Horace's first three books of Odes, published together in 23 B.C., are a masterpiece of Augustan literature and the culmination of classical lyric. Matthew Santirocco provides the first new critical approach to them in English in more than two decades. Drawing on recent works on ancient and modern poetry books and using several contemporary critical methodologies, Santirocco reveals the Odes both as individual poems and as components in a larger poetic design. His reading of Horace demonstrates that the ensemble is itself an important context for understanding and appreciating the poetry. Reconstructing the history of the ancient poetry book, both Greek and Roman, Santirocco challenges certain common assumptions about its origin and development. He argues that true parallels for the Odes are not to be found in the other Augustan books, which are relatively homogeneous in content and form, but in the heterogeneous collections of Hellenistic writers. Odes I-III comprise eighty-eight poems in twelve different meters, and in tone and topic they vary widely. Avoiding the two extremes of past scholarship, which either has searched for a single underlying unity or else has denied any meaningful design, Santirocco uncovers a variety of both static and dynamic structures and shows their relevance to the literary interpretation of the poems at all levels. Ultimately, the composition of a poem and the disposition of the group are shown to be analogous activities. Odes I-III do not constitute a medley of discrete poems but, instead, approximate the unity of a single ode.
A selection of papers from the volumes "Sexual Divisions and Society" and "Exploitation in Work and Marriage" produced almost a decade ago at a conference in Aberdeen.
A companion volume to the highly successful and widely used Ancient Greece, this Sourcebook is a valuable resource for students at all levels studying ancient Rome. Lynda Garland and Matthew Dillon present an extensive range of material, from the early Republic to the assassination of Julius Caesar. Providing a comprehensive coverage of all important documents pertaining to the Roman Republic, Ancient Rome includes: source material on political developments in the Roman Republic (509–44 BC) detailed chapters on social phenomena, such as Roman religion, slavery and freedmen, women and the family, and the public face of Rome clear, precise translations of documents taken not only from historical sources, but also from inscriptions, laws and decrees, epitaphs, graffiti, public speeches, poetry, private letters and drama concise up-to-date bibliographies and commentaries for each document and chapter a definitive collection of source material on the Roman Republic. All students of ancient Rome and classical studies will find this textbook invaluable at all levels of study.
A selection of papers from the volumes "Sexual Divisions and Society" and "Exploitation in Work and Marriage" produced almost a decade ago at a conference in Aberdeen.
Horace's first three books of Odes, published together in 23 B.C., are a masterpiece of Augustan literature and the culmination of classical lyric. Matthew Santirocco provides the first new critical approach to them in English in more than two decades. Drawing on recent works on ancient and modern poetry books and using several contemporary critical methodologies, Santirocco reveals the Odes both as individual poems and as components in a larger poetic design. His reading of Horace demonstrates that the ensemble is itself an important context for understanding and appreciating the poetry. Reconstructing the history of the ancient poetry book, both Greek and Roman, Santirocco challenges certain common assumptions about its origin and development. He argues that true parallels for the Odes are not to be found in the other Augustan books, which are relatively homogeneous in content and form, but in the heterogeneous collections of Hellenistic writers. Odes I-III comprise eighty-eight poems in twelve different meters, and in tone and topic they vary widely. Avoiding the two extremes of past scholarship, which either has searched for a single underlying unity or else has denied any meaningful design, Santirocco uncovers a variety of both static and dynamic structures and shows their relevance to the literary interpretation of the poems at all levels. Ultimately, the composition of a poem and the disposition of the group are shown to be analogous activities. Odes I-III do not constitute a medley of discrete poems but, instead, approximate the unity of a single ode.
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