A romantic tale, which passes as an epic in both countries, was written in Chinese verse by Professor Inouye, and has been rendered in classical Japanese by Naobumi Ochiai. It is entitled "The Lay of the Pious Maiden Shirakiku," which is The White Aster.

The first canto opens with an exquisite description of an autumn sunset and of the leaves falling from the trees at the foot of Mount Aso. Then we hear a temple bell ringing in a distant grove, and see a timid maiden steal out weeping from a hut in the extremity of the village to gaze anxiously in the direction of the volcano, for her father left her three days before to go hunting and has not returned. Poor little White Aster fears some harm may have befallen her sire, and, although she creeps back into the hut and kindles a fire to make tea, her heads turns at every sound in the hope that her father has come back at last. Stealing out once more only to see wild geese fly past and the rain-clouds drift across the heavens, White Aster shudders and feels impelled to start in quest of the missing man. She, therefore, dons a straw cloak and red bamboo hat, and, although night will soon fall, steals down the village street, across the marsh, and begins to climb the mountain.

  Here the steep path winds with a swift ascent
  Toward the summit:—the long grass that grew
  In tufts upon the slopes, shrivelled and dry,
  Lay dead upon her path;—hushed was the voice
  Of the blithe chafers.—Only sable night
  Yawned threatening from the vale.

While she is searching, the rain ceases and the clouds part, but no trace of her missing father does she find. Light has gone and darkness has already invaded the solitude, when White Aster descries a faint red gleam through the trees and hears the droning voice of a priest chanting his prayers. Going in the direction of light and sound, White Aster soon approaches a ruined temple, standing in the midst of a grove of cypress and camphor trees, amid bleached bones and mouldering graves overhung by weeping-willows.

Her light footfall on the broken steps, falling upon the ear of the recluse, makes him fancy some demon is coming to tempt him, so seizing a light he thrusts it out of the door, tremblingly bidding the "fox ghost" begone. In the East foxes being spirits of evil and having the power to assume any form they wish, the priest naturally takes what seems a little maiden for a demon. But, when he catches a glimpse of White Aster's lovely innocent face and hears her touching explanation, he utterly changes his opinion, muttering that she must belong to some noble family, since her eyebrows are like twin "half-moons."

  "'Tis clear she comes of noble family:
  Her eyebrows are as twin half-moons: her hair
  Lies on her snowy temples, like a cloud:
  In charm of form she ranks with Sishih's self,
  That pearl of loveliness, the Chinese Helen."

Taking his visitor gently by the hand, he leads her into the sanctuary, where he seats her at Buddha's feet, before inquiring who she is and what she is doing at night in the wilderness. White Aster timidly explains that, although born in one of the southern islands and cradled in a rich home, the pleasant tenor of her life was suddenly interrupted by the outbreak of war. Her home sacked and destroyed, she and her mother barely escaped with their lives. Taking refuge near a ruined temple, they erected a booth to shelter them, where the girl who had always been lapped in luxury had to perform all kinds of menial tasks. But even under such circumstances her life proved pleasant compared to what she suffered when news came that her father had rebelled against the king, and that he and his adherents had been crushed in the war. No poppy-draught could enable the two poor women to forget such terrible tidings, and it is no wonder the poor mother pined away.

                      As the stream
  Flows to the sea and nevermore returns,
  So ebbed and ebbed her life. I cannot tell
  What in those days I suffered. Nature's self
  Seemed to be mourning with me, for the breeze
  Of Autumn breathed its last, and as it died
  The vesper-bell from yonder village pealed
  A requiem o'er my mother. Thus she died,
  But dead yet lives—for, ever, face and form,
  She stands before my eyes; and in my ears
  I ever seem to hear her loving voice,
  Speaking as in the days when, strict and kind,
  She taught me household lore,—in all a mother.

Having carefully tended her mother to the end, poor little White Aster lived alone, until one day her father suddenly appeared, having found at last a way to escape and rejoin them. He was, however, broken-hearted on learning of his wife's death, and, hoping to comfort him, White Aster paid him all manner of filial attentions. She could not, however, restore happiness or peace to the bereaved man, who, besides mourning his wife, keenly regretted the absence of his son Akitoshi, whom he had driven from home in anger when the youth proved wild and overbearing.

