Patrick Kavanagh's poem ‘On Looking into E. V. Rieu's Homer’ (1951) clearly borrows its title from Keats, but not much else:

Where Chapman appears in Keats's poem both in person and implicitly in the person of Cortez, it is, as we shall see, characteristic that E. V. Rieu should be absent from a poem named after him. But his approach to Homer is nevertheless very much a subject of Kavanagh's poem. On one level, like Kavanagh's better-known ‘Epic’, it describes a marvelling vision of the presence of Homer and Homeric heroes in rural Ireland. But on another level it is a meditation on the four-way relationship between the epic and the everyday, the poetic and prose. Where Rieu's Homer is a translation of epic poetry into everyday prose, Kavanagh is showing not only that the epic exists in the everyday but that the everyday does not have to be prose.

Kavanagh's is not a poetry that Pope, for example, would recognize. Where there is elevation of diction, it is almost immediately repudiated; the rhyme scheme is spontaneous and slips into and out of view; the vocabulary is indecorous. It is typical that the reader is left unsure whether ‘ravaged’ is really meant to rhyme with ‘cabbages’. Nevertheless it is undoubtedly poetry, as, for example, defined by George Steiner: