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Journal articles on the topic 'Epodae (Horace)'

Author: Grafiati

Published: 13 December 2022

Last updated: 27 January 2023

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1

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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2

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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3

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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4

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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5

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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6

Cairns, Francis. "Horace Epode 11." Hermes 147, no. 4 (2019): 452. http://dx.doi.org/10.25162/hermes-2019-0038.

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7

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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8

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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9

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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10

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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11

Woodman, A. J. "PROBLEMS IN HORACE, EPODE 11." Classical Quarterly 65, no. 2 (September 2, 2015): 673–81. http://dx.doi.org/10.1017/s0009838815000166.

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Fraenkel dismissed Epode 11 with the statement that it ‘is an elegant piece of writing, but there is little real life in it’. By this ambiguously expressed comment he did not mean that the poem fails to ‘come alive’, but that it is artificial: he saw the poem as little more than an assembly of themes and motifs which recur in other genres, especially epigram and elegy. This has also been the perspective of some other twentieth-century scholars: Georg Luck's self-styled ‘interpretation’ of the poem consists largely of a numbered list of thirteen motifs which the epode has in common with elegy and which in Luck's opinion were derived by Horace from Gallus. Alessandro Barchiesi, on the other hand, capitalizes on the perceived elegiac motifs in order to see the poem as a dynamic fusion of elegy and iambus. As for commentators, although older representatives seem to have regarded Epode 11 as generally self-explanatory, the poem receives increasing attention from Cavarzere, Mankin and Watson, the last of whom originally discussed some of its problems in a paper published twenty years earlier. Yet various problems still remain, and in this paper I propose to re-examine lines 1–6 and 15–18 in the hope that a clearer view of the epode as a whole may emerge.

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12

Krauter, Stefan. "Adam und Romulus. Lateinische Dichtung in der Paulusexegese." Zeitschrift für die neutestamentliche Wissenschaft 111, no. 2 (October 1, 2020): 227–50. http://dx.doi.org/10.1515/znw-2020-0010.

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AbstractIn New Testament exegesis, quotations from Latin literature of the Early Principate are mostly used as evidence of Roman imperial ideology. This essay aims to show that it is worthwhile to deal more carefully with such literary texts. Horace’s seventh and sixteenth epodes are compared with passages from the letter to the Romans. Using the myth of Romulus’ fratricide, Horace expresses his despair during the civil wars. He imagines a fictional rescue by fleeing from Rome to a primeval “pre-lapsarian” paradise. Paul uses the myth of Adam and Eve to portray human captivity under sin from which Christ saves people from all nations. The parallels are not mere coincidence.

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13

Lowrie, Michele. "A Sympotic Achilles, Horace Epode 13." American Journal of Philology 113, no. 3 (1992): 413. http://dx.doi.org/10.2307/295462.

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14

Woodman, A. "Horace: Epodes. D Mankin (ed.)." Classical Review 48, no. 2 (February 1, 1998): 305–7. http://dx.doi.org/10.1093/cr/48.2.305.

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15

Cairns, Francis. "“Weak Sheep” in Horace, Epode 2, 16." L'antiquité classique 77, no. 1 (2008): 215–17. http://dx.doi.org/10.3406/antiq.2008.3721.

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16

Tatum, W. Jeffrey. "Faking It: "Dolor" in Horace, "Epode" 15." Quaderni Urbinati di Cultura Classica 63, no. 3 (1999): 131. http://dx.doi.org/10.2307/20546615.

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17

Heyworth, S. J. "Horace's Second Epode." American Journal of Philology 109, no. 1 (1988): 71. http://dx.doi.org/10.2307/294761.

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18

Crabstick, Ben. "William Ainsworth's Odes, Epodes, and Carmen Sæculare of Horace (c.1625) in a Bodleian Manuscript." Translation and Literature 24, no. 1 (March 2015): 42–56. http://dx.doi.org/10.3366/tal.2015.0183.

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The extensive Horace translation in Bodleian MS Rawlinson poetry 104 has been little noticed, but it may constitute the first full English version of the Odes, Epodes, and Carmen Saeculare. Its author is here identified and the likely circumstances of its composition examined. Transcriptions of five samples are supplied: Odes 1.37, 2.10, and 4.7; Epodes 2 and 12.

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19

Cowan, Robert. "Alas, Poor Io! Bilingual Wordplay in Horace Epode 11." Mnemosyne 65, no. 4-5 (2012): 753–63. http://dx.doi.org/10.1163/156852511x585026.

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20

Woodman, A. J. "O MATRE PVLCHRA: THE LOGICAL IAMBIST." Classical Quarterly 68, no. 1 (May 2018): 192–98. http://dx.doi.org/10.1017/s0009838818000228.

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‘Who wrote the scurrilous iambic poems of the first stanza?’, asks David West at the start of his commentary on the ode. ‘The culprit’, he declares, ‘must be Horace.’ This answer accords with that to be found in other commentaries: ‘my scurrilous verses’ (Page), ‘my scandalous lines’ (Gow), ‘my scurrilous iambics’ (Wickham), ‘my abusive iambics’ (Shorey), ‘miei ingiuriosi giambi’ (Colamarino and Bo), ‘my libellous iambics’ (Nisbet and Hubbard), ‘my libellous iambic verses’ (Quinn), ‘miei giambi ingiuriosi’ (Fedeli). What, then, are these iambic verses? Some earlier scholars suggested that Horace is referring to various of his epodes, such as those addressed to Canidia (5, 17); but our knowledge of Canidia (cf. alsoSerm.1.8) indicates that she would scarcely make plausible the accent on beauty in the first line of the ode. Most commentators, at least since the latter half of the nineteenth century, have believed that Horace is referring to some iambics which he had targeted at the ode's addressee but of which we now have no further knowledge: Kiessling and Heinze, for example, refer to ‘the satirical poems which Horace … has levelled at her’, while in the most recent commentary in 2012 Mayer says that Horace ‘assures an unnamed young woman that it rests with her to put an end to his vituperative attacks’.

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21

Damer, Erika Zimmermann. "Iambic Metapoetics in Horace, Epodes 8 and 12." Helios 43, no. 1 (2016): 55–85. http://dx.doi.org/10.1353/hel.2016.0001.

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22

Birnbaum, Rachel. "Black Humor in Horace’s Third Epode." Textus 25, no. 1 (August 19, 2010): 285–324. http://dx.doi.org/10.1163/2589255x-02501018.

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23

Gillespie, Stuart. "John Polwhele's Horatian Translations." Translation and Literature 30, no. 1 (March 2021): 52–71. http://dx.doi.org/10.3366/tal.2021.0445.

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The poems and translations of John Polwhele ( c.1606–1672) are preserved in a single autograph manuscript, Bodleian MS English poetry f. 16. Some have received intermittent scholarly attention in recent times, often on account of Polwhele's admiration for and emulation of Ben Jonson. As well as other classical translations, Polwhele's manuscript includes eleven poems and passages from Horace, nearly all of them versions of odes and epodes. A handful have been printed or partially printed before. The purpose of this contribution is to provide transcribed texts of the complete set in a uniform way in a single document. As well as the Jonsonian connections of Polwhele's Horatian writings, they are of scholarly interest because they use Horace as a vehicle for comment on the translator's own times, including events of the English civil war period such as the regicide of 1649.

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24

Kopek, Wojciech. "Elements of the Mime in Horace’s Epode “Quid tibi vis, mulier”." Roczniki Humanistyczne 67, no. 3 SELECTED PAPERS IN ENGLISH (October 29, 2019): 45–61. http://dx.doi.org/10.18290/rh.2019.67.3-3en.

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The Polish version of the article was published in Roczniki Humanistyczne vol. 61, issue 3 (2013). The aim of this article is to discover the literary context for Horace’s Epode 12 by juxtaposing it with Herondas’ mimes, particularly Mime 5, titled The Jealous Woman. The description of the relationship between these works is based on the ancient theory of rhetoric and on elements of Horace’s Ars poetica. It has been established that Epode 12 has numerous features of the literary mime: it is an apparent dialogue (sermocinatio, παρῳδή) recited by a single performer (mime), most probably in the scenery of an ancient feast. A participant in the feast becomes an actor, who first performs the role of a male lover (iuvenis) and then the role of a superannuated female lover (mulier). These character types are typical of both Old and New Comedy styles, but the whole dramatic setting seems to bear the greatest resemblance to Mime 5, in which the same literary protagonists are found in a scene analogous to a lovers’ quarrel. On the one hand, specific rhetorical figures (imitatio / μίμησις) indicate that the literary original was used in a creative manner. On the other, Mime 5 can also be used in the interpretation of Epode 12. This interpretation can be built on the processes of liberation and subjugation as part of the lovers’ relationship (actual subjugation in Mime 5 and metaphorical—financial—in Epode 12, where the iuvenis is the mulier’s “kept man”).

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25

Dettmer, Helena, Horace, and Daniel H. Garrison. "Horace: Epodes and Odes, a New Annotated Latin Edition." Classical World 86, no. 2 (1992): 164. http://dx.doi.org/10.2307/4351289.

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26

McMaster, Aven. "Dedications and Status: Catullus 1 and Horace Epodes 1." Classical World 107, no. 2 (2013): 199–215. http://dx.doi.org/10.1353/clw.2013.0119.

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27

Gitner, Adam. "A Satyriastic Epiphany in Horace’s Eleventh Epode." American Journal of Philology 137, no. 4 (2016): 689–728. http://dx.doi.org/10.1353/ajp.2016.0036.

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28

Prince, Meredith. "Canidia Channels Medea: Rereading Horace’s Epode 5." Classical World 106, no. 4 (2013): 609–20. http://dx.doi.org/10.1353/clw.2013.0074.

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Barchiesi, Alessandro, and Lindsay C. Watson. "A Commentary on Horace's "Epodes"." Classical World 99, no. 4 (2006): 455. http://dx.doi.org/10.2307/4353075.

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30

Fitzgerald, William. "Power and Impotence in Horace's Epodes." Ramus 17, no. 2 (1988): 176–91. http://dx.doi.org/10.1017/s0048671x00003143.

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Horace's Epodes are seldom considered as a whole. On the face of it, there would seem to be good reason for this fact. It is generally agreed that the poems were written over a period of ten years (from after Philippi to after Actium), during which time there was a great deal of change in the Roman world and in Horace's circumstances. Furthermore, the collection contains a considerable diversity of themes, genres and what, for lack of a better expression, one must call levels of reality. The Archilochean persona maintained in several of the poems is a unifying factor, of course, but it has not seemed pervasive enough to have allowed a systematic interpretation of the whole collection, and even within the Archilochean group scholars have tended to separate the political poems from the invective poems.3 Attempts to find some principle of arrangement for the collection have not been very enlightening, since they have rarely amounted to more than classifying each of the poems by type or theme (usually a completely unsystematic mixture of both), and then putting them into groups, which reveals structural patterns that have a no more than decorative function, or else simply displays Horace's penchant for variatio.

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31

Millar, Fergus. "Ovid and the Domus Augusta: Rome Seen from Tomoi." Journal of Roman Studies 83 (November 1993): 1–17. http://dx.doi.org/10.2307/300975.

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The greatest works of what we normally call ‘Augustan’ literature were produced by writers who came to maturity in the Triumviral period, and were already established as major authors before January 27 B.C., when ‘Imperator Caesar Divi filius’, whom we like to call ‘Octavianus’, gained the unprecedented cognomen ‘Augustus’. By that moment the Eclogues and Georgics of Virgil, the Epodes and Satires of Horace, and Book 1 of the Elegies of Propertius were already written. Livy had composed his sombre Praefatio, and probably the whole first pentad, in the later Triumviral period, perhaps around the time of Actium or soon after.

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32

Parker, Holt N. "Horace Epodes 11.15-18: What Shame Got to Do With It?" American Journal of Philology 121, no. 4 (2000): 559–70. http://dx.doi.org/10.1353/ajp.2000.0056.

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33

Sydenham, C. "Horace; The Complete Odes and Epodes - A New Translation. D West." Classical Review 48, no. 2 (February 1, 1998): 307–9. http://dx.doi.org/10.1093/cr/48.2.307.

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Barchiesi, Alessandro. "A Commentary on Horace's Epodes (review)." Classical World 99, no. 4 (2006): 455. http://dx.doi.org/10.1353/clw.2006.0057.

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35

Pelling, C. B. R. "Puppes Sinistrorsum Citae." Classical Quarterly 36, no. 1 (May 1986): 177–81. http://dx.doi.org/10.1017/s0009838800010636.

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Nisbet and Kraggerud make good cases for taking the ninth Epode as a dramatic recreation of the Actium campaign. Horace begins in fearful anticipation; then the crisis comes, first on land and then on sea; Antony turns to flight; and — even though some danger remains, and there is metus as well as joy at the end of the poem — the celebrations can finally begin. On this reading there remains the familiar problem of vv. 17–20:at huc frementes uerterunt bis mille equosGalli canentes Caesarem,hostiliumque nauium portu latentpuppes sinistrorsum citae.The first couplet clearly relates to the defection of Amyntas' Galatians, the decisive moment in the fighting on land; the second must describe the crucial battle on sea. There is no problem in portu latent. The fleet has withdrawn, and is skulking in harbour instead of fighting. But what of nauium…puppes sinistrorsum citae? The difficulty is notorious: the secondary sources do not clearly describe any movement ‘toward the left’, and it is hard to see why Horace chooses so enigmatic a phrase to capture the fighting. His audience would not make much of the topographical detail in any case: unless they had been at Actium themselves (and most of his readers of course had not), their reaction to the words would centre on other associations — the contrast between these magnificent puppes (Antony's ships were probably already famed for their size and grandeur) and their undignified sideways movement; the suggestions of ill omen in sinistrorsum.

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36

Sharrock, A. R. "The Drooping Rose: Elegiac Failure in Amores 3.7." Ramus 24, no. 2 (1995): 152–80. http://dx.doi.org/10.1017/s0048671x00002253.

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nos quoque delectant, quamuis nocuere, libelli,quodque mihi telum uulnera fecit, amo.(Tr. 4.1.35f.)My books delight me, even though they have harmed me,and I love the weapon which caused my wound.In Amores 3.7, Ovid sings, hymns, celebrates his own impotence. Why?In stark contrast with its nearest Latin relative, Horace's most grotesque, violent and abusive impotence poem (Epode 12, to be discussed later), Am. 3.7 is an erotic poem, and could even be considered a gentle one, perhaps excepting the couplet 67f. which is the emphatic opposite of the rest of the poem.

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37

Mañas Núñez, Manuel. "La poesía pederástica en Horacio: el epodo XI." Emerita 64, no. 2 (December 30, 1996): 333–50. http://dx.doi.org/10.3989/emerita.1996.v64.i2.235.

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38

Ramírez de Verger, Antonio. "Apostillas a las ediciones de los Epodos de Horacio." Cuadernos de Filología Clásica. Estudios Latinos 41, no. 2 (December 2, 2021): 259–73. http://dx.doi.org/10.5209/cfcl.79137.

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El artículo trata de corregir inexactitudes en la información ofrecida en los aparatos críticos de las ediciones horacianas de los Epodos. Al mismo tiempo, se ofrecen observaciones y propuestas textuales al texto horaciano

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39

Cucchiarelli, Andrea. "Lindsay C. Watson: A Commentary on Horace’s Epodes." Gnomon 77, no. 8 (2005): 673–76. http://dx.doi.org/10.17104/0017-1417_2005_8_673.

