Relevant bibliographies by topics / Epodae (Horace)

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  2. Dissertations / Theses
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  4. Book chapters

Academic literature on the topic 'Epodae (Horace)'

Author: Grafiati
Published: 13 December 2022
Last updated: 27 January 2023

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Journal articles on the topic "Epodae (Horace)"

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Lyne, R. O. A. M. "Structure and Allusion in Horace's Book of Epodes." Journal of Roman Studies 95 (November 2005): 1–19. http://dx.doi.org/10.3815/000000005784016289.

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This article, which was substantively complete at the time of Professor Lyne's sad death, takes a close look at Horace Epodes 13. Lyne displays the complex intertextual and generic resonances of the poem, which is crossed between iambic and lyric ancestry. The poem also functions as a major structural element in the book of Epodes, since it appears to signal a closure which does not happen, and which is wittily picked up in the following poem's apology to Maecenas for the poet's inability to finish the book. This play with finishing, and with iambic books of 13 or 17 poems in length, alludes to Callimachus and his book of Iambi. The closural elements in Epode 13 resonate which similar closurality in Iambus XIII, and the continuation in Epodes 14–17 is Horace's reflection on the puzzle about whether Iambus XIII represents closure ‘followed by heterogeneous material [filled out either by Callimachus himself or by a copyist] or “false closure” followed by more Iambi’.
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Phillips, Tom. "GLOSSING ACHILLES: HORACE, EPODE 13." Cambridge Classical Journal 61 (June 15, 2015): 91–98. http://dx.doi.org/10.1017/s1750270515000020.

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This paper argues that the final couplet of Horace, Epode 13 alludes both to the description of Achilles playing the lyre in Iliad 9 and to ancient scholarly debate about the Homeric passage. Horace's reworking of the Iliad underlines his transfer of epic material to a sympotic setting, and the scholarly allusion reinforces Horace's presentation of himself as a symposiastic speaker by drawing on the tradition of symposia as sites of learned conversation. This dual engagement with Homer encourages readers to see their own responses to Horace's poem as part of a continuum of literary debate.
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Heslin, Peter. "Metapoetic Pseudonyms in Horace, Propertius and Ovid." Journal of Roman Studies 101 (June 14, 2011): 51–72. http://dx.doi.org/10.1017/s0075435811000062.

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AbstractTwo poets addressed by Propertius in his first book are in fact pseudonyms. Ponticus was formed on the model of Horace's Alpinus to designate someone who embodies the antithesis of the poet's Callimachean sensibilities. Bassus is none other than Horace himself, who was then in the course of writing iambics. In the eleventh epode, Horace responded in kind by creating the pseudonyms Pettius, Lyciscus and Inachia, all of which derive from aspects of Propertius' first book. This exchange between Horace and Propertius has echoes in their later work. We conclude by examining why Ovid seems to treat Ponticus and Bassus as real poets in the Tristia.
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Montorfano, Tommaso. "Virgilio e Orazio in un dialogo a distanza (Verg. Ecl. 4.4; Hor. Epod. 16.1 e Verg. Aen. 1.291)." ACME - Annali della Facoltà di Lettere e Filosofia dell’Università degli Studi di Milano, no. 03 (December 2012): 253–64. http://dx.doi.org/10.7358/acme-2012-003-mont.

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At a ten-year mark, a verse written by Virgil (Aen. 1.291) looks like a longexpected answer to his friend Horace, who had in turn alluded to a Virgil’s poem in epod. 16. During the hundred-year-old discussion about the relationships between eclogue 4 and epode 16, the stylistic element known as "motto" has seemed conclusive to determine the precedence of Virgil’s poem on Horace’s one. At different stages, Alberto Cavarzere argued that Hor. epod. 16.1 was an answer to Verg. ecl. 4.4. In my opinion, the same rhetoric device was used about ten years later by Virgil, answering in turn to Horace’s "motto". As a conclusion, we can indeed relate Hor. epod. 16.1 and Verg. Aen. 1.291, since from several points of view (content, context, style, metric features) Virgil’s verse seems to continue the alexandrine dialogue engaged ten years before by Horace’s epode.
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Harrison, S. J. "Two Notes on Horace, Epodes (10, 16)." Classical Quarterly 39, no. 1 (May 1989): 271–74. http://dx.doi.org/10.1017/s0009838800040738.

