By Harry Eyres
A clever and witty revival of the Roman poet who taught us easy methods to carpe diem
What is the worth of the sturdy at a time whilst the hot is paramount? How will we fill the void created via the excesses of a superficial society? What assets do we muster while faced by way of the inevitability of loss of life? For the poet and critic Harry Eyres, we will start to solution those questions by means of turning to an unforeseen resource: the Roman poet Horace, discredited first and foremost of the 20th century because the "smug consultant of imperialism," now top remembered—if remembered—for the pithy directive "Carpe diem."
In Horace and Me: lifestyles classes from an old Poet, Eyres reexamines Horace's lifestyles, legacy, and verse. With a gentle, lyrical contact (deployed in new, clean types of a few of Horace's most renowned odes) and a willing serious eye, Eyres finds a full of life, proper Horace, whose society—Rome on the sunrise of the empire—is even more just like our personal than we'd are looking to think.
Eyres's learn isn't just intriguing—he retranslates Horace's most famed word as "taste the day"—but enlivening. via Horace, Eyres meditates on easy methods to stay good, mounts a powerful case for the significance of poetry, and relates a relocating story of non-public discovery. by means of the top of this impressive trip, the reader too will think within the strength of Horace's "lovely phrases that move on shining with their modest glow, like a hot and inextinguishable candle within the darkness."
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Extra info for Horace and Me: Life Lessons from an Ancient Poet
Through its Western female characters it instructs its readers to respect the traditions of Japan, lest it, too, be overrun by foreigners, as was the case with Ireland and England. Furthermore, by using one of the stock images of modernization (and one that was used frequently in mimetic fiction), the young Japanese male wandering the West in search of enlightenment, it enforces a conservative message. Kajin no kigū may thus be seen as heralding a new unease with modernity, an unease that was growing throughout Japanese society.
Swinfen, 1984, pp. 10–11). 18 Although Izumi is the family name, I will follow Japanese convention and refer to him by his pen name, Kyōka, throughout the discussion. Alexander, 1990,p. 13. 20 Not just fiction but the entire profession of literary criticism was essentially a Western import. Miyoshi, 1991, p. 17). Fiction has had an important ideological function in the West as well. Schulte-Sasse, 1988, p. 209). Zamora, 1994, p. 33. Gluck, 1985. See especially p. Moylan, 1986, p. 25. Fowler, 1988, p.
138–139, my translation) Kōya hijiri ends with the now aged monk telling his fellow traveller this discovery of the woman’s true character and his gratitude for his lucky escape. Judging by the first narrator’s description of the elderly monk as a distinguished priest, uninterested in mundane matters, it would seem that the priest’s younger self has been largely put behind him. He has confronted and overcome the leeches and serpents of suppressed sexuality and he has avoided throwing himself into the reasonannihilating waterfall.