Horace - Knowledge

55: 630:. An introduction soon followed and, after a discreet interval, Horace too was accepted. He depicted the process as an honourable one, based on merit and mutual respect, eventually leading to true friendship, and there is reason to believe that his relationship was genuinely friendly, not just with Maecenas but afterwards with Augustus as well. On the other hand, the poet has been unsympathetically described by one scholar as "a sharp and rising young man, with an eye to the main chance." There were advantages on both sides: Horace gained encouragement and material support, the politicians gained a hold on a potential dissident. His republican sympathies, and his role at Philippi, may have caused him some pangs of remorse over his new status. However, most Romans considered the civil wars to be the result of 933:, his predecessor. Unlike much Hellenistic-inspired literature, however, his poetry was not composed for a small coterie of admirers and fellow poets, nor does it rely on abstruse allusions for many of its effects. Though elitist in its literary standards, it was written for a wide audience, as a public form of art. Ambivalence also characterizes his literary persona, since his presentation of himself as part of a small community of philosophically aware people, seeking true peace of mind while shunning vices like greed, was well adapted to Augustus's plans to reform public morality, corrupted by greed—his personal plea for moderation was part of the emperor's grand message to the nation. 2387: 1967: 554: 281: 2829:"No son ever set a finer monument to his father than Horace did in the sixth satire of Book I...Horace's description of his father is warm-hearted but free from sentimentality or exaggeration. We see before us one of the common people, a hard-working, open-minded, and thoroughly honest man of simple habits and strict convictions, representing some of the best qualities that at the end of the Republic could still be found in the unsophisticated society of the Italian 2668: 2327: 1206: 539: 1433: 956:, later broadening his scope for the sake of variation and because his models weren't actually suited to the realities confronting him. Archilochus and Alcaeus were aristocratic Greeks whose poetry had a social and religious function that was immediately intelligible to their audiences but which became a mere artifice or literary motif when transposed to Rome. However, the artifice of the 445:(one of six senior officers of a typical legion), a post usually reserved for men of senatorