It was undertaken with the simple design of furnishing a preface to his younger son's translation of Shakespeare; a monument of perfect scholarship, of indefatigable devotion, and of literary genius, which eclipses even Urquhart's Rabelais - its only possible competitor; and to which the translator's father prefixed a brief and admirable note of introduction in the year after the publication of the volume which had grown under his hand into the bulk and the magnificence of an epic poem in prose.
A collection of oracles, a theogony, an epic poem on the Argonautic expedition, prose works on purifications and sacrifices, and a cosmogony, were attributed to him.
Consequently the type of epic poem which would be produced by an aggregation of shorter lays is not the type which we have in the Iliad.
He was not only the oldest native dramatist, but the first author of an epic poem (Bellum Punicum) - which, by combining the representation of actual contemporary history with a mythical background, may be said to have created the Roman type of epic poetry.
The example set by Crates led to the production of a new edition of the epic poem of Naevius, and to the public recitation of the Annals of Ennius, and (two generations later) the Satires of Lucilius.
Between 1283 and 1290, a Bavarian disciple of Wolfram's 2 adopted the story and developed it into an epic poem of nearly 8000 lines, incorporating episodes of Lohengrin's prowess in tournament, his wars with Henry I.
He was also author of prose Lucubrationes and perhaps of an epic poem on Caesar's Gallic wars (Pragmatia Belli Gallici).
Aemilius Macer must be distinguished from the Macer called Iliacus in the Ovidian catalogue of poets, the author of an epic poem on the events preceding the opening of the Iliad.
In 1761 he announced the discovery of an epic on the subject of Fingal, and in December he published Fingal, an Ancient Epic Poem in Six Books, together with Several Other Poems composed by Ossian, the Son of Fingal, translated from the Gaelic Language, written in the musical measured prose of which he had made use in his earlier volume.
And, though he cannot unroll before us the page of heroic action with the power and majesty of Homer, yet by the sympathy with which he realizes the idea of Rome, and by the power with which he has used the details of tradition, of local scenes, of religious usage, to embody it, he has built up in the form of an epic poem the most enduring and the most artistically constructed monument of national grandeur.