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Epic is a long, often book-length, narrative in verse form that retells the heroic journey of a single person or group of persons. 

Discover more poetic terms .

History of the Epic Form

The word “epic” comes from Latin epicus and from Greek epikos, meaning “a word; a story; poetry in heroic verse.” The elements that typically distinguish epics include superhuman deeds, fabulous adventures, highly stylized language, and a blending of lyrical and dramatic traditions, which also extend to defining heroic verse.

Many of the world’s oldest written narratives are in epic form, including the Babylonian Gilgamesh , the Sanskrit Mahâbhârata , the Thai Ramakien ,  Homer ’s Iliad and Odyssey , and Virgil ’s Aeneid . Both of Homer’s epics are composed in dactylic hexameter, which became the standard for Greek and Latin oral poetry. Homeric verse is characterized by the use of extended similes and formulaic phrases, such as epithets, to fill out the verse form. Greek and Latin epics frequently open with an invocation to the muse, as is shown in the opening lines of The Odyssey . 

Over time, the epic has evolved to fit changing languages, traditions, and beliefs. Some epics of note include Beowulf , Edmund Spenser ’s The Faerie Queene ,  John Milton ’s Paradise Lost , and Elizabeth Barrett Browning ’s Aurora Leigh . The epic has also been used to formalize mythological traditions in many cultures, such as the Norse mythology in Edda and Germanic mythology in Nibelungenlied , and more recently, the Finnish mythology of Elias Lönnrot’s Kalevala . 

In the twentieth century and beyond, poets expanded the epic genre further with a renewed interest in the long poem with the canto . Examples such as  The Cantos by Ezra Pound , Maximus by Charles Olson ,  The Anniad  by Gwendolyn Brooks ,  The Battlefield Where the Moon Says I Love You by Frank Stanford , The Iovis Trilogy  by Anne Waldman , and Paterson by William Carlos Williams  all push and pull at the boundaries of the genre, re-envisioning the epic through the lens of modernism .

Featured Poets

The following poets, as well as many others, are known for their work in the epic form.

Dante Alighieri :  The author of  La Commedia  ( The Divine Comedy ), Dante Alighieri was born Durante Alighieri in Florence, Italy, in 1265.

Anne Carson : A poet, playwright, and classicist, Carson is the author of numerous genre-defying works that borrow from the epic form, including  The Autobiography of Red .

Nazim Hikmet :  Born in 1902 in what was then the Ottoman Empire, Hikmet went on to write multiple epic works, including  Human Landscapes from My Country: An Epic Novel in Verse .

Homer : Credited with composing  The Iliad  and  The Odyssey , Homer is arguably the greatest poet of the ancient world. Historians place his birth sometime around 750 BC.

John Milton : Born in London in 1608, Milton published multiple epic poems, including  Paradise Lost  and  Samson Agonistes .

Virgil :  Publis Vergilius Maro, most famously the author of the Aeneid , was born in northern Italy in 70 B.C.E.

Anne Waldman :  Born in New Jersey in 1945, Anne Waldman is known for her work in mythopoetics and is the author of the feminist epic  The Iovis Trilogy .

“By the time WWII broke out, H. D. was at the height of her idiosyncratic powers.... In  Trilogy , her epic poem in three parts, written during World War II, she enters another phase of her writing—putting her visionary impulses to new uses. H. D. reports on war-torn London—not envisions, not invents or ennobles, but reports. The life of a bombed civilian city is of first importance; the speaker is one of its civilians.” —“ Shot Through with Brightness: The Poems of H. D. ”

“Milton cannot be said to have contrived the structure of an epic poem, and therefore owes reverence to that vigour and amplitude of mind to which all generations must be indebted for the art of poetical narration, for the texture of the fable, the variation of incidents, the interposition of dialogue, and all the stratagems that surprise and enchain attention. But, of all the borrowers from Homer, Milton is perhaps the least indebted.” —“ Blank Verse and Style: On John Milton ”

“Because epics, narrative poetry, and the voices that one grows up hearing were created by men, Notley says, female poets have suppressed what the female mind must have been like before the existence of the forms invented by men.... She writes, ‘there might be recovered some sense of what the mind was like before Homer, before the world went haywire & women were denied participation in the design & making of it....’ In this light, the quoted, collage-like aspect of her epic poem is particularly interesting, as if she's saying the female epic voice can only be quoted, but not generated whole.” —“ Finding the Female Voice: Alice Notley’s Poems and Collages ”

“Some of these long poems are epic (Waldman) and some anti-epic (Schuyler). Some are lyric sequences (Forché), some are hybrid texts (Waldman, Rankine, Williams), and some are book-length single poems with or without sections (Notley, Carson, Mayer, Sikelianos). Some are written in form (Koestenbaum) or look like prose (Stein) or read like a novel (Nelson). The form seems almost compelled to subvert (often by assimilating) genre categories. Still, long poems have more in common than just length, and the fact of their length alone is meaningful.” —Rachel Zucker, “ An Anatomy of the Long Poem ”

Related Poetic Terms

Oral-Formulaic Method :  “Milman Parry (1902–1935) and his student Albert Lord (1912–1991) discovered and studied what they called the oral-formulaic method... referred to as ‘ oral-traditional theory, ’ ‘ the theory of Oral-Formulaic Composition, ’ and the ‘ Parry-Lord theory. ’ Parry used his study of Balkan singers to address what was then called the ‘ Homeric Question, ’ which circulated around the questions of ‘ Who was Homer? ’ and ‘ What are the Homeric poems? ’ ”—Edward Hirsch,  A Poet's Glossary

Poetic Contest : “The poetic contest, a verbal duel, is common worldwide. It has been documented in a large number of different poetries as a highly stylized form of male aggression, a model of ritual combat, an agonistic channel, a steam valve, a kind of release through abuse. The poetic contest may be universal because it provides a socially acceptable form of rivalry and battle.” —Edward Hirsch,  A Poet's Glossary

Verse Novel :  “A novel in poetry. A hybrid form, the verse novel filters the devices of fiction through the medium of poetry. There are antecedents for the novelization of poetry in long narrative poems, in epics, chronicles, and romances, but the verse novel itself, as a distinct nineteenth-century genre, is different than the long poem that tells a story because it appropriates the discourse and language, the stylistic features of the novel as a protean form.” —Edward Hirsch,  A Poet's Glossary

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8 Epic Journeys in Literature

Reading Lists

Micheline aharonian marcom, author of "the new american," recommends quest stories.

The journey story, where the hero must venture out into the world for reasons not necessarily entirely of his/her own devising, is likely as old as recorded literature.

Of course the journey story can also be understood as an allegory of the self, or soul, and its evolution in a lifetime, for storytelling is always an act, as Ann Carson says, “of symbolization.” In this sense, the journey story not only narrates the material events of a life, but also the interior transformations an individual undergoes.

As I wrote my seventh novel, The New American —which takes up the story of a young Guatemalan American college student at UC Berkeley, a DREAMer who is deported to Guatemala and his journey back home to California—I thought a lot about these kinds of archetypal stories in imaginative literature. Here are a few of my favorites. 

The Epic of Gilgamesh, or He Who Saw Deep translated by Andrew George

The epic poem, one of oldest works of world literature, was composed in its earliest versions over 4,000 years ago in Mesopotamia and written in Babylonian cuneiform on clay tablets. Much of the reason it is lesser known than the younger works of Homer is because the epic itself was not rediscovered until 1853, cuneiform was not deciphered until 1857, and it wasn’t well translated until 1912. Fragments of the story on stone tablets continue to be found in modern-day Turkey, Iraq and Syria.

The basic story follows the King Gilgamesh of Uruk (modern-day Warka, Iraq) and his friendship with the wild man Enkidu. They undergo various battles including fighting and defeating the bull of heaven. Later, upon Enkidu’s death, Gilgamesh journeys to the edge of the earth where he goes in search of the secret of eternal life and, not finding it, returns home to Uruk having in some manner, in spite of life’s sorrows and travails, made peace with his own mortality.

“Ever do we build our households, ever do we make our nests, ever do brothers divide their inheritance, ever do feuds arise in the land. Ever the river has risen and brought us the flood, the mayfly floating on the water. On the face of the sun its countenance gazes, then all of sudden nothing is there!”

The Odyssey by Homer

Written down, along with the Iliad , soon after the invention of the Greek alphabet around the 8 th -century BCE, the epic poem sings of Odysseus’ return home after the Trojan War and his encounters with monsters, the Sirens, shipwrecks, and captivity by Calypso on her island until he finally makes it back to Ithaca. Because the poem survived more or less continuously until modern times and has had influence in so many cultures for millennia (unlike the more recently rediscovered and older Gilgamesh ), there’s no need to reiterate a narrative which so many of us already know, either directly or through the many stories the poem has inspired and influenced. One of my favorite moments comes in Book 14 when Odysseus finally makes it to Ithaca after ten years of traveling and, disguised as a beggar, seeks out Eumaeus the swineherd, who, not recognizing Odysseus, asks “But come…tell me of thine own sorrows, and declare me this truly, that I may know full well. Who art thou among men, and from whence?” These lines have seemed to me to in some way encapsulate some of storytelling’s most basic questions across the ages. 

The Divine Comedy by Dante

Written after Dante had been sent into exile from his beloved city of Florence, the Commedia tells of the pilgrim’s descent into hell, his travel through purgatory, and eventually his ascent to paradise, with the Roman poet Virgil as his first guide, and later his beloved, Beatrice. The Commedia —the adjective “divine” in the title wasn’t added for several hundred years—begins with “Nel mezzo del cammin di nostra vita/mi ritrovai per una selva oscura” which can be translated from the Italian to “Midway through the road of our life I found myself in a dark wood.” This is another line from literature that has haunted me for years, not only for the allegorical  “dark wood” many of us might at times find ourselves lost in, but at Dante’s strange use of the word “our” even though the Commedia will tell of one pilgrim’s journey and search for the right way. The first person plural points, I think, to the common story of seeking meaning, understanding, and wisdom, and how in the case of this beautiful work, the company of literature with its manner of encoding in the song of language (even if you don’t speak Italian, read a few lines out loud and you can hear the poem’s rhythms) is a blessing in any reader’s life’s journey. 

Don Quixote by Miguel de Cervantes Saavedra, translated by John Rutherford

Alfonso Quixano has read too many chivalric romances (popular in 15 th and 16 th -century Europe), has gone mad from his reading, and now confuses reality with fantasy: he imagines himself the knight-errant Don Quixote and he determines to set off in search of adventure. From that premise, we journey through the countryside with our knight errant and his squire, Sancho Panza, as they slay giants (windmills) and defend the honor of his lady-love, Dulcinea del Toboso (a neighboring farm girl), who doesn’t actually ever appear in the story. In addition to being an amusing, laugh-out-loud tour de force of strange encounters as the pair travel across La Mancha, the reality of the violence, ignorance, and venality—not of Don Quixote, but of the society in which he lives in 17 th -century Spain—of corrupted clergy, greedy merchants, deluded scholars, and the like, is on full display. To this day, Don Quixote continues to reveal the joyous role of reading in our lives, how fictions make for all kinds of realities, and how very often it is the fool who sees the truth.

“When life itself seems lunatic, who knows where madness lies? Perhaps to be too practical is madness. To surrender dreams—this may be madness. Too much sanity may be madness—and maddest of all: to see life as it is, and not as it should be!”

Season of Migration to the North by Tayeb Salih

Tayeb Salih’s mid 20th-century masterpiece is narrated by an unnamed young scholar who returns from England to his village on the Nile after seven years of study abroad and encounters a mysterious newcomer, Mustafa Sa’eed, who also lived for many years in the north. The novel takes up the many complexities and legacies of colonialism in post 1960s Sudan, the difficulties of encroaching modernity, the tragedy of Sa’eed’s life in England, and the intricate web of communal relationships in a traditional village. It is some of the women characters, especially the irreverent and bawdy storyteller, Bint Majzoub, very much like a storyteller out of the Nights , who regales the elder male listeners with bawdy tales, that has stayed in my imagination since I first read the book a decade ago. But it is the style of the book, its formal narrative complexity and interplay, the beauty of its prose, its deep and complex interrogation of the self in the world, that have made it a book I continue to return to. “How strange! How ironic! Just because a man has been created on the Equator some mad people regard him as a slave, others as a god. Where lies the mean?”

The Bear by William Faulkner

The journey here is into the woods to hunt Old Ben, the last remaining brown bear of his kind and stature in the quickly diminishing woods of Mississippi at the turn of the 19 th -century. As with so much of Faulkner’s work, the writing is sublime, the form strange, the land is a character, and we witness the maw of industrial capitalism as it reduces everything—animals, the land, people—to a ledger of profits and loss. The last scene of the illiterate woodsman, Boon, in a clearing—the land by then has been sold, Old Ben is dead, and loggers will imminently cut the remainder of the old woods down—sitting beneath a lone tree with squirrels running up and down its trunk screaming “They’re mine!” has long haunted me.  

Invisible Cities by Italo Calvino

Italian writer Italo Calvino’s fantastical novel is about the imagined conversations between the 13th-century Venetian traveler, Marco Polo, and the Tartar Emperor Kublai Khan of the cities Polo has seen during his travels. The book, however, is mostly made up of descriptions of cities—fantastical forays not into any visible or historical cities, but imaginary invented ones: both ones that might have been and could be, and ones which perhaps did or do exist but are now transformed by the lens of story and distilled to their strange often wondrous essences. Calvino reminds us in this glorious book how the stories we tell greatly shape our thinking, our cultural formations, our views. “You take delight not in a city’s seven or seventy wonders, but in the answer it gives to a question of yours.”

Their Eyes Were Watching God by Zora Neale Hurston

When I think of Hurston I recall her description in her essay “ How It Feels to Be Colored Me ” of the “cosmic Zora” who would emerge at times as she walked down Seventh Avenue, her hat set at a certain angle, who belonged “to no race nor time. I am the eternal feminine with its string of beads.” In Hurston’s extraordinary novel, Their Eyes Were Watching God , the eternal and timeless qualities of imaginative literature are on full display in the very specific groundings of place and time, spoken language and culture. The book opens with Janie Crawford recounting her life story to her friend Pheoby upon her return to the all-Black town of Eatonville, Florida. The book, set in the 1930s, follows Janie’s narration of her early life, her three marriages (the last for love), and the many trials she undergoes including the death of her beloved during her travels, before she finally returns changed, wiser, independent. “You got tuh go there tuh know there…Two things everybody’s got tuh do fuh theyselves. They got tuh go tuh God, and they got tuh find out about livin’ fuh theyselves.”

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Definition of Epic

An epic is a long narrative poem that is elevated and dignified in theme , tone , and style . As a literary device, an epic celebrates heroic deeds and historically (or even cosmically) important events. An epic usually focuses on the adventures of a hero who has qualities that are superhuman or divine, and on whose very fate often depends on the destiny of a tribe, nation, or sometimes the whole of the human race. The Iliad , the Odyssey , and the Aeneid are considered the most important epics in western world literature, although this literary device has been utilized across regions and cultures.

Epic comes from the ancient Greek term  epos , meaning story , word, poem. The  Epic of Gilgamesh is considered by many scholars to be the oldest surviving example of a work of literature. This epic, traced back to ancient Mesopotamia in approximately 2100 BC, relays the story of Gilgamesh, an ancient king descended from the gods. Gilgamesh undergoes a journey to discover the secret of immortality.

Characteristics of an Epic

Though the epic is not a frequently used literary device today, its lasting influence on poetry is unmistakable. Traditionally, epic poetry shares certain characteristics that identify it as both a literary device and poetic form. Here are some typical characteristics of an epic:

• written in formal, elevated, dignified style
• third-person narration with an omniscient narrator
• begins with an invocation to a muse who provides inspiration and guides the poet
• includes a journey that crosses a variety of large settings and terrains
• takes place across long time spans and/or in an era beyond the range of living memory
• features a central hero who is incredibly brave and resolute
• includes obstacles and/or circumstances that are supernatural or otherworldly so as to create almost impossible odds against the hero
• reflects concern as to the future of a civilization or culture

Famous Examples of Literary Epics

Epic poems can be traced back to some of the earliest civilizations in human history, in Europe and Asia, and are therefore some of the earliest works of literature as well. Literary epics reflect heroic deeds and events that reveal significance to the culture of the poet. In addition, epic poetry allowed ancient writers to relay stories of great adventures and heroic actions. The effect of epics was to commemorate the struggles and adventures of the hero to elevate their status and inspire the audience .

