National Epics by Kate Milner Rabb National Epics by Kate Milner Rabb E-text prepared by David Starner, S.R. Ellison, and the Online Distributed Proofing Team NATIONAL EPICS BY KATE MILNER RABB 1896 TO MY MOTHER. PREFACE. This volume is intended for an introduction to the study of the epics. While the simplicity and directness of the epic style seem to make such a page 1 / 589 book unnecessary, the fact that to many persons of literary tastes some of these great poems are inaccessible, and that to many more the pleasure of exploring for themselves "the realms of gold" is rendered impossible by the cares of business, has seemed sufficient excuse for its being. Though the beauty of the original is of necessity lost in a condensation of this kind, an endeavor has been made to preserve the characteristic epithets, and to retain what Mr. Arnold called "the simple truth about the matter of the poem." It is believed that the sketch prefacing each story, giving briefly the length, versification, and history of the poem, will have its value to those readers who have not access to the epics, and that the selections following the story, each recounting a complete incident, will give a better idea of the epic than could be formed from passages scattered through the text. The epic originated among tribes of barbarians, who deified departed heroes and recited legends in praise of their deeds. As the hymn developed, the chorus and strophe were dropped, and the narrative only was preserved. The word "epic" was used simply to distinguish the narrative poem, which was recited, from the lyric, which was sung, and from the dramatic, which was acted. As the nation passed from childhood to youth, the legends of the hero that each wandering minstrel had changed to suit his fancy, were collected and fused into one by some great poet, who by his power of unification made this written epic his own. page 2 / 589 This is the origin of the Hindu epics, the "Iliad" and the "Odyssey," the "Kalevala," the "Shah-Nameh," "Beowulf," the "Nibelungen Lied," the "Cid," and the "Song of Roland." The conditions for the production of the primitive epic exist but once in a nation's growth. Its later epics must be written on subjects of national importance, chosen by the poet, who arranges and embellishes his material according to the rules of the primitive epic. To this class belong the "Aeneid," the "Jerusalem Delivered," and the "Lusiad." Dante's poem is broader, for it is the epic of mediaeval Christianity. Milton likewise sought "higher argument" than "Wars, hitherto the only argument Heroic deemed," and crystallized the religious beliefs of his time in "Paradise Lost." The characteristics both of the primitive and the modern epic are their uniform metre, simplicity of construction, concentration of action into a short time, and the use of episode and dialogue. The main difference lies in the impersonality of the primitive epic, whose author has so skillfully hidden himself behind his work that, as some one has said of Homer, "his heroes are immortal, but his own existence is doubtful." Although the historical events chronicled in the epics have in every case page 3 / 589 been so distorted by the fancy of the poets that they cannot be accepted as history, the epics are storehouses of information concerning ancient manners and customs, religious beliefs, forms of government, treatment of women, and habits of feeling. Constructed upon the noblest principles of art, and pervaded by the eternal calm of the immortals, these poems have an especial value to us, who have scarcely yet realized that poetry is an art, and are feverish from the unrest of our time. If by the help of this volume any reader be enabled to find a portion of the wisdom that is hidden in these mines, its purpose will have been accomplished. My thanks are due to Mr. John A. Wilstach for the use of selections from his translation of the "Divine Comedy;" to Prof. J. M. Crawford, for the use of selections from his translation of the "Kalevala;" to Henry Holt & Co., for the use of selections from Rabillon's translation of "La Chanson de Roland;" to Roberts Brothers, for the use of selections from Edwin Arnold's "Indian Idylls;" to Prof. J. C. Hall, for the use of selections from his translation of "Beowulf;" and to A. C. Armstrong & Son, for the use of selections from Conington's Translation of the "Aeneid." The selections from the "Iliad" and the "Odyssey" are used with the permission of and by special arrangement with Houghton, Mifflin & Co., publishers of Bryant's translations of the "Iliad" and the "Odyssey." Special thanks are due to Miss Eliza G. Browning of the Public Library of Indianapolis, to Miss Florence Hughes of