With several different kinds of poetry to choose from, a man would decide that he would like best to be an epic poet, and he would set out, in conscious determination, on an epic poem.
There is only one thing which can master the perplexed stuff of epic material into unity; and that is, an ability to see in particular human experience some significant symbolism of man's general destiny.
Epic poetry exhibits life in some great symbolic attitude. It cannot strictly be said to symbolize life itself, but always some manner of life.
The world knows of a vast stock of epic material scattered up and down the nations; sometimes its artistic value is as extraordinary as its archaeological interest, but not always.
The first epics were intended for recitation; the literary epic is meant to be read.
The epic poet has behind him a tradition of matter and a tradition of style; and that is what every other poet has behind him too; only, for the epic poet, tradition is rather narrower, rather more strictly compelling.
The epic poet collaborates with the spirit of his time in the composition of his work. That is, if he is successful; the time may refuse to work with him, but he may not refuse to work with his time.
That is to say, epic poetry has been invented many times and independently; but, as the needs which prompted the invention have been broadly similar, so the invention itself has been.
If epic poetry is a definite species, the sagas do not fall within it.
But the development of human society does not go straight forward; and the epic process will therefore be a recurring process, the series a recurring series - though not in exact repetition.
By the general process of epic poetry, I mean the way this form of art has constantly responded to the profound needs of the society in which it was made.