en."

Vergil begins the "AEneid" 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 "AEneid." The
episode may be employed to throw light on existing conditions or to add
interest to the general narrative. In the "AEneid" 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. AEneas is the hero of the "AEneid"; 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