Ode

An ode will normally have a rimescheme.

The essence of an ode is that the poet invents a new stanzaform, and then repeats it as many times as he needs to finish the poem. The stanzaform will usually have a mixture of long and short lines, and a fairly intricate rimescheme to hold the whole thing together.

Most odes imitate the Greek odes of Pindar to some extent (Pindar is largely responsible for the idea that an ode stanza needs to mix long lines with very short ones).

The ode was especially fashionable during the second wave of English Romanticism - particularly with Shelley and Keats.

A famous example of an ode without a rimescheme is William Collins' Ode to Evening' - but that poem is an exception, rather than the rule.

There was a playwrite named Epinicus in ancient Greece, so it could refer to an ode he wrote, or an ode written in his style?

I once used the word as a title for a poem because it sounded like the greek word for battle cry Epinikion http://en.wikipedia.org/wiki/Epinikion

The poem "Ode to a Grecian Urn" was written by the English Romantic poet John Keats in 1819. This ode reflects on the themes of beauty, art, and the transience of human existence.

"Dear Yoko" is a song written by John Lennon as an ode to his wife Yoko Ono. It was included in his 1974 album "Walls and Bridges" and reflects his love and appreciation for her. Lennon often wrote songs about his relationship with Yoko Ono, highlighting their bond and his admiration for her.

Odes can vary in length, but they are typically shorter poems consisting of multiple stanzas, often with a prescribed structure and meter. They can range from a few lines to several pages, depending on the poet's style and intention.

In "Ode to the West Wind," Shelley uses the wind as a symbol of change and transformative power. The poet's personal despondency is reflected in his yearning for the wind to bring change and renewal, as he feels stagnant and in need of a creative resurgence. Through the imagery of the wind and its ability to destroy and renew, Shelley expresses his own feelings of despair and hope for a rebirth.

It is generally a message of change written at a time (1820) when the poet was feeling the loss of his son, William and far from home where action was needed and he would urge, or become, the wind of change.

Yes, Percy Bysshe Shelley wrote an "Ode to Duty." It is considered one of his important works, focusing on the importance of duty and responsibility in life. The poem explores the theme of moral obligation and the role it plays in shaping our actions.

"Ode to your shirt" could refer to a poem or song that expresses admiration, appreciation, or love for someone's shirt. It is a creative way of celebrating an item of clothing that holds sentimental value or significance.

the famous odes is a famous poem written by john keats between september 1818 till september 1819.

Examples of odes in lyric poetry include "Ode to a Nightingale" by John Keats, "Ode to a Grecian Urn" by John Keats, and "Ode to Psyche" also by John Keats. These poems typically express deep emotions and explore themes of beauty, nature, and the divine.

The old shepherd was depressed like never before when he heard that melancholy news of the death of one of his sheep.

A sonnet is a specific form of poetry with 14 lines and a regular rhyme scheme, often expressing emotions or ideas. An ode is a lyrical poem typically characterized by its elaborate language and elevated style, often written in praise or celebration of someone or something. Sonnets tend to be more structured and introspective, while odes are more celebratory and expansive in tone.

Begin an ode with a clear statement of the subject or person you are addressing, followed by expressing admiration, praise, or celebration of that subject in a formal, elevated tone. Use rich and descriptive language to convey emotions and create a sense of grandeur.

It was written by Percy Bysshe Shelley, published in 1820.

The poem ends with the lines :

"Beauty is truth, truth beauty," - that is all

Ye know on Earth, and all ye need to know."

this first of the five sections of the poem, the speaker begins to define the domains and the powers of the West Wind. While stanza II addresses the wind's influence on the sky, and stanza III discusses its effects on the sea, stanza I describes the wind's effects on the land. The autumn breezes scatter dead leaves and seeds on the forest soil, where they eventually fertilize the earth and take root as new growth. Both "Destroyer and Preserver" (line 14), the wind ensures the cyclical regularity of the seasons. These themes of regeneration and the interconnectedness of death and life, endings and beginnings, runs throughout "Ode to the West Wind."

