Dojo Darelir, the School of Xenograg the Sorcerer

The Subject of Heroic Poetry is the Hero

The subject of heroic poetry is the hero, and the hero is a man who behaves in certain ways, pursuing specified goals by his personal courage and bravery. However, the hero lives in, and is moulded by, a social system and a culture, and his actions are intelligible only by reference to them. That is true even when the poet’s narrative appears to ignore everything and everyone but the heroes.

No one who reads the Iliad can fail to be struck by the peculiar character of the fighting. There are tens of thousands of soldiers on hand, yet the poet has eyes only for Ajax or Achilles or Hector or Aeneas. In itself, such a literary device is commonplace; it is a very rare artist who has both reason and genius enough to re-create masses of men in battle. Nor is there historical objection to the individual combat between champions, as between Achilles and Hector, or, even more interesting in some ways, between Ajax and Hector, ending in a draw and an exchange of gifts. The false note comes in the full-scale fighting. There the confusion is indescribable. No one commands or gives orders. Men enter the battle and leave at their own pleasure; they select their individual opponents; they group and regroup for purely personal reasons. And the disorganization, unlike the chaotic movements in a war novel like Stephen Crane’s The Red Badge of Courage, does not stem from the breakdown of an original plan of action but from the poet’s concentration on his heroes as individuals. He must bring in the army as a whole to maintain the necessary realism of the war story, but he returns to the central figures as quickly as possible.

M. I. Finley, The World of Odysseus, p. 74

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