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AntistropheAntistrophe, the portion of an ode which is sung by the chorus in its returning movement from west to east, in response the strophe, which was sung from east to west.
It is of the nature of a reply, and balances the effect of the strophe. Thus, Gray's ode called "The Progress of Poesy," the strophe, which dwelt in triumphant accents on the beauty, power and ecstasy verse, is answered by the antistrophe, in a depressed and melancholy key:
:"Man's feeble race what ills await,
:Labour, and Penury, the racks of Pain,
:Disease and Sorrow's weeping Train,
:And Death, sad refuge from the storms of Fate," etc.
When the sections of the chorus have ended their responses, they unite and close in the epode, thus exemplifying the triple m in which the ancient sacred hymns of Greece were coined, from the days of Stesichorus onwards. As Milton says, "strophe, antistrophe and epode were a kind of stanza framed for the music then used with the chorus that sang."
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Category:Poetic form
Ode:This article is about the poetic and musical form of ode. For ordinary differential equations (abbr. ODE), see differential equation. For the politican nicknamed Ode, see Osmo Soininvaara.
Ode is a form of stately and elaborate lyrical verse. A classic ode is structured in three parts - the strophe, the antistrophe and the epode but different forms such as the homostrophic ode and the irregular ode exist.
Greek origins
There were two great divisions of the Greek melos or song; the one the personal utterance of the poet, the other, the choric song of his band of trained dancers. Each of these culminated in what have been called odes, but the former, in the hands of Alcaeus, Anacreon and Sappho, came closer to what modern criticism knows as lyric, pure and simple. On the other hand, the choir-song, in which the poet spoke for himself, but always supported, or interpreted, by a chorus, led up to what is now known as ode proper. It was Alcman, as is supposed, who first gave to his poems a strophic arrangement, and the strophe has come to be essential to an ode. Stesichorus, Ibycus and Simonides of Ceos led the way to the two great masters of ode among the ancients, Pindar and Bacchylides.
The form and verse-arrangement of Pindar's great lyrics have regulated the type of the heroic ode. It is now perceived that they are consciously composed in very elaborate measures, and that each is the result of a separate act of creative ingenuity, but each preserving an absolute consistency of form. So far from being, as critics down to Cowley and Boileau supposed, utterly licentious in their irregularity, they are more like the canzos and sirvcntcs of the medieval troubadours than any modern verse. The Latins themselves seem to have lost the secret of these complicated harmonies, and they made no serious attempt to imitate the odes of Pindar and Bacchylides.
It is probable that the Greek odes gradually lost their musical character; they were accompanied on the flute, and then declaimed without any music at all. The ode, as it was practised by the Romans, returned to the personally lyrical form of the Lesbian lyrists. This was exemplified, in the most exquisite way, by Horace and Catullus; the former imitated, and even translated, Alcaeus and Anacreon, the latter was directly inspired by Sappho.
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Ode in Continental Europe
The earliest modern writer to perceive the value of the antique ode was Ronsard, who attempted with as much energy as he could exercise to recover the fire and volume of Pindar; his principal experiments date from 1550 to 1552. The poets of the Pleiad recognized in the ode one of the forms of verse with which French prosody should be enriched, but they went too far in their use of Greek words crudely introduced. The ode, however, died in France almost as rapidly as it had come to life; it hardly survived the 16th century, and neither the examples of J. B. Rousseau nor of Saint-Amant nor of Malherbe possessed much poetic life.
Early in the 19th century the form was resumed, and we have the odes composed between 1817 and 1824 by Victor Hugo, the philosophical and religious odes of Lamartine, and the brilliant Odes funambulesques of Theodore de Banville (1857).
The golden age of German ode, both of the Pindaric and the Horatian varieties, is associated with the late 18th century and such writers as Klopstock and Schiller, whose An die Freude (Ode to Joy) inspired the final movement of Beethoven's Ninth Symphony.
The German ode inspired first Russian odes, written by Mikhail Lomonosov, notably Morning Meditation on the Greatness of God and Evening Meditation on the Greatness of God on the occasion of the Northern Lights (1742-44). But the most popular and enduring Russian odes were composed by Gavrila Romanovich Derzhavin during the reign of Catherine the Great. His ode On God, often regarded as the greatest piece of 18th-century Russian poetry, was 15 times translated into French and 8 times into German during the poet's lifetime.