Here are some famous examples of literary epics:

• The Iliad  and  The Odyssey : epic poems attributed to Homer between 850 and 650 BC. These poems describe the events of the Trojan War and King Odysseus’s return journey from Troy and were initially conveyed in the oral tradition.
• The  Mahābhārata: an epic poem from ancient India composed in Sanskrit.
• The Aeneid : epic poem composed in Latin by Virgil, a Roman poet, between 29 and 19 BC. This is a narrative poem that relates the story of Aeneas, a Trojan descendent and forebear to the Romans.
• Beowulf : an epic poem was written in Old English between 975 and 1025 AD. It is not attributed to an author, but is known for the conflict between Beowulf , a Scandinavian hero, and the monster Grendel.
• The  Nibelungenlied: the epic narrative poem was written in Middle High German, c. 1200 AD. Its subject is Siegfried, a legendary hero in German mythology.
• The Divine Comedy : epic poem by Dante Alighieri and was completed in 1320. Its subject is a detailed account of Dante as a character traveling through Hell, Purgatory, and Heaven.
• The Faerie Queene : an epic poem by Edmund Spenser published in 1590 and given to Elizabeth I. This poem features an invocation of the muse and is the work in which Spenser invented the verse form later known as the Spenserian stanza .
• Paradise Lost : written by John Milton in blank verse form and published in 1667. Its subject is the expulsion of Adam and Eve from the Garden of Eden as well as the fallen angel Satan.

Difference Between Epic and Ballad

Both epic and ballad works date back to ancient history and were passed down from one generation to another through oral poetry. However, these literary devices feature significant differences. An epic is an extended narrative poem composed with elevated and dignified language that celebrates the acts of a legendary or traditional hero. A ballad is also a narrative poem that is adapted for people to sing or recite and intended to convey sentimental or romantic themes in short stanzas, usually quatrains with repeating rhyme scheme . Ballads typically feature common, colloquial language to represent day-to-day life, and they are designed to have universal appeal to humanity as a group. Epic works, however, focus on a certain culture, race, nation, or religious group whose victory or failure determines the fate of an entirety of a nation or larger group but not all of humanity.

Characters in Epic Poetry

An epic poem can have several characters but the main character is always a historical figure or a legendary hero. Such heroes are of noble birth, having superhuman capabilities, with supernatural elements to help them out in difficult situations. He could be an unparalleled warrior, demonstrating superhuman capabilities before superhuman foes. Other characters could be all and sundry, animals , gods and goddesses, and some other superhumans but not equal to the legendary hero. Its classical examples are Odyssey and Illiad . Paradise Lost is the best example of an epic in English Literature.

Features of Main Character in Epic Poetry

The main traits of the central character of an epic are as follows.

• The hero is of a noble birth such as Odysseus.
• He could have superhuman capabilities.
• He is a good traveler and travels to foreign lands.
• He is a matchless warrior and could fight supernatural beings.
• He is a cultural legend and people sing in his praise.
• He is a humble, sympathetic and compassionate fellow.
• He surmounts all obstacles including supernatural foes.

Structure of Epic Poetry

There are several important points in the structure of an epic poem.

• The first line states the theme of the poem such as in Paradise Lost .
• The poem invokes a Muse that has inspired and instructed the poet to write the poem.
• The poem opens from the middle or In Medias Res  and then states the main events.
• The poem includes lists or catalogs of characters, armies, or ships.
• The poem includes long speeches of the main warriors.
• The poem has extended metaphors and extended similes written in iambic pentameter .

Use of Supernatural Characters in Epic Poems

Epic poems often comprise supernatural characters. Some have gods and goddesses such as in Gilgamesh and Odyssey . They help heroes in difficult times. Some have demons and monsters with whom heroes battle and win. Some epics have other supernatural elements with whom the heroes come into contact and win such as Cyclops in Odyssey. Some have mythical creatures such as Eris, Thetis, Enkidu, and Shamas in Gilgamesh.

Origin of Epic Poetry

Gilgamesh is perhaps the earliest known epic that has survived the ravages of time. It is a Sumerian poem of King Gilgamesh and has been traced back to 3,000 BC. It is stated to have the records of King Gilgamesh. Following that, Mahabharta , the ancient Indian epic, was written in 300BC and comprises more than 200,000 verses, the longest epic. Odyssey, Illiad, Paradise Lost, Ramayana, and Shahnameh are some other popular epics of different regions.

Examples of Epics in Literature

Modern readers may consider any lengthy tale of an ancient hero who embarks on a significant journey to be an epic work. However, though this type of heroic story is common in various forms of literature, prose narratives aren’t considered part of the realm of the epic tradition. It’s rare for modern poets to choose epic as a literary device; however, epic poetry remains one of the most influential forms of literature.

Here are some examples of epic poems in literature:

Example 1:  Inferno (first canticle of  The Divine Comedy  by Dante Alighieri)

i am the way into the city of woe, I am the way into eternal pain, I am the way to go among the lost. Justice caused my high architect to move, Divine omnipotence created me, The highest wisdom, and the primal love. Before me there were no created things But those that last forever—as do I. Abandon all hope you who enter here.

This passage is from the first canticle of Dante’s  Divine Comedy ,  Inferno , in which the character Dante makes a journey through Hell guided by the ancient Roman poet, Virgil. As Dante approaches the Gate of Hell, he finds these lines inscribed. The poetic lines represent the “ voice ” of Hell in telling Dante and the reader of Hell’s nature, origin, and purpose. This indicates the pathway of what is to come for Dante on his journey through the epic poem. The inscription describes Hell as a city, structured as a contained geographical area bound by walls and harboring a population of souls suffering various levels and means of torment. This is a parallel for the canticle  Paradiso and its portrayal of Heaven, which is described by Virgil as the city of God.

In addition, the inscription warns that Hell is a place of eternal woes, pain, and loss. Dante witnesses God’s intense punishment of those who sin, lending to Dante’s journey an otherworldly setting that crosses a span of time and memory. The last line of the inscription is an example of the elevated language and tone of Dante’s epic poem. Dante’s character, as well as the reader, are told to “abandon all hope” upon entering the gate of Hell, implying there is no escape from the Inferno with hope intact. Dante’s epic poem is one of the most influential works in the history of literature.

Example 2: Orlando Furioso by Ludovico Ariosto

This dog won’t hunt. This horse won’t jump. You get the general drift. However, he keeps on trying, but the fire won’t burn, the kindling is wet, and the faint glow of the ember is weak and dying. He has no other choice then but to let It go and take a nap on the ground there, lying Next to her—for whom Dame Fortune has more Woes and tribulations yet in store.

Ariosto’s epic poem of 1532 is an interpretation of the battles between the Saracen invaders and the Franks. Orlando Furioso is a brave warrior tasked to save his people, indicating a heroic character who is courageous and resolute. However, he suffers from a period of madness due to the seductions of Angelica. This circumstance represents an obstacle for the hero to overcome as a means of fulfilling his journey and destiny in ensuring the salvation of his people. The pairing of valiant duty and passionate love is common in epic poetry. In Ariosto’s work, Furioso ultimately recognizes passion as a weakness not befitting of a knight and he, therefore, returns to placing the importance of duty before any other action.

Example 3: Don Juan by Lord Byron

Between two worlds life hovers like a star, ‘Twixt night and morn, upon the horizon’s verge. How little do we know that which we are! How less what we may be! The eternal surge Of time and tide rolls on, and bears afar Our bubbles; as the old burst, new emerge, Lash’d from the foam of ages; while the graves Of Empires heave but like some passing waves.

Some poets, including Alexander Pope, wrote mock-epics to satirize heroic verse and its elevated stature which became epic works of their own. In “Don Juan,” Byron utilizes the elements of epic as a literary device to reinvent the story of the title character from the Spanish legend of “Don Juan.” However, in Byron’s work, the story of Don Juan is reversed. Rather than portraying the infamous character as a womanizer, he is presented as someone who is easily seduced by women. This allows Byron as a poet to satirize the legend and character of Don Juan in addition to the epic form of poetry as well.

However, though Byron’s epic poem is satirical, it is also masterful in its sixteen cantos of ottava rima or eighth rhyme . “Don Juan” features 16,000 lines in which Byron cleverly utilizes elevated language and tone as a nod to traditional epic poetry, but also intersperses a vulgar style of writing as well to subvert the epic tradition.

Synonyms of Epic

The distant synonyms for epic are a heroic poem, saga, legend, lay, romance , myth , history, chronicle, folk tale, long story, and long poem.

Related posts:

• 15 Epic Uses of Apostrophe in The Iliad

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epic noun & adjective

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Earlier version

• epic, a. and n. in OED Second Edition (1989)

What does the word epic mean?

There are nine meanings listed in OED's entry for the word epic , one of which is labelled obsolete. See ‘Meaning & use’ for definitions, usage, and quotation evidence.

epic has developed meanings and uses in subjects including

How common is the word epic ?

How is the word epic pronounced, british english, u.s. english, where does the word epic come from.

Earliest known use

The earliest known use of the word epic is in the late 1500s.

OED's earliest evidence for epic is from 1583, in the writing of Brian Melbancke, writer.

epic is a borrowing from Latin.

Etymons: Latin epicus .

Nearby entries

• epibenthic, adj. 1902–
• epibenthos, n. 1902–
• epibiont, n. 1949–
• epibiotic, adj. & n. 1930–
• epiblast, n. 1866–
• epiblema, n. 1861–
• epibolic, adj. 1875–
• epiboly, n. 1875–
• epiboulangerite, n. 1872–
• epibranchial, adj. 1846–
• epic, n. & adj. 1583–
• epical, adj. & n. 1668–
• epically, adv. 1804–
• epicalyx, n. 1847–
• epicanthal, adj. 1893–
• epicanthic, adj. 1877–
• epicanthus, n. 1833–
• epicardiac, adj. 1848–
• epicardial, adj. 1869–
• epicardium, n. 1860–
• epicaridan, n. & adj. 1855–

Meaning & use

Were it meete that Ennius excelling in Epicks , shoulde dispraise Cecilius a Comicall Poet.

Epiques chang'd to Doleful Elegies.

One of them was the Goddess of Elegies..and another of Epicks .

He [ sc. Mr. M'Pherson] brought forward his counterfeit epicks [ sc. the alleged poems of Ossian] .

Rose-coloured novels and iron-mailed epics .

The most popular of all English poems has been the Puritan epic of the ‘Paradise Lost’.

It is perhaps only an accident that the Greek epics are put in verse at all.

The ox units mentioned in the Homeric epics .

The dominant female in Virgil's epic is the frightening Juno.

• epic 1583– A poem, typically derived from ancient oral tradition, which celebrates in the form of a continuous narrative the achievements of one or more…
• epopee 1697– An epic poem (= epic , n. ). Usually the epic poem generically; the epic species of poetry.
• epopoeia 1749– = epopee , n. 1.
• epos 1855– An epic poem: = epic , n. , epopee , n.

Fenelon's Telemachus, is an Epic in prose.

That great prose poem, the single epic of modern days, Thomas Carlyle's ‘French Revolution’.

I want very much to see the Birth of a Nation , which is said to be a really great film, an epic in pictures.

Nash's ..ran the last Forsyte epic as a serial.

An ‘ epic ’ is a large-scale film in which the events, usually historical, take precedence over the ‘love interest’.

Epics don't require sand or falling temples.

• romantic comedy 1748– (Originally) a comedy having qualities associated with a literary romance (cf. romantic , adj. A.1a); (subsequently also) a film or other work…
• epic 1785– A book, film, or other creative work resembling or likened to a traditional epic, esp. in portraying heroic deeds and adventures or covering an…
• pre-release 1871– A release in advance; esp. a film, record, etc., given restricted availability before being generally released.
• foreign film 1899– A film produced in a foreign country, now esp. one that requires the addition of subtitles or dubbing; a foreign-language film (also used as a…
• frivol 1903– Something frivolous, (an instance of) frivolity; a frivolous or light-hearted event, etc. (esp. a literary or cinematographic production); also, a…
• dramedy 1905– A work of art exhibiting qualities of both drama and comedy. In later use: spec. a television programme or film in which the comedic elements are…
• film loop 1906– a. A slack length of film, forming a loop, necessary for the smooth running of a film strip in a projector; = loop , n.¹ 4i; b. a (short) film spliced…
• first run 1910– a. adj. Designating a film being shown for the first time or a cinema in which films are normally first shown; b. n. the first showing or première…
• detective film 1911–
• colour film 1912– A cinema film (or formerly a photograph) produced in natural colours.
• news film 1912–
• topical 1912– A film dealing with topical events. (Now disused .)
• cinemicrograph 1913– A moving image of a microscopic object, process, etc., typically obtained by means of time-lapse photography. Cf. cinemicrography , n.
• scenario production 1913– a. The production of film scripts or scenarios; b. = scenario picture , n. (now rare ).
• scenic 1913– A film whose subject is natural scenery, or a series of photographs of natural scenery shown as a film; (more generally) a text, painting…
• sport 1913– A cinematographic film about sport. rare .
• newsreel 1914– A short cinema film dealing with news and current affairs. Also in extended use.
• serial 1914– A film drama shown in cinemas in sequential instalments. Cf. cliffhanger , n. Now historical .
• scenario picture 1915– A film for which a plot and storyline are created, as opposed to a documentary or factual film; also figurative .
• sex comedy 1915– A play, film, or television programme which combines erotic and comic elements, or whose plot centres on romantic relationships or sexual encounters.
• war picture 1915– a. A painting of which the theme is war; b. a photograph of a scene from the theatre of war; also, a documentary film of action from a war, and trans …
• telefilm 1919– A film or motion picture, esp. one shown on television or one made for that medium rather than for release at the cinema.
• comic 1920– A comic film, animation, or programme for cinema or television, esp. a cinematic short shown before the feature film.
• true crime 1923– A genre of writing, film, etc., in which real crimes are examined or portrayed; cf. true , adj. A.II.4c; frequently (and in earliest use) attributive.
• art house 1925– A cinema which specializes in films of artistic rather than commercial appeal, esp. foreign, experimental, or independent films. Hence: this style…
• psychological thriller 1925– A novel, film, etc., in the thriller genre which focuses on the psychology of its characters, or which psychologically manipulates its audience or…
• quickie 1926– A film or television programme that is made quickly and cheaply. Cf. quota quickie , n.
• turkey 1927– U.S. slang . An inferior or unsuccessful cinematographic or theatrical production, a flop; hence, anything disappointing or of little value.
• two-reeler 1928–
• smellie 1929– A (hypothetical) cinema or television film in which smell is synchronized with the picture. Usually plural. Cf. feelie , n.
• disaster film 1930– a. A factual film concerning a disaster (now rare ); b. a film whose plot centres on a disaster, esp. one involving many people; such films as a…
• musical 1930– Originally U.S. A play or film in which singing and dancing play an essential part; a musical comedy.
• feelie 1931– A (hypothetical) motion picture augmented by tactile effects which are felt by the viewer. Chiefly in plural (frequently with the ): the screening of…
• sticky 1934– A slow-moving film.
• action comedy 1936– A film or television programme which blends comedy with a lively plot and fast-paced action; cf. action film , n. , situation comedy , n.
• quota quickie 1936– = quota film , n.
• re-release 1936– A recording or film that is re-released, esp. a recording that is released on a different format from before.
• screwball comedy 1937– a. A comedy film of a type first produced in the United States in the 1930s, with a fast-moving, irreverent style, typically featuring eccentric…
• story film 1937– A film that tells a story, esp. a fictional feature film.
• telemovie 1937– A film shown on television, esp. one made for that medium rather than for release at the cinema; cf. telefilm , n. 1.
• disaster movie 1939– A film whose plot centres on a disaster, esp. one involving many people; such films as a genre.
• pickup 1939– Film (originally U.S. ). A film, or film footage, which is made by one company and acquired (for distribution, etc.) by another.
• video film 1939– a. U.S. cinematographic film used to pre-record television programmes ( rare ); b. U.S. (now disused ) a cinematographic film of a television broadcast…
• actioner 1940– colloquial . An action film.
• space opera 1941– A science fiction story or drama set in space; space fiction esp. of an unsophisticated or clichéd type.
• telepic 1944– A film shown on television, esp. one made for that medium rather than for release at the cinema; cf. telefilm , n. 1.
• biopic 1947– A biographical film, esp. one dramatizing the life of a public or historical figure.
• kinescope 1949– A film recording made from a television broadcast.
• TV movie 1949– a. A film recording of a television broadcast (now disused ); b. a movie shown on television, esp. one specially made for that medium rather than…
• film noir 1950– A film characterized by a mood of cynicism, fatalism, menace, and moral ambiguity, typically taking place in an urban setting.
• pièce noire 1951– A play or film with a sombre or macabre theme. Cf. film noir , n. & adj.
• pièce rose 1951– A light or entertaining play or film; a comedy.
• deepie 1953– A film made so as to give a viewer the illusion of three-dimensional depth; a 3-D film.
• misterioso 1953– An air of mystery; mysteriousness. Also: a film, television programme, etc., whose story relies on mystery and suspense.
• film noir 1956– A genre of crime film or thriller film characterized by a mood of cynicism, fatalism, menace, and moral ambiguity, and having a (typically…
• mockumentary 1956– A film, television programme, etc., which adopts the form of a serious documentary in order to satirize its subject.
• policier 1956– A film based on a police novel. Also occasionally: a police novel. Cf. roman policier , n.
• psychodrama 1956– A play, film, novel, etc., in which psychological elements are the main interest.
• free film 1958– A film made in accordance with the aims of the Free Cinema movement.
• prequel 1958– A book, film, etc., narrating events which precede those of an already existing work.
• co-production 1959– A joint production; the process or result of financing the production of (or, more rarely, of producing) something, esp. a film or television…
• glossy 1960– Cinematography . A film depicting fashionable life.
• sexploiter 1960– A sexually exploitative film.
• monster movie 1961– A film having a monster as a major feature of the action.
• sci-fier 1961– = science-fictioner , n.
• tie-in 1962– A book, film, or the like published to take advantage of the appearance of the same work in another medium.
• chanchada 1963– A type of popular Brazilian musical film, typically characterized by slapstick or burlesque humour, vibrant song and dance sequences, and the…
• romcom 1963– A film with a light, comedic tone and a plot centring on a romance (often viewed in a sentimental or idealized way); a romantic comedy; (also) the…
• wuxia 1963– An itinerant swordsman or warrior of ancient China. Frequently attributive , esp. designating a genre of Chinese historical fiction or martial…
• chick flick 1964– A film predominantly based around female characters; spec. (a) a film designed to appeal to male sexual fantasy in its exploitative portrayal of…
• showreel 1964– A short film, video, etc., containing examples of an actor's, director's, or company's work for showing to potential employers or customers; a…
• monster film 1965– = monster movie , n.
• sword-and-sandal 1965– A genre of film characterized by a setting in the ancient world, often featuring characters from the Bible or classical history and myth…
• schlockbuster 1966– A film or book which is highly popular or commercially successful but is regarded as having no artistic merit. Cf. schlocker , n.
• mondo 1967– A film which is reminiscent or imitative of Mondo Cane (see etymological note), esp. one with voyeuristic or pornographic elements. rare .
• peplum 1968– A film within a genre that flourished in Italy in the late 1950s and early 1960s, typically featuring an ancient world setting, an adventurous and… Though frequently popular worldwide, the relatively low production values and poor dubbing of many of these films meant that peplum was often used somewhat depreciatively.
• thriller 1968– One who or that which thrills; spec. ( slang or colloquial ) a sensational play, film, or story (cf. shocker , n.² A.1b).
• whydunit 1968– A story, play, or film in which the main interest lies in the detection of the motive for some crime or other action.
• schlocker 1969– A film regarded as having no artistic merit; esp. a schlock horror film. Cf. schlockbuster , n.
• road movie 1970– A film in which the principal character or characters make a journey by road, typically a journey on which some form of insight or self-knowledge…
• blaxploitation 1972– As a modifier, designating a type of film exploiting a popular trend or taste for stereotypical urban African American characters, settings, and…
• buddy-buddy movie 1972– A movie portraying a close friendship between two people of the same sex, typically men; cf. buddy movie , n.
• buddy-buddy film 1974– A film portraying a close friendship between two people of the same sex, typically men; cf. buddy film , n.
• buddy film 1974– A film portraying a close friendship between two people of the same sex, typically men; a buddy movie; cf. buddy-buddy film , n.
• science-fictioner 1974– A science fiction film or television programme.
• screwball 1974– Originally U.S. Film . A genre of comedy film first produced in the United States in the 1930s, with a fast-moving, irreverent style, typically…
• buddy movie 1975– A movie portraying a close friendship between two people of the same sex, typically men; cf. buddy-buddy movie , n.
• slasher movie 1975– attributive . Designating cinematographic films which depict the activities of a vicious attacker whose victims are slashed with a blade, as slasher …
• swashbuckler 1975– A book, film, or other work portraying swashbuckling characters.
• filmi 1976– a. The films produced by the Mumbai film industry ( rare ). b. A type of music used in the soundtracks of these films (see sense A); = filmi geet , n.
• triptych 1976– transferred . Cinematography . A sequence of film designed to be shown on a triple screen, using linked projectors.
• autobiopic 1977– A film based on events in the life of the filmmaker; an autobiographical film. Cf. biopic , n.
• Britcom 1977– A comedy film produced or set in the United Kingdom; a British comedy film.
• kidflick 1977– A cinematographic or video film for children; = kidvid , n.
• noir 1977– A genre of crime film or detective fiction characterized by cynicism, sleaziness, fatalism, and moral ambiguity; film noir. Also: a film or novel in…
• bodice-ripper 1979– A sexually explicit romantic novel, esp. one in a historical setting with a plot involving the seduction of the heroine; also transferred , a film…
• monster flick 1980– = monster movie , n.
• chopsocky 1981– A violent action film featuring (numerous) sequences involving martial arts, esp. kung fu. Also: the martial arts themselves, as depicted in such…
• date movie 1983– A film that might be suitable for watching on a date ( date , n.² 8a), esp. one which is pleasant but somewhat innocuous, such as a romantic comedy.
• kaiju eiga 1984– A genre of Japanese film having a giant monster as a major feature of the action; a film of this genre (or one in a similar style made…
• screener 1986– An advance copy or promotional video, DVD, etc., of a film, television programme, etc.
• neo-noir 1987– This style or genre; (also) a film or novel in this style.
• tent pole 1987– figurative and in figurative contexts. Film . A big-budget film which is expected to generate sufficient revenue or attention to support a range of…
• indie 1990– An independent film (or, later, television) producer or production company; an independently produced film or programme; by extension applied to…
• bromance 2001– Intimate and affectionate friendship between men; a relationship between two men which is characterized by this. Also: a film focusing on such a…
• hack-and-slash 2002– Relating to or designating a film, interactive game, etc., which focuses chiefly on combat and violence. Cf. slasher , n. additions. Also…
• tokusatsu 2004– A genre of Japanese film or television entertainment characterized by the use of practical special effects, usually featuring giant monsters…
• zom-com 2004– A comedy film featuring zombie characters.
• mumblecore 2005– A style of low-budget film typically characterized by naturalistic and (apparently) improvised performances, a reliance on dialogue rather than…
• independent 2006– A person or company producing films without the affiliation or backing of a major established studio; an independent filmmaker (cf. indie , n. A.1)…
• dark fantasy 2007– A work of fiction, as a novel, film, etc., combining elements of horror and fantasy, typically sinister, bleak, or disturbing in tone or subject…
• hack-and-slay 2007– = hack-and-slash , adj. Also as n.
• gorefest 2012– A scene or description of bloodshed and gory violence; (now esp. ) a film characterized by scenes of graphic violence and bloodshed.
• kidult slang (originally and chiefly U.S. ). Frequently derogatory . A television programme, film, or other entertainment intended to appeal to both children and adults.

It cannot be denied but that Virgil excelled all the Epickes [French ceux qui auparauant auoyent escrit des vers heroicques ] .

Now to like of this, Lay that aside, the Epicks office is [Latin promissi carminis auctor ] .

The Epics are not more exact in describing Times and Seasons, than our Poet.

• heroic 1594–1680 A writer of heroic verse, a heroic poet. Obsolete .
• epic 1607–1744 A poet who composes epics. Obsolete .
• epo-poet 1800– An epic poet.
• epicist 1820– An epic poet; a creator of epics.
• epopoeist 1840– One who writes epic poetry.
• epoist 1842– A writer of epic poetry.

The best Masters of the Epick , Homer, and Virgil.

Aristotle distinguishes Poesie into three divers kinds of perfect Poems, the Epick , the Tragick, and the Comick [French l'Epopée, la Tragedie, & la Comedie ] .

From this Fountain sprung up Satyrical Poetry, even as from the Effects of Love and Courage, came the Epic and the Tragic.

How Tragedy and Comedy embrace; How Farce and Epic get a jumbled race.

The Play in Hamlet, in which the Epic is substituted for the Tragic in order to make the latter be felt as the real-Life Diction.

Our literature is rich in ballads, a form epitomical of the epic and dramatic.

Homer and the epic .

Most frequent in bucolic, elegiac, and dramatic poetry, the adynaton finds a place also in epic , lyric, and satire.

Aristotle..discussed tragedy, comedy and epic as separate genres.

Tragic poetry can be as independent from performance as the epic is.

This starry and dreamlike incident in the epic of life's common career.

That life was a noble Christian epic .

Before middle age he has lived an epic .

The financing of this little pike was an epic in itself.

The Government yesterday launched a mighty enterprise—nothing less than the occupational enfranchisement of the country's youth. Yet this [is] an epic without glamour.

Laurie Spina knew the moment he saw the crowd of 11,000..that the 1982 Foley Shield grand final would be an epic .

• epic 1833– An event or series of events likened to those in an epic, esp. in being grand in scale or lengthy and arduous.
• epos 1848– transferred . A series of striking events worthy of epic treatment.

Harding a Poet Epick or Historicall.

Teaches what the laws are of a true Epic poem.

The same images serve equally for the Epique Poesie, and for the Historique and Panegyrique.

Three and twenty Descriptions of the Sun-rising that might be of great Use to an Epick Poet.

To be poor, in the epick language, is only not to command the wealth of nations.

My poem's epic , and is meant to be Divided in twelve books.

The epic poet..must drink water out of a wooden bowl.

Tennyson has endeavored to imitate the old epic simplicity.

Some of the Scandinavian ballads dealing with the old historical traditions are merely re-readings of older epic poems.

Homer reveals the world of gods as well as the world of men, both in epic verse.

It is clear that the epic genre, starting from Virgil, and especially after Lucan, builds its identity on an intersection between the epic and the tragic canons.

A common early epic line that describes a warrior putting a helmet on his head in preparation for battle.

• heroical ?1521– = heroic , adj. A.2b.
• heroic a1586– Of a poet, poetry, etc.: having mythological or historical heroes as subject matter (cf. sense A.3); epic. Cf. mock-heroic , adj.
• epic 1589– Of or relating to the genre of poetic composition, typically derived from ancient oral tradition, which celebrates in the form of a continuous…
• epical 1694– Of a poem or other work: belonging to the epic genre; of the nature of an epic. Also: designating an epic poet. Cf. epic , adj. B.1.

This day was published.. The Bonze ; or, Chinese Anchorite. An oriental epic novel.

Mr. Walter Savage Landor..author of an epic piece of gossiping called Gebir.

The last landscape..is entitled the ‘The Mountain Top’... This composition is..the most epic work that this artist ever produced.

Of these Irish epic tales, ‘The Destruction of Dà Derga's Hostel’ is a specimen of remarkable beauty and power.

Mr Steinbeck's novel..is a deliberately and self-consciously epic account of the agrarian revolution in America.

Kevin Costner makes his directorial debut in ‘Dances with Wolves’, a three-hour epic film in which he also stars.

• watery c1230– Of speech, style, emotion, a person, etc.: vapid, insipid; lacking in substance or interest; thin, feeble, weak.
• polite ?a1500– Of language, the arts, or other intellectual pursuits: refined, elegant, scholarly; exhibiting good or restrained taste.
• meagre 1539– Deficient, inferior. Of writing, artistic work, etc., or its style or subject matter: lacking fullness or elaboration; weak, unsatisfying.
• over-laboured 1579– Overworked; (also) excessively elaborate or laboured. Also as n.
• bald 1589– Bare or destitute of ornament and grace; unadorned, meagrely simple. Of literary style.
• spiritless 1592– Lacking dynamic qualities; characterized by the absence of animation, energy, or zest. Of a thing, esp. a literary or artistic work.
• light 1597– Of literature, music, or other creative works: designed to be entertaining rather than thought-provoking.
• meretricious 1633– Alluring by false show; showily or superficially attractive but having in reality no value or integrity.
• standing 1661–1709 Of a work of art or literature: regarded as enduring or exemplary. Cf. standard , adj. B.I.3a. Obsolete .
• effectual 1662 Powerful in effect, having powerful effects; = effective , adj. A.1. Now rare .
• airy 1664– Like air in its lightness and buoyancy. Light, delicate, graceful in style or execution. Also, of a person or work of art: ingenious, witty.
• severe 1665– In reference to style or taste, literary or artistic: Shunning redundance or unessential ornament; not florid or exuberant; sober, restrained…
• correct 1676– In accordance with an acknowledged or conventional standard, esp. of literary or artistic style, or of manners or behaviour; proper.
• enervate a1704– Of artistic style, etc.
• free 1728– Of a literary, musical, or other artistic composition: not observing the normal conventions of style or form; (of a translation) conveying only the…
• classic 1743– = classical , adj. A.7.
• academic 1752– Conforming to the principles of an academy of arts, esp. painting, often too rigidly; conventional, esp. in an excessively formal way.
• academical 1752– = academic , adj. B.4. Now rare .
• chaste 1753– Pure in artistic or literary style; without meretricious ornament; chastened, subdued.
• nerveless 1763– Of literary or artistic style: diffuse, insipid, lifeless.
• epic 1769– Designating a book, film, or other creative work resembling or likened to an epic poem; dealing with heroic exploits and adventures, esp. in a…
• crude 1786– Of literary or artistic work: Lacking finish, or maturity of treatment; rough, unpolished.
• effective 1790– Of a work of art, a design, a literary composition, etc.: producing a striking or pleasing impression.
• creative 1791 Inventive, imaginative; of, relating to, displaying, using, or involving imagination or original ideas as well as routine skill or intellect, esp…
• soulless 1794– spec. Of literature, art, music, etc.: devoid of inspiration or feeling; cold, mechanical.
• mannered 1796– Of art, architecture, etc.: characterized by or given to mannerism; artificial, affected, or over-elaborate in style.
• manneristical 1830– = manneristic , adj.
• manneristic 1837– Mannered, characterized by mannerisms of behaviour, style, etc.; spec. characterized by Mannerism in art, architecture, etc.
• subjective 1840– Art and Literary Criticism . Expressing, bringing into prominence, or deriving its materials mainly from, the individuality of the artist or author.
• inartistical a1849– Not artistical; = inartistic , adj.
• abstract 1857– Designating music, dance, film, etc., which rejects representation of or reference to external reality, esp. in dispensing with narrative…
• inartistic 1859– Not artistic; not in accordance with the principles of art.
• literary 1900– Of the visual arts, music, etc.: concerned with depicting or representing a story or other literary work; that refers or relates to a text; that… Sometimes in a derogatory sense, implying dependency on a text at the expense of freedom of expression.
• period 1905– Belonging to or characteristic of a particular historical period; deliberately old-fashioned or archaic in style, subject matter, etc.
• atmospheric 1908– Evoking or designed to evoke an atmosphere (sense 4).
• dateless 1908– Perpetually relevant, valuable, appealing, etc.; not dated; classic, timeless.
• atmosphered 1920– Having or provided with atmosphere (sense 4).
• non-naturalistic 1925– = non-naturalist , adj. A.3.
• self-indulgent 1926– Chiefly depreciative . Of a literary, artistic, or other creative work: catering to or concerned with the creator's own tastes or preoccupations, without regard to…
• free-styled 1933– Not observing conventions of style or form; improvisational, unrestrained. Cf. freestyle , adj. A.2.
• soft-centred 1935– Essentially weak, vulnerable, or sentimental in nature. Usually somewhat depreciative .
• freestyle 1938– Of a literary, musical, or artistic work or performance: = free , adj. A.II.10b.
• pseudish 1938– Often with capital initial. Osbert Lancaster's mock or depreciative name for: a style or supposed ‘school’ of architecture regarded as imitative or…
• decadent 1942– Said of other schools of literature and art characterized by decadence; spec. = aesthetic , adj. B.3.
• post-human 1944– Designating or relating to art, music, etc., in which humanity or human concerns are regarded as peripheral or absent; abstract, impersonal…
• kitschy 1946– Esp. of art, objects, design, and entertainment: having popular appeal but considered to be vulgar, of low quality, or lacking artistic merit, esp…
• faux-naïf 1958– Of a work of art: self-consciously or meretriciously simple and artless.
• ultra-processed 1961– Of a film, piece of music, or other artistic work: produced in such an elaborate way that the energy, spontaneity, or artistry of the original…
• spare 1965– Of style: unadorned, bare, simple.
• binge-worthy 1997– Of food or drink: extremely appetizing or enjoyable, in a way that encourages overindulgence.

