“What is the world? What is it for?
It is an art. It is the best of all possible art, a finite picture of the infinite. Assess it like prose, like poetry, like architecture, sculpture, painting, dance, delta blues, opera, tragedy, comedy, romance, epic. Assess it like you would a Faberge egg, like a gunfight, like a musical, like a snowflake, like a death, a birth, a triumph, a love story, a tornado, a smile, a heartbreak, a sweater, a hunger pain, a desire, a fufillment, a desert, a waterfall, a song, a race, a frog, a play, a song, a marriage, a consummation, a thirst quenched.
Assess it like that. And when you're done, find an ant and have him assess the cathedrals of Europe.”
— N.D. Wilson
“Man, a gigantic child, must play with Babylon and Nineveh, with Isis and with Ashtaroth. By all means let him dream of the Bondage of Egypt, so long as he is free from it. By all means let him take up the Burden of Tyre, so long as he can take it lightly. But the old gods must be his dolls, not his idols. His central sanctities, his true possessions, should be Christian and simple. And just as a child would cherish most a wooden horse or a sword that is a mere cross of wood, so man, the great child, must cherish most the old plain things of poetry and piety; that horse of wood that was the epic end of Ilium, or that cross of wood that redeemed and conquered the world.”
— G.K. Chesterton
“That is to say, epic poetry has been invented many times and independently; but, as the needs which prompted the invention have been broadly similar, so the invention itself has been.”
— Lascelles Abercrombie
“If epic poetry is a definite species, the sagas do not fall within it.”
— Lascelles Abercrombie
“Byron published the first two cantos of his epic poem Childe Harold's Pilgrimage, a romanticized account of his wanderings through Portugal, Malta, and Greece, and, as he later remarked, "awoke one morning and found myself famous." Beautiful, seductive, troubled, brooding, and sexually adventurous, he was living the life of a Byronic hero while creating the archetype in his poetry. He became the toast of literary London and was feted at three parties each day, most memorably a lavish morning dance hosted by Lady Caroline Lamb. Lady Caroline, though married to a politically powerful aristocrat who was later prime minister, fell madly in love with Byron. He thought she was "too thin," yet she had an unconventional sexual ambiguity (she liked to dress as a page boy) that he found enticing. They had a turbulent affair, and after it ended she stalked him obsessively. She famously declared him to be "mad, bad, and dangerous to know," which he was. So was she.”
— Walter Isaacson
“Any long work in which poetry is persistent, be it epic or drama or narrative, is really a succession of separate poetic experiences governed into a related whole by an energy distinct from that which evoked them.”
— John Drinkwater
“Don't panic. Midway through writing a novel, I have regularly experienced moments of bowel-curdling terror, as I contemplate the drivel on the screen before me and see beyond it, in quick succession, the derisive reviews, the friends' embarrassment, the failing career, the dwindling income, the repossessed house, the divorce ... Working doggedly on through crises like these, however, has always got me there in the end. Leaving the desk for a while can help. Talking the problem through can help me recall what I was trying to achieve before I got stuck. Going for a long walk almost always gets me thinking about my manuscript in a slightly new way. And if all else fails, there's prayer. St Francis de Sales, the patron saint of writers, has often helped me out in a crisis. If you want to spread your net more widely, you could try appealing to Calliope, the muse of epic poetry, too.”
— Sarah Waters
“In my opinion, the trombone is the true head of the family of wind instruments, which I have named the 'epic' one. It possesses nobility and grandeur to the highest degree; it has all the serious and powerful tones of sublime musical poetry, from religious, calm and imposing accents to savage, orgiastic outburst. Directed by the will of the master, the trombones can chant like a choir of priests, threaten, utter gloomy sighs, a mournful lament, or a bright hymn of glory; they can break forth into awe-inspiring cries and awaken the dead or doom the living with their fearful voices.”
— Hector Berlioz
“To later Romans Ennius was the personification of the spirit of early Rome; by them he was called "The Father of Roman Poetry." We must remember how truly Greek he was in his point of view. He set the example for later Latin poetry by writing the first epic of Rome in Greek hexameter verses instead of in the old Saturnian verse. He made popular the doctrines of Euhemerus, and he was in general a champion of free thought and rationalism.”
— Quintus Ennius
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