English 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 magnificent Epithalamium and Prothalamium of Spenser. In the 17th century, the most important original odes in English are those of Abraham Cowley and Andrew Marvell. Marvell, in his Horation Ode on Cromwell's Return from Ireland, used a simple and regular stanza (aabb, two four-foot lines followed by two three-foot lines) modelled on Horace, while Cowley wrote "Pindarick" odes which had irregular patterns of line lengths and rhyme schemes, though they were iambic. The principle of Cowley's Pindaricks was based on a misunderstanding of Pindar's metrical practice, but was widely imitated, 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, [http://www.thomasgray.org/cgi-bin/display.cgi?text=pppo The Progress of Poesy] and [http://www.thomasgray.org/cgi-bin/display.cgi?text=bapo The Bard]. The Pindarick of Cowley was revived around 1800 by Wordsworth for one of his very finest poems, the Intimations of Immortality ode; irregular odes were also written by Coleridge. Keats and Shelley 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 written by Keats. 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".
Ode in music
A musical setting of a poetic ode is also known as an ode. Horatian odes were frequently set to music in the 16th century, notably by Ludwig Senfl and Claude Goudimel. Dryden's "Ode on St. Cecilia's Day" was set by Handel, and Schiller's Ode to Joy was used in Beethoven's Ninth Symphony. Odes to dignitaries were often set also, such as the Ode for the Birthday of Queen Anne by Handel. Byron's Ode to Napoleon Buonaparte was set by Arnold Schoenberg.
Pop Music
Ode to Billy Joe is a song by Bobbie Gentry.
Ode to my Family is a song by Cranberries.
Category:Poetic form
StropheStrophe (Greek στροφή, turn, bend, twist, see also phrase) is a term in versification which properly means a turn, as from one foot to another, or from one side of a chorus to the other.
A strophe is also the part of the ode that the Chorus chants as it moves from right to left across the stage.
In its precise choral significance a strophe was a definite section in the structure of an ode, when, as in Milton's famous phrase in the preface to Samson Agonistes, "strophe, antistrophe and epode were a kind of stanzas framed only for the music."
In a more general sense, the strophe is a pair of stanzas of alternating form on which the structure of a given poem is based. In modern poetry the strophe usually becomes identical with the stanza, and it is the arrangement and the recurrence of the rhymes which give it its character. But the ancients called a combination of verse-periods a system, and gave the name strophe to such a system only when it was repeated once or more in unmodified form.
It is said that Archilochus first created the strophe by binding together systems of two or three lines. But it was the Greek ode-writers who introduced the practice of strophe-writing on a large scale, and the art was attributed to Stesichorus, although it is probable that earlier poets were acquainted with it. The arrangement of an ode in a splendid and consistent artifice of strophe, antistrophe and epode was carried to its height by Pindar.
With the development of Greek prosody, various peculiar strophe-forms came into general acceptance, and were made celebrated by the frequency with which leading poets employed them. Among these were the Sapphic, the Elegiac, the Alcaic and the Asclepiadean strophe, all of them prominent in Greek and Latin verse. The briefest and the most ancient strophe is the dactylic distich, which consists of two verses of the same class of rhythm, the second producing a melodic counterpart to the first.
The forms in modern English verse which reproduce most exactly the impression aimed at by the ancient odestrophe are the elaborate rhymed stanzas of such poems as Keats' Ode to a Nightingale or Matthew Arnold's The Scholar-Gipsy.
Category:Poetic form
Thomas Gray:For the recipient of the Victoria Cross, see Thomas Gray (VC)
:For the co-inventor of the Seismometer, see Thomas Lomar Gray
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Thomas Gray (December 26, 1716 – July 30, 1771), English poet, classical scholar, and professor of history at Cambridge University.
Cambridge University
Thomas Gray was born in London, and lived with his mother after she left his abusive father. He was educated at Eton College, and became a Fellow first of Peterhouse and later of Pembroke College, Cambridge. While a student, he met Horace Walpole, whom he accompanied on the Grand Tour.