The wind is, of course, more than simply a current of air. In Greek and Latin - languages with which Shelley was familiar - the words for "wind," "inspiration," "soul," and "spirit" are all related. Shelley's "West Wind" thus seems to symbolize an inspiring spiritual power that moves everywhere, and affects everything.

Lines 2-3

These lines ostensibly suggest that, like a sorcerer might frighten away spirits, the wind scatters leaves. But one might also interpret "leaves dead" as forgotten books, and "ghosts" as writers of the past; in this sense, the winds of inspiration make way for new talent and ideas by driving away the memories of the old.

Lines 4-5

The colors named here might simply indicate the different shades of the leaves, but it is also possible to interpret the leaves as symbols of humanity's dying masses. In this analysis, the colors represent different cultures: Asian, African, Caucasian, and Native American. This idea is supported by the phrase "Each like a corpse within its grave" in line 8 that could indicate that each person takes part in the natural cycle of life and death.

Lines 6-7

Here, the wind is described as a chariot that carries leaves and seeds to the cold earth. This comparison gives the impression that the wind has some of the aspects of those who are associated with chariots - gods and powerful rulers.

Line 8

The leaves are personified as people within their graves, an image that harkens back to lines 4 and 5, where the leaves are considered as diseased "multitudes" of people.

Lines 9-12

In Greek and Roman mythology, the spring west wind was masculine, as was the autumnal wind. Here, the speaker refers to the spring wind as feminine, perhaps to stress its role as nurturer and life-giver. She is pictured as awakening Nature with her energetic "clarion," which is a type of medieval trumpet.

Lines 13-14

At the conclusion of the first stanza, the speaker identifies the wind as the powerful spirit of nature that incorporates both destruction and continuing life. In fact, these two processes are said to be related; without destruction, life cannot continue. At the end of line 14 is the phrase "Oh hear!" that will be repeated at the end of stanzas 2 and 3. This refrain emphasizes sound, which seems appropriate given that wind, an invisible force, is the poem's central subject.

Lines 15-28

In stanza II, the wind helps the clouds shed rain, as it had helped the trees shed leaves in stanza I. Just as the dead foliage nourishes new life in the forest soil, so does the rain contribute to Nature's regenerative cycle.

Lines 16-18

This passage has been heavily attacked by critics like F. R. Leavis for its lack of concreteness and apparently disconnected imagery; others have cited Shelley's knowledge of science, and the possibility that these poetic phrasings might indeed be based on natural fact. The loose clouds, for example, are probably cirrus clouds, harbingers (or "angels" as it is put in line 18) of rain. As the leaves of stanza I have been shed from boughs, these clouds have been shaken from the heavier cloud masses, or "boughs of Heaven and Ocean" (line 17). In Latin, "cirrus" means "curl" or "lock of hair"; it is thus appropriate that these clouds resemble a Maenad 's "bright hair" (line 20) and are referred to as the "locks of the approaching storm" (line 23).

Lines 20-23

When Shelley was in Florence, he saw a relief sculpture of four maenads. These worshipers of the Roman god of wine and vegetation, Bacchus (in Greek mythology, Dionysus) were wild, dancing women with streaming hair. Here, the speaker compares the appearance of the cirrus clouds streaked across the horizon with the maenads' blown tresses. This image seems especially appropriate in that Bacchus/Dionysus is associated with the natural world and the wind and clouds are primary elements of nature.

Lines 23-28

The wail of the wind is compared to a song of grief, as if it were mourning the "dying" year. As the year draws to a close, Nature prepares for the funeral. The coming night is described as a "sepulcher," a burial tomb that will be marked by lightning and hail from a storm. This last day will end in darkness, under storm clouds.

Lines 29-42

In stanza III, the West Wind wields its power over the sea; but unlike the first two stanzas, this one is introduced by an image of calm, peace, and sensuality. The Mediterranean Sea is pictured as smooth and tranquil, sleeping alongside the old Italian town of Baiae. Once a playground of Roman emperors, Baiae sunk as a result of volcanic activity and is now the bed of a lush underwater garden. But the wind can also "waken" (line 29) the sea and disturb the summer tranquility of the waters by ushering in an autumn storm.

