The poetry of Horace (born 65 BCE) is richly varied, its focus moving between public and private concerns, urban and rural settings, Stoic and Epicurean thought. Here is a new Loeb Classical Library edition of the great Roman poet's Odes and Epodes, a fluid translation facing the Latin text. Horace took pride in being the first Roman to write a body of lyric poetry. For models he turned to Greek lyric, especially to the poetry of Alcaeus, Sappho, and Pindar; but his poems are set in a Roman context. His four books of odes cover a wide range of moods and topics. Some are public poems, upholding the traditional values of courage, loyalty, and piety; and there are hymns to the gods. But most of...
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.
The first English-language edition of a major work by George Sand, originally published (in French) in 1841, Horace is remarkable as perhaps the only nineteenth-century novel in which the heroine is a fallen woman who is not punished.
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.