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| In its strict use by literary critics, the term '''epic''' or '''heroic poem''' is applied to a work that meets at least the following criteria: it is a long narrative poem an a great and serious subject, related in an elevated style, and centered on a heroic or quasi-divine figure on whose actions depends the fate of a tribe, a nation, or the human race. The "traditional epics" (also called "primary epics" or "folk epics") were shaped by a literary artist from historical and legendary materials which had developed in the oral traditions of his nation during a period of expansion and warfare. To this group are ascribed the ''Iliad'' and ''Odyssey'' of the Greek Homer, and the Anglo-Saxon epic ''Beowulf''. The "literary" or "secondary" epics were composed by sophisticated craftsmen in deliberate imitation of the traditional form. Of this kind is Virgil's Latin poem the ''Aeneid'', which later served as the chief model for Milton's literary epic ''Paradise Lost''; and ''Paradise Lost'' in turn became a model for Keat's fragmentary epic ''Hyperion'', as well as for Blake's several epics, or "prophetic books" (''The Four Zoas'', ''Milton'', ''Jerusalem'') which undertook to translate into Blake's own mythic terms the biblical design and materials which had served as Milton's subject matter.
| | {{SHORTDESC:The Stories of Heroes, Gods, and Monsters.}} |
| | '''Epic poetry, one of the oldest''' and most enduring forms of literature, serves as a literary form for preserving cultural memory and celebrating the heroic ideals of its time. These monumental poems—Homer’s ''Iliad'' and ''Odyssey'', Virgil’s ''Aeneid'', the Old English ''Beowulf'', and many others—combine grand narrative scope with intricate poetic techniques to capture the values, struggles, and aspirations of their respective societies. Through tales of gods, warriors, and civilizations, epic poetry not only entertains but also instructs, reinforcing societal ideals of heroism, loyalty, and the human connection to divine forces. |
| | [[File:Charles Meynier - Calliope, Muse of Epic Poetry - 2003.6.4 - Cleveland Museum of Art.tiff|Charles Meynier, ''Calliope, Muse of Epic Poetry''|thumb]] |
| | Characterized by their formal structure, epic poems often begin with an invocation to the Muse and a statement of the poem’s theme, signaling their lofty ambitions. These works span geographies and eras, weaving together mortal and divine struggles in tales that resonate with universal truths. At the heart of the genre is the epic hero, a figure whose exceptional qualities embody the cultural virtues of their people. Figures like Achilles, Odysseus, Aeneas, and Gilgamesh act as exemplars of ''aretē'' (excellence), striving for greatness in battle, wisdom, or leadership. Yet, these heroes are not without flaws, as epic poetry often explores the human dimensions of pride, vulnerability, and moral struggle, enriching the narrative’s complexity. |
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| == Characteristics ==
| | What sets epic poetry apart from other forms of storytelling is its use of highly stylized language and poetic devices that elevate the narrative. Techniques such as epithets, extended similes, and catalogs are hallmarks of the epic tradition, providing a rhythmic and mnemonic structure to oral recitations while imbuing the text with grandeur. These tools, coupled with themes of fate, divine intervention, and the enduring quest for glory (''kleos''), create a sense of timelessness that has cemented epic poetry’s legacy in the literary canon. |
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| The epic was ranked by Aristotle (in his ''Poetics'') as second only to tragedy, and by Renaissance critics as the highest genre of all. The literary epic is certainly the most ambitious of poetic types, making immense demands on a poet’s knowledge, invention, and skill to sustain the scope, grandeur, and variety of a poem that tends to encompass the world of its day and a large portion of its learning. Despite numerous attempts over nearly three-thousand years, we possess no more than a half dozen epic poems of indubitable greatness. Literary epics are highly conventional poems which commonly share the following features, derived ultimately from the traditional epics of Homer:
| | ==Key Concepts and Questions== |
| | Consider these concepts as a guide for your assigned reading and research. Having a grasp of these elements will give you a strong understanding of the topic and prepare you for the discussions and exam. |
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| The hero is a figure of great national or even cosmic importance. In the ''Iliad'', he is the Greek warrior Achilles, who is the son of a Neried, Thetis; and Virgil’s Aeneas is the son of the goddess Aphrodite. In ''Paradise Lost'', Adam represents the entire human race, or if we regard Christ as the hero, he is both God and man. Blake’s primal figure is the "universal man" Albion who incorporates, before his fall, man and god and the cosmos as well.