Lines 32-33

In 1818, Shelley himself had sailed past the Bay of Baiae; in a December letter to Thomas Love Peacock, he enthusiastically describes the "ruins of its antique grandeur standing like rocks in the transparent sea under our boat."

Lines 36-38

Beginning at the end of line 36, the speaker disrupts the peace of the seascape and reminds the West Wind of its power to churn up wild, white-capped surf.

Lines 39-42

The lush sea foliage, which is "sapless" because the plants are underwater, is aware of the wind's ability to destroy; remembering the havoc of cold weather storms, the vegetation is drained of color, as a person turns pale with fear, or as plant life on Earth fades in the fall. In a note to these lines, Shelley wrote: "The vegetation at the bottom of the sea, of rivers, and of lakes, sympathizes with that of the land in the change of seasons, and is consequently influenced by the winds which announce it." The natural cycles of death and regeneration thus continue even underwater, with the aid of the West Wind.

Lines 43-56

After three stanzas of describing the West Wind's power, which are all echoed in the first three lines of Stanza IV, the speaker asks to be moved by this spirit. For the first time in "Ode to the West Wind," the wind confronts humanity in the form of speaker of the poem. No longer an idealistic young man, this speaker has experienced sorrow, pain, and limitations. He stumbles, even as he asks to be spiritually uplifted. At the same time, he can recall his younger years when he was "tameless, and swift, and proud" like the wind. These recollections help him to call on the wind for inspiration and new life. In this manner, the poem suggests that humans, too, are part of the never-ending natural cycle of death and rebirth.

Lines 47-52

In line 47, the speaker begins to explain that, as an idealistic youth, he used to "race" the wind - and win, in his own mind. But now, as an older man, he could never imagine challenging the wind's power.

Lines 53-54

In these well-known lines often mocked by Shelley's detractors, the patterns of sea, earth, and sky are recalled as the speaker asks to be raised from his sorrows by the inspirational West Wind. He seems almost Christ-like in his suffering, the "thorns of life" recalling the crown of thorns worn by Christ during the crucifixion.

Lines 55-56

The Christ-like image of the speaker continues here; his life experiences have been heavy crosses for him to bear and have weighed him down. And yet there still seem to be sparks of life and hope within him. He can still recall when he possessed many of the wind's powers and qualities.

Lines 57-70

If Stanza IV is the explanation of why the West Wind is being invoked, Stanza V is the prayer itself. The requests of the speaker seem to gather speed much as the wind does; while he begins by asking to be moved by the wind, he soon asks to become one with this power. As a breeze might ignite a glowing coal, the speaker asks for the wind to breathe new life into him and his poetic art. With his last question, the speaker reminds his audience that change is on the horizon, be it personal or natural, artistic or political.

The lyre referred to in line 57 might be the Eolian lyre or harp, its name derived from Eolus, god of the winds. This lyre is a box with strings stretched across an opening. When the wind moves through it, the eolian harp emits musical sounds. Many Romantic writers, including Samuel Taylor Coleridge in his poem "The Eolian Harp," used the instrument as a symbol for the human imagination that is played upon by a greater power. Here, the speaker asks to be the West Wind's lyre, its means of music and communication.

Lines 58-62

Here, the speaker seems to accept his sorrows and sufferings; he realizes that the wind's power may allow him to add harmony to autumn's music. He is still sad, but he recognizes a sweetness in his pain: he is part of a natural cycle, and will have a chance to begin again as both man and poet. The speaker's growing strength is hinted at by the powerful exclamations in lines 61 and 62.

Lines 63-64

The wind blew leaves over the forest floor, fertilizing the soil; now, the speaker asks the wind to scatter his timeworn ideas and writings across the earth in hopes of inspiring new thoughts and works. Note the word play on "leaves," which can be found either on trees or in books.

Lines 65-67

In "A Defence of Poetry," Shelley wrote that "the mind in creation is as a fading coal, which some invisible influence, like an inconstant wind, awakens to transitory brightness." In asking the wind to fan - and hopefully arouse - the dying embers of his words, the speaker seems to be echoing this idea.

Lines 68-69

These lines recall the angel's "clarion" of line 10, awakening the earth from wintry slumber. The speaker here asks to become the poet-prophet of the new season of renewal.

