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Ode to Molly Hurry furry little Molly cat you play outside 'til darkness falls then critters roam and scatter skat. They'd love to feast on my butterball, time to come inside, be safe, be warm. And out from under a bush, you crawl. I try to keep you protected from harm, you climb trees and hunt prey by day but after dusk, you cuddle in my arms. I love to caress you as you lay sleeping next to me silky and soft, all snuggled in for the nighttime stay. Your antics oft make me think you're daft and best of all, of course, my favorite, the keyboard stroll as I practice my craft. ~~ Judi Van Gorder

The Crystal Vessel Etched upon a crystal vase these words round the base, "Beauty in things exists in the mind which contemplates them."*. Resting gently inside the vessel are long strong stems and rising above the mouth, ringed by dainty baby's breath and fanned by the forest's green lace, are tight rosy buds that have begun to ease open, to bloom passionate pastels with velvet grace, soon to fade and fall. In my mind, no denying, living things, lovely in their dying. ~~Judi Van Gorder *David Hume 1711-1776 Of Tragedy

SUCH COUNTRY AS THE LOVERS OWN Such country as the lovers choose is no tract for any but the saintly: there, a wired fence goes down at the end of a graveled road – each path thereafter, deer track, bear trail, boundaries set by the stone and weed as the reader discerns, butte-sites where the lovers come down in silence, smallness of world held pendulum-like between them. Such talk as stills there is not lost, but given place: a gap they could close with lips that kiss. Or pray. In such country as the lovers own, skies hover in the way of storms, clouds the solitary fowl cross in search of what must fall there: whether in parks or groves, secret dens – the small acts born of privacy. The storm begins and ends here: car's quiet throb in the dark; breath of cheek reading shoulder; touch" of her tranquil breast against his side; cold flakes touching the hood like tips of arrows. Every word he spends on that cheek, true. L. Paul Roberts Poetry Foundation winner, 1981 © David W. Parsley, 2011 Parsley Poetry Collection

Explore the Craft of Writing Poetry The Ode Greek Verse Aeolic Verse, refers to poetry made up from any of a group of metric patterns commonly used in the lyrical works of Sappho and Alcaeus. Aeolis was the west and northwestern region of Asia Minor which included most of the Greek city-states and the Island of Lesbos in the 8th to 6th centuries BC, the Greek Dark Ages. Four classic meters are known from that culture, the Alcaic Stanza, the Sapphic Stanza, Glyconics (the basic form of Aeolics) and Hendecasyllabic Verse,. The verse is quantitative, usually hendecasyllabic, employing 11 syllables and often includes an anceps, a quantitative metric foot that includes a syllable that could be interpreted either long or short. The metric patterns helped set a tranquil or contemplative tone. The Aeolic Ode is the earliest of the Odes, the product of an ancient Greek culture but I've found little descriptive information other than some quantitative scansion showing a similarity to the Adonic line of the Sapphic strophe. It is said to have a contemplative or tranquil tone. An asclepiad is one of the Aeolic meters attributed to Asclepiades of Samos. The aclepiad follows a particular metric pattern. It is built around the choriamb (metric pattern of LssL). The common example is a spondee followed by 2 choriambs and an iamb. LL LssL LssL sL, (L = long syllable, s = short syllable) the meter was used by Horace and others in Latin. An example in English is: In Due Season by WH Auden Springtime, Summer and Fall: days to behold a world Antecedent to our knowing, where flowers think Theirs concretely in scent-colors and beasts, the same Age all over, pursue dumb horizontal lives. On one level of conduct and so cannot be Secretary to man's plot to become divine. Lodged in all is a set metronome: thus, in May Bird-babes, still in the egg, click to each other "Hatch!"; June-struck cuckoos go off pitch when obese July Turns earth's heating up; unknotting their poisoned ropes. Vipers move into play; warmed by October's nip, Younger leaves to the old give the releasing draught. Winter, though, has the right tense for a look indoors At ourselves and with First Names to sit face to face, Time for reading of thoughts, time for trying out Of new meters and new recipes, proper time To reflect on events noted in warmer months Till, transmuted, they take part in a human tale. There, responding to our cry for intelligence, Nature's mask is relaxed into a mobile grin, Stones, old shoes, come alive, born sacramental signs, Nod to us in the First Person of mysteries. They know nothing about, bearing a mess from The invisible sole Source of specific