Pindaric ode

Pros.

an ode consisting of several units, each of which is composed of a strophe and an antistrophe of identical form followed by a contrasting epode. Also called regular ode.

[1630-40]

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Ceremonious poem in the manner of Pindar, who employed a triadic, or three-part, structure consisting of a strophe (two or more lines repeated as a unit) followed by a metrically harmonious antistrophe and an epode (summary line) in a different metre.

The three parts correspond to movements onstage by the chorus in Greek drama. After the 16th-century publication of Pindar's choral odes in the epinicion (celebratory) form, poets writing in various vernaculars created irregular rhymed odes that suggest his style. Such odes in English are among the greatest poems in the language, including John Dryden's "Alexander's Feast," William Wordsworth's "Ode: Intimations of Immortality," and John Keats's "Ode on a Grecian Urn."

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      ceremonious poem by or in the manner of Pindar, a Greek professional lyrist of the 5th century BC. Pindar employed the triadic structure attributed to Stesichorus (7th and 6th centuries BC), consisting of a strophe (two or more lines repeated as a unit) followed by a metrically harmonious antistrophe, concluding with a summary line (called an epode) in a different metre. These three parts corresponded to the movement of the chorus to one side of the stage, then to the other, and their pause midstage to deliver the epode.

      Although fragments of Pindar's poems in all of the Classical choral forms are extant, it is the collection of four books of epinician (epinicion) odes that has influenced poets of the Western world since their publication by Aldus Manutius (Manutius, Aldus, the Elder) in 1513. Each of the books is devoted to one of the great series of Greek Classical games: the Olympian, Pythian, Isthmian, and Nemean. Celebrating the victory of a winner with a performance of choral chant and dance, these epinician odes are elaborately complex, rich in metaphor and intensely emotive language. They reveal Pindar's sense of vocation as a poet dedicated to preserving and interpreting great deeds and their divine values. The metaphors, myths, and gnomic sayings that ornament the odes are often difficult to grasp because of the rapid shifts of thought and the sacrifice of syntax to achieving uniform poetic colour. For modern readers, another difficulty is the topicality of the works; they were often composed for particular occasions and made reference to events and personal situations that were well-known to the original audience but not necessarily to later readers.

      With the publication of Pierre de Ronsard (Ronsard, Pierre de)'s four books of French Odes (1550), the Pindaric ode was adapted to the vernacular languages. Imitation Pindaric odes were written in England by Thomas Gray (Gray, Thomas) in 1757, “The Progress of Poesy” and “The Bard.” Abraham Cowley (Cowley, Abraham)'s Pindarique Odes (1656) introduced a looser version known as Pindarics. These are irregular rhymed odes in which the length of line and stanza is capriciously varied to suggest, but not reproduce, the style and manner of Pindar. These spurious Pindarics are some of the greatest odes in the English language, including John Dryden (Dryden, John)'s “Alexander's Feast” (1697), William Wordsworth (Wordsworth, William)'s “Ode: Intimations of Immortality from Recollections of Early Childhood,” Percy Bysshe Shelley (Shelley, Percy Bysshe)'s “Ode to the West Wind,” Alfred, Lord Tennyson (Tennyson, Alfred Tennyson, 1st Baron)'s “Ode on the Death of the Duke of Wellington,” and John Keats (Keats, John)'s “Ode on a Grecian Urn.” See also ode.

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