National Epics
This volume is intended for an introduction to the study of the epics. While the simplicity and directness of the epic style seem to make such a book unnecessary, the fact that to many persons of literary tastes some of these great poems are inaccessible, and that to many more the pleasure of exploring for themselves the realms of gold is rendered impossible by the cares of business, has seemed sufficient excuse for its being. Though the beauty of the original is of necessity lost in a condensation of this kind, an endeavor has been made to preserve the characteristic epithets, and to retain what Mr. Arnold called the simple truth about the matter of the poem. It is believed that the sketch prefacing each story, giving briefly the length, versification, and history of the poem, will have its value to those readers who have not access to the epics, and that the selections following the story, each recounting a complete incident, will give a better idea of the epic than could be formed from passages scattered through the text.
The epic originated among tribes of barbarians, who deified departed heroes and recited legends in praise of their deeds. As the hymn developed, the chorus and strophe were dropped, and the narrative only was preserved. The word epic was used simply to distinguish the narrative poem, which was recited, from the lyric, which was sung, and from the dramatic, which was acted.
As the nation passed from childhood to youth, the legends of the hero that each wandering minstrel had changed to suit his fancy, were collected and fused into one by some great poet, who by his power of unification made this written epic his own.
This is the origin of the Hindu epics, the Iliad and the Odyssey, the Kalevala, the Shah-Nameh, Beowulf, the Nibelungen Lied, the Cid, and the Song of Roland.
The conditions for the production of the primitive epic exist but once in a nation's growth. Its later epics must be written on subjects of national importance, chosen by the poet, who arranges and embellishes his material according to the rules of the primitive epic. To this class belong the Aeneid, the Jerusalem Delivered, and the Lusiad. Dante's poem is broader, for it is the epic of mediaeval Christianity. Milton likewise sought higher argument than
Kate Milner Rabb
NATIONAL EPICS
1896
TO MY MOTHER.
PREFACE.
SELECTIONS.
NATIONAL EPICS.
THE RÂMÂYANA.
BIBLIOGRAPHY AND CRITICISM, THE RÂMÂYANA.
STANDARD ENGLISH TRANSLATIONS, THE RÂMÂYANA.
THE STORY OF THE RÂMÂYANA.
SELECTIONS FROM THE RÂMÂYANA.
THE DEATH OF YAJNADATTA.
THE MAHÂ-BHÂRATA.
BIBLIOGRAPHY AND CRITICISM, THE MAHÂ-BHÂRATA.
STANDARD ENGLISH TRANSLATIONS, THE MAHÂ-BHÂRATA.
THE STORY OF THE MAHÂ-BHÂRATA.
SELECTIONS FROM THE MAHÂ-BHÂRATA.
FROM "THE GREAT JOURNEY."
THE ILIAD.
BIBLIOGRAPHY AND CRITICISM, THE ILIAD.
STANDARD ENGLISH TRANSLATIONS, THE ILIAD.
THE STORY OF THE ILIAD.
SELECTIONS FROM THE ILIAD.
THE PARTING OF HECTOR AND ANDROMACHE.
THE ODYSSEY.
BIBLIOGRAPHY AND CRITICISM, THE ODYSSEY.
STANDARD ENGLISH TRANSLATIONS, THE ODYSSEY.
THE STORY OF THE ODYSSEY.
SELECTIONS FROM THE ODYSSEY.
THE BENDING OF THE BOW.
THE KALEVALA.
BIBLIOGRAPHY AND CRITICISM, THE KALEVALA.
STANDARD ENGLISH TRANSLATIONS, THE KALEVALA.
THE STORY OF THE KALEVALA.
SELECTIONS FROM THE KALEVALA.
THE BIRTH OF THE HARP.
THE AENEID.
BIBLIOGRAPHY AND CRITICISM, THE AENEID.
STANDARD ENGLISH TRANSLATIONS, THE AENEID.
THE STORY OF THE AENEID.
