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1. A lyric poem characterized by distichs formed by a long line followed by a shorter one.
2. The third division of the triad of a Pindaric ode, having a different or contrasting form from that of the strophe and antistrophe.
3. The part of a choral ode in classical Greek drama following the strophe and antistrophe and sung while the chorus is standing still.

[Latin epōdos, a type of lyric poem, from Greek epōidos, sung after, from epaeidein, epāidein, to sing after : epi-, epi- + aeidein, to sing; see wed- in Indo-European roots.]


1. (Poetry) the part of a lyric ode that follows the strophe and the antistrophe
2. (Poetry) a type of lyric poem composed of couplets in which a long line is followed by a shorter one, invented by Archilochus
[C16: via Latin from Greek epōidos a singing after, from epaidein to sing after, from aidein to sing]


(ˈɛp oʊd)

1. a classical lyric poem in which a long line is followed by a short one.
2. the part of an ode following the strophe and the antistrophe.
[1590–1600; < Latin epōdos < Greek epōidós; see ep-, ode]
References in classic literature ?
The metrical structure of each stanza is elaborate (differing in different poems), but metrically all the strophes and antistrophes in any given poem must be exactly identical with each other and different from the epodes.
2) And the fourth, "Flevit amores I Non elaboratum ad pedem," is a deliberate misquotation of Horace's Epodes, 14.
6) Philip Francis, The Odes, Epodes, and Carmen Saeculare of Horace (London, 1743), iii.
Some odes and epodes by Horace, Virgil, and others were very popular in the Renaissance, and were set many times.
1) The paired erotic invectives, Epodes 8 and 12, however, thematize the poet's sexual impotence and his disgust during encounters with a repulsive sexual partner.
The Epodes were for many years the least regarded of Horace's works.
This aligns with a passage from Horace's 30 BCE Epodes (5.
Corey teases the reader with epodes and false caesuras, daring us to lock his lines together like errant Tetris pieces to form the elusive wholeness of a conventional sonnet.
A specialist in Latin poet Horace (65-8 BC), Johnson (classics, College of Charleston) describes how his iambic verse in Epodes, though superficially a partisan attack on enemies of the recently triumphant Octavian, is also a criticism of civil war and those who foment it.
La soluzione di Sanadon fu poi riproposta dall'irlandese Philip Francis (1708-1773), traduttore in inglese delle opere oraziane (Odes, Epodes and Carmen Saeculare of Horace in Latin and English, Dublin, 1742).
Horace's Epodes and Satires, and the historical Cleopatra, who came