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. 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 epode. The individual parts are also referred to as the Turne, Counterturne 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 by Ben Jonson
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.
Pasted from http://www.poetrymagnumopus.com/index.php?/topic/1251-the-choral-ode-pindaric-ode-dorian-ode/ My thanks to Judi Van Gorder for years of work on this fine PMO resource.
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
My example poem
Ode to Controlled Free Enterprise (Choral Ode)
Three cheers for private enterprise where innovation’s raised our lot. (Of course there’ve been a few bad guys) whose selfish greed has fouled the pot. In home garages ‘cross this land both men and women made their mark inventing things we now demand, our lives made better by their spark.
Three cheers for Government control to stop the business man that cheats, with fleecing folks his only goal, who pushes poisons on the streets. Angels would never need such laws but since we’re men there’s such a need (to govern men who exploit flaws of other men and thrive on greed.)
Though I’m learning I’m discerning and it somehow seems to me that to stifle business profits will make everyone less free. If the government restrictions Place a levy that’s too high then the companies will either move away or simply die. The electorate is charged with the selection of a voice whose agenda is not set but who can think and make a choice.
Clogyrnachclog-ír-nach, the 16th codified Welsh meter, an Awdl, is associated with what I can only assume is the name of an ancient poet, Cynddelw and is framed with a cyhydedd fer couplet combined with a longer form. It is rarely used by today’s poets.
The defining features of the Clogymach are:
stanzaic, written in any number of quintets, combining a cyhydedd fer *(a rhymed couplet of 8 syllable lines) and a tercet of two 5 syllable lines followed by one 6 syllable line of 2 equal parts, 3 syllables each.
rhymed, rhyme scheme AABBA. The 1st phrase of L5 rhymes with the previous line and the 2nd phrase rhymes with cyhydedd fer couplet.
flexible, L5 of the cinquain can be added to the end of L4 creating a quatrain or can be broken into 2 separate lines creating a sixain.Clog Ear Nach by DC MartinsonInside my head there is a fight
That leaves me void of sleep at night:
My ear infected,
By cure neglected.
Dejected – Till dawn’s light.
The Blitz Poem is an invented verse form found on line at Shadow Poetry, it was created by Robert Keim. As the name implies it is a rush of phrases and images with rapid repetition as if creating a sudden and intense attack on the senses. It is a kind of twisted Chain Verse. The Blitz is:
stanzaic, written in 25 couplets, a total of 50 lines.
unmetered. Lines should be short, but at least 2 words, like rapid fire.
composed with words that are repeated from line to line in the following pattern:
L1 A short phrase, can be cliché.
L2 The first word of L1 is repeated as the first word of L2. From here on, the last word of the even numbered line is repeated as the first word of each line in the next couplet through L48.
L49 is the repetition of the last word of L48.
L50 is the repetition of the last word of L47.
titled, which includes the first words of L3 and L47.
Amaranth is an invented verse form that was probably created as a teaching tool by Viola Gardner. It makes deliberate use of the 9 most common metric feet. Each line is one metric foot, the pattern changing from line to line.
The Amaranth is:
9 lines strophe. It is a stand alone poem.
metric, the 9 most common metric feet are used in sequence.
L1 Spondee SS
L2 Iamb uS
L3 Pyrrhic uu
L4 Dactyl Suu
L5 Trochee Su
L6 Amphimacer SuS
L7 Choriamb SuuS
L8 Anapest uuS
L9 Amphibrach uSu
rhymed at the discretion of the poet, although the metric restrictions are probably enough to contend with in this verse form.On the Cross by Judi Van GorderBehold!
Monorhyme quintet with line length growing from 6 to ten syllables
Interlaced rhyme required for every line, starts with word two of line 1
then “jumps” up a word each line until the last,
where it jumps back one word.
Obviously the poet must not use large multisyllabic words that make this impossible
Line length is based on syllables, rhyme pattern is based on words – take care
Lets Dance (Jumping Rhyme)
I propose that we dance
if your toes dare take a chance.
God only knows I cannot prance
and whirl like the pros, but there’s a chance
the closeness could dispose you to romance.