By R. G. M. Nisbet

ISBN-10: 0199263140

ISBN-13: 9780199263141

This statement takes serious account of modern writing at the Odes. It bargains with specified questions of interpretation, and exhibits how Horace mixed the tact of a court-poet with a humane individualism, and the way he wrote inside a literary culture with out wasting a hugely own voice. although the e-book isn't meant for novices, the editors goal all through at readability.

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Additional info for A Commentary on Horace: Odes

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7. 115 ‘nam comes atra premit sequiturque fugacem’, Hom. Il. 4. 117 ìåºÆØíÝøí Œæìš OäıíÜøí. 41. quodsi dolentem nec Phrygius lapis: quodsi (‘Since, then,’) introduces the inescapable conclusion; cf. 1. 1. 35, Lucr. 2. 47, Prop. 1. 1. 37, Fraenkel 24. dolor was widely used of unhealthy mental and spiritual states, including anxiety, cf. Varro, Men. 36, Lucr. 4. 1067, Cic. Tusc. 3. , 4. 23 ff. Phrygius lapis was a white marble with purple markings; cf. Strab. 12. 8. 14, Stat. silv. 1. 5. 37 f. ‘(purpura) cavo Phrygiae quam Synnados antro / ipse cruentavit maculis lucentibus Attis’, Juv.

2 cannot equal the combined authority of the Roman Odes. Newness was also emphasized in Bacchic and other mysteries, as later in the world of the New Testament (E. ); for other literary adaptations of this idea cf. Prop. 3. 1. 3 f. ‘primus ego ingredior puro de fonte sacerdos / Itala per Graios orgia ferre choros’. 3. , O. Falter, Der Dichter und sein Gott bei den Griechen und Ro¨mern, diss. , N–H on 1. 31. 2). In early Greece he might be called the ðæïÞôçò or interpreter of the Muses, because like the Delphic priestess he imposed form on material that seemed to present itself spontaneously (Pind.

Though the style is dry and rather formal, it is less solemn than is sometimes implied (cf. ). And though Horace begins with a hieratic pronouncement, when he comes back to himself at the end his tone is human and personal. Metre: Alcaic. 1. Odi profanum vulgus et arceo: odi (‘I shun’) balances arceo (‘I keep it at a distance’); here the former verb emphasizes overt rejection, though emotional dislike is not excluded (cf. 1. 38. 1 ‘Persicos odi, puer, apparatus’, epist. 1. 7. 20 ‘spernit et odit’, ars 188, Fraenkel 263).

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A Commentary on Horace: Odes by R. G. M. Nisbet

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