An epic (from the Ancient Greek adjective ἐπικός (epikos), from ἔπος (epos) "word, story, poem") is a lengthy narrative poem, ordinarily concerning a serious subject containing details of heroic deeds and events significant to a culture or nation.Milman Parry and Albert Lord have argued that the Homeric epics, the earliest works of Western literature, were fundamentally an oral poetic form. These works form the basis of the epic genre in Western literature. Nearly all Western epic (including Vergil's Aeneid and Dante's Divine Comedy) self-consciously presents itself as a continuation of the tradition begun by these poems. Classical epic employs dactylic hexameter and recounts a journey, either physical (as typified by Odysseus in the Odyssey) or mental (as typified by Achilles in the Iliad) or both. Epics also tend to highlight cultural norms and to define or call into question cultural values, particularly as they pertain to heroism.
Early twentieth-century study of living oral epic traditions in the Balkans by Milman Parry and Albert Lord demonstrated the paratactic model used for composing these poems. What they demonstrated was that oral epics tend to be constructed in short episodes, each of equal status, interest and importance. This facilitates memorization, as the poet is recalling each episode in turn and using the completed episodes to recreate the entire epic as he performs it. Parry and Lord also showed that the most likely source for written texts of the epics of Homer was dictation from an oral performance.
Epic: a long narrative poem in elevated style presenting characters of high position in adventures forming an organic whole through their relation to a central heroic figure and through their development of episodes important to the history of a nation or race. (Harmon and Holman)
An attempt to delineate ten main characteristics of an epic:
Features heroes that embody the values of the civilization.
Often features the tragic hero's descent into the Underworld or hell.
The hero generally participates in a cyclical journey or quest, faces adversaries that try to defeat him in his journey and returns home significantly transformed by his journey. The epic hero illustrates traits, performs deeds, and exemplifies certain morals that are valued by the society the epic originates from. Many epic heroes are recurring characters in the legends of their native culture.
Conventions of epics:
Praepositio: Opens by stating the theme or cause of the epic. This may take the form of a purpose (as in Milton, who proposed "to justify the ways of God to men"); of a question (as in the Iliad, which Homer initiates by asking a Muse to sing of Achilles' anger); or of a situation (as in the Song of Roland, with Charlemagne in Spain).
Invocation: Writer invokes a Muse, one of the nine daughters of Zeus. The poet prays to the Muses to provide him with divine inspiration to tell the story of a great hero. (This convention is restricted to cultures influenced by European Classical culture. The Epic of Gilgamesh, for example, or the Bhagavata Purana do not contain this element).
In medias res: narrative opens "in the middle of things", with the hero at his lowest point. Usually flashbacks show earlier portions of the story.
Enumeratio: Catalogues and genealogies are given. These long lists of objects, places, and people place the finite action of the epic within a broader, universal context. Often, the poet is also paying homage to the ancestors of audience members.
Epithet: Heavy use of repetition or stock phrases: e.g., Homer's "rosy-fingered dawn" and "wine-dark sea."
(The date of compositions of Babylonian epics is often hard to determine, as they may survive on manuscripts that are much later than the first composition. There is also the complication that they underwent successive revisions and redactions.)
The dates of origin of these Hindu epics are hard to determine, as they existed for a long time in history as oral traditions with numerous versions and also in different regions of India and South Asia.
Statue of Iranian poet Ferdowsi in Rome, Italy. Ferdowsi's national epic Shahnameh played an important role in revival of Iranian patriotism and the Persian language after both were systematically suppressed by the Arab occupation of Iran
Borzu Nama, ascribed to 'Amid Abu'l 'Ala' 'Ata b. Yaqub Kateb Razi (Persian epic with a main character and a poetic style related to the "Shahnameh")
Faramarz Nama (Persian epic with a main character and a poetic style related to the "Shahnameh")
Moremi, a part of the Yoruba corpus of divine traditions. It is commonly considered to be a continuation of the story of Oduduwa, the protagonist's father-in-law.
Oduduwa, a part of the Yoruba corpus of divine traditions. Although the period that the dynastic section of the corpus describes is commonly believed to be the 11th century, its divine section deals with the origin of the world itself, and the holy Yoruba city of Ile-Ife is known to be an ancient settlement that dates to a time long before the birth of Christ. Due to this being the case, it may well be safe to assume that the earliest aspects of the corpus are from the ancient era.
Oranyan, a part of the Yoruba corpus of divine traditions. It is commonly considered to be a continuation of the story of Oduduwa, the protagonist's father.
L'Adone ("Adonis", published in 1623; heroic poem based on Roman mythology), Gerusalemme distrutta ("Jerusalem Destroyed", 1626), Anversa liberata ("Antwerp Freed", of uncertain attribution) and Strage degl'Innocenti ("Massacre of the Innocents", 1632; sacred poem) by Giambattista Marino
^Michael Meyer, The Bedford Introduction to Literature (Bedford: St. Martin's, 2005), 2128. ISBN 0-312-41242-8.
^Taken from William Harmon and C. Hugh Holman, A Handbook to Literature, 8th ed., Prentice Hall, 1999.
^According to that article, world folk epics are those that are not just literary masterpieces, but also an integral part of the world view of a people, originally oral, later written down by one or several authors.
^Sastri, K.A. Nilakanta; p.357, A history of South India from prehistoric times to the fall of Vijayanagar, 1955, 2002, Indian Branch, Oxford University Press, New Delhi, ISBN 0-19-560686-8
^ abNarasimhacharya, R (1988), p.21, History of Kannada Literature, Asian Educational Services, New Delhi, ISBN 81-206-0303-6
^Sastri, K.A. Nilakanta; p.360, A history of South India from prehistoric times to the fall of Vijayanagar, 1955, 2002, Indian Branch, Oxford University Press, New Delhi, ISBN 0-19-560686-8
^Sastri, K.A. Nilakanta; pp.364-365, A history of South India from prehistoric times to the fall of Vijayanagar, 1955, 2002, Indian Branch, Oxford University Press, New Delhi, ISBN 0-19-560686-8
Hashmi, Alamgir (2011). "Eponymous Écriture and the Poetics of Reading a Transnational Epic". Dublin Quarterly, 15.
Cornel Heinsdorff: Christus, Nikodemus und die Samaritanerin bei Juvencus. Mit einem Anhang zur lateinischen Evangelienvorlage, Untersuchungen zur antiken Literatur und Geschichte 67, Berlin/New York 2003, ISBN 3-11-017851-6.