WORKS

His works, like those of all but the earliest Latin poets, are written in Greek metres, ranging from the hexameters which were relatively easy to adapt into Latin to the more complex measures used in the Odes, such as alcaics and sapphics, which were sometimes a difficult fit for Latin structure and syntax. The works of Horace are: 1. Odes (or Carmina) (23-13 BCE) A. The Odes (Latin Carmina) are a collection in four books of Latin lyric poems by Horace. The Horatian ode format and style has been emulated since by other poets. Books 1 to 3 were published in 23 BC. According to the journal Quadrant, they were "unparalleled by any collection of lyric poetry produced before or after in Latin literature".[1] A fourth book, consisting of 15 poems, was published in 13 BC. i. Book 1 consists of 38 poems. Notable poems in this collection include: a. 1.3, Sic te diva potens Cypri, a propempticon (travel poem) addressed to contemporary poet Virgil. 01) ODE I. TO MAECENAS. Maecenas, descended from royal ancestors, O both my protection and my darling honor! There are those whom it delights to have collected Olympic dust in the chariot race; and [whom] the goal nicely avoided by the glowing wheels, and the noble palm, exalts, lords of the earth, to the gods. This man, if a crowd of the capricious Quirites strive to raise him to the highest dignities; another, if he has stored up in his own granary whatsoever is swept from the Libyan thrashing floors: him who delights to cut with the hoe his patrimonial fields, you could never tempt, for all the wealth of Attalus, [to become] a timorous

sailor and cross the Myrtoan sea in a Cyprian bark. The merchant, dreading the south-west wind contending with the Icarian waves, commends tranquility and the rural retirement of his village; but soon after, incapable of being taught to bear poverty, he refits his shattered vessel. There is another, who despises not cups of old Massic, taking a part from the entire day, one while stretched under the green arbute, another at the placid head of some sacred stream. The camp, and the sound of the trumpet mingled with that of the clarion, and wars detested by mothers, rejoice many. The huntsman, unmindful of his tender spouse, remains in the cold air, whether a hart is held in view by his faithful hounds, or a Marsian boar has broken the fine-wrought toils. Ivy, the reward of learned brows, equals me with the gods above: the cool grove, and the light dances of nymphs and satyrs, distinguish me from the crowd; if neither Euterpe withholds her pipe, nor Polyhymnia disdains to tune the Lesbian lyre. But, if you rank me among the lyric poets, I shall tower to the stars with my exalted head. b. I.4, Solvitur acris hiems a hymn to springtime in which Horace urges his friend Sestius vitae summa brevis spem nos vetat incohare longam (Life's brief total forbids us cling to long-off hope) 01) ODE IV. TO SEXTIUS. Severe winter is melted away beneath the agreeable change of spring and the western breeze; and engines haul down the dry ships. And neither does the cattle any longer delight in the stalls,

nor the ploughman in the fireside; nor are the meadows whitened by hoary frosts. Now Cytherean Venus leads off the dance by moonlight; and the comely Graces, in conjunction with the Nymphs, shake the ground with alternate feet; while glowing Vulcan kindles the laborious forges of the Cyclops. Now it is fitting to encircle the shining head either with verdant myrtle, or with such flowers as the relaxed earth produces. Now likewise it is fitting to sacrifice to Faunus in the shady groves, whether he demand a lamb, or be more pleased with a kid. Pale death knocks at the cottages of the poor, and the palaces of kings, with an impartial foot. O happy Sextius! The short sum total of life forbids us to form remote expectations. Presently shall darkness, and the unreal ghosts, and the shadowy mansion of Pluto oppress you; where, when you shall have once arrived, you shall neither decide the dominion of the bottle by dice, nor shall you admire the tender Lycidas, with whom now all the youth is inflamed, and for whom ere long the maidens will grow warm. c. I.5, Quis multa gracilis te puer in rosa, on the coquettish Pyrrha, famously translated by John Milton. 01) ODE V. TO PYRRHA. What dainty youth, bedewed with liquid perfumes, caresses you, Pyrrha, beneath the pleasant grot, amid a profusion of roses? For whom do you bind your golden hair, plain in your neatness? Alas! how often shall he deplore your perfidy, and the altered gods; and through inexperience be amazed at the seas, rough with blackening storms who now credulous enjoys you all precious, and, ignorant of the faithless gale, hopes you will be always disengaged, always amiable! Wretched are those, to whom thou untried

seemest fair? The sacred wall [of Neptunes temple] demonstrates, by a votive tablet, that I have consecrated my dropping garments to the powerful god of the sea. d. I.11, Tu ne quaesieris, a short rebuke to a woman worrying about the future; it closes with the famous line carpe diem, quam minimum credula postero (pluck the day, trusting tomorrow as little as possible). 01) ODE XI. TO LEUCONOE. Inquire not, Leuconoe (it is not fitting you should know), how long a term of life the gods have granted to you or to me: neither consult the Chaldean calculations. How much better is it to bear with patience whatever shall happen! Whether Jupiter have granted us more winters, or [this as] the last, which now breaks the Etrurian waves against the opposing rocks. Be wise; rack off your wines, and abridge your hopes [in proportion] to the shortness of your life. While we are conversing, envious age has been flying; seize the present day, not giving the least credit to the succeeding one. e. I.22, Integer vitae, an amusing ode that starts as a solemn praise of honest living and ends in a mock-heroic song of love for "Lalage" (cf. II.5.16, Propertius IV.7.45). 01) ODE XXII. TO ARISTIUS FUSCUS. The man of upright life and pure from wickedness, O Fuscus, has no need of the Moorish javelins, or bow, or quiver loaded with poisoned darts. Whether he is about to make his journey through the sultry Syrtes, or the inhospitable Caucasus, or

those places which Hydaspes, celebrated in story, washes. For lately, as I was singing my Lalage, and wandered beyond my usual bounds, devoid of care, a wolf in the Sabine wood fled from me, though I was unarmed: such a monster as neither the warlike Apulia nourishes in its extensive woods, nor the land of Juba, the dry-nurse of lions, produces. Place me in those barren plains, where no tree is refreshed by the genial air; at that part of the world, which clouds and an inclement atmosphere infest. Place me under the chariot of the too neighboring sun, in a land deprived of habitations; [there] will I love my sweetly-smiling, sweetly-speaking Lalage. f. I.33, Albi, ne doleas, a consolation to the contemporary poet Tibullus over a lost love 01) ODE XXXIII. TO ALBIUS TIBULLUS. Grieve not too much, my Albius, thoughtful of cruel Glycera; nor chant your mournful elegies, because, as her faith being broken, a younger man is more agreeable, than you in her eyes. A love for Cyrus inflames Lycoris, distinguished for her little forehead: Cyrus follows the rough Pholoe; but she-goats shall sooner be united to the Apulian wolves, than Pholoe shall commit a crime with a base adulterer. Such is the will of Venus, who delights in cruel sport, to subject to her brazen yokes persons and tempers ill suited to each other. As for myself, the slave-born Myrtale, more untractable than the Adriatic Sea that forms the Calabrian gulfs, entangled me in a pleasing chain, at the very time that a more eligible love courted my embraces. ii. Book 2 consists of 20 poems. Notable poems in this collection include:

a. II.14, Eheu fugaces, an ode to Postumus on the futility of hoarding up treasure that begins Eheu fugaces, Postume, Postume, labuntur anni! (alas, the fleeting years glide away, Postumus, Postumus) 01) ODE XIV. TO POSTUMUS. Alas! my Postumus, my Postumus, the fleeting years gilde on; nor will piety cause any delay to wrinkles, and advancing old age, and insuperable death. You could not, if you were to sacrifice every passing day three hundred bulls, render propitious pitiless Pluto, who confines the thrice-monstrous Geryon and Tityus with the dismal Stygian stream, namely, that stream which is to be passed over by all who are fed by the bounty of the earth, whether we be kings or poor ninds. In vain shall we be free from sanguinary Mars, and the broken billows of the hoarse Adriatic; in vain shall we be apprehensive for ourselves of the noxious South, in the time of autumn. The black Cocytus wandering with languid current, and the infamous race of Danaus, and Sisyphus, the son of the Aeolus, doomed to eternal toil, must be visited; your land and house and pleasing wife must be left, nor shall any of those trees, which you are nursing, follow you, their master for a brief space, except the hated cypresses; a worthier heir shall consume your Caecuban wines now guarded with a hundred keys, and shall wet the pavement with the haughty wine, more exquisite than what graces pontifical entertainment. iii. Book 3 consists of 30 poems.The ancient editor Porphyrion read the first six odes of this book as a single sequence, one unified by a common moral purpose and addressed to all patriotic citizens of Rome. These six "Roman odes", as they have since been called (by HT Plss in 1882), share a common meter and take as a common theme the glorification of Roman

virtues and the attendant glory of Rome under Augustus. Ode III.2 contains the famous line "Dulce et decorum est pro patria mori," (It is sweet and honorable to die for one's country). Ode III.5 Caelo tonantem credidimus Jovem makes explicit identification of Augustus as a new Jove destined to restore in modern Rome the valor of past Roman heroes like Marcus Atilius Regulus, whose story occupies the second half of the poem.Besides the first six Roman Odes, notable poems in this collection include: a. III.13, O fons Bandusiae, a celebrated description of the Bandusian fountain. 01) ODE XIII. TO THE BANDUSIAN FOUNTAIN. O thou fountain of Bandusia, clearer than glass, worthy of delicious wine, not unadorned by flowers; to-morrow thou shalt be presented with a kid, whose forehead, pouting with new horns, determines upon both love and war in vain; for this offspring of the wanton flock shall tinge thy cooling streams with scarlet blood. The severe season of the burning dog-star cannot reach thee; thou affordest a refreshing coolness to the oxen fatigued with the plough-share, and to the ranging flock. Thou also shalt become one of the famous fountains, through my celebrating the oak that covers the hollow rock, whence thy prattling rills descend with a bound.

