![]() It’s hard to come up with a better definition than that because the actual poems that call themselves odes vary a lot. The ode is a longer poem, serious or meditative in nature, commonly about events of a public nature, written in formal language and usually having a strict stanzaic structure. But most practitioners of the Ode in English have taken only some of the particulars of the Ancient ode to heart as they reproduce the form. Its origins are in the Latin poetry of the Roman Empire, and there its form is very strict. Some are very strict in form, some very loose. We’re not going to cover them individually. ![]() The Ode: The ode comes in a number of flavors-Pindaric, Horatian, English, Irregular. The subgenres, mostly subgenres of lyric, must still be recognized, however. Most poetry today, however, is written in the lyric mode: “Dramatic” and “Narrative” being largely taken over by prose fiction. This categorization of types held from the time of Aristotle (4th C. What had been the stuff of narrative poetry has become the purview of novels and prose fiction more often now.ĭramatic, poetry told from the point of view of a character. Narrative, epic poetry, poetry that tells a story in which a variety of characters speak and interact. Originally poems intended to be recited or sung to the accompaniment of a lyre. Lyric, poetry written from the first-person point of view of the poet. From the 19th-century on, they have lost categorical force. They derive from Aristotle (who used the word “epic” rather than “narrative”). Lyric, Narrative, Dramatic: the ancient poetic distinctions held until the 18th-century. 13) sees Silius as hinting at the apotheosized Vespasian in his closing divinization of Scipio, with the result that Silius’s earlier destabilizations of the positivity of apotheosis, particularly the apotheosis of the “key figure and symbol of civil war,”42 Julius Caesar, also color the poet’s generally-positive images of Vespasian and his dynasty.' (p.7 Some Other Forms: ode, ballad, elegy, epic, dramatic monologue, villanelle, sestina 13) argues that Silius situates multiple points of Roman civil war’s genesis throughout the events of the Second Punic War, from the defeat at Cannae to the eventual defeat of Hannibal, while also painting the portrait of a populus Romanus that already possessed the necessary character to descend into- and welcome-civil strife. 13) labels “geographical distancing.” (p. ![]() Extracts from editors' introduction: 'The same discourse of domestic and foreign, Roman and Other, also animates this volume’s readings of the Punica, which together identify an array of Silian approaches to the familiar strategy of situating anxieties externally, a strategy which William Dominik (ch. ![]() ![]() This image system is part of a wider, coherent, and yet still not often recognized strategy on Silius’s part to both distance the nefas of civil war from Flavian pax while simultaneously destabilizing that very distancing strategy. Within the Punica, the ensis and the sceptrum become interlocked images which foreground the violent potential embedded within Rome’s imperial structure. Parricide emerges from Silius’s epic as the paradigmatic crime of civil war, revealing a particularly Flavian preoccupation with the role of discordia within familial and perhaps even dynastic systems. Silius’s representation of dynasty, parricide, and the imagery of the ensis and sceptrum in the Punica comprises the focus of this chapter. ![]()
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