Ritual

Miracles 6.6 "All over the world, until quite modern times, the direct insight of the mystics and the reasonings of the philosophers percolated to the mass of the people by authority and tradition; they could be received by those who were no great reasoners themselves in the concrete form of myth and **ritual** and the whole pattern of life."

The language, therefore, must be familiar in the sense of being expected. But in Epic which is the highest species of oral court poetry, it must not be familiar in the sense of being colloquial or commonplace. The desire for simplicity is a late and sophisticated one. We moderns may like dances which are hardly distinguishable from walking and poetry which sounds as if it might be uttered ex tempore. Our ancestors did not. They liked a dance which was a dance, and fine clothes which no one could mistake for working clothes, and feasts that no one could mistake for ordinary dinners, and poetry that unblushingly proclaimed itself to be poetry. What is the point of having a poet, inspired by the Muse, if he tells the stories just as you or I would have told them? It will be seen that these two demands, taken together, absolutely necessitate a Poetic Diction; that is, a language which is familiar because it is used in every part of every poem, but unfamiliar because it is not used outside poetry. A parallel, from a different sphere, would be turkey and plum pudding on Christmas day; no one is surprised at the menu, but every one recognizes that it is not ordinary fare. Another parallel would be the language of a liturgy. Regular church-goers are not surprised by the service--indeed, they know a good deal of it by rote; but it is a language apart. Epic diction, Christmas fare, and the liturgy, are all examples of ritual--that is, of something set deliberately apart from daily usage, but wholly familiar within its own sphere. //Preface to Paradise Lost//, chapter 4, paragraph 5