By S. J. Harrison
S. J. Harrison units out to cartoon one resolution to a key query in Latin literary heritage: why did the interval c.39-19 BC in Rome produce this type of wealthy variety of complicated poetical texts, certainly within the paintings of the recognized poets Vergil and Horace? Harrison argues that one critical point of this literary flourishing was once the way assorted poetic genres or types (pastoral, epic, tragedy, etc.) interacted with one another and that that interplay itself used to be a fashionable literary topic. He explores this factor heavily via distinctive research of passages of the 2 poets' works among those dates. Harrison opens with an overview of familiar idea historic and sleek as a foundation for his argument, suggesting how diverse poetic genres and their partial presence in one another might be detected within the Latin poetry of the 1st century BC.
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S. J. Harrison units out to comic strip one resolution to a key query in Latin literary historical past: why did the interval c. 39-19 BC in Rome produce this sort of wealthy variety of advanced poetical texts, mainly within the paintings of the recognized poets Vergil and Horace? Harrison argues that one relevant element of this literary flourishing used to be the best way varied poetic genres or forms (pastoral, epic, tragedy, and so forth.
The 1st entire learn of Roman verse satire to seem for the reason that 1976 offers a clean and fascinating survey of the sector. instead of describing satire's heritage as a chain of discrete achievements, it relates these achievements to each other in this type of manner that, within the move from Lucilius, to Horace, to Persius, to Juvenal, we're made to feel, and spot played, the expanding strain of imperial oversight in historical Rome.
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Additional info for Generic Enrichment in Vergil and Horace
But if anyone should read these lines too, entranced with love, all our tamarisks, Varus, our whole grove will sing of you; and no page is more pleasing to Apollo than that which begins with the name of Varus written. 33 Once again, as in Eclogue 4, the politically motivated praise of an individual can be accommodated within the pastoral frame. This generic manipulation here takes place in the context of an element of generic enrichment. 6–13. See Nisbet (1995: 411–12) for some suggestions. See Wilkinson (1966); Winterbottom (1976).
30 Introduction Liberum et Musas Veneremque et illi semper haerentem puerum canebat et Lycum nigris oculis nigroque crine decorum. Come, my lyre, utter a Latin song, you who were Wrst played by that citizen of Lesbos, who, though ferocious in war, yet amidst Wghting, or whether he had moored his storm-tossed ship on the wet shore, used to sing of Bacchus and the Muses, and Venus and the boy that always clings to her, and Lycus, handsome with his dark eyes and dark hair. Here once again the identifying allusion is indirect, with Alcaeus named toponymically through the reference to his native island of Lesbos, though the list of poetic subjects which follows (politics, symposium, love) clearly identiWes Alcaeus as the individual intended (as well as marking out his thematic similarity to Horace’s own lyrics).
11–14: cave, cave, namque in malos asperrimus parata tollo cornua, qualis Lycambae spretus inWdo gener aut acer hostis Bupalo. Beware, beware, for it is against villains that I am most rough and raise my horns at the ready, just like the son-in-law spurned by faithless Lycambes or the Werce enemy of Bupalus. Here the allusions are to Archilochus and to Hipponax, but once again made in an indirect manner which resembles that of the toponym: each of the two iambists is deWned by the name of his main victim (Lycambes for Archilochus, Bupalus for Hipponax).