53 Sentences With "epode" | Random Sentence Generator

11–12 (laborat). dance,Carmen 3.13.13–16 (desiliunt) and Epode 16.47–48 (desilit). and make noise;Epode 2.27 (obstrepunt).

In contrast, the epode is written with a different scheme and structure. Odes have a formal poetic diction and generally deal with a serious subject. The strophe and antistrophe look at the subject from different, often conflicting, perspectives, with the epode moving to a higher level to either view or resolve the underlying issues. Odes are often intended to be recited or sung by two choruses (or individuals), with the first reciting the strophe, the second the antistrophe, and both together the epode.

Epode 13 is set at a symposium, an all-male drinking party. Drinking with one's friends is presented as an antidote to both bad weather and worries. The second half of the poem tells how the centaur Chiron gave the same piece of advice to his pupil Achilles.Epod. 13.11–18. Epode 14 returns to the theme of poem 11: the inhibiting effects of love.

EPODE International Network’s overall objective is to build international capacity and capability for multi-partner community-based childhood obesity-prevention programmes (CBPs) in countries by: # Facilitating best practice sharing between EIN member childhood obesity-prevention programmes # Providing EIN members visibility at global level # Gathering leading political representatives to place and maintain childhood obesity prevention at the top of agendas # Gathering the leading global experts to build greater scientific and field evidence in preventing obesity in children and overweight kids # Forging links for greater dialogue between all stakeholders from Public, Civic and Private Sectors (civil society, corporate sector, institutions) The EPODE International Network has more than 30 childhood obesity-prevention programme members in over 20 countries. By 2015 EPODE International Network will involve more than 400,000,000 people worldwide.

Epode 1 is dedicated to Horace's patron, Maecenas, who is about to join Octavian on the Actium campaign.Epod. 1.1–4. The poet announces that he is willing to share the dangers of his influential friend, even though he is unwarlike himself.Epod. 1.11–16. This loyalty, the poem claims, is not motivated by greed but rather by genuine friendship for Maecenas.Epod. 1.25–34. Epode 2 is a poem of exceptional length (70 verses) and popularity among readers of Horace.

At a certain point in time the choirs, which had previously chanted to right of the altar or stage, and then to left of it, combined and sang in unison, or permitted the coryphaeus to sing for them all, while standing in the centre. With the appearance of Stesichorus and the evolution of choral lyric, a learned and artificial kind of poetry began to be cultivated in Greece, and a new form, the epode-song, came into existence. It consisted of a verse of iambic trimeter, followed by a verse of iambic dimeter, and it is reported that, although the epode was carried to its highest perfection by Stesichorus, an earlier poet, Archilochus, was really the inventor of this form. The epode soon took a firm place in choral poetry, which it lost when that branch of literature declined.

But it extended beyond the ode, and in the early dramatists we find numerous examples of monologues and dialogues framed on the epodical system. In Latin poetry the epode was cultivated, in conscious archaism, both as a part of the ode and as an independent branch of poetry. Of the former class, the epithalamia of Catullus, founded on an imitation of Pindar, present us with examples of strophe, antistrophe and epode; and it has been observed that the celebrated ode of Horace, beginning Quem virum aut heroa lyra vel acri, possesses this triple character.

The cost of the program is €2 a day per child. Due to cultural issues brought in from immigration, there is no exact program format; though, a town implementing the program must offer a "menu Epode", which comprises dishes considered healthy.

The main charge levelled at the man is that he used to be a slave and has now risen to be a military tribune, thereby offending those who traditionally occupied such positions. The poem also imagines the heckling of passers-by on the Via Sacra.Epod. 4.7. Critics have stated that the target of the epode resembles Horace's own biography. Epode 5 details the encounter of a young boy with the witch (venefica) Canidia. Together with a group of fellow witches, she plans to use his bone marrow and liver to concoct a love potion.Epod. 5.35–7.

Joel Lidov sees it as being in the tradition of prayers for safe returns; Richard Martin identifies structural similarities to Archilochus' Cologne Epode (fr.196a), a piece of iambic invective; and Peter O'Connell suggests parallels with songs of welcome, in particular Archilochus fr.24.

Epode 12 is the second of two 'sexual epodes'. Like in poem 8, the poet finds himself in bed with an ageing woman. This time, Horace is criticised for his impotence — which he blames on the woman's repulsive body. The poem is known for its obscene sexual vocabulary.

Unable to escape from his entrapment, the boy utters a vow to haunt the witches in his afterlife. The poem is the longest in the collection and is particularly notable for its portrayal of witchcraft. In Epode 6, Horace envisions himself as the successor of the Greek iambographers Archilochus and Hipponax.

A strophe () 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. Strophic poetry is to be contrasted with poems composed line-by-line non-stanzaically, such as Greek epic poems or English blank verse, to which the term stichic applies. In its original Greek setting, "strophe, antistrophe and epode were a kind of stanza framed only for the music," as John Milton wrote in the preface to Samson Agonistes, with the strophe chanted by a Greek chorus as it moved from right to left across the scene.

The fragments are sufficient to show that the poem was composed in twenty-six line triads, of strophe, antistrophe and epode, repeated in columns along the original scroll, facts that aided Page in placing many of the fragments, sometimes of no more than a word, in what he believed to be their proper positions.

Archaic lyric was characterized by strophic composition and live musical performance. Some poets, like Pindar extended the metrical forms in odes to a triad, including strophe, antistrophe (metrically identical to the strophe) and epode (whose form does not match that of the strophe).Halporn, James & al. The Meters of Greek and Latin Poetry, p. 16\.

The humourous curse against his social superior has been interpreted as the poet standing his ground in a socially acceptable way. The opposite dynamic can be observed in Epode 4. Here, the poet, apparently oblivious of his low social status, joins a mob of citizens in ridiculing a former slave who has risen to become a Roman knight.

An ode (from ) is a type of lyrical stanza. It is an elaborately structured poem praising or glorifying an event or individual, describing nature intellectually as well as emotionally. A classic ode is structured in three major parts: the strophe, the antistrophe, and the epode. Different forms such as the homostrophic ode and the irregular ode also enter.

Horace apologises to Maecenas for not having completed as promised a set of iambics. The reason for this failure, he adds, is the powerful grip of love.Epod. 14.6–8. Epode 15 continues the motif of love by commenting on the infidelity of one Neaera. Having sworn an oath of loyalty to the poet, she has now run off to another man.

The EIN Ministers’ Club facilitates personal relationships between elected representatives from EPODE Programmes and existing community- based programmes from international regions or countries interested in developing obesity-prevention strategies. Members of the Ministers’ Club includes elected representatives such as ministers and secretaries (health, sports, urbanism, education, agriculture…), members of parliaments, governors, and mayors of cities involved in community-based childhood obesity-prevention programs.

From 1945 until his death, he headed the electrotechnical school in Câmpina. Together with Geo Bogza, he began the local surrealist movement. Inspired by the latter's magazine Urmuz, he founded and edited three more: Câmpina (1927-1929), Prahova (1930) and Strada (1932-1936). His first poetry was published in Ploieștii literari in 1921; his first book was the 1932 Epode.

Her repertoire includes works by contemporary composers such as Charles Chaynes's Piano Concerto and Léon Mouravieff's Strophe, Antistrophe and Epode. From 1987 to 1995 she was artistic director of the Cévennes Festival, which she founded. Between 1988 and 2000 she ran a summer university. She has given master classes in the USA, Russia, Germany and Ukraine and teaches a master class for piano at the Toulouse Conservatory.

The final Epode (17) takes the shape of a palinode, a type of poem which serves to retract a previously stated sentiment. Here, the poet takes back his defamations of Canidia in poem 5. Still occupying the position of the captive boy, he begs the witch for mercy. His request is shrugged off by Canidia who thus has the last word of the collection.Epod. 17.53–81.

Horace Odes were first developed by poets writing in ancient Greek, such as Pindar, and Latin, such as Horace. Forms of odes appear in many of the cultures that were influenced by the Greeks and Latins. The ode generally has three parts: a strophe, an antistrophe, and an epode. The antistrophes of the ode possess similar metrical structures and, depending on the tradition, similar rhyme structures.

Antistrophe (, "a turning back") is the portion of an ode sung by the chorus in its returning movement from west to east, in response to the strophe, which was sung from east to west. It has the nature of a reply and balances the effect of the strophe. Thus, in Gray's ode called "The Progress of Poesy" (excerpt below), the strophe, which dwelt in triumphant accents on the beauty, power and ecstasy verse, is answered by the antistrophe, in a depressed and melancholy key: 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 sang".

Horace wishes that the ship carrying Mevius will suffer shipwreck and that his enemy's corpse will be devoured by gulls.Epod. 10.21–24. In Epode 11, the poet complains to his friend Pettius that he is mad with love for a boy named Lyciscus. The poem is a variation on the idea that love may make the lover's life unbearable. It thus has much in common with Roman love elegy.

The American Journal of Philology 85.4:387-396. The adynaton form was often used for vows and covenants, such as in the 16th Epode of Horace, 25-34. Its plural form (adynata) was translated in Latin as impossibilia. A frequent usage was to refer to one highly unlikely event occurring sooner than another: Zenobius's collection of proverbial expressions includes "to count sand" to characterize something impossible or unattainable.

The 2006 election saw Hill gain a swing of 11.0% to a total margin of 22.0% Hill did not re-contest his seat at the 2014 election. Hill is a member of the Ministers' Club at EPODE International Network – the world's largest obesity-prevention network. John Hill's political memoir, On Being a Minister - Behind the Mask, was published in February 2016.John Hill: On Being a Minister - Behind the Mask Wakefield Press, Adelaide, 2016.

The poem contains a well-known pun on Horace's cognomen Flaccus ( "... if there is anything manly in a man called floppy"). Epode 16 weaves together strands from Epodes 2 and 7. After lamenting the devastating effects of civil warfare on Rome and its citizens, Horace exhorts his countrymen to emigrate to a faraway place. This vision of a rural lifestyle as an alternative to a depressed state of affairs shows characteristics of escapism.

In the 1st-century CE play Medea, Seneca's titular sorceress calls on Trivia to cast a magic spell. She evokes the triple goddess of Diana, Selene, and Hecate, and specifies that she requires the powers of the latter. The 1st century poet Horace similarly wrote of a magic incantation invoking the power of both Diana and Proserpina.Horace, Epode 17 The symbol of the crossroads is relevant to several aspects of Diana's domain.

It is said that Archilochus first created the strophe by binding together systems of two or three lines. But it was the Greek ode-writers who introduced the practice of strophe- writing on a large scale, and the art was attributed to Stesichorus, although it is likely that earlier poets were acquainted with it. The arrangement of an ode in a splendid and consistent artifice of strophe, antistrophe and epode was carried to its height by Pindar.

Palpable throughout much of the Epodes is a concern for the poet's standing in society already familiar to readers of the Satires. In this regard, Horace's friendship with the wealthy Maecenas is of particular interest. Horace, the son of an ex-slave, seems to have felt some uncertainty about their cross-class relationship. A good example of this is Epode 3: in response to an overly garlicky dinner, Horace hopes that Maecenas will suffer from a similar garlic overdose.

The modern standard name for the collection is Epodes. Deriving from the Greek epodos stichos ('verse in reply'), the term refers to a poetic verse following on from a slightly longer one. Since all poems except Epode 17 are composed in such an epodic form, the term is used with some justification. This naming convention, however, is not attested before the commentary of Pomponius Porphyrion in the second century AD. Horace himself referred to his poems as iambi on several occasions,E.g. Epod.