Gray spent most of his life as a scholar in Cambridge, and only later in his life did he begin travelling again. Although he was one of the least productive poets (his collected works published during his lifetime amount to less than 1,000 lines), he was, besides William Collins (1721 - 1759), the predominant poetic figure of the middle decades of the 18th century. In 1757, he was offered the post of Poet Laureate, which he refused. In 1768 he succeeded Lawrence Brockett as Regius Professor of History at Cambridge, a sinecure.
Gray's "[http://www.thomasgray.org/cgi-bin/display.cgi?text=elcc Elegy Written in a Country Churchyard]" (1751), believed to have been written in the churchyard of Stoke Poges, Buckinghamshire, has become a lasting contribution to the English heritage. It is still one of the most popular and most frequently quoted poems in the English language; before the battle of the Plains of Abraham, British General James Wolfe is said to have recited it to his officers, adding, "Gentlemen, I would rather have written that poem than take Quebec tomorrow."
Gray combined traditional forms and poetic diction with new topics and modes of expression and may thus be considered as a classically focussed precursor of the romantic revival.
The Elegy was recognized immediately for its beauty and skill, and the Churchyard Poets are so named because they wrote in the shadow of Gray's great poem. Gray also wrote light verse, such as Ode on the Death of a Favourite Cat, Drowned in a Tub of Gold Fishes, concerning Horace Walpole's cat, which had recently died trying to fish goldfish out of a bowl. The poem moves easily to its double proverbial conclusion: "A fav'rite has not friend", and "Know one false step is ne'er retrieved".
External links
- [http://www.thomasgray.org/ The Thomas Gray Archive], ed. by Alexander Huber
- [http://gilbertwesleypurdy.blogspot.com/2005/07/elegy-and-internet.html The Elegy and the Internet] by Gilbert Wesley Purdy. This essay provides considerable information on Thomas Gray, his influences and on the "Elegy Written in a Country Church-yard".
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StesichorusStesichorus was a Greek lyric poet from Sicily who flourished from 640 BC to 555 BC. He was included in the canonical list of nine lyric poets by the scholars of Hellenistic Alexandria
Category:Ancient Greek poets
Category:Sicilian Greeks
John MiltonSee John Milton (politician) for the American politician
John Milton (politician)
John Milton (December 9, 1608 – November 8, 1674) was an English poet, best-known for his epic poem Paradise Lost.
Life
Milton was born on December 9, 1608 in Cheapside, London, England. His father, John Milton (1562? – 1647), moved to London around 1583 having just been disinherited for concealing his Protestantism by his devout Catholic father, Richard Milton, who was a wealthy landowner in Oxfordshire. In 1600, Milton's father probably married Sarah Jeffrey (1572 – 1637), the poet’s mother, around the same time. John Milton was educated at St Paul's School, London. Milton was originally destined to a ministerial career, but his independent spirit led him to give up this career. He matriculated at Christ's College, Cambridge in 1625 and studied there for seven years before he graduated as Master of Arts cum laude on July 3 1632. There is evidence to suggest that Milton’s experiences at Cambridge were not altogether positive ones and were later to contribute to his views on education. Upon graduating from Christ’s College, Cambridge, in 1632 Milton undertook six years of self-directed private study in both the ancient and modern disciplines of theology, philosophy, history, politics, literature and science, in preparation for his prospective poetical career. As a result of such intensive study, Milton is considered to be among the most learned of all English poets.
After completing his six years of private study in early 1638, Milton embarked upon a tour of France and Italy in May of the same year that was cut short 13 months later by what he later termed ‘sad tidings' of civil war in England. In June 1642, Milton married 16 year-old Mary Powell. A month later, she visited her family and did not return. Over the next three years, Milton published a series of pamphlets arguing for the legality and morality of divorce, the first entitled The Doctrine and Discipline of Divorce, in which he attacked the English marriage law as it had been taken over almost unchanged from medieval Catholicism, sanctioning divorce on the ground of incompatibility or childlessness. In 1645, Mary finally returned. In 1646, her family, having been ejected from Oxford for supporting Charles I in the Civil War, moved in with the couple. They had 4 children: Anne, Mary, John, and Deborah. Mary died on May 5, 1652 from complications following Deborah's birth on May 2, which may have affected Milton deeply, as evidenced by his 23rd sonnet. In June, John died at age 15 months; his other three daughters all survived to adulthood. On November 12, 1656, Milton married Katherine Woodcock. She died on February 3, 1658, less than 4 months after giving birth to their daughter, Katherine, who died on March 17. On February 24, 1663, Milton married Elizabeth Minshull, who cared for him until his death on November 8, 1674.
