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"Ode on a Grecian Urn" is a lyric ode with five stanzas containing 10 lines each. The first stanza begins with the narrator addressing an ancient urn as "Thou still unravished bride of quietness!", initiating a conversation between the poet and the object, which the reader is allowed to observe from a third-person point of view. [8]
One canon is there, one sure way of happiness for mortals – if one can keep a cheerful spirit throughout life. [9]This precept, from one of Bacchylides' extant fragments, was considered by his modern editor, Richard Claverhouse Jebb, to be typical of the poet's temperament: "If the utterances scattered throughout the poems warrant a conjecture, Bacchylides was of placid temper; amiably ...
"Ode on Indolence" relies on ten line stanzas with a rhyme scheme that begins with a Shakespearian quatrain (ABAB) and ends with a Miltonic sestet (CDECDE). This pattern is used in "Ode on Melancholy", "Ode to a Nightingale" and "Ode on a Grecian Urn", which further unifies the poems in their structure in addition to their themes.
The Roman writer Petronius, writing less than a century after Horace's death, remarked on the curiosa felicitas (studied spontaneity) of the Odes (Satyricon 118). The English poet Alfred Tennyson declared that the Odes provided "jewels five-words long, that on the stretched forefinger of all Time / Sparkle for ever" (The Princess, part II, l.355).
Catullus Comforting Lesbia over the Death of Her Pet Sparrow and Writing an Ode, by Antonio Zucchi, c. 1773 Catullus 3. Catullus 3 is a poem by Roman poet Gaius Valerius Catullus (c. 84 –c. 54 BCE) that laments the death of a pet sparrow (passer) for which an unnamed girl (puella), possibly Catullus' lover Lesbia, had an affection.
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.
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Between Ode VI and Ode VII, a vestigal kontakion is sung with only its prooimion, or initial stanza, and the first oikos or strophe. If an akathist is to be chanted in conjunction with a canon, it is inserted after Ode VI. The typical order for a full canon, as currently, in most places, chanted at matins is as follows: Ode I; Ode III; Little ...