Horace's Encounter with the Bore

Rudd, Niall

doi:10.2307/1086178

Cited by 4 publications

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“…See, for example, Rudd [1966Rudd [ ] 1982 14. I use the term "suburban" here in its broader sense, meaning "close to the city," rather than the narrow sense, "within the city walls."…”

Section: Classical Antiquitymentioning

confidence: 99%

“…See, for example, Rudd [1966] 1982: 77. The separation is maintained by Horace's use of impersonal verbs (ventum erat, 1.9.35).…”

Section: Classical Antiquitymentioning

confidence: 99%

“…For a topographical Apollo, see primarily Salmon 1952 andSchmitzer 1994. Salmon believed 1.9.78 to be a reference to the Temple of Apollo Medicus in the Jewish Quarter, a detail that helps explain Iudaei in 1.9.70, but see Castagnoli 1952 on the chronological problems that arise from this interpretation, and Rudd [ 1966] 1982: 84 for an alternative explanation of Iudaei. Schmitzer saw an allusion to the Temple of Apollo Palatinus, an evocation that likens Horace's escape from his interlocutor to Octavian's from Sextus Pompeius.…”

Section: Classical Antiquitymentioning

confidence: 99%

“…Rudd [1966] (1.9.22-25) "If I know myself well, you will not count Viscus, not Varius as more of a friend that you will find me: for who is able to write more verses or more quickly than I? Who is able to move his limbs more gracefully than I?…”

Section: Classical Antiquitymentioning

confidence: 99%

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Est locus uni cuique suus:City and Status in Horace'sSatires1.8 and 1.9

Welch¹

2001

Classical Antiquity

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Horace's Satires 1.8 and 1.9 have long interested commentators for the enticing glimpse they provide of the changing Roman cityscape in the 30s BCE In light of the recent problematization of the strict correspondence between the poet Horace and his elaborately constructed satiric persona, locations in the Satires should be read not so much as autobiographical accounts of the poet's movement through the city but rather as functions of other themes and motifs in the Satires. This paper examines the moral and aesthetic encoding of the urban landscape in Horace's Satires Book I.Satires 1.9 and 1.8 reveal that Rome's city center and the gardens of Maecenas constitute an arena for the satirist's indirect meditation about the complex relationship between his poetry and his patron Maecenas. By mapping moral and aesthetic behavior onto these urban areas, Horace comments on the viability of satiric poetry in various social situations and settings. The emerging picture presents the city center —— filled as it is with human vice and folly —— as a place appropriate for satiric poetry, and Maecenas' gardens —— free from competition and ambition —— as a place inimical to it. Thus the gardens of Maecenas present for the satirist a moral and aesthetic problem, and their specter haunts his downtown stroll in Satires 1.9 as much as does the aspirant who dogs his steps. The decorum of patronage requires that Horace show proper subordination to his benefactors. Yet the decorum of satire requires that the poet undermine status, stability, and authority. While professing that status is not an issue in Maecenas' circle, the poems reveal instead that status is always an issue, aected no less by one's physical than one's social position.

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“…See, for example, Rudd [1966Rudd [ ] 1982 14. I use the term "suburban" here in its broader sense, meaning "close to the city," rather than the narrow sense, "within the city walls."…”

Section: Classical Antiquitymentioning

confidence: 99%

“…See, for example, Rudd [1966] 1982: 77. The separation is maintained by Horace's use of impersonal verbs (ventum erat, 1.9.35).…”

Section: Classical Antiquitymentioning

confidence: 99%

Section: Classical Antiquitymentioning

confidence: 99%

Section: Classical Antiquitymentioning

confidence: 99%

See 2 more Smart Citations

Est locus uni cuique suus:City and Status in Horace'sSatires1.8 and 1.9

Welch¹

2001

Classical Antiquity

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Be alert (your country needs lerts): Horace,Satires1.9

Henderson

1994

Proc. Camb. Philol. Soc.

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Who is that man with the handshake? Don't you know …He is an onlooker, a heartless type,Whose hobby is giving everyone else the lie.Laudatur et alget. The Fifties had faith: ‘This satire is nowadays the most popular of all and still read in many classical sixth forms where one otherwise shuns the Sermones.’ The Sixties knew: ‘This poem … will always be a general favourite’; yes, I bear witness, who lent an ear to the L. A. Moritz track for J.A.C.T.'s showcase of Latinitas back in the golden age of vinyl (I still do: ego uero oppono ∣ auriculam, 76f.). (…) The Nineties wonder. ‘Perhaps the most straightforward and immediately appealing of the ten poems, and perhaps the most delicious example of Horace's brand of ironic humour.’

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A Stroll with Lucilius: Horace, Satires 1.9 Reconsidered

Ferriss-Hill¹

2011

ajp

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This article argues that the "bore" who pursues Horace in Satires 1.9 should be read as Lucilius, the inventor of Roman verse Satire. This reconsideration of the interlocutor allows certain previously puzzling aspects of the poem, in particular Horace's failure to escape from his companion, to be understood in programmatic terms. The poem literally enacts the complex and timeless dance between successor and model: as long as he is writing satire, Horace cannot be free of Lucilius' presence, and yet to succeed as a satirist he must struggle for a certain measure of independence from his predecessor.

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Horace's Encounter with the Bore

Cited by 4 publications

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Est locus uni cuique suus:City and Status in Horace'sSatires1.8 and 1.9

Est locus uni cuique suus:City and Status in Horace'sSatires1.8 and 1.9

Be alert (your country needs lerts): Horace,Satires1.9

A Stroll with Lucilius: Horace, Satires 1.9 Reconsidered

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