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Epode 10: the Mystery of Mevius' CrimeHorace's tenth Epode, an inverse propempticon, calls down dire curses on the head of a man named Mevius as he leaves on a sea-voyage.1 Scholars have naturally been interested in what Mevius had done to merit such treatment, but answers have been difficult to find, for nothing explicit is said on this topic in the poem; as Leo noted, ‘[Horatius] ne verbo quidem tarn gravis odii causam indicat’. This is in direct contrast with the Strasbourg epode usually attributed to Hipponax (fr. 115 West), which served as Horace's model in this poem; there it is clear that the similar curses on a departing sailor are caused by his breaking of oaths to the poet and betrayal of their previous friendship (15–16 ⋯ς μ' ἢδίκησε, λ⋯ξ δ' ⋯π' ⋯ρκίοις ἔβη, τò πρίν ⋯ταῖρος ⋯ώμ ). One might expect Horace to give some kind of indirect suggestion of the nature of Mevius’ offence, but even this is despaired of by Fraenkel: ‘There is no hint at the sort of crime which Mevius is said to have committed, nor is anything said about the man himself; he remains an entirely shadowy figure’. The best that scholars have been able to do is to follow the ancient commentary of Porphyrio in suggesting that Horace's Mevius is to be identified with the poetaster attacked by Vergil in Ecl. 3.90 ‘qui Bavium non odit, amet tua carmina, Mevi’. Though it is pleasant to think of Vergil and Horace, perhaps by now friends in the circle of Maecenas, ganging up on a luckless hack, there is, as Fraenkel points out, no mention in the tenth Epode that Mevius is a poet, and his literary incompetence, assuming he is Vergil's poet, does not seem to underlie or indeed warrant the bitter imprecations of the poem: Catullus might wish a dire fate on the works of a bad poet (e.g. Volusius – 36.18–20, 95.7–8), but to long for their author's shipwreck and consumption by gulls might indeed seem excessive.
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Cairns, Francis. "Horace Epode 11." Hermes 147, no. 4 (2019): 452. http://dx.doi.org/10.25162/hermes-2019-0038.

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Harrison, S. J. "Horace, Epode 6.16." Classical Quarterly 37, no. 2 (December 1987): 523–24. http://dx.doi.org/10.1017/s0009838800030780.

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Here Horace gives warning to an adversary of his powers of literary attack, comparing himself with the great iambists Archilochus (‘Lycambae spretus infido gener’) and Hipponax (‘acer hostis Bupalo’). The general sense of the last two lines seems clear: ‘If someone attacks me (gifted as I am with the weapons of the iambist), shall I weep like a mere boy?’, i.e. ‘Am I not to take revenge?’
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Kopek, Wojciech. "Bellum civile, bellum externum. Ambiwalencja obrazów wojny w twórczości Horacego." Annales Universitatis Paedagogicae Cracoviensis | Studia Historicolitteraria 15 (December 12, 2017): 3–14. http://dx.doi.org/10.24917/3909.

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Bellum civile, bellum externum. Ambivalence of war images in Horace’s works The article aims at illustrating and explaining the ambivalence of images of just, external war (bellum externum) and civil, fratricidal war (bellum civile) in relation to the ancient literary theory and criticism, the phenomenon of political and cultural ‟patronage” and the political events of Augustan period. By analyzing the odes II 7 and III 2, epode 9 and ode I 37 the author argues that Horace’s initial litterary concept of presentation of civil and external war conventions as fas/nefas changes under the patronage. However, the poet himself, trying to preserve the poetic autonomy and meet the requirements of the ancient literary theory and criticism includes a new political and social situation in the sphere of his work.Key words: Horace; criticism; war; patronage; autonomy;
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Batstone, William W. "Horace Epode 16.15-16." American Journal of Philology 106, no. 2 (1985): 237. http://dx.doi.org/10.2307/294649.

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Hollis, A. S. "Two adynata in Horace, Epode 16." Classical Quarterly 48, no. 1 (May 1998): 311–13. http://dx.doi.org/10.1093/cq/48.1.311.

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Horace had good reason to know these lines (quoted by Diodorus Siculus 8.21) since they come from the foundation oracle of one of his favourite places, Tarentum, delivered to the founder Phalanthus whom Horace mentions in Odes 2.6.11–12, ‘regnata petam Laconi | rura Phalantho’. It is a regular feature of such oracles that, however absurd and impossible they may seem, they will be fulfilled in a quite unexpected way.
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Dissertations / Theses on the topic "Epodae (Horace)"

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Meyer, John Clifford. "The animal themes in Horace's Epodes." Thesis, Stellenbosch : Stellenbosch University, 2014. http://hdl.handle.net/10019.1/86343.

