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University Microfilms International 300 N INFORMATION TO USERS This reproduction was made from a copy of a document sent to us for microfilming. While the most advanced technology has been used to photograph and reproduce this document, the quality of the reproduction is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help clarify markings or notations which may appear on this reproduction. 1.The sign or “target” for pages apparently lacking from the document photographed is “Missing Page(s)”. If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure complete continuity. 2. When an image on the film is obliterated with a round black mark, it is an indication of either blurred copy because of movement during exposure, duplicate copy, or copyrighted materials that should not have been filmed. For blurred pages, a good image of the page can be found in the adjacent frame. If copyrighted materials were deleted, a target note will appear listing the pages in the adjacent frame. 3. When a map, drawing or chart, etc., is part of the material being photographed, a definite method of “sectioning” the material has been followed. It is customary to begin filming at the upper left hand corner of a large sheet and to continue from left to right in equal sections with small overlaps. If necessary, sectioning is continued again—beginning below the first row and continuing on until complete. 4. For illustrations that cannot be satisfactorily reproduced by xerographic means, photographic prints can be purchased at additional cost and inserted into your xerographic copy. These prints are available upon request from the Dissertations Customer Services Department. 5. Some pages in any document may have indistinct print. In all cases the best available copy has been filmed. University Microfilms International 300 N. Zeeb Read Ann Arbor, Ml 48106 I ! 8400156 Ancona, Ronnie FUGERIT INVIDA AETAS: SOME STUDIES OF TIME AND THE EROTIC IN HORACE’S "ODES" The Ohio State University Ph.D. 1983 University Microfilms International300 N. Zeeb Road, Ann Arbor, Ml 48106 Copyright 1983 by Ancona, Ronnie All Rights Reserved FUGERIT INVIDA AETAS; SOME STUDIES OF TIME AND THE EROTIC IN HORACE'S ODES DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Ronnie Ancona, B.A., M.A. ****** The Ohio State University 1983 Reading Committee: Approved by: Charles L. Babcock Carl C. Schlam Mark Morford Adviser Department of Classics ACKNOWLEDGEMENTS My greatest thanks go to my adviser, Professor Charles L. Babcock, who worked with me on a regular basis from the initial stages of the dissertation through its completion. He provided t o with an ideal balance of always making me think and work harder while, at the same time, offering the greatest support and encouragement. The many hours we spent together discussing Horace and my dissertation were always valuable, frequently quite animated, and sometimes even a source of laughter. Perhaps most important, Professor Babcock helped me shape my ideas, while not only allowing, but insisting they remain my own. It has been a joy and a privilege to have had the opportunity to work under his guidance. I would like to extend my thanks to the other members of my dissertation comnittee, Professors Carl C. Schlam and Mark Morford, for their interest in my work and their learned criticism. I would also like to thank Professor Joseph H. Lynch of the Department of History for reading my dissertation and being willing to serve as the Graduate School Representative at the Final Oral Examination. To Caroline A. Perkins, friend, colleague, and fellow disserta­ tion writer, I owe thanks for valuable support of both an intellectual and emotional nature. My thanks go also to Ruth, Victor, and Barry Ancona for listening and for believing in me. I am grateful to those members of the Classics Department who often expressed interest in the progress of my work for helping to i i alleviate the inevitable sense of isolation experienced by most dissertation writers. Finally, my thanks to Susan Kemper for generously offering to proofread the manuscript and to Debbie McCloy for typing it. i i i VITA April 9, 1 9 5 1 ............. B o m - New York City 1968...................... Graduated, Hunter College High School, New York, New York 1968-1970 ................ Attended Grinnell College, Grinnell, Iowa 1971-197^ ................ Attended University of Washington, Seattle, Washington 1972 ...................... B.A., Latin, University of Washington, Seattle, Washington 197 3 ...................... Graduate Teaching Assistant, Classics Department, University of Washington, Seattle, Washington 197 4...................... M.A., Classics, University of Washington, Seattle, Washington 1973-1978 ................ Secondary School Latin Teacher, The Bush School, Seattle, Washington 197 7...................... Fulbright Scholarship to the Sumner Session at the American Academy in Rome, Italy 1978 ...................... Attended Summer Session of the American School of Classical Studies at Athens, Greece I978-I983 ................ Graduate Teaching Associate, Department of Classics, The Ohio State University, Columbus, Ohio PUBLICATION "Latin and a Dyslexic Student: An Experience in Teaching," The Classical World 76 (1982) 33-36. iv FIELDS OF STUDY Major Field: Classics Studies in Greek Literature. Professors June Allison, John Davis, Robert Lenardon, Stephen Tracy, and Eliot Wirshbo Studies in Latin Literature. Professors Charles Babcock, John Davis, Douglas Lacey, Mark Morford, Carl Schlam, Jane Snyder, Stephen Tracy, and Jchn Vaughn Studies in Linguistics, Roman History, Latin Paleography, and Reman Topography. Professors Michael Geis, Perry Rogers, Carl Schlam, and Charles Babcock v TABLE OF CONTENTS Page ACKNOWLEDGEMENTS................................................ ii VITA............................................................ iv INTRODUCTION................................................. 1 Chapter I. THE EFFECT OF THE KEY TEMPORAL ADVERB: COES 1.25, 2.5,..3.7.............................. 5 II. SEASON AND THE EROTIC: ODES 1.4, 4.7, 1.9, 1 . 2 3 ............................34 III. EXPERIENCE AND AGE: ODES 2.8, 4.13, 4.1................................ 60 IV. SOME CONCLUSIONS ON TIME AND THE EROTIC: ODES 1.11, 3 . 9 ..................................... 83 SELECTED BIBLIOGRAPHY.........................................94 v i INTRODUCTION Horace's Odes were written in the context of a long and impor­ tant literary tradition, including both Greek and Roman elements. The Greek sources upon which Horace drew for his lyrics include the lyric poets and the Hellenistic epigrammatists. Roman authors, be­ fore Horace's time and in the Augustan Age, who helped create the literary environment in which he wrote include Lucretius, Catullus, Tibullus, Propertius, and Vergil. Horace's relationship to his literary sources and the influence of the literary tradition upon him, while of obvious significance, are beyond the scope of this study, which is not intended as compara­ tive . -1- The primary purpose of this dissertation is to provide a fresh reading of the text through an examination of various temporal strate­ gies in erotic contexts. Recognition of a connection between time and love in Horace's lyrics is a common theme in Horatian scholarship.2 However a study has not yet been made of the extent to which time dominates erotic contexts in the Odes. By exploring several ways in which Horace weaves together time and love I hope to show that the temporal element in the erotic odes is more significant than has been realized and similarly that the erotic element in Horace's lyric poetry can be of more interest to the reader than many critics have allowed. An explanation of terminology is needed. In everyday English the word 'erotic' is often used as a synonym for 'arousing' or - 1 - -2- 'titillating.' In the course of this study I will be using the word in a broader fashion calling upon the literal or classical sense of the word as a term covering all things related to eros and conse­ quently as a term covering all aspects of love and sexual activity. In addition, when I use the name 'Horace* for the poet or his persona, the reader should be careful not to assume I am referring to the biographical Horace. There is much work still to be done in properly assessing Horace as a love poet in the Odes. Even Fraenkel, perhaps the most influen­ tial Horatian scholar of this century, devotes little attention to Horace as a love poet.3 R.G.M. Nisbet, coauthor of the current stan­ dard English conmentary on the first two books of Odes, thinks that "none of Horace's love-poems (if that is the right name for them) reaches the first rank."^ The following may be one explanation: ...Horatian criticism has long suffered from a Victorian hangover which condemns our poet's forthright treatment of the less romantic aspects of sexuality as an appropriate subject for poetry of real value.5 A significant group of Horatian scholars has fortunately shrugged off the 'Victorian hangover' and has found much of value in Horace's erotic lyrics.6 Following this development and by exploring the interrelation of time and love in the Odes I have become convinced that Horace should be judged an effective love poet. Isolating any one kind of poetry by topic within the Odes poses the danger of irretrievably unweaving the fabric that is Horatian lyric. The poems traditionally considered erotic account for about one quarter of the one-hundred-and-three odesIn my study, though, I have not confined myself to what all readers would consider love -3- poems and have included poems or parts of poems in which I felt the erotic element needed to be more fully treated. In order to study time and love in the Odes I have narrowed my focus to three ways by which the poet places emphasis on time in erotic contexts: the use of key temporal adverbs, the use of season­ al motif, and the portrait of the experienced lover.
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