Chief Leader of the Epick Quire [Latin Chori..Epici ] .

The shining Qualitiy of an Epick Heroe, his Magnanimity, his Constancy,..raises first our Admiration.

Then, might our great, Third Edward's awful Shade..Pale, from his Tomb, in Epic Strides, advance.

Uniting the great and sublime of epic grandeur with the little and the low of common life.

Here, there, everywhere it went gleaming where men were thickest, like the hero's helmet in an epic battle.

Some great Princess, six feet high, Grand, epic , homicidal.

The noblest descriptive powers would find a fitting subject in the epic journey of the life savers.

I am allowed to chronicle the epic deeds of the men from Blankshire.

When Francis Parkman went out on the Oregon Trail in 1846, the epic period of French-Scottish-Canadian exploration was over.

An epic feat of engineering.

• epic 1652– Of a person, event, action, etc.: such as is described in epic poetry; suitable for the subject of an epic poem; characterized by heroic and…
• epical 1668– Characteristic of an epic; resembling the style or the subjects of epic poetry; grand in scale or ambition. Cf. epic , adj. B.2.

When University of Florida linguistics professor David Pharies asked 350 sophomores for samples of college slang, here's what he found... ‘Killer’ is a compliment, along with ‘mint, awesome, prime, epic , golden, [etc.] ’.

The world's greatest surfers challenging the world's most epic waves.

Want to look totally epic this year at..the pool?

That's epic , dude.

To hit such epic speeds, the researchers combined seven 200Gbits/sec channels over the top of BT's existing network.

• breme Old English–1400 Celebrated, famous, glorious (only in Old English); hence as a general epithet of admiration: Excellent, good, ‘fine’, ‘famous’; sometimes…
• fair Old English– Beautiful to the eye; of attractive appearance; good-looking. Cf. foul , adj. I.7a. Now somewhat archaic … Of a person, or a person's face, figure…
• goodly Old English– Of a good quality or high standard; splendid, excellent, fine. Now archaic .
• goodful c1275– Excellent, worthy, virtuous.
• noble c1300– Distinguished by virtue of splendour, magnificence, or stateliness of appearance; of imposing or impressive proportions or dimensions. †Also as n. …
• price c1300–1615 As a general term of appreciation: worthy, noble; praiseworthy, commendable; prime.
• special c1325– Exceptional in quality or degree; unusual; out of the ordinary; esp. excelling in some (usually… Of an abstract concept, immaterial thing, etc…
• gentle c1330–1604 Of things: noble, excellent, fine. Obsolete .
• fine ?c1335– As a general term of approbation: admirable; excellent; of notable merit or distinction.
• singular a1340–1712 Above the ordinary in amount, extent, worth, or value; especially good or great; special… Of remedies, medicines, etc.: Excellent; highly…
• thriven a1350–1400 As an epithet of commendation, esp. in the alliterative phrase thriven and thro (see thro , adj.² ): ? Eminent, excellent, worthy, honourable…
• thriven and thro a1350–1450 Origin, status, and meaning uncertain; occurs in the alliterative phrase thriven and thro , always commendatory or honorific, and apparently meaning…
• gay a1375– Noble; beautiful; excellent, fine. More generally. regional in later use.
• proper c1380– Such as a person or thing of the kind specified should be; admirable, excellent, fine; of high quality; of consequence, serious, worthy of…
• before-passing a1382 Excelling.
• daintiful 1393–1440 = dainty , adj.
• principal a1398– Of special quality; excellent, choice; first-class, first-rate. Now rare ( Scottish in later use).
• gradely a1400– Of things. Excellent, suitable, handsome.
• burly c1400–1873 poetic . Of things: Goodly, excellent, noble. Obsolete . (As an epithet of spear , brand , the meaning may have been ‘stout’: cf. boisterous , adj. )
• dainty c1400–1855 Valuable, fine, handsome; choice, excellent; pleasant, delightful. Obsolete or dialect in general sense.
• thriving c1400–1540 In alliterative use: Excelling, excellent, worthy; = thriven , adj. 2, thrifty , adj. 2. Obsolete .
• vounde c1400 (Meaning obscure.)
• virtuous c1425–75 Of high quality, excellent. Obsolete .
• hathel c1440–1540 Noble; worthy.
• curious c1475–1816 Without explicit reference to workmanship: Exquisite, choice, excellent, fine (in beauty, flavour, or other good quality). Obsolete or dialect …
• singler c1500 = singular , adj. , in various senses.
• beautiful 1502– Realizing an ideal of intellectual or moral excellence; pleasing to the mind, esp. in being appropriate or well-suited to a particular purpose…
• rare ?a1534– colloquial . In weakened sense: splendid, excellent, fine. Now chiefly Scottish , Irish English , and English regional .
• gallant 1539– Used as a general term of admiration or praise: excellent, splendid, fine, grand. Cf. brave , adj. A.3. Now chiefly Irish English .
• eximious 1547– Excellent, distinguished, eminent; notable, singular.
• jolly 1548– Used as a general expression of admiration: Splendid, fine, excellent.
• egregious ?c1550– In a positive sense. Of a person, or his or her qualities: distinguished, eminent; great, renowned.
• jelly c1560– Good, worthy, excellent; having a high opinion of oneself, proud, haughty.
• goodlike 1562– Of a good quality or high standard; splendid, excellent, fine; = goodly , adj. 4a. Now Scottish .
• braw c1565– = brave , adj. A.3; worthy, excellent, capital, fine.
• of worth 1576– of worth : valuable, useful, important; of high merit or excellence; worthy. Cf. of value at value , n. phrases P.1.
• brave ?1577– loosely , as a general epithet of admiration or praise: Worthy, excellent, good, ‘capital’, ‘fine’… Of things.
• surprising 1580–1831 Exciting admiration, admirable; occasionally adv. Obsolete .
• finger-licking 1584– a. n. The action or an act of licking the fingers, esp. to remove remnants of food after eating; b. adv. so as to cause a person to lick his or her…
• admirable a1586– Worthy of admiration or praise. In later use also as a general term of esteem or appreciation: excellent, very good, pleasing.
• excelling a1586– That excels; superior, surpassing. Now only in good sense. †Of a number: Exceedingly great.
• ambrosial 1598– In extended or weakened use: extremely beautiful or pleasing; extraordinarily great; excellent, wonderful.
• sublimated 1603– Of a person or immaterial thing: elevated to a high degree of perfection, excellence, or refinement; noble; exalted.
• valiant 1604 Of an item of clothing: splendid. Obsolete .
• excellent 1609– (The current sense; originally a contextual use of 1.) Used as an emphatic expression of praise or approval, whether of persons, things, or…
• fabulous 1609– Such as is met with only in fable; beyond the usual range of fact; astonishing, incredible. Now frequently in trivial use, esp. = ‘marvellous’…
• pure 1609–1888 slang . Fine, good, excellent, nice. Obsolete .
• starry c1610– figurative and in figurative contexts. That shines spiritually, morally, or intellectually; illustrious; excellent, admirable.
• topgallant 1612–1850 Used humorously or poetically as an intensive: = gallant , adj. (in various senses). Cf. sense A.4. Obsolete .
• lovely 1614– In weakened use: excellent; delightful, pleasant, nice; enjoyable. Now also as int.
• soaring a1616– figurative . Rising to a great height, high pitch, etc.; egregious; ambitious, aspiring; sublime.
• twanging 1616 colloquial . Exceptionally fine or good. Cf. stunning , adj. , ripping , adj. , etc. Obsolete .
• preclarent 1623 Excellent.
• prime a1637– colloquial . In weakened or ironic use: excellent, splendid; marvellous. Chiefly in predicative use, or as int.
• prestantious 1638 Characterized by excellence; excellent.
• splendid 1644– Excellent; very good or fine.
• sterling 1647– Of character, principles, qualities, occasionally of persons: Thoroughly excellent, capable of standing every test.
• licking 1648– That licks. Of a flame: = lambent , adj. Also slang , first-rate, ‘splendid’ (cf. thumping , adj. 2, whacking , adj. ).
• spanking a1666– Very big, large, or fine; exceptionally good in some respect, frequently with implication of showiness or smartness.
• rattling 1690– Rapid, brisk, vigorous. Also: remarkably good.
• tearing 1693– Impressive, splendid, grand; ‘ripping’, ‘rattling’, ‘stunning’. colloquial or slang . (Now rare .)
• famous 1695– Used (chiefly colloquially ) as an emphatic expression of approval: Excellent, grand, magnificent, splendid, ‘capital’.
• capital 1713– Excellent, outstanding, first-rate. Frequently as an exclamation of approval. Now somewhat dated .
• yrare 1737– Pseudo-archaic f. rare , adj.¹
• pure and — 1742–1873 pure and — : very, truly; entirely, utterly. Cf. and , conj.¹ A.I.i.5. See also sense B.1. Obsolete ( regional in later use).
• daisy 1757– slang . (chiefly U.S. ). A first-rate thing or person; also as adj. First-rate, charming.
• immense 1762– slang . Superlatively good, fine, splendid, etc.
• elegant 1764– North American and Irish English . As a general term of approbation: very good, excellent, first-rate. Also as adv. Cf. iligant , adj.
• super-extra 1774– Designating a commodity, manufactured goods, etc., of the highest quality; ( Bookbinding ) designating a premium-quality binding, typically with…
• trimming 1778 That trims, in various senses of the verb; making trim, adorning, decorating; clipping, paring; colloquial or slang , ‘stunning’, ‘rattling’…
• grand 1781– colloquial . Used as a general term to express strong admiration, approval, or gratification: magnificent, splendid; excellent; highly enjoyable…
• gallows 1789– dialect and slang . As an intensive: Very great, excellent, ‘fine’, etc.
• budgeree 1793– Good, excellent.
• crack 1793– Pre-eminent, superexcellent, ‘first-class’.
• dandy 1794– Fine, splendid, first-rate. colloquial (originally U.S. ). Frequently in fine and dandy .
• first rate 1799– As an emphatic expression of praise or approval: extremely good, excellent.
• smick-smack 1802– Elegant, first-rate. rare .
• severe 1805– colloquial (chiefly U.S. ). A vague epithet denoting superlative quality; very big or powerful; hard to beat.
• neat 1806– colloquial . Good, excellent; desirable, attractive; (weakened in later use) ‘cool’. Also as int. Chiefly U.S.
• swell 1810– That is, or has the character or style of, a ‘swell’; befitting a ‘swell’. Of persons: Stylishly or handsomely dressed or equipped; of good…
• stamming 1814– Fine, excellent.
• divine 1818– In weaker sense: More than human, excellent in a superhuman degree. Of things: Of surpassing beauty, perfection, excellence, etc.; extraordinarily…
• great 1818– colloquial (originally U.S. ). As a general term of approval: excellent, admirable, very pleasing, first-rate. Cf. sense A.III.13a.
• slap-up 1823– Very or unmistakably good or fine; of superior quality, style, etc.; first-rate, first-class, grand… Of things. Now used esp. of meals.
• slapping 1825– Of persons or things: Unusually large or fine; excellent, very good; strapping.
• high-grade 1826– gen. Of a high grade or standard; good quality.
• supernacular 1828– Esp. of drink: excellent, superb, outstanding. Cf. supernaculum , n. B.3.
• heavenly 1831– colloquial . In weakened sense: excellent, wonderful, very pleasant.
• jam-up 1832– Usually jam-up . Excellent, perfect; thorough. colloquial .
• slick 1833– First-class, excellent; neat, in good order; smart, efficient, that operates smoothly; superficially attractive, glibly clever. (Of things, actions…
• rip-roaring 1834– Full of energy and vigour; boisterous, wildly noisy; first-rate, exciting.
• boss 1836– attributive . Of persons: master, chief. Of things: most esteemed, ‘champion’. Now esp. in U.S. slang : excellent, wonderful; good, ‘great’; masterly.
• lummy 1838– First-rate.
• flash 1840– Of a hotel, etc.: First-class, fashionable, ‘crack,’ ‘swell’.
• kapai 1840– Good, fine; excellent; very pleasant.
• slap 1840– = slap-up , adj.
• tall 1840–52 figurative . Great in quality, excellent, good, first-class. ( U.S. slang .)
• high-graded 1841– = high-grade , adj. (in various senses).
• awful 1843– colloquial . In emphatic use. Cf. sense B Used to emphasize something enjoyable or positive; excellent, first-rate, tremendous.
• way up 1843– Far up; very high up.
• exalting 1844– That exalts (in various senses of the verb).
• hot 1845– Characterized by intensity or energy, in a positive or neutral sense (cf. sense A.II.9); exciting… colloquial (originally U.S. ). Extremely good…
• ripsnorting 1846– = rip-roaring , adj.
• clipping 1848– slang . Excellent, first-rate.
• stupendous 1848– In weakened sense: extremely good or pleasing; marvellous, splendid.
• fly 1849– Chiefly U.S. (esp. in African American usage). Stylish, sophisticated, fashionable; attractive, good-looking; (later also more generally)…
• stunning 1849– colloquial . Excellent, first-rate, ‘splendid’, delightful; extremely attractive or good-looking.
• raving 1850– colloquial (originally U.S. ). Worth raving about; superlative, stunning.
• shrewd 1851– As an intensive, qualifying a word denoting something in itself bad, irksome, or undesirable: Grievous… ‘Hard to beat’, formidable. rare .
• jammy 1853– Covered with jam, sticky. Also figurative ( colloquial ), excellent; very lucky or profitable; easy, ‘soft’.
• slashing 1854– Very large or fine; splendid. Now chiefly Australian .
• rip-staving 1856– Boisterous, rollicking; impressive, excellent. Also as an intensifier. Cf. rip-roaring , adj. , ripsnorting , adj.
• ripping 1858– slang . Excellent, splendid; ‘rattling’. Now somewhat archaic .
• screaming 1859– transferred and figurative . slang . First-rate, splendid.
• up to dick 1863– slang and regional . up to dick : up to a proper or high standard; excellent; (also) properly, suitably; excellently; to a high standard.
• nifty 1865– Chiefly U.S. Smart, stylish; attractive; of good quality.
• premier cru 1866– A growth or vineyard that produces wine of a superior grade; the wine itself. Also in extended use and figurative . Cf. cru , n. , growth , n.¹ 1d and…
• slap-bang 1866– = slap-up , adj. a.
• clinking 1868– slang . Used intensively, as adj. or adv. , like chopping , clipping , whacking , rattling , etc.
• marvellous 1868– colloquial . In weakened sense (formerly sometimes regarded as an affectation in speech): extremely good or pleasing; splendid.
• rorty 1868– Boisterous, rowdy; saucy; jolly, cheery. Also: dissipated, profligate; (of a song, story, etc.) lively, risqué; (of a drink) intoxicating.
• terrific 1871– As an enthusiastic term of commendation: amazing, impressive; excellent, exceedingly good, splendid.
• spiffing 1872– Excellent, first-rate, very good, etc.; fine or smart in, or with regard to, dress or appearance. Also as adv.
• top tier 1879– Of or belonging to the highest or upper level, class, or grade; first-rate.
• all wool and a yard wide 1882– Phrases and proverbial sayings. (a) against the wool : contrary to the direction in which wool naturally lies, the wrong way. (b) to draw (pull, †spr …
• gorgeous 1883– colloquial . Used as an epithet of strong approbation. (Cf. splendid , adj. )
• nailing 1883 colloquial . Good, excellent. Obsolete . rare .
• stellar 1883– Having the quality of a star ( star , n.¹ I.4); leading, outstanding. Originally and chiefly U.S.
• gaudy 1884– slang . In negative sentences: Very good.
• fizzing 1885– slang . First-rate, excellent; chiefly quasi- adv.
• réussi 1885– Fine, excellent; successful.
• ding-dong 1887– colloquial (originally English regional , later chiefly Australian ). Excellent, great; extraordinary; exciting.
• jim-dandy 1888– Remarkably fine, outstanding.
• extra-special 1889– Applied to a special extra (sometimes the latest) edition of a newspaper, etc. Also as n. : such an edition. Hence transferred and figurative …
• yum-yum 1890– Excellent, first-class; delectable.
• out of sight 1891– slang (originally U.S. ). Excellent, incomparable, wonderful, extraordinary. Cf. outasight , adj.
• high-calibre 1893– a. Of a high standard; high-quality; (of a person) highly capable; very skilled, experienced, etc.; b. (of a gun) having a large bore or calibre…
• outasight 1893– Excellent, incomparable; = out of sight , adj. B.2. Also as int. : fantastic.
• smooth 1893– Superior, excellent, ‘classy’; clever, ‘neat’. colloquial (originally U.S. ).
• top-of-the-basket 1894– Of high calibre; excellent; outstanding.
• corking 1895– Unusually fine, large, or excellent; stunning. Also adv.
• large 1895– slang (originally and chiefly U.S. ). Of a period of time: enjoyable, exciting; excellent.
• super 1895– Of a product, model, etc.: that is of the highest quality or is especially well designed for its purpose.
• hot dog 1896– North American slang . Of outstanding quality or merit; skilful; flashy, ostentatious.
• bad 1897– As a general term of approbation: good, excellent, impressive; esp. stylish or attractive.
• to die for 1898– colloquial (originally U.S. ). to die for : (chiefly used predicatively) as if worth dying for; extremely good or highly desirable. Also in to die …
• yummy 1899– Delicious, delectable; also as int.
• deevy 1900– ‘Divine’; delightful, sweet, charming.
• peachy 1900– colloquial (originally U.S. ). Excellent, marvellous, great; (of a woman) attractive, desirable.
• hi 1901– Chiefly in advertising or commercial contexts: = high , adj. Frequently in compounds, as hi-def , hi-res , hi-top . Compare lo , adj.
• v.g. 1901– Very (in various phrases, as v.g. very good, v.h.c. very highly commended, etc.).
• v.h.c. 1901– Very (in various phrases, as v.g. very good, v.h.c. very highly commended, etc.).
• divvy 1903– Extremely pleasant, ‘divine’, ‘heavenly’.
• doozy 1903– Remarkable, excellent; also, amazing, incredible.
• game ball 1905– Irish English . In predicative use: in very good health, spirits, etc.; fine, excellent.
• goodo 1905– Chiefly New Zealand and Australian . In predicative use: good; excellent; (also in weaker sense) satisfactory, all right.
• bosker 1906– Good, excellent, delightful. Cf. bonzer , n. & adj. & adv. Hence as n.
• crackerjack 1910– Exceptionally fine or good; of marked excellence or ability.
• smashing a1911– colloquial . Very good; greatly pleasing; excellent; sensational.
• jake 1914– Excellent, admirable, fine, ‘O.K.’
• keen 1914– transferred . Of things, substances, or agencies that affect the senses. Jolly good, very nice, splendid. colloquial (originally U.S. ).
• posh 1914– Smart, stylish, splendid; luxurious. Also (chiefly British ): typical of or belonging to the upper class; (affecting to be) superior or genteel…
• bobby-dazzling 1915–
• juicy 1916– figurative . Excellent, vigorous, first-rate; serious; profitable.
• pie on 1916– Very good, excellent.
• jakeloo 1919– In the same sense.
• snodger 1919– Excellent, very good, first-rate. Also as adv. and n.
• whizz-bang 1920– Striking, flashy, and impressive; very exciting or appealing. Also more generally: exceptionally good, excellent.
• wicked 1920– Excellent, splendid; remarkable. slang (originally U.S. ).
• four-star 1921– Designating a (high) rank in a grading system for hotels, etc., usually with four or five grades; also transferred , of a high degree of excellence.
• wow 1921– Exciting or expressing admiration and delight.
• Rolls-Royce 1922– Suggestive or characteristic of a Rolls-Royce or an owner of a Rolls-Royce; spec. of the highest quality; luxurious, excellent.
• barry 1923– Originally: fine, grand, smart or attractive in appearance. In later use chiefly: good, great, excellent.
• nummy 1923– Of food: delicious, yummy, especially tasty or tempting. Also: designating an interjection that expresses one's pleasure in a particular food.
• ripe 1923– colloquial . Fine, excellent; thoroughgoing (also used ironically).
• shrieking 1926– figurative . Great, excellent, splendid.
• righteous 1930– U.S. slang (originally in African American usage). Excellent, wonderful; ‘cool’.
• marvy 1932– = marvellous , adj. A.2.
• cool 1933– colloquial (originally U.S. ). Originally in African American usage: (as a general term of approval) admirable, excellent. Cf. hot , adj. A.II.12c.
• plenty 1933– U.S. slang (in African American usage). Excellent.
• brahma a1935– Excellent, great.
• smoking 1934– colloquial (originally U.S. ). Frequently in form smokin' . Originally Jazz . Very lively, energetic, or exciting; performing or performed at a very…
• crazy 1935– colloquial (originally U.S. ). Expressing approval: excellent, great, fantastic. Cf. cool , adj. A.8b.
• solid 1935– U.S. slang . In the language of jazz: excellent, first-rate, ‘great’; (see also quot. 1937). Also as int. solid sender : see solid sender at sender , n. …
• mellow 1936– slang (originally and chiefly Jazz and among African Americans). Pleasing or satisfying in any respect; excellent; skilful.
• groovy 1937– Playing, or capable of playing, jazz or similar music brilliantly or easily; ‘swinging’; appreciative of such music, ‘hep’, sophisticated; hence as…
• tough 1937– U.S. slang (originally and chiefly in African American usage). Excellent, great, admirable.
• bottler 1938– Extremely good; excellent, great, fantastic.
• fantastic 1938– In trivial use: excellent, good beyond expectation. colloq.
• ready c1938– U.S. slang (chiefly Jazz ). Well prepared or practised; (hence) excellent, first-rate. Now rare .
• ridge 1938– Good; all right; genuine.
• super-duper 1938– Used for emphasis: especially large, powerful, etc.; very good or impressive; exceptional, marvellous, super.
• extraordinaire 1940– Remarkable, outstanding; of a person: unusually active or successful in a particular field. Used postpositively.
• rumpty 1940– Excellent, outstanding.
• sharp 1940– As a general term of approbation. Originally U.S. slang . Excellent, fine.
• dodger 1941– Good, excellent.
• grouse 1941– Extremely good; excellent, outstanding, great.
• perfecto 1941– Perfect; excellent.
• pipperoo 1945– Very pleasing; remarkable.
• real gone 1946– slang (originally and chiefly U.S. ). Excellent; very inspired or excited; ‘out of this world’. Esp. in real gone . Now somewhat dated .
• bosting 1947– Excellent, superb.
• supersonic 1947– colloquial . Excellent, wonderful, admirable, very exciting. Also as int.
• top 1947– colloquial (chiefly British , Australian and New Zealand ). Excellent, great, fantastic. Cf. tops , adj.
• tops 1948– Chiefly British , Australian and New Zealand . Excellent, great, fantastic. Cf. top , adj. B.5.
• whizzo 1948– Excellent, wonderful.
• neato 1951– That is excellent, desirable, or ‘neat’; wonderful, ‘fantastic’. Also as int. See neat , adj. A.I.5a.
• peachy-keen 1951– Excellent, wonderful.
• ridgey-dite 1953– All right. Cf. ridge , adj.
• ridgy-didge 1953– Good; all right; genuine; = ridge , adj.
• whizzing 1953– Excellent, ‘smashing’. slang .
• badass 1955– Belligerent or intimidating; ruthless; tough. Also as a general term of approval: formidable, superlative (cf. bad , adj. A.IV.13).
• wild 1955– U.S. slang . Remarkable, unusual, exciting. Used as a general term of approbation.
• belting 1956– colloquial (chiefly British ). Excellent, outstanding.
• magic 1956– colloquial . In weakened use: superlatively good, excellent, fantastic. Frequently as int.
• bitching 1957– slang . Frequently in form bitchin' . Expressing admiration, approval, or enthusiasm: great, excellent, wonderful; very attractive or appealing…
• swinging 1958– Uninhibited, ignoring conventions; lively and up to date: applied to persons, places ( swinging London ), etc., and spec. to the 1960s ( swinging Sixties …
• a treat 1959– a treat ( adv. & adj. ): so as to gratify highly; extremely well; also ( gen. or ironically ) extremely, excessively. colloquial .
• ginchy 1959– Attractive, esp. sexually; cool, excellent, fashionable.
• ridiculous 1959– Originally Jazz slang . Outstanding, excellent; unbelievably good. Cf. crazy , adj. II.8.
• fab 1961– = fabulous , adj. 5b. Also as n.
• bad-assed 1962– = badass , adj.
• uptight 1962– In approbation: that reaches the desired standard; excellent, fine.
• diggish 1963– Excellent, splendid.
• cracker 1964– slang (chiefly New Zealand ). Fine, excellent; exceptional of its kind.
• marv 1964– = marvellous , adj. A.2. Cf. marvy , adj.
• radical 1964– slang . (a) Originally Surfing challenging; extreme; (b) (more generally) excellent, fantastic; = awesome , adj. A.1c. Cf. rad , adj.³
• bakgat 1965– Very good, excellent.
• unreal 1965– colloquial (originally North American slang ). Incredibly or extraordinarily good or bad.
• pearly 1966– British colloquial . More generally: fine, excellent.
• slamming 1967– colloquial . Frequently in form slammin' . Originally U.S. Of popular music: having a prominent, danceable beat or propulsive rhythm; (hence more…
• together 1968– Fashionable, up-to-date; hence used as a general term of commendation. slang .
• safe 1970– slang (originally South African ). Good, excellent; okay, all right. Also as int.
• brilliant 1971– figurative . In weakened use: amazing, ‘fantastic’. colloquial .
• fabby 1971– = fab , adj. Cf. fabbo , adj.
• schmick 1972– Smart, stylish; admirable, excellent.
• butt-kicking 1973– Aggressive, violent, tough; strong, powerful. Also: excellent or impressive.
• ripper 1973– Excellent, fantastic.
• Tiffany 1973– Used allusively to denote organizations, etc., considered equal to Tiffany and Co. in high-quality craftsmanship or exclusiveness. Also Tiffany-type …
• bodacious 1976– slang (originally and chiefly U.S. ) Excellent, fabulous, great.
• rad 1976– a. Originally Skateboarding . Challenging, risky; extreme; = radical , adj. A.11(a). b. More generally: admirable, excellent, fashionable; ‘cool’; = ra …
• kif 1978– As a general term of approval: admirable, excellent, cool.
• awesome 1979– colloquial (originally U.S. ). As a general term of approval: excellent, fantastic, great. See also sense C
• death 1979– Excellent, impressive, outstanding. Cf. def , adj.
• killer 1979– attributive or as adj. Very effective; excellent, ‘sensational’ (frequently applied to popular music). Cf. killer-diller , n. slang .
• top banana 1979– Excellent, first-rate.
• shiok 1980– As a general term of approval: admirable, enjoyable, excellent.
• stonking 1980– Excellent, amazing; considerable, powerful.
• brill 1981– = brilliant , adj. A.2c.
• dope 1981– Chiefly among rap musicians and enthusiasts: excellent, great, impressive.
• mint 1982– colloquial . Excellent, great.
• to die 1982– colloquial (originally U.S. ). to die for : (chiefly used predicatively) as if worth dying for; extremely good or highly desirable. Also in to die …
• epic 1983– colloquial (originally and chiefly U.S. ). Particularly impressive or remarkable; excellent, outstanding.
• kicking 1983– Exciting, lively; great, excellent. slang .
• fabbo 1984– = fab , adj. Also as int. Cf. fabby , adj.
• mega 1985– Excellent, great. Usually in predicative use.
• ill 1986– slang (originally U.S. , in the language of rap and hip-hop). Excellent, attractive; fashionable.
• barnstorming 1988– Originally: characteristic or reminiscent of a barnstormer (in sense barnstormer , n. 1); melodramatic, excessively theatrical or exaggerated…
• sound 1988– colloquial and regional (chiefly Irish English and British ). In weakened use (of things or persons): good, reliable; impressive, excellent…
• posho 1989– British colloquial (frequently depreciative ). Smart, stylish; typical of or belonging to the upper class; = posh , adj.
• poptastic 1990– Designating or relating to a very good recording or performance of pop music. Also more generally: fantastic, excellent.
• pukka 1991– British slang . Excellent, superb; ‘cool’.
• lovely jubbly 1992– colloquial . Excellent, fantastic.
• shagadelic 1997– Sexy, esp. in a psychedelic or ‘retro’ way. Also as a general term of approval.
• awesomesauce 2001– Extremely good; excellent.
• nang 2002– As a general term of approval: good, excellent, cool.
• bess 2006– Excellent, marvellous, great; (of food) very enjoyable, delicious; (of a person) very attractive.
• amazeballs 2008– Extremely good or impressive.
• boasty 2009– Bermudian English . Good, excellent, impressive, cool.
• daebak 2009– As a general term of approval: excellent, fantastic, great.
• beaut 2013– Beautiful; (also) excellent, impressive, admirable. Also ironic .