Career
Milton spent years devoted almost entirely to prose work in the service of the Puritan and Parliamentary cause. The onset of glaucoma, exacerbated by his incessant labours setting the typeface for numerous controversial pamphlets, eventuated in blindness, forcing him, from 1654, to dictate his verse and prose to an amanuensis. Milton wrote propaganda for the English Republic in the early 1650s. When he was caught and arrested in October 1659 he was not summarily executed: several influential people had spoken on his behalf, including the poet Andrew Marvell, a former assistant. Milton then lived in retirement, devoting himself once more to poetical work, and publishing Paradise Lost in 1667, the epic by which he attained universal fame (blind and impoverished he sold the publishing rights to this work on April 27th that year for £10), to be followed by Paradise Regained, together with Samson Agonistes, a drama on the Greek model, in 1671.
1671
Despite the comprehensive scope of Milton’s intellectual enquiry, crucial influences upon Milton’s literary work can be easily found and include the Biblical books of Genesis, Job, and Psalms, Homer, Virgil, and Lucan. Milton’s favourite historian was Sallust; however, though Milton’s work often betrays his classical and biblical influences, allusions to Spenser, Sidney, Donne, and Shakespeare are also detectable; some commentators have suggested that Milton also sought to undermine the tropes and style of cavalier poets such John Wilmot, Earl of Rochester and Sir John Suckling in the conversations of Adam and Eve. Milton’s literary career cast such a formidable shadow over English poetry in the 18th and 19th centuries that he was often judged favourably against all other English poets, including Shakespeare. We can point to Lucy Hutchinson’s epic poem about the fall of Humanity, Order and Disorder (1679), and John Dryden's The State of Innocence and the Fall of Man: an Opera (1677) as evidence of an immediate cultural influence.
The unparalleled scope of Paradise Lost, his masterpiece, portrays God justifying his actions, the poem also depicts the creation of the universe, earth, and humanity; conveys the origin of sin, death, and evil, imagines events in the Kingdom of Heaven, the garden of Eden, and the sacred history of Israel; engages with political ideas of tyranny, liberty and justice, and defends theological positions on predestination, free will, and salvation. Milton’s influence on the literature of the Romantic era was profound. John Keats found the yoke of Milton’s style debilitating; he exclaimed that ‘Miltonic verse cannot be written but in an artful or rather artist’s humour.’ Keats felt that Paradise Lost was a ‘beautiful and grand curiosity,’ but his own unfinished attempt at epic poetry, Hyperion, is said to have suffered from Keats’s failed attempt to cultivate a distinct epic voice. The Victorian age witnessed a continuation of Milton’s influence; George Eliot and Thomas Hardy being particularly inspired by Milton’s poetry and biography. By contrast, the twentieth century, due primarily to the critical efforts of T.S. Eliot and Ezra Pound, witnessed a reduction in Milton’s stature. Aside from his importance to literary history, Milton’s career has impacted upon the modern world in other ways. Milton coined many familiar modern words; in Paradise Lost readers were confronted by neologisms like dreary, pandæmonium, acclaim, rebuff, self-esteem, unaided, impassive, enslaved, jubilant, serried, solaced, and satanic. In terms of politics, Milton’s Areopagitica and republican writings were consulted during the drafting of the Constitution of the United States of America.
The John Milton Society for the Blind was founded in 1928 by Helen Keller to develop an interdenominational ministry that would bring spiritual guidance and religious literature to deaf and blind persons.
Trivia
- A 1668 edition of Paradise Lost, purported to be Milton's personal copy, is now housed in the archives of the University of Western Ontario.
