Horace and Lesbian Lyric*

Clay, Jenny Strauss

doi:10.1002/9781444319187.ch7

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“…Ademais, sabese que um grande número de odes de Horácio, sobretudo as do primeiro livro, contém alusões a poemas de Alceu. 737 Apesar do esparso conhecimento que temos da obra do poeta lésbio, conseguimos encontrar traduções e adaptações evidentes na obra do poeta latino. 738 Assim, é possível que a ode de Horácio corresponda de alguma forma ao poema de Alceu.…”

Section: A Ode 110 De Horáciounclassified

A antiga lira lésbia: resquícos indo-europeus na poesia de Safo e Alceu

Gripp¹

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Section: A Ode 110 De Horáciounclassified

A antiga lira lésbia: resquícos indo-europeus na poesia de Safo e Alceu

Gripp¹

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“…Hermes responds, 113 Comparing Odes 1.13 with Horace's models, Sappho 31 and Catullus 51, shows just how over-the-top his reaction to Telephus and Lydia's relationship is; cf. Clay (2010) 140.…”

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“…However, all four instances have a common denominator: they are all examples of ingenuity, which in the case of mortals is seen as overstepping boundaries, but in the case of gods is seen as appropriate. Clay (2010) 138-139 has argued that the lyre-inventing (1.10.5-6) Mercury's "playful theft" in 1.10.7-8 is an allusion to Horace's own "playful thefts" from his model Alcaeus, the first of which may be in the previous poem, 1.9. Therefore, in both 3.11 and 1.10, cleverness is linked to a god (Mercury), the lyre, and poetic composition; here in 2.18 Prometheus' cleverness in stealing fire for the good of mortals is similarly positive and is parallel to the poet's skill.…”

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“…The hunting image in lines 39-40 emphasizes the portrayal of Orion as a violent pursuer of an object of desire. What cures Orion of his urge to hunt is what alleviates Prometheus' and Tantalus' pain: lyric music Clay (2010). 136 has argued that the music heard by the figures in the last two stanzas is specifically Sappho's, music that speaks about love.…”

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“…Clay (2010) 136 argues that what is represented is the soothing power of Sappho's music in particular.172Davis (1991) 88.173 SeeOksala (1974) 171,Nisbet and Hubbard (1978) 219-220. …”

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Horace's Mythological Lexicon: Repeated Myths and Meaning in Odes 1-3

McCune

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This dissertation examines repeated mythological references in the first three books of Horace's Odes. Several mythological figures occur more than once in the Odes; those studied in this dissertation are Daedalus and Icarus, Prometheus, Tantalus, Hercules, and Castor and Pollux. I argue that in Odes 1-3 recurrent myths constitute part of a personal lexicon, a mythological vocabulary Horace uses to speak about themes such as hubris, poetry, and immortality; for example, Daedalus and Icarus, Prometheus, and Tantalus are consistently linked with immoderation, and Hercules and the Dioscuri are consistently emblematic of complementary aspects of Augustus' rule and of his future deification. This mythological lexicon can be read across poems so that the interpretation of a mythological figure in one poem can aid in understanding the use of the same mythological figure in another poem, and the collective effect of all of the uses of that figure is itself something that can be analyzed and interpreted.iii ACKNOWLEDGEMENTSThe first word of thanks goes to my advisor, Jenny Strauss Clay, whose Odes seminar in the spring of 2010 first taught me how to love this seemingly impenetrable poet. She has consistently supported and guided me, since I first embarked on this project, even during one year when neither of us was in residence in Charlottesville. Her ability to ask the right questions and to put her finger on key problems has left a lasting impression on my thinking for which I am deeply grateful. Thanks are also due to John F. Miller, whose kind and sensible advice at every stage of the process, from the prospectus through the final chapter, has been invaluable. I am also grateful to Tony Woodman, who has been a warm, inspiring figure in my development as a classicist both by encouraging me to sharpen my ideas and by inviting open-ended conversations about Horace. Thanks also to Paul Cantor, whose European literature course helped me become a better teacher and enriched my appreciation for the whole compass of the literary tradition in which Horace is situated. I would also like to thank the dear friends and mentors each of whom has in their own way played a crucial role throughout not only this project but also everything that led up to it: Rachel Bruzzone,

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A Companion to Greek Lyric

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Horace and Lesbian Lyric*

Cited by 18 publications

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A antiga lira lésbia: resquícos indo-europeus na poesia de Safo e Alceu

A antiga lira lésbia: resquícos indo-europeus na poesia de Safo e Alceu

Horace's Mythological Lexicon: Repeated Myths and Meaning in Odes 1-3

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Horace and Lesbian Lyric*

Cited by 18 publications

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A antiga lira lésbia: resquícos indo-europeus na poesia de Safo e Alceu

A antiga lira lésbia: resquícos indo-europeus na poesia de Safo e Alceu

Horace&#39;s Mythological Lexicon: Repeated Myths and Meaning in Odes 1-3

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Horace's Mythological Lexicon: Repeated Myths and Meaning in Odes 1-3