By Timothy Johnson
Ten years after publishing his first selection of lyric poetry, Odes I-III, Horace (65 B.C.-8 B.C.) lower back to lyric and released one other ebook of fifteen odes, Odes IV. those later lyrics, which compliment Augustus, the imperial relatives, and different political insiders, have usually been handled extra as propaganda than paintings. yet in A Symposion of compliment, Timothy Johnson examines the richly textured ambiguities of Odes IV that have interaction the viewers within the communal or "sympotic" formula of Horace's compliment. Surpassing propaganda, Odes IV displays the finely nuanced and innovative poetry of Callimachus instead of the traditions of Aristotelian and Ciceronian rhetoric, which recommend that compliment should still current generally admitted virtues and vices. during this method, Johnson demonstrates that Horace's program of competing views establishes him as Pindar's rival. Johnson exhibits the Horatian panegyrist is greater than a established poet representing in basic terms the needs of his buyers. The poet forges the panegyric schedule, taking off the nature of the compliment (its mode, lyric, and content material either optimistic and negative), and calls jointly a group to affix within the construction and model of Roman identities and civic ideologies. With this insightful examining, A Symposion of compliment should be of curiosity to historians of the Augustan interval and its literature, and to students drawn to the dynamics among own expression and political strength.
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Additional resources for A Symposion of Praise: Horace Returns to Lyric in Odes IV (Wisconsin Studies in Classics)
You would think it easy for Horace to dismiss a dramatic character who just happens to bump into him on the street and who seems so obviously out of step with the real dynamics between Maecenas and his poets. Horace tells the pest the way it really is with Maecenas. First, Horace insists that Maecenas keeps his literary circle free from competitive conniving. Maecenas sees a person for who he really is and accepts a person because of excellent character (48–50, cf. 45– 64). Second, Horace defends himself.
Now” (nunc, 20) completes the anaphora of nunc decet . . 18 The first “now” tells Sestius to put on garlands in response to the dance of the Graces and nymphs in honor of Venus; the 8 Sympotic Horace second “now” says to sacrifice to Faunus. What begins with a dance ends in ritual death. Horace has loaded the present with seriocomic overtones. The repetition of nunc in the last line signals that Sestius has the opportunity to enjoy love, but only for an instant. Death will come. The young Lycidas also is growing older.
Nameless does not. 61 Nameless admits that Maecenas’s integrity only inflames his desire (‘accendis, quare cupiam magis illi / Sympotic Horace 19 proximus esse’). 62 He will not give up (‘haud mihi deero’), even if he has to bribe Maecenas’s slaves to gain admission. 63 The pest has a very different working definition for the amicitia of the patron-client relationship, one based on competition, victory, and claiming prizes. He approached Horace with a neoteric greeting, but his argument is epic.
A Symposion of Praise: Horace Returns to Lyric in Odes IV (Wisconsin Studies in Classics) by Timothy Johnson