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"Ode" is a poem written by the English poet Arthur O'Shaughnessy and first published in 1873. [1] It is the first poem in O'Shaughnessy's collection Music and Moonlight (1874). "Ode" has nine stanzas, although it is commonly believed to be only three stanzas long [ citation needed ] .
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".
Arthur William Edgar O'Shaughnessy (14 March 1844 – 30 January 1881) was a British poet and herpetologist. [1] Of Irish descent, he was born in London. [2] He is most remembered for his poem "Ode", from his 1874 collection Music and Moonlight, which begins with the words "We are the music makers, / And we are the dreamers of dreams", and which has been set to music by several composers ...
After writing "Ode to Psyche", Keats sent the poem to his brother and explained his new ode form: "I have been endeavouring to discover a better Sonnet stanza than we have. The legitimate does not suit the language well, from the pouncing rhymes; the other appears too elegiac, and the couplet at the end of it has seldom a pleasing effect. I do ...
While Keats was writing "Ode on a Grecian Urn" and the other poems, Brown transcribed copies of the poems and submitted them to Richard Woodhouse. [7] During this time, Benjamin Haydon, Keats' friend, was given a copy of "Ode to a Nightingale", and he shared the poem with the editor of the Annals of the Fine Arts, James Elmes.
An ode (from Ancient Greek: ᾠδή, romanized: ōidḗ) is a type of lyric poetry, with its origins in Ancient Greece. Odes are elaborately structured poems praising or glorifying an event or individual, describing nature intellectually as well as emotionally.
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The poem argued that a poet should not be excessive or irresponsible in behaviour and contains a sense of assurance that is not found within the original four stanzas. Instead, there is a search for such a feeling but the poem ends without certainty, which relates the ode to Coleridge's poem Dejection: An Ode. [36]