By R. G. M. Nisbet
This observation takes serious account of contemporary writing at the Odes. It offers with distinctive questions of interpretation, and exhibits how Horace mixed the tact of a court-poet with a humane individualism, and the way he wrote inside of a literary culture with no wasting a hugely own voice. although the ebook isn't meant for newcomers, the editors goal all through at clarity.
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Extra resources for A Commentary on Horace: Odes Book III (Book 3)
2. 12. 23); the compound’s commercial nuance suits H’s rejection of materialism. operosiores describes the over-elaboration of luxury building (cf. Suet. Aug. 72. v. 3), but also suggests that wealth brings nothing but bother; cf. serm. 2. 6. 79 ‘sollicitas . . opes’, OLD 2a, Muson. 108. 12 Hense (on grand buildings) ðæÆªìÆôåßÆí ä ÷åØ ðºåßóôçí. 2. ANGVSTAM AMICE [L. Amundsen, SO suppl. 11, 1942: 1 ff. ; P. J. ; G. Davis, Class. Ant. ; V. B. ; D. ; W. J. ; R. Stoneman in Aischylos und Pindar (ed.
1. 91–3 ‘quid pauper? ride: mutat cenacula lectos / balnea tonsores, conducto navigio aeque / nauseat ac locuples quem ducit priva triremis’. There he takes pauper as Horace and the owner of the trireme as Maecenas; cf. 94 f. ‘si curatus inaequali tonsore capillos / occurri, rides . . ’ (where there is no pronoun to distinguish the subject of occurri from the pauper). NR thinks it is going too far to see a covert allusion to Maecenas (see introduction above), and he interprets epist. 1. 1 differently: in 77 ff.
That in no way implies that the Roman Odes were literally sung; the motif of a choir is not sustained (as Cairns claims), for it does not suit the content and manner of the poem or the series (Pasquali 650). H’s message is directed to a sinless new generation, including future wives and mothers, because they are still open to moral instruction; cf. Porph. ad loc. ‘dicit se carmen proditurum quod teneras aetates ad utilia instituat, quibus ad beatam vitam pervenire possint’, epist. 2. 1. 128 ff.
A Commentary on Horace: Odes Book III (Book 3) by R. G. M. Nisbet