Epic and Romance | Page 8

every one is familiar. The epic hero may despise the churlish man, may,
like Odysseus in the Iliad (ii. 198), show little sympathy or patience
with the bellowings of the multitude, but he may not ostentatiously
refuse all community of ideas with simple people. His magnificence is
not defended by scruples about everything low. It would not have
mattered to Odysseus if he had been seen travelling in a cart, like
Lancelot; though for Lancelot it was a great misfortune and anxiety.
The art and pursuits of a gentleman in the heroic age are different from
those of the churl, but not so far different as to keep them in different
spheres. There is a community of prosaic interests. The great man is a
good judge of cattle; he sails his own ship.
A gentleman adventurer on board his own ship, following out his own
ideas, carrying his men with him by his own power of mind and temper,
and not by means of any system of naval discipline to which he as well

as they must be subordinate; surpassing his men in skill, knowledge,
and ambition, but taking part with them and allowing them to take part
in the enterprise, is a good representative of the heroic age. This
relation between captain and men may be found, accidentally and
exceptionally, in later and more sophisticated forms of society. In the
heroic age a relation between a great man and his followers similar to
that between an Elizabethan captain and his crew is found to be the
most important and fundamental relation in society. In later times it is
only by a special favour of circumstances, as for example by the
isolation of shipboard from all larger monarchies, that the heroic
relation between the leader and the followers can be repeated. As
society becomes more complex and conventional, this relation ceases.
The homeliness of conversation between Odysseus and his vassals, or
between Njal and Thord Freedman's son, is discouraged by the rules of
courtly behaviour as gentlefolk become more idle and ostentatious, and
their vassals more sordid and dependent. The secrets also of political
intrigue and dexterity made a difference between noble and villain, in
later and more complex medieval politics, such as is unknown in the
earlier days and the more homely forms of Society. An heroic age may
be full of all kinds of nonsense and superstition, but its motives of
action are mainly positive and sensible,--cattle, sheep, piracy,
abduction, merchandise, recovery of stolen goods, revenge. The
narrative poetry of an heroic age, whatever dignity it may obtain either
by its dramatic force of imagination, or by the aid of its mythology,
will keep its hold upon such common matters, simply because it cannot
do without the essential practical interests, and has nothing to put in
their place, if kings and chiefs are to be represented at all. The heroic
age cannot dress up ideas or sentiments to play the part of characters. If
its characters are not men they are nothing, not even thoughts or
allegories; they cannot go on talking unless they have something to do;
and so the whole business of life comes bodily into the epic poem.
How much the matter of the Northern heroic literature resembles the
Homeric, may be felt and recognised at every turn in a survey of the
ground. In both there are the ashen spears; there are the shepherds of
the people; the retainers bound by loyalty to the prince who gives them
meat and drink; the great hall with its minstrelsy, its boasting and

bickering; the battles which are a number of single combats, while
"physiology supplies the author with images"[1] for the same; the
heroic rule of conduct ([Greek: iomen])[2]; the eminence of the hero,
and at the same time his community of occupation and interest with
those who are less distinguished.
[Footnote 1: Johnson on the Epic Poem (Life of Milton).]
[Footnote 2: Il. xii. 328.]
There are other resemblances also, but some of these are miraculous,
and perhaps irrelevant. By what magic is it that the cry of Odysseus,
wounded and hard bestead in his retreat before the Trojans, comes over
us like the three blasts of the horn of Roland?
Thrice he shouted, as loud as the head of a man will bear; and three
times Menelaus heard the sound thereof, and quickly he turned and
spake to Ajax: "Ajax, there is come about me the cry of Odysseus slow
to yield; and it is like as though the Trojans had come hard upon him
by himself alone, closing him round in the battle."[3]
[Footnote 3: Il. xi. 462.]
It is reported as a discovery made by Mephistopheles in Thessaly, in
the classical Walpurgisnacht, that the company there was very much
like his old acquaintances on