All this is not to say that the epic is the oldest form of literary expression, but it is the expression of the oldest literary ideas, for, even when the epic is not at all primitive in form, it deals essentially with elemental moods and ideals. Epical poetry is poetic not because it is metrical and conformative to rhythmical standards—though it usually is both—but it is poetry because of the high sweep of its emotional outlook, the bigness of its thought, the untamed passion of its language, and the musical flow of its utterance.
Here, then, we have a veritable source book of the oldest ideas of the race; but not only that—we are also led into the penetralia of the earliest thought of many separate nations, for when the epic is national, it is true to the earliest genius of the people whose spirit it depicts.
To be sure, much of literature, and particularly the literature of the epic, is true rather to the tone of a nation than to its literal history—by which I mean that Achilles was more really a Greek hero than any Greek who ever lived, because he was the apotheosis of Greek chivalry, and as such was the expression of the Greeks rather than merely a Greek. The Iliad and the Odyssey are not merely epics of Greece—they are Greek.
This is an age of story-telling. Never before has the world turned so attentively to the shorter forms of fiction. Not only is this true of the printed short-story, of which some thousands, more or less new, are issued every year in English, but oral story-telling is taking its deserved place in the school, the home, and among clubs specially organized for its cultivation. Teachers and parents must therefore be increasingly alert, not only to invent new stories, but—this even chiefly—to familiarize themselves with the oldest stories in the world.
So it is to such sources as these race-narratives that all story-telling must come for recurrent inspirations. The setting of each new story may be tinged with what wild or sophisticated life soever, yet must the narrator find the big, heart-swelling movements and passions and thraldoms and conquests and sufferings and elations of mankind stored in the great epics of the world.
It were a life-labor to become familiar with all of these in their expressive originals; even in translation it would be a titanic task to read each one. Therefore how great is our indebtedness to the ripe scholarship and discreet choice of the author of this "Book of the Epic" for having brought to us not only the arguments but the very spirit and flavor of all this noble array. The task has never before been essayed, and certainly, now that it has been done for the first time, it is good to know that it has been done surpassingly well.
To find the original story-expression of a nation's myths, its legends, and its heroic creations is a high joy—a face-to-face interview with any great first-thing is a big experience; but to come upon whole scores of undefiled fountains is like multiplying the Pierian waters.
Even as all the epics herein collected in scenario were epoch-making, so will the gathering of these side by side prove to be. Literary judgments must be comparative, and now we may place each epic in direct comparison with any other, with a resultant light, both diffused and concentrated, for the benefit of both critics and the general reader.
The delights of conversation—so nearly, alas, a lost art!—consist chiefly in the exchange of varied views on single topics. So, when we note how the few primal story-themes and plot developments of all time were handled by those who first told the tales in literate form, the satisfaction is proportionate.
One final word must be said regarding the interest of epical material. Heretofore a knowledge of the epics—save only a few of the better known—has been confined to scholars, or, at most, students; but it may well be hoped that the wide perusal of this book may serve to show to the general reader how fascinating a store of fiction may be found in epics which have up till now been known to him only by name.
J. Berg Esenwein
ILLUSTRATIONS
Odin Bids Farewell to Brunhild before He Surrounds Her by a
Barrier of Fire (Frontispiece)
From the painting by Th. Pixis
Oedipus Solving the Sphinx's Riddle
From the painting by Ingres
Achilles Disguised as a Girl Testing the Sword in Ulysses' Pack
From the painting by Battoni
Circe and Ulysses' Companions Turned into Swine
By L. Chalon
Venus Meeting Aeneas and Achates Near Carthage
From the painting by Cortona
Roland at Roncevaux
From the painting by L.F. Guesnet
The Palace Where Inez de Castro Lived and was Murdered
Dante Interviewing Hugues Capet
From an illustration by R. Galli
Hermione Finds Tancred Wounded
From the painting by Nicolas Poussin
The Body of Elaine on its Way to King Arthur's Palace
By Gustave Dora
Una and the Red Cross Knight
From the painting by George Frederick Watts
The Heralds Summon Lucifer's Host to a Council at Pandemonium
By Gustave Dore
The Dead Sigfried Rome Back to Worms
From the painting by Th. Pixis
St. John the Evangelist at Patmos Writing the Apocalypse
From the painting by Correggio
Sita Soothing Rama to Sleep
From a Calcutta print
The Monk Breaks into the Robbers' House to Rescue White Aster
From a Japanese print
"It is in this vast, dim region of myth and legend the sources of the literature of modern times are hidden; and it is only by returning to them, by constant remembrance that they drain a vast region of vital human experience, that the origin and early direction of that literature can be recalled."—Hamilton Wright Mabie.
FOREWORD
Derived from the Greek epos, a saying or oracle, the term "epic" is generally given to some form of heroic narrative wherein tragedy, comedy, lyric, dirge, and idyl are skilfully blended to form an immortal work.
"Mythology, which was the interpretation of nature, and legend, which is the idealization of history," are the main elements of the epic. Being the "living history of the people," an epic should have "the breadth and volume of a river." All epics have therefore generally been "the first-fruits of the earliest experience of nature and life on the part of imaginative races"; and the real poet has been, as a rule, the race itself.
There are almost as many definitions of an epic and rules for its composition as there are nations and poets. For that reason, instead of selecting only such works as in the writer's opinion can justly claim the title of epic, each nation's verdict has been accepted, without question, in regard to its national work of this class, be it in verse or prose.
The following pages therefore contain almost every variety of epic, from that which treats of the deity in dignified hexameters, strictly conforms to the rule "one hero, one time, and one action of many parts," and has "the massiveness and dignity of sculpture," to the simplest idylls, such as the Japanese "White Aster," or that exquisite French mediaeval compound of poetry