Lines 69-70

Shelley originally framed the last two lines as a statement; phrased as a question, the poem ends on a note of expectancy rather than affirmation. The speaker has made his case and plea to assist the wind in the declaration of a new age - but he has not yet received an answer. Along with his audience, he breathlessly awaits a "yes," delivered on the wings of the wind.

THERE'LL BE TIME

(Music by Michel Legrand / Lyrics by Alan & Marilyn Bergman)

There's a time and place we've yet to know

There's a sea we've yet to sail

Though we saw the mountain long ago

It's a peak we've yet to scale

There's another world we've yet to find

It's a world we've yet to lose

There's a winding road yet to find

And another yet to choose

And there's a tender journey yet to take

A sun that waits to rise

There are promises we've yet to make

Days we'll spend will never end in each others eyes

There will be time enough for everything

Time for life, time for love

Time for us, time for you

And time for me

Does this qualify ? Jack Sprat could eat no fat.

His wife could eat no lean.

And so betwixt the two of them,

They licked the platter clean.

Lyrics of the "Ode to Joy" written by Friedrich von Schiller (1785),

Chorus of 9th Symphony 4th Movement of Ludwig van Beethoven.

Translated to English:

ODE TO JOY (Friedrich Schiller)

BARITONE, QUARTET, AND CHORUS

Joy, beautiful spark of the gods,

Daughter of Elysium,

We enter fire imbibed,

Heavenly, thy sanctuary.

Thy magic reunites those

Whom stern custom has parted;

All men will become brothers

Under thy gentle wing.

May he who has had the fortune

To gain a true friend

And he who has won a noble wife

Join in our jubilation!

Yes, even if he calls but one soul

His own in all the world.

But he who has failed in this

Must steal away alone and in tears.

All the world's creatures

Draw joy from nature's breast;

Both the good and the evil

Follow her rose-strewn path.

She gave us kisses and wine

And a friend loyal unto death;

She gave lust for life to the lowliest,

And the Cherub stands before God.

TENOR SOLO AND CHORUS

Joyously, as his suns speed

Through Heaven's glorious order,

Hasten, Brothers, on your way,

Exulting as a knight in victory.

CHORUS

Joy, beautiful spark of the gods,

Daughter of Elysium,

We enter fire imbibed,

Heavenly, thy sanctuary.

Be embraced, Millions!

This kiss for all the world!

Brothers!, above the starry canopy

A loving father must dwell.

Can you sense the Creator, world?

Seek him above the starry canopy.

Above the stars He must dwell.

Be embraced, Millions!

This kiss for all the world!

Brothers!, above the starry canopy

A loving father must dwell.

Can you sense the Creator, world?

Seek him above the starry canopy.

Above the stars He must dwell.

Joy, beautiful spark of the gods,

Daughter of Elysium,

We enter fire imbibed,

Heavenly, thy sanctuary.

Be embraced, Millions!

This kiss for all the world!

Brothers!, above the starry canopy

A loving father must dwell.

Can you sense the Creator, world?

Seek him above the starry canopy.

Above the stars He must dwell.

Be embraced, Millions!

This kiss for all the world!

Brothers!, above the starry canopy

A loving father must dwell.

Can you sense the Creator, world?

Seek him above the starry canopy.

Above the stars He must dwell.

Joy, daughter of Elysium

Thy magic reunites those

Whom stern custom has parted;

All men will become brothers

Under thy gentle wing.

Be embraced, Millions!

This kiss for all the world!

Brothers!, above the starry canopy

A loving father must dwell.

Joy, beautiful spark of Gods!,

Daughter of Elysium,

Joy, beatiful spark of Gods!

The ode is a form of lyrical poetry that dates back to ancient Greece. It was originally sung accompanied by a musical instrument, praising or celebrating a person, event, or idea. The form has evolved over time and is still used in modern poetry to express strong feelings or ideas.

"Ode to Enchanted Light" by Pablo Neruda was first published in 1973.

Defender, bender, fender, cinder, tender, mender, hinder, lender, sender.

Pablo Neruda is the poet of Ode to Broken Things. This poem is a reflection on the beauty found in imperfection and the passage of time.