Chapter I: Preface

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

"Wars, hitherto the only argument
Heroic deemed,"

and crystallized the religious beliefs of his time in "Paradise Lost."

The characteristics both of the primitive and the modern epic are their uniform metre, simplicity of construction, concentration of action into a short time, and the use of episode and dialogue. The main difference lies in the impersonality of the primitive epic, whose author has so skillfully hidden himself behind his work that, as some one has said of Homer, "his heroes are immortal, but his own existence is doubtful."

Although the historical events chronicled in the epics have in every case been so distorted by the fancy of the poets that they cannot be accepted as history, the epics are storehouses of information concerning ancient manners and customs, religious beliefs, forms of government, treatment of women, and habits of feeling.

Constructed upon the noblest principles of art, and pervaded by the eternal calm of the immortals, these poems have an especial value to us, who have scarcely yet realized that poetry is an art, and are feverish from the unrest of our time. If by the help of this volume any reader be enabled to find a portion of the wisdom that is hidden in these mines, its purpose will have been accomplished.

My thanks are due to Mr. John A. Wilstach for the use of selections from his translation of the "Divine Comedy;" to Prof. J. M. Crawford, for the use of selections from his translation of the "Kalevala;" to Henry Holt & Co., for the use of selections from Rabillon's translation of "La Chanson de Roland;" to Roberts Brothers, for the use of selections from Edwin Arnold's "Indian Idylls;" to Prof. J. C. Hall, for the use of selections from his translation of "Beowulf;" and to A. C. Armstrong & Son, for the use of selections from Conington's Translation of the "Aeneid." The selections from the "Iliad" and the "Odyssey" are used with the permission of and by special arrangement with Houghton, Mifflin & Co., publishers of Bryant's translations of the "Iliad" and the "Odyssey." Special thanks are due to Miss Eliza G. Browning of the Public Library of Indianapolis, to Miss Florence Hughes of the Library of Indiana University, and to Miss Charity Dye, of Indianapolis.

K. M. R.

INDIANAPOLIS, IND., September, 1896.

CONTENTS.

THE HINDU EPIC: THE RAMÂYÂNA

THE HINDU EPIC: THE MAHÂ-BHÂRATA

THE GREEK EPIC: THE ILIAD

THE GREEK EPIC: THE ODYSSEY

THE FINNISH EPIC: THE KALEVALA

THE ROMAN EPIC: THE AENEID

THE SAXON EPIC: BEOWULF

THE GERMAN EPIC: THE NIBELUNGEN LIED

THE FRENCH EPIC: THE SONG OF ROLAND

THE PERSIAN EPIC: THE SHAH-NAMEH

THE SPANISH EPIC: THE POEM OF THE CID

THE ITALIAN EPIC: THE DIVINE COMEDY

THE ITALIAN EPIC: THE ORLANDO FURIOSO

THE PORTUGUESE EPIC: THE LUSIAD

THE ITALIAN EPIC: THE JERUSALEM DELIVERED

THE ENGLISH EPIC: PARADISE LOST

THE ENGLISH EPIC: PARADISE REGAINED

SELECTIONS.

FROM THE RÂMÂYANA: TRANSLATOR
The Descent of the Ganges ... _Milman_
The Death of Yajnadatta ... "

FROM THE MAHÂ-BHÂRATA:
Sâvitrî; or, Love and Death ... _Arnold_
The Great Journey ... "

FROM THE ILIAD:
Helen at the Scaean Gates ... _Bryant_
The Parting of Hector and Andromache ... "

FROM THE ODYSSEY:
The Palace of Alcinoüs ... _Bryant_
The Bending of the Bow ... "

FROM THE KALEVALA:
Ilmarinen's Wedding Feast ... _Crawford_
The Birth of the Harp ... "

FROM THE AENEID:
Nisus and Euryalus ... _Conington_

FROM BEOWULF:
Grendel's Mother ... _Hall_

FROM THE NIBELUNGEN LIED:
How Brunhild was received at Worms ... _Lettsom_
How Margrave Rüdeger was slain ... "

FROM THE SONG OF ROLAND:
The Horn ... _Rabillon_
Roland's Death ... "

FROM THE SHAH-NAMEH:
The Rajah of India sends a Chessboard
to Nushirvan _Robinson_
Zal and Rudabeh "

FROM THE POEM OF THE CID:
Count Raymond and My Cid _Ormsby_
My Cid's Triumph "

FROM THE DIVINE COMEDY:
Count Ugolino _Wilstach_
Buonconte di Montefeltro "
Beatrice descending from Heaven "
The Exquisite Beauty of Beatrice "

FROM THE ORLANDO FURIOSO:
The Death of Zerbino _Rose_

FROM THE LUSIAD:
Inez de Castro _Mickle_
The Spirit of the Cape "

FROM THE JERUSALEM DELIVERED:
Sophronia and Olindo _Wiffen_

FROM PARADISE LOST:
Satan
Apostrophe to Light

FROM PARADISE REGAINED:
The Temptation of the Vision of the Kingdoms of the Earth

NATIONAL EPICS.

THE RÂMÂYANA.

"He who sings and hears this poem continually has attained to the
highest state of enjoyment, and will finally be equal to the gods."

The Râmâyana, the Hindu Iliad, is variously ascribed to the fifth, third, and first centuries B.C., its many interpolations making it almost impossible to determine its age by internal evidence. Its authorship is unknown, but according to legend it was sung by Kuça and Lava, the sons of Rama, to whom it was taught by Valmiki. Of the three versions now extant, one is attributed to Valmiki, another to Tuli Das, and a third to Vyasa.

Its historical basis, almost lost in the innumerable episodes and grotesque imaginings of the Hindu, is probably the conquest of southern India and Ceylon by the Aryans.

The Râmâyana is written in the Sanskrit language, is divided into seven books, or sections, and contains fifty thousand lines, the English translation of which, by Griffith, occupies five volumes.

The hero, Rama, is still an object of worship in India, the route of his wanderings being, each year, trodden by devout pilgrims. The poem is not a mere literary monument,--it is a part of the actual religion of the Hindu, and is held in such reverence that the mere reading or hearing of it, or certain passages of it, is believed to free from sin and grant his every desire to the reader or hearer.

BIBLIOGRAPHY AND CRITICISM, THE RÂMÂYANA.

G. W. Cox's Mythology and Folklore, 1881, p. 313;

John Dowson's Classical Dictionary of Hindu Mythology, Religion, Geography, History, and Literature, 1879;

Sir William Jones on the Literature of the Hindus (in his Works, vol. iv.);

Maj.-Gen. Vans Kennedy's Researches into Hindu Mythology, 1831;

James Mill's History of British India, 1840, vol. ii., pp. 47-123;

F. Max Müller's Ancient Sanskrit Literature, 1859;

E. A. Reed's Hindu Literature, 1891, pp. 153-271;

Albrecht Weber's History of Indian Literature, 1878, pp. 191-195;

J. T. Wheeler's History of India, 4 vols., 1876, vol. ii.;

Sir Monier Williams's Indian Wisdom, 1863, Indian Epic Poetry, 1863;

Article on Sanskrit Literature in Encyclopædia Britannica;

R. M. Gust's The Râmâyana: a Sanskrit Epic (in his Linguistic and Oriental Essays, 1880, p. 56);

T. Goldstuecker's Râmâyana (in his Literary Remains, 1879, vol. i., p. 155);