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Thesis (MA)--Stellenbosch University, 2014.
ENGLISH ABSTRACT: This thesis focused on the animal themes while attempting to make a comprehensive analysis of such themes as they were portrayed in the Epodes of Horace. A close analysis of each poem that contains animals was made. The aim of such an analysis was twofold, firstly to arrive at a possible interpretation of said themes in each specific poem; secondly to indicate how Horace used these animal themes to enhance the meaning of the Epodes. To support this second aim the various animal themes were arranged according to a list of five functions associated with the themes, namely invective, irony and humour, exempla, metaphor and colouring or setting. Finally the investigation aimed at achieving not only a better understanding of the animal themes per se but also an enhanced appreciation of the entire collection.
AFRIKAANSE OPSOMMING: Die diere temas is die fokuspunt van hierdie tesis terwyl daar gepoog word om ‘n omvattende ontleding van die temas soos uitgebeeld deur die Epodes van Horatius, uit te voer. ‘n Deeglike ontleding van die diere temas soos gevind in die verskillende gedigte, is gemaak. Die doel van hierdie ontledings was tweeledig, eerstens om die moontlike interpretasie van die temas vir elke spesifieke gedig te verstaan; en tweedens om aan te dui hoe Horatius die diere temas aangewend het om die Epodes ruimer uit te beeld. Ter ondersteuning van die tweede doel is die verskillende diere temas volgens ‘n lys van vyf funksies wat met die temas vereenselwig kan word, ge-orden naamlik oordrewe kritiek, ironie, humor, exempla, metafoor en voorkoms of aanbieding. Ten slotte poog die ondersoek om nie net ‘n beter begrip van die diere temas te bevorder nie maar ook om waardering vir die totale versameling van die gedigte te bevorder.
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Wolstencroft, Sarah May. "Generic refashioning and poetic self-presentation in Horace's Satires and Epodes." Thesis, University of Glasgow, 2017. http://theses.gla.ac.uk/7948/.

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This thesis will examine Horace’s two books of Satires and his collection of Epodes and will look at three main aspects of the collections: how the three volumes are connected through a shared dialogue with each other, the issue of genre and the task of literary self- fashioning against a problematic political landscape. In particular, I will look at the influence of Lucilius on Horace and show how Horace’s reworking of Lucilian satire plays a vital role in his presentation of himself and his development as a poet. I will examine the Lucilian allusions and intertextuality found within Horace’s work and will show how Horace’s treatment of iambic poetry is connected to his refashioning of Lucilian satire. Horace’s first book of Satires, where the poet announces himself with his updated version of Lucilius’ genre, works as a vital reference point for the following two collections. I will show how the three volumes are linked through repeated references to and echoes of each other as Horace employs his previous work for different effects throughout the collections. I will examine how Horace continually uses what has gone before – either his own work or that of his generic predecessor Lucilius – to progress and establish himself as a poet. I will also consider the political context of Horace’s early work and the effect of this on Horace’s establishment as a poet and his handling of different genres. I will show how Horace adopts and adapts satire and iambic poetry to create literary works appropriate for both the poetic and political tastes of his time.
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Hasegawa, Alexandre Pinheiro. "Dispositio e distinção de gêneros nos Epodos de Horácio: estudo acompanhado de tradução em verso." Universidade de São Paulo, 2010. http://www.teses.usp.br/teses/disponiveis/8/8143/tde-20062011-110201/.

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O presente trabalho tem por objetivo, inicialmente, investigar os modos como Horácio organiza seus poemas e livros e como faz a passagem de um poema a outro, buscando seus antecedentes, seja na poesia grega, seja na latina. Concentra-se, depois, no livro de Epodos, que apresenta duas partes muito claras: a primeira do epod. 1 ao 10 e a segunda do epod. 11 ao 17. Tal divisão é a base da tese que se propõe a distinguir iambo de epodo na obra invectiva de Horácio, que se serviu não só dos modelos gregos, arcaicos e helenísticos, mas também de modelo latino. Do estudo que se fez decorrem alguns critérios da tradução proposta em verso: é a primeira tradução poética em português de todo livro dos Epodos. Recolhem-se, por fim, todas as traduções poéticas em português que foram encontradas, apresentadas por pequena introdução.
The initial objective of the present work is to investigate how Horace organizes his poems and books and how he operates the transition from one poem to the next. In order to accomplish that, his predecessors both in Greek as in Latin poetry were studied. Subsequently, it focuses on the Book of Epodes, which can be clearly be divided into two parts: the first, from epod. 1 to 10, and the second from epod. 11 to 17. Such division is the basis of this thesis, which proposes a distinction between iambus and epodes in Horaces invective work. Horace made use not only of Archaic Greek and Hellenistic but also of Latin models. From this study, some criteria for the proposed translation in verse were derived: this is the first poetic translation into Portuguese of the whole Book of Epodes. Finally, all the poetic translations into Portuguese that could be found were gathered and they are preceded by a brief introduction.
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Paule, Maxwell Teitel. "Canidia: A Literary Analysis of Horace's Witch." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1343685076.

