Epic in Gilgamesh, the Odyssey, and Beowulf: An Evaluation - Essay Example

Epic in Gilgamesh, the Odyssey, and Beowulf: An Evaluation The most accepted definition of an epic is that “An epic is an extended narrative poem in elevated or dignified language, celebrating the feats of a legendary or traditional hero” (Dictionary of English). In the first place, the literary genre of an epic is the narration of a hero and his heroic deeds. Ancient epics often deal with an epic hero and his heroism showed in search of immortality. In most cases, the ancient epic heroes get the gods-goddesses and other supernatural forces involved with his destiny in some way or other. The prime undertone of an epic must be the heroism that evolves around a popular topic such as nationalism, patriotism, religiosity, etc that fits with the age in which the epic is written. Scholars have defined epic in various ways. As Tasso says, “A heroic poem is an imitation of a noble action, narrated in the loftiest verse, with the aim of giving profit through delight" (Torquato Tasso, 1544-95, Italian poet). From Tasso’s viewpoint, a long poem that contains a lofty and grand topic and that narrates the heroism in loftiest verse can be called an epic. Again, Bowra defines an epic as following, "An epic poem is by common consent a narrative of some length and deals with events which have a certain grandeur and importance and come from a life of action, especially violent action such as war." (Cecil Maurice Bowra, 1888-1971, classical studies scholar) Aristotle refers to the tragic dimension and the constituents of an epic, as he says, “As for the art of representation which is narrative and in meter ... there must be the same varieties of epic as of tragedy ... and the constituent parts must be the same ... Epic differs from tragedy in the length of the composition and the meter." (Aristotle, 384-322 B.C.E., Greek philosopher) The well-known texts, “The Epic of Gilgamesh”, the “Odyssey”, and the “Beowulf” are considered as epics because they narrate of the heroic deeds of the heroes, King Gilgamesh, Odyssey, and Beowulf in an elegant manner. Though these heroes’ actions are performed in different contexts for different ends, some of the prime elements of an epic is common these poems. All these poems are long and celebrate the heroism of their heroes. These heroes struggle with the adversaries around them daringly that draws a pool of appraisal from their audience. The “Epic of Gilgamesh” that comprises eleven Tablets, deals with King Gilgamesh’s quest for immortality, glory, and fame through heroic actions. Through out the whole text Gilgamesh appears in the elegant manner as he is upheld in the following lines: Supreme over other kings, lordly in appearance, he is the hero, born of Uruk, the goring wild bull. …raging flood-wave who destroys even walls of stone! (Gilgamesh Tablet 1) The epic “Odyssey” comprises twenty-four books also describes the heroic adventure of king Odyssey us on the way to his home in Ithaca. In this text, the “Odyssey” Odysseus appears to be a man who is to fight the adversaries of his life with the help of the gods and goddesses. Here he is elegant representation of the struggle of human beings who just struggle, fights and endure the pains and sufferings of life. Though Odysseus is more of a heroic sufferer and his actions are simple, but according to the epic conventions he is represented in an elegant manner as he is in the following lines: ………………[The] resourceful man who wandered far and wide after ravaging the sacred citadel of Troy.  He came to see many peoples cities, where he learned their customs, while on the sea his spirit suffered many torments, as he fought to save his life and lead his comrades home. Though he wanted to, he could not rescue them— (Odyssey, Book 1) Such elegance of the hero Beowulf is also expressed in the following lines that take a glimpse of the nationalistic zeal of the epic, Now Beowulf bode in the burg of the Scyldings, leader beloved, and long he ruled in fame with all folk, since his father had gone away from the world…(Beowulf Section 1) Classical epics generally contain formulaic verses. Formulaic verses are groups of words that are regularly employed under the same meter. These verses are used to express a given essential idea. Poets generally use certain phrases fitting with their rhythms. For example Homer uses the formulaic verses in the lines: Athena spoke.  