The term lesser epic includes the numerous forms of narrative poems from the old-time ballad to the modern story-telling poem. The epic is essentially different from the lyric. While in the latter the personality of the author is always apparent, and properly so, in the epic the intrusion of the poet's self is usually a defect. The lyric is subjective, the epic objective. To tell a story effectively and well is the prime motive, to tell it beautifully and in a way to excite the imagination and move the feelings of the reader is the contributory poetic impulse. Of the lesser epics groups might be set apart. The ballad is the oldest form. It was originally the production of wandering minstrels or glee-men and was not reduced to writing and kept in permanent form. Being passed from mouth to mouth there naturally came to be great variations in its form, and even the incidents were modified to suit the taste of the singer. After poetry came to be a study of the cultured and refined, the minstrel's power declined, though he was a welcome guest at the feasts of the wealthy, where his song added to the gayety of the occasion or gave dignity to the host as his deeds were sung by the hireling bard. In the sixteenth century these singers disappeared from view in the blaze of the Elizabethan Age. The highest type of literary expression is poetry, and the most perfect creation of poetic imagination is the lyric. Technically a lyric is a song, a short poem that can be set to music. But this must be interpreted in a wide sense, for though all the songs that are sung are lyrics, the greater number of lyrics were never intended to be fitted to the closer requirements of vocal harmony. They deal with all subjects and have few requirements of form, though form is an essential element and a matter of great importance, for to the perfection of form much of the intense effect of the lyric is due. Like the essay the lyric is a subjective composition; it is confessedly the expression of the poet's personal emotion and his own experiences. His mind, his soul, speak to us; he does not interpret the thoughts and feelings of another. The lyric is usually contemplative and full of the choicest results of the poet's meditations. It influences action indirectly through direct appeals to the emotions. Songs form a class of lyrics as varied in content as the possible subjects in life. One might consider them as sacred and secular and under the former recognize the psalms, which our poets have many times rendered into metrical form, not infrequently detracting from the sublimity of the originals. "The Lord is my Shepherd" needs no change, no remodeling from the biblical version to make it a true lyric, but that it may be sung to the tunes of our churches it has more than once been paraphrased.