Pronunciation

• ð th ee
• ɬ rhingy ll

Some consonants can take the function of the vowel in unstressed syllables. Where necessary, a syllabic marker diacritic is used, hence <petal> /ˈpɛtl/ but <petally> /ˈpɛtl̩i/.

• a trap, bath
• ɑː start, palm, bath
• ɔː thought, force
• ᵻ (/ɪ/-/ə/)
• ᵿ (/ʊ/-/ə/)

Other symbols

• The symbol ˈ at the beginning of a syllable indicates that that syllable is pronounced with primary stress.
• The symbol ˌ at the beginning of a syllable indicates that that syllable is pronounced with secondary stress.
• Round brackets ( ) in a transcription indicate that the symbol within the brackets is optional.

View the pronunciation model here .

* /d/ also represents a 'tapped' /t/ as in <bitter>

Some consonants can take the function of the vowel in unstressed syllables. Where necessary, a syllabic marker diacritic is used, hence <petal> /ˈpɛd(ə)l/ but <petally> /ˈpɛdl̩i/.

• i fleece, happ y
• æ trap, bath
• ɑ lot, palm, cloth, thought
• ɔ cloth, thought
• ɔr north, force
• ə strut, comm a
• ər nurse, lett er
• ɛ(ə)r square
• æ̃ sal on

Simple Text Respell

Simple text respell breaks words into syllables, separated by a hyphen. The syllable which carries the primary stress is written in capital letters. This key covers both British and U.S. English Simple Text Respell.

b, d, f, h, k, l, m, n, p, r, s, t, v, w and z have their standard English values

• arr carry (British only)
• a(ng) gratin
• o lot (British only)
• orr sorry (British only)
• o(ng) salon

Variant forms

• 1500s–1800s epick
• 1600s epik , epike , epique
• 1600s– epic

epic typically occurs about eight times per million words in modern written English.

epic is in frequency band 5, which contains words occurring between 1 and 10 times per million words in modern written English. More about OED's frequency bands

Frequency of epic, n. & adj. , 1750–2010

* Occurrences per million words in written English

Historical frequency series are derived from Google Books Ngrams (version 2), a data set based on the Google Books corpus of several million books printed in English between 1500 and 2010.

The overall frequency for a given word is calculated by summing frequencies for the main form of the word, any plural or inflected forms, and any major spelling variations.

For sets of homographs (distinct entries that share the same word-form, e.g. mole , n.¹, mole , n.², mole , n.³, etc.), we have estimated the frequency of each homograph entry as a fraction of the total Ngrams frequency for the word-form. This may result in inaccuracies.

Smoothing has been applied to series for lower-frequency words, using a moving-average algorithm. This reduces short-term fluctuations, which may be produced by variability in the content of the Google Books corpus.

Frequency of epic, n. & adj. , 2017–2023

Modern frequency series are derived from a corpus of 20 billion words, covering the period from 2017 to the present. The corpus is mainly compiled from online news sources, and covers all major varieties of World English.

