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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".
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.
In one or two cases the position of the corresponding poems is not quite exact: for example, ode 1.3, in which Horace prays for a safe voyage across the dangerous Adriatic Sea for his friend Virgil, has links not to 3.28 (the 3rd from the end) but with 3.27, which starts by praying for a safe journey across the Adriatic for a certain Galatea ...
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 ...
A major poem of the English Romantics – "Ode on a Grecian Urn" by John Keats – provides an example of the artistic potential of ekphrasis. The entire poem is a description of a piece of pottery that the narrator finds evocative.
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".
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.
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 ...