Kirjahaku

The Satires of Horace (65-8 BC), written in the troubled decade ending with the establishment of Augustus' regime, provide an amusing treatment of men's perennial enslavement to money, power, glory and sex. Epistles I, addressed to the poet's friends, deals with the problem of achieving contentment amid the complexities of urban life, while Epistles II and the Ars Poetica discuss Latin poetry - its history and social functions, and the craft required for its success. Both works have had a powerful influence on later Western literature, inspiring poets from Ben Jonson and Alexander Pope to W. H. Auden and Robert Frost. The Satires of Persius (AD 34-62) are highly idiosyncratic, containing a courageous attack on the poetry and morals of his wealthy contemporaries - even the ruling emperor, Nero.

Horace is a great poet, much loved and imitated in the past, and in recent years much better understood as a result of the learned commentaries of Nisbet and Hubbard (1970, 1978). and Syndikus (1972, 1973). Yet today he is little read. This is partly because he had never been translated into English which is both close to the Latin and readable. The aim of this book is to provide such a translation and support it by a basic commentary which will help newcomers to Horace, whether or not they know any Latin, to understand how the poetry works. It should also stimulate and provoke students of Latin and of Roman history by propounding interpretations which are not always in line with current orthodoxies.

Horace is the greatest Latin lyric poet, and certainly the most influential. This book provides a new translation of the famous first book of Odes which is both accurate and readable, supported by a basic commentary for students showing how the poems work. The book includes the Oxford Classical Text edition of the Latin text. This book is intended for students, mainly undergraduate but some sixth form, of Latin Literature on Classics courses and Classics and English courses. Latin text with translation and commentary by: West, David (Professor Emeritus of Latin, University of Newcastle);

In these odes Horace creates lyric poetry in Latin which stands comparison with anything written by his brilliant predecessors in Greek. Of the three books published together in 23 BC the second is in many ways the most rewarding. The first ode, for instance, looks back at the civil wars fought by Caesar and Pompey, and by Octavian and Antony, from the point of view of Horace and his friend Pollio who both took part in them. There are also poems of friendship which give insight into the social and intellectual tone of the age of the first Roman emperor Augustus, and Horace's unique, elusive sense of humour is in evidence throughout. This book contains the Latin text (from the Oxford Classical Text), a translation which attempts to be close to the Latin while catching as much as possible of the flavour of the original, and a commentary which tries to suggest how these poems work as poetry.

In these odes Horace creates lyric poetry in Latin which stands comparison with anything written by his brilliant predecessors in Greek. Of the three books published together in 23 BC the second is in many ways the most rewarding. The first ode, for instance, looks back at the civil wars fought by Caesar and Pompey, and by Octavian and Antony, from the point of view of Horace and his friend Pollio who both took part in them. There are also poems of friendship which give insight into the social and intellectual tone of the age of the first Roman emperor Augustus, and Horace's unique, elusive sense of humour is in evidence throughout. This book contains the Latin text (from the Oxford Classical Text), a translation which attempts to be close to the Latin while catching as much as possible of the flavour of the original, and a commentary which tries to suggest how these poems work as poetry.

My aim is to take familiar things and makePoetry of them, and do it in such a wayThat it looks as if it was as easy as could beFor anybody to do it . . . the power of makingA perfectly wonderful thing out of nothing much.--from "The Art of Poetry" When David Ferry's translation of The Odes of Horace appeared in 1997, Bernard Knox, writing in The New York Review of Books, called it "a Horace for our times." Now Ferry has translated Horace's two books of Epistles, in which Horace perfected the conversational verse medium that gives his voice such dazzling immediacy, speaking in these letters with such directness, wit, and urgency to young writers, to friends, to his patron Maecenas, to Emperor Augustus himself. It is the voice of a free man, talking about how to get along in a Roman world full of temptations, opportunities, and contingencies, and how to do so with one's integrity intact. Horace's world, so unlike our own and yet so like it, comes to life in these poems. And there are also the poems -- the famous "Art of Poetry" and others -- about the tasks and responsibilities of the writer: truth to the demands of one's medium, fearless clear-sighted self-knowledge, and unillusioned, uncynical realism, joyfully recognizing the world for what it is.

This commentary fulfils the need for a student edition of Horace’s literary epistles, which have recently been the subject of renewed scholarly interest. Professor Rudd provides a clear introduction to each of the three poems: the Epistles to Augustus, to Florus, and to the Pisones (the so-called ‘Ars Poetica’). He sketches the historical context in which the poems were written, and comments on their structure and purpose. Attention is paid to the literary preoccupations of the individual epistles: the relations of poet and patron, and the role of poetry in the state (Augustus), the problems of a (professedly) tiring poet (Florus), and the presentation of classical poetic theory in the ‘Ars Poetica’. Horace’s influence on later criticism is noted, and there is a brief section on one of Alexander Pope’s Imitations. In his commentary on the text Professor Rudd addresses problems of grammar and style, focusing on linguistic difficulties and on the subtle movement of the poet’s thought.

The satires explored in this volume are some of the trickiest poems of ancient Rome's trickiest poet. Horace was an ironist, sneaky smart, and prone to hiding things under the surface. His Latin is dense and difficult. The challenges posed by these satires are especially acute because their voices, messages, and stylistic habits are many, and their themes range from the poet's anxieties about the limits of satiric free speech in the first poem to the ridiculous excesses of an outrageously overdone dinner party in the last. For students working at intermediate and advanced levels of Latin, this book makes the satires of Horace's second book of Sermones readable by explaining difficult issues of grammar, syntax, word-choice, genre, period, and style. For scholars who already know these poems well, it offers fresh insights into what satire is, and how these poems communicate as uniquely 'Horatian' expressions of the genre.

The satires explored in this volume are some of the trickiest poems of ancient Rome's trickiest poet. Horace was an ironist, sneaky smart, and prone to hiding things under the surface. His Latin is dense and difficult. The challenges posed by these satires are especially acute because their voices, messages, and stylistic habits are many, and their themes range from the poet's anxieties about the limits of satiric free speech in the first poem to the ridiculous excesses of an outrageously overdone dinner party in the last. For students working at intermediate and advanced levels of Latin, this book makes the satires of Horace's second book of Sermones readable by explaining difficult issues of grammar, syntax, word-choice, genre, period, and style. For scholars who already know these poems well, it offers fresh insights into what satire is, and how these poems communicate as uniquely 'Horatian' expressions of the genre.

Horace's first book of Satires is his debut work, a document of one man's self-fashioning on the cusp between republic and empire, and a pivotal text in the history of Roman satire. It wrestles with the problem of how to define and assimilate satire and justifies the poet's own position in a suspicious society. The commentary gives full weight to the dense texture of these poems while helping readers interpret their most cryptic aspects and appreciate their technical finesse. The introduction puts Horace in context as late-Republican newcomer and a vital figure in the development of satire, and discusses the structure and meaning of Satires I, literary and philosophical influences, style, metre, transmission and Horace's rich afterlife. Each poem is followed by an essay offering overall interpretation. This work is designed for upper-level students and scholars of classics but contains much of interest to specialists in later European literature.

Horace's first book of Satires is his debut work, a document of one man's self-fashioning on the cusp between republic and empire, and a pivotal text in the history of Roman satire. It wrestles with the problem of how to define and assimilate satire and justifies the poet's own position in a suspicious society. The commentary gives full weight to the dense texture of these poems while helping readers interpret their most cryptic aspects and appreciate their technical finesse. The introduction puts Horace in context as late-Republican newcomer and a vital figure in the development of satire, and discusses the structure and meaning of Satires I, literary and philosophical influences, style, metre, transmission and Horace's rich afterlife. Each poem is followed by an essay offering overall interpretation. This work is designed for upper-level students and scholars of classics but contains much of interest to specialists in later European literature.

The Carmen Saeculare was composed and published in 17 BCE as Horace was returning to the genre of lyric which he had abandoned six years earlier; the fourth book of Odes is in part a response to this poem, the only commissioned poem we know from the period. The hardening of the political situation, with the Republic a thing of the past and the Augustan succession in the air, threw the problematic issue of praise into fresh relief, and at the same time provided an impulse towards the nostalgia represented by the poet's private world. Professor Thomas provides an introduction and commentary (the first full commentary in English since the nineteenth century) to each of the poems, exploring their status as separate lyric artefacts and their place in the larger web of the book. The edition is intended primarily for upper-level undergraduates and graduate students, but is also important for scholars.

The Carmen Saeculare was composed and published in 17 BCE as Horace was returning to the genre of lyric which he had abandoned six years earlier; the fourth book of Odes is in part a response to this poem, the only commissioned poem we know from the period. The hardening of the political situation, with the Republic a thing of the past and the Augustan succession in the air, threw the problematic issue of praise into fresh relief, and at the same time provided an impulse towards the nostalgia represented by the poet's private world. Professor Thomas provides an introduction and commentary (the first full commentary in English since the nineteenth century) to each of the poems, exploring their status as separate lyric artefacts and their place in the larger web of the book. The edition is intended primarily for upper-level undergraduates and graduate students, but is also important for scholars.

In the first book of odes, Horace presents himself to his Roman readers in a novel guise, as the appropriator of the Greek lyric tradition. He aspired to add a new province to the empire of the national literature. The first book is designed both to establish Horace's engagement with his Greek predecessors and to create a role for lyric poetry in contemporary Rome. The collection of thirty-eight poems is therefore a dazzling feat of poetic appropriation and innovation, a blend of the public and the private voice of the poet. Classic Greek songs are evoked so as to provide a springboard for reflections on moral and political issues, for the praises of gods and men, friends and public figures, for celebration of love and drinking. This edition will enable students and their instructors to enter and enjoy Horace's lyric world.