He identified with, among others, Sappho and Alcaeus of Mytilene, composing Sapphic and Alcaic stanzas, and with Archilochus, composing poetic invectives in the Iambus tradition (in which he adopted the metrical form of the epode or "iambic distich"). Horace also wrote verses in dactylic hexameter, employing a conversational and epistolary style. Virgil, his contemporary, composed dactylic hexameters on light and serious themes and his verses are generally regarded as "the supreme metrical system of Latin literature".Richard F. Thomas, Virgil: Georgics Vol.

Horace composed some poems in the Alcmanian strophe or Alcmanian system, a couplet consisting of a dactylic hexameter followed by a dactylic tetrameter a posteriore (so called because it ends with a spondee, thus resembling the last four feet of the hexameter). Examples are Odes I.7 and I.28, and Epode 12 ("Quid tibi vis, mulier nigris dignissima barris? / munera quid mihi quidve tabellas"). Later Latin poets use the dactylic tetrameter a priore as the second verse of the Alcmanian strophe.

Bavius and Maevius (or Mevius) were two poets in the age of Augustus Caesar, whose names became synonymous with bad verse and malicious criticism of superior writers. Both are named together in Virgil's Eclogues (3.90). Maevius is also the object of Horace's tenth Epode, which invites the gods to drown him as he embarks on a sea voyage. The name M(a)evius is attested of several historical individuals, but whether Virgil's Bavius and Maevius are real writers or literary inventions is unclear.

Each founded a school and had some political influence in Rome occasionally leading to their supporters clashing in the streets. According to Juvenal, a pantomime named Bathyllus, dancing, provoked Roman matrons to a state of sexual frenzy. Bathyllus appears in the illustrated edition of Juvenal's satire 'Against Women' by Aubrey Beardsley. References to a different, earlier, Bathyllus are found in the writing of Horace (epode 14) who describes him as beloved of Polycrates the Tyrant and the poet, Anacreon, who described him in his 22nd ode.

The Epodes have traditionally been Horace's least regarded work, due, in part, to the collection's recurring coarseness and its open treatment of sexuality. This has caused critics to strongly favour the political poems (1, 7, 9, and 16), while the remaining ones became marginalised. Leaving few traces in later ancient texts, the Epodes were often treated as a lesser appendix to the famous Odes in the early modern period. Only the second Epode, an idyllic vision of rural life, received regular attention by publishers and translators.

His sole contribution to English letters was an eight-volume Poems on several occasions and translations, wherein the first and second books of Virgil's 'AEneis' are attempted in 1692. The collection contained mostly juvenalia, its dedication said, and a good number of school exercises. His translation of the first book of Aeneid was in heroic couplets, while part of the translation of book 2 was in blank verse. The volumes also contained a partial translation of Boethius's Consolation of Philosophy and the second epode of Horace.

But as "the dreaming man" indicates, this is just a dream for Alfius. He is too consumed in his career as a usurer to leave it behind for the country.Horace's Delights of the Country Epode ii Retrieved October 14, 2011 Later Silver Latin poets who wrote pastoral poetry, modeled principally upon Virgil's Eclogues, include Calpurnius Siculus and Nemesianus and the author(s) of the Einsiedeln Eclogues. Italian poets revived the pastoral from the 14th century onwards, first in Latin (examples include works by Petrarch, Pontano and Mantuan) then in the Italian vernacular (Sannazaro, Boiardo).

Writing in the same vein as Archilochus, his poems depict the vulgar aspects of contemporary society. In contrast to the previous iambic tradition, he has been described as striking a discernibly satirical pose: through the use of eccentric and foreign language, many of his poems come across as humorous takes on low-brow activities. His influence is acknowledged in Epode 6.11–4. The Hellenistic scholar and poet Callimachus (third century BC) also wrote a collection of iambi, which are thought to have left a mark on Horace's poems.

All actors were male and wore masks. A Greek chorus danced as well as sang, though no one knows exactly what sorts of steps the chorus performed as it sang. Choral songs in tragedy are often divided into three sections: strophe ("turning, circling"), antistrophe ("counter-turning, counter-circling") and epode ("after-song"). Many ancient Greek tragedians employed the ekkyklêma as a theatrical device, which was a platform hidden behind the scene that could be rolled out to display the aftermath of some event which had happened out of sight of the audience.

