Milton is not so
close to his fighting angels as Homer is to his fighting men; but the
war in heaven is an incident in Milton's figurative expression of
something that has become altogether himself--the mystery of individual
existence in universal existence, and the accompanying mystery of sin,
of individual will inexplicably allowed to tamper with the divinely
universal will.
close to his fighting angels as Homer is to his fighting men; but the
war in heaven is an incident in Milton's figurative expression of
something that has become altogether himself--the mystery of individual
existence in universal existence, and the accompanying mystery of sin,
of individual will inexplicably allowed to tamper with the divinely
universal will.
Lascelle Abercrombie
But, in the case of epic at any rate, this is not merely the
inertia of artistic convention. With the development of epic intention,
and the subsequent choosing of themes larger and subtler than what
common experience is wont to deal in, a certain duplicity becomes
inevitable. The real intention of the _Aeneid_, and the real intention
of _Paradise Lost_, are not easily brought into vivid apprehension. The
natural thing to do, then, would be to use the familiar substance of
early epic, but to use it as a convenient and pleasant solvent for the
novel intention. It is what has been done in all the great "literary"
epics. But hasty criticism, finding that where they resembled Homer
they seemed not so close to their matter, has taken this as a pervading
and unfortunate characteristic. It has not perceived that what in Homer
was the main business of the epic, has become in later epic a device.
Having so altered, it has naturally lost in significance; but in the
greatest instances of later epic, that for which the device was used has
been as profoundly absorbed into the poet's being as Homer's matter was
into his being. It may be noted, too, that a corresponding change has
also taken place in the opposite direction. As Homer's chief substance
becomes a device in later epic, so a device of Homer's becomes in later
epic the chief substance. Homer's supernatural machinery may be reckoned
as a device--a device to heighten the general style and action of his
poems; the _significance_ of Homer must be found among his heroes, not
among his gods. But with Milton, it has become necessary to entrust to
the supernatural action the whole aim and purport of the poem.
On the whole, then, there is no reason why "literary" epic should not be
as close to its subject as "authentic" epic; there is every reason why
both kinds should be equally close. But in testing whether they actually
are equally close, we have to remember that in the later epic it has
become necessary to use the ostensible subject as a vehicle for the real
subject. And who, with any active sympathy for poetry, can say that
Milton felt his theme with less intensity than Homer?
Milton is not so
close to his fighting angels as Homer is to his fighting men; but the
war in heaven is an incident in Milton's figurative expression of
something that has become altogether himself--the mystery of individual
existence in universal existence, and the accompanying mystery of sin,
of individual will inexplicably allowed to tamper with the divinely
universal will. Milton, of course, in closeness to his subject and in
everything else, stands as supreme above the other poets of literary
epic as Homer does above the poets of authentic epic. But what is true
of Milton is true, in less degree, of the others. If there is any good
in them, it is primarily because they have got very close to their
subjects: that is required not only for epic, but for all poetry.
Coleridge, in a famous estimate put twenty years for the shortest period
in which an epic could be composed; and of this, ten years were to be
for preparation. He meant that not less than ten years would do for the
poet to fill all his being with the theme; and nothing else will serve,
It is well known how Milton brooded over his subject, how Virgil
lingered over his, how Camoen. carried the _Luisads_ round the world
with him, with what furious intensity Tasso gave himself to writing
_Jerusalem Delivered_. We may suppose, perhaps, that the poets of
"authentic" epic had a somewhat easier task. There was no need for them
to be "long choosing and beginning late. " The pressure of racial
tradition would see that they chose the right sort of subject; would
see, too, that they lived right in the heart of their subject. For the
poet of "literary" epic, however, it is his own consciousness that must
select the kind of theme which will fulfil the epic intention for his
own day; it is his own determination and studious endurance that will
draw the theme into the secrets of his being. If he is not capable of
getting close to his subject, we should not for that reason call his
work "literary" epic. It would put him in the class of Milton, the most
literary of all poets. We must simply call his stuff bad epic. There is
plenty of it. Southey is the great instance.
inertia of artistic convention. With the development of epic intention,
and the subsequent choosing of themes larger and subtler than what
common experience is wont to deal in, a certain duplicity becomes
inevitable. The real intention of the _Aeneid_, and the real intention
of _Paradise Lost_, are not easily brought into vivid apprehension. The
natural thing to do, then, would be to use the familiar substance of
early epic, but to use it as a convenient and pleasant solvent for the
novel intention. It is what has been done in all the great "literary"
epics. But hasty criticism, finding that where they resembled Homer
they seemed not so close to their matter, has taken this as a pervading
and unfortunate characteristic. It has not perceived that what in Homer
was the main business of the epic, has become in later epic a device.
Having so altered, it has naturally lost in significance; but in the
greatest instances of later epic, that for which the device was used has
been as profoundly absorbed into the poet's being as Homer's matter was
into his being. It may be noted, too, that a corresponding change has
also taken place in the opposite direction. As Homer's chief substance
becomes a device in later epic, so a device of Homer's becomes in later
epic the chief substance. Homer's supernatural machinery may be reckoned
as a device--a device to heighten the general style and action of his
poems; the _significance_ of Homer must be found among his heroes, not
among his gods. But with Milton, it has become necessary to entrust to
the supernatural action the whole aim and purport of the poem.
On the whole, then, there is no reason why "literary" epic should not be
as close to its subject as "authentic" epic; there is every reason why
both kinds should be equally close. But in testing whether they actually
are equally close, we have to remember that in the later epic it has
become necessary to use the ostensible subject as a vehicle for the real
subject. And who, with any active sympathy for poetry, can say that
Milton felt his theme with less intensity than Homer?
Milton is not so
close to his fighting angels as Homer is to his fighting men; but the
war in heaven is an incident in Milton's figurative expression of
something that has become altogether himself--the mystery of individual
existence in universal existence, and the accompanying mystery of sin,
of individual will inexplicably allowed to tamper with the divinely
universal will. Milton, of course, in closeness to his subject and in
everything else, stands as supreme above the other poets of literary
epic as Homer does above the poets of authentic epic. But what is true
of Milton is true, in less degree, of the others. If there is any good
in them, it is primarily because they have got very close to their
subjects: that is required not only for epic, but for all poetry.
Coleridge, in a famous estimate put twenty years for the shortest period
in which an epic could be composed; and of this, ten years were to be
for preparation. He meant that not less than ten years would do for the
poet to fill all his being with the theme; and nothing else will serve,
It is well known how Milton brooded over his subject, how Virgil
lingered over his, how Camoen. carried the _Luisads_ round the world
with him, with what furious intensity Tasso gave himself to writing
_Jerusalem Delivered_. We may suppose, perhaps, that the poets of
"authentic" epic had a somewhat easier task. There was no need for them
to be "long choosing and beginning late. " The pressure of racial
tradition would see that they chose the right sort of subject; would
see, too, that they lived right in the heart of their subject. For the
poet of "literary" epic, however, it is his own consciousness that must
select the kind of theme which will fulfil the epic intention for his
own day; it is his own determination and studious endurance that will
draw the theme into the secrets of his being. If he is not capable of
getting close to his subject, we should not for that reason call his
work "literary" epic. It would put him in the class of Milton, the most
literary of all poets. We must simply call his stuff bad epic. There is
plenty of it. Southey is the great instance.
