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Quintus Horatius Flaccus, commonly known in the English-speaking world as Horace, was the leading Roman lyric poet during the time of Augustus. The rhetorician Quintilian regarded his Odes as the only Latin lyrics worth reading: "He can be lofty sometimes, yet he is also full of charm and grace, versatile in his figures, and felicitously daring in his choice of words."
An ode is a type of lyric poetry, with its origins in Ancient Greece. Odes are elaborately structured poems praising or glorifying an event or individual, describing nature intellectually as well as emotionally. 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 enter.
Poetry is a form of literary art that uses aesthetic and often rhythmic qualities of language to evoke meanings in addition to, or in place of, literal or surface-level meanings. Any particular instance of poetry is called a poem and is written by a poet. Poets use a variety of techniques called poetic devices, such as assonance, alliteration, euphony and cacophony, onomatopoeia, rhythm, and sound symbolism, to produce musical or other artistic effects. Most written poems are formatted in verse: a series or stack of lines on a page, which follow a rhythmic or other deliberate structure. For this reason, verse has also become a synonym for poetry.
Bacchylides was a Greek lyric poet. Later Greeks included him in the canonical list of Nine Lyric Poets, which included his uncle Simonides. The elegance and polished style of his lyrics have been noted in Bacchylidean scholarship since at least Longinus. Some scholars have characterized these qualities as superficial charm. He has often been compared unfavourably with his contemporary, Pindar, as "a kind of Boccherini to Pindar's Haydn". However, the differences in their styles do not allow for easy comparison, and translator Robert Fagles has written that "to blame Bacchylides for not being Pindar is as childish a judgement as to condemn ... Marvell for missing the grandeur of Milton". His career coincided with the ascendency of dramatic styles of poetry, as embodied in the works of Aeschylus or Sophocles, and he is in fact considered one of the last poets of major significance within the more ancient tradition of purely lyric poetry. The most notable features of his lyrics are their clarity in expression and simplicity of thought, making them an ideal introduction to the study of Greek lyric poetry in general and to Pindar's verse in particular.
A strophe is a poetic term originally referring to the first part of the ode in Ancient Greek tragedy, followed by the antistrophe and epode. The term has been extended to also mean a structural division of a poem containing stanzas of varying line length. Strophic poetry is to be contrasted with poems composed line-by-line non-stanzaically, such as Greek epic poems or English blank verse, to which the term stichic applies.
According to one meaning of the word, an epode is the third part of an ancient Greek choral ode that follows the strophe and the antistrophe and completes the movement.
Antistrophe is the portion of an ode sung by the chorus in its returning movement from west to east in response to the strophe, which was sung from east to west.
Pindar was an Ancient Greek lyric poet from Thebes. Of the canonical nine lyric poets of ancient Greece, his work is the best preserved. Quintilian wrote, "Of the nine lyric poets, Pindar is by far the greatest, in virtue of his inspired magnificence, the beauty of his thoughts and figures, the rich exuberance of his language and matter, and his rolling flood of eloquence, characteristics which, as Horace rightly held, make him inimitable." His poems can also, however, seem difficult and even peculiar. The Athenian comic playwright Eupolis once remarked that they "are already reduced to silence by the disinclination of the multitude for elegant learning". Some scholars in the modern age also found his poetry perplexing, at least until the 1896 discovery of some poems by his rival Bacchylides; comparisons of their work showed that many of Pindar's idiosyncrasies are typical of archaic genres rather than of only the poet himself. His poetry, while admired by critics, still challenges the casual reader and his work is largely unread among the general public.
Modern lyric poetry is a formal type of poetry which expresses personal emotions or feelings, typically spoken in the first person. The term for both modern lyric poetry and modern song lyrics derives from a form of Ancient Greek literature, the Greek lyric, which was defined by its musical accompaniment, usually on a stringed instrument known as a kithara, a seven-stringed lyre . It is not equivalent to song lyrics, though song lyrics are often in the lyric mode, and it is also not equivalent to Ancient Greek lyric poetry, which was principally limited to song lyrics, or chanted verse.
Abraham Cowley was an English poet and essayist born in the City of London late in 1618. He was one of the leading English poets of the 17th century, with 14 printings of his Works published between 1668 and 1721.
Strophic form – also called verse-repeating form, chorus form, AAA song form, or one-part song form – is a song structure in which all verses or stanzas of the text are sung to the same music. Contrasting song forms include through-composed, with new music written for every stanza, and ternary form, with a contrasting central section.
Greek and Latin metre is an overall term used for the various rhythms in which Greek and Latin poems were composed. The individual rhythmical patterns used in Greek and Latin poetry are also known as "metres".
The epinikion or epinicion is a genre of occasional poetry also known in English as a victory ode. In ancient Greece, the epinikion most often took the form of a choral lyric, commissioned for and performed at the celebration of an athletic victory in the Panhellenic Games and sometimes in honor of a victory in war. Major poets in the genre are Simonides, Bacchylides, and Pindar.
Aeolic verse is a classification of Ancient Greek lyric poetry referring to the distinct verse forms characteristic of the two great poets of Archaic Lesbos, Sappho and Alcaeus, who composed in their native Aeolic dialect. These verse forms were taken up and developed by later Greek and Roman poets and some modern European poets.
The Threnodia Augustalis is a 517-line occasional poem written by John Dryden to commemorate the death of Charles II in February 1685. The poem was "rushed into print" within a month. The title is a reference to the classical threnody, a poem of mourning, and to Charles as a "new Augustus". It is subtitled "A Funeral-Pindarique Poem Sacred to the Happy Memory of King Charles II," and is one of several poems on the subject published at the time.
Iambus or iambic poetry was a genre of ancient Greek poetry that included but was not restricted to the iambic meter and whose origins modern scholars have traced to the cults of Demeter and Dionysus. The genre featured insulting and obscene language and sometimes it is referred to as "blame poetry". For Alexandrian editors, however, iambus signified any poetry of an informal kind that was intended to entertain, and it seems to have been performed on similar occasions as elegy even though lacking elegy's decorum. The Archaic Greek poets Archilochus, Semonides and Hipponax were among the most famous of its early exponents. The Alexandrian poet Callimachus composed "iambic" poems against contemporary scholars, which were collected in an edition of about a thousand lines, of which fragments of thirteen poems survive. He in turn influenced Roman poets such as Catullus, who composed satirical epigrams that popularized Hipponax's choliamb. Horace's Epodes on the other hand were mainly imitations of Archilochus and, as with the Greek poet, his invectives took the forms both of private revenge and denunciation of social offenders.
The Lille Stesichorus is a papyrus containing a major fragment of poetry usually attributed to the archaic lyric poet Stesichorus, discovered at Lille University and published in 1976. It has been considered the most important of all the Stesichorus fragments, confirming his role as an historic link between genres as different as the epic poetry of Homer and the lyric poetry of Pindar. The subject matter and style are typical of his work generally but not all scholars have accepted it as his work. The fragment is a narrative treatment of a popular myth, involving the family of Oedipus and the tragic history of Thebes, and thus it sheds light on other treatments of the same myth, such as by Sophocles in Oedipus Tyrannos and Aeschylus in Seven Against Thebes. The fragment is significant also in the history of colometry since it includes lyric verses that have been divided into metrical cola, a practice usually associated with the later career of Aristophanes of Byzantium.
Greek lyric is the body of lyric poetry written in dialects of Ancient Greek. It is primarily associated with the early 7th to the early 5th centuries BC, sometimes called the "Lyric Age of Greece", but continued to be written into the Hellenistic and Imperial periods.
Choral poetry is a type of lyric poetry that was created by the ancient Greeks and performed by choruses. Originally, it was accompanied by a lyre, a string instrument like a small U-shaped harp commonly used during Greek classical antiquity and later periods. Other accompanying instruments in later years included other string instruments such as the kithara, barbiton, and phorminx, as well as wind instruments such as the aulos, a double-reeded instrument similar to an oboe.
The Epodes are a collection of iambic poems written by the Roman poet Horace. They were published in 30 BC and form part of his early work alongside the Satires. Following the model of the Greek poets Archilochus and Hipponax, the Epodes largely fall into the genre of blame poetry, which seeks to discredit and humiliate its targets.
References
- 1 2 3 4 This article incorporates text from a publication now in the public domain : Gosse, Edmund William (1911). "Pindarics". In Chisholm, Hugh (ed.). Encyclopædia Britannica . Vol. 21 (11th ed.). Cambridge University Press. p. 620.
- ↑ David Money, 'The seventeenth and eighteenth centuries' in The Cambridge Companion to Horace, Stephen Harrison (ed), Cambridge University Press (2007), page 328
- ↑ Edward Phillips, Preface to 'Theatrum Poetarum', cited by Allan H. Gilbert (ed) in Literary Criticism: Plato to Dryden, Wayne Books, reprinted 1982, page 670
- ↑ Allan H. Gilbert (ed), Literary Criticism: Plato to Dryden, Wayne Books, reprinted 1982, page 667
- ↑ Edward Phillips, Preface to 'Theatrum Poetarum', cited by Allan H. Gilbert (ed) in Literary Criticism: Plato to Dryden, Wayne Books, reprinted 1982, pages 676-77
- ↑ Joseph Addison, Spectator 160, 3 September 1711, cited by David Money, 'The seventeenth and eighteenth centuries' in The Cambridge Companion to Horace, Stephen Harrison (ed), Cambridge University Press (2007), page 328
- ↑ Richard Steele, Spectator 514, 20 October 1712, cited by David Money, 'The seventeenth and eighteenth centuries' in The Cambridge Companion to Horace, Stephen Harrison (ed), Cambridge University Press (2007), page 328