things. COPYRIGHT 2007 Long Island University, C.W. Post College Glyconics is said to be the basic Aeolic meter named for the Greek, 6th century poet Glycon, although I have to admit to not quite understanding it and it doesn't look basic to me at all. I have found 4 different lines described as "glyconic". The first line described is a trimeter line of 5 syllables. The 1st metric foot is an ancepts which is a "double-headed" foot, the 2 syllables can be either long or short sounds.The 2nd metric foot is 2 short sounds and the last metric foot is catalectic, 1 short syllable and a pause where the 2nd short syllable was dropped. xx / ss / s -- x being a syllable with either a long or short sound and s represents a syllable with a short sound. The second is a trimeter line made up of a spondee followed by 2 dactyls. LL/ Lss / Lss And the third is a tetrameter line of 3 trochees followed by a dactyl Ls/Ls/Ls/Lss The last one is a tetrameter line made up of a dactyl and 3 trochees which can be varied by placing the dactyl in the 2nd or 3rd foot. Ls/Lss/Ls/Ls or Ls/Ls/Lss/Ls. These last 2 were found at Kaleidoscope

Explore the Craft of Writing Poetry Greek Verse Latin Verse The Ode The Horatian Ode is the Latin descendant of the Aeolic ode, both of which were written to project a tranquil, contemplative tone meant for meditation. Both retain the purpose and formality of all odes, however, the Latin descendant attributed to Horace in 20 BC, is better preserved. The Horatian Ode is simply a stanzaic form in which all stanzas are structured in the same pattern at the discretion of the poet. (rhyme, meter, number of lines etc.), more technically it is "nonce stanzaic" or a "homostrophic" ode (ode made up of same structured stanzas created specifically for that poem). Below are the first 2 stanzas of a Horatian Ode On Cromwell's Return from Ireland by Andrew Marvel (1621-1678). It is written in quatrains made up of rhyming couplets, L1, L2 iambic tetrameter, L3, L4 iambic trimeter and indented. The poet could just as well have written the ode in cinquains in iambic pentameter with alternating rhyme and as long as all of the stanzas were the same, it too could be identified as a Horatian Ode. The forward youth that would appear Must now forsake his Muses dear, -------Nor in the shadows sing -------His numbers languishing: 'Tis time to leave the books in dust And oil th' unusèd armor's rust, -------Removing from the wall -------The corselet of the hall. Or another example of a Horatian Ode is Ode on Solitude by Alexander Pope written in quatrains with alternating rhyme, L1, L2, L3 tetrameter, L4 dimeter. Happy the man, whose wish and care A few paternal acres bound, Content to breathe his native air, In his own ground. Whose heards with milk, whose fields with bread, Whose flocks supply him with attire, Whose trees in summer yield him shade, In winter fire. Blest! who can unconcern'dly find Hours, days, and years slide soft away, In health of body, peace of mind, Quiet by day, Sound sleep by night; study and ease Together mix'd; sweet recreation. And innocence, which most does please, With meditation. Thus let me live, unseen, unknown; Thus unlamented let me dye; Steal from the world, and not a stone Tell where I lye. Here is the stanza written by Horace with his famous phrase, "carpe diem", seize the day! A translation can be found in An Introduction of Poetry, XJ Kennedy and Dana Gioia, 2002, page 335. This has nothing to do with the Horatian Ode but I just thought it would be an interesting footnote. Odes I (11 ) Tu ne quaesteris---scire nefas quem milu, quem tibi finem di dederint, Leuconoe, nec Babylonios temptaris numeros. Ut melius, quicquid erit, pati! seu plures hiemes, seu tribuit Iuppipter ultiman, quae nunc oppositis debilitate pumicibus mare Tyrrhenum, Sapia, vina liques, et spatio brevi spem longam teseces. Dum loquimur, fugerit invida aetas: carpe diem, quam minimum credula postero. - - - Horace 20 BC The Ode Odes named for poet or culture of their origin: The Aeolic Ode The Choral Ode or Pindaric Ode or Dorian Ode The Anacreontic Ode The Horatian Ode The Irregular or Cowleyan Ode The Keatsian or English Ode The Ronsardian Ode Thematic Odes: Elegy, Obsequy, Threnody Ode Elemental Ode Genethliacum Ode Encomium or Coronation Ode Epithalamion or Epithalamium and Protholathiumis Palinode Ode Panegyric or Paean Triumphal Ode Occasional Verse

Explore the Craft of Writing Poetry The Ode Greek Verse The Anacreontic Ode is proof that an ode need not be long and lofty. The Greek poet Anacreon often wrote odes in praise of pleasure and drink, a Dithyramb or Skolion. Often the odes were made up of 7 syllable, rhymed couplets known as Anacreontic couplets. Some of Anacreon's poems were paraphrased by English poet Abraham Cowley in 1656 in which he attempted to emulate Greek meter. The main concern of several 17th-century poets was that the poem should avoid "piety" by "Christian" poets who would tame the spirit and make the form worthless. Although the Anacreontic Ode has been defined as a series of Anacreontic couplets, Richard Lovelace's The Grasshopper is thought to be a translation of an Ode by Anacreon, it does fit the subject matter but the translation is written in iambic pentameter quatrains with alternating rhyme. Here is the first stanza. O though that swing'st upon the waving hair Of some well-filled oaten beard, Drunk every night with a delicious tear Dropped thee from heaven, where now they art reared. The Anacreontic couplet is named for the ancient Greek poet Anacreon who tended to write short lyrical poems celebrating love and wine, falling under the Dithyramb genre. By 1700 English poet John Phillips defined the form to be written in 7 syllable rhyming couplets. The elements of the Anacreontic couplet are: stanzaic, written in any number of couplets, preferably short. The Anacreontic Ode is often made up of a series of Anacreontic couplets. syllabic, 7 syllables for each line. rhymed. aa bb etc. composed to celebrate the joys of drinking and lovemaking. Some Anacreontic verse tends toward the erotic or bawdy. "Busy, curious, thirsty fly, Drink with me, and drink as I; Freely welcome to my cup, Could'st thou sip and sip it up. Make the most of life you may; Life is short and wears away." --- William Oldys (1696-1761) Anacreon's Creed Let the amber liquid flow forget pain in your big toe We will wallow in our lust without thought of what we must. Down the brew, until we hurl enjoy the buzz, give sin a whirl. ~~Judi Van Gorder

Explore the Craft of Writing Poetry The Ode Often Odes are named for the theme or subject of the poem. Here are a few: Elegy, Obsequy, Threnody Ode Elemental Ode is a poem that glorifies everyday things. Chilean poet Pablo Neruda is associated with this genre and is a master at venerating the most common things, the sock, salt, and/or tomato. The frame is at the discretion of the poet. Ode to the Onion by Pablo Neruda Ode to My Left Hand by Judi Van Gorder Oh, neglected left hand, I know I have not favored you in the past, the right seems to have had all of the talent. She could write better, she could accomplish all of the mundane tasks I asked of her without your awkwardness. I never appreciated or recognized your part in her successes. Now that you have been sidelined by brutally broken bones, I see how much you contributed to every aspect of my life. How helpless the right is without assistance from you. From small tasks, squeezing toothpaste onto a brush or slicing tomatoes to larger tasks, hooking a bra, opening a bottle of V8, or typing this poem, you are sorely missed. Your loveliness is now hidden beneath ugly wrapped gauze over a torturous, stiff splint with surgery looming, then plaster cast. How I long to see your fingers wiggle and grasp again. Never more will I dismiss your beauty. You are the yang to my yin. Genethliacum Ode, is a poem written in honor of the birth of a child. Usually, these lofty odes were reserved for the birth of nobility. However, technically any poem written in honor of the birth of a child would qualify as a Genethliacum. Morning Song by Sylvia Plath Love set you going like a fat gold watch. The midwife slapped your footsoles, and your bald cry Took its place among the elements. Our voices echo, magnifying your arrival. New statue. In a drafty museum, your nakedness Shadows our safety. We stand round blankly as walls. I'm no more your mother Than the cloud that distills a mirror to reflect its own slow Effacement at the wind's hand. All night your moth-breath Flickers among the flat pink roses. I wake to listen: A far sea moves in my ear. One cry, and I stumble from bed, cow-heavy and floral In my Victorian nightgown. Your mouth opens clean as a cat's. The window square Whitens and swallows its dull stars. And now you try Your handful of notes; The clear vowels rise like balloons. Encomium or Coronation Ode is a Greek choral lyric celebrating a person's achievements. This can be expanded to the length and formality of an ode as in honor of the coronation of a king, but most often is a simple poem as would be spoken at a banquet in an introduction in the category of occasional poetry. It specifically celebrates a man rather than a god. This genre of verse usually has 5 elements, prologue, birth and development, accomplishments, comparisons with which to praise, and an epilogue. Just a Man Wedding Odes: Epithalamion or Epithalamium Protholathiumis Palinode Ode is an apologetic ode, that retracts or recants something said in a previous poem by the same poet. It is usually written as a retraction of an invective statement or offensive remark made in satire. Geoffrey Chaucer wrote a palinode at the end of the Canterbury Tales, recanting and apologizing for any bawdy or offensive statements previously made. It is really unclear if this palinode was part of the original Tales or if it was tacked on later as either an advertisement of his works or as a death bed confessional. Wherfore I biseke yow mekely, for the mercy Of God, that ye preye for me that crist have Mercy on me and foryeve me my giltes; and Namely of my translacions and enditynges of Worldly vanitees, the whiche I revoke in My retracciouns:as is the book of Troilus; the book also of Fame; the book of The xxv. Ladies; the ; The book of seint valentynes day of the parlement of briddes; the tales of counterbury, Thilke that sownen into synne; the book of the Leoun; and many another book. This was found at Wikipedia. Panegyric or Paean is an ode that celebrates something from its inception or the life of a person, not just the accomplishments. It is usually written about someone still alive and celebrates the who rather than the what of the person. "Paean" should not be confused with the metric foot "paeon". Cassini Spacecraft by David Parsley Standing Tall by Jamie McKenzie In Honor of Martin Luther King Jr. Triumphal Ode, is an ode to celebrate a victory. Also called an Epinicia when specifically celebrating a sports victory. The Epinician Ode said to be created by Simonides of Ceos, Greek lyrical poet, 556BC to 468BC though the most prolific user of the theme was Pindar of Pindaric Ode fame. Originally written to honor a victor the Hellenic games and sung in a procession for the winner and connecting him with a great hero of the past. The frame at the discretion of the poet. Victory by S.J. Duncan-Clark The Chicago Evening Post, November 11, 1918 Great Poems about the World War OUT of the night it leaped the seas-- ---The four long years of night! "The foe is beaten to his knees, ---And triumph crowns the fight!" It sweeps the world from shore to shore, ---By wave and wind 'tis flung, It grows into a mighty roar ---Of siren, bell and tongue. Where little peoples knelt in fear, ---They stand in joy today; The hour of their redemption here, ---Their feet on Freedom's way. The kings and kaisers flee their doom, ---Fall bloody crown and throne! Room for the people! Room! Make room! ---They march to claim their own! Now God be praised we lived to see ---His Sun of Justice rise, His Sun of Righteous Liberty, ---To gladden all our skies! And God be praised for those who died, ---Whate'er their clime or breed, Who, fighting bravely side by side, ---A world from thraldom freed! And God be praised for those who, spite ---Of woundings sore and deep, Survive to see the Cause of Right ---O'er all its barriers sweep! God and the people--This our cry! ---O, God, thy peace we sing! The peace that comes through victory, ---And dwells where Thou art King. Occasional Verse

Explore the Craft of Writing Poetry| The Ode Greek Verse The Choral Ode, Pindaric Ode or Dorian Ode distinguishes itself from other odes because of its three-part order. It is also strophic, not stanzaic like the Horatian, Keatsian and Ronsardian Odes. The strophe may differ in structure within the poem, while the stanza is uniform in structure within the poem. This verse form introduced by Pindar 522-433 BC Greece was originally written to be performed by chorus and dance and was therefore "emotional, intense, brilliant and changeable to entertain an audience" (Quote found in my research notes without noting the author. I wish I said that.). Of course it. like all Odes, exalts or praises its subject. The names Choral and Pindaric Odes are obvious from the "choral" design of the frame and the name of the originator. The Dorians were one of the three tribes of ancient Greece who had their own dialect and culture. I couldn't find Pindaric named as a Dorian poet but he did live in the same era so I am making an assumption there must be some association between the Dorians and Pindaric. The verse is structured in a triad or three parts, which can be repeated within the poem. The parts are the strophe, the antistrophe, and the epode. The individual parts are also referred to as the Turne, Counterturn, and Stand. Originally created for a chorus from one side of the stage to sing or recite the strophe. The response or antistrophe is sung or chanted from the chorus on the other side of the stage. The triad is concluded by both choruses singing the epode. The strophe and antistrophe are written in exactly the same structure or frame, at the discretion of the poet. The epode must change in structure. This variation is meant to bring more drama to the ode. To the immortall memorie, and friendship of that noble paire, Sir Lucius Cary and Sir H. Morison The Turne BRAVE Infant of Saguntum, cleare Thy coming forth in that great yeare, When the Prodigious Hannibal did crowne His rage, with razing your immortall Towne. Thou, looking then about, Ere thou wert halfe got out, Wise child, did'st hastily returne, And mad'st thy Mothers wombe thine urne. How summ'd a circle didst thou leave man-kind Of deepest lore, could we the Centre find ! The Counter-turne Did wiser Nature draw thee back, From out the horrour of that sack, Where shame, faith, honour, and regard of right Lay trampled on ; the deeds of death, and night, Urg'd, hurried forth, and hurld Upon th' affrighted world : Sword, fire, and famine, with fell fury met ; And all on utmost ruine set ; As, could they but lifes miseries fore-see, No doubt all Infants would returne like thee. The Stand For, what is life, if measur'd by the space, Not by the act ? Or masked man, if valu'd by his face, Above his fact ? Here's one out-liv'd his Peeres, And told forth fourescore yeares ; He vexed time, and busied the whole State ; Troubled both foes, and friends ; But ever to no ends : What did this Stirrer, but die late ? How well at twentie had he falne, or stood ! For three of his four-score he did no good. ~~Ben Jonson (1572-1637) The Bard II.1 (Strophe) Weave the warp, and weave the woof, The winding-sheet of Edward’s race. Give ample room, and verge enough The characters of hell to trace. Mark the year, and mark the night, When Severn shall re-eccho with affright The shrieks of death, thro’ Berkley’s roofs that ring, Shrieks of an agonizing King! She-Wolf of France, with unrelenting fangs, That tear’st the bowels of thy mangled Mate, From thee be born, who o’er thy country hangs The scourge of Heav’n. What Terrors round him wait! Amazement in his van, with Flight combined, And Sorrow’s faded form, and Solitude behind. II.2 (Antistrophe) Mighty Victor, mighty Lord, Low on his funeral couch he lies! No pitying heart, no eye, afford A tear to grace his obsequies. Is the sable Warriour fled? Thy son is gone. He rests among the Dead. The Swarm, that in thy noon-tide beam were born? Gone to salute the rising Morn. Fair laughs the Morn, and soft the Zephyr blows, While proudly riding o’er the azure realm In gallant trim the gilded Vessel goes; Youth on the prow, and Pleasure at the helm; Regardless of the sweeping Whirlwind’s sway, That, hush’d in grim repose, expects his evening-prey. II.3 (Epode) Fill high the sparkling bowl, The rich repast prepare, Reft of a crown, he yet may share the feast: Close by the regal chair Fell Thirst and Famine scowl A baleful smile upon their baffled Guest. Heard ye the din of battle bray, Lance to lance, and horse to horse? Long Years of havock urge their destined course, And thro’ the kindred squadrons mow their way. Ye Towers of Julius, London’s lasting shame, With many a foul and midnight murther fed, Revere his Consort’s faith, his Father’s fame, And spare the meek Usurper’s holy head. Above, below, the rose of snow, Twined with her blushing foe, we spread: The bristled Boar in infant-gore Wallows beneath the thorny shade. Now, Brothers, bending o’er th’accursed loom Stamp we our vengeance deep, and ratify his doom. III.1 (Strophe) Edward, lo! to sudden fate (Weave we the woof. The thread is spun) Half of thy heart we consecrate. (The web is wove. The work is done.) ~~Thomas Gray (1716-1771) The Ode Odes named for poet or culture of their origin: The Aeolic Ode The Choral Ode or Pindaric Ode or Dorian Ode The Anacreontic Ode The Horatian Ode The Irregular or Cowleyan Ode The Keatsian or English Ode The Ronsardian Ode Thematic Odes: Elegy, Obsequy, Threnody Ode Elemental Ode Genethliacum Ode Encomium or Coronation Ode Epithalamion or Epithalamium and Protholathiumis Palinode Ode Panegyric or Paean Triumphal Ode Occasional Verse

Explore the Craft of Writing Light Verse Occasional poetry is verse written for an occasion such as a birthday, graduation, birth or any event really. It is normally considered Light Verse but it could loosely come under the genre of an ode. We usually associate an ode with lofty purpose and expect it to be long. Occasional poetry need not be so lofty nor need it be long, but the fact is, neither does the ode. (I am sure I am going against all of the poetry pundits, but this makes sense to me.) The purpose is near the same in that both are written in honor of a particular event or person. Occasional poetry may be written in any structural pattern including some of the Ode patterns. Here is an example of Occasional Poetry that could also be called a Genethliacum Ode, a poem written in honor of the birth of a child.(Twins to be precise) Twins! by Judi Van Gorder Tiny fingers, tiny toes angel face with button nose. First came Charlotte, fairy bright, next Samantha, petite delight. Little girls who look the same claiming hearts will be their game, kept safe and loved when cared for by big brother Ben. Tiny fingers, tiny toes babies, Mom and Daddy chose.

Explore the Craft of Writing Poetry Greek Verse The Ode Wedding Odes Epithalamion or Epithalamium (from Greek "at the bridal chamber") is an ode celebrating marriage. Sappho (7th-6th century B.C.) may have been the first to use the genre but it was revived during the Renaissance and Sir Edmund Spencer, John Donne, and Dryden are a few of the poets to write verse within the genre. This ode was originally written in 3 strophes. One to be sung at the bedroom door, lusty in nature, urging the newlyweds to enjoy their wedding night and designed to muffle the sounds that came from the room. The second strophe to refresh or encourage the couple to continue their conjugal efforts and the third strophe was saved for the next morning, congratulating the couple and instructing them in their duties to one another. Other than the 3 divisions of this genre, the frame is at the discretion of the poet. However, it is written there are a few elements that generally appear: The poem is usually about a specific marriage, not marriage in general. The event of the wedding is included. Often something from the bride and groom's past is mentioned. There are blessings and good wishes. Sir Edmund Spencer wrote 23 18 line stanzas each made up of 4 quatrains and ending in a declamatory rhymed couplet which is a linking refrain that changes slightly from stanza to stanza, the poem ending with a 7 line envoi, metered primarily iambic pentameter, variable rhyme scheme slightly changing with each stanza S1 ababccbcbddeffeegg, S2 hihijjkjkllmmnngg etc. The 3 parts are present but not specifically identified. Epithalamion by Sir Edmund Spenser. ee cummings writes one in 3 parts made up of 7 iambic pentatmeter octaves each, rhyme scheme abcadcbd efgehgfh etc. (similar to writing 3 Double Ballades with a slightly skewed rhyme scheme without a refrain and adding a 7th stanza) Epithalamion by ee cummings Prothalamium or Prothalamiumis(from Greek "before the wedding") is an ode celebrating an upcoming wedding. It is usually lighter than the Epithalamium and is specifically sung for the bride. The structure is at the discretion of the poet. Prothalamium by Aaron Kramer

Explore the Craft of Writing Poetry The Ode (from Greek - aeidein "to sing or chant") is a genre of poetry in which the subject is praised, exalted or favorably contemplated. The term "ode" is concerned more with its exalted theme than the structure of the poem, although there are variations that do incorporate a specific structure or frame in their delivery. The ode displays three qualities, focus on one subject or object, an extended and elaborated description of the subject and last, a celebratory or praising tone. Edmund Gosse defined the ode as "enthusiastic and exalted lyrical verse, directed to fix purpose and dealing progressively with one dignified theme." The ode is commonly formal and often lengthy, however, there are some beautiful odes that are neither formal nor lengthy. The structure or frame varies depending on the type of ode written. The earliest odes can be traced back to Ancient Greece. My introduction to the Ode was: Ode on a Grecian Urn by John Keats English Poet 1795-1821 Thou still unravish'd bride of quietness, Thou foster-child of silence and slow time, Sylvan historian, who canst thus express A flowery tale more sweetly than our rhyme: What leaf-fring'd legend haunts about thy shape Of deities or mortals, or of both, In Tempe or the dales of Arcady? What men or gods are these? What maidens loth? What mad pursuit? What struggle to escape? What pipes and timbrels? What wild ecstasy? Heard melodies are sweet, but those unheard Are sweeter; therefore, ye soft pipes, play on; Not to the sensual ear, but, more endeared, Pipe to the spirit ditties of no tone: Fair youth, beneath the trees, thou canst not leave Thy song, nor ever can those trees be bare; Bold Lover, never, never canst thou kiss, Though winning near the goal yet, do not grieve; She cannot fade, though thou hast not thy bliss, For ever wilt thou love, and she be fair! Ah, happy, happy boughs! that cannot shed Your leaves, nor ever bid the Spring adieu; And, happy melodist, unwearied, For ever piping songs for ever new; More happy love! more happy, happy love! For ever warm and still to be enjoyed, For ever panting, and for ever young; All breathing human passion far above, That leaves a heart high-sorrowful and cloyed, A burning forehead, and a parching tongue. Who are these coming to the sacrifice? To what green altar, O mysterious priest, Leadest thou that heifer lowing at the skies, And all her silken flanks with garlands drest? What little town by river or sea shore, Or mountain-built with peaceful citadel, Is emptied of this folk, this pious morn? And, little town, thy streets for evermore Will silent be; and not a soul to tell Why thou art desolate, can e'er return. O Attic shape! Fair attitude! with brede Of marble men and maidens overwrought, With forest branches and the trodden weed; Thou, silent form, dost tease us out of thought As doth eternity: Cold Pastoral! When old age shall this generation waste, Thou shalt remain, in midst of other woe Than ours, a friend to man, to whom thou sayest, "Beauty is truth, truth beauty,—that is all Ye know on earth, and all ye need to know." Odes named for poet or culture of their origin: The Aeolic Ode The Choral Ode or Pindaric Ode or Dorian Ode The Anacreontic Ode The Horatian Ode The Irregular or Cowleyan Ode The Keatsian or English Ode The Ronsardian Ode Thematic Odes: Elegy, Obsequy, Threnody Ode Elemental Ode Genethliacum Ode Encomium or Coronation Ode Epithalamion or Epithalamium and Protholathiumis Palinode Ode Panegyric or Paean Triumphal Ode Occasional Verse

Explore the Craft of Writing Poetry The Ode French Verse The Ronsardian Ode is the creation of a deaf, French poet Pierre de Ronsard (1524-1585). He was known as the Prince of Poets, a "romance" poet. Ronsard's work is musical, sensuous and pagan. Interesting that he was a cleric in minor orders and yet his poems focused more on the beauties and sorrows of his loves than spiritual matters. The structure of this stanzaic form is specific, like the Keatsian Ode it follows a uniform stanzaic pattern. It is its unique pattern that sets it apart. The elements of the Ronsardian Ode are: stanzaic, written in any number of 9 line stanzas. syllabic, 10-4-10-4-10-10-4-4-8 syllables per line. rhymed, rhyme scheme ababccddc. Ode to Rain by Judi Van Gorder Great drops of water fall from clouds above the heavens burst with merciful evidence of God's love, the rain came first. Watching as the burden of the grey sky unloads upon this earth, He heard our cry, relieved our pain. He sends the rain our thirst is quenched, we heave a sigh. We hear the wind-song of the clouds that spill and send the rain to soak the ground, restore the lakes and fill the seas. The plane that heals and succors sequoia and pine, the great oak, magnolia, maple, grape-vine, birch, conifer, yucca and fir. The rain that saves this earth of mine. Links to other OdesThe Ode Odes named for poet or culture of their origin: The Aeolic Ode The Choral Ode or Pindaric Ode or Dorian Ode The Anacreontic Ode The Horatian Ode The Irregular or Cowleyan Ode The Keatsian or English Ode The Ronsardian Ode Thematic Odes: Elegy, Obsequy, Threnody Ode Elemental Ode Genethliacum Ode Encomium or Coronation Ode Epithalamion or Epithalamium and Protholathiumis Palinode Ode Panegyric or Paean Triumphal Ode Occasional Verse

Explore the Craft of Writing Poetry The Ode English Verse The Keatsian or English Ode is a stanzaic form which appears to be the result of John Keats' experimentation with the sonnet. It reflects a merging of the Sicilian quatrain and Italian sestet from the same-named sonnets. In theme, purpose, and sincerity it follows that of all Odes. The Keatsian Ode differs from the Horatian Ode in that its structure of line and stanza is a set pattern of meter, rhyme, and length, while the Horatian Ode's is "nonce" stanzaic, the structure patterned is at the discretion of the poet. The elements of the Keatsian or English Ode are: metered, accentual-syllabic verse, primarily in iambic pentameter. In exception, Ode to a Nightingale written with L8 of each stanza in trimeter. stanzaic, composed in 10 line stanzas. Usually written with between 3 and 8 stanzas. rhymed. This strict version of the ode stanza combines a Sicilian quatrain (rhyme abab) with the Italian sestet (rhyme cdecde). tranquil or contemplative. Ode on Melancholy No, no, go not to Lethe, neither twist Wolf's-bane, tight-rooted, for its poisonous wine; Nor suffer thy pale forehead to be kiss'd By nightshade, ruby grape of Proserpine; Make not your rosary of yew-berries, Nor let the beetle, nor the death-moth be Your mournful Psyche, nor the downy owl A partner in your sorrow's mysteries; For shade to shade will come too drowsily, And drown the wakeful anguish of the soul. But when the melancholy fit shall fall Sudden from heaven like a weeping cloud, That fosters the droop-headed flowers all, And hides the green hill in an April shroud; Then glut thy sorrow on a morning rose, Or on the rainbow of the salt sand-wave, Or on the wealth of globed peonies; Or if thy mistress some rich anger shows, Emprison her soft hand, and let her rave, And feed deep, deep upon her peerless eyes. She dwells with Beauty—Beauty that must die; And Joy, whose hand is ever at his lips Bidding adieu; and aching Pleasure nigh, Turning to poison while the bee-mouth sips: Ay, in the very temple of Delight Veil'd Melancholy has her sovran shrine, Though seen of none save him whose strenuous tongue Can burst Joy's grape against his palate fine; His soul shalt taste the sadness of her might, And be among her cloudy trophies hung. ~~ John Keats English Poet, 1785-1821 Ode to Poet John Keats (1795 - 1821) " Beauty is truth, truth beauty,' -- that is all Ye know on earth, and all ye need to know"* Too soon a young and gifted poet died but left behind his love for symmetry. His sonnet, ode and classic epic cried with vivid color, tone, in harmony. Appealing to our senses, sight, and sound an ancient Grecian Urn he paints in Ode, a Cricket's song in English Sonnet frame. A Nightingale in measured verse is crowned and through his Melancholy he bestowed to us a truth in beauty to proclaim. ~~~Judi Van Gorder *from Ode on a Grecian Urn by John Keats The Ode Odes named for poet or culture of their origin: Thematic Odes: The Aeolic Ode The Choral Ode or Pindaric Ode or Dorian Ode The Anacreontic Ode The Horatian Ode The Irregular or Cowleyan Ode The Keatsian or English Ode The Ronsardian Ode Elegy, Obsequy, Threnody Ode Elemental Ode Genethliacum Ode Encomium or Coronation Ode Epithalamion or Epithalamium and Protholathiumis Palinode Ode Panegyric or Paean Triumphal Ode Occasional Verse

Explore the Craft of Writing Poetry The Ode English Verse Irregular Ode or Cowleyan Ode, as the first name implies is an ode made up of a number of strophes that are unlike in structure. This verse is also sometimes called the Cowleyan Ode for 17th century English poet Abraham Cowley who studied the odes of Pindar and attempted to emulate them. But unlike Pindar, Cowley's odes did not relegate the various strophes to the triad order of the Pindaric Ode. Neither did it retain the uniform stanzas of the Horatian, Keatsian or Ronsardian Odes. The various strophes of the Irregular or Cowleyan Ode vary in purpose, line length, number of lines, meter, and rhyme. The frame of each strophe changes at the discretion of the poet. Ode: Intimations of Immortality by William Wordsworth (1st 3 stanzas) --------'The Child is father of the Man; --------And I could wish my days to be --------Bound each to each by natural piety.' I There was a time when meadow, grove, and stream, The earth, and every common sight, --------To me did seem Apparelled in celestial light, The glory and the freshness of a dream. It is not now as it hath been of yore; - Turn wheresoe'er I may, By night or day, The things which I have seen I now can see no more. II The Rainbow comes and goes, And lovely is the Rose, The Moon doth with delight Look round her when the heavens are bare; Waters on a starry night Are beautiful and fair; The sunshine is a glorious birth; But yet I know, where'er I go, That there hath past away a glory from the earth. Links to other Odes The Ode Odes named for poet or culture of their origin: The Aeolic Ode The Choral Ode or Pindaric Ode or Dorian Ode The Anacreontic Ode The Horatian Ode The Irregular or Cowleyan Ode The Keatsian or English Ode The Ronsardian Ode Thematic Odes: Elegy, Obsequy, Threnody Ode Elemental Ode Genethliacum Ode Encomium or Coronation Ode Epithalamion or Epithalamium and Protholathiumis Palinode Ode Panegyric or Paean Triumphal Ode Occasional Verse