That does not mean that
the epic poet's image of life's significance is of merely contemporary
or transient importance. No stage through which the general
consciousness of men has gone can ever be outgrown by men; whatever
happens afterwards does not displace it, but includes it. We could not
do without _Paradise Lost_ nowadays; but neither can we do without the
_Iliad_. It would not, perhaps, be far from the truth, if it were even
said that the significance of _Paradise Lost_ cannot be properly
understood unless the significance of the _Iliad_ be understood.
The prime material of the epic poet, then, must be real and not
invented. But when the story of the poem is safely concerned with some
reality, he can, of course, graft on this as much appropriate invention
as he pleases; it will be one of his ways of elaborating his main,
unifying purpose--and to call it "unifying" is to assume that, however
brilliant his surrounding invention may be, the purpose will always be
firmly implicit in the central subject. Some of the early epics manage
to do without any conspicuous added invention designed to extend what
the main subject intends; but such nobly simple, forthright narrative as
_Beowulf_ and the _Song of Roland_ would not do for a purpose slightly
more subtle than what the makers of these ringing poems had in mind. The
reality of the central subject is, of course, to be understood broadly.
It means that the story must be founded deep in the general experience
of men.
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