By Timothy Johnson
Ten years after publishing his first choice of lyric poetry, Odes I-III, Horace (65 B.C.-8 B.C.) lower back to lyric and released one other booklet of fifteen odes, Odes IV. those later lyrics, which compliment Augustus, the imperial relatives, and different political insiders, have usually been handled extra as propaganda than artwork. yet in A Symposion of compliment, Timothy Johnson examines the richly textured ambiguities of Odes IV that have interaction the viewers within the communal or "sympotic" formula of Horace's compliment. Surpassing propaganda, Odes IV displays the finely nuanced and innovative poetry of Callimachus instead of the traditions of Aristotelian and Ciceronian rhetoric, which propose that compliment should still current often admitted virtues and vices. during this manner, Johnson demonstrates that Horace's software of competing views establishes him as Pindar's rival. Johnson exhibits the Horatian panegyrist is greater than a established poet representing in basic terms the wishes of his buyers. The poet forges the panegyric time table, commencing the nature of the compliment (its mode, lyric, and content material either optimistic and negative), and calls jointly a neighborhood to affix within the production and model of Roman identities and civic ideologies. With this insightful studying, A Symposion of compliment should be of curiosity to historians of the Augustan interval and its literature, and to students attracted to the dynamics among own expression and political strength.
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Extra resources for A Symposion of Praise: Horace Returns to Lyric in Odes IV (Wisconsin Studies in Classics)
Another love interest has replaced Horace’s lost Cinara. Cinara’s kind rule gives way to Ligurinus’s hard rejection. Horace can hardly choke back his tears (33a–34). His voice falters into silence (35–36). 1 seems an ending rather than a beginning. 80 Horace’s look back creates a dilemma: to what extent should one read (not overread or underread) the constant reminders of Horace’s earlier poetry and personae? Are two particular poems interrelated or not? This is without the other subtexts: Homer, Pindar, Sappho, Simonides, Bacchylides, Callimachus, Catullus, Vergil, Propertius .
Horace does not identify the Greek art until he names the Academy (45). At this point, the art Horace pursued at Athens obviously becomes philosophy, as one would expect since philosophy is so great a part of the Athenian achievement and was Horace’s supposed occupation during his lyric retirement. In the process of touting his philosophical studies, Horace has some additional fun with his poetic. Exactly what Horace learned at Athens (paulo plus artis, 43) focuses attention on a lyric/epic contrast by juxtaposing the two code words paulo (lyric) and plus (epic).
No matter how much Horace pretended his book was small, Augustus thought the scroll on which it was written was plenty fat. 52 Yet Horace’s epic critique is more than an ironic method of defining one’s own art by a conventional (given the extent to which Horace’s lyric assimilates epic themes, I would risk artificial) contrast to another. The contrast that Horace draws between epicists and himself argues a political dimension; namely, Horace’s epic criticism declares his sympotic persona free from the political constraints and biases involved in praising and pleasing patrons.
A Symposion of Praise: Horace Returns to Lyric in Odes IV (Wisconsin Studies in Classics) by Timothy Johnson