<i>BIFORMIS VATES</i>: the<i>Odes</i>, Catullus and Greek lyric

Woodman, Tony

doi:10.1017/cbo9780511482427.005

Cited by 47 publications

(3 citation statements)

References 85 publications

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“…by Aristophanes of Byzantium. 6 When therefore Horace requests that Maecenas insert him (inseres) in the lyric poets (lyricis), critics rightly contend that lyricus points to the technical sense of λυρικός as indicating a member of the canon of lyric poets. 7 In the same spirit, the verb inserere is taken to be a Latin equivalent for the Greek ἐγκρίνειν and to refer to the act of judging a writer worthy of membership of the canon.…”

Section: The Garland Of Maecenasmentioning

confidence: 99%

THE GARLAND OF MAECENAS (HORACE, ODES 1.1.35)

Leigh¹

2010

The Class. Q.

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Section: The Garland Of Maecenasmentioning

confidence: 99%

THE GARLAND OF MAECENAS (HORACE, ODES 1.1.35)

Leigh¹

2010

The Class. Q.

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“…Furthermore, Horace calls our attention to the humor in the metaphor by making it more concrete: rather than touching/striking the general region of heaven, Horace depicts his head as specifically bumping into the "stars" as it rises (note also that stars are more like the sun which is Icarus' downfall). All this is not to say that there is not an allusion to Sappho 52, observed by Woodman (2002) 54, lurking here, but only to argue that Horace makes his reversal of Sappho's statement (that she does "not expect to touch the sky") laughable in order to point to the Icarian foolishness of taking as one's model such a great poet.…”

Section: H 11: Icarian Immoderation In the Merchant And The Poetmentioning

confidence: 83%

“…Nearly all the Greek parallels cited by Nisbet and Hubbard (1970) ad loc. and Sappho 52 cited by Woodman (2002) 54 speak of merely touching (ψαύειν) the sky. Clay (2010) 144 n. 17 points out that "'to touch the heaven' and to bang into it are quite different matters" and that the only exact parallel for this is a comic fragment (com.…”

Section: H 11: Icarian Immoderation In the Merchant And The Poetmentioning

confidence: 99%

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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