This is the endorsed publication from OCR and Bloomsbury for the Latin AS and A-Level (Group 3) prescription of Horace's Satires, giving full Latin text, commentary and vocabulary for Satires 1.1 lines 1–12, 28–100; 1.3 lines 25–75; and 2.2 lines 1–30, 70–111. A detailed introduction places the poems in their Roman literary context. 'Telling the truth with a smile' is the way Horace describes his approach to satire in this, his first published poetry. The poems in this collection discuss universal ideas of how we should live our lives simply with regard to money, ambition, food and friendship and how to live contented with what nature provides rather than always yearning for more. The poet does this in a manner which is light but not flippant, always entertaining and powerfully moving at the same time. Resources are available on the Companion Website www.bloomsbury.com/ocr-editions-2019-2021
This is the endorsed publication from OCR and Bloomsbury for the Latin A-Level (Group 4) prescription of Horace's Odes, giving full Latin text, commentary and vocabulary for Odes 3.2, 3.3, 3.4, 3.6. A detailed introduction covers the prescribed text to be read in English, placing the poems in their Roman literary context. Horace was the finest lyric poet in Latin and these four of the six 'Roman Odes', written in the early years of the rule of the first Roman emperor Augustus, show his poetic power at full stretch. They discuss issues of political and moral concern for the regime and its citizens with the clarity of a deeply personal and unique voice, making clever use of mythology and literary allusion and coining some of the most resonant phrases in the Latin language. Resources are available on the Companion Website www.bloomsbury.com/ocr-editions-2019-2021
Perhaps no classical writer has been so consistently in vogue as Horace. Famous in his own lifetime as a close associate of the Emperor Octavian, to whom he dedicated several odes, Quintus Horatius Flaccus (65–8 BC) has never really been out of fashion. Petrarch, for example, modelled his letters on Horace's innovative Epistles, while also borrowing from his Roman forebear in composing his own Italian sonnets. The echo of Horace's voice can be found in almost every genre of medieval literature. And in later periods, this influence and popularity if anything increased. Yet, as Paul Allen Miller shows, while Horace may justifiably be called the poet for all seasons he is also in the end an enigma. His elusive, ironic contrariness is perhaps the true secret of his success. A cultured man of letters, he fought on the losing side of the Battle of Philippi (42 BC). A staunch Republican, he ended up eagerly (some said too eagerly) promoting the cause of Julio-Claudian imperialism. Viewed as the acme of Roman literary civilization, he was shaped by his Athens education at Plato's famous Academy. This new introduction reveals Horace in all his paradoxical genius and complexity.
Julie and Horace By: f. smith Julie and Horace: A Love Story of Sorts (I Guess) You Decide follows the romantic misadventures of a young man as he seeks his perfect match. The novel is about settling for less and then realizing that compromising has left you better off. This novel contains loads of laughs, drama, romance, ups and downs, taboo subjects, agreements, screwy disagreements, and plenty of movie, book, and music talk. But is it a love story? You decide.
Julie and Horace, Part II By: f. smith Julie and Horace, Part II: The Johnny Mop Splashback chronicles the continuing misadventures of Julie and Horace, while introducing new characters—most of whom are definitely characters—into the mix. The pages host a lot of laughs, drama, romance and craziness, with a little bit of poetry thrown in. Want some details? This sequel would rather let them be surprises—the same variety of traumatic surprises found in f. smith’s first novel, Julie and Horace: A Love Story of Sorts (I Guess) You Decide. Go ahead, dive in.
Horace’s book of Sermones (also called Satires) was his first published work. Rather than a collection of satirical sideswipes, as the genre might have dictated, the book is a wiry, tight, muscular, interlaced hexameter artwork of enormous originality and as far removed from the legacy of satirical writing he inherited as one can imagine. It is the work of a 29-year-old grappling with issues of personal and poetic identity during one of the most important and pivotal times in European history. Geographically, socially and genetically an outsider, Horace earned himself a seat at Rome’s top creative table, close to the heart of the political engine that was to change Rome forever. His book details a transformational journey from ‘nobody’ to ‘somebody’, and is a simultaneous invention of poet and reinvention of poetic genre. Horace’s Sermones have floated in and out of fashion ever since they first appeared, regularly eclipsed by his Odes. Today, rehabilitated, they find space in the higher levels of the school curriculum. This book provides unique insights and will be of interest to all classicists, as well as students studying core influences on European literature.
The satires explored in this volume are some of the trickiest poems of ancient Rome's trickiest poet. Horace was an ironist, sneaky smart, and prone to hiding things under the surface. His Latin is dense and difficult. The challenges posed by these satires are especially acute because their voices, messages, and stylistic habits are many, and their themes range from the poet's anxieties about the limits of satiric free speech in the first poem to the ridiculous excesses of an outrageously overdone dinner party in the last. For students working at intermediate and advanced levels of Latin, this book makes the satires of Horace's second book of Sermones readable by explaining difficult issues of grammar, syntax, word-choice, genre, period, and style. For scholars who already know these poems well, it offers fresh insights into what satire is, and how these poems communicate as uniquely 'Horatian' expressions of the genre.
Twenty-one essays make a cogent case for reading Latin poet Horace as a verse form innovator--E.A. Fredricksmeyer seconds spring-song Odes 4.7 as a candidate for the most beautiful poem in ancient literature; espouser of the carpe diem theme in his love poems; and astute observer of Augustan era politics. In reprinted articles from classical studies journals and books (1956-89), the contributors address the Odes from Books 1-3 circa 30-23 BC, plus the Satire from his first publication of 35 BC. Lacks an index. Annotation copyrighted by Book News, Inc., Portland, OR
This book is a successor to the commentaries by Nisbet and Hubbard on Odes I and II, but it takes critical note of the abundant recent writing on Horace. It starts from the precise interpretation of the Latin; attention is paid to the nuances implied by the word-order; parallel passages are quoted, not to depreciate the poet's originality but to elucidate his meaning and to show how he adapted his predecessors; sometimes major English poets are cited to exemplify his influence on the tradition. In expounding the so-called Roman Odes the editors reject not only uncritical acceptance of Augustan ideology but also more recent attempts to find subversion in a court-poet. They show how Greek moralizing, particularly by the Epicureans, is applied to contemporary social situations. Poems on country festivals are treated sympathetically in the belief that the tolerant and inclusive religion of the Romans can easily be misunderstood. The poet's wit is emphasized in his addresses both to eminent Romans and to women with Greek names; the latter poems are taken as reflecting his general experience rather than particular occasions. Though Horace's ironic self-presentation must not be understood too literally, the editors reject the modern tendency to treat the author as unknowable. Although the text of the Odes is not printed separately, the headings to the notes provide a continuous text. The editors put forward a number of conjectures, most of them necessarily tentative, and in the few cases where they disagree, both opinions are summarized.