The nature of iambus changed from one epoch to another, as becomes obvious if we compare two poems that are otherwise very similarHorace's Epode 10 (around 30 BC) and the "Strasbourg" papyrus, a fragment attributed either to Archilochus or Hipponax (seventh and sixth century respectively). The modern world became aware of the Greek poem only in 1899, when it was discovered by R. Reitzenstein among other papyri at the University Library of Strasbourg. He published it straight away, recognizing its significance and its resemblance to Horace's poem. This study however begins with Horace and it is based on comments by Eduard Fraenkel.

Examples of such interlocking stanzas include, for example, the ghazal and the villanelle, where a refrain (or, in the case of the villanelle, refrains) is established in the first stanza which then repeats in subsequent stanzas. Related to the use of interlocking stanzas is their use to separate thematic parts of a poem. For example, the strophe, antistrophe and epode of the ode form are often separated into one or more stanzas. In some cases, particularly lengthier formal poetry such as some forms of epic poetry, stanzas themselves are constructed according to strict rules and then combined.

In September 2005, France passed a law banning soda-and-snack-selling vending machines from public schools and misleading television and print food advertising. France also put in place 1.5% tax on the advertising budgets of food companies that did not encourage healthy eating. French politicians have considered obesity rate serious enough that they got local communities to govern their overweight and obesity levels through a program called Epode (acronym for "Ensemble, prévenons l'obésité des enfants", "Together let's prevent obesity in children"). Six years after the program has started, it has been considered a success with obesity rates lowered up to 25% in some communities.

The assembled fragments comprised one hundred and twenty-five consecutive lines, of which thirty-three were virtually intact, representing a portion of a much larger poem (calculated to have been about seven hundred lines). The verses were structured in triadic stanzas (strophe, antistrophe, epode), typical of choral lyric. Triads are found for example in plays by Aeschylus, Sophocles and Euripides, in odes by Pindar and Bacchylides, and they are known also to have been characteristic of the poetry of Stesichorus. The handwriting indicated that a scribe had written it as early as 250 BC but the poetic style indicated that the original composition must have been much earlier .

A phorminx The epinikion was performed not at the games, but at the celebration surrounding the champion's return to his hometown or perhaps at the anniversary of his victory. The odes celebrate runners, pentathletes, wrestlers, boxers, and charioteers; Pindar usually narrates or alludes elaborately to a myth connected to the victor's family or birthplace. The Pindaric ode has a metrical structure rivaled in its complexity only by the chorus of Greek tragedy, and is usually composed in a triadic form comprising strophe, antistrophe, and epode. The odes were performed by a chorus that sang and danced to the musical accompaniment of the phorminx or aulos.

Birdsong fascinated Messiaen from an early age, and in this he found encouragement from his teacher Dukas, who reportedly urged his pupils to "listen to the birds". Messiaen included stylised birdsong in some of his early compositions (including L'abîme d'oiseaux from the Quatuor pour la fin du temps), integrating it into his sound-world by techniques like the modes of limited transposition and chord colouration. His evocations of birdsong became increasingly sophisticated, and with Le réveil des oiseaux this process reached maturity, the whole piece being built from birdsong: in effect it is a dawn chorus for orchestra. The same can be said for "Epode", the five-minute sixth movement of Chronochromie, which is scored for eighteen violins, each one playing a different birdsong.

Whereas Archilochus presented himself as a serious and vigorous opponent of wrong-doers, Horace aimed for comic effects and adopted the persona of a weak and ineffectual critic of his times (as symbolized for example in his surrender to the witch Canidia in the final epode).S. Harrison, Lyric and Iambic, 192 He also claimed to be the first to introduce into Latin the lyrical methods of Alcaeus (Epistles 1.19.32–33) and he actually was the first Latin poet to make consistent use of Alcaic meters and themes: love, politics and the symposium. He imitated other Greek lyric poets as well, employing a 'motto' technique, beginning each ode with some reference to a Greek original and then diverging from it.

