[14] Naulakha, by Rudyard Kipling and W. Balestier. London, 1892.
[15] Transgression, by S. S. Thorburn. London, 1899.
HEROIC POETRY[16]
I have taken the words 'Heroic Poetry' to signify the poetry of strenuous action, the art of describing in vigorous animating verse those scenes and emergent situations in which the energies of mankind are strung up to the higher tones, and where the emotions are brought into full play by the exhibition of valour, endurance, and suffering. It seems to me remarkable that modern English poetry, with all its splendid variety, should have produced very little in this particular form; because no one can deny that the latter-day story of the English has been full of enterprise and perilous adventure, providing ample material to the artist who knows how to use it. Nor can it be said that there is any lack of demand for this sort of poetry, and consequently little inducement to supply it. On the contrary, any one can see that hero worship is as strong as ever, that any striking incident, or example of personal valour, or exploit of war, brings out the verse-writer, and that his efforts, if only very moderately successful, are sure to win him great popularity.
But it must be admitted that most of these efforts fail rather lamentably, insomuch that at the present day we may seem to be losing one of the finest forms of a noble art. From this point of view there may be some advantage in looking back to the heroic poetry of earlier ages, and in endeavouring to mark briefly and imperfectly its distinctive qualities, to recall the conditions and circumstances in which it flourished, and possibly to hazard some suggestions as to the causes of its decline.
I do not know any recent book which throws more light upon this subject than Professor Ker's book on Epic and Romance, published in 1897. It is, to my mind, most valuable as an exposition of the right nature and methods of heroic narrative, in poetry and in prose. The author has the rare gift of insight into the ways and feelings of primitive folk, and the critical faculty of discerning the characteristics of a style or a period, showing how men, who knew what to say and the right manner of saying it, have shaped the true form of heroic poetry. We can see that its elementary principles, the methods of composition in verse and prose, are essentially the same in all times and countries, in the Iliad, in the Icelandic Sagas, in the old Teutonic and Anglo-Saxon poems, and to some extent in the French Chansons de Geste; they might be used to-morrow for a heroic subject by any one gifted with the requisite skill, imagination, and the eye for impressive realities.
'Few nations have attained, at the close of their heroic age, to a form of poetical art in which men are represented freely in action and conversation. The labour and meditation of all the world has not discovered, for the purposes of narrative, any essential modification of the procedure of Homer.'
Professor Ker's essays are a brilliant and scholarly contribution to the external history of poetical forms: and it would be great presumption in me to attempt a review of his work. But it is so eminently suggestive, and to my mind so valuable as a study for verse writers of the present day, that I have ventured to place this book in the foreground of an attempt to sketch rapidly some clear outline of the conditions and the essential qualities of heroic poetry, which is too commonly regarded as an easy off-hand kind of versification, largely made up of dash, glowing words, and warlike clatter; although in reality nothing is more rare or difficult than success in it.