During this artless narrative the recluse had exhibited signs of deep emotion, and, when White Aster mentioned the name of her brother, he clasped his hands over his face as if to conceal its expression. After listening to her tale in silence, he kindly bade White Aster tarry there until sunrise, assuring her it would not be safe for her to wander in the mountain by night. Little White Aster, therefore slept at Buddha's feet, shivering with cold, for her garments were far too thin to protect her from the keen mountain air. As she slept she dreamt of her father, whose wraith appeared to her, explaining that a false step had hurled him down into a ravine, whence he has vainly been trying to escape for three days past!

The second canto opens with a description of a beautiful red dawn, and of the gradual awakening of the birds, whose songs finally rouse the little maiden, who again sets off on her quest.

  Now the red dawn had tipped the mountain-tops,
  And birds, awaking, peered from out their nests,
  To greet the day with strains of matin joy;
  The while, the moon's pale sickle, silver white,
  Fading away, sunk in the western sky.
  Clear was the air and cloudless, save the mists
  That rolled in waves upon the mountain-tops.
  Or crept along the gullies.

Skirting the trunks of mighty trees, stealing beneath whispering pines, White Aster threads different parts of the solitude, where she encounters deer and other timid game, seeking some trace of her father. She is so intent on this quest that she does not mark two dark forms which gradually creep nearer to her. These are robbers, who finally pounce upon White Aster and drag her into their rocky den, little heeding her tears or prayers; and, although the maiden cries for help, echo alone reiterates her desperate calls.

The brigands' lair is beneath an overhanging cliff, where they have erected a miserable booth, whose broken thatch has to be supplemented by the dense foliage of the ginkgo tree overshadowing it. In front of this hut runs a brawling stream, while the rocks all around are hung with heavy curtains of ivy, which add to the gloom and dampness of the place.

            Here the sun
  Ne'er visits with his parting rays at eve,
  But all is gloom and silence save the cry
  Of some belated bird that wakes the night.

Having brought their prisoner safely into this den, the robbers proceed to eat and drink, dispensing with chopsticks, so wolfish is their hunger. Meantime they roughly jeer at their captive, who sits helpless before them, tears streaming down her pale cheeks. Having satisfied their first imperious craving for food and drink, the brigands proceed to taunt their prisoner, until the captain, producing a koto or harp, bids her with savage threats make music, as they like to be merry.

               "Sit you down,
  And let us hear your skill; for I do swear
  That, if you hesitate, then with this sword
  I'll cut you into bits and give your flesh
  To yonder noisy crows. Mark well my words."

So proficient is our little maiden on this instrument, that her slender fingers draw from the cords such wonderful sounds that all living creatures are spellbound. Even the robbers remain quiet while it lasts, and are so entranced that they fail to hear the steps of a stranger, stealing near the hut armed with sword and spear. Seeing White Aster in the brigands' power, this stranger bursts open the door and pounces upon the robbers, several of whom he slays after a desperate conflict. One of their number, however, manages to escape, and it is only when the fight is over that White Aster—who has covered her face with her hands—discovers that her rescuer is the kind-hearted recluse. He now informs her that, deeming it unsafe for her to thread the wilderness alone, he had soon followed her, intending to tell her he is her long-lost brother! Then he explains how, after being banished from home, he entered the service of a learned man, with whom he began to study, and that, perceiving at last the wickedness of his ways, he made up his mind to reform. But, although he immediately hastened home to beg his parents' forgiveness, he arrived there only to find his native town in ruins. Unable to secure any information in regard to his kin, he then became a recluse, and it was only because shame and emotion prevented his speaking that he had not immediately told White Aster who he was.

  Much then my spirit fought against itself,
  Wishing to tell my name and welcome you,
  My long-lost sister: but false shame forbade
  And kept my mouth tight closed.

His tale ended, the recluse and his small sister leave the robbers' den, and steal hand in hand through the dusk, the forest's silence being broken only by the shrill cries of bands of monkeys. They are just about to emerge from this dark ravine, when the robber who managed to escape suddenly pounces upon the priest, determined to slay him so as to avenge his dead comrades. Another terrible fight ensues, which so frightens poor little White Aster that she runs off, losing her way in the darkness, and is not able to return to her brother's side in spite of all her efforts.

The third canto tells how, after wandering around all night, White Aster finally emerges at dawn on the top of a cliff, at whose base nestles a tiny village, with one of the wonted shrines. Making her way down to this place, White Aster kneels in prayer, but her attitude is so weary that an old peasant, passing by, takes pity upon her and invites her to join his daughter in their little cottage. White Aster thus becomes an inmate of this rustic home, where she spends the next few years, her beauty increasing every day, until her fame spreads all over the land. Hearing of her unparalleled loveliness, the governor finally decides to marry her, although she is far beneath him in rank, and sends a matrimonial agent to bargain for her hand. The old rustic, awed by the prospect of so brilliant an alliance, consents without consulting White Aster, and he and the agent pick out in the calendar a propitious day for the wedding.

