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It has been called an epical river because of the varied and sustained beauty through which it sweeps from its mountain sources to the sea; but as I turn from it, and the visible loveliness of its banks fades from sight, I recall that other landscape of history and legend through which it rolls, and that, for the moment, is the reality, and the other the shadow.
And when I think how the railroad has been pushed through this unwatered wilderness and haunt of savage tribes, and now will bear an emigrant for some £12 from the Atlantic to the Golden Gates; how at each stage of the construction, roaring, impromptu cities, full of gold and lust and death, sprang up and then died away again, and are now but wayside stations in the desert; how in these uncouth places pig-tailed Chinese pirates worked side by side with border ruffians and broken men from Europe, talking together in a mixed dialect, mostly oaths, gambling, drinking, quarrelling, and murdering like wolves; how the plumed hereditary lord of all America heard, in this last fastness, the scream of the "bad medicine waggon" charioting his foes; and then when I go on to remember that all this epical turmoil was conducted by gentlemen in frock-coats, and with a view to nothing more extraordinary than a fortune and a subsequent visit to Paris, it seems to me, I own, as if this railway were the one typical achievement of the age in which we live, as if it brought together into one plot all the ends of the world and all the degrees of social rank, and offered to some great writer the busiest, the most extended, and the most varied subject for an enduring literary work.
Wolfram von Eschenbach wrote the version of the Quest of the Holy Grail which inspired Wagner's "Parsifal" and which is morally the most exalted epical form which that legend ever received. His companions also existed. Tannhauser is not an invention, though it is to Wagner alone that we owe his association with the famous contest of minstrelsy which is the middle picture in Wagner's drama.
This noble life, which impinges a moment on our course through Kabylia, is surely the most epical of our century, which can never be reproached for the lack of a hero while Abd-el-Kader's name is remembered.
Hard indeed to discover how this most practical, and therefore most epical of ages, is to be "set to music," when all those who talk about so doing persist obstinately in poring, with introverted eyes, over the state of their own digestion, or creed.
They are in the Celtic dilemma of standing at variance with Bull; they return him his hearty antipathy, are unable to be epical or lyrical of him, are condemned to expend their genius upon the abstract, the quaint, the picturesque. Nature they read spiritually or sensually, always shrinkingly apart from him. They swell to a resemblance of their patron if they stoop to woo his purse.
Yet, at the end of the ends, he was an artist and not a man of science. His hand was perpetually selecting his facts, and shaping them to one epical result, with an orchestral accompaniment, which, though reporting the rudest noises of the street, the vulgarest, the most offensive, was, in spite of him, so reporting them that the result was harmony.
But when the thing is studied the illusion fades away: in the transitions, above all, we can detect the evil, ironical temper of the man; and instead of a flighty work, where many crude but genuine feelings tumble together for the mastery as in the lists of tournament, we are tempted to think of the LARGE TESTAMENT as of one long-drawn epical grimace, pulled by a merry-andrew, who has found a certain despicable eminence over human respect and human affections by perching himself astride upon the gallows.
Was Carrière a decorative painter by nature setting aside training? We doubt it, though Morice does not hesitate to name him after Puvis de Chavannes in this field. The trouble is that he did not make many excursions into the larger forms. He painted a huge canvas, Les Théâtres Populaires, in which the interest is more intimate than epical.
The simplest epical form is seen emerging out of lyrical literature when the artist prolongs and broods upon himself as the centre of an epical event and this form progresses till the centre of emotional gravity is equidistant from the artist himself and from others. The narrative is no longer purely personal.
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