This being so, it might be
thought that Keats could hardly have done anything for the real progress
of epic.
thought that Keats could hardly have done anything for the real progress
of epic.
Lascelle Abercrombie
That
amazing image of the sublime mind of Lucretius is exactly the kind of
lofty symbolism that the continuation of epic purpose now seems to
require--a subjective symbolism. I believe Wordsworth felt this, when he
planned his great symbolic poem, and partly executed it in _The Prelude_
and _The Excursion_: for there, more profoundly than anywhere out of
Milton himself, Milton's spiritual legacy is employed. It may be, then,
that Lucretius and Wordsworth will preside over the change from
objective to subjective symbolism which Milton has, perhaps, made
necessary for the continued development of the epic purpose: after
Milton, it seems likely that there is nothing more to be done with
objective epic. But Hugo's method, of a connected sequence of separate
poems, instead of one continuous poem, may come in here. The
determination to keep up a continuous form brought both Lucretius and
Wordsworth at times perilously near to the odious state of didactic
poetry; it was at least responsible for some tedium. Epic poetry will
certainly never be didactic. What we may imagine--who knows how vainly
imagine? --is, then, a sequence of odes expressing, in the image of some
fortunate and lofty mind, as much of the spiritual significance which
the epic purpose must continue from Milton, as is possible, in the style
of Lucretius and Wordsworth, for subjective symbolism. A pregnant
experiment towards something like this has already been seen--in George
Meredith's magnificent set of _Odes in Contribution to the Song of the
French History_. The subject is ostensibly concrete; but France in her
agonies and triumphs has been personified into a superb symbol of
Meredith's own reading of human fate. The series builds up a decidedly
epic significance, and its manner is extraordinarily suggestive of a new
epic method. Nevertheless, something more Lucretian in central
imagination, something less bound to concrete and particular event,
seems required for the complete development of epic purpose.
FOOTNOTES:
[Footnote 13: In the greatest poetry, all the elements of human nature
are burning in a single flame. The artifice of criticism is to detect
what peculiar radiance each element contributes to the whole light; but
this no more affects the singleness of the compounded energy in poetry
than the spectroscopic examination of fire affects the single nature of
actual flame. For the purposes of this book, it has been necessary to
look chiefly at the contribution of intellect to epic poetry; for it is
in that contribution that the development of poetry, so far as there is
any development at all, really consists.
This being so, it might be
thought that Keats could hardly have done anything for the real progress
of epic. But Keats's apparent (it is only apparent) rejection of
intellect in his poetry was the result of youthful theory; his letters
show that, in fact, intellect was a thing unusually vigorous in his
nature. If the Keats of the letters be added to the Keats of the poems,
a personality appears that seems more likely than any of his
contemporaries, or than anyone who has come after him, for the work of
carrying Miltonic epic forward without forsaking Miltonic form. ]
[Footnote 14: For all I know, Hugo may never have read Milton; judging
by some silly remarks of his, I should hope not. But Hugo could feel the
things in the spirit of man that Milton felt; not only because they were
still there, but because the secret influence of Milton has intensified
the consciousness of them in thousands who think they know nothing of
_Paradise Lost_. Modern literary history will not be properly understood
until it is realized that Milton is one of the dominating minds of
Europe, whether Europe know it or not. There are scarcely half a dozen
figures that can be compared with Milton for irresistible
influence--quite apart from his unapproachable supremacy in the
technique of poetry. When Addison remarked that _Paradise Lost_ is
universally and perpetually interesting, he said what is not to be
questioned; though he did not perceive the real reason for his
assertion. Darwin no more injured the significance of _Paradise Lost_
than air-planes have injured Homer. ]
End of the Project Gutenberg EBook of The Epic, by Lascelles Abercrombie
*** END OF THIS PROJECT GUTENBERG EBOOK THE EPIC ***
***** This file should be named 10716-8. txt or 10716-8. zip *****
This and all associated files of various formats will be found in:
http://www. gutenberg. net/1/0/7/1/10716/
Produced by Garrett Alley and PG Distributed Proofreaders
Updated editions will replace the previous one--the old editions
will be renamed.