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Fouto, Catarina I. B. C. "Edition and study of Teive's Epithalamium : the Epodon libri tres (1565) and Neo-Latin literature in Counter-Reformation Portugal." Thesis, University of Oxford, 2012. http://ora.ox.ac.uk/objects/uuid:0b820530-7df0-4f36-9af6-b83add38c798.

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This dissertation comprises the first study of the poetry of the Portuguese humanist Diogo de Teive (1513-14 – c. 1569). It examines and presents a scholarly edition of the Epithalamium which Teive composed on the occasion of the marriage of Princess Maria of Portugal to Alessandro Farnese in 1565. It also critically explores the work in which the poem was published, the Epodon libri tres (Lisbon, 1565). Because both this and the Epithalamium bring together different strands of Teive’s literary work, Chapter One analyses the development of his literary career, linking it to the ideological and cultural transformations which took place in Portugal from the 1540s to the 1560s, and the author’s attempt to carve his identity and space in the Portuguese literary scene. Chapter Two explores the concepts of ‘imitatio’ and ‘mimesis’ in the Epodon libri tres, shedding light on specific aspects of the Epithalamium. In the eyes of his readers, Teive emerges as a Catholic Horace. This is achieved by means of formal imitation, ‘aemulatio’, and allusion to Horace, a process whereby Teive introduces significant and ideologically motivated differences representative of the impact of Counter-Reformation upon literary writing. The ‘aemulatio’ of Prudentius’s Peristephanon in book II is to be understood in this light. Part Two engages with Teive’s comments on questions of verbal representation in the Epodon libri tres. Chapter Three analyses the Epithalamium from a generic perspective, arguing that it presents instances of generic enrichment, and that these are an example of the appropriation of occasional poetry for the purpose of authorial self-representation. One of the instances of generic enrichment is the incorporation of a didactic passage indebted to the tradition of the ‘speculum principum’, which is analysed in Chapter Four. Part One interprets the rewriting and appropriation of Plutarch and Erasmus as authorising strategies whereby Teive represents himself as an advisor of kings in the Epodon libri tres. Part Two discusses the author’s political thought and opinions, drawing from an analysis of the Epithalamium. Finally, Chapter Five comprises the study of the transmission of the poem, its metrical analysis, edition, translation, and commentary.
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Hay, Paul Jerome. "Sexual personae in Horace's erotic poetry." Thesis, 2012. http://hdl.handle.net/2152/ETD-UT-2012-05-5410.

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The application of persona theory to the poetry of Horace is a well-established method of critical analysis, but in Horace’s love poems we can also distinguish various erotic voices. The Odes and Epodes of Horace feature several distinct sexual personae as the speakers of the poems. Horace the Lothario is a witty, didactic, slightly detached expert on love and erotic behavior. Horace the Excluded Lover is a gloomy failure at love who desires someone he cannot have. Horace the Ephebophile seeks as the object of his erotic desire a young man generally older than traditional Roman pederasty would suggest, but this desire is coded and suppressed. Horace the Moralist, possibly in ironic relation to the other three, attacks loose sexual morals and praises Augustus for returning chastity and monogamy to Rome. Finally, the sexual personae of some of Horace’s poems defy simple categorization and must be analyzed more closely in order to explain the nature of the speaker. This methodology, the division into sexual personae, allows us to give a fresh critical appraisal to Horace’s erotic poetry.
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Books on the topic "Epodae (Horace)"

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1943-, Mulroy David D., and Horace, eds. Horace's odes and epodes. Ann Arbor: University of Michigan Press, 1994.

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A commentary on Horace's Epodes. Oxford: Oxford University Press, 2003.

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Odes and epodes. Cambridge, Mass: Harvard University Press, 2004.