Compounds & derived words

• prosai-comi-epic , adj. 1749 Combining prosaic, comic, and epic qualities or elements.
• epicism , n. 1772– Epic character, quality, or sensibility.
• epically , adv. 1804– In an epic manner; in the style of an epic poem.
• prose epic , n. 1819– A long novel relating heroic deeds and adventures or covering an extended period of time.
• epicist , n. 1820– An epic poet; a creator of epics.
• epic dialect , n. 1822– A form of ancient Greek developed and used as a literary language in epic poems.
• epicly , adv. 1831– In an epic manner; = epically, adv.
• polyepic , adj. a1832 Consisting of more than one word.
• national epic , n. 1841– An imaginative work, especially a literary one, considered to embody a nation's conception of its own history, or the most significant events in that…
• beast epic , n. 1850– A lengthy tale, or cycle of tales, depicting animals exhibiting human traits or behaviours and typically satirical or didactic in style.
• heteroepic , adj. 1873– Involving heteroepy.
• folk-epic , n. 1904–
• pre-epic , adj. 1907– Surpassing the epic.
• epic theatre , n. 1938– A style or genre of drama characterized by realism and an absence of theatrical devices.
• epic fail , n. & int. 2007– colloquial (esp. in the language of social media) a complete failure or misadventure, esp. in an undertaking expected to proceed smoothly; a total…

Entry history for epic, n. & adj.

epic, n. & adj. was revised in March 2016.

epic, n. & adj. was last modified in December 2023.

oed.com is a living text, updated every three months. Modifications may include:

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Definition of epic adjective from the Oxford Advanced Learner's Dictionary

• an epic poem

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In other languages epic

• American English : epic / ˈɛpɪk /
• Brazilian Portuguese : epopeia
• Chinese : 史诗
• European Spanish : épica
• French : épopée
• German : Epos
• Italian : poema epico
• Japanese : 叙事詩
• Korean : 서사시
• European Portuguese : epopeia
• Latin American Spanish : épica
• Thai : มหากาพย์

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Epic Definition: Characteristics, Examples, Development

What is an epic, characteristics of an epic, examples of epics, how epics are developed.

Grasping the grandeur and drama of an epic can transport you to distant lands and times. This blog post will guide you through the fascinating world of epics, shedding light on their definition, characteristics, development, and providing you with some compelling examples. Dive in and discover the depth and richness of these impressive literary works.

An epic, in its simplest terms, is a long narrative poem, usually derived from ancient oral tradition, that tells the deeds and adventures of heroic or legendary figures, or even the history of a nation. The definition of epic might seem quite straightforward, but there's so much more to this literary genre than meets the eye.

Origins of the Epic

Epics have a long and illustrious history, with roots reaching back to ancient civilizations. These stories, initially shared orally, were later written down and have since become treasured pieces of literary heritage. Some of the oldest known epics include the Ancient Greek "Iliad" and "Odyssey", and the Mesopotamian "Epic of Gilgamesh".

Structure of an Epic

Though there is some variation, most epics share a few common structural elements. First, they often begin in medias res —that's fancy Latin for "in the middle of things". This means the story starts in the thick of the action, and then flashes back to provide necessary background. Second, epics frequently employ elevated language and style to convey the grandeur of their subject matter. Lastly, the plot of an epic revolves around a hero's journey, filled with quests, battles, and supernatural elements.

The Role of the Epic Hero

At the heart of every epic is a central figure or hero, whose courage, strength, and moral integrity are tested over the course of their journey. This hero is usually of noble birth or holds a high position in society, and their actions often determine the fate of their people or nation. Remember, though, this epic hero isn't perfect—they often have a tragic flaw, or hamartia , that leads to their downfall or a major conflict in the story.

Impact of Epics

Epics are more than just long poems—they're powerful cultural artifacts. They provide a window into the values, beliefs, and societal norms of the periods and places they originate from. In other words, understanding the definition of epic helps you understand a whole lot more about human history and culture.

Now that we've laid down the foundation with the definition of an epic, let's explore the main features that make an epic, well, epic. These characteristics provide a framework to help us recognize and appreciate these grand stories.

Heroic Protagonist

At the center of an epic is a hero, a figure larger than life, often with divine or noble lineage. This protagonist sets out on a daring journey, facing numerous challenges along the way. Yet, it's not just physical strength that defines these heroes—they also possess wisdom, courage, and a firm moral compass. So, next time you meet a character like this, you might be reading an epic.

Supernatural Elements

Another distinctive characteristic of an epic is the presence of supernatural elements. This could include divine intervention, mythical creatures, or magical objects. These elements contribute to the grandeur and mystery of the epic narrative, and often play significant roles in the hero's journey.

Vast Setting

The world of an epic is expansive, often spanning nations, worlds, or even the cosmos. This broad setting reflects the magnitude of the hero's journey and the high stakes involved. So, when a story takes you on an adventure across a landscape as vast as your imagination, you might be in the realm of an epic.

Elevated Language and Style

Epics aren't just told in any old way. They use a high, formal style of language, full of dramatic and descriptive phrases. This helps to highlight the importance and epic nature of the events and characters. So remember, if the language seems a bit grandiose, you're probably dealing with an epic.

Universal Themes

Finally, the themes explored in epics are often universal, dealing with concepts such as good versus evil, life and death, love and loss, and the nature of heroism. These themes resonate across cultures and time, making epics relatable and intriguing to readers everywhere.

So, those are the defining characteristics of an epic. The next time you're engrossed in a grand tale, you'll be able to spot these features and say, "Ah, that's why this feels so epic!"

It's one thing to grasp the definition of an epic through its characteristics, but nothing brings clarity like real-world examples. Let's take a look at some of the most famous epics that have shaped literature and culture worldwide.

"The Iliad" and "The Odyssey" by Homer

When we talk about epics, it's impossible not to mention these ancient Greek gems. Homer's "The Iliad" revolves around the last days of the Trojan War, with Achilles, its heroic protagonist, standing tall amidst the carnage. "The Odyssey," on the other hand, follows the hero Odysseus on his long, treacherous journey home from war. With the divine meddling, vast settings, and elevated language, these are textbook examples of epics.

This Old English epic poem follows the hero Beowulf as he battles the monster Grendel, Grendel's mother, and a deadly dragon. It's a tale of courage and heroism, with a good dose of supernatural elements, making it a classic example of an epic.

"The Divine Comedy" by Dante Alighieri

This Italian masterpiece takes us on a journey through Hell (Inferno), Purgatory (Purgatorio), and finally Paradise (Paradiso). It's a grand exploration of life after death, replete with Dante’s use of an elevated language and style, and universal themes of morality and redemption.

"Paradise Lost" by John Milton

This epic poem delves into the biblical tale of Adam and Eve's fall from grace. With its grand themes of good versus evil, divine intervention, and a heroic protagonist in the form of Satan, it's a prime example of the epic form in English literature.

These are just a few examples of the many epic tales out there. Each one, with its heroic protagonists, supernatural elements, grand settings, and universal themes, beautifully embodies our definition of an epic.

Developing an epic, as you can probably guess from the earlier examples, is no small task. It's like building a cathedral: it takes careful planning, loads of creativity, and often a lifetime to complete. So, what are the key steps involved in the process?

Creating a hero

The first step is to create a hero. This isn't just any ordinary character, but someone larger than life, capable of deeds beyond the reach of most mortals. They might possess superhuman strength like Hercules, or unmatched wisdom like Odysseus. The key is to make them memorable and admirable, someone readers can root for.

Developing a grand setting

Next, an epic calls for a grand setting. This can span across multiple worlds or countries, or even across different realms of existence — like in Dante's "The Divine Comedy". While creating such a vast setting can be challenging, it's also an opportunity to let your imagination run wild and create worlds that captivate your readers' attention.

Introducing supernatural elements

In the world of epics, the ordinary rules of nature often don't apply. Heroes might receive assistance from gods, battle monstrous creatures, or even journey through the underworld. These supernatural elements add a layer of excitement and unpredictability to the story, keeping readers on the edge of their seats.

Choosing universal themes

Lastly, the themes of an epic are grand and universal. They might explore concepts like good versus evil, life and death, love and hate, or bravery and cowardice. These themes resonate with readers across different cultures and time periods, giving the epic a timeless appeal.

So there you have it, a brief guide to how epics are developed. While each epic is unique in its own way, they all share these common elements. And who knows? With a solid understanding of the definition of an epic, perhaps you're now ready to start creating your own!

If you enjoyed this exploration of epic storytelling and want to learn more about how to apply these characteristics to your own creative projects, consider checking out Jessy Moussallem's workshop, ' Documentary Filmmaking .' In this workshop, you'll learn how to create powerful narratives and bring epic stories to life through the medium of documentary filmmaking. Expand your storytelling skills and create your own epic tale!

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Meaning of epic in English

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• action thriller
• Afrofuturism
• allegorical
• bodice-ripper
• boy-meets-girl
• director's cut
• non-documentary
• non-literary
• period piece
• stream of consciousness
• tragicomedy

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epic | American Dictionary

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a game played on ice between two teams of players who each have a curved stick with which they try to put a puck (= a small, hard disc) into the other team's goal

Fakes and forgeries (Things that are not what they seem to be)

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What Is an Epic? Definition, Usage, and Literary Examples

Epic definition.

An epic (eh-PIC) poem is a long, typically novel-length, poetic work. It is a type of  narrative poem , which tells a story, typically in third-person  point of view , through the typical conventions of  poetry . The conventions include  rhyme ,  meter , or some other aural device, and they are used to make the tale more engaging and memorable. Epics tend to follow a hero who represents a perfect citizen of their culture. These stories are of cultural, historical, and religious importance.

The History of the Epic Poem

Epic poetry has roots in oral tradition, which predates the written word and was the way culture and history were preserved. Although a cuneiform version (character-based inscriptions) of  The Epic of Gilgamesh  was written between 1300 and 1000 BC, the story may have been told as early as 2150 BC. It was likely court singers who performed and passed down the story, preserving it until it finally appeared in written form.

The Trojan Epics

Homer, author of the epic poems  The Iliad  and  The   Odyssey , was likely a court singer or a bard. Little is known about his personal history; some scholars hold that Homer couldn’t have been just one person. His epics brought to life the stories of the Trojan War, though certainly the adventures of Achilles and Odysseus were told long before 700 BC, the rough date of Homer’s works.

Virgil, a Roman poet, took inspiration from the Homeric epics and penned  The Aeneid , an epic poem in dactylic hexameter. It too told the story of the Trojan War and its aftermath. This is perhaps the first well-known epic that was first written, rather than an orally told story that was eventually passed down.

Other Early Epics

Epics are stories that distill entire histories and cultures into something tangible and engaging. They deal with themes and archetypes that everyone recognizes. With cultural pride, people could see themselves in the humanity of these  poems ’ heroes while aspiring to their divinity.

The   Mahābhārata  is the longest poem in history. It tells the story of ancient India, the Kurukshetra War, and the fates of two families. The poem started as a tale (or perhaps several) told to entertain audiences. It was recorded in Sanskrit around 400 BC and now stands as an important source of Hindu beliefs and history.

The well-known  Beowulf  was a long-sung Germanic tale that found its way to the printed page between the 8th and 11th centuries. It follows the life of the heroic Beowulf and his encounters with monsters on his way to becoming a king.

Two of the most notable English epic poems are  Paradise Lost  by John Milton and  Idylls of the King  by Alfred Lord Tennyson, written in 1663 and 1885 respectively.  Paradise Lost  concerns the biblical creation and fall of man, while Tennyson’s epic recounts tales of King Arthur and the Knights of the Round Table.

The Criteria for an Epic Poem

Because epics predate the written word, not every criterion is met in the older works. But, there are several common aspects worth noting.

Story Elements

The epic poem is told by a third-person  omniscient  narrator, meaning they can see everything that occurs in the epic’s universe, including the thoughts and actions of all the characters. The story begins  in media res —Latin for “in the middle of things”—so the narrator often begins by summing up any rising action that occurred before the poem’s beginning. The hero is also introduced in the beginning, as is the main theme or moral.

Epic poetry can be a helpful tool in understanding the religious and moral beliefs of a people at a point in history. The story’s hero protagonist is the embodiment of a culture’s ideals; the seemingly insurmountable obstacles they face often represent cultural challenges or concerns identified by the author.

Epic poems often take place in the far-distant past. They are sweeping tales with flowery language and long speeches. Readers are taken all around the world of the epic. This often includes visits to the underworld or some other form of afterlife, as death and mortality are common themes. Readers can expect to see the protagonist interact with deities or other religious figures who can alter the course of events. A character will often make a dramatic plea for the deities’ help.

The Hero’s Journey

This type of story—a classic structure of an epic poem—has pervaded literature, art, and popular culture since  Gilgamesh  (if not before). The story begins by introducing the reader to life as it always has been. From there, the hero is called into action, which is initially refused. The final ordeal is the most difficult and dangerous task the hero faces, though they end up rising to the occasion and setting things right.

Look at the classic animated film  The Lion King . It begins by showcasing the “circle of life,” wherein animals are accustomed to the predator and prey dynamic. This is best depicted by the celebration of birth of Simba, a lion cub whose father Mufasa is King of the Pride Lands. Simba is the hero of this tale. His call to action comes when Mufasa is tragically killed in a plot by his brother (and Simba’s uncle) Scar. Because Scar leads Simba to believe the young cub had caused his father’s death, Simba retreats to the desert. There, he encounters a meerkat (Timon) and warthog (Pumbaa) who guide him through his adolescence in the grasslands. In the rising action, Simba is reunited with his childhood friend Nala, who tells him that he must return to save the Pride Lands because Scar has taken over and made things miserable. Simba initially refuses, until an encounter with his father’s ghost convinces him to confront his fears and accept his responsibilities. Simba returns home and battles his uncle to reclaim his rightful place on the throne. With Scar’s defeat, Simba completes his hero’s journey and saves his home.

Poetic Elements

Some type of  rhythm ,  rhyme , or other poetic device is usually employed in an epic poem. This is likely due to its history in oral tradition, which used poetic techniques to keep the tales easy to remember and recite.

Meter  is the rhythmic structure of a poem based on the number and arrangement of stressed syllables in a line of poetry. Old English meter, as in  Beowulf , used strong stresses, long pauses, and lots of alliteration. Ancient Latin and Greek poetry used dactylic hexameter. This type of meter is based around a dactyl, a metrical foot comprised of one stressed syllable followed by two unstressed syllables.  The Iliad ,  The Odyssey ,  The Aeneid , and the works of Ovid are composed in this meter.

While this meter might not work as well in English, Longfellow used it in his epic poem “ Evangeline .” He was harshly criticized for it, as it sounds sing-songy and unnatural. Consider the first couple lines, where the stressed syllables are bolded for emphasis:

This  is the  for est pri me val. The  mur muring  pines  and the

Bear ded with  moss , and in  gar ments  green , indis tinct  in the

Rhyme scheme  can be a major component of epic poetry. Italian poet Dante Alighieri invented the terza rima rhyme scheme in his  Divine Comedy  trilogy. This form is written in tercets—blocks of three lines—with an interweaving rhyme scheme. In the first tercet, the first and third lines rhyme; in the second tercet, the first and third lines rhyme with the first tercet’s second line; the third tercet’s first and third lines rhyme with the second tercet’s second line of the second tercet; and so on. While this works well in Italian, where most words end in vowel sounds, it is not so easily reproduced in English.

After the 16th century, most English epic poetry was written in blank, or unrhymed, verse using iambic pentameter This is considered the meter that comes closest to natural English speech; Shakespeare wrote most of his plays in this style. Each line of iambic pentameter contains five feet that include an unstressed syllable followed by a stressed syllable. These lines from John Milton’s  Paradise Lost  are an example, with the stressed syllables bolded for emphasis:

Re ceive  thy  new  Pos sess or:  one  who  brings

A  mind  not  to  be  chang’d  by  place  or  time.

Common Characters in Epic Poems

Most epics have a central epic hero. This character is often of noble or divine birth. They have naturally gifted skill sets, if not outright supernatural powers. Though the heroes are legends in their homelands at the beginning of the story, they remain humble and focused on the monumental task at hand. This hero often has a loved one they’ll be reunited with at their quest’s end. This supporting character embodies purity and fidelity. Another character is a guide or companion who helps the hero through their journey by providing company and  perspective .

