I start with four quotations: (1) ‘That all European poetry has come out of the Provençal poetry written in the twelfth century by the troubadours of Languedoc is now accepted on every side.’ [The writer is talking of love poetry.] (2) The passion and sorrow of love were an emotional discovery of the French troubadours and their successors.’ (3) ‘French poets in the eleventh century discovered or invented, or were the first to express, that romantic species of passion which English poets were still writing about in the nineteenth.’ (4) ‘The conception of romantic love which has dominated the literature, art, music, and to some extent the morality of modern Europe and America for many centuries is a medieval creation.’ Those words come from a Frenchman, a German, and Englishman and a Scot — namely Denis de Rougemont, E. R. Curtius, C. S. Lewis, and Gilbert Highet — a distinguished quartet, not lacking in knowledge or influence. The view they represent has met with little opposition and is, in fact, so widely held that it may be regarded as orthodox. The layman finds it all the easier to accept in that ‘romantic love’ is readily connected with the first definition of ‘romance’ given by the Oxford English Dictionary, namely The vernacular language of France as opposed to Latin’.
The methods of assessing a writer's spirit vary in usefulness according to his genre. If he is a satirist much may often be learned through an examination of his names. This is certainly true of Horace, and one might have thought that in recent years a fair amount of attention would have been paid to this aspect of his work. Yet to the best of my knowledge no special study has been published in the present century. Certain points have been well noted by scholars like Vogel, Becher, and Marouzeau, and a few editions contain summaries of the material. The last detailed discussion, however, was that of Cartault, and one must admit that it was not wholly unbiased. So it seems reasonable to review the evidence again, making use of the work done by Marx, Cichorius, Münzer, and others. We do not have to inquire about all the characters in the Sermones; only satirical references need be considered, and even here there is room for selection, because some of the figures are so obscure that nothing helpful can be said about them.
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