Epic poetry would therefore be undertaken again; but now, of
course, deliberately. With several different kinds of poetry to choose
from, a man would decide that he would like best to be an epic poet, and
he would set out, in conscious determination, on an epic poem. The
result, good or bad, of such a determination is called "literary" epic.
The poems of Apollonius Rhodius, Virgil, Lucan, Camoens, Tasso and
Milton are "literary" epics. But such poetry as the _Odyssey_, the
_Iliad,_ _Beowulf_, the _Song of Roland_, and the _Nibelungenlied_,
poetry which seems an immediate response to some general and instant
need in its surrounding community--such poetry is "authentic" epic.
A great deal has been made of this distinction; it has almost been taken
to divide epic poetry into two species. And, as the names commonly given
to the two supposed species suggest, there is some notion that
"literary" epic must be in a way inferior to "authentic" epic. The
superstition of antiquity has something to do with this; but the
presence of Homer among the "authentic" epics has probably still more to
do with it. For Homer is the poet who is usually chosen to stand for
"authentic" epic; and, by a facile association of ideas, the conspicuous
characteristics of Homer seem to be the marks of "authentic" epic as a
species. It is, of course, quite true, that, for sustained grandeur and
splendour, no poet can be put beside Homer except Dante and Milton; but
it is also quite clear that in Homer, as in Dante, and Milton, such
conspicuous characteristics are simply the marks of peculiar poetic
genius.
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