Blame As Consolation: Rehabilitating the Iambic in Horace's Post-Actian Symposia" (2014)
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The Reception of Horace in the Courses of Poetics at the Kyiv Mohyla Academy: 17Th-First Half of the 18Th Century
The Reception of Horace in the Courses of Poetics at the Kyiv Mohyla Academy: 17th-First Half of the 18th Century The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Siedina, Giovanna. 2014. The Reception of Horace in the Courses of Poetics at the Kyiv Mohyla Academy: 17th-First Half of the 18th Century. Doctoral dissertation, Harvard University. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:13065007 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA © 2014 Giovanna Siedina All rights reserved. Dissertation Advisor: Author: Professor George G. Grabowicz Giovanna Siedina The Reception of Horace in the Courses of Poetics at the Kyiv Mohyla Academy: 17th-First Half of the 18th Century Abstract For the first time, the reception of the poetic legacy of the Latin poet Horace (65 B.C.-8 B.C.) in the poetics courses taught at the Kyiv Mohyla Academy (17th-first half of the 18th century) has become the subject of a wide-ranging research project presented in this dissertation. Quotations from Horace and references to his oeuvre have been divided according to the function they perform in the poetics manuals, the aim of which was to teach pupils how to compose Latin poetry. Three main aspects have been identified: the first consists of theoretical recommendations useful to the would-be poets, which are taken mainly from Horace’s Ars poetica. -
The Asàrotos Òikos Mosaic As an Elite Status Symbol 5
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Revistes Catalanes amb Accés Obert Ehud Fathy The asàrotos òikos mosaic as an elite status symbol 5 The asàrotos òikos mosaic as an elite status symbol Ehud Fathy Tel Aviv University Recibido: 31/03/2017 / Evaluado: 25/04/2017 / Aprobado: 08/05/2017 Abstract: This article focuses on theasarotos oikos theme in roman mosaics, and aims at exploring the social significance these depictions have held during the late Imperial age, and their relation to the proceedings of the banquet. This study suggests that disguised symbolism and erudite references rest behind the representation of these seemingly daily objects, which could only be fully understood by members of the Roman cultural elite, who possessed the proper education for the task. The mosaic served as a starting point for the elitist practice of an erudite discourse and as a reminder of the brevity of life. Keywords: asàrotos òikos, unswept floor, roman elitist art, Heraclitus mosaic, carpe diem, roman banquet, Sosos of Pergamon. ne of the less common themes of roman mosaics is the asàrotos òikos or «unswept floor», depicting titbits of a luxurious meal, scattered evenly onO the room’s floor. According to Pliny this theme was originally created by the mosaicist Sosos in Pergamon,1 presumably in the second century BCE.2 1. This contribution is part of the author's doctoral thesis carried out at Tel Aviv University under the supervision of Dr. Talila Michaeli. I would like to express my gratitude to Dr. -
Political Dissent in Groves, Caves, and Grottos Nina Bhatia, Washington University in St
