Abstract
This book seeks to describe the history of the epic in Western culture, ending with evocations of the epic in literature and film in the English-speaking world. In order to do so, it must first ask the obvious question: What is the epic? Unfortunately, however, there is no equally obvious answer. Ours is an age in which ‘epic’ describes not just the likes of the Odyssey and Paradise Lost, but a bewildering range of texts, in the loosest sense of the word. The label ‘epic’ is applied today to contemporary novels, Hollywood blockbusters and rock songs, as well as ‘real-life’ events: sporting contests, corporate takeovers, political elections, court cases.l At the beginning of the twenty-first century, the epic, or at least the label ‘epic’, is ubiquitous. How, then, do we deal with this ubiquity? We could presume that the label has become useless in its frequency, merely an overexposed and imprecise adjective suggesting size and significance. Or, intrigued by the polysemy of the word, we could look more closely at it, for it reveals two things. It suggests a modern or, more accurately, postmodern fascination with the epic, and a need to invoke it in all kinds of texts and situations. It also suggests an accumulation of definitions, a piling on, as it were, of different meanings from different points in the epic’s history. Thus, the epic’s efflorescence today is, first, an intriguing moment in its development and, second, a reflection of that development; that is, a reflection of past moments.
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Notes
A twenty-first-century example comes from the trial of the man accused of murdering British journalist Jill Dando. His lawyer described the case as an ‘epic occasion’, similar to other ‘epic occasions’ such as the death of the Princess of Wales and the bombing of Kosovo; Jason Bennetto, ‘Dando jurors urged to put sympathies aside’, The Independent (22 June 2001).
Gerard Genette, The Architext: An Introduction, 1979, trans. Jane E. Lewin (Berkeley: University of California Press, 1992).
Genette, 1–58. See also Daniel Javitch, ‘The Emergence of Poetic Genre Theory in the Sixteenth Century’, Modern Language Quarterly 59 (1998): 139–69.
Jean-Marie Schaeffer, ‘Literary Genres and Textual Genericity’, The Future of Literary Theory, ed. Ralph Cohen (New York: Routledge, 1989) 168–72.
Jacques Derrida, ‘The Law of Genre’, Glyph 7 (1980): 203.
David Duff, Introduction, Modem Genre Theory, ed. David Duff (Harlow: Longman, 2000) 11.
Tzvetan Todorov, Genres in Discourse, trans. Catherine Porter (Cambridge: Cambridge University Press, 1990) esp. 17–18.
E. D. Hirsch, Jr., Validity in Interpretation (New Haven, CT: Yale University 1‘ress, 1967) 71–89.
See Hegel’s lectures on poetry in G. W. F. Hegel, Aesthetics: Lectures on Fine Art, 1835, trans. T. M. Knox (Oxford: Clarendon Press, 1975) vol. 2, 959–1237, in which Hegel’s organicist approach is evident throughout. His discussion of epic poetry, for example, refers repeatedly to the existence of the ‘epic proper’ and the ‘genuine epic’, and his survey of the history of the epic suggests that the epic form attained perfection with the Greeks and has since developed into the romance, 1040–110.
Northrop Frye, Anatomy of Criticism: Four Essays (Princeton, NJ: Princeton University Press, 1957).
Alastair Fowler, ‘The Life and Death of Literary Forms’, New Directions in Literary History, ed. Ralph Cohen (Baltimore, MD: Johns Hopkins University Press, 1974) 77–94; see also Fowler, Kinds of Literature: An Introduction to the Theory of Genres and Modes (Oxford: Clarendon Press, 1982) 170–83.
Hans Robert Jauss, Toward an Aesthetic of Reception, trans. Timothy Bahti (Brighton: Harvester, 1982) 93.
Ralph Cohen, ‘History and Genre’, New Literary History 17 (1986): 210.
C. M. Bowra, Heroic Poetry (London: Macmillan, 1952) and E. M. W. Tillyard, The English Epic and Its Background (London: Chatto and Windus, 1954).
Georg Lukács, The Theory of the Novel: A Historico-Philosophical Essay on the Forms of Great Epic Literature, trans. Anna Bostock (1920; London: Merlin Press, 1978) and Mikhail Bakhtin, ‘Epic and Novel’, The Dialogic Imagination: Four Essays, ed. Michael Holquist, trans. Caryl Emerson and Michael Holquist (Austin: University of Texas Press, 1981).
Thomas M. Greene, The Descent from Heaven: A Study in Epic Continuity (New Haven, CT: Yale University Press, 1963) and Thomas Vogler, Preludes to Vision: The Epic Venture in Blake, Wordsworth, Keats and Hart Crane (Berkeley: University of California Press, 1971).
David Quint, Epic and Empire: Politics and Generic Form from Virgil to Milton (Princeton, NJ: Princeton University Press, 1993) and Colin Burrow, Epic Romance: Homer to Milton (Oxford: Clarendon Press, 1993).
Susanne Lindgren Wof ford, The Choice of Achilles: The Ideology of Figure in the Epic (Stanford, CA: Stanford University Press, 1992) and D. C. Feeney, Poets and Critics of the Classical Tradition (New York: Oxford University Press, 1993); see also Feeney, ‘Epic Hero and Epic Fable’, Comparative Literature 38 (1986): 137–58.
John Kevin Newman, The Classical Epic Tradition (Madison: University of Wisconsin Press, 1986) and Paul Merchant, The Epic (London: Methuen, 1971).
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© 2006 Adeline Johns-Putra
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Johns-Putra, A. (2006). Introduction: What is the Epic?. In: The History of the Epic. Palgrave Histories of Literature. Palgrave Macmillan, London. https://doi.org/10.1057/9780230595729_1
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DOI: https://doi.org/10.1057/9780230595729_1
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