Ode



Ode (from the Ancient Greek ) is a type of lyrical verse. A classic ode is structured in three major parts: the strophe, the antistrophe, and the epode. Different forms such as the homostrophic ode and the irregular ode also exist. It is an elaborately structured poem praising or glorifying an event or individual, describing nature intellectually as well as emotionally. Greek odes were originally poetic pieces accompanied by symphonic orchestras. As time passed on, they gradually became known as personal lyric compositions whether sung or recited (with or without accompanied music). For some, the primary instrument of choice was either the aulos or the lyre (the most revered instrument of the Ancient Greeks). The written ode, as it was practiced by the Romans, returned to the lyrical form of the Lesbian lyricists. This was exemplified, exquisitely, by Horace and Catullus; the odes of Horace deliberately imitated the Greek lyricists such as Alcaeus and Anacreon, and the poetry of Catullus was particularly inspired by Sappho.

English ode
An ode is typically a lyrical verse written in praise of, or dedicated to someone or something which captures the poet's interest or serves as an inspiration for the ode. The initial model for English odes was Horace, who used the form to write meditative lyrics on various themes. The earliest odes in the English language, using the word in its strict form, were the Epithalamium and Prothalamium of Edmund Spenser. In the 17th century the most important original odes in English are those of Abraham Cowley and Andrew Marvell. Marvell, in his Horatian Ode upon Cromwell's Return from Ireland uses a regular form (two four-foot lines followed by two three-foot lines) modelled on Horace, while Cowley wrote "Pindarique" odes which had irregular patterns of line lengths and rhyme schemes, though they were iambic. The principle of Cowley's Pindariques was based on a misunderstanding of Pindar's metrical practice but was widely imitated nonetheless, with notable success by John Dryden. With Pindar's metre being better understood in the 18th century, the fashion for Pindaric odes faded, though there are notable actual Pindaric odes by Thomas Gray, The Progress of Poesy and The Bard. The Pindarick of Cowley was revived around 1800 by William Wordsworth for one of his very finest poems, the Intimations of Immortality ode; irregular odes were also written by Samuel Taylor Coleridge, John Keats, and Percy Bysshe Shelley who wrote odes with regular stanza patterns. Shelley's Ode to the West Wind, written in fourteen line terza rima stanzas, is a major poem in the form, but perhaps the greatest odes of the 19th century were Keats's Five Great Odes of 1819: Ode to a Nightingale, Ode on Melancholy, Ode on a Grecian Urn, Ode to Psyche, and To Autumn. After Keats, there have been comparatively few major odes in English. One major exception is the fourth verse of the poem For the Fallen by Laurence Binyon which is often known as "The Ode to the Fallen" or more simply as "The Ode". W.H. Auden also wrote 'Ode', one of his most popular poems from his earlier career when based in London, in opposition to people's ignorance over the reality of war. In interview Auden once stated that he had intended to title the poem My Silver Age in mockery of the supposedly imperial Golden age, however chose 'Ode' as it seemed to provide a more sensitive exploration of warfare. The English ode's most common rhyme scheme is ABABCDECDE.

Great Practitioners of the Ode

 * John Keats
 * Samuel Taylor Coleridge
 * William Wordsworth
 * Percy Bysshe Shelley
 * Edmund Spenser
 * Pablo Neruda
 * Horace
 * Catullus
 * Ovid
 * Sappho