Of course, not every character aids the hero. Most epic poems have a “shadow,” a character who shares some of the hero’s characteristics but whose shortcomings the hero must avoid to complete their quest. In Tennyson’s  Idylls of the King , Lancelot is King Arthur’s shadow, as the former’s weakness stands in opposition of Arthur’s purity. Some characters are purely oppositional, such as the “threshold guardian.” In  The Odyssey , when Odysseus finally arrives home, he is met with Penelope’s many suitors. To reclaim his rightful station, he must fight them.

Post-19th Century Epic Poems

In the late 19th century, literature was influenced by humanism, an ideology that emphasizes the individual over the prescription of church and state. Epic poets wrote works that centered themselves and rebelled against a culture rather than celebrating it.

In his 1855 opus,  Song of Myself , Walt Whitman purposefully breaks many rules of the epic poem by writing in first person and  free verse . But, he fits many other epic criteria. The story begins  in media res . He’s on a hero’s journey of self-discovery, though the world he travels through and the supernatural beings he encounters are internal. In lieu of a traditional guide, mentor, or deity character, Whitman turns to his own mind for aid. He conjures up images to facilitate understanding for himself and others.

In 1937’s  In Parenthesis , David Jones draws from his military experiences to convey the feelings of isolation created by combat. He relates this to the overall human experience, inviting the reader to ask more questions and use wars and other injustices as an opportunity to explore their own virtue.

In 1950, Chilean poet Pablo Neruda published  Canto General , a re-appropriation of Western history from a Hispanic perspective. He asserts himself and his culture in a realm previously dominated by white people of Western-European descent.

Notable Epic Poets

Many of the earlier epic poems cannot be attributed to an author, and an epic can be an author’s entire life’s work, but here are some poets known for writing epics.

• Dante Alighieri,  The Divine Comedy
• Hesiod,  Works and Days ,  Theogony
• Homer,  The Iliad ,  The Odyssey
• Kālidāsa,  Kum ā rasambhava ,  Raghuvaṃśa
• Henry Wadsworth Longfellow,  Evangeline  and others
• John Milton,  Paradise Lost ,  Paradise Regained
• Ovid,  Metamorphoses
• Percy Bysshe Shelly,  Queen Mab  and others
• Edmund Spenser,  The Faerie Queene
• Alfred Lord Tennyson,  Idylls of the King
• Walt Whitman,  Song of Myself
• Virgil,  The Aeneid

Examples of Epic Poetry

1. Virgil,  The Aeneid

Inspired by the works of Homer, Virgil composed an epic poem also based around the Trojan War. Virgil’s work follows the hero Aeneas, the mythological ancestor of the Roman people, as his Trojan fleet searches for a place where they can settle. At the outset, the reader finds Aeneas speaking to his companion Achates, trying to make sense of the ruins of war:

Pensive he stood, and with a rising tear,

“What lands, Achates, on the earth, but know

Our labours? See our Priam! Even here

Worth wins her due, and there are tears to flow,

And human hearts to feel for human woe.

2. Dante Alighieri,  Inferno

The epic  Inferno  is written in first person, so it reads almost like autobiography. The protagonist Dante encounters the ghost of his hero, Virgil, at the end of the first canto (or verse). Virgil calls Dante to action, inviting him to embark on a journey through Hell and Purgatory to the Kingdom of God:

Therefore I judge it best that you should choose

To follow me, and I will be your guide

Away from here and through an eternal place:

To hear the cries of despair, and to behold

Ancient tormented spirits as they lament

In chorus the second death they must abide.

3. Okot p’Bitek,  Song of Lawino

Like Walt Whitman, Ugandan poet p’Bitek didn’t conform to the formality of certain poetic forms. The entire poem is an invocation of sorts: Lawino’s husband, Ocol, has taken a new wife who conformed to Western influence. Lawino begs Ocol—and, metaphorically, the entirety of liberated Africa—to preserve and celebrate his Acholi culture, rather than surrender to the Western ways.

I do not like dusting myself

with powder:

The thing is good on pink skin

Because it is already pale

But when a black woman has

She looks as if she has dysentery;

4. Giannina Braschi,  Empire of Dreams

Born in Puerto Rico, Braschi weaves a complex Valentine to her new home, New York City, where she finally settled after living all over Europe.  Empire of Dreams  takes readers on a journey, from the narrator’s subconscious to the Empire State Building through alternate realities. Braschi explores issues of gender, race, capitalism, immigration, and mortality—all while clowns and shepherds roam the streets and characters morph into each other. Much of the work is composed in prose poetry, which lends itself to the flowing pace:

Shepherds have invaded New York. They have conquered New York. They have colonized New York. The special of the day in New York’s most expensive restaurant is golden acorn. It’s an egg. It’s an apple. It’s a bird. Fish. Melody. Poetry. And epigram. Now there is only song. Now there is only dance. Now we do whatever we please. Whatever we please. Whatever we damn well please.

Further Resources on Epic Poems

Harvard University’s  Center for Hellenic Studies  published a thorough exploration of ancient epic poetry, covering the major players from Ancient Greece to India.

Poets.org  offers a brief history on the form and provides several examples for readers.

Qwiklit offers a list of the  20 greatest epics  in history.

Related Terms

Epic Meaning & Calling in Educational Gamification

In the ever-evolving landscape of education, the quest to engage, motivate, and empower students is a perpetual one. One remarkable approach that has been gaining traction in recent years is gamification. Gamification harnesses the innate human desire for challenge, reward, and accomplishment, making learning an epic adventure. At the heart of this approach lie two crucial psychological principles – Epic Meaning and Calling. 

In this blog post, we will dive deep into the concept of Epic Meaning and calling in the context of educational gamification and explore how it can be harnessed to enhance learning outcomes. From understanding the psychology behind these concepts to practical implementation in the classroom, we’ll explore every facet of this dynamic strategy. Let’s embark on this epic journey towards more engaging and impactful education.

Understanding Epic Meaning & Calling

Defining epic meaning & calling in the context of gamification.

Epic Meaning and Calling are not just buzzwords; they are key components in designing gamified educational experiences. Epic Meaning refers to the idea of connecting an individual’s actions or tasks to a broader, meaningful purpose. In education, this means making students feel like their learning has a significant impact on the world or a larger cause.

Calling, on the other hand, centers on aligning an individual’s values, interests, and aspirations with their actions or tasks. In education, it’s about creating learning experiences that resonate with student’s intrinsic motivations and passions.

Psychological Principles Behind Epic Meaning and Calling

At the core of Epic Meaning and Calling are powerful psychological principles. Epic Meaning taps into a fundamental human need for significance and contribution. Students who believe their learning has a meaningful purpose are more likely to stay engaged and motivated.

Calling, on the other hand, taps into the self-determination theory, which posits that people are more motivated when they feel their actions align with their personal values and goals. When learning activities resonate with a student’s Calling, it becomes a more enjoyable and fulfilling experience.

The Power of Educational Gamification

Effectiveness of gamification in enhancing learning outcomes.

The benefits of gamification in education are well-documented. Studies have consistently shown that gamified learning environments improve student engagement, participation, and retention rates. Educators can create dynamic learning environments that captivate student’s attention by integrating game elements like challenges, rewards, and interactivity into the curriculum.

According to a study conducted by the University of Colorado Denver, students who experienced gamified learning scored 14% higher in skill-based knowledge and 11% higher in factual knowledge than those in traditional learning settings.

Moreover, a report by the eLearning Industry found that about 70% of students prefer gamified classes and learning experiences over traditional education methods. These statistics underscore the potential of gamification in education to transform the learning experience.

Applying Epic Meaning & Calling to Learning

To tap into the transformative potential of Epic Meaning in the educational setting, it’s crucial to instill the belief that the act of learning serves a greater, overarching objective. This can be achieved by framing educational content within real-world contexts and illustrating how the knowledge gained can make a difference. For example, teaching environmental science can be stated as contributing to a sustainable future.

Calling can be integrated by aligning learning objectives with student’s values, and aspirations. For instance, allowing students to choose research topics that resonate with their passions can foster a sense of Calling. This personalized approach empowers students to take ownership of their learning journey.

Epic Meaning and Calling can be applied across various subjects and scenarios. In subjects like history, emphasizing the importance of understanding past events in shaping the present and future can create Epic Meaning. For Calling, subjects like literature can be tailored to student’s interests by allowing them to explore genres or authors they are passionate about.

Techniques for Educational Gamification

Let’s delve into specific gamification techniques that can be employed to enhance educational engagement:

• Points and Rewards: Implement a point system where students earn rewards for completing tasks or achieving milestones. These rewards can be virtual badges or tangible incentives, creating a sense of accomplishment.
• Leaderboards: Foster healthy competition by displaying leaderboards that showcase student progress. This drives students to excel and surpass their peers, boosting motivation.
• Progression Systems: Create a clear pathway for students to progress through the curriculum, much like advancing levels in a game. Each step forward becomes a tangible achievement.
• Storytelling and Narratives: Craft compelling narratives around the educational content. Make students the protagonists in their learning journeys with challenges and triumphs.

Case Studies: Duolingo & Kahoot

Two prime examples of gamification in education are Duolingo and Kahoot.

Duolingo, a language learning app, leverages gamification to great effect. By framing language acquisition as a quest to unlock new worlds and cultures, Duolingo creates Epic Meaning. Additionally, the app tailors lessons to users’ interests and progress, aligning with the concept of Calling.

Kahoot, a quiz-based platform, employs gamification to promote healthy competition and learning. The leaderboard system fosters competition among students, making learning engaging and fun. Kahoot exemplifies how gamification can create a sense of Calling by allowing students to choose quizzes aligned with their interests.

Best Practices for Implementing Epic Meaning & Calling

Here are some best practices for educators looking to integrate Epic Meaning and Calling into their teaching strategies:

• Understand Your Students: Know your student’s interests, goals, and values. Tailor your curriculum to align with their aspirations.
• Create Compelling Narratives: Craft engaging stories or contexts that make learning feel like an epic adventure. Connect lessons to real-world applications.
• Provide Autonomy: Allow students to have a say in their learning process. Offer choices and opportunities for them to take ownership of their education.
• Encourage Collaboration: Foster a sense of companionship among students. Collaborative challenges can create a feeling of unity and purpose.
• Continuously Evolve: Keep refining your gamified approach based on student feedback and changing needs. Gamification is not static; it should adapt and grow with your students.

When implementing gamification techniques, it’s essential to tailor them to different age groups and subjects:

• For Younger Learners: Use simpler game mechanics and bright, engaging visuals. Focus on rewards and recognition to keep their motivation high.
• For Older Students: Introduce more complex challenges and competition. Encourage critical thinking and problem-solving.
• For STEM Subjects: Incorporate hands-on activities and experiments to make learning tangible and exciting.
• For Humanities and Arts: Emphasize creativity and self-expression. Allow students to explore their passions within the curriculum.

In conclusion, Epic Meaning and Calling, when integrated into gamified educational experiences, have the potential to transform the way we teach and learn. By understanding the psychological principles behind these concepts and applying them in educational settings, educators can create dynamic and engaging learning environments that inspire students to reach their full potential. Book a demo with us to find out more about Educational Gamification.

Statistic Reference:

• https://www.zenefits.com/workest/gamification-in-training-learning-thats-engaging-and-retained/  
• https://elearningindustry.com/gamification-in-education-new-type-interactive-learning  

• Agile project management
• Epics, stories, themes

Stories, epics, and initiatives

These simple structures help agile teams gracefully manage scope and structure work.

Browse topics

Let’s say you and your team want to do something ambitious, like launch a rocket into space. To do so, you’ll need to structure your work: from the largest objectives down to the minute details. You’ll want to be able to respond to change, report your progress, and stick to a plan. Epics, stories, and initiatives are precisely the tools you’ll need to do so.

By understanding how these popular Agile  and DevOps methodologies help organize work, your team can strike a healthy balance between structure, flexibility, and launching rockets into space.

What are stories, epics, and initiatives?

• Stories , also called “user stories,” are short requirements or requests written from the perspective of an end user.
• Epics are large bodies of work that can be broken down into a number of smaller tasks (called stories).
• Initiatives are collections of epics that drive toward a common goal.

Agile epic vs. story

In a sense, stories and epics in agile are similar to stories and epics in film or literature. A story is one simple narrative; a series of related and interdependent stories makes up an epic. The same is true for your work management, where the completion of related stories leads to the completion of an epic. The stories tell the arc of the work completed while the epic shares a high-level view of the unifying objective.

On an agile team, stories are something the team can commit to finish within a one- or two-week sprint. Oftentimes, developers would work on dozens of stories a month. Epics, in contrast, are few in number and take longer to complete. Teams often have two or three epics they work to complete each quarter.

If your company was launching rockets into space, and wanted to improve the streaming service for your launches, you might structure your stories like the ones below.

Examples of an agile story:

• iPhone users need access to a vertical view of the live feed when using the mobile app.
• Desktop users need a “view fullscreen” button in the lower right hand corner of the video player.
• Android users need to be linked to apple store.

Learn how to configure stories (called issues) in Jira

The above stories are all related, and could all be considered individual tasks that drive toward the completion of a larger body of work (an epic). In this case, the epic might be “Improve Streaming Service for Q1 Launch.”

Organizing work into stories and epics also helps you and your team communicate effectively within the organization. If you were reporting your team’s progress to the Head of Engineering, you’d be speaking in epics. If you were talking to a colleague on your development team, you’d speak at the story level.

For complete definitions, examples and best practices, see:

• The Agile Coach: Epics
• The Agile Coach: Stories

Agile epic vs. initiative

In the same way that epics are made up of stories, initiatives are made up of epics. Initiatives offer another level of organization above epics. In many cases, an initiative compiles epics from multiple teams to achieve a much broader, bigger goal than any of the epics themselves. While an epic is something you might complete in a month or a quarter, initiatives are often completed in multiple quarters to a year.

Example of epics in an initiative:

Let’s say your rocket ship company wants to decrease the cost per launch by 5% this year. That’s a great fit for an initiative, as no single epic could likely achieve that big of a goal. Within that initiative, there would be epics such as, “Decrease launch-phase fuel consumption by 1%,” “Increase launches per quarter from 3 to 4,” and “Turn all thermostats down from 71 to 69 degrees #Dadmode.”

At Atlassian:

Internally, we call our initiatives “PC Tickets.” Project Central tickets are configured in Jira just like our epics. Each team takes their four or five most important goals for the year and makes PC tickets for each one. These PC tickets are used by the founders and management to understand all the work being done in the company. Check out our free project management template , inspired by our own agile practices.

NEXT:  Learn how to configure Agile Epics

Beyond initiatives

In many organizations, the founders or leadership team encourage the pursuit of some aspirational destination. These are the (sometimes super corny) goals announced each year or quarter. Initiatives are typically collections of epics, but you can also use custom fields or labels to categorize by team, strategic pillar, or timeframe, and create a custom hierarchy to better align work to higher-level organizational goals.

Many Atlassian customers leverage Plans, an advanced planning feature in Jira, to introduce five levels above agile epics to define and guide projects, which are shown below.

See how Twitter unified projects and teamwork with Jira:  Read the full story

At Atlassian: When the Cloud Foundations division needed visibility of work across a division with hundreds of engineers, they turned to  Jira’s advanced planning feature  to solve a key challenge that organizations face with distributed teams. Connecting their projects together within a shared delivery plan in Jira, they could see the big picture, track progress, and easily share data with stakeholders. 

This is what advanced planning with Jira looks like for the Atlassian Cloud Foundations division. Read more  

Structuring work

Being agile and embracing structure are not mutually exclusive, and the structure laid out here is not one size fits all. Success is when you and your team understand these concepts and adapt them to your needs. For us, that's stories, epics, and initiatives. 

You can get started by learning how to set up Epics in Jira  and then learn more about how to strategically plan and track work across multiple teams with  Plans in Jira .

As a self-proclaimed “chaos muppet” I look to agile practices and lean principles to bring order to my everyday. It’s a joy of mine to share these lessons with others through the many articles, talks, and videos I make for Atlassian 

Learn how to use epics in Jira

Use these step by step instructions to learn how to use and create epics in Jira.

Agile Epics: Definition, Examples, & Templates

An epic is a large body of work that can be broken down into a number of smaller stories. Learn more about how to organize an agile workflow with epics.

Competitions

The most epic journeys in film and tv.

By David Young · September 25, 2023

Whether you call them road movies or quest movies or epic journeys, they exist in every genre, from sci-fi to family dramedy. While some movies include an actual road trip or long voyage to a desired place, the best ones show us the external and internal need for the journey. Let’s take a look at some of the most iconic films that feature long journeys, including fantasy epics, introspective self-discovery stories and gritty real life adventures that take us along for the ride.