| | # '''Definition and Scope''': Epic poetry is a lengthy narrative form that recounts the significant deeds of heroes, often intertwined with the fate of nations or peoples. These narratives are typically set on a grand scale, encompassing vast settings and extensive time periods.<br />{{Sp}}{{small|''Key Question: How does the expansive scope of epic poetry enhance its exploration of universal human experiences?''}} |
| | # '''Formal Structure''': Epics are characterized by formal elements such as elevated language, invocation of the muse, ''in medias res'' openings, and the use of epic similes. These conventions contribute to the grandeur and seriousness of the narrative.<br />{{Sp}}{{Small|''Key Question: How do the formal elements of epic poetry shape the way the story is told and understood?''}} |
| | # '''Heroic Ideals''': Central to epic poetry is the portrayal of heroes who embody the virtues esteemed by their cultures, such as courage, honor (''timē''), and excellence (''aretē''). These figures often undertake perilous journeys and face formidable challenges.<br />{{Sp}}{{Small|''Key Question: How do epic heroes reflect the cultural values of their societies, and how do those values compare to modern ideals?''}} |
| | # '''Role of the Divine''': Interactions between mortals and deities are a common feature, reflecting the belief in divine influence over human affairs. Gods and supernatural beings frequently intervene, aiding or hindering the hero’s quest.<br />{{Sp}}{{Small|''Key Question: What does the role of the gods in epic poetry reveal about the relationship between humans and the divine in ancient cultures?''}} |
| | # '''Cultural Reflection''': Epics serve as cultural artifacts, encapsulating the values, beliefs, and historical narratives of the societies from which they emerge. They offer insights into the collective identity and moral frameworks of these cultures.<br />{{Sp}}{{Small|''Key Question: In what ways do epic poems function as mirrors of the societies that produced them?''}} |
| | # '''Oral Tradition''': Many epics originated from oral storytelling traditions, which influenced their repetitive structures and formulaic expressions, aiding memorization and transmission across generations.<br />{{Sp}}{{Small|''Key Question: How does the oral tradition shape the structure and style of epic poetry?''}} |
| | # '''The Hero’s Journey''': A recurring motif is the hero’s journey, encompassing stages such as the call to adventure, trials, and the return. This narrative arc reflects universal patterns of human experience and personal growth.<br />{{Sp}}{{Small|''Key Question: How does the hero’s journey in epic poetry reflect universal human experiences, and how does it resonate with modern narratives?''}} |
| | # '''Moral and Ethical Themes''': Epic poetry often explores profound themes like fate versus free will, the nature of justice, and the quest for immortality, prompting readers to reflect on ethical and philosophical questions.<br />{{Sp}}{{Small|''Key Question: What ethical dilemmas are presented in epic poetry, and how do they challenge or affirm the hero’s actions?''}} |
| | # '''Influence on Literature''': The conventions and themes of epic poetry have impacted subsequent literary works, establishing archetypes and narrative structures that resonate through various genres, like novels and film.<br />{{Sp}}{{Small|''Key Question: How have the themes and conventions of epic poetry influenced modern literature and storytelling?''}} |
| | # '''Contemporary Relevance''': Studying epic poetry allows for an understanding of how ancient narratives address timeless human concerns, offering perspectives that remain pertinent in modern discourse.<br />{{Sp}}{{Small|''Key Question: How can the themes of epic poetry help us better understand challenges and questions in contemporary society?''}} |
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| The setting of the poem is ample in scale, and may be worldwide, or even larger. Odysseus wanders over the Mediterranean basin (the whole of the world known to the author), and in Book XI, he descends into the underworld (as does Virgil’s Aeneas). The scope of ''Paradise Lost'' is cosmic, for it takes place on earth, heaven, and in hell.
