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For other uses, see Bard (disambiguation). Title-page of The Bard illustrated by William Blake, c. 1798 The Bard. A Pindaric Ode (1757) is a poem by Thomas Gray, set at the time of Edward I's conquest of Wales. Inspired partly by his researches into medieval history and literature, partly by his discovery of Welsh harp music, it was itself a potent influence on future generations of poets and ...
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.
William Wordsworth's Ode on Intimations of Immortality from Recollections of Early Childhood (1807) and Thomas Gray's The Progress of Poesy: A Pindaric Ode (1757) are both written in the Pindaric style. Gray's The Bard: A Pindaric Ode (1757) is a Pindaric ode where the three-part structure is thrice repeated, yielding a longer poem of nine stanzas.
The ode begins with a priamel, where the rival distinctions of water and gold are introduced as a foil to the true prize, the celebration of victory in song. [7] Ring-composed, [8] Pindar returns in the final lines to the mutual dependency of victory and poetry, where "song needs deeds to celebrate, and success needs songs to make the areta last". [9]
2 Summary. 3 Aftermath. 4 ... is an ode by the 5th century BC Greek poet Pindar. [1 ... by reason of the happy issue of the answer given to the competitor by the ...
Ode to a Distant Prospect of Eton College (written in 1747 and published anonymously) [18] Elegy Written in a Country Churchyard (written between 1745 and 1750) [19] The Progress of Poesy: A Pindaric Ode (written between 1751 and 1754) [20] The Bard: A Pindaric Ode (written between 1755 and 1757) [21] The Fatal Sisters: An Ode (written in 1761 ...
Most of Pindar's signature characteristics and signature style appear in this poem. Pindar utilizes religion, local mythology, and his poetic genius to create an ode that outlasts the occasion itself. The motif of the ode is harmony: harmony of the lyre and moral harmony of a life formed by justice, liberality, and the pleasure of the gods.
The ode is compared to a loving-cup (1–10), presented to the bridegroom by the father of the bride. [3] Even as the cup is the pledge of loving wedlock, so is the poet's song an earnest of abiding fame, but Charis, the gracious goddess of the epinician ode, looks with favour, now on one, now on another (10–12). [ 3 ]