b. III.29, Tyrrhena regum progenies, an invitation for the patron Maecenas to visit the poet's Sabine farm. 01) ODE XXIX. TO MAECENAS. O Maecenas, thou progeny of Tuscan kings, there has been a long while for you in my house some mellow wine in an

unbroached hogshead, with rose-flowers and expressed essence for your hair. Disengage yourself from anything that may retard you, nor contemplate the ever marshy Tibur, and the sloping fields of Aesula, and the hills of Telegonus the parricide. Leave abundance, which is the source of daintiness, and yon pile of buildings approaching near the lofty clouds: cease to admire the smoke, and opulence, and noise of flourishing Rome. A change is frequently agreeable to the rich, and a cleanly meal in the little cottage of the poor has smoothed an anxious brow without carpets or purple. Now the bright father of Andromeda displays his hidden fire; now Procyon rages, and the constellation of the ravening Lion, as the sun brings round the thirsty season. Now the weary shepherd with his languid flock seeks the shade, and the river, and the thickets of rough Sylvanus; and the silent bank is free from the wandering winds. You regard what constitution may suit the state, and are in an anxious dread for Rome, what preparations the Seres and the Bactrians subject to Cyrus, and the factious Tanais are making. A wise deity shrouds in obscure darkness the events of the time to come, and smiles if a mortal is solicitous beyond the law of nature. Be mindful to manage duly that which is present. What remains goes on in the manner of the river, at one time calmly gliding in the middle of its channel to the Tuscan Sea, at another, rolling along corroded stones, and stumps of trees, forced away, and cattle, and houses, not without the noise of mountains and neighboring woods, when the merciless deluge enrages the peaceful waters. That man is master of himself and shall live happy, who has it in his power to say, I have lived to-day: to-morrow let the Sire invest the heaven, either with a black cloud, or with clear sunshine; nevertheless, he shall not render ineffectual what is past, nor undo or annihilate what the fleeting hour has once carried off. Fortune, happy in the execution of her cruel office, and persisting to play her insolent

game, changes uncertain honors, indulgent now to me, by and by to another. I praise her, while she abides by me. If she moves her fleet wings, I resign what she has bestowed, and wrap myself up in my virtue, and court honest poverty without a portion. It is no business of mine, if the mast groan with the African storms, to have recourse to piteous prayers, and to make a bargain with my vows, that my Cyprian and Syrian merchandize may not add to the wealth of the insatiable sea. Then the gale and the twin Pollux will carry me safe in the protection of a skiff with two oars, through the tumultuous Aegean Sea. c. III.30, Exegi monumentum, a closing poem in which Horace brags Exegi monumentum aere perennius (I have raised a monument more permanent than bronze). 01) ODE XXX. ON HIS OWN WORKS. I have completed a monument more lasting than brass, and more sublime than the regal elevation of pyramids, which neither the wasting shower, the unavailing north wind, nor an innumerable succession of years, and the flight of seasons, shall be able to demolish. I shall not wholly die; but a great part of me shall escape Libitina. I shall continualy be renewed in the praises of posterity, as long as the priest shall ascend the Capitol with the silent [vestal] virgin. Where the rapid Aufidus shall murmur, and where Daunus, poorly supplied with water, ruled over a rustic people, I, exalted from a low degree, shall be acknowledged as having originally adapted the Aeolic verse to Italian measures. Melpomene, assume that pride which your merits have acquired, and willingly crown my hair with the Delphic laurel.

iv. Book 4 Horace published a fourth book of Odes in 13 BC consisting of 15 poems that were commissioned by Augustus himself. Horace acknowledged the gap in time with the first words of the opening poem of the collection: Intermissa, Venus, diu / rursus bella moves (Venus, you return to battles long interrupted). Notable poems in this collection include: a. IV.7 Diffugere nives, an ode on the same springtime theme as I.4. Contrasts between these two odes show a change in Horace's attitude with age. 01) ODE VII. TO TORQUATUS. The snows are fled, the herbage now returns to the fields, and the leaves to the trees. The earth changes its appearance, and the decreasing rivers glide along their banks: the elder Grace, together with the Nymphs, and her two sisters, ventures naked to lead off the dance. That you are not to expect things permanent, the year, and the hour that hurries away the agreeable day, admonish us. The colds are mitigated by the zephyrs: the summer follows close upon the spring, shortly to die itself, as soon as fruitful autumn shall have shed its fruits: and anon sluggish winter returns again. Nevertheless the quickrevolving moons repair their wanings in the skies; but when we descend [to those regions] where pious Aeneas, where Tullus and the wealthy Ancus [have gone before us], we become dust and a mere shade. Who knows whether the gods above will add to this days reckoning the space of to-morrow? Every thing, which you shall indulge to your beloved soul, will escape the greedy hands of your heir. When once, Torquatus, you shall be dead, and Minos shall have made his awful decisions concerning you; not your family, not you eloquence, not your piety shall restore you. For neither can Diana free the chaste Hippolytus from infernal darkness; nor is Theseus able to break off the Lethaean fetters from his dear Piri thous.

b. IV.9 Ne forte credas, an ode to Lollius about the power of poetry that contains the famous line, "Vixere fortes Agamemnona," "Brave men lived before Agamemnon. 01) ODE IX.

TO MARCUS LOLLIUS. Lest you for a moment imagine that those words will be lost, which I, born on the far-resounding Aufidus, utter to be accompanied with the lyre, by arts hitherto undivulgedIf Maeonian Homer possesses the first rank, the Pindaric and Cean muses, and the menacing strains of Alcaeus, and the majestic ones of Stesichorus, are by no means obscure: neither, if Anacreon long ago sportfully sung any thing, has time destroyed it: even now breathes the love and live the ardors of the Aeolian maid, committed to her lyre. The Lacedaemonian Helen is not the only fair, who has been inflamed by admiring the delicate ringlets of a gallant, and garments embroidered with gold, and courtly accomplishments, and retinue: nor was Teucer the first that leveled arrows from the Cydonian bow: Troy was more than once harassed: the great Idomeneus and Sthenelus were not the only heroes that fought battles worthy to be recorded by the muses: the fierce Hector, or the strenuous Deiphobus were not the first that received heavy blows in defense of virtuous wives and children. Many brave men lived before Agamemnon: but all of them, unlamented and unknown, are overwhelmed with endless obscurity, because they were destitute of a sacred bard. Valor, uncelebrated, differs but little from cowardice when in the grave. I will not [therefore], O Lollius, pass you over in silence, uncelebrated in my writings, or suffer envious forgetfulness with impunity to seize so many toils of thine. You have a mind ever prudent in the conduct

of affairs, and steady alike amid success and trouble: you are an avenger of avaricious fraud, and proof against money, that attracts every thing; and a consul not of one year only, but as often as the good and upright magistrate has preferred the honorable to the profitable, and has rejected with a disdainful brow the bribes of wicked men, and triumphant through opposing bands has displayed his arms. You can not with propriety call him happy, that possesses much; he more justly claims the title of happy, who understands how to make a wise use of the gifts of the gods, and how to bear severe poverty; and dreads a reproachful deed worse than death; such a man as this is not afraid to perish in the defense of his dear friends, or of his country. c. IV.10 O crudelis adhuc, an ode to young Ligurinus on the inevitability of old age that hints at a pederastic relationship. 01) ODE X. TO LIGURINUS. O cruel still, and potent in the endowments of beauty, when an unexpected plume shall come upon your vanity, and those locks, which now wanton on your shoulders, shall fall off, and that color, which is now preferable to the blossom of the damask rose, changed, O Ligurinus, shall turn into a wrinkled face; [then] will you say (as often as you see yourself, [quite] another person in the looking glass), Alas! why was not my present inclination the same, when I was young? Or why do not my cheeks return, unimpaired, to these my present sentiments? B. The Odes were developed as a conscious imitation of the short lyric poetry of Greek originals.Pindar, Sappho and Alcaeus are some of Horace's models; his genius lay in applying these older forms to the social life of Rome in the age of

Augustus. The Odes have been considered traditionally by English-speaking scholars as purely literary works. Recent evidence by a Horatian scholar suggests they were intended as performance art, a Latin re-interpretation of Greek lyric song. The Roman writer Petronius, writing less than a century after Horace's death, remarked on the curiosa felicitas (studied spontaneity) of the Odes (Satyricon 118). The English poet Alfred Lord Tennyson declared that the Odes provided "jewels five-words long, that on the stretched forefinger of all Time / Sparkle forever" (The Princess, part II, l.355). The earliest positively dated poem in the collection is I.37 (an ode on the defeat of Cleopatra at the battle of Actium, clearly written in 30 B.C.), though it is possible some of the lighter sketches from the Greek (e.g. I.10, a hymn to the god Mercury) are contemporary with Horace's earlier Epodes and Satires. The collected odes were first published in three books in 23 B.C. 2. Epodes (30 BCE) A. Epode, in verse, is the third part of an ode, which followed the strophe and the antistrophe, and completed the movement. B. At a certain point in time the choirs, which had previously chanted to right of the altar or stage, and then to left of it, combined and sang in unison, or permitted the coryphaeus to sing for them all, while standing in the centre. With the appearance of Stesichorus and the evolution of choral lyric, a learned and artificial kind of poetry began to be cultivated inGreece, and a new form, the epode-song, came into existence. It consisted of a verse of iambic trimeter, followed by a verse of iambic dimeter, and it is reported that, although the epode was carried to its highest perfection by Stesichorus, an earlier poet, Archilochus, was really the inventor of this form. C. The epode soon took a firm place in choral poetry, which it lost when that branch of literature declined. But it extended beyond the ode, and in the early dramatists we find numerous examples of monologues and dialogues framed on the epodical system. In Latin poetry the epode was cultivated, in conscious archaism, both as a part of the ode and as an independent branch of

poetry. Of the former class, the epithalamia of Catullus, founded on an imitation of Pindar, present us with examples of strophe, antistrophe and epode; and it has been observed that the celebrated ode ofHorace, beginning Quem virum aut heroa lyra vel acri, possesses this triple character. i. Epodes of Horace a. The word is now mainly familiar from an experiment of Horace in the second class, for he entitled his fifth book of odesEpodon liber or the Book of Epodes. He says in the course of these poems, that in composing them he was introducing a new form, at least in Latin literature, and that he was imitating the effect of the iambic distichs invented by Archilochus. Accordingly, we find the first ten of these epodes composed in alternate verses of iambic trimeter and iambic dimeter, thus: "At o Deorum quicquid in caelo regit Terras et humanum genus;Geolabious" In the seven remaining epodes Horace diversified the measures, while retaining the general character of the distich. This group of poems belongs mostly to the early youth of the poet, and displays a truculence and a controversial heat which are absent from his more mature writings. As he was imitating Archilochus in form, he believed himself justified, no doubt, in repeating the sarcastic violence of his fierce model. The curious thing is that these particular poems of Horace, which are really short lyrical satires, have appropriated almost exclusively the name of epodes, although they bear little enough resemblance to the epode of early Greek literature. 3. Satires, in Latin Sermones (35 and 30 BCE) A. The Satires (Latin: Satirae or Sermones) are a collection of satirical poems written by the Roman poet Horace. Composed in dactylic hexameters, the Satires explore the secrets of human happiness and literary perfection. Published probably in 35 BCE and at the latest by 33 BCE, the first book

of Satires represents Horace's first published work, and it established him as one of the great poetic talents of the Augustan Age. The second book was published in 30 BCE as a sequel. In his Sermones (Latin for "conversations") or Satires (Latin for "miscellaneous poems"), Horace combines Epicurean, that is, originally Greek philosophy with Roman good sense to convince his readers of the futility and silliness of their ambitions and desires. As an alternative, he proposes a life that is based on the Greek philosophical ideals of autarkeia(Greek for "inner self-sufficiency") and metriotes (Greek for "moderation" or sticking to the Just Mean).[1] In Serm.1.6.110-131, Horace illustrates what he means by describing a typical day in his own simple, but contented life. The second book also addresses the fundamental question of Greek Hellenistic philosophy, the search for a happy and contented life. In contrast to Satires I, however, many of this book's poems are dialogues in which the poet allows a series of pseudo-philosophers, such the bankrupt art-dealer turned Stoic philosopher Damasippus, the peasant Ofellus, the mythical seer Teiresias, the poet's own slave Dama, to espouse their philosophy of life, in satiric contrast to the narrator's. B. Poetic Models Horace's direct predecessor as writer of satires was Lucilius. Horace inherits from Lucilius the hexameter, the conversational and sometimes even "prosaic" tone of his poetry, and the tradition of personal attack. In contrast to Lucilius, though, the victims of Horace's mockery are not members of the nobility, but overly ambitious freedmen, anonymous misers, courtesans, street philosophers, hired buffoons, and bad poets. In accordance with the Epicurean principle Lathe biosas (Greek for "Live unnoticed"), Horace consciously does not get involved in the complicated politics of his times, but advocates instead a life that focuses on individual happiness and virtue.[2] Probably equally important is the influence of Greek diatribe in the tradition of the philosopher Bion of Borysthenes (ca. 335-245 BCE). Horace's Satires share with

this genre some of their themes, typical imagery and similes, and the fiction of an anonymous interlocutor whose objections the speaker easily refutes. In addition, Horace alludes to another inspiration, the poet Lucretius whose didactic epic De rerum natura ("On the Nature of Things"), also written in hexameters, popularized Epicurean physics in Rome. For example, Horace's comparison of his satires with cookies that a teacher uses to encourage his students to learn their letters[3] reminds of Lucretius' more traditional comparison of his poetry with the sugar that sweetens the bitter medicine of philosophy. Moreover, Lucretian stock phrases like nunc ad rem redeo ("now I return to the matter at hand") give Horace's philosophical "conversations" (Sermones) a subtly Lucretian flavor.