The same overall pattern is used in "Ode on Indolence", "Ode on Melancholy", and "Ode to a Nightingale" (though their sestet rhyme schemes vary), which makes the poems unified in structure as well as theme. The word "ode" itself is of Greek origin, meaning "sung". While ode-writers from antiquity adhered to rigid patterns of strophe, antistrophe, and epode, the form by Keats's time had undergone enough transformation that it represented a manner rather than a set method for writing a certain type of lyric poetry. Keats's odes seek to find a "classical balance" between two extremes, and in the structure of "Ode on a Grecian Urn", these extremes are the symmetrical structure of classical literature and the asymmetry of Romantic poetry.

In order to support its member childhood obesity-prevention programmes, the EIN organises regional and global meetings in order to facilitate best practice sharing and hold capacity building workshops, specific to the needs of its members. The EIN Scientific Advisory Board is also active in providing key support to members of the network in numerous ways and notably providing valuable evaluation support and assisting programme members with the publication of their results. Some activities include attempts to curb fast-food outlets near schools. In France, Fleurbaix-Laventie Ville Santé (FLVS), a food and nutrition project, were taken up by 10 mid- sized French towns as part of a wider pilot scheme, EPODE, aimed at preventing obesity among five to 12-year-olds.

115-118) but the authorship is disputed by many modern scholars, who attribute them to Archilochus on various grounds, including for example the earlier poet's superior skill in invective and the fragments' resemblance to the tenth epode of Horace (an avowed imitator of Archilochus).David A. Campbell, Greek Lyric Poetry, Bristol Classical Press (1982), page 157 Archilochus might also have been the source for an unusually beautiful line attributed to HipponaxThe Hipponax fragment 119 might have been a contamination of the Archilochus fragments 118 ( / Would that I might thus touch Neoboule on her hand) and 196a.6 ( / a beautiful, tender maiden)—Douglas Gerber, Greek Iambic Poetry, Loeb Classical Library (1999), note 1 for fr. 119 page 159 (a line that has also been described "as clear, melodious and spare as a line of Sappho"):B.

A considerable amount of information about the life of Archilochus has come down to the modern age via his surviving work, the testimony of other authors and inscriptions on monuments, yet it all needs to be viewed with caution – the biographical tradition is generally unreliable and the fragmentary nature of the poems doesn't really support inferences about his personal history. The vivid language and intimate details of the poems often look autobiographicalVan Sickle (October–November 1975), "Archilochus: A New Fragment of an Epode" The Classical Journal 71.1:1–15, p. 14. yet it is known, on the authority of Aristotle, that Archilochus sometimes role-played. The philosopher quoted two fragments as examples of an author speaking in somebody else's voice: in one, an unnamed father commenting on a recent eclipse of the sun and, in the other, a carpenter named Charon, expressing his indifference to the wealth of Gyges, the king of Lydia.

Longinus de subl.13.3, cited by David Cambell, Loeb, pages 55 Modern scholars tend to accept the general thrust of the ancient comments – even the 'fault' noted by Quintillian gets endorsement: 'longwindedness', as one modern scholar calls it, citing, as proof of it, the interval of 400 lines separating Geryon's death from his eloquent anticipation of it.David A. Campbell, Greek Lyric III, Loeb Classical Library (1991), page 4 Similarly, "the repetitiveness and slackness of the style" of the recently discovered Lille papyrus has even been interpreted by one modern scholar as proof of Stesichorean authorshipCharles Segal, 'Archaic Choral Lyric' – P. Easterling and E. Kenney (eds), The Cambridge History of Classical Literature I: Greek Literature, Cambridge University Press (1985), page 186, note 2 – though others originally used it as an argument against. Possibly Stesichorus was even more Homeric than ancient commentators realized – they had assumed that he composed verses for performance by choirs (the triadic structure of the stanzas, comprising strophe, antistrophe and epode, is consistent with choreographed movement) but a poem such as the Geryoneis included some 1500 lines and it probably required about four hours to perform – longer than a chorus might reasonably be expected to dance.