It is precisely these rare and Pindaric
mixtures which prove the poet's enthusiasm.
Abrams famously denoted the Greater Romantic Lyric, Jarvis provocatively jump cuts from Abraham Cowley's "The Resurrection" (1656) to Keston Sutherland's Hot White Andy (2007), tying the form to the larger historical development and fate of the Pindaric
Southey's poems such as "The Pig," "Sonnet--To a Goose," and "Gooseberry Pie--A Pindaric
Ode" establish a pessimism of the swinish reading multitudes, which Cross reads as Southey's capitulation to what sells.
There is, for instance, a huge difference in attitude and approach between "To Penshurst" and the "Belvoir" pindaric
ode, but the latter nonetheless conceptualizes itself against the former, taking on Jonson's binary opposition of "use" and "show" and transforming the relationship between its terms.
He finds that he cannot reconcile what he remembers being and what he has become, performing what Paul Odney identifies in the Pindaric
poems as competing "versions of the past" (248).
This argument is reinforced by Athanassaki's comparative analysis of two of Horace's Pindaric
According to William Fitzgerald in his Agonistic Poetry: the Pindaric
Mode in Pindar, Horace, Holderlin, and the English Ode, William Jackson Bate commented on Keats's "Ode on a Grecian Urn" writing that "the theme of much of the greater poetry to come--certainly of the 'Ode on a Grecian Urn' and the 'Ode to a Nightingale'--may be described as the drama of the human spirits 'greeting' of objects in order 'to make them wholly exist'" (Bate qtd.
of Victorian poetry, are twofold: to have tangled at some point in one's poetic career with irregular Pindaric
verse, and not to have the surname Tennyson or Browning.
In the Pindaric
fragment just cited, the beloved's active eye is focalized throughout from the lover's perspective: rays from the beloved's eyes make the lover swell with desire (2-3), but to do this they must catch the lover's own eye.
Aristotelian syllogism, yet lilting as a Pindaric
They contain Pindaric
Odes with commentaries and rhythmic indications for their recitation (or singing), written in the 15th and 16th centuries, respectively "as a tool for teaching the Ancient Greek poetic metres", according to Touliatos (p.
11) Thomas Gray, 'The Progress of Poesy: A Pindaric
Ode', in Gray and Collins: Poetical Works, ed.