POLITICAL DISSENT IN GROVES, CAVES, AND GROTTOS NINA BHATIA, WASHINGTON UNIVERSITY IN ST. LOUIS In Ode 3.25 Horace invokes Bacchus for divine inspiration while he is composing a poem that will honor the living deification of Augustus. As such, this poem is typically viewed as pro-Augustan propaganda. However, contextualization of Horace’s Odes demonstrates their multifaceted nature revealing small rebellions against Augustus. The goal of this project is to demonstrate the underlying subversive nature of Ode 3.25 through contextualization by examining Antony’s link to Bacchus, the invocation of Bacchus for poetic inspiration, and the contemporary perceptions of deification. Patron Gods and Political Propaganda Invocation Deification Antony created a divine lineage for himself from Bacchus Ode 3.25’s first stanza does more than just recall the Bacchic trope of The most contemporarily recent, posthumous deification was going so far as to “look like him in both physical appearance and possession. Horace’s use of nemora, specus, and antriis immediately pulls readers into that of Julius Caesar. The arrival of a comet, often termed the sidus Iulium, clothing” (Freyburger-Garland 24). This Bacchic branding was the wild, Bacchic setting. That is then immediately countered by the following: during the funerary games held for Caesar was celebrated as evidence for amplified by Antony’s time ruling in Egypt where he was deified as Julius Caesar’s entrance to consilium Iovis. The sidus Iulium imagery was often quibus antris egregii Caesaris audiar In which cave shall I be heard the syncretic Dionysus-Osiris. This is demonstrated by the arrival aeternum meditans decus musing to induct distinguished used to legitimize Augustus’s claim to power. -
Iambic Metapoetics in Horace, Epodes 8 and 12 Erika Zimmerman Damer University of Richmond, [email protected]
University of Richmond UR Scholarship Repository Classical Studies Faculty Publications Classical Studies 2016 Iambic Metapoetics in Horace, Epodes 8 and 12 Erika Zimmerman Damer University of Richmond, [email protected] Follow this and additional works at: http://scholarship.richmond.edu/classicalstudies-faculty- publications Part of the Classical Literature and Philology Commons Recommended Citation Damer, Erika Zimmermann. "Iambic Metapoetics in Horace, Epodes 8 and 12." Helios 43, no. 1 (2016): 55-85. This Article is brought to you for free and open access by the Classical Studies at UR Scholarship Repository. It has been accepted for inclusion in Classical Studies Faculty Publications by an authorized administrator of UR Scholarship Repository. For more information, please contact [email protected]. Iambic Metapoetics in Horace, Epodes 8 and 12 ERIKA ZIMMERMANN DAMER When in Book 1 of his Epistles Horace reflects back upon the beginning of his career in lyric poetry, he celebrates his adaptation of Archilochean iambos to the Latin language. He further states that while he followed the meter and spirit of Archilochus, his own iambi did not follow the matter and attacking words that drove the daughters of Lycambes to commit suicide (Epist. 1.19.23–5, 31).1 The paired erotic invectives, Epodes 8 and 12, however, thematize the poet’s sexual impotence and his disgust dur- ing encounters with a repulsive sexual partner. The tone of these Epodes is unmistakably that of harsh invective, and the virulent targeting of the mulieres’ revolting bodies is precisely in line with an Archilochean poetics that uses sexually-explicit, graphic obscenities as well as animal compari- sons for the sake of a poetic attack. -
Some Problems in Prosody
1903·] Some Problems in Prosody. 33 ARTICLE III. SOME PROBLEMS IN PROSODY. BY PI10PlCSSOI1 R.aBUT W. KAGOUN, PR.D. IT has been shown repeatedly, in the scientific world, that theory must be supplemented by practice. In some cases, indeed, practice has succeeded in obtaining satisfac tory results after theory has failed. Deposits of Urate of Soda in the joints, caused by an excess of Uric acid in the blood, were long held to be practically insoluble, although Carbonate of Lithia was supposed to have a solvent effect upon them. The use of Tetra·Ethyl-Ammonium Hydrox ide as a medicine, to dissolve these deposits and remove the gout and rheumatism which they cause, is said to be due to some experiments made by Edison because a friend of his had the gout. Mter scientific