When the agent has departed, the old man informs his guest how he has promised her hand in marriage, adding that she has no choice and must consent. But White Aster exclaims that her mother, on her way to the temple one day, heard a strange sound in the churchyard. There she discovered, amongst the flowers, a tiny abandoned girl, whom she adopted, giving her the name of the blossoms around her.

                   "Once," she said,
  "Ere morn had scarce begun to dawn, I went
  To worship at the temple: as I passed
  Through the churchyard 'twixt rows of gravestones hoar,
  And blooming white chrysanthemums, I heard
  The piteous wailing of a little child.
  Which following, I found, amidst the flowers,
  A fair young child with crimson-mouthing lips
  And fresh soft cheek—a veritable gem.
  I took it as a gift that Buddha sent
  As guerdon of my faith, and brought it up
  As my own child, to be my husband's joy
  And mine: and, as I found thee couched
  Amidst white-blooming asters, I named thee
  White Aster in memorial of the day."

The little maiden adds that her adopted mother made her promise never to marry any one save her so-called brother, and declares she is bound in honor to respect this maternal wish. The governor, anxious to secure this beautiful bride, meantime sends the agent hurrying back with a chest full of gifts, the acceptance of which will make the bargain binding. So the clever agent proceeds to exhibit tokens, which so dazzle the old peasant that he greedily accepts them all, while admiring neighbors gape at them in wonder.

Poor little White Aster, perceiving it will be impossible to resist the pressure brought to bear upon her, steals out of the peasant's house at midnight, and, making her way across damp fields to the river, climbs up on the high bridge, whence she intends to fling herself into the rushing waters. She pauses, however, to utter a final prayer, and, closing her eyes, is about to spring when a hand grasps her and a glad voice exclaims she is safe! Turning around, White Aster's wondering eyes rest upon the recluse, who ever since he escaped from the brigand's clutches has vainly been seeking her everywhere. He declares they shall never part again and tenderly leads her home, where she is overjoyed to find her father, who still mourns her absence.

Thankful for the return of his child, the father relates how, having fallen into a ravine,—where he found water and berries in plenty,—he vainly tried to scale the rocks, to escape from its depths and return home. All his efforts having proved vain, he was almost ready to give up in despair, when a band of monkeys appeared at the top of the cliff and by grimaces and sounds showed him how to climb out by means of the hanging vines. Trusting to these weak supports, the father scaled the rocks, but on arriving at the summit was surprised to discover no trace of the monkeys who had taught him how to escape. He remembered, however, that while hunting one day he had aimed at a mother monkey and her babe, but had not injured them because the poor mother had made such distressing sounds of despair. He adds it was probably in reward for this act of mercy that the monkeys saved his life.

              "I spared her life;
  And she, in turn, seeing my sorry plight,
  Cried to me from the rocks, and showed the way
  To flee from certain death."

Thus, this epic ends with a neat little moral, and with the comforting assurance that White Aster, her father, and husband lived happy ever afterward.

AMERICAN EPICS

When Europeans first landed on this continent, they found it occupied by various tribes of Indians, speaking—it is estimated—some six hundred different languages or dialects. At first no systematic effort could be made to discover the religion or traditions of the native Americans, but little by little we have learned that they boasted a rich folk-lore, and that their nature-myths and hero-tales were recited by the fireside from generation to generation. Because there were tribes in different degrees of evolution between savagery and the rudimentary stages of civilization, there are more or less rude myths and folk-tales in the samples with which we have thus become familiar.

Among the more advanced tribes, Indian folk-lore bears the imprint of a weirdly poetical turn of mind, and ideas are often vividly and picturesquely expressed by nature similes. Some of this folk-lore is embodied in hymns, or what have also been termed nature-epics, which are now being carefully preserved for future study by professional collectors of folk-lore. Aside from a few very interesting creation myths and stories of the Indian gods, there is a whole fund of nature legends of which we have a characteristic sample in Bayard Taylor's Mon-da-min, or Creation of the Maize, and also in the group of legends welded into a harmonious whole by Longfellow in the "American-Indian epic" Hiawatha.

