Search results
Results from the WOW.Com Content Network
Epode 12 is the second of two 'sexual epodes'. In the first half the speaker is a youth who complains about an older woman who pesters him to have sex with her, but her unattractiveness makes it difficult for him to perform. In the second half he quotes the woman's complaint about him. [37] Epode 13 is set at a symposium, an all-male drinking ...
According to one meaning of the word, an epode [1] is the third part of an ancient Greek choral ode that follows the strophe and the antistrophe and completes the movement. [ 2 ] The word epode is also used to refer to the second (shorter) line of a two-line stanza of the kind composed by Archilochus and Hipponax in which the first line ...
The chorus (or performers of the ode) would deliver the strophe from one side of the stage, then move to the opposite side to deliver the antistrophe, and finally to centerstage for the epode. This is reflected the three-part nature of the ode: the strophe sets up a theme, the antistrophe balances it with a contrary perspective, and the epode ...
Ancient history – Aggregate of past events from the beginning of recorded human history and extending as far as the Early Middle Ages or the Postclassical Era. The span of recorded history is roughly five thousand years, beginning with the earliest linguistic records in the third millennium BC in Mesopotamia and Egypt .
John Dryden, Sylvæ; or, The second Part of Poetical Miscellanies (London: Jacob Tonson, 1685) with adaptations of three of the Odes, and one Epode. Philip Francis, The Odes, Epodes, and Carmen Seculare of Horace (Dublin, 1742; London, 1743) ——— The Satires, Epistles, and Art of Poetry of Horace (1746) Samuel Johnson favoured these ...
A strophe (/ ˈ s t r oʊ f iː /) is a poetic term originally referring to the first part of the ode in Ancient Greek tragedy, followed by the antistrophe and epode.The term has been extended to also mean a structural division of a poem containing stanzas of varying line length.
Nevertheless, the ironic genre-bending quality of epode 10 (and some others in the collection) was fairly typical of Hellenistic poetry generally. To sum up. Horace did not attempt to reproduce the true nature of the old Greek iambus which had partly suggested to him the theme of his epode. His borrowing was confined to the most general ...
When the sections of the chorus have ended their responses, they unite and close in the epode, thus exemplifying the triple form, in which the ancient sacred hymns of Greece were coined, from the days of Stesichorus onwards. As Milton says: "strophe, antistrophe and epode were a kind of stanza framed for the music then used with the chorus that ...