men had decided that electric lighting could never be made sufficiently cheap to be practicable, he discovered the incandescent lamp, by continuing his experiments in spite of their ridicule.1 Two young men who "would not accept the dictum of the authorities that phosphorus ... cannot be expelled from iron ores at a high temperature, ... set to work ... to see whether the scientific world had not blundered.'" To drive the phosphorus out of low-grade ores and convert them into Bessemer steel, required a "pot-lining" capable of enduring 25000 F. The quest seemed extraordinary, to say the least; nevertheless the task was accomplished. This appears to justify the remark that "Thomas is our modem Moses";8 but, striking as the figure is, the young ICf. -
Durham Research Online
Durham Research Online Deposited in DRO: 17 February 2016 Version of attached le: Published Version Peer-review status of attached le: Peer-reviewed Citation for published item: Petrovic, Ivana (2006) 'Delusions of grandeur : Homer, Zeus and the Telchines in Callimachus Reply (Aitia Fr. 1) and Iambus 6.', Antike und Abendland., 52 . pp. 16-41. Further information on publisher's website: http://www.degruyter.com/view/j/anti.2006.52.issue- 1/9783110186345.16/9783110186345.16.xml?format=INT Publisher's copyright statement: The nal publication is available at www.degruyter.com Additional information: Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in DRO • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full DRO policy for further details. Durham University Library, Stockton Road, Durham DH1 3LY, United Kingdom Tel : +44 (0)191 334 3042 | Fax : +44 (0)191 334 2971 https://dro.dur.ac.uk L IJ lVANA PETROVIC Delusions of Grandeur: Homer, Zeus and the Telchines in Callimachus' Reply (Aitia Fr. 1) and Iambus 6'' The visual representations of Homer were often modelled upon those of Zeus. Fur thermore, not only in the visual arts, but in poetry as well Homer was often in one way or another brought in connection with Zeus. -
Ancient Authors 297
T Ancient authors 297 is unknown. His Attic Nights is a speeches for the law courts, collection of essays on a variety political speeches, philosophical ANCIENT AUTHORS of topics, based on his reading of essays, and personal letters to Apicius: (fourth century AD) is the Greek and Roman writers and the friends and family. name traditionally given to the lectures and conversations he had Columella: Lucius Iunius author of a collection of recipes, heard. The title Attic Nights refers Moderatus Columella (wrote c.AD de Re Coquinaria (On the Art of to Attica, the district in Greece 60–65) was born at Gades (modern Cooking). Marcus Gavius Apicius around Athens, where Gellius was Cadiz) in Spain and served in the was a gourmet who lived in the living when he wrote the book. Roman army in Syria. He wrote a early first centuryAD and wrote Cassius Dio (also Dio Cassius): treatise on farming, de Re Rustica about sauces. Seneca says that he Cassius Dio Cocceianus (c.AD (On Farming). claimed to have created a scientia 150–235) was born in Bithynia. He popīnae (snack bar cuisine). Diodorus Siculus: Diodorus had a political career as a consul (wrote c.60–30 BC) was a Greek Appian: Appianos (late first in Rome and governor of the from Sicily who wrote a history of century AD–AD 160s) was born in provinces of Africa and Dalmatia. the world centered on Rome, from Alexandria, in Egypt, and practiced His history of Rome, written in legendary beginnings to 54 BC. as a lawyer in Rome. -
Horace - Poems