The early European settlers found so many material obstacles to overcome, that they had no leisure for the cultivation of literature. Aside from letters, diaries, and reports, therefore, no early colonial literature exists. But, with the founding of the first colleges in America,—Harvard, Yale, William and Mary, the College of New Jersey, and King's College (now Columbia),—and with the introduction of the printing press, the American literary era may be said to begin.

The Puritans, being utterly devoid of aesthetic taste, considered all save religious poetry sinful in the extreme; so it was not until the middle of the seventeenth century that Fame could trumpet abroad the advent of "the Tenth Muse," or "the Morning Star of American Poetry," in the person of Anne Bradstreet! Among her poems—which no one ever reads nowadays—is "An Exact Epitome of the Three First Monarchies, viz., the Assyrian, Persian, and Grecian, and the Beginning of the Roman Commonwealth to the End of their Last King," a work which some authorities rank as the first American epic (1650). This was soon (1662) followed by Michael Wigglesworth's "Day of Doom," or "Poetical Description of the Great and Last Judgement," wherein the author, giving free play to his imagination, crammed so many horrors that it afforded ghastly entertainment for hosts of young Puritans while it passed through its nine successive editions in this country and two in England. Although devoid of real poetic merit, this work never failed to give perusers "the creeps," as the following sample will sufficiently prove:

  Then might you hear them rend and tear
      The air with their outcries;
  The hideous noise of their sad voice
      Ascendant to the skies.
  They wring their hands, their caitiff hands,
      And gnash their teeth for terror;
  They cry, they roar, for anguish sore,
      And gnaw their tongue for horror.
  But get away without delay;
      Christ pities not your cry;
  Depart to hell, there may you yell
      And roar eternally.

The Revolutionary epoch gave birth to sundry epic ballads—such as Francis Hopkinson's Battle of the Kegs and Major André's Cow Chase—and "to three epics, each of them almost as long as the Iliad, which no one now reads, and in which one vainly seeks a touch of nature or a bit of genuine poetry." This enormous mass of verse includes Trumbull's burlesque epic, McFingal (1782), a work so popular in its day that collectors possess samples of no less than thirty pirated editions. Although favorably compared to Butler's Hudibras, and "one of the Revolutionary forces," this poem—a satire on the Tories—has left few traces in our language, aside from the familiar quotation:

A thief ne'er felt the halter draw
With good opinion of the law.

The second epic of this period is Timothy Dwight's "Conquest of Canaan" in eleven books, and the third Barlow's "Columbiad." The latter interminable work was based on the poet's pompous Vision of Columbus, which roused great admiration when it appear (1807). While professing to relate the memorable voyage of Columbus in a grandly heroic strain, the Columbiad introduces all manner of mythical and fantastic personages and events. In spite of its writer's learning and imagination, this voluminous epic fell quite flat when published, and there are now very few persons who have accomplished the feat of reading it all the way through. Still, it contains passages not without merit, as the following lines prove:

  Long on the deep the mists of morning lay,
  Then rose, revealing, as they rolled away,
  Half-circling hills, whose everlasting woods
  Sweep with their sable skirts the shadowy floods:
  And say, when all, to holy transport given,
  Embraced and wept as at the gates of Heaven,
  When one and all of us, repentant, ran,
  And, on our faces, blessed the wondrous man:
  Say, was I then deceived, or from the skies
  Burst on my ear seraphic harmonies?
  "Glory to God!" unnumbered voices sung:
  "Glory to God!" the vales and mountains rang.
  Voices that hailed Creation's primal morn,
  And to the shepherds sung a Saviour born.
  Slowly, bare-headed, through the surf we bore
  The sacred cross, and, kneeling, kissed the shore.
  'But what a scene was there? Nymphs of romance,
  Youths graceful as the Fawn, with eager glance,
  Spring from the glades, and down the alleys peep,
  Then headlong rush, bounding from steep to steep,
  And clap their hands, exclaiming as they run,
  "Come and behold the Children of the Sun!"

Not content with an epic apiece, Barlow and Trumbull, with several other "Hartford wits," joined forces in composing the Anarchiad, which exercised considerable influence on the politics of its time.