Creating the works from public domain print editions means that no
one owns a United States copyright in these works, so the Foundation
(and you! ) can copy and distribute it in the United States without
permission and without paying copyright royalties.
amazing image of the sublime mind of Lucretius is exactly the kind of
lofty symbolism that the continuation of epic purpose now seems to
require--a subjective symbolism. I believe Wordsworth felt this, when he
planned his great symbolic poem, and partly executed it in _The Prelude_
and _The Excursion_: for there, more profoundly than anywhere out of
Milton himself, Milton's spiritual legacy is employed. It may be, then,
that Lucretius and Wordsworth will preside over the change from
objective to subjective symbolism which Milton has, perhaps, made
necessary for the continued development of the epic purpose: after
Milton, it seems likely that there is nothing more to be done with
objective epic. But Hugo's method, of a connected sequence of separate
poems, instead of one continuous poem, may come in here. The
determination to keep up a continuous form brought both Lucretius and
Wordsworth at times perilously near to the odious state of didactic
poetry; it was at least responsible for some tedium. Epic poetry will
certainly never be didactic. What we may imagine--who knows how vainly
imagine? --is, then, a sequence of odes expressing, in the image of some
fortunate and lofty mind, as much of the spiritual significance which
the epic purpose must continue from Milton, as is possible, in the style
of Lucretius and Wordsworth, for subjective symbolism. A pregnant
experiment towards something like this has already been seen--in George
Meredith's magnificent set of _Odes in Contribution to the Song of the
French History_. The subject is ostensibly concrete; but France in her
agonies and triumphs has been personified into a superb symbol of
Meredith's own reading of human fate. The series builds up a decidedly
epic significance, and its manner is extraordinarily suggestive of a new
epic method. Nevertheless, something more Lucretian in central
imagination, something less bound to concrete and particular event,
seems required for the complete development of epic purpose.
FOOTNOTES:
[Footnote 13: In the greatest poetry, all the elements of human nature
are burning in a single flame. The artifice of criticism is to detect
what peculiar radiance each element contributes to the whole light; but
this no more affects the singleness of the compounded energy in poetry
than the spectroscopic examination of fire affects the single nature of
actual flame. For the purposes of this book, it has been necessary to
look chiefly at the contribution of intellect to epic poetry; for it is
in that contribution that the development of poetry, so far as there is
any development at all, really consists.
This being so, it might be
thought that Keats could hardly have done anything for the real progress
of epic. But Keats's apparent (it is only apparent) rejection of
intellect in his poetry was the result of youthful theory; his letters
show that, in fact, intellect was a thing unusually vigorous in his
nature. If the Keats of the letters be added to the Keats of the poems,
a personality appears that seems more likely than any of his
contemporaries, or than anyone who has come after him, for the work of
carrying Miltonic epic forward without forsaking Miltonic form. ]
[Footnote 14: For all I know, Hugo may never have read Milton; judging
by some silly remarks of his, I should hope not. But Hugo could feel the
things in the spirit of man that Milton felt; not only because they were
still there, but because the secret influence of Milton has intensified
the consciousness of them in thousands who think they know nothing of
_Paradise Lost_. Modern literary history will not be properly understood
until it is realized that Milton is one of the dominating minds of
Europe, whether Europe know it or not. There are scarcely half a dozen
figures that can be compared with Milton for irresistible
influence--quite apart from his unapproachable supremacy in the
technique of poetry. When Addison remarked that _Paradise Lost_ is
universally and perpetually interesting, he said what is not to be
questioned; though he did not perceive the real reason for his
assertion. Darwin no more injured the significance of _Paradise Lost_
than air-planes have injured Homer. ]
End of the Project Gutenberg EBook of The Epic, by Lascelles Abercrombie
*** END OF THIS PROJECT GUTENBERG EBOOK THE EPIC ***
***** This file should be named 10716-8. txt or 10716-8. zip *****
This and all associated files of various formats will be found in:
http://www. gutenberg. net/1/0/7/1/10716/
Produced by Garrett Alley and PG Distributed Proofreaders
Updated editions will replace the previous one--the old editions
will be renamed.
Creating the works from public domain print editions means that no
one owns a United States copyright in these works, so the Foundation
(and you! ) can copy and distribute it in the United States without
permission and without paying copyright royalties.
