The author Daniel Foster observed [in Wagner’s Ring Cycle and the Greeks] that an epic poet’s protagonist embodied the virtues and values of an entire society while the protagonists of a lyric poet embodied specific virtues accepted as exemplary traits for an individual. Foster also made the point that lyric poets whose protagonists’ values differed as society changed became less relevant and less widely read, as did those whose referents became less familiar.
While Foster used the Greek poet Pindar as his historical example, his observation, it seems to me, also applies to novels today. While some fantasy labeled as epic meets his definition, much of current large-scope fantasy presents values often at variance with the idea of a single unified culture represented so often in traditional epic works, and situations where the individual is pitted against the culture rather than acting as its champion against outsiders.
At the same time, over the past twenty years or so in my intermittent teaching and continual observation, I’ve seen that poets of the first half of the twentieth century have been read less and less, and, more important, when read, are understood less and less. Part of that loss of understanding certainly lies in the loss of meaning of the references and allusions, because today’s young people are such a culture of the present that the majority of them know very little of the culture of as little as a single generation past, and without an understanding of what those references represent, the poetry loses much of its power. Most contemporary verse appears to appeal to shallow but universal feelings, interestingly enough, even as most novels pit an individual against at least some “universal” societal values.
This trend in contemporary novels also exemplifies a change in basic societal values in the United States, or at least in the idea that there are some basic societal values that trump individual freedom of action. The belief held by many that the right to bear any kind of weapons is one example of this turn away from the idea that a society represents certain universals. Instead, we have ideological splintering, where various segments of society each believes that society should adopt its universals.
According to Foster, the composer Richard Wagner believed that the evolution of the poetic tradition ran from epic forms to lyric and finally to dramatic, where, in the dramatic form, the writer’s protagonists portray an out and out struggle against societal norms while still striving to live out individual virtues – in essence, a totally futile struggle because, in the end, without societal standards, there is no society.
I’m most likely overgeneralizing, but it seems to me that we’re seeing this conflict today in what is being published in current fantasy and, to a lesser degree, in science fiction. One could actually characterize the fascination with zombies as a metaphor – with zombies representing a dead and somehow alien past that the protagonists are struggling against. Vampires are a bit more ambiguous. Are they the blood-sucking past drawing life from the vital present? Or are they the misunderstood new future nourished by the past? Either way, both sub-sub-genres – as well as that of werewolves – represent a dramatic conflict embodying the premise that a society with unified and widely accepted common values is a thing of the past, and this represents a major change in western cultural values, largely among the younger readers… possibly another manifestation of both the generational gap and why the poets of the past no longer speak to the readers of the present.