,[5] are a descent into hell and some supernatural
machinery. Both of these are obviously devices for enlarging the scope
of the action. The notion of a visit to the ghosts has fascinated many
poets, and Dante elaborated this Homeric device into the main scheme of
the greatest of non-epical poems, as Milton elaborated the other
Homeric device into the main scheme of the greatest of literary epics.
But a visit to the ghosts is, of course, like games or single combat or
a set debate, merely an incident which may or may not be useful.
Supernatural machinery, however, is worth some short discussion here,
though it must be alluded to further in the sequel. The first and
obvious thing to remark is, that an unquestionably epic effect can be
given without any supernatural machinery at all. The poet of _Beowulf_
has no need of it, for instance. A Christian redactor has worked over
the poem, with more piety than skill; he can always be detected, and his
clumsy little interjections have nothing to do with the general tenour
of the poem. The human world ends off, as it were, precipitously; and
beyond there is an endless, impracticable abyss in which dwells the
secret governance of things, an unknowable and implacable
fate--"Wyrd"--neither malign nor benevolent, but simply inscrutable. 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 no