Scripts from this Article

The Lord of the Rings: The Fellowship of the Ring

Thelma and Louise

Little Miss Sunshine

Sweet Tooth

Saving Private Ryan

Finding Nemo

The Hitchhiker’s Guide to the Galaxy

The Darjeeling Limited

The Last of Us

Peter Jackson’s The Lord of the Rings films

No one can deny that the most epic modern story of a long journey comes to us in the form of a hobbit and his fellowship. From the fate of the world to the unbearable internal weight that Frodo contends with, the story is about the quest he’s taken on. The relationships built over that trek across Middle-earth become the crux of Frodo’s narrative and those of the others, ultimately creating the opportunity for him to bring the One Ring to its intended resting place.

Read More: The Hero’s Journey Breakdown: The Lord of the Rings

Another movie about relationships, this road trip crime drama from Ridley Scott emphasizes a growing acceptance of freedom from the chains of society. As the titular characters embrace their rebellion, they become more able to express their needs and feel like themselves, even making choices at the end that they need to embrace their own willpower to achieve.

Read More: 3 Screenwriting Tips from Thelma and Louise Screenwriter Callie Khouri

Any good story about wizards, resurrections and dragons should involve a quest, right? Then it’s a good thing that Onward does that in spades, even down to acknowledging certain tropes. Rather than poking fun at convention, this buddy film uses long-standing ideas about quest movies to accent what makes the movie special: an emphasis on family.

Read More: Pixar Movies: The Digital Disney

This flick emphasizes the importance of family, too — but there’s no magic unless you count the enchanting dark hilarity that comes from each character, beat and subversion of expectations. Little Miss Sunshine takes time to develop importance in each flaw of the cast. Once you recognize and empathize with those flaws, they become the source of conflict all along the way during this iconic road movie.

Read More: 5 Plot Points of Little Miss Sunshine

Dystopia is sometimes a great place for a road trip. The mutant-destitute future in Logan is no such place. Yet, Logan’s aged body (you read that right) must go through a harrowing adventure once more well after he’s tried to essentially retire. That adventure involves a mutant child, whose own predicament reminds Logan of his instincts as a protector — and whose safety now rests in his hands until he takes her somewhere she can escape this bleak futurescape.

Read More: From Script to Screen: Logan

Some TV shows love a good journey — and Sweet Tooth is a great example. The world of this show imagines a return to strangeness as seemingly animal hybrids are born to regular humans in the wake of a terrible, ravaging viral pandemic. One of these hybrids, Gus, is forced to forge into the world from which he was so long protected once his father dies. It’s this trip Gus takes that forces him to reckon with the world he never knew — and the world that has come after.

A “voyage and return” story of unique consequence, Up sees protagonists Carl and Russell go through their own changes as a result of their unintentional joint journey. Russell, having stowed away and intent on helping his elderly neighbor, goes through trial after trial to accomplish his goal before successfully touching Carl’s heart. Carl’s own difficulties mounted well before the events of his trip, so it’s through this accidental pairing that he learns to change his outlook for the better as well.

Every journey seems longer when danger is around every corner. In Saving Private Ryan , we see that in Captain Miller and his team as they’re forced to take a wartime trek through German occupation during World War II. For this journey, the destination is not just a location, it’s a state of affairs: that no man is left behind. That kind of mission makes this journey all the harder.

Read More: 5 Plot Point Breakdown: Saving Private Ryan

A good father would go to the ends of the earth to find his missing son — and that’s what Marlin does when Nemo is abducted. The agoraphobic clownfish must brave numerous new situations with a new companion in the deep, dark ocean to find himself at the Great Barrier Reef, where Nemo’s been taken. While it’s important to get to Nemo, Marlin’s journey brings about changes in himself that help him take hold of his life once more.

Read More: 5 Plot Points: Finding Nemo  

Sometimes, a journey is self-inflicted — and sometimes, it’s meant to do something internally for the person taking those steps. That’s the story of Wild , where Cheryl’s impulsivity was not only her downfall early on, but the reason why she takes her next adventure along the Pacific Crest Trail with no preparation or experience. Due to the kindness of the people she meets along the way, she’s able to survive and find herself transfigured — moving past the life she left in ruins.

A journey to the end of the universe might be a long one. Thankfully, Arthur Dent gets to hitchhike his way there, looking for the meaning of life after watching Earth be destroyed due to ill-executed bureaucracy. He discovers on his adventure into the void of space that nothing he knew amounts to what is actually out there — and he gets some answers along the way, however unclear or unwanted they may be.

Sometimes an emotional journey accompanies the physical one, and that happens for the Whitman brothers as they attempt a reconciliation on a train in India. With itineraries in hand, these three siblings have much to hash out, and they do so through various locations in the subcontinent. Unwittingly, two of the brothers have agreed to more of an emotional trip than they realized, as eldest brother Francis has planned a destination they didn’t have in mind.

Read More: Top 10 Wes Anderson Films (Features and Shorts)

Within a world ravaged by a fungal pandemic, people afflicted become mindless hordes that consume on behalf of the fungus. Only one person known to a few has survived the infection, and she’s on a very long journey with a grudging protector. Based on the award-winning video game, The Last of Us depicts Joel and Ellie on their cross-country travel — all to help save humanity. The mounting understanding and affection that the two nurture on the way there fills a hole for each of them, making this journey exceptionally meaningful in numerous ways for both.

Read More: 10 Things That Make HBO’s The Last of Us Great

Pi recounts his life story for an interviewer, with events evolving from a family trip into an adventure of survival as Pi finds himself drifting across the ocean with only a hungry tiger for company. As he forces himself to come to grips with his situation, Pi’s journey becomes more and more unbelievable — a choice he himself gives the viewer when he signs off from the interview.

Read More: Life of Pi: Engaging, Visually Stunning Fable

Whether it’s discovering the meaning of life, the meaning of self, or the meaning of family, the journey itself becomes the catalyst that leads characters to that discovery.  That discovery, whatever it may be, becomes the crux of the perfect “long journey” story, and these films serve as great examples of how to craft them.

Download Free Trending Scripts

Breaking Bad

Baby Reindeer

The Shining

True Detective

Mr. and Mrs. Smith

Next related article.

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Karl Williams · September 18, 2023

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noun as in travel from one place to another

Strongest matches

• exploration

Strong matches

• constitutional
• peregrination
• transmigration
• vagabondage

verb as in travel

• peregrinate

Weak matches

• knock about
• take a trip

Discover More

Example sentences.

If either is selected, it would not launch until 2026 at the earliest, and would take at least a few months to make the journey.

The job is a cherry on top, but the journey and the experience of being able to audition and leave your heart in the room and feel good about it, no matter what happens, that’s rare and that was amazing.

Cross-device measurement helps connect the dots of your customer’s journey and ensures you know how effective your campaigns are at driving user behavior.

You are somewhat of a new grandmother and you’ve been enjoying that journey.

Instead of having numerous articles addressing each of these particular questions, brands and publishers could consolidate this information as it is all pertinent to the same stage of the journey that the user is in.

The brokers then scout out potential “crew members” who can earn substantial discounts for working the journey.

The next day, after driving to Putney on the outskirts of London, we start the end of our journey.

The NYPD Emerald Society pipes and drums struck up a slow march and the procession began the journey to the cemetery.

We began a journey with Koenig in the first episode of Serial.

But the sunlight is threatening to fade and a three-and-a-half-hour river journey back to Kisangani looms.

With a hammer the boy knocked off some of the slats of the small box in which Squinty had made his journey.

Then summoning a smart young jemadar with whom he had talked a good deal during the journey, he asked him to read the chit.

But dismissing them from our thoughts for the time being, as we did then from our presence, let us continue our journey.

If the journey is now distasteful to her, she has but her own rashness to blame in having sought it herself.

It was past sundown when they left San Bernardino, but a full moon made the night as good as day for their journey.

Related Words

Words related to journey are not direct synonyms, but are associated with the word journey . Browse related words to learn more about word associations.

noun as in existence

• subsistence

noun as in revolution, track, boundary

• bound/bounds
• circulation
• circumference
• circumnavigation
• circumscription
• circumvolution
• perambulation

verb as in sail

• keep steady pace
• push off/push on
• wander about

noun as in sailing expedition

verb as in travel, visit

• pass through

Viewing 5 / 72 related words

On this page you'll find 148 synonyms, antonyms, and words related to journey, such as: adventure, campaign, course, crossing, drive, and expedition.

From Roget's 21st Century Thesaurus, Third Edition Copyright © 2013 by the Philip Lief Group.

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Home » Blog » Unlocking the Meaning of Occupation: A Journey into Occupational Therapy

Unlocking the Meaning of Occupation: A Journey into Occupational Therapy

BY Elizabeth Wanka  | 3 MIN READ

When I first embarked on my journey into the field of occupational therapy, the concept of “occupation” appeared like a labyrinth of complexities, its significance elusive. It wasn’t until I delved deeper that its profound meaning to individuals, families and communities began to unravel.

What is Occupational Therapy?

Let’s start by defining occupation. At its core, occupations encompass the myriad of activities we engage in daily – from the mundane tasks of toileting and dressing to the more intricate actions like driving to work or navigating our computers. These activities, spanning from the muscular coordination needed to grasp objects to the cognitive demands of attention and memory required while driving, form the fabric of our existence.

Reflect on your morning routine – the steps you take to prepare for the day, the seamless transitions as you transition from home to school or work. Each action, often performed at a subconscious level, contributes to the tapestry of our lives. Now, imagine the upheaval caused by an accident or stroke, disrupting this delicate balance.

In such moments of disruption, occupational therapists step in, guiding individuals towards reclaiming their independence through a reimagining of familiar occupations. This may involve environmental adaptations such as installing a shower bench or devising new organizational systems to facilitate daily tasks.

What Can Occupational Therapy Accomplish?

Now, let’s shift our focus to children, particularly those with developmental delays due to conditions like Down syndrome, autism, or cerebral palsy. For these young ones, occupational therapists become facilitators of growth, harnessing developmental milestones through the guise of play – a pursuit inherently meaningful to a child.

As you contemplate these examples, it becomes apparent that occupational therapy transcends mere rehabilitation; it is a catalyst for restoring purpose and autonomy to those whose lives have been altered by circumstance. While our foundation lies in neurology, muscular function, and developmental psychology, our ultimate goal remains steadfast – facilitating individuals in reclaiming their ability to engage in the occupations that bring meaning to their lives.

What Else Can Occupational Therapy Do?

The realm of occupational therapy extends far beyond clinical settings. We traverse diverse landscapes, from mental health facilities fostering new habits and routines to rehabilitation centers aiding in post-illness deconditioning. We are found in schools nurturing visual perceptual skills and in pediatric clinics assisting with emotional regulation. Our journey even takes us to community centers, where we empower seniors to navigate newfound avenues of community engagement.

Our practice is not confined by boundaries; it is guided by a holistic understanding of human experience – blending anatomy, physiology, movement, and mental well-being with the intrinsic value of meaningful occupations. The next time you navigate your daily commute, consider the myriad of skills at play – from grasping the steering wheel to engaging your executive functions. In these moments, the intricate work of occupational therapists becomes palpable – as they empower individuals to embrace new skills or rediscover those lost along life’s journey.

Elmhurst University’s Master of Occupational Therapy is one of many graduate programs within the health care family of programs in the School of Graduate Studies. To learn more, please fill out the form below.

About the Author

Dr. Elizabeth Wanka  joined Elmhurst University after teaching at a master of occupational therapy and post-professional occupational therapy doctoral degree program. She is a registered and licensed occupational therapist.

Posted July 2, 2024

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Synonyms of epic

• as in magnificent
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Thesaurus Definition of epic

 (Entry 1 of 2)

Synonyms & Similar Words

• magnificent
• extraordinary
• extravagant
• apocalyptic
• apocalyptical
• sensational
• redoubtable
• splendiferous
• resplendent
• prepossessing

Antonyms & Near Antonyms

• unimpressive
• unprepossessing
• insignificant
• meretricious
• run - of - the - mill
• second - rate

Thesaurus Definition of epic  (Entry 2 of 2)

• short story
• commentaries
• bedtime story
• English sonnet
• anacreontic
• blank verse
• versification

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Thesaurus Entries Near epic

ephemerality

Cite this Entry

“Epic.” Merriam-Webster.com Thesaurus , Merriam-Webster, https://www.merriam-webster.com/thesaurus/epic. Accessed 4 Jul. 2024.

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Simone Biles Makes Epic Comeback With Taylor Swift-Inspired Floor Routine

Are you ready for it?

Simone Biles stole the show at the 2024 Olympic Trials on Friday, leading the field with a score of 58.900. Teammates Jordan Chiles and Suni Lee follow with 56.400 and 56.025, respectively.

While the night was filled with several memorable moments, Simone Biles left no crumbs after her incredible floor routine to a soundtrack featuring Taylor Swift and Beyoncé .

Simone Biles Returns To The Olympics

As The Blast previously reported, Simone Biles withdrew from the Tokyo 2020 Olympics due to mental health issues, specifically citing the "twisties." While her departure shocked many fans, her decision gained widespread support and sparked conversations about mental health in sports.

After taking a short break from the sport, Biles returned to compete in the balance beam final on August 3, 2021, and won a bronze medal, marking her official return to gymnastics.

Three years later, the 27-year-old is ready to compete in the biggest sporting event in the world as 2024 Olympic Trials are underway.

... Ready For It?

On Friday, June 28, Simone Biles made a triumphant return to the gym as she and her teammates competed in the Olympic Trials at the Target Center in Minneapolis.

This is the first of two nights for the women's trials, and Biles didn't hold back. She took first place in all-around by 2.5 points.

One of the highlights of the night was when the 27-year-old took the floor and performed her routine to “… Ready For It?” by Taylor Swift and “Delresto (Echoes)” by Travis Scott and Beyoncé.

Watch The Epic Taylor Swift/Beyoncé-Inspired Floor Routine

The iconic floor routine kicks off with a bang as the iconic heavy thumping beats of Swift’s “… Ready For It?” take over the gymnasium.

She wasted no time as she wowed the crowd with a triple-double hearted tumbling pass, landing perfectly. The rest of her performance went flawlessly, aside from one misstep when she went 1/10 out of bounds after her third tumbling pass.

To no surprise, the crowd went wild, and the video has now gone viral.

'Miss Goat' Is Back!

"MISS GOAT DIDNT COME TO PLAY SHE WAS IN SPACE LIKE I'M NOT SURE IF EVERYONE SAW THAT," one X user wrote after seeing Biles's floor routine.

"Phenomenal, and the music choice," another said .

"Give her the medal already," a third chimed in.

As a fourth expressed , "She is phenomenal... she is GOLD!!!"

The Meaning Behind Simone Biles's Floor Routine

While Simone Biles, once again, proved why she is the GOAT with her Taylor Swift/Beyoncé floor routine, there is more to the story.

Grégory Milan, the French choreographer behind the routine, said he was inspired by the Alvin Ailey American Dance Theater, a groundbreaking modern dance company established by Ailey in 1958.

According to The New York Times , Ailey focused his work on the Black American experience and gained international acclaim with his iconic ballet, 'Revelations,' in 1960. The group of dancers is not defined by one particular type of dance, but rather showcases a blend of diverse styles and techniques, leading to "an artistic fluidity that Milan wanted to infuse in Biles’ routine."

“I wanted to have an Alvin Ailey mindset just because of what they represented,” he told the outlet. “At the beginning, I had in mind that she would do something that shows she’s emerging, that she’s breaking the barriers a bit of gymnastics to say: ‘It’s over now, I’m not a little girl anymore. After everything I’ve gone through, I’m now a businesswoman, I’m a married woman, I’m a happy woman.'”

Diving Into The Choreography

While it may look extremely complicated to the public, Milan says most of the dance moves in Biles's routine are simple.

“I wanted her to appear noble with something very pure, with her magnificent arms, the look in her eyes. I wanted something more athletic, more square, more geometrical,” he said of the choreography.

“Sometimes you don’t need too much, just a look, a way to position your arm, the way you carry a movement, and that’s what Simone succeeded in doing,” he added. “We feel she’s at peace, she’s happy, she’s calm so that when she heads to the corner to do her big tumbling passes, she needs to feel grounded, feel strong, feel safe to start her tumbling pass.”

Day two of the Women's Olympic Trials will take place on Sunday, June 30.