Then she tied those lovely sandals on her feet, the immortal, golden sandals which carry her as fast as stormy blasts of wind across the ocean seas and endless tracts of land. (Odyssey, Book 1) Third person impersonal voices have been used in both of the two texts, “the Epic of Gilgamesh” and the “Odyssey”: Muse, speak to me now of that resourceful man who wandered far and wide after ravaging the sacred citadel of Troy. (Odyssey, Book 1) And, He who has seen everything, I will make known (?) to the lands. I will teach (?) about him who experienced all things, ... alike, (Gilgamesh Tablet 1) Odyssey includes the epic catalogue that is a tradition of classical epics. This catalogue narrates the list of dead heroes and women and things, or attributes, usually extended to some length. Also in both of the texts, the poets uses epic machinery in the forms of the interferences and interests of gods and goddesses in human affairs. Epic simile is one of the important elements of an epic. For example the epic simile is used in Odysseus’ comparison: These things the famous singer sang. Odysseus     was moved; beneath his eyelids, tears ran down     his cheeks. And even as a woman weeps,     flinging herself across the fallen body     of her dear husband where he lies, before     his city and his fellow warriors, (Odyssey, Book 8) In an epic, broad geographic scopes are used through the wander of the hero. Often the hero travels in a “otherworldly” realm. All the three texts used in this discussion employ broad geographic scopes through the journey of their quest. For example, Gilgamesh makes a journey to the land of Humbaba and Odysseus to his native land Ithaca. In some ways or other the epic heroes deal with a common popular interest of the people of the age in which the epics are written. Both king Gilgamesh and Beowulf deal with the nationalistic ambition. Nationalistic zeal is expressed in the following lines of Gilgamesh: He walks out in front, the leader, and walks at the rear, trusted by his companions. Mighty net, protector of his people, (Gilgamesh Tablet 1) In addition, in the “Beowulf” the King is also concerned with the welfare of his subjects: Now Beowulf bode in the burg of the Scyldings, leader beloved, and long he ruled in fame with all folk, (Beowulf Section 1) Finally according to the definition and features of an epic all of the three texts, “the Epic of Gilgamesh” the “Odyssey” and the “Beowulf” can be considered as successful epics. Works Cited Anonymous, The Epic of Gilgamesh. 10 May, 2009 Anonymous, Beowulf Section, 10 May, 2009. Aristotle. Aristotle: Poetics. New York: Forgotten Books, 1934. Homer, Odyssey. 10 May 2009. Tasso, Torquato. Italian poet 1544-95, 10 May, 2009 Bowra, C. Maurice. Classical studies scholar. 1971, 10 May, 2009 Oedipus at Colonus: An Unlikely Tragedy. According to Aristotle’s famed theoretical and philosophical tome Poetics, “The best tragedies are founded on the story of a few houses, on the fortunes of Alcmaeon, Oedipus, Orestes, Meleager, Thyestes, Telephus and those others who have done or suffered something terrible (Aristotle & Moxon, 25).” This is the essence of tragedy, and though there are some inconsistencies in terms of the interpretation of Oedipus at Colonus, the play is an unlikely, yet suitable tragedy for generations of readers. “The Oedipus Colonus (Oedipus at Colonus), that "most tender of poems," as Cicero calls it, has a peculiar and distinctive charm of tone such as no other Greek tragedy possesses (Haigh, 198).” It is far less action-packed and more cerebral and philosophizing than a typical tragedy. Oedipus at Colonus begins with Oedipus entering Colonus lead by Antigone. Oedipus receives a sign of his death masked in the guise of a villager demanding that the two characters leave the sacred spot. A chorus of Old men finally persuades Oedipus to leave the site, and quickly the men know his identity as the killer of Oedipus’ father, King Laius. Oedipus goes to see the King of Colonus, Theseus, to plead his case to stay. Oedipus goes through much difficulty trying to figure out his next course of action, as Creon is coming for him to kill him. Oedipus compliments his daughters, Isemene and Antigone, who are loyal to him in juxtaposition to his power-hungry sons. Oedipus devotes himself to Colonus because they’ve been kind to him, and King Thesesus makes him a citizen with a specific burial site. Creon wants Oedipus to come back to Thebes, but a familial tussle ensues. Oedipus is given another sign by Zeus of his impending death, and gives Athens and Colonus the gift of his death and remembrance. Oedipus’ daughters are distraught and want to know the secret site of their father’s grave, but King Theseus will not tell them. According to Aristotle, “Every tragedy, therefore, must have six parts, which parts determine its quality- namely, plot, character, diction, thought, spectacle, song (Aristotle & Moxon, 12).” There are most certainly these elements in Oedipus at Colonus, with an emphasis on character, thought and spectacle. The characters are rich and devoted to each other, or in opposition, hate each other. Though there is much talked about, the reader or viewer can see these relationships unfold through the plot, which mostly functions as a way to end Oedipus’ life and legacy. Thought functions by way of dialogue and Oedipus’ ruminations about his own mortality, burial place and legacy both in Athens and in the hearts and minds of his children and the people of Colonus. Spectacle comes in the form of signs from the gods which are also plot points that push forward the message of Oedipus at Colonus: nobody can escape their death, but legacy lives on. “Tragedy is an imitation of an action that is complete, and whole, and of a certain magnitude. A whole is that which as a beginning, middle and end (Aristotle & Moxon, 15).” The beginning is entering Colonus and the first omen of Oedipus’ death. The middle is the family squabble and the rising action as signified by Croon’s conflict. The end is the final death of Oedipus, and the mystery surrounding his burial and uncertain legacy of his family lineage. According to A.E. Haigh’s article in The Tragic Drama of the Greeks, “There is little action in the story, which seems at first sight hardly suitable for a tragedy. But Sophocles has contrived to supply the necessary dramatic movement by the introduction of Creon and Polyneices, who are contending for the sovereignty of Thebes (Haigh, 198).” This drama of Creon and Polyneices reinforces the doom and pathos of Oedipus, a benchmark of a classic tragedy. It also makes the middle of the tale and heightens the action that might’ve been bogged down in philosophy and discussion. Death, to Oedipus, is “a release from the troubles and sufferings of life, and cannot fail to be regarded as having a personal application, and as reflecting the feelings of the aged poet (Haigh, 199).” This poet is Sophocles, who ended Oedipus at Colonus in a more cerebral vein than his other tragedies, but still with a spirit of the end of the troubles of life, a merciful doom of a tragic figure. In conclusion, the main points of Aristotle: the specific parts of a Tragedy, the beginning, middle and end and the downfall of the protagonist all point to Oedipus at Colonus being a tragedy, albeit a not so usual example. Oedipus at Colonus makes use of tragedy as an “imitation, not of men, but of an action of life…not a quality (Aristotle & Moxon, 12).” There is life inside of the play, though most of the tone could be considered much more philosophizing than active or action-packed. Nonetheless, Sophocles’ Oedipus at Colonus fits the main and definitive parts of the tragic play, and will be considered such as long as one defines a tragedy by Aristotle’s theory in Poetics. Readers and viewers alike should enjoy Sophocles’ unlikely tragedy, Oedipus at Colonus for the emotion and contemplation on death as well as the classical tragic parts that the play assumes. Works Cited Aristotle & Moxton, T.A. Aristotle: Poetics. New York: Forgotten Books, 1934. Burnstein, Sarah & Donlan, Walter & Pomeroy, Stanley & Roberts, Jennifer. Ancient Greece: A Political, Social, and Cultural History. New York: Oxford University Press, 1999. Haigh, A.E. “Oedipus at Colonus.” The Tragic Drama of the Greeks. Oxford: Clarendon Press, 1896. Pgs. 198- 200. “Outline of Aristotle’s Theory of Tragedy in the Poetics.” Barbara McManus CLA 267 Page. November 1999. 4 May 2009 . Sophocles & Young, George. Oedipus at Colonus. New York: Corier Dover Publications: 1999. Read More