Read “Part 1 (beginning of recorded history through those dramatic Romans)” here.
After the fall of the Roman Empire, poetry didn’t die. In the almost-thousand years between when Odoacer deposed the Emperor Romulus and the Portuguese conquest of Ceuta, poetry flourished all over the world. Much of the extant Latin-language work is ecclesiastical, with occasional references to “pagan” gods and goddesses. The 5th century poet Coluthus, who lived in Lycopolis/Asyut in the Egyptian Thebaid, left behind a Greek-language poem in 394 hexameters called The Rape of Helen, which tells the story of Helen and Paris prior to their arrival in Troy. It’s got nymphs and goddesses and spite, and because the author was a most likely a Christian and believed this story to be a “myth” his poem falls squarely into the realm of speculative fiction. Dracontius of Carthage, another Christian poet, also wrote poetry about “the rape of Helen” (a popular subject), Medea, Hylas, and other Greek mythic staples.
Around the same time we get the Silappatikaram, one of the Great Epics of Tamil literature. This poem begins with a precis telling the reader what is about to happen, and then unfolds the tale in three chapters. It introduces the intermingling of poetry with prose, a form not seen in previous Tamil works, and is also credited with introducing folk songs into literature. It’s the story of a wronged woman who’s husband – a guy with maybe not the best judgement or luck – gets beheaded when he’s accused of stealing the Queen’s bracelet (in order to restart his life in a new town after his “inappropriate relationship with a dancer”). The wife proves her husband’s innocence and then IGNITES THE CITY with, essentially, the glorious power of her rightness.
You can read it and more here.
In the 6th century, pre-Islamic poetry hits the big time, but was largely concerned with biographies, inter-tribal disputes, and the occasional zoological description.* In that sense, it is very similar to Greek and Roman classical poetry in subject, though with a dearth of “mythic” fiction which may be attributed to destruction by later religions or governments. Example: during this century, Musaeus Grammaticus wrote 340 hexameter line on the story of Hero and Leander (the one where the boy from the wrong side of the straights convinces the girl to have sex with him because “the Goddess Venus would want it that way”), later considered “the most beautiful of the age”. He’s also said to have written a cute little version of “Alpheus and Arethusa”, a classic of the Greek “chase+rape=love poem” oeuvre, so there’s that. Oh, and Procopius of Caesarea, principal Western historian of the 6th century, wrote Secret History, which says – in part – that Emperor Justinian was actually a headless monster who phased in and out of reality late at night.
We also get the rise of the Welsh bardic tradition, collected in later centuries as the Book of Taliesin (named for the earliest identified Welsh poet, whose work is included). Mixed in with elegies and Christian hymns are prophecies about the future and several poems about magic. Battling trees, evil witches, princes under a curse, hounds of hell – all the good stuff. We even get the introduction of Cerridwen, the Middle Welsh aspect of Homer’s Circe. Continue reading