59. The Epic. The epic is a long poem celebrating in stately verse some important and heroic event of the past. It may be based either on history or tradition, though in our greatest epics there is a commingling of the two. The method of the epic is chiefly narrative and descriptive. The theme is generally stated in the beginning, and the narrative, frequently interspersed with episodes, pursues an even course. Homer thus begins the "Iliad":
"Of Peleus' son Achilles, sing, O Muse,
The direful wrath, which sorrows numberless
Brought on the Greeks, and many mighty souls
Of youthful heroes, slain untimely, sent
To Pluto's dark abode, their bodies left
A prey to dogs and all the fowls of heaven."
Vergil begins the "Æneid" in a similar manner, and the opening lines of "Paradise Lost" follow classic models.
The structure of the epic may be determined from the fundamental conception of its nature. As a narrative of an important and heroic event, it should be simple, direct, and dignified in its treatment. The incidents should be introduced in a natural order, and their prominence should be regulated according to their relative importance. In an epic poem, as in every other creation of art, the law of symmetry should be observed.
But the epic admits of episode. The poet may stop the flow of his narrative for a time to dwell upon some incident connected with or growing out of the main theme. Such an episode is the story of the destruction of Troy in the second and third books of the "Æneid." The episode may be employed to throw light on existing conditions or to add interest to the general narrative. In the "Æneid" it serves both purposes to an eminent degree.
The epic makes extensive use of dialogue, and thus, in a measure, partakes of the nature of the drama. The introduction of the dialogue serves a double purpose: first, it lends greater vividness to the narrative; and second, it lends variety to the story, enabling the ancient minstrel, and in a less degree the modern reader, to do a little acting. Often the dialogue is highly dramatic, as in the quarrel between Achilles and Agamemnon in the first book of the "Iliad." A large part of our greatest epics is in dialogue.
The great epics of the world are all heroic. They celebrate great events—the Trojan war, the founding of Rome, the loss of Paradise—and bring before us a large number of heroes, divinities, and angels. The "Iliad" is made up chiefly of battle scenes, in which mighty heroes and Olympian deities take part. Æneas is the hero of the "Æneid"; but back of the tribulations through which he passes, we recognize the agency of contending divinities. And in "Paradise Lost" Milton introduces the mighty beings of heaven and hell. The epic is thus the stateliest and grandest form of poetry.
There are minor varieties of the epic, which occupy an important place in modern poetry.
(1) The principal of these varieties is the metrical romance, of which Scott's "The Lady of the Lake" or Owen Meredith's "Lucile" may be taken as the type. It differs from the grand or heroic epic in confining itself to lowlier themes, and in introducing the passion of love. The metrical romance lends itself readily to every form of romantic story. In Scott it introduces the scenes and characters of mediæval Scotland. Byron, in "The Giaour," "The Siege of Corinth," "The Bride of Abydos," and others, works up oriental legends. Moore's "Lalla Rookh" is a beautiful oriental romance. Owen Meredith's "Lucile" is a modern love story, while Morris's "Story of Sigurd" is derived from Scandinavian legends.
(2) The metrical tale may be distinguished from the metrical romance by the absence of romantic love and adventure. It is naturally briefer in form. Byron's "Prisoner of Chillon" and Burns's "Tam O'Shanter" may be taken as types of the metrical tale. On the one side it approaches the metrical romance, and on the other the lyrical ballad. Since the days of Gower and Chaucer the metrical tale has added to English poetry some of its choicest pieces.