They have been discussed often enough; but not often, so far as
I know, primarily as stages of one continuous artistic development_.
I know, primarily as stages of one continuous artistic development_.
Lascelle Abercrombie
net
Title: The Epic
An Essay
Author: Lascelles Abercrombie
Release Date: January 14, 2004 [EBook #10716]
Language: English
*** START OF THIS PROJECT GUTENBERG EBOOK THE EPIC ***
Produced by Garrett Alley and PG Distributed Proofreaders
The Epic: an Essay
By Lascelles Abercrombie
1914.
By the same Author:
Towards a Theory of Art
Speculative Dialogues
Four Short Plays
Thomas Hardy: A Critical Study
Principles of English Prosody
PREFACE
_As this essay is disposed to consider epic poetry as a species of
literature, and not as a department of sociology or archaeology or
ethnology, the reader will not find it anything material to the
discussion which may be typified in those very interesting works,
Gilbert Murray's "The Rise of the Greek Epic" and Andrew Lang's "The
World of Homer. " The distinction between a literary and a scientific
attitude to Homer (and all other "authentic" epic) is, I think, finally
summed up in Mr. Mackail's "Lectures on Greek Poetry"; the following
pages, at any rate, assume that this is so. Theories about epic origins
were therefore indifferent to my purpose. Besides, I do not see the need
for any theories; I think it need only be said, of any epic poem
whatever, that it was composed by a man and transmitted by men. But this
is not to say that investigation of the "authentic" epic poet's_ milieu
_may not be extremely profitable; and for settling the preliminaries of
this essay, I owe a great deal to Mr. Chadwick's profoundly
interesting study, "The Heroic Age"; though I daresay Mr. Chadwick would
repudiate some of my conclusions. I must also acknowledge suggestions
taken from Mr. Macneile Dixon's learned and vigorous "English Epic and
Heroic Poetry"; and especially the assistance of Mr. John Clark's
"History of Epic Poetry. " Mr. Clark's book is so thorough and so
adequate that my own would certainly have been superfluous, were it not
that I have taken a particular point of view which his method seems to
rule out--a point of view which seemed well worth taking. This is my
excuse, too, for considering only the most conspicuous instances of epic
poetry.
They have been discussed often enough; but not often, so far as
I know, primarily as stages of one continuous artistic development_.
I.
BEGINNINGS
The invention of epic poetry corresponds with a definite and, in the
history of the world, often recurring state of society. That is to say,
epic poetry has been invented many times and independently; but, as the
needs which prompted the invention have been broadly similar, so the
invention itself has been. Most nations have passed through the same
sort of chemistry. Before their hot racial elements have been thoroughly
compounded, and thence have cooled into the stable convenience of
routine which is the material shape of civilization--before this has
firmly occurred, there has usually been what is called an "Heroic Age. "
It is apt to be the hottest and most glowing stage of the process. So
much is commonplace. Exactly what causes the racial elements of a
nation, with all their varying properties, to flash suddenly (as it
seems) into the splendid incandescence of an Heroic Age, and thence to
shift again into a comparatively rigid and perhaps comparatively
lustreless civilization--this difficult matter has been very nicely
investigated of late, and to interesting, though not decided, result.
But I may not concern myself with this; nor even with the detailed
characteristics, alleged or ascertained, of the Heroic Age of nations.
It is enough for the purpose of this book that the name "Heroic Age" is
a good one for this stage of the business; it is obviously, and on the
whole rightly, descriptive. For the stage displays the first vigorous
expression, as the natural thing and without conspicuous restraint, of
private individuality. In savagery, thought, sentiment, religion and
social organization may be exceedingly complicated, full of the most
subtle and strange relationships; but they exist as complete and
determined _wholes_, each part absolutely bound up with the rest.
Analysis has never come near them. The savage is blinded to the glaring
incongruities of his tribal ideas not so much by habit or reverence; it
is simply that the mere possibility of such a thing as analysis has
never occurred to him. He thinks, he feels, he lives, all in a whole.
