The theater-goer in conventional dramatic theater says: Yes, I've felt that way, too. That's the way I am. That's life. That's the... way it will always be. The suffering of this or that person grips me because there is no escape for him. That's great art--Everything is self- evident. I am made to cry with those who cry, and laugh with those who laugh. But the theater-goer in the epic theater says: I would never have thought that. You can't do that. That's very strange, practically unbelievable. That has to stop. The suffering of this or that person grips me because there is an escape for him. That's great art--nothing is self-evident. I am made to laugh about those who cry, and cry about those who laugh.LESSATTRIBUTION DETAIL »
I am not a great man, but sometimes I think the impersonal and objective equality of my talent and the sacrifices of it, in pieces..., to preserve its essential value has some sort of epic grandeur.LESSATTRIBUTION DETAIL »
Whatever Epic may mean, it implies some weight and solidity; Romance means nothing, if it does not convey some notion of mystery a...nd fantasy. A general distinction of this kind, whatever names may be used to render it, can be shown, in medieval literature, to hold good of the two large groups of narrative belonging to the earlier and the later Middle Ages respectively. Beowulf might stand for the one side. Lancelot or Gawain for the other. It is a difference not confined to literature. The two groups are distinguished from one another, as the respectable piratical gentleman of the North Sea coast in the ninth or tenth century differs from one of the companions of Saint Louis. The latter has something fantastic in his ideas which the other has not. The Crusader may indeed be natural and brutal enough in most of his ways, but he has lost the sobriety and simplicity of the earlier type of rover.LESSATTRIBUTION DETAIL »
I am fully sensible that an historical romance, founded on the House of Saxe Cobourg, might be much more to the purpose of ... />profit or popularity than such pictures of domestic life in country villages as I deal in. But I could no more write a romance than an epic poem. I could not sit down to write a serious romance under any other motive than to save my life; and if it were indispensable for me to keep it up and never relax into laughing at myself or other people, I am sure I should be hung before I had finished the first chapter. No, I must keep to my own style and go on in my own way.LESSATTRIBUTION DETAIL »
In an age robbed of religious symbols, going to the shops replaces going to the church.... We have a free choice, but at a price. ...We can win experience, but never achieve innocence. Marx knew that the epic activities of the modern world involve not lance and sword but dry goods.LESSATTRIBUTION DETAIL »
Homer sweeps us away by the irresistible movement of lines through a whole passage to a splendid climax. What counts is the single...ness of his effect, the unbroken maintenance of a heroic or tragic mood, the concentration on some action vividly imagined and clearly portrayed without irrelevance or second thoughts or even those hints that lure into bypaths of fancy and suggest that there is more in the words than is obvious at first sight. But in Virgil, great though the paragraphs are, compelling though the climax is when it is reached, we are more concerned with the details, with each small effect and each deftly placed word, than with the whole. We linger over the richness of single phrases, over the "pathetic half-lines," over the precision or potency with which a word illuminates a sentence or a happy sequence of sounds imparts an inexplicable charm to something that might otherwise have been trivial. Of course, Homer has his magical phrases and Virgil his bold effects, but the distinction stands. It is a matter of composition, of art, and it marks the real difference between the two kinds of epic, which are not so much "authentic" and "literary" as oral and written.LESSATTRIBUTION DETAIL »
The alienation effect in German epic theater is achieved not only through the actors, but also through music (chorus and song) and... sets (transparencies, film strips, etc.). Its main purpose is to place the staged events in their historical context.LESSATTRIBUTION DETAIL »
The language of the game is interesting. You can think of the pauses as caesuras, breaks between the lines. As a poem the game is ...composed of a number of short lines representing the pitches. The number of lines per batter form a stanza. Then there is a space. Sometimes the stanzas become breathless, rushing full paragraphs that build rapidly on each other until the poem-inning explodes. The poem lives for this sudden blossoming out of prosodic regularity. Should someone make a computer analysis of baseball prosody, I believe that they would come up with something close to the prosody of some great American lyrical epic, Whitman's Leaves of Grass, let's say, or Doc Williams's Patterson.... The game is definitely an epic ... formed of many lyrical moments dependent on silences for their effectiveness. An unfolding story punctuated by brief emotional swellings.LESSATTRIBUTION DETAIL »
"Epic poem,--ten thousand lines--revolution of July--composed it on the spot--Mars by day, Apollo by night,--bang the field-piece,... twang the lyre."LESSATTRIBUTION DETAIL »