Pixis St.John the Evangelist at Patmos Writing the Apocalypse From the painting by Correggio Sita Soothing Rama to Sleep From a Calcutta print The Monk Breaks into the Robbers' House to Rescue White Aster From a Japanese print "It is in this vast, dim region of myth and legend the sources of the literature of modern times are hidden; and it is only by returning to them, by constant remembrance that they drain a vast region of vital human experience, that the origin and early direction of that literature can be recalled."-- Hamilton Wright Mabie.
FOREWORD Derived from the Greek _epos_, a saying or oracle, the term "epic" is generally given to some form of heroic narrative wherein tragedy, comedy, lyric, dirge, and idyl are skilfully blended to form an immortal work.
"Mythology, which was the interpretation of nature, and legend, which is the idealization of history," are the main elements of the epic.
Being the "living history of the people," an epic should have "the breadth and volume of a river." All epics have therefore generally been "the first-fruits of the earliest experience of nature and life on the part of imaginative races"; and the real poet has been, as a rule, the race itself.
There are almost as many definitions of an epic and rules for its composition as there are nations and poets.

For that reason, instead of selecting only such works as in the writer's opinion can justly claim the title of epic, each nation's verdict has been accepted, without question, in regard to its national work of this class, be it in verse or prose.
The following pages therefore contain almost every variety of epic, from that which treats of the deity in dignified hexameters, strictly conforms to the rule "one hero, one time, and one action of many parts," and has "the massiveness and dignity of sculpture," to the simplest idylls, such as the Japanese "White Aster," or that exquisite French mediaeval compound of poetry and prose, "Aucassin et Nicolette." Not only are both Christian and pagan epics impartially admitted in this volume, but the representative works of each nation in the epic field are grouped, according to the languages in which they were composed.
Many of the ancient epics are so voluminous that even one of them printed in full would fill twenty-four volumes as large as this.

To give even the barest outline of one or two poems in each language has therefore required the utmost condensation.

So, only the barest outline figures in these pages, and, although the temptation to quote many choice passages has been well-nigh irresistible, space has precluded all save the scantiest quotations.
The main object of this volume consists in outlining clearly and briefly, for the use of young students or of the busy general reader, the principal examples of the time-honored stories which have inspired our greatest poets and supplied endless material to painters, sculptors, and musicians ever since art began.
THE BOOK OF THE EPIC GREEK EPICS The greatest of all the world's epics, the Iliad and the Odyssey, are attributed to Homer, or Melesigenes, who is said to have lived some time between 1050 and 850 B.C.Ever since the second century before Christ, however, the question whether Homer is the originator of the poems, or whether, like the Rhapsodists, he merely recited extant verses, has been hotly disputed.
The events upon which the Iliad is based took place some time before 1100 B.C., and we are told the poems of Homer were collected and committed to writing by Pisistratus during the age of Epic Poetry, or second age of Greek literature, which ends 600 B.C.
It stands to reason that the Iliad must have been inspired by or at least based upon previous poems, since such perfection is not achieved at a single bound.

Besides, we are aware of the existence of many shorter Greek epics, which have either been entirely lost or of which we now possess only fragments.
A number of these ancient epics form what is termed the Trojan Cycle, because all relate in some way to the War of Troy.