Bibliography
- Comus, (1634)
- Lycidas, (1638)
- Of Reformation, (1641)
- Of Prelatical Episcopacy, (1641)
- Animadversions, (1641)
- The Reason for Church Government, (1642)
- Apology for Smectymnuus, (1642)
- Doctrine and Discipline of Divorce, (1643)
- Of Education, (1644)
- Judgement of Martin Bucer Concerning Divorce, (1644)
- Areopagitica, (1644)
- Tetrachordon, (1645)
- Colasterion, (1645)
- Poems of Mr John Milton, Both English and Latin, (1645)
- Tenure of Kings and magistrates, (1649)
- Eikonoklastes, (1649)
- Defensio pro Populo Anglicano, (1651)
- Defensio Seconda, (1654)
- A treatise of Civil Power, (1659)
- The Likeliest Means to Remove Hirelings from the Church, (1659)
- Ready and Easy Way to Establish a Free Commonwealth, (1659)
- Brief Notes Upon a Late Sermon, (1660)
- Paradise Lost, (1667)
- Accedence Commenced Grammar, (1669)
- History of Britain, (1670)
- Samson Agonistes, (1671)
- Paradise Regained, (1671)
- Art of Logic, (1672)
- Of True Religion, (1673)
- Poems, &c, Upon Several Occasions, (1673)
- Epistolae Familiaries, (1674)
- Prolusiones, (1674)
External links
- [http://www.dartmouth.edu/~milton/reading_room/index.html Milton Reading Room] - online collection of all of Milton's poetry and selections of his prose
- [http://www.bangor.ac.uk/english/publicat/ddc/ddc.htm "Milton and De Doctrina Christiana"] by Gordon Campbell et al., 1996.
- [http://www.samizdat.qc.ca/arts/theatre/masque_gm.htm "The masque in Milton's Arcades and Comus"] by Gilbert McInnis.
- [http://www.luminarium.org/sevenlit/milton/ Milton links]
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ja:ジョン・ミルトン
EpodeEpode, in verse, the third part in an ode, which followed the strophe and the antistrophe, and completed the movement.
At a certain moment the choirs, which had chanted to right of the altar or stage and then to left of it, combined and sang in unison, or permitted the coryphaeus to sing for them all, standing in the centre. When, with the appearance of Stesichorus and the evolution of choral lyric, a learned and artificial kind of poetry began to be cultivated in Greece, a new form, the epode-song, came into existence. It consisted of a verse of trimeter iambic, followed by a dimeter iambic, and it is reported that, although the epode was carried to its highest perfection by Stesichorus, an earlier poet, Archilochus, was really the inventor of this form.
The epode soon took a firm place in choral poetry, which it lost when that branch of literature declined. But it extended beyond the ode, and in the early dramatists we find numerous examples of monologues and dialogues framed on the epodical system. In Latin poetry the epode was cultivated, in conscious archaism, both as a part of the ode and as an independent branch of poetry. Of the former class, the epithalamia of Catullus, founded on an imitation of Pindar, present us with examples of strophe, antistrophe and epode; and it has been observed that the celebrated ode of Horace, beginning Quem virum aut heroa lyra vet acri, possesses this triple character.
Epodes of Horace
The word is now mainly familiar from an experiment of Horace in the second class, for he entitled his fifth book of odes Epodon liber or the Book of Epodes. He says in the course of these poems, that in composing them he was introducing a new form, at least in Latin literature, and that he was imitating the effect of the iambic distichs invented by Archilochus. Accordingly we find the first ten of these epodes composed in alternate verses of iambic trimeter and iambic dimeter, thus:
:"At o Deorum quicquid in coelo regit Terras et humanum genus;"
In the seven remaining epodes Horace has diversified the measures, while retaining the general character of the distich. This group of poems belongs in the main to the early youth of the poet, and displays a truculence and a controversial heat which are absent from his more mature writings. As he was imitating Archilochus in form, he believed himself justified, no doubt, in repeating the sarcastic violence of his fierce model. The curious thing is that these particular poems of Horace, which are really short lyrical satires, have appropriated almost exclusively the name of epodes, although they bear little enough resemblance to the genuine epode of early Greek literature.
References
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Category:Poetic form
Category:Poetic formPoetic form refers to various sets of "rules" followed by poems of certain types. The rules may describe such aspects as the rhythm or meter (poetry) of the poem, its rhyme scheme, or its use of alliteration.
Category:Poetry
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