Lascelles Abercrombie Quotes
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That is to say, epic poetry has been invented many times and independently; but, as the needs which prompted the invention have been broadly similar, so the invention itself has been.
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The glory of the king of all the kings.You with the golden power on your brows,You kings, I think you know not what you are.First you shall learn yourselves: for neither lightUnderstandeth itself, nor darkness light.
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No poet will ever take the written word as a substitute for the spoken word; he knows that it is on the spoken word, and the spoken word only, that his art is founded.
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Traditional matter must be glorified, since it would be easier to listen to the re-creation of familiar stories than to quite new and unexpected things; the listeners, we must remember, needed poetry chiefly as the re-creation of tired hours.
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The first epics were intended for recitation; the literary epic is meant to be read.
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It is more difficult to keep the attention of hearers than of readers.
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But the gravest difficulty, and perhaps the most important, in poetry meant solely for recitation, is the difficulty of achieving verbal beauty, or rather of making verbal beauty tell.
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The Border Ballads, for instance, and the Robin Hood Ballads, clearly suppose a state of society which is nothing but a very circumscribed and not very important heroic age.
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But the development of human society does not go straight forward; and the epic process will therefore be a recurring process, the series a recurring series - though not in exact repetition.
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The reason can only be this: heroic poetry depends on an heroic age, and an age is heroic because of what it is, not because of what it does.
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If epic poetry is a definite species, the sagas do not fall within it.
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The balance of private good and general welfare is at the bottom of civilized morals; but the morals of the Heroic Age are founded on individuality, and on nothing else.
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The epic poet has behind him a tradition of matter and a tradition of style; and that is what every other poet has behind him too; only, for the epic poet, tradition is rather narrower, rather more strictly compelling.
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By the general process of epic poetry, I mean the way this form of art has constantly responded to the profound needs of the society in which it was made.
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For the stage displays the first vigorous expression, as the natural thing and without conspicuous restraint, of private individuality.
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An epic is not made by piecing together a set of heroic lays, adjusting their discrepancies and making them into a continuous narrative.
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Epic poetry exhibits life in some great symbolic attitude. It cannot strictly be said to symbolize life itself, but always some manner of life.
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With several different kinds of poetry to choose from, a man would decide that he would like best to be an epic poet, and he would set out, in conscious determination, on an epic poem.
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There is only one thing which can master the perplexed stuff of epic material into unity; and that is, an ability to see in particular human experience some significant symbolism of man's general destiny.
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The epic poet collaborates with the spirit of his time in the composition of his work. That is, if he is successful; the time may refuse to work with him, but he may not refuse to work with his time.
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It seems difficult, sometimes, to believe that there was a time when sentiments now become habitual, sentiments that imply not only the original imperative of conduct, but the original metaphysic of living, were by no means altogether habitual.
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Poetry is the work of poets, not of peoples or communities; artistic creation can never be anything but the production of an individual mind.
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The world knows of a vast stock of epic material scattered up and down the nations; sometimes its artistic value is as extraordinary as its archaeological interest, but not always.