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40

Ulrich, Jeffrey P. "Nostalgia for Paradise: The Escape from Time in Horace's Epode 16." American Journal of Philology 143, no. 3 (September 2022): 413–45. http://dx.doi.org/10.1353/ajp.2022.0017.

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41

Townshend, James R. "O Ego Non Felix: Inachia, Lesbia, and Horace's Epodes." American Journal of Philology 141, no. 4 (2020): 499–536. http://dx.doi.org/10.1353/ajp.2020.0028.

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42

Wright. "Nocturnus Occurram Furor: The “Night-Mare” in Horace, Epodes 5 and 17." Preternature: Critical and Historical Studies on the Preternatural 10, no. 1 (2021): 34. http://dx.doi.org/10.5325/preternature.10.1.0034.

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43

KNOX, PETER E. "THE SERPENT IN THE AUGUSTAN GARDEN: HORACE’S FIRST EPODE AND THE ARA PACIS." Classical Journal 107, no. 1 (2011): 65–71. http://dx.doi.org/10.1353/tcj.2011.0039.

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Fraschini, Alfredo Eduardo. "Oralidad y escritura en el corpus lírico de Horacio." Classica - Revista Brasileira de Estudos Clássicos 13, no. 13/14 (December 1, 2001): 351. http://dx.doi.org/10.24277/classica.v13i13/14.496.

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Abstract:

O presente trabalho propõe uma incursão pelos traços específicos de oralidade e pelos procedimentos pontuais de escrita nas Odes e Epodos de Horácio. Uma vez estabelecidos os conceitos de oralidade e de escrita, com os quais se realiza a referida incursão, passa-se ao exame das principais estratégias do autor em ambos os campos: vocativos, marcas de primeira e segunda pessoas do discurso, interrogações, exortações e atitudes combinadas, jogos de exemplos e apotegmas, para a oralidade; linhas temáticas condutoras (particularmente o tempo) e jogo de oposições como procedimento unificador, para a escrita. Como aspecto essencial e fator de unidade estética, a música, apenas deduzível a partir da métrica, mas presente na palavra e no verso. As conclusões apontam para o estreito vínculo que, com fins expressivos, se estabelece entre tais estratégias.

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PETER E. KNOX. "THE SERPENT IN THE AUGUSTAN GARDEN: HORACE’S FIRST EPODE AND THE ARA PACIS." Classical Journal 107, no. 1 (2011): 65. http://dx.doi.org/10.5184/classicalj.107.1.0065.

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McCarter, Stephanie. "Horace's Epodes: Context, Intertexts, & Reception by Philippa Bather and Claire Stocks." Classical Journal 112, no. 4 (2016): 504–7. http://dx.doi.org/10.1353/tcj.2016.0001.

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Dozier, Curtis. "Innovative Invective: Strength and Weakness in Horace’s Epodes and Quintilian’s Institutio Oratoria." American Journal of Philology 136, no. 2 (2015): 313–52. http://dx.doi.org/10.1353/ajp.2015.0026.

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Houghton, L. B. T. "Horace’s Epodes: Context, Intertexts, and Reception, ed. Philippa Bather and Claire Stocks." International Journal of the Classical Tradition 25, no. 1 (January 25, 2017): 89–92. http://dx.doi.org/10.1007/s12138-017-0438-6.

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Hawkins, Julia Nelson. "The Barking Cure: Horace’s “Anatomy of Rage” in Epodes 1, 6, and 16." American Journal of Philology 135, no. 1 (2014): 57–85. http://dx.doi.org/10.1353/ajp.2014.0006.

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Chadha, Zara. "HORACE'S EPODES IN CONTEXT - (P.) Bather, (C.) Stocks (edd.) Horace's Epodes. Contexts, Intertexts, and Reception. Pp. xiv + 279, ill. Oxford: Oxford University Press, 2016. Cased, £70, US$110. ISBN: 978-0-19-874605-8." Classical Review 67, no. 1 (December 29, 2016): 95–97. http://dx.doi.org/10.1017/s0009840x16002973.

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