Classic Poetry Series Horace - poems - Publication Date: 2012 Publisher: Poemhunter.com - The World's Poetry Archive Horace(8 December 65 BC – 27 November 8 BC) Quintus Horatius Flaccus, known in the English-speaking world as Horace, was the leading Roman lyric poet during the time of Augustus. The rhetorician Quintillian regarded his Odes as almost the only Latin lyrics worth reading, justifying his estimate with the words: "He can be lofty sometimes, yet he is also full of charm and grace, versatile in his figures, and felicitously daring in his choice of words." Horace also crafted elegant hexameter verses (Sermones and Epistles) and scurrilous iambic poetry (Epodes). The hexameters are playful and yet serious works, leading the ancient satirist Persius to comment: "as his friend laughs, Horace slyly puts his finger on his every fault; once let in, he plays about the heartstrings". Some of his iambic poetry, however, can seem wantonly repulsive to modern audiences. His career coincided with Rome's momentous change from Republic to Empire. An officer in the republican army that was crushed at the Battle of Philippi in 42 BC, he was befriended by Octavian's right-hand man in civil affairs, Maecenas, and became something of a spokesman for the new regime. For some commentators, his association with the regime was a delicate balance in which he maintained a strong measure of independence (he was "a master of the graceful sidestep") but for others he was, in < a href="http://www.poemhunter.com/john-henry-dryden/">John Dryden's</a> phrase, "a well-mannered court slave". -
Download Horace: the SATIRES, EPISTLES and ARS POETICA
+RUDFH 4XLQWXV+RUDWLXV)ODFFXV 7KH6DWLUHV(SLVWOHVDQG$UV3RHWLFD Translated by A. S. Kline ã2005 All Rights Reserved This work may be freely reproduced, stored, and transmitted, electronically or otherwise, for any non- commercial purpose. &RQWHQWV Satires: Book I Satire I - On Discontent............................11 BkISatI:1-22 Everyone is discontented with their lot .......11 BkISatI:23-60 All work to make themselves rich, but why? ..........................................................................................12 BkISatI:61-91 The miseries of the wealthy.......................13 BkISatI:92-121 Set a limit to your desire for riches..........14 Satires: Book I Satire II – On Extremism .........................16 BkISatII:1-22 When it comes to money men practise extremes............................................................................16 BkISatII:23-46 And in sexual matters some prefer adultery ..........................................................................................17 BkISatII:47-63 While others avoid wives like the plague.17 BkISatII:64-85 The sin’s the same, but wives are more trouble...............................................................................18 BkISatII:86-110 Wives present endless obstacles.............19 BkISatII:111-134 No married women for me!..................20 Satires: Book I Satire III – On Tolerance..........................22 BkISatIII:1-24 Tigellius the Singer’s faults......................22 BkISatIII:25-54 Where is our tolerance though? ..............23 BkISatIII:55-75 -
The Commentaries of Caesar, by Anthony Trollope
Project Gutenberg's The Commentaries of Caesar, by Anthony Trollope This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org/license Title: The Commentaries of Caesar Author: Anthony Trollope Release Date: November 9, 2017 [EBook #55926] Language: English *** START OF THIS PROJECT GUTENBERG EBOOK THE COMMENTARIES OF CAESAR *** Produced by Chuck Greif and the Online Distributed Proofreading Team at http://www.pgdp.net (This book was produced from scanned images of public domain material from the Google Books project.) Ancient Classics for English Readers EDITED BY THE REV. W. LUCAS COLLINS, M.A. C Æ S A R The Volumes published of this Series contain HOMER: THE ILIAD, BY THE EDITOR. HOMER: THE ODYSSEY, BY THE SAME. HERODOTUS, BY GEORGE C. SWAYNE, M.A. Late Fellow of Corpus Christi College, Oxford. The following Authors, by various Contributors, are in preparation:— VIRGIL. HORACE. ÆSCHYLUS. SOPHOCLES. ARISTOPHANES. CICERO. JUVENAL. XENOPHON. OTHERS WILL FOLLOW. A Volume will be published on the 1st of every alternate Month, price 2s. 6d. T H E C O M M E N T A R I E S OF C Æ S A R BY ANTHONY TROLLOPE WILLIAM BLACKWOOD AND SONS EDINBURGH AND LONDON MDCCCLXX CONTENTS. CHAP. PAGE I. INTRODUCTION, 1 FIRST BOOK OF THE WAR IN GAUL.—CÆSAR DRIVES FIRST THE SWISS AND II. 28 THEN THE GERMANS OUT OF GAUL.—B.C. -
