PREFACE THESE essays are intended as a general description of some of the principal forms of narrative literature in the Middle Ages, and as a review of some of the more interesting works in each period. It is ~ardly necessary to say that the conclusion is one" in which nothing is concluded," and that whole tracts of literature have been barely touched on-the English metrical romances, the Middle High German poems, the ballads, Northern and Southern-which would require to be considered in any systematic treatment of this part of history. Many serious difficulties have been evaded (in Finnesburh, more particularly), and many things have been taken for granted, too easily. My apology must be that there seemed to be certain results available for criticism, apart from the more strict and scientific procedure which is required to solve the more difficult problems of Beowulf, or of the old Northern or the old French poetry. It is hoped that something may be gained by a
Table of Contents
CONTENTS; CHAPTER I; INTRODUCTION; I; THE HEROIC AGE; Epic and Romance: the two great orders of medieval narra~; PAGE; t~e 3; Epic, of the I I heroic age," preceding Romance of the II age; of chivalry 4; The heroic age represented in three kinds of literature-; Teutonic Epic, French Epic, and the Icelandic Sagas 6; i Conditions of Life in an I I heroic age" 7; Homer and the N orthem poets 9; Homeric passages in Beowulf 10; and in the Song of Maldon 11; Progress of poetry in the heroic age ? 13; Growth of Epic, distinct in character I but generally incomplete; among the Teutonic nations 14; II; EPIC AND ROMANCE; The complex nature of Epic 16; No kind or aspect of life that may not be included 16; This freedom due to the dramatic quality of true (eg; Homeric) Epic 17; as explained by Aristotle 17; Xl Epic does not require a magnificent ideal subject 18; such as those of the artificial epic (Aeneid, Gerllsale1llme; Libet:,ata Paradise
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