SELECTION FROM THE AENEID.
BEOWULF.
BIBLIOGRAPHY AND CRITICISM, BEOWULF.
STANDARD ENGLISH TRANSLATIONS, BEOWULF.
THE STORY OF BEOWULF.
SELECTION FROM BEOWULF.
THE NIBELUNGEN LIED.
BIBLIOGRAPHY AND CRITICISM, THE NIBELUNGEN LIED.
STANDARD ENGLISH TRANSLATIONS, THE NIBELUNGEN.
THE STORY OF THE NIBELUNGEN LIED.
SELECTIONS FROM THE NIBELUNGEN LIED.
HOW MARGRAVE RÜDEGER WAS SLAIN.
THE SONG OF ROLAND.
BIBLIOGRAPHY AND CRITICISM, THE SONG OF ROLAND.
STANDARD ENGLISH TRANSLATIONS, THE SONG OF ROLAND.
THE STORY OF THE SONG OF ROLAND.
SELECTIONS FROM THE SONG OF ROLAND.
ROLAND'S DEATH.
THE SHAH-NAMEH.
BIBLIOGRAPHY AND CRITICISM, THE SHAH-NAMEH.
STANDARD ENGLISH TRANSLATIONS, THE SHAH-NAMEH.
THE STORY OF THE SHAH-NAMEH.
SELECTIONS FROM THE SHAH-NAMEH.
ZAL AND RUDABEH.
THE POEM OF THE CID.
BIBLIOGRAPHY AND CRITICISM, THE CID.
STANDARD ENGLISH TRANSLATIONS, THE POEM OF THE CID.
THE STORY OF THE POEM OF THE CID.
SELECTIONS FROM THE POEM OF THE CID.
MY CID'S TRIUMPH.
THE DIVINE COMEDY.
BIBLIOGRAPHY AND CRITICISM, THE DIVINE COMEDY.
STANDARD ENGLISH TRANSLATIONS, THE DIVINE COMEDY.
THE DIVINE COMEDY.
THE STORY OF THE DIVINE COMEDY.
THE DIVINE COMEDY.
THE STORY OF THE DIVINE COMEDY.
THE DIVINE COMEDY.
THE STORY OF THE DIVINE COMEDY.
SELECTIONS FROM THE DIVINE COMEDY.
BUONCONTE DI MONTEFELTRO.
BEATRICE DESCENDING FROM HEAVEN.
THE EXQUISITE BEAUTY OF BEATRICE.
THE ORLANDO FURIOSO.
BIBLIOGRAPHY AND CRITICISM, THE ORLANDO FURIOSO.
STANDARD ENGLISH TRANSLATIONS, THE ORLANDO FURIOSO.
THE STORY OF THE ORLANDO FURIOSO.
SELECTION FROM THE ORLANDO FURIOSO.
THE LUSIAD.
BIBLIOGRAPHY AND CRITICISM, THE LUSIAD.
STANDARD ENGLISH TRANSLATIONS, THE LUSIAD. The Lusiad, Tr. by J. J.
THE STORY OF THE LUSIAD.
SELECTIONS FROM THE LUSIAD.
THE SPIRIT OF THE CAPE.
THE JERUSALEM DELIVERED.
BIBLIOGRAPHY AND CRITICISM, THE JERUSALEM DELIVERED.
STANDARD ENGLISH TRANSLATIONS, THE JERUSALEM DELIVERED.
THE STORY OF THE JERUSALEM DELIVERED.
SELECTION FROM THE JERUSALEM DELIVERED.
PARADISE LOST.
BIBLIOGRAPHY AND CRITICISM, PARADISE LOST.
THE STORY OF PARADISE LOST.
SELECTIONS FROM PARADISE LOST.
PARADISE REGAINED.
BIBLIOGRAPHY AND CRITICISM, PARADISE REGAINED.
THE STORY OF PARADISE REGAINED.
SELECTION FROM PARADISE REGAINED.