Title: The Epic
An Essay
Author: Lascelles Abercrombie
Release Date: January 14, 2004 [EBook #10716]
Language: English
*** START OF THIS PROJECT GUTENBERG EBOOK THE EPIC ***
Produced by Garrett Alley and PG Distributed Proofreaders
The Epic: an Essay
By Lascelles Abercrombie
1914.
By the same Author:
Towards a Theory of Art
Speculative Dialogues
Four Short Plays
Thomas Hardy: A Critical Study
Principles of English Prosody
PREFACE
_As this essay is disposed to consider epic poetry as a species of
literature, and not as a department of sociology or archaeology or
ethnology, the reader will not find it anything material to the
discussion which may be typified in those very interesting works,
Gilbert Murray's "The Rise of the Greek Epic" and Andrew Lang's "The
World of Homer. " The distinction between a literary and a scientific
attitude to Homer (and all other "authentic" epic) is, I think, finally
summed up in Mr. Mackail's "Lectures on Greek Poetry"; the following
pages, at any rate, assume that this is so. Theories about epic origins
were therefore indifferent to my purpose. Besides, I do not see the need
for any theories; I think it need only be said, of any epic poem
whatever, that it was composed by a man and transmitted by men. But this
is not to say that investigation of the "authentic" epic poet's_ milieu
_may not be extremely profitable; and for settling the preliminaries of
this essay, I owe a great deal to Mr. Chadwick's profoundly
interesting study, "The Heroic Age"; though I daresay Mr. Chadwick would
repudiate some of my conclusions. I must also acknowledge suggestions
taken from Mr. Macneile Dixon's learned and vigorous "English Epic and
Heroic Poetry"; and especially the assistance of Mr. John Clark's
"History of Epic Poetry. " Mr. Clark's book is so thorough and so
adequate that my own would certainly have been superfluous, were it not
that I have taken a particular point of view which his method seems to
rule out--a point of view which seemed well worth taking. This is my
excuse, too, for considering only the most conspicuous instances of epic
poetry.
They have been discussed often enough; but not often, so far as
I know, primarily as stages of one continuous artistic development_.
I.
BEGINNINGS
The invention of epic poetry corresponds with a definite and, in the
history of the world, often recurring state of society. That is to say,
epic poetry has been invented many times and independently; but, as the
needs which prompted the invention have been broadly similar, so the
invention itself has been. Most nations have passed through the same
sort of chemistry. Before their hot racial elements have been thoroughly
compounded, and thence have cooled into the stable convenience of
routine which is the material shape of civilization--before this has
firmly occurred, there has usually been what is called an "Heroic Age. "
It is apt to be the hottest and most glowing stage of the process. So
much is commonplace. Exactly what causes the racial elements of a
nation, with all their varying properties, to flash suddenly (as it
seems) into the splendid incandescence of an Heroic Age, and thence to
shift again into a comparatively rigid and perhaps comparatively
lustreless civilization--this difficult matter has been very nicely
investigated of late, and to interesting, though not decided, result.
But I may not concern myself with this; nor even with the detailed
characteristics, alleged or ascertained, of the Heroic Age of nations.
It is enough for the purpose of this book that the name "Heroic Age" is
a good one for this stage of the business; it is obviously, and on the
whole rightly, descriptive. For the stage displays the first vigorous
expression, as the natural thing and without conspicuous restraint, of
private individuality. In savagery, thought, sentiment, religion and
social organization may be exceedingly complicated, full of the most
subtle and strange relationships; but they exist as complete and
determined _wholes_, each part absolutely bound up with the rest.
Analysis has never come near them. The savage is blinded to the glaring
incongruities of his tribal ideas not so much by habit or reverence; it
is simply that the mere possibility of such a thing as analysis has
never occurred to him. He thinks, he feels, he lives, all in a whole.
