By Timothy Johnson
Ten years after publishing his first number of lyric poetry, Odes I-III, Horace (65 B.C.-8 B.C.) again to lyric and released one other e-book of fifteen odes, Odes IV. those later lyrics, which compliment Augustus, the imperial relations, and different political insiders, have frequently been taken care of extra as propaganda than paintings. yet in A Symposion of compliment, Timothy Johnson examines the richly textured ambiguities of Odes IV that interact the viewers within the communal or "sympotic" formula of Horace's compliment. Surpassing propaganda, Odes IV displays the finely nuanced and ingenious poetry of Callimachus instead of the traditions of Aristotelian and Ciceronian rhetoric, which propose that compliment should still current normally admitted virtues and vices. during this method, Johnson demonstrates that Horace's software of competing views establishes him as Pindar's rival. Johnson exhibits the Horatian panegyrist is greater than a based poet representing basically the wishes of his consumers. The poet forges the panegyric time table, taking off the nature of the compliment (its mode, lyric, and content material either optimistic and negative), and calls jointly a neighborhood to affix within the construction and variation of Roman identities and civic ideologies. With this insightful interpreting, A Symposion of compliment might be of curiosity to historians of the Augustan interval and its literature, and to students drawn to the dynamics among own expression and political energy.
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Additional info for A Symposion of Praise: Horace Returns to Lyric in Odes IV (Wisconsin Studies in Classics)
Their literary labor is not banausic because the gifts Augustus awarded them were justified by the quality of their poetry and how well it represented Augustus’s grand deeds. Sympotic Horace 25 Augustus knows the difference between good and bad poetry, which is to say, Augustus is superior to Alexander. 214b–50a). 1, Horace trusts Augustus’s literary judgment with the logical implication, of course, that bad poetry is symptomatic of a poor patron and good poetry of a good patron (Suet. 3). As soon as Horace finishes his apologia for Varius and Vergil he complicates it by completely disassociating his sermones from the suspect credibility of epic praise with a recusatio that ends the letter (250–70).
48 Horace heightens the comic tone of his Sympotic Horace 15 recusationes by recommending another poet better suited for the task because his own talents risk belittling the laudandus. Horace would rather sing the pleasures of the drinking party. 49 Horace’s epic critique is plagued with paradox, just as it is in the Greek lyricists and Callimachus himself. The seriocomic structures of the Greek symposiasts imitated by Horace invest his lyric with the weighty themes of mortality, moderation, and politics.
Further, epic writers, as opposed to satirists and lyricists, are subject to the influence of financial and political rewards. For all the irony in Horace’s epic disavowals, there is the implication (whether the satirist would have us really convinced or not) that satire and lyric escape the political ambition that tempts the epic poet. Sympotic Horace 23 Horace’s most notorious example of an epic poet writing for rewards is Choerilus of Iasus, one of a literary coterie kept by Alexander the Great.