C. Content i. Satire 1.1, Qui fit, Maecenas ("How come, Maecenas"), targets avarice and greed. a. Most people, the satirist argues, complain about their lot yet do not really want to change it. Our insatiable greed for material wealth is just as silly. Man's true basic needs, food and water, are easily satisfied. A person who recognizes the natural limit (modus) set for our desires, the Just Mean between the extremes, will in the end leave the Banquet of Life like a satisfied guest, full and content. ii. Satire 1.2, Ambubaiarum collegia ("The trade unions of fluteplaying geishas"), deals with adultery and other unreasonable behaviour in sexual matters. a. The satirist claims that there is also a natural mean with regard to sex. Our basic sexual urges are easily satisfied (any partner will do), so it seems silly to run after married noblewomen instead.

iii. Satire 1.3, Omnibus hoc vitium est ("Everyone has this flaw"), demands fairness when we criticize other peoples flaws. In the case of friends, we should be especially lenient. iv. Satire 1.4, Eupolis atque Cratinus ("Eupolis and Cratinus"), in a programmatic declaration of Horace's poetic views, he applies these same critical principles to poetry and shows that his own satires follow them. v. Satire 1.5, Egressum magna ... Roma ("Having left great Rome"), describes a journey from Rome to Brundisium. a. Alluding to a famous satire in which Horaces poetic model, Lucilius, described a trip to his knightly estates near Tarentum, this satire offers a comic self-portrait of Horace as an insignificant member in the retinue of his powerful friend Maecenas when the latter negotiated one last truce between Antony and Octavian, the Peace of Brundisium (36 BCE). A highpoint of the satire is the central verbal contest that again, just like in Sat. 1.4, distinguishes scurrility from satire. Here, Horace pitches a scurra (buffoon) from the capital, the freedman Sarmentus, against his ultimately victorious local challenger, Messius Cicirrus (the Fighting Cock). vi. Satire 1.6, Non quia, Maecenas ("Not because, Maecenas"), rejects false ambition. a. With the same modesty, with which he just depicted himself in Satire 1.5, Horace explains why he is not interested in a career in politics even though he once, during the Civil War, served as the tribune of a Roman legion (48). People would jeer at him because of his freedman father, and his father taught him to be content with his status in life (85-87) even though he made sure that his son could enjoy the same education as an aristocrat (76-80).

vii. Satire 1.7, Proscripti Regis Rupili pus atque venenum ("The pus and poison of the proscribed Rupilius Rex"), deals with a trial that Persius, a Greek merchant of dubious birth (hybrida, 2), won against the Roman Rupilius Rex. a. Following the account of Horace's youth in Sat. 1.6, this satire tells a story from his service under Brutus during the Civil War. Just like Sat. 1.5, it features a verbal contest in which two different kinds of invective are fighting against each other. Initially, Greek verbosity seems to succumb to Italian acidity, but in the end, the Greek wins with a clever turn of phrase, calling on the presiding judge, Brutus the Liberator, to do his duty and dispose of the "king" (Latin: 'rex') Rupilius Rex (33-35). viii. Satire 1.8, Olim truncus eram ("Once I was a tree trunk"), describes a

funny victory over witchcraft and superstition. a. Another hybrida like Persius in Sat. 1.7, Priapus, half garden god, half still a barely shaped piece of wood, narrates the visit of two terrible witches to Maecenas' garden that he is supposed to protect against trespassers and thieves. Maecenas' garden on the Esquiline Hill used to be a cemetery for executed criminals and the poor, and so it attracts witches that dig for magic bones and harmful herbs. The god is powerless until the summer heat makes the figwood that he is made of explode, and this divine "fart" chases the terrified witches away. ix. Satire 1.9, Ibam forte Via Sacra ("I happened to be walking on the Sacred Way"), the famous encounter between Horace and the Pest, relates another funny story of a last-minute delivery from an overpowering enemy. a. Horace is accosted by an ambitious flatterer and would-be poet who hopes that Horace will help him to worm his way into the circle of Maecenas' friends. Horace tries in vain to get rid of the Pest. He assures him that this is not how Maecenas and his friends operate. Yet he only manages to get rid of him, when finally a creditor of the Pest appears and drags him off to court, with Horace offering to serve as a witness (74-78).

