Classical Literature and Philology Commons^™

Poetics As Rhetoric In The Works Of Horace, Lauren W. Brown

Foreign Languages & Literatures ETDs

This project demonstrates how Horace uses rhetoric in his poetics in order to advocate for moderation. The first chapter focuses on the rhetorical strategies of the Satires, in which Horace uses a poetic persona with an ambiguous social status and that acts as a bad exemplum of the morals he advocates for. The chapter also explores Horace’s use of a motif where something that appears quantifiably larger is, in fact, either of equal or lesser worth, which also appeals to issues of class. The second chapter turns to Horace’s use of rhetoric in the Odes. In the Odes, Horace focuses …

Quidlibet Audendi Potestas: Deviant Word Order In The Odes Of Horace, Henry R. Bauer

Honors Program: Senior Projects (Public)

This senior thesis, entitled "Quidlibet audendi potestas: Deviant Word Order in the Odes of Horace," represents a sort of dry run for a method of answering empirically the questions of whether, how, and how much the word order of Latin verse systematically differs from that of Latin prose. The present project consists of comparing the attested word orders in Horace for cases of two frequent grammatical phenomena – clause-initial verbs and premodifier hyperbaton – against the prose data presented by A.M. Devine and L.D. Stephens in their monograph, Latin Word Order: Structured Meaning and Information. Devine and …

Cynic And Epicurean Parrhesia In Horace's Epodes 5 & 6: Appropriating A Parallel Philosophical Debate For Poetic Purposes, Kent Klymenko

Dissertations, Theses, and Capstone Projects

Within Horace's fifth and sixth Epodes there is a juxtaposition of canine imagery. This imagery parallels two different interpretations of the philosophical concept of parrhesia or frank speech. Horace examines the parrhesia of Cynicism and contrasts it with the parrhesia of Epicureanism. After establishing Horace's philosophical influences, I engage in a close reading of the two poems through the lens of these competing philosophical interpretations of the same concept. I make the argument that Horace is using his knowledge of philosophy to make a larger poetic point. Although Horace's own stance on parrhesia favors Epicureanism, to the extent that one …

Iambic Metapoetics In Horace, Epodes 8 And 12, Erika Zimmerman Damer

Classical Studies Faculty Publications

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 during encounters with a repulsive sexual partner. The tone of these Epodes is unmistakably that of …

A Poet's Request : Text And Subtext In Horace's Odes 1.1, Virginia C. Cook

Theses, Dissertations and Capstones

As the first poem within Horace's original publication of Odes, Odes 1.1 embodies aspects of theme and style representative of the poet's approach to the genre of lyric poetry. The Odes of Horace allow various interpretations by the reader based on construction, vocabulary and imagery. This thesis explores Odes 1.1 in its entirety through such approaches and focuses on the text and subtext incorporated by the poet. The first chapter sets the foundation needed in order to begin a study of Horace's lyric poetry, detailing the genre as a whole, the life of the poet, as well as the contradiction …

Horace, Maecenas And Odes 2.17, Emily A. Mcdermott

Classics & Religious Studies Faculty Publication Series

Few of Horace's Odes have occasioned as little recent critical commentary as his poetic pledge to die along with Maecenas. Although a profitable direction for analysis was indicated by Meineke's outraged condemnation of the fourth stanza and PEERLKAMP'S even earlier obelization of a full five of the poem's eight stanzas, the road most commonly taken by critics has been to ignore this ode altogether, or to mention it in passing only. Of the most recent studies on Horace, only FRAENKEL and (necessarily) NISBET and HUBBARD'S exhaustive commentary on Odes II meet the poem head on.

Critics' difficulties with the ode …

Greek And Roman Elements In Horace's Lyric Program, Emily A. Mcdermott

Classics & Religious Studies Faculty Publication Series

The vision of Horatian scholars into the nature of Horace's 'Odes' has for many years been obscured by a number of disputes concerning both his use of Greek literary models, classical and Alexandrian, and his poetic judgment of his Latin predecessors and contemporaries, the neoterics and elegists. It is ironic (though the eclectic Horace might well have found it amusing) that one of the first self-proclaimed literary critics of the Western tradition has left posterity in such doubt about where precisely he himself, as poet, fits into the trends and currents of literary history.

Horatius Callidus, Emily A. Mcdermott

Classics & Religious Studies Faculty Publication Series

When Horace turned from Sermones and Epodes to the composition of lyrics, the task that he set himself was a complex one. Like Virgil, Horace accepted wholeheartedly the poetic ideals of careful craftsmanship and sophistication advocated by Callimachus and the Alexandrians and first represented in Rome by Catullus, Calvus and Cinna. Nevertheless, the Alexandrian and neoteric programs were not enough for Horace and Virgil: both were deeply affected by the times in which they lived and were therefore determined to deal with contemporary affairs in their poetry. This determination eventually led Virgil to the "impossible" task of adapting the classical …