A decisive campaign is not, for the epic poet, any more real
than a legend full of human truth. All that the name of Caesar suggests
is extremely important for mankind; so is all that the name of Satan
suggests: Satan, in this sense, is as real as Caesar. And, as far as
reality is concerned, there is nothing to choose between the Christians
taking Jerusalem and the Greeks taking Troy; nor between Odysseus
sailing into fairyland and Vasco da Gama sailing round the world. It is
certainly possible that a poet might devise a story of such a kind that
we could easily take it as something which might have been a real human
experience. But that is not enough for the epic poet. He needs something
which everyone knows about, something which indisputably, and
admittedly, _has been_ a human experience; and even Grendel, the fiend
of the marshes, was, we can clearly see, for the poet of _Beowulf_ a
figure profoundly and generally accepted as not only true but real;
what, indeed, can be more real for poetry than a devouring fiend which
lives in pestilent fens? And the reason why epic poetry so imperiously
demands reality of subject is clear; it is because such poetry has
symbolically to re-create the actual fact and the actual particulars of
human existence in terms of a general significance--the reader must feel
that life itself has submitted to plastic imagination. No fiction will
ever have the air, so necessary for this epic symbolism, not merely of
representing, but of unmistakably _being_, human experience.
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