Note 45 — CHAP. XXII.

The dialogue in a dramatic composition separates it so clearly from other compositions, that no writer has thought it necessary to search for any other distinguishing mark. But much useless labour has been bestowed, to distinguish an epic poem by some such mark. Bossu defines this poem to be, “A composition in verse, intended to form the manners by instructions disguised under the allegories of an important action,” which will exclude every epic poem founded upon real facts, and perhaps include several of Esop’s fables. Voltaire reckons verse so essential, as for that single reason to exclude the adventures of Telemachus. See his Essay upon Epic Poetry. Others, affected with substance more than with ornament, hesitate not to pronounce that poem to be epic. It is not a little diverting, to see so many shallow critics hunting for what is not to be found. They always take for granted, without the least foundation, that there must be some precise criterion to distinguish epic poetry from every other species of writing. Literary compositions run into each other, precisely like colours: in their strong tints they are easily distinguished; but are susceptible of so much variety, and take on so many different forms, that we never can say where one species ends and another begins. As to the general taste, there is little reason to doubt, that a work where heroic actions are related in an elevated style, will, without further requisite, be deemed an epic poem.