Epic

Use in the book

The poem must contain a whole, unified, great world with heaven, earth and the underworld. Its landscapes and figures are nevertheless distinguished from elaborate theatrical machinery. Illustrious action is glossed as known and famous, not simply morally admirable. The audience must already share part of the poet’s ideas and fable and want to hear what he wants to tell; the separate note divides the poem between the poet’s and readers’ heads in a slightly different formulation.

Epic character is necessary but then questioned as sufficient. Time, places and events must also be epic, partly known and partly unknown, available to imagination even where history does not know them. Sustained composition finally requires even continuity of force, movement and attention, with a verse form demanding wisdom and calm. These are Joubert’s interlocking prescriptions, not a neutral classification of every epic.

Places to read

1. I, p. 264, entry 2, ¶1Epic must present a whole, unified and great world.
2. II, p. 605, entry 6, ¶1Epic scenery and bearing differ from theatrical apparatus.
3. II, p. 669, entry 9, ¶1Illustrious action is defined as known and famous.
4. II, p. 741–742, entry 10, ¶1Poet and audience must share an epic disposition and materials.
5. II, p. 742, entry begun p. 741, no. 10, ¶2A second formulation divides the poem between their heads.
6. II, p. 845, entry 11, ¶1Epic character alone may not suffice without epic time and places.
7. II, p. 924, entry 4, ¶1Continuity of attention and verse form supports extensive composition.

Translation in this edition

The English translation distinguishes epic as adjective from the substantive epic for épopée. It preserves both formulations of the half relation, the paired conjunction/conjuncture and the unresolved questions. The final Aristotle pointer remains unverified and supplies no named meter.