tag="{http://www.w3.org/1999/xhtml}a">30

Bossu on Phaeacia 31 Epic, as the most comprehensive kind of poetry, includes Romance as one of its elements
but needs a strong dramatic imagination to keep Romance under control 32
33

III

Romantic Mythology

Mythology not required in the greatest scenes in Homer	35
Myths and popular fancies may be a hindrance to the epic poet, but he is compelled to make some use of them	36
He criticises and selects, and allows the characters of the gods to be modified in relation to the human characters	37
Early humanism and reflexion on myth—two processes: (1) rejection of the grosser myths; (2) refinement of myth through poetry	40
Two ways of refining myth in poetry—(1) by turning it into mere fancy, and the more ludicrous things into comedy; (2) by finding an imaginative or an ethical meaning in it	40
Instances in Icelandic literature—Lokasenna	41
Snorri Sturluson, his ironical method in the Edda	42
The old gods rescued from clerical persecution	43
Imaginative treatment of the graver myths—the death of Balder; the Doom of the Gods	43
Difficulties in the attainment of poetical self-command	44
Medieval confusion and distraction	45
Premature "culture"	46
Depreciation of native work in comparison with ancient literature and with theology	47
An Icelandic gentleman's library	47
The whalebone casket	48
Epic not wholly stifled by "useful knowledge"	49

IV

The Three Schools—Teutonic Epic—French Epic—The Icelandic Histories

Early failure of Epic among the Continental Germans	50
Old English Epic invaded by Romance (Lives of Saints, etc.)	50
Old Northern (Icelandic) poetry full of romantic mythology	51
French Epic and Romance contrasted	51
Feudalism in the old French Epic (Chansons de Geste) not unlike the prefeudal "heroic age"	52
But the Chansons de Geste are in many ways "romantic"	53
Comparison of the English Song of Byrhtnoth (Maldon, a.d. 991) with the Chanson de Roland	54
Severity and restraint of Byrhtnoth	55
Mystery and pathos of Roland	56
Iceland and the German heroic