x. Satire 1.10, Nempe incomposito ("I did indeed say that Lucilius' verses hobble along"), functions as an epilogue to the book. Here Horace clarifies his criticism of his predecessor Lucilius, jokingly explains his choice of the genre ("nothing else was available") in a way that groups him and his Satires among the foremost poets of Rome, and lists Maecenas and his circle as his desired audience. 4. Ars Poetica, or The Epistle to the Pisones (18 BCE) A. Ars Poetica is a term meaning "The Art of Poetry" or "On the Nature of Poetry". Early examples of Ars Poetica byAristotle and Horace have survived and have since spawned many other poems that bear the same name (perhaps most recognized being Archibald MacLeish's modernist entry, ending with the wellknown couplet "A poem should not mean/But be"). Three of the most notable examples, including the work by Horace, are as follows. i. Epigrams from the work a. Horace's Ars Poetica (also known as "The Art of Poetry", Epistula Ad Pisones, or Letters to Piso), published c. 18 BC, was a treatise on poetics. It was first translated into English by Ben Jonson. Three quotations in particular are associated with the work: 01) "in medias res", or "into the middle of things"; this describes a popular narrative technique that appears frequently in ancient epics and remains popular to this day 02) "bonus dormitat Homerus" or "good Homer nods"; an indication that even the most skilled poet can make continuity errors 03) "ut pictura poesis", or "as is painting so is poetry", by which Horace meant that poetry (in its widest sense, "imaginative texts") merited the same careful interpretation that was, in Horace's day, reserved for painting. The latter two phrases occur back-to-back, near the end of the treatise.

The work is also key for its discussion of the principle of decorum (using appropriate vocabulary and diction in each style of writing), and for Horace's criticisms of purple prose. Horace also introduced the five-act play: "A play should not be shorter nor longer than five acts."[1] Under his influenceSeneca the Younger wrote plays in five acts, and as a result of the Renaissance, playwrights such as William Shakespeare divided their plays into five acts. In verse 191, Horace warns against deus ex machina, the practice of resolving a convoluted plot by fiat (e.g. by having an Olympian god appear and set things right). Horace writes "Nec deus intersit, nisi dignus vindice nodus": "That a god not intervene, unless a knot show up that be worthy of such an untangler." ii. Archibald MacLeish a. The best known poem by Archibald MacLeish (18921982), published in 1926, took its title and subject from Horace's work. His poem "Ars Poetica" contains the line "A poem should not mean/but be", which was a classic statement of the modernist aesthetic. The original manuscript of the poem resides in the Library of Congress. iii. Czesaw Miosz a. Nobel Prize Polish writer Miosz also wrote a poem with this title (1961), though his poem has a question mark at the end of the title. B. Modern Usage i. The term "ars poetica" can refer to devices of metalanguage. The definition of "ars poetica" in the past decade extends to defining techniques of rhetoric, including but not limited to: writing about writing, singing about singing, thinking about thinking, etc. Stemming first from poetry on poetry, "ars poetica" is now widely used as a literary device to enhance imagery, understanding, or profundity. ii. The technique of "ars poetica" was previously an attempt to capture the essence of poetry through poetry; the poet would write his poem, then step back, and his poem would become a way of knowing, of seeing, albeit

through the senses, the emotions, and the imagination. In the modern century, a passage of writing or composition employing an "ars poetica" style is one that tries to capture the essence, the intrinsic value, of what it is expressing through. A song about a song, for example, would be an attempt to manifest the fleeting beauty of lyrics, notes, and dynamics. 5. Epistles (20 and 14 BCE) A. The Letters by Horace were published in two books, in 20 BC and 14 BC, respectively. i. Epistularum liber primus (First Book of Letters) is the seventh work by Horace, published in the year 20 BC. The phrase "sapere aude" (dare to be wise) comes from this collection of poems. ii. Epistularum liber secundus (Second Book of Letters) was published in the year 14 BC. 6. Carmen Saeculare (17 BCE) A. The Carmen Saeculare (Latin for "Secular Hymn" - "Song of the Ages") is a hymn in Sapphic meter written by the Roman poet Horace. It was commissioned by the Roman emperor Augustus in 17 BC. The hymn was sung by a chorus of twenty-seven maidens and the same number of youths on the occasion of the Ludi Saeculares (Secular Games), which celebrated the end of one saeculum (typically 100 years in length) and the beginning of another. The mythologicaland religious song is in the form of a prayer addressed to Phoebus (Apollo) and Diana and represents a return to the tradition of glorifying the Roman Pantheon; it especially brings to prominence the patron god of Augustus, Apollo, to whom a new temple on the Palatine had recently been consecrated. A marble inscription recording the ceremony and the part played by Horace still survives. It is the earliest lyric poem about, which we have definite information regarding the circumstances of its performance, and is the only one of Horace's we know for certain was performed orally.