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| | <span style="float: left; margin: 5px 0 20px 0;">{{Clickable button 2|/Overview|Begin Exploring »|class=mw-ui-progressive}}</span> |
| | {{Epic}} |
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| The action involves superhuman deeds in battle, such as Achilles’ feats in the Trojan War, or a long and arduous journey intrepidly accomplished, such as the wanderings of Odysseus on his way back to his homeland, despite the opposition of some of the gods. ''Paradise Lost'' includes the war in heaven, the journey of Satan through chaos to discover the newly created world, and his desperately audacious attempt to outwit God by corrupting humanity, in which his success is ultimately frustrated by the sacrificial enterprise of Christ. And ''Gilgamesh'' portrays the eponymous hero’s search for a fountain of youth after the death of his friend, Enkidu.
| | [[Category:Education]] |
| | | [[Category:World Literature]] |
| In these great actions, the gods and other supernatural beings take an interest or an active part — the Olympian gods in Homer, and Jehovah, Christ, and the angels in ''Paradise Lost''. These supernatural agents were in the neoclassic age called the machinery, in the sense that they were a part of the literary contrivances of the epic.
| | [[Category:Epic]] |
| | | [[Category:Lit Study Guides]] |
| An epic poem is a ceremonial performance and is narrated in a ceremonial style which is deliberately distanced from ordinary speech and proportioned to the grandeur and formality of the heroic subject matter and the epic architecture. Hence Milton's “grand style” — his Latinate diction and stylized syntax, his sonorous lists of names and wide-ranging allusions, and his imitation of Homer's epic similes and epithets. Also the great catalogs of heroes, weaponry, spoils, etc.
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| == Conventions ==
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| There are also some commonly adopted conventions in the structure and in the choice of episodes of the epic narrative; prominent among them are these elements:
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| The narrator begins by stating his argument, or theme, invokes a muse or guiding spirit to inspire him in his great undertaking, then address to the muse the epic question, the answer to which inaugurates the narrative proper (cf. ''Paradise Lost'', I.1-49).
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| The narrative starts ''in medias res'', i.e., "in the midst of things," at a critical point in the action. ''Paradise Lost'' opens with the fallen angels in hell gathering their forces and planning their revenge. Not until Books V-VII does the angel Raphael relate to Adam the events in heaven which led to his situation; while in Books XI-XII, after the fall, Michael foretells to Adam future events up until Christ’s second coming. Thus Milton’s epic, although its action focuses on the temptation and the fall of man, encompasses all time from the creation to the end of the world. In the ''Iliad'', Homer begins with the contention between the Greek champion Achilles and his leader Agamemnon: it is this formal challenge of Agamemnon’s right that precipitates the critical actions in Homer’s epic of war.
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| There are catalogs of some of the principle characters, introduced in formal detail, as in Milton’s description of the procession of fallen angels in Book I of Paradise Lost. These characters are often given set speeches which reveal their diverse temperaments; an example is the debate in Pandemonium, Book II, and the formal debate among the ''aristoi'' in book one of the ''Iliad''.
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| == Classifications ==
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| The ''Iliad'' is a ''menis'', or a song of wrath.
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| The ''Odyssey'' begins the tradition of the epic of return, or ''nostos''. The story of the romance of a hero escaping incredible perils and arriving in the nick of time to reclaim his bride — a master of the house coming back to reclaim his own.
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| The ''Aeneid'' develops the theme of return into one of rebirth; the end in New Troy becomes the starting point renewed and transformed by the hero’s quest.
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| The christian epic carries the same themes into a wide archetypal context; the action of the ''Bible'' includes the themes of the three great classical epics: theme of destruction and captivity of the city (Troy) in the ''Iliad''; the theme of the return in the ''Odyssey''; the theme of building a new city in the ''Aeneid''. Adam is like Achilles, Odysseus, and Aeneas — a man of wrath, exiled from home because he angered God by going beyond his limit as a man. A provocation against God is the eating of food reserved for the deity. As with Odysseus, Adam’s return home is contingent on appeasing of divine wrath by divine wisdom.
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