In 1819 appeared Washington Irving's Sketch-Book, which contains the two classics, Legend of the Sleepy Hollow, and Rip Van Winkle, which are sometimes quoted as inimitable samples of local epics in prose. Cooper's Leather-stocking series of novels, including the Deerslayer, The Last of the Mohicans, The Pathfinder, The Pioneers, and The Prairie, are also often designated as "prose epics of the Indian as he was in Cooper's imagination," while some of his sea-stories, such as The Pirate, have been dubbed "epics of the sea." Bryant, first-born of our famous group of nineteenth-century American poets, made use of many of the Indian myths and legends in his verse. But he rendered his greatest service to epic poetry by his translations of the Iliad and the Odyssey, accomplished when already eighty years of age.

There are sundry famous American heroic odes or poems which contain epic lines, such as Halleck's Marco Bozzaris, Dana's Buccaneers, Lowell's Vision of Sir Launfal, and Biglow Papers, Whittier's Mogg Megone, Holmes's Grandmother's Story of Bunker Hill Battle, Taylor's Amram's Wooing, Emerson's Concord Hymn, etc., etc. Then, too, some critics rank as prose epics Hawthorne's Scarlet Letter, Poe's Fall of the House of Usher, Hale's Man Without a Country, Bret Harte's Luck of Roaring Camp, Helen Hunt Jackson's Ramona, etc., etc.

It is, however, Longfellow, America's most popular poet, who has written the nearest approach to a real epic, and the poems most likely to live, in his Wreck of the Hesperus, Skeleton in Armor, Golden Legend, Hiawatha, Tales of a Wayside Inn, Courtship of Miles Standish, and Evangeline, besides translating Dante's grand epic The Divine Comedy.

In Longfellow's Wreck of the Hesperus we have a miniature nautical epic, in the Skeleton in Armor our only epic relating to the Norse discovery, in the Golden Legend, and in many of the Tales of a Wayside Inn, happy adaptations of mediaeval epics or romances.

Hiawatha, often termed "the Indian Edda," is written in the metre of the old Finnish Kalevala, and contains the essence of many Indian legends, together with charming descriptions of the woods, the waters, and their furry, feathered, and finny denizens. Every one has followed entranced the career of Hiawatha, from birth to childhood and boyhood, watched with awe his painful initiation to manhood and with tender sympathy his idyllic wooing of Minnehaha and their characteristic wedding festivities. Innumerable youthful hearts have swelled at his anguish during the Famine, and countless tears have silently dropped at the death of the sweet little Indian squaw. After connecting this Indian legend with the coming of the White Man from the East, the poet, knowing the Red man had to withdraw before the new-comer skilfully made use of a sun-myth, and allowed us to witness Hiawatha's departure, full of allegorical significance:

  Thus departed Hiawatha,
  Hiawatha the Beloved,
  In the glory of the sunset,
  In the purple mists of evening,
  To the regions of the home-wind,
  Of the Northwest-wind Keewaydin,
  To the Islands of the Blessed,
  To the kingdom of Ponemah,
  To the land of the Hereafter!

The Courtship of Miles Standish brings us to the time of the Pilgrim's settlement in the New World and has inspired many painters.

The next poem, which some authorities consider Longfellow's masterpiece, is connected with another historical event, of a later date, the conquest of Acadia by the English. It is a matter of history that in 1755 the peaceful French farmers of Acadia, without adequate notice or proper regard for family ties, were hurried aboard waiting British vessels and arbitrarily deported to various ports, where they were turned adrift to join the scattered members of their families and earn their living as best they could. The outline of the story of Evangeline, and of her long, faithful search for her lover Gabriel, is too well known to need mention. There are besides few who cannot vividly recall the reunion of the long-parted lovers just as Gabriel's life is about to end. All through this hopeless search we are vouchsafed enchanting descriptions of places and people, and fascinating glimpses of scenery in various sections of our country, visiting in imagination the bayous of the South and the primeval forests, drifting along the great rivers, and revelling in the beauties of nature so exquisitely delineated for our pleasure. But, as is fitting in regard to the theme, an atmosphere of gentle melancholy hovers over the whole poem and holds the listener in thrall long as its musical verses fall upon the ear.

  Still stands the forest primeval; but under the shade of its branches
  Dwells another race, with other customs and language.
  Only along the shore of the mournful and misty Atlantic
  Linger a few Acadian peasants, whose fathers from exile
  Wandered back to their native land to die in its bosom.

  In the fisherman's cot the wheel and the loom are still busy;
  Maidens still wear their Norman caps and their kirtles of homespun,
  And by the evening fire repeat Evangeline's story,
  While from its rocky caverns the deep-voiced, neighboring ocean
  Speaks, and in accents disconsolate answers the wail of the forest.