quence together not on a connected story but
on a single idea: "la figure, c'est l'homme." If we are to have, as we
must have, direct symbolism of the way man is conscious of his being
nowadays, which means direct symbolism both of man's spirit and of the
(philosophical) opponent of this, the universal fate of things--if we
are to have all this, it is hard to see how any story can be adequate to
such symbolic requirements, unless it is a story which moves in some
large region of imagined supernaturalism. And it seems questionable
whether we have enough _formal_ "belief" nowadays to allow of such a
story appearing as solid and as vividly credible as epic poetry needs.
It is a decided disadvantage, from the purely epic point of view, that
those admirable "Intelligences" in Hardy's _The Dynasts_ are so
obviously abstract ideas disguised. The supernaturalism of epic, however
incredible it may be in the poem, must be worked up out of the material
of some generally accepted belief. I think it would be agreed, that what
was possible for Milton would scarcely be possible to-day; and even more
impossible would be the naivete of Homer and the quite different but
equally impracticable naivete of Tasso and Camoens. The conclusion seems
to be, that the epic purpose will have to abandon the necessity of
telling a story.

Hugo's way may prove to be the right one. But there may be another; and
what has happened in the past may suggest what may happen in the future.
Epic poetry in the regular epic form has before now seemed unlikely. It
seemed unlikely after the Alexandrians had made such poor attempts at
standing upright under the immensity of Homer; it seemed so, until,
after several efforts, Latin poetry became triumphantly epic in Virgil.
And again, when the mystical prestige of Virgil was domineering
everything, regular epic seemed unlikely; until, after the doubtful
attempts of Boiardo and Ariosto, Tasso arrived. But in each case, while
the occurrence of regular epic was seeming so improbable, it
nevertheless happened that poetry was written which was certainly
nothing like epic in form, but which was strongly charged with a
profound pressure of purpose closely akin to epic purpose; and _De Rerum
Natura_ and _La Divina Commedia_ are very suggestive to speculation now.
Of course, the fact that, in both these cases, regular epic did
eventually occur, must warn us that in artistic development anything may
happen; but it does seem as