head of literary variety. I wish in this place to thank Mr A. Taylor, M.A., of Dundee High School, for assistance in reading the proof-sheets. J. C. CONTENTS PAGE List of Poems xix INTRODUCTORY THE DEVELOPMENT AND NATURE OF EPIC POETRY Development of the Variety Earliest heroic. Widest definition of epic The beginnings of literature The tribal god and individuality . Beginnings of narrative. Primitive Epic . Early actors and early actions Outstanding individuals Heightened narrative. Potential Epic . Individual pre-eminence : when developed and where seen . ... Heroic Epic . ... Epic Poetry ... Ancient Epics : Homer ( Virgil), The Kalevala, Indian Epics The Homeric poems. Their epic quality . 8 Homer's manner ..... 8 Homer's characters ..... 9 . 10 _ilchilles-aTid- Hector — — _ ., The special effect of the Iliad . .10 The special eifeet of the Odyssey . .11 The content of the name epic . 11 Epic poets of Rome before Virgil . .12 Hostile criticism of Virgil ..... 12 Virgil and Homer .... 13 CONTENTS . CONTENTS The effect of a national theme on its poet The jEneid national : not so the Argonautica The Argonautica The depicting of Medea . Nationality in the Iliad Ideality in epic, but naturalness withal There should be no thesis in epic . Aristotle and the theme of an epic poem ^A suitable fable with masterful individuals needed ^n epic poem proper has to do with civilisation The difference between epic and heroic . The epic poet a fuller poet than the heroic There is much virtue in the touch of the epic poet An epic poet must have poetic versatility Barbour's Bruce .... The storj' of The Bruce a fine subject for an epic Blind Harry's WaEace The heroico-romantic our substitute for epic Former and present requirements of an epic poet So-called short epics Firdusi's Shahnameh Epic and romantic narrative The short romantic poem . The change in the epic manner The wonderful in the new epic : its adaptations and restrictions . The poet of heroic and the poet of romantic epos Comprehensiveness of epic Epic action ready-made ^^Actors and acting in epic . ,^ The gods in epic .... Heroic poetry treats of man The heroic has an aifinity with the antique ^But must have modernity as well The language of epic poetry ~^ Epic should have metrical form Poetry and metre . ^TEpic prevailingly impersonal ~" And without hurry ^he episode Clearness of epic Ethics t)riginal treatment in epic CONTENTS FAOU \ Definition of an epic poem .... T8 Features and eitcellencies of epic, lyric, and dramatic poetry ...... 79 CHAPTER I THE LATER ROMAN EPIC The Pharsalia. Lucan CONTENTS PAGE The Hall of Sleep 121 The poet's style and diction 122 A simile from the Eleventh Book 123 Statins' workmanship . 124 His reverence for Virgil 12S TheAchilleid .... 12S The Argonautica of Valerius Flaccus. Brief argument 127 The Roman and Greek treatment of the theme 127 Description in Valerius Flaccus 128 Battle-scenes 129 Virgilianisms 129 Similes and metre 131 Points in a comparison of Valerius Flaccus and ApoUonius Rhodius .... 131 Mr Morris's Jason 132 Silius Italicus : his Punica 133 The theme of the poem and its treatment 134 The reputation of Silius 135 A reference to the fable of the poem . 136 Hannibal and Scipio in the poem 136 Ennius and Archimedes 137 Venus in the poem 138 ^pic commonplaces 138 Hannibal's shield 139 Some incongruities 139 Battle-pieces 139 Metre, etc. 140 CHAPTER II THE ENGLISH EPIC xii CONTENTS PAGiS Paradise Lost : a literary epic . 15T The difficulties of its subject ..... 152 The argument as usually received . .153 Its unepical aspect ...... 153 Its theology . .154 The quantity of the received argument . 155 The attractiveness of Paradise Lost will endure in spite of its theology, is, in fact, independent of it . 157 The usual statement of the argument makes too much of the poem episodic ..... 157 The ostensible and the real argument .... 158 There is one story, one action, in Paradise Lost, permitting of poetical or religious description . .159 The real episodic portion of the argument . .160 Theological obscurations ..... 160 The amplification of incident in the poem . 161 The supplying and delineation of characters . .162 ' Milton's metre . .164. The tamer portions of the poem .... 165 Its allusiveness ....... 165 The most impressive portion of the poem . 166 Satan ........ 167 Paradise Regained : it is neither in matter nor in form an epic ....... 171 Its story might furnish a termination to an epic action . 172 The characters ....... 172 The Fourth Book ..... 173 Spenser's Faery . Queen . , .174 Southey's Roderick ... 177 Tennyson's Idylls of the . King . .179 Morris's Jason . .181 CHAPTER III THE FRENCH EPIC Song of Roland. The historical in the poem . .183 The colouring and amplification of the historical facts . 183 The animation of the poet His battle-pictures . .185 His tenderness and patriotism . jgg Roland's qualities . • • . 186 CONTENTS Olivier's death . Roland's death . Ganelon Olivier and Turpin Charlemagne The spirit of the poem Its place among epics . The Henriade. Its argument . The documentary heroic There must be some adaptability in the matter and of epic ..... Voltaire's elaborate epic exterior Camoens and his historical subject Reasons for Voltaire's failure. Henri Quatre Specimens of the argument CHAPTER IV THE GERMAN EPIC The Nibelungenlied. Its argument . Metre ..... Prominence of Kriemhild The meeting between Siegfried and Kriemhild Kriemhild and Hagen , The manner of the narrative . An amount of tedium in the poem But enduring attractiveness The characters of the poem The literary presentation The root-idea exemplified in the poem Kriemhild's blood-guiltiness The unity of the poem . Its ending .... Northern version of the Nibelung story The fight in Etzel's Hall Its wildness .... The behaviour of the virarriors . Armour-effects in the fight Ebb and flow in the fighting . Its verbal descriptions and knightly aspects xiv CONTENTS PAG 21 Pathetic side of the fighting . Siegfried ..... 91 Kriemhild ..... Hagen ...... The Messiah. The quaUty of Klopstock's matter 21 His handling of the matter 21 22 A specimen .