the Library of Indiana University, and to Miss Charity Dye, of Indianapolis. page 4 / 589 K. M. R. INDIANAPOLIS, IND., September, 1896. CONTENTS. THE HINDU EPIC: THE RAMAYANA THE HINDU EPIC: THE MAHA-BHARATA THE GREEK EPIC: THE ILIAD THE GREEK EPIC: THE ODYSSEY THE FINNISH EPIC: THE KALEVALA THE ROMAN EPIC: THE AENEID THE SAXON EPIC: BEOWULF THE GERMAN EPIC: THE NIBELUNGEN LIED page 5 / 589 THE FRENCH EPIC: THE SONG OF ROLAND THE PERSIAN EPIC: THE SHAH-NAMEH THE SPANISH EPIC: THE POEM OF THE CID THE ITALIAN EPIC: THE DIVINE COMEDY THE ITALIAN EPIC: THE ORLANDO FURIOSO THE PORTUGUESE EPIC: THE LUSIAD THE ITALIAN EPIC: THE JERUSALEM DELIVERED THE ENGLISH EPIC: PARADISE LOST THE ENGLISH EPIC: PARADISE REGAINED SELECTIONS. FROM THE RAMAYANA: TRANSLATOR The Descent of the Ganges ... _Milman_ page 6 / 589 The Death of Yajnadatta ... " FROM THE MAHA-BHARATA: Savitri; or, Love and Death ... _Arnold_ The Great Journey ... " FROM THE ILIAD: Helen at the Scaean Gates ... _Bryant_ The Parting of Hector and Andromache ... " FROM THE ODYSSEY: The Palace of Alcinoues ... _Bryant_ The Bending of the Bow ... " FROM THE KALEVALA: Ilmarinen's Wedding Feast ... _Crawford_ The Birth of the Harp ... " FROM THE AENEID: Nisus and Euryalus ... _Conington_ FROM BEOWULF: Grendel's Mother ... _Hall_ page 7 / 589 FROM THE NIBELUNGEN LIED: How Brunhild was received at Worms ... _Lettsom_ How Margrave Ruedeger was slain ... " FROM THE SONG OF ROLAND: The Horn ... _Rabillon_ Roland's Death ... " FROM THE SHAH-NAMEH: The Rajah of India sends a Chessboard to Nushirvan _Robinson_ Zal and Rudabeh " FROM THE POEM OF THE CID: Count Raymond and My Cid _Ormsby_ My Cid's Triumph " FROM THE DIVINE COMEDY: Count Ugolino _Wilstach_ Buonconte di Montefeltro " Beatrice descending from Heaven " The Exquisite Beauty of Beatrice " FROM THE ORLANDO FURIOSO: The Death of Zerbino _Rose_ page 8 / 589 FROM THE LUSIAD: Inez de Castro _Mickle_ The Spirit of the Cape " FROM THE JERUSALEM DELIVERED: Sophronia and Olindo _Wiffen_ FROM PARADISE LOST: Satan Apostrophe to Light FROM PARADISE REGAINED: The Temptation of the Vision of the Kingdoms of the Earth NATIONAL EPICS. THE RAMAYANA. "He who sings and hears this poem continually has attained to the highest state of enjoyment, and will finally be equal to the gods." The Ramayana, the Hindu Iliad, is variously ascribed to the fifth, third, and first centuries B.C., its many interpolations making it almost page 9 / 589 impossible to determine its age by internal evidence. Its authorship is unknown, but according to legend it was sung by Kuca and Lava, the sons of Rama, to whom it was taught by Valmiki. Of the three versions now extant, one is attributed to Valmiki, another to Tuli Das, and a third to Vyasa. Its historical basis, almost lost in the innumerable episodes and grotesque imaginings of the Hindu, is probably the conquest of southern India and Ceylon by the Aryans. The Ramayana is written in the Sanskrit language, is divided into seven books, or sections, and contains fifty thousand lines, the English translation of which, by Griffith, occupies five volumes. The hero, Rama, is still an object of worship in India, the route of his wanderings being, each year, trodden by devout pilgrims. The poem is not a mere literary monument,--it is a part of the actual religion of the Hindu, and is held in such reverence that the mere reading or hearing of it, or certain passages of it, is believed to free from sin and grant his every desire to the reader or hearer. BIBLIOGRAPHY AND CRITICISM, THE RAMAYANA. G. W. Cox's Mythology and Folklore, 1881, p. 313; John Dowson's Classical Dictionary of Hindu Mythology, Religion, page 10 / 589 Geography, History, and Literature, 1879; Sir William Jones on the Literature of the Hindus (in his Works, vol. iv.); Maj.-Gen. Vans Kennedy's Researches into Hindu Mythology, 1831; James Mill's History of British India, 1840, vol. ii., pp. 47-123; F. Max Mueller's Ancient Sanskrit Literature, 1859; E. A. Reed's Hindu Literature, 1891, pp. 153-271; Albrecht Weber's History of Indian Literature, 1878, pp. 191-195; J. T. Wheeler's History of India, 4 vols., 1876, vol. ii.; Sir Monier Williams's Indian Wisdom, 1863, Indian Epic Poetry, 1863; Article on Sanskrit Literature in Encyclopaedia Britannica; R. M. Gust's The Ramayana: a Sanskrit Epic (in his Linguistic and Oriental Essays, 1880, p. 56); page 11 / 589 T. Goldstuecker's Ramayana (in his Literary Remains, 1879, vol. i., p. 155); C. J. Stone's Cradleland of Arts and Creeds, 1880, pp. 11-21; Albrecht Weber's On the Ramayana, 1870; Westminster Review, 1849, vol. 1., p. 34; J. C. Oman's Great Indian Epics, 1874, pp. 13-81. STANDARD ENGLISH TRANSLATIONS, THE RAMAYANA. The Ramayana, Tr. by R.