Epic+Poetry

Epic poetry is defined by the Oxford English Dictionary as poetry “[that] celebrates in the form of continuous narrative the achievements of one or more heroic personages of history or tradition” (“Epic” def.1). Epic poetry is most commonly associated with ancient texts such as “The Iliad” and “The Odyssey,” however was a popular poetic genre among more recent poets such as John Milton and Alfred Lord Tennyson and (“Epic” def.1).

Philip Allingham’s article on “The Victorian Web” identifies two forms of epic poetry. Primary, or ‘folk epics,’ such as “The Iliad” or “Beowulf,” are typically passed down through the oral tradition (“Primary or Folk Epics”). Folk epics are customarily recited with music, and are characterized by allusions to the supernatural or godlike figures (Allingham “General Characteristics”). Allingham’s article notes that folk epics often deal with periods of political strife or social upheaval (“General Characteristics). Secondary, or ‘literary epics,’ attempt to mimic the style of folk epics however accomplish this through extensive research and analysis in order to achieve “epic dialect,” or the language associated with written epic poetry (OED “Epic” def.1) (Allingham “Secondary or Literary Epic”). Literary epics are more commonly associated with contemporary epic poetry, such as Milton’s “Paradise Lost” or Lord Byron’s “Don Juan: Canto I” (OED “Epic” def.1).

Both traditional folk epic and literary epic poetry consist of repetitive language and protracted speeches (Allingham “Elements of Epic Style”). Allingham’s article notes that epics typically commemorate the honourable deeds of notable historical figures, indicating an aristocratic hierarchy that excludes the lower class from epic poetic tradition (“Elements of Epic Style”). Paul Battles’s article notes six elements that make up the opening of traditional epics (7). Introductions to epic poems are characterized by the “introductory element,” “a first-person pronoun referring to the speaker,” “names of important individuals and groups,” a “specification of time or place,” “a mention of how subject matter is learned,” and finally “a brief allusion to heroic deeds” (Battles 7). The result, is a genre of poetry that concerns itself primarily with the honourable deeds of heroes during times of strife (7).

Epic poetry shares commonalities to that of elegiac poetry, however the two differ in a number of ways (Battles 11). While elegiac poetry is defined as a mournful response to the speaker’s feelings of loss or deprivation, the oral tradition of epic poetry indicates an intended audience, or what Battles identifies as poetry for the “public domain” (11). The tone of epic poetry is one of reverence for the actions of a specific figure, rather than on the emotions of the narrator (11). Finally, Battles notes the tendency for epic poets of to invoke the divinity of the muses, which establishes the poet’s knowledge and authority above that of the reader (9).

Works Cited: Allingham, Philip V. “Notes on Heroic Poetry: The Primary and Secondary Epic.” The Victorian Web. Victorianweb.org, 21 Feb. 2005. Web. 28 Jan. 2015. Battles, Paul. “Toward a Theory of Old English Poetic Genres: Epic, Elegy, Wisdom Poetry, and the “Traditional Opening.” Studies in Philology 111.1 (2014): 1-33. Web. 24 Jan. 2015. “epic, adj. and n.” OED Online. Oxford University Press, December 2014. Web. 5 February 2015.