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H, Garrison Daniel, and Horace, eds. Epodes and odes. Norman: University of Oklahoma Press, 1991.

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Horace. The odes and epodes. Cambridge, Mass: Harvard University Press, 1988.

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Alexander, West David, and Horace, eds. The complete Odes and Epodes. Oxford: Oxford University Press, 2008.

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Horace. The complete Odes and Epodes. New York: Oxford University Press, 1997.

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Herzlieb, Christian Friedrich Karl, 1760-1794., Uz Johann Peter 1720-1796, Killy Walther, Schmidt Ernst A, and Horace, eds. Glanz der Bescheidenheit: Oden und Epoden :Lateinisch und Deutsch. 2nd ed. Zürich: Artemis-Verlag, 1987.

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Horace. Horace: Odes and Epodes by Horace. Independently Published, 2019.

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Michèle, Lowrie, ed. Horace: Odes and Epodes. Oxford: Oxford University Press, 2009.

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Book chapters on the topic "Epodae (Horace)"

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Mellein, Richard. "Horaz: Epoden liber." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_11296-1.

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Cain, Tom, and Ruth Connolly. "The Praises of a Country Life. Horace, Epode 2." In The Poems of Ben Jonson, 1080–85. London: Routledge, 2021. http://dx.doi.org/10.4324/9781315696195-350.

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Tarrant, Richard. "Before the Odes." In Horace's Odes, 6–24. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780195156751.003.0002.

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After sketching the contours of the Roman literary scene at the start of Horace’s career, this chapter focuses on the two bodies of poetry that Horace produced before turning to the lyric poetry represented by the Odes: satires in two books and iambic poetry (also known as the Epodes). It is suggested that Horace’s relationship to the poetic personality required by those genres—the critic of society in the Satires and the poet of invective in the Epodes—was an ambivalent one. Several passages of Satires 1.1 are analyzed, highlighting this ambivalence and also revealing the early development of the poet’s style.
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"Horace: Epode II." In The Poems of John Dryden: Volume Two, 409–17. Routledge, 2014. http://dx.doi.org/10.4324/9781315843353-47.

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Hammond, Paul, and David Hopkins. "Horace: Epode II." In Dryden Selected Poems, 350–56. Routledge, 2020. http://dx.doi.org/10.4324/9781003070771-15.

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Hammond, Paul, and David Hopkins. "Horace: Epode II." In Dryden Selected Poems, 350–56. Routledge, 2020. http://dx.doi.org/10.1201/9781003070771-15.

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Hejduk, Julia Dyson. "Horace." In The God of Rome, 103–55. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190607739.003.0003.

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The analysis of Jupiter in Horace shows the importance of genre in assessing the poet’s “philosophy” or “theology.” Our possession of Horace’s works in their entirety lets us see the different faces Jupiter presents: satirist’s ally, desirable lover, cause and punisher of civil war, avatar of Fortune, parallel to Augustus, tribal god of Rome, and many more. The Satires show us a basic alliance between Jupiter and the satirist, both disgusted at human foibles. In the Epodes, Jupiter participates in the impotentia of a world gone awry, sometimes at the mercy of nature, sometimes the recipient of ineffectual prayers, sometimes a player in an impossible fantasy of escape, even though he created the conditions that allowed fratricide to flourish. Odes 1–3 make the god a key player in Horace’s journey from the poetics of war to those of peace, with all that implies about the ascendance of Augustus. The Epistles, the Carmen Saeculare, and Odes 4 represent a diminuendo in Jupiter’s importance as he becomes eclipsed by the new gods of the Augustan regime: Apollo and Augustus himself. In the Ars Poetica, Jupiter has all but disappeared. Perhaps the most comprehensive conclusion is essentially a negative one: Horace makes Jupiter neither a consistent locus for protest nor a consistent purveyor of “Augustan” values.
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Bather, Philippa, and Claire Stocks. "Horace’s Epodes." In Horace’s Epodes, 1–30. Oxford University Press, 2016. http://dx.doi.org/10.1093/acprof:oso/9780198746058.003.0001.

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Morrison, A. D. "Lycambae spretus infido gener | aut acer hostis Bupalo." In Horace’s Epodes, 31–62. Oxford University Press, 2016. http://dx.doi.org/10.1093/acprof:oso/9780198746058.003.0002.

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Goh, Ian. "Of Cabbages and Kin." In Horace’s Epodes, 63–84. Oxford University Press, 2016. http://dx.doi.org/10.1093/acprof:oso/9780198746058.003.0003.

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