What, then, are seen to be in ancient practise the essentials of epic? First, its inspiration and its appeal are communal. By contrast the modern novel, which is also extended narrative and also within Aristotle’s definition of poetic, is seen to be individual; or, where in exceptional cases it is broader and simpler,[3] is often distinguished by criticism as having epic appeal. Then, epic is in style objective. It narrates habitually without interposition, by images visual, auditory, motor. Its scenery is merely the background of heroic activity. Its speeches are in primary epic for characterization, not for plot. There is no plot in the dramatic sense for the whole; and such as there is for component parts is only to bring out persons. The object of epic being persons, its commonest descriptive details are of personal activity: attitude, movement, speech, gesture. The method is to suggest that heroic life by its physical sensations, to make the characters, as Aristotle says,[4] reveal themselves. Epic gives few reflections. It does not comment even on Helen’s coming to the Scæan gates, or on Hector’s parting from Andromache; it merely describes. This objectivity is a main means of epic directness. The characteristic form of epic[5] is for scope and variety. Drama is intensive; epic is extensive. It has time to give us a sense of the fulness of life; and its movement does not preclude excursions. We meet many people and see them in various aspects. We can linger over a scene for itself without being urged forward. Continuity may be but leisurely succession from scene to scene. A scene may within itself have dramatic progress; but the movement of the whole has not the dramatic causal compulsion. Drama has its characteristic force through unity. Unity in epic is neither compelling nor compulsory. In fact, to stretch the term unity over epic tends to deprive it of all force. No epic poet has ever composed more carefully than Vergil, or with keener awareness of the ways of drama. The _Æneid_ was composed as a whole; its parts were carefully adjusted to a plan, and its plan was controlled by a single idea. Epic has never gone further toward unity; and Homer never dreamed of going so far. But even such dramatization of epic as Vergil’s has time for the funeral games, and does not sacrifice to the story of Rome the story and the person of Dido. In poetic, unity means nothing unless it means unity of form. This epic cannot have as a whole. Nor does any one regret the lack, or think it a fault. The unity of drama is for intensity; the object of epic is the realization not of a crisis, but of great persons in a long and various course.