Ronsard’s and Cowley’s Pindaric Ode
DOI:
https://doi.org/10.3986/pkn.v47.i2.09Keywords:
ancient Greek poetry, Pindar, literary reception, Pindaric ode, Horace, Ronsard, Pierre de, Cowley, AbrahamAbstract
After his return to the West, which had been separated from Greek culture by the language barrier after the end of antiquity, Pindar regained the status of “champion of the lyricists” that he had enjoyed with the Greeks. In the late Renaissance, the highest genre of lyric became the ode, as the epinician was also already called by Alexandrian scholars, and Pindar’s epinician with its triadic stanzaic structure was established as its prime example. The poem in which Horace depicted Pindar as a wild mountain river and gave him the image of a metrical wild man also had a decisive influence on the reception of Pindar’s poetry. In the vulgar language, Pierre de Ronsard made prominent the Pindaric ode with a triadic structure and thus earned himself a lasting place in French and European literary history. He became known as the French Pindar. Pindaric odes began to be written after the Ronsard’s model, without first-hand knowledge of Pindar, and Ronsard’s ode reached England. The milestone in English pindarising, however, is Abraham Cowley’s “Pindarique Odes”, which are characterized by loose metrics and the freedom of leaping thought. By translating Pindar and poeticizing after Pindar’s “enthusiastic manner”, Cowley triggered a fashion for irregular Pindaric odes among his compatriots, a fashion that was curbed after a while by William Congreve’s diametrically opposed image of the great Greek lyricist. In it, Pindar appears as a purely regular poet whose metrics correspond to the coherence of his thoughts.
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