In the first book of odes, Horace presents himself to his Roman readers in a novel guise, as the appropriator of the Greek lyric tradition. He aspired to add a new province to the empire of the national literature. The first book is designed both to establish Horace's engagement with his Greek predecessors and to create a role for lyric poetry in contemporary Rome. The collection of thirty-eight poems is therefore a dazzling feat of poetic appropriation and innovation, a blend of the public and the private voice of the poet. Classic Greek songs are evoked so as to provide a springboard for reflections on moral and political issues, for the praises of gods and men, friends and public figures, for celebration of love and drinking. This edition will enable students and their instructors to enter and enjoy Horace's lyric world.

Horace has long been revered as the supreme lyric poet of the Augustan Age. In his perceptive introduction to this translation of Horace's Odes and Satires, Sidney Alexander engagingly spells out how the poet expresses values and traditions that remain unchanged in the deepest strata of Italian character two thousand years later. Horace shares with Italians of today a distinctive delight in the senses, a fundamental irony, a passion for seizing the moment, and a view of religion as aesthetic experience rather than mystical exaltation--in many ways, as Alexander puts it, Horace is the quintessential Italian. The voice we hear in this graceful and carefully annotated translation is thus one that emerges with clarity and dignity from the heart of an unchanging Latin culture. Alexander is an accomplished poet, novelist, biographer, and translator who has lived in Italy for more than thirty years. Translating a poet of such variety and vitality as Horace calls on all his literary abilities. Horace (Quintus Horatius Flaccus, 65-8 bce), was born the son of a freed slave in southern rural Italy and rose to become one of the most celebrated poets in Rome and a confidante of the most powerful figures of the age, including Augustus Caesar. His poetry ranges over politics, the arts, religion, nature, philosophy, and love, reflecting both his intimacy with the high affairs of the Roman Empire and his love of a simple life in the Italian countryside. Alexander translates the diverse poems of the youthful Satires and the more mature Odes with freshness, accuracy, and charm, avoiding affectations of archaism or modernism. He responds to the challenge of rendering the complexities of Latin verse in English with literary sensitivity and a fine ear for the subtleties of poetic rhythm in both languages. This is a major translation of one of the greatest of classical poets by an acknowledged master of his craft.

They have inspired poets and challenged translators through the centuries. The odes of Horace are the cornerstone of lyric poetry in the Western world. Their subtlety of tone and brilliance of technique have often proved elusive, especially when--as has usually been the case--a single translator ventures to maneuver through Horace's infinite variety. Now for the first time, leading poets from America, England, and Ireland have collaborated to bring all 103 odes into English in a series of new translations that dazzle as poems while also illuminating the imagination of one of literary history's towering figures. The thirty-five contemporary poets assembled in this outstanding volume include nine winners of the Pulitzer prize for poetry as well as four former Poet Laureates. Their translations, while faithful to the Latin, elegantly dramatize how the poets, each in his or her own way, have engaged Horace in a spirited encounter across time. Each of the odes now has a distinct voice, and Horace's poetic achievement has at last been revealed in all its mercurial majesty. In his introduction, J. D. McClatchy, the volume's editor and one of the translators, reflects on the meaning of Horace through the ages and relates how a poet who began as a cynical satirist went on to write the odes. For the connoisseur, the original texts appear on facing pages allowing Horace's ingenuity to be fully appreciated. For the general reader, these new translations--all of them commissioned for this book--will be an exhilarating tour of the best poets writing today and of the work of Horace, long obscured and now freshly minted. The contributors are Robert Bly, Eavan Boland, Robert Creeley, Dick Davis, Mark Doty, Alice Fulton, Debora Greger, Linda Gregerson, Rachel Hadas, Donald Hall, Robert Hass, Anthony Hecht, Daryl Hine, John Hollander, Richard Howard, John Kinsella, Carolyn Kizer, James Lasdun, J. D. McClatchy, Heather McHugh, W. S. Mervin, Paul Muldoon, Carl Phillips, Robert Pinsky, Marie Ponsot, Charles Simic, Mark Strand, Charles Tomlinson, Ellen Bryantr Voigt, David Wagoner, Rosanna Warren, Richard Wilbur, C. K. Williams, Charles Wright, and Stephen Yenser.

The Roman philosopher and dramatic critic Quintus Horatius Flaccus (65-3 B.C.), known in English as Horace, was also the most famous lyric poet of his age. Written in the troubled decade ending with the establishment of Augustus's regime, his Satires provide trenchant social commentary on men's perennial enslavement to money, power, fame, and sex. Not as frequently translated as his Odes, in recent decades the Satires have been rendered into prose or bland verse. Horace continues to influence modern lyric poetry, and our greatest poets continue to translate and marvel at his command of formal style, his economy of expression, his variety, and his mature humanism. Horace's comic genius has also had a profound influence on the Western literary tradition through such authors as Swift, Pope, and Boileau, but interest in the Satires has dwindled due to the difficulty of capturing Horace's wit and formality with the techniques of contemporary free verse. A. M. Juster's striking new translation relies on the tools and spirit of the English light verse tradition while taking care to render the original text as accurately as possible.