See also:

• ODE (Gr. uiSri, from aei&ew, to sing)

ODE (Gr. uiSri, from aei&ew, to sing)  , a See also:

• FORM (Lat. forma)

form of stately and elaborate lyrical See also:

• VERSE (from Lat. versus, literally a line or furrow drawn by turning the plough, from vertere, and afterwards signifying an arrangement of syllables into feet)

verse . As its name shows, the See also:

• ORIGINAL

original signification of an See also:

• ODE (Gr. uiSri, from aei&ew, to sing)

ode was a See also:

• CHANT (derived through the Fr. from the Lat. cantare, to sing; an old form is " chaunt ")

chant, a poem arranged to be sung to an instrumental See also:

• ACCOMPANIMENT (i.e. that which " accompanies ")

accompaniment . There were two See also:

• GREAT

great divisions of the See also:

• GREEK
• GREEK, ETRUSCAN AND

Greek melos or See also:

• SONG

song; the one the See also:

• PERSONAL

personal utterance of the poet, the other, as See also:

• PROFESSOR (the Latin noun formed from the verb profiteri, to declare publicly, to acknowledge, profess)

Professor G . G . See also:

• MURRAY
• MURRAY (or MORAY), EARLS OF
• MURRAY (or MORAY), JAMES STUART, EARL OF (c. 1531-1570)
• MURRAY (or MORAY), SIR ROBERT (c. 1600-1673)
• MURRAY, ALEXANDER STUART (1841-1904)
• MURRAY, DAVID (1849– )
• MURRAY, EUSTACE CLARE GRENVILLE (1824–1881)
• MURRAY, JAMES (c. 1719-1794)
• MURRAY, JOHN
• MURRAY, JOHN (1778–1820)
• MURRAY, LINDLEY (1745–1826)
• MURRAY, LORD GEORGE (1694–1760)
• MURRAY, SIR JAMES AUGUSTUS HENRY (1837– )
• MURRAY, SIR JOHN (1841– )

Murray says, " the choric song of his See also:

• BAND

band of trained dancers." Each of these culminated in what have been called odes, but the former, in the hands of See also:

• ALCAEUS (Ar earos)

Alcaeus, See also:

• ANACREON

Anacreon and See also:

• SAPPHO (7th–6th centuries B.C.)

Sappho, came closer to what See also:

• MODERN

modern See also:

• CRITICISM
• CRITICISM (from the Gr. KpiTrlS, a judge, Kpivew, to decide, to give an authoritative opinion)

criticism knows as lyric, pure and See also:

• SIMPLE

simple . On the other See also:

• HAND
• HAND (a word common to Teutonic languages; cf. Ger. Hand, Goth. handus)
• HAND, FERDINAND GOTTHELF (1786-185r)

hand, the See also:

• CHOIR (0. Fr. cuer from Lat. chorus; pronounced quire, and until the end of the 17th century so spelt, the spelling being altered to agree with the Fr. chceur)

choir-song, in which the poet spoke for himself, but always supported, or interpreted, by a See also:

• CHORUS (Gr. xopbs)Z

chorus, led up to what is now known as ode proper . It was See also:

• ALCMAN, or ALCMAEON (the former being the Doric form of the name)

Alcman, as is supposed, who first gave to his poems a strophic arrangement, and the See also:

• STROPHE (Gr. o-rpod>)

strophe has come to be essential to an ode . Stcsichorus, See also:

• IBYCUS

Ibycus and See also:

• SIMONIDES (or SEMONIDES) OF AMORGOS

Simonides of See also:

• CEOS (Gr. Kiws, mod. Zea or Tzia)

Ceos led the way to the two great masters of ode among the ancients, See also:

• PINDAR (Gr. HivSapos, c. 522–443 B.c.)

Pindar and See also:

• BACCHYLIDES

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 See also:

• MEASURES

measures, and that each is the result of a See also:

• SEPARATE

separate See also:

• ACT (Lat. actus, actum)

act of creative ingenuity, but each preserving an See also:

• ABSOLUTE (Lat. absolvere, to loose, set free)

absolute consistency of form . So far from being, as critics down to See also:

• COWLEY, ABRAHAM (1618-1667)
• COWLEY, HANNAH (1743-1809)
• COWLEY, HENRY RICHARD CHARLES WELLESLEY

Cowley and Boileau, and indeed to the See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time of See also:

• AUGUST (originally Sextilis)

August See also:

• BOCKH, PHILIPP AUGUST (1785-1867)

Bockh, supposed, utterly licentious in their irregularity, they are more like the cantos and sirventes of the See also:

• MEDIEVAL

medieval troubadours than any modern verse . The Latins themselves seem to have lost the See also:

• SECRET (Lat. secretum, hidden, concealed)

secret of these complicated harmonies, and they made no serious See also:

• ATTEMPT (Lat. adtemptare, attentare, to try)

attempt to imitate the odes of Pindar and Bacchylides .

It is probable that the Greek odes gradually lost their musical See also:

• CHARACTER (Gr. xapareri7p, from xap&crew, to scratch)

character; they were accompanied on the See also:

• FLUTE

flute, and then declaimed without any See also:

• MUSIC

music at all . The ode, as it was practised by the See also:

• ROMANS
• ROMANS, EPISTLE TO THE

Romans, returned to the personally lyrical form of the Lesbian lyrists . This was exemplified, in the most exquisite way, by See also:

• HORACE [QuINTus HORATIUS FLACCUS] (65-8 B.C.)

Horace and See also:

• CATULLUS, GAIUS VALERIUS (?84-J4 B.C.)

Catullus; the former imitated, and even translated, Alcaeus and Anacreon, the latter was directly inspired by Sappho . The earliest modern writer to perceive the value of the See also:

• ANTIQUE (Lat. antiquus, old)

antique ode was See also:

• RONSARD, PIERRE DE (1524-1585)

Ronsard, who attempted with as much See also:

• ENERGY (from the Gr. ivipyela; iv, in, ipyov, work)

energy as he could exercise to recover the See also:

• FIRE (in O. Eng. f j'r; the word is common to West German languages, cf. Dutch vuur, Ger. Feuer; the pre-Teutonic form is seen in Sanskrit pu, pavaka, and Gr. irup; the ultimate origin is usually taken to be a root meaning to purify, cf. Lat. purus)

fire and See also:

• VOLUME

volume of Pindar; his See also:

• PRINCIPAL

principal experiments date from 1550 to 1552 . The poets of the Plead recognized in the ode one of the forms of verse with which See also:

• FRENCH
• FRENCH, DANIEL CHESTER (1850– )
• FRENCH, NICHOLAS (1604-1678)

French See also:

• PROSODY (Gr. rpovwSta)

prosody should be enriched, but they went too far, and in their use of Greek words crudely introduced, and in their quantitative experiments, they offended the See also:

• GENIUS (from Lat. genere, gignere)

genius of xx . Ithe French See also:

• LANGUAGE (adapted from the Fr. langage, from langue, tongue, Lat. lingua)

language . The ode, however, died in See also:

• FRANCE
• FRANCE, ANATOLE (1844– )

France almost, as rapidly as it had come to See also:

• LIFE

life; it hardly survived the 16th See also:

• CENTURY (from Lat. centuria, a division of a hundred men)

century, and neither the examples of J . B . See also:

• ROUSSEAU, JACQUES (1633-1693)
• ROUSSEAU, JEAN BAPTISTE (1671-1741)
• ROUSSEAU, JEAN JACQUES (1712-1778)
• ROUSSEAU, PIERRE ETIENNE THEODORE (1812–1867); French painter of the Barbizon school, was born in Paris on the 15th of April 1812, of a bourgeois family which included one or two artists. At first he received a business training, but soon displayed aptitu

Rousseau nor of See also:

• SAINT (lat. sanctus, " holy ")

Saint-Amant nor of See also:

• MALHERBE, FRANCOIS DE (1555-1628)

Malherbe possessed much poetic life . See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

Early in the 19th century the form was resumed, and we have the Odes composed between 1817 and 1824 by See also:

• VICTOR
• VICTOR, GAIUS JULIUS (4th cent. A.D.)
• VICTOR, SEXTUS AURELIUS

Victor See also:

• HUGO, GUSTAV VON (1764–1844)
• HUGO, VICTOR MARIE (1802-1885)

Hugo, the philosophical and religious odes of Lamartine, those of Victor de See also:

• LAPRADE, PIERRE MARTIN VICTOR RICHARD DE (1812–1883)

Laprade (collected in 1844), and the brilliant Odes funambulesques of See also:

• THEODORE
• THEODORE (602-690)
• THEODORE (Fedor) GRIGORIEVICH ORLOV, COUNT (1741–1796)
• THEODORE (Rus. Fedor, or Feodor)

Theodore de See also:

• BANVILLE, THEODORE FAULLAIN DE (1823-1891)

Banville (1857) . The earliest odes in the See also:

• ENGLISH

English language, using the word in its strict form, were the magnificent See also:

• EPITHALAMIUM (Gr. hirl, at or upon, and BhXayos, a nuptial chamber)

Epithalamium and Prothalamium of See also:

• SPENSER, EDMUND (c. 1552-1599)
• SPENSER, JOHN (1559-1614)

Spenser . See also:

• BEN (from Old Eng. bennan, within)

Ben See also:

• JONSON

Jonson introduced a See also:

• KIND (O. E. ge-cynde, from the same root as is seen in " kin," supra)

kind of elaborate lyric, in stanzas of rhymed irregular verse, to which he gave the name of ode; and some of his disciples, in particular See also:

• RANDOLPH, EDMUND [JENNINGS] (1753–1813)
• RANDOLPH, JOHN (1773–1833)
• RANDOLPH, PEYTON (1721-1775)
• RANDOLPH, THOMAS (1523-1590)
• RANDOLPH, THOMAS (1605-1635)

Randolph, See also:

• CARTWRIGHT, EDMUND (1743–1823)
• CARTWRIGHT, JOHN (1740–1824)
• CARTWRIGHT, PETER (1785–1872)
• CARTWRIGHT, SIR RICHARD JOHN (1835– )
• CARTWRIGHT, THOMAS (c. 1535–1603)
• CARTWRIGHT, WILLIAM (1611–1643)

Cartwright and See also:

• HERRICK, ROBERT (1591-1674)

Herrick, followed him .

The great " Hymn on the See also:

• MORNING

Morning of See also:

• CHRIST (Gr. X pLQTOS, Anointed)
• CHRIST, WILHELM VON (1831-1906)

Christ's Nativity," begun by See also:

• MILTON
• MILTON, JOHN (1608–1674)

Milton in 1629, may be considered an ode, and his lyrics " On Time " and " At a See also:

• SOLEMN (Lat. sollemnis, sollemnis, less correctly solennis, yearly, annual; from sollus = totus, whole, entire, Gr. Mos., and annus, year)

Solemn Music " may claim to belong to the same See also:

• CATEGORY (Gr. Karrlyopia, " accusation ")

category . But it was Cowley who introduced into English See also:

• POETRY

poetry the ode consciously built up, on a solemn theme and as definitely as possible on the See also:

• ANCIENT
• ANCIENT (also spelt ANTIENT; derived, through the Fr. ancien, old, from the late Lat. antianum, from ante, before)

ancient Greek See also:

• PATTERN

pattern . Being in See also:

• EXILE (Lat. exsilium or exilium, from exsul or exul, which is derived from ex, out of, and the root sal, to go, seen in salire, to leap, consul, &c.; the connexion with solum, soil, country is now generally considered wrong)

exile in France about 1645, and at a See also:

• PLACE (through Fr. from Lat. platea, street; Gr. IrAar6s, wide)

place where the only See also:

• BOOK

book was the See also:

• TEXT (Lat. textum, woven fabric, from texere, to weave)

text of Pindar, Cowley set himself to study and to imitate the Epinikia . He conceived, he says, that this was " the noblest and the highest kind of See also:

• WRITING
• WRITING (the verbal noun of " to write," O. Eng. writan, to inscribe)

writing in verse," but he was no more perspicacious than others in observing what the rules were which Pindar had followed . He supposed the Greek poet to be carried away on a See also:

• STORM (in O. Eng..storm, and so in Du. and Low Ger.; in O. H. Ger. and mod. Ger. Sturm; the root is probably that seen in " stir," to rouse, move, disturb, cf. Ger. storen)
• STORM, THEODOR WOLDSEN (1817-1888)

storm of heroic emotion, in which all the discipline of prosody was disregarded . In 1656 Cowley published his Pindaric odes, in which he had not even regarded the elements of the Greek structure, with strophe, See also:

• ANTISTROPHE

antistrophe and See also:

• EPODE

epode . His See also:

• IDEA (Gr. Ibia, connected with i&eiv, to see; cf. Lat. species from specere, to look at)

idea of an ode, which he impressed with such success upon the See also:

• BRITISH

British nation that it has never been entirely removed, was of a lofty and tempestuous piece of indefinite poetry, conducted " without See also:

• SAIL

sail or See also:

• OAR (A.S. kr; M. Eng. ore; Lat. remus; Gr. iperw5s : Sans. aritra; Fr. rame; Ital. Span., Port. Yana)

oar " in whatever direction the See also:

• ENTHUSIASM

enthusiasm of the poet See also:

• CHOSE (Fr. for " thing ")

chose to take it . These shapeless pieces became very popular after the Restoration, and enjoyed the See also:

• SANCTION (Lat. sanctia, from sancire, to decree or ordain)

sanction of See also:

• DRYDEN, JOHN (1631-1700)

Dryden in three or four irregular odes which are the best of their kind in the English language . See also:

• PRIOR (from Lat. prior—former, and hence superior, through O. Fr. priour)
• PRIOR, MATTHEW (1664-1721)

Prior, in a humorous ode on the taking of See also:

• NAMUR
• NAMUR (Flemish, Namen)

Namur (1695), imitated the French type of this poem, as cultivated by Boileau . In 1705 See also:

• CONGREVE, RICHARD (1818-1899)
• CONGREVE, SIR WILLIAM
• CONGREVE, WILLIAM (167o-1729)

Congreve published a Discourse on the Pindarique Ode, in which many of the See also:

• CRITICAL (in alphabetical order of authors)

critical errors of Cowley were corrected; and Congreve wrote odes, in strophe, antistrophe and epode, II which were the earliest of their kind in English; unhappily they were not very poetical . He was imitated by See also:

• AMBROSE (AMBROISE), AUTPERT (d.' 778)
• AMBROSE (ANDREY SERTIS-KAMENSKIY) (1708-1771)
• AMBROSE (fl. 119o)
• AMBROSE, ISAAC (1604-1663/4)
• AMBROSE, SAINT (c. 340-307)

Ambrose See also:

• PHILIPS, AMBROSE (c. 1675-1749)
• PHILIPS, JOHN (1676-1708)
• PHILIPS, KATHARINE (1631-1664)

Philips, but then the See also:

• TIDE (O. Eng. lid, cf. Ger. Zeit, time or season, connected with root of Sanskrit a-diti, endless)

tide of Cowley-Pindarism See also:

• ROSE
• ROSE (Rosa)
• ROSE, GEORGE (1744-1818)
• ROSE, HUGH JAMES (1795—1838)
• ROSE, WILLIAM STEWART (1775-1843)

rose again and swept the reform away . The attempts of See also:

• GILBERT
• GILBERT (KINGSMILL) ISLANDS
• GILBERT (or GYLBERDE), WILLIAM (1544-1603)
• GILBERT, ALFRED (1854– )
• GILBERT, ANN (1821-1904)
• GILBERT, GROVE KARL (1843– )
• GILBERT, J
• GILBERT, JOHN (1810-1889)
• GILBERT, MARIE DOLORES ELIZA ROSANNA [" LOLA MONTEZ "] (1818-1861)
• GILBERT, NICOLAS JOSEPH LAURENT (1751–1780)
• GILBERT, SIR HUMPHREY (c. 1539-1583)
• GILBERT, SIR JOSEPH HENRY (1817-1901)
• GILBERT, SIR WILLIAM SCHWENK (1836– )

Gilbert See also:

• WEST
• WEST, BENJAMIN (1738-1820)
• WEST, NICHOLAS (1461-1533)

West (1703–1756) to explain the prosody of Pindar (1749) inspired See also:

• GRAY
• GRAY (or GREY), WALTER DE (d. 1255)
• GRAY, ASA (1810-1888)
• GRAY, DAVID (1838-1861)
• GRAY, ELISHA (1835-1901)
• GRAY, HENRY PETERS (1819-18/7)
• GRAY, HORACE (1828–1902)
• GRAY, JOHN DE (d. 1214)
• GRAY, JOHN EDWARD (1800–1875)
• GRAY, PATRICK GRAY, 6TH BARON (d. 1612)
• GRAY, ROBERT (1809-1872)
• GRAY, SIR THOMAS (d. c. 1369)
• GRAY, THOMAS (1716-1771)

Gray to write his " Progress of Poesy " (1754) and " The See also:

• BARD

Bard " (1756) .

See also:

• COLLINS, ANTHONY (1676-1729)
• COLLINS, JOHN CHURTON (1848-1908)
• COLLINS, MORTIMER (1827-1876)
• COLLINS, WILLIAM (1721-1759)
• COLLINS, WILLIAM (1787–1847)
• COLLINS, WILLIAM WILKIE (1824–1889)

Collins, meanwhile, had in 1747 published a collection of odes devised in the Aeolian or Lesbian manner . The odes of See also:

• MASON, FRANCIS (1799—1874)
• MASON, GEORGE (1725—1792)
• MASON, GEORGE HEMMING (1818–1872)
• MASON, JAMES MURRAY (1798-1871)
• MASON, JOHN (1586-1635)
• MASON, JOHN YOUNG (1799-1859)
• MASON, LOWELL (1792—1872)
• MASON, SIR JOHN (1503–1566)
• MASON, SIR JOSIAH (1795-1881)
• MASON, WILLIAM (1725—1797)

Mason and See also:

• AKENSIDE, MARK (1721-1770)

Akenside were more correctly Pindaric, but frigid and formal . The odes of See also:

• WORDSWORTH, CHARLES (1806–1892)
• WORDSWORTH, CHRISTOPHER (1774–1846)
• WORDSWORTH, CHRISTOPHER (1807–1885)
• WORDSWORTH, DOROTHY (1771-1855)
• WORDSWORTH, WILLIAM (1770-185o)

Wordsworth, See also:

• COLERIDGE, HARTLEY (1796-1849)
• COLERIDGE, JOHN DUKE COLERIDGE, 1ST BARON
• COLERIDGE, SAMUEL TAYLOR (1772-1834)
• COLERIDGE, SARA (1802–1852)
• COLERIDGE, SIR JOHN TAYLOR (1790-1876)

Coleridge and See also:

• TENNYSON, ALFRED TENNYSON

Tennyson are entirely irregular . See also:

• SHELLEY, MARY WOLLSTONECRAFT (1797-1851)
• SHELLEY, PERCY BYSSHE (1792-1822)

Shelley desired to revive the pure manner of the Greeks, but he understood the principle of the form so little that he began his See also:

• NOBLE, SIR ANDREW (1832- )

noble " Ode to See also:

• NAPLES
• NAPLES (Ital. Napoli, and Lat. Neapolis)
• NAPLES, KINGDOM OF

Naples " with two epodes, passed on to two strophes, and then indulged in four successive antistrophes . See also:

• COVENTRY, SIR JOHN (d. 1682)
• COVENTRY, SIR WILLIAM (c. 1628-1686)
• COVENTRY, THOMAS COVENTRY, 1ST BARON (2578–1640)

Coventry See also:

• PATMORE, COVENTRY KERSEY DIGHTON (1823-1896)

Patmore; In 1868, printed a volume of Odes, which he afterwards enlarged; these were irregularly built up on a musical See also:

• SYSTEM

system, the exact consistency of which is not always apparent . Finally See also:

• SWINBURNE, ALGERNON CHARLES (1837–1909)

Swinburne, although some of his odes, like those of See also:

• KEATS, JOHN (1795-1821)

Keats, are really elaborate lyrics, written in a See also:

• SUCCESSION (Lat. successio, from succedere, to follow after)

succession of stanzas identical in form, has cultivated the Greek form also, and some of his See also:

• POLITICAL

political odes follow very closely the type of Bacchylides and Pindar . See Philipp August Bockh, De metris Pindari Mil); Wilhelm Christ, Metiak der Griechen and Romer (1874) ; See also:

• EDMUND
• EDMUND, or EADMUND (c. 980-1016)
• EDMUND, SAINT [EDMUND RICE] (d. 1240)

Edmund See also:

• GOSSE, EDMUND (1849– )
• GOSSE, PHILIP HENRY (1810–r888)

Gosse, English Odes (1881) . (E .