Quintus Horatius Horace Flaccus

A Written Report Presented to the English Department PARAAQUE NATIONAL HIGH SCHOOL-BACLARAN Paraaque City

In Partial Fulfillment of the Requirements in English IV

Submitted to: Ms. Vrenilli A. Bereber Subject Teacher

Submitted by: Forteza, Atriu Carey P. Batralo, Maria Louella P. Pelayo, Ralph Gabriel Espanol, Nina Giezel Biscocho, Peter John IV-MANGROVE

October 21, 2011

Acknowledgement

First of all, I do want to thank those people who helped us prepare this work. Without their effort in pursuing us to do this, I think, there has been no work done. We are very thankful, especially to God in giving us patience, time, effort, and for everything. We are very thankful to our Family who endured us and giving us the inspiration. Atriu Carey Forteza is very much thankful to everyone that surrounds him that helped through thick and thin and to his inspiration that made him do this term paper in a fire-burning spirit. Maria Louella Batralo is thankful for her family for a purpose. It is because her family supported her in order for her to inspire and to convince herself to study harder. Nina Giezel Espanol is very much thankful to her Family in providing her what she needs and to her friends who did their best just to help her. Ralph Gabriel Pelayo is so much thankful to his family that made him very special within the days he needed to be pushed. Peter John Biscocho is also thankful to his family because of the effort that driven him to do such difficult things like this. We are thankful for those who will read this, appreciate and learn from it. We are thankful for the person around us who gave us different ideas and information regarding on our writer and our work. Lastly, we are very much thankful to our beloved Ms. Vrenilli Bereber who did her best to explain what to do in this work. We are very much thankful for her because we learned a lot from her.

Introduction

This project is accomplished for a reason. It consists of different ideas applicable for the researchers. It contains information referring to the author we picked. In this project you can find Horaces works, biography, styles and information defining him. For those who will read this be sure that you are fit enough and imaginative for you to feel the history and the past through Horaces works. This paper work will give you ideas about this prominent Roman Poet. The aim of this project is to give you idea, knowledge, information referring to a certain poet. We have included the following information. (1) His personal life. (2) His works and belief. (3) His death and history. The reason why we compiled this is to help the students to provide them a research paper. Also, it is compiled for us to submit and to fulfil our requirement as a graduating student. We did researches more about the certain writer we chose for us to compile. It is for you to easily find the things you wanted to. We did our best for this term paper to be compiled, we are hoping that you will enjoy reading and learn more from this.

References
http://en.wikipedia.org/wiki/Horace http://en.wikipedia.org/wiki/Odes_(Horace) http://en.wikipedia.org/wiki/Epodes http://en.wikipedia.org/wiki/Satires_(Horace) http://en.wikipedia.org/wiki/Ars_Poetica http://en.wikipedia.org/wiki/Epistles_(Horace) http://en.wikipedia.org/wiki/Carmen_Saeculare http://www.authorama.com/works-of-horace-1.html http://www.authorama.com/works-of-horace-2.html http://www.authorama.com/works-of-horace-3.html http://www.authorama.com/works-of-horace-4.html www.sacklunch.net/biography/H/Horace.html www.fordham.edu/halsall/pwh/suet-horace.html

Summary/Conclusion

We conclude that Quintus Horatius Horace Flaccus is an astonishing poet because he replicates powerful, heavy and strong words and images that make our imagination work all the time. Reading his works will make a positive outlook in your life and develop a good habitual ability to communicate. His works were once criticized by the people but that didnt stop him to write poems. Quintus Horatius Horace Flaccus has an interesting perspective when it comes to writing poems. Its the way he uses his poetry that captivates us the most and he also gives different thoughts on certain areas in life wherein you would quickly over view and give much thought about. His meaningful masterpiece made him loved by most of the people. You will have a very difficult time reading and understanding his works, but reading between the lines will make you conclude that this idiomatic expressions are truly touches our hearts. The Odes are simply the happenings in the Greece, the war, and the agricultural system and economical standing of Greeks. We hope that this will help a lot in your studies regarding to the author that we choose.

Table of Contents

I. II. III.

Acknowledgement...........................................................................................1 Introduction......................................................................................................2 Body a. Horaces Profile....................................................................................3 b. Life of Horace.......................................................................................5 c. Background..........................................................................................8 d. Works i. Selected Works........................................................................13 ii. Elaborated Works.....................................................................18

IV. V.

Summary/Conclusion.....................................................................................39 References.....................................................................................................40