No More Learning

And the period which preceded it, the period
after the failure of Roman civilization, was sufficiently "dark" and
devoid of individuality, to make the sudden plenty of potent and
splendid individuals seem a phenomenon of the same sort as that which
has been roughly described; it can scarcely be doubted that the age
which is exhibited in the _Poem of the Cid_, the _Song of Roland_, and
the lays of the Crusaders (_la Chanson d'Antioche_, for instance), was
similar in all essentials to the age we find in Homer and the
_Nibelungenlied_. Servia, too, has its ballad-cycles of Christian and
Mahometan warfare, which suppose an age obviously heroic. But it hardly
falls in with our scheme; Servia, at this time, might have been expected
to have gone well past its Heroic Age. Either, then, it was somehow
unusually prolonged, or else the clash of the Ottoman war revived it.
The case of Servia is interesting in another way. The songs about the
battle of Kossovo describe Servian defeat--defeat so overwhelming that
poetry cannot possibly translate it, and does not attempt it, into
anything that looks like victory. Even the splendid courage of its hero
Milos, who counters an imputation of treachery by riding in full
daylight into the Ottoman camp and murdering the Sultan, even this
courage is rather near to desperation. The Marko cycle--Marko whose
betrayal of his country seems wiped out by his immense prowess--has in a
less degree this utter defeat of Servia as its background. But Servian
history before all this has many glories, which, one would think, would
serve the turn of heroic song better than appalling defeat and, indeed,
enslavement. Why is the latter celebrated and not the former? The reason
can only be this: heroic poetry depends on an heroic age, and an age is
heroic because of what it is, not because of what it does. Servia's
defeat by the armies of Amurath came at a time when its people was too
strongly possessed by the heroic spirit to avoid uttering itself in
poetry. And from this it appears, too, that when the heroic age sings,
it primarily sings of itself, even when that means singing of its own
humiliation. --One other exceptional kind of heroic age must just be
mentioned, in this professedly inadequate summary. It is the kind which
occurs quite locally and on a petty scale, with causes obscurer than
ever.
The Border Ballads, for instance, and the Robin Hood Ballads,
clearly suppose a state of society which is nothing but a very
circumscribed and not very important heroic age. Here the households of
gentry take the place of courts, and the poetry in vogue there is
perhaps instantly taken up by the taverns; or perhaps this is a case in
which the heroes are so little removed from common folk that celebration
of individual prowess begins among the latter, not, as seems usually to
have happened, among the social equals of the heroes. But doubtless
there are infinite grades in the structure of the Heroic Age.

The note of the Heroic Age, then, is vehement private individuality
freely and greatly asserting itself. The assertion is not always what we
should call noble; but it is always forceful and unmistakable. There
would be, no doubt, some social and religious scheme to contain the
individual's self-assertion; but the latter, not the former, is the
thing that counts. It is not an age that lasts for very long as a rule;
and before there comes the state in which strong social organization and
strong private individuality are compatible--mutually helpful instead of
destroying one another, as they do, in opposite ways, in savagery and in
the Heroic Age--before the state called civilization can arrive, there
has commonly been a long passage of dark obscurity, which throws up into
exaggerated brightness the radiance of the Heroic Age. The balance of
private good and general welfare is at the bottom of civilized morals;
but the morals of the Heroic Age are founded on individuality, and on
nothing else. In Homer, for instance, it can be seen pretty clearly that
a "good" man is simply a man of imposing, active individuality[2]; a
"bad" man is an inefficient, undistinguished man--probably, too, like
Thersites, ugly. It is, in fact, an absolutely aristocratic age--an age
in which he who rules is thereby proven the "best. " And from its nature
it must be an age very heartily engaged in something; usually fighting
whoever is near enough to be fought with, though in _Beowulf_ it seems
to be doing something more profitable to the civilization which is to
follow it--taming the fierceness of surrounding circumstance and man's
primitive kind. But in any case it has a good deal of leisure; and the
best way to prevent this from dragging heavily is (after feasting) to
glory in the things it has done; or perhaps in the things it would like
to have done. Hence heroic poetry. But exactly what heroic poetry was
in its origin, probably we shall never know. It would scarcely be
history, and it would scarcely be very ornate poetry. The first thing
required would be to translate the prowess of champions into good and
moving narrative; and this would be metrified, because so it becomes
both more exciting and more easily remembered.