been able to take such advantage of the habit of reading that, with the
single exception of Homer, it has achieved a diction much more
answerable to the greatness of epic matter than the "authentic" poems.
We may, then, in a general survey, regard epic poetry as being in all
ages essentially the same kind of art, fulfilling always a similar,
though constantly developing, intention. Whatever sort of society he
lives in, whether he be surrounded by illiterate heroism or placid
culture, the epic poet has a definite function to perform. We see him
accepting, and with his genius transfiguring, the general circumstance
of his time; we see him symbolizing, in some appropriate form, whatever
sense of the significance of life he feels acting as the accepted
unconscious metaphysic of his age. To do this, he takes some great story
which has been absorbed into the prevailing consciousness of his people.
As a rule, though not quite invariably, the story will be of things
which are, or seem, so far back in the past, that anything may credibly
happen in it; so imagination has its freedom, and so significance is
displayed. But quite invariably, the materials of the story will have an
unmistakable air of actuality; that is, they come profoundly out of
human experience, whether they declare legendary heroism, as in Homer
and Virgil, or myth, as in _Beowulf_ and _Paradise Lost_, or actual
history, as in Lucan and Camoens and Tasso. And he sets out this story
and its significance in poetry as lofty and as elaborate as he can
compass. That, roughly, is what we see the epic poets doing, whether
they be "literary" or "authentic"; and if this can be agreed on, we
should now have come tolerably close to a definition of epic poetry.

FOOTNOTES:

[Footnote 4: From the version of the Marquise de Sainte-Aulaire.]