METRE and TEXT* Andromache Has Spoken the Prologue (1–55)
CHAPTER TWENTY-SEVEN EURIPIDES, ANDROMACHE 103–125: METRE AND TEXT* (Αν.) Ἰλίωι αἰπεινᾶι Πάριϲ οὐ γάµον ἀλλά τιν’ ἄταν ἀγάγετ’ εὐναίαν ἐϲ θαλάµουϲ ῾Єλέναν· · · · · · · · · · · πρὸϲ τόδ’ ἄγαλµα θεᾶϲ ἱκέτιϲ περὶ χεῖρε βαλοῦϲα 115 τάκοµαι ὡϲ πετρίνα πιδακόεϲϲα λιβάϲ. ΧΟΡΟΣ ὦ γύναι, ἃ Θέτιδοϲ δάπεδον καὶ ἀνάκτορα θάϲϲειϲ δαρὸν oὐδὲ λείπειϲ, Φθιὰϲ ὅµωϲ ἔµολον ποτὶ ϲὰν Ἀϲιήτιδα γένναν, εἴ τί ϲοι δυναί µ 120αν ἄκοϲ τῶν δυϲλύτων πόνων τεµεῖν, οἵ ϲε καὶ ῾Єρµιόναν ἔριδι ϲτυγερᾶι ϲυνέκληιϲαν τλάµον’ ἀµφὶ λέκτρων διδύµων ἐπίκοινον †ἐοῦϲαν† ἀµφὶ παῖδ’ Ἀχιλλέωϲ· 125 104 ἀγάγετ’ Dindorf: ἠγ- codd. 121 rectius ταµεῖν? 123 τλάµον’ P: -µων L, -µονα cett.; τλᾶµον Ald. Andromache has spoken the prologue (1–55), followed by dialogue with a maidservant (56–90) and further soliloquy (91–102), from which she proceeds to sing an unusual elegiac lament (103–16).1 This in turn serves as a proem to the Parodos,2, whose first stanza contains ——— * Mnemosyne 54 (2001), 724–30. 1 The transition from speech to song without speaker-change is already unusual. There are no other elegiacs in tragedy; but the words ἐλεγεῖον (the earliest attestations referring to epitaphs) and ἔλεγοϲ (first attested of elegiacs in Calli- machus) are certainly cognate. A hypothesis of precedents in 7th–6th century N. Peloponnesian poetry (D. L. Page in Greek Poetry and Life (Oxford, 1938), 206–30) is plausible, but does little to account for the form here. More certainly relevant are the elevated quality of dactylic metre (with epic colour) on Andromache’s lips; the appropriateness of repetition in threnody (here ‘epodic’); and (last but not least) the juxtaposition of 103–16 with 117 ff. -
Literary Quarrels
Princeton/Stanford Working Papers in Classics (1) The Cicala's Song: Plato in the Aetia Benjamin Acosta-Hughes University of Michigan, Ann Arbor Version 1.2 © Benjamin Acosta-Hughes, [email protected] (2) Literary Quarrels Susan Stephens Stanford University Version 1.0 © Susan Stephens Abstract: Scholars have long noted Platonic elements or allusions in Callimachus' poems, particularly in the Aetia prologue and the 13th Iambus that center on poetic composition. Following up on their work, Benjamin Acosta-Hughes and Susan Stephens, in a recent panel at the APA, and in papers that are about to appear in Callimachea II. Atti della seconda giornata di studi su Callimaco (Rome: Herder), have argued not for occasional allusions, but for a much more extensive influence from the Phaedo and Phaedrus in the Aetia prologue (Acosta-Hughes) and the Protagoras, Ion, and Phaedrus in the Iambi (Stephens). These papers are part of a preliminary study to reformulate Callimachus' aesthetic theory. 1 The Cicala's Song: Plato in the Aetia* This paper prefigures a larger study of Callimachus and Plato, a study on which my Stanford colleague Susan Stephens and I have now embarked in our co-authored volume on Callimachus.1 Awareness of Platonic allusion in Callimachus is not new, although its significance has not really been appreciateda close reading of the two authors remains a real desideratum, and it is indeed this need that we hope our work will one day fulfill. The main focal points of the present paper are two passages of Callimachus, and two passages of Plato, that, read together, configure a remarkable intertextual dialogue on poetry, reading, and the inspired voice.