The
peculiar cast of noble and desolate courage which this bleak conception
gives to the poem is perhaps unique among the epics.
But very few epic poets have ventured to do without supernatural
machinery of some sort. And it is plain that it must greatly assist the
epic purpose to surround the action with immortals who are not only
interested spectators of the event, but are deeply implicated in it;
nothing could more certainly liberate, or at least more appropriately
decorate, the significant force of the subject. We may leave Milton out,
for there can be no question about _Paradise Lost_ here; the
significance of the subject is not only liberated by, it entirely exists
in, the supernatural machinery. But with the other epic poets, we should
certainly expect them to ask us for our belief in their immortals. That,
however, is just what they seem curiously careless of doing. The
immortals are there, they are the occasion of splendid poetry; they do
what they are intended to do--they declare, namely, by their speech and
their action, the importance to the world of what is going on in the
poem. Only--there is no obligation to believe in them; and will not that
mean, no obligation to believe in their concern for the subject, and all
that that implies? Homer begins this paradox. Think of that lovely and
exquisitely mischievous passage in the _Iliad_ called _The Cheating of
Zeus_. The salvationist school of commentators calls this an
interpolation; but the spirit of it is implicit throughout the whole of
Homer's dealing with the gods; whenever, at least, he deals with them at
length, and not merely incidentally.
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