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Pindaric odes follow the form and style of Pindar. Horatian odes follow conventions of Horace; the odes of Horace deliberately imitated the Greek lyricists such as Alcaeus and Anacreon. Irregular odes use rhyme, but not the three-part form of the Pindaric ode, nor the two- or four-line stanza of the Horatian ode. The ode is a lyric poem.
For example, in the first (1.1) and last ode (3.30), which are both in the same rare metre and both addressed to Maecenas, Horace boasts of being the first poet to imitate aeolic-style lyric poetry in Latin.
The poem incorporates a complex reliance on assonance, which is found in very few English poems. Within "Ode on a Grecian Urn", an example of this pattern can be found in line 13 ("Not to the sensual ear, but, more endear'd") where the "e" of "sensual" connects with the "e" of "endear'd" and the "ea" of "ear" connects with the "ea" of "endear'd".
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 1.12 of Horace ...
The poem's reliance on the process of sleeping is common to Keats's poems, and "Ode to a Nightingale" shares many of the same themes as Keats' Sleep and Poetry and Eve of St. Agnes. This further separates the image of the nightingale's song from its closest comparative image, the urn as represented in "Ode on a Grecian Urn".
The 'Ode to a Nightingale,' for example, is a less 'perfect' though a greater poem." [ 30 ] Charles Patterson argued the relationship of "Ode on a Grecian Urn" as the greatest 1819 ode of Keats: "The meaningfulness and range of the poem, along with its controlled execution and powerfully suggestive imagery, entitle it to a high place among ...
In Odes 1.2, for example, he eulogized Octavian in hyperboles that echo Hellenistic court poetry. The name Augustus, which Octavian assumed in January of 27 BC, is first attested in Odes 3.3 and 3.5. In the period 27–24 BC, political allusions in the Odes concentrated on foreign wars in Britain (1.35), Arabia (1.29) Hispania (3.8) and Parthia ...
The pindaric came to be commonly used for complimentary poems on births, weddings and funerals. Although the vogue of these forms hardly survived the age of Queen Anne, something of the tradition still remained, and even in the odes of Wordsworth, Shelley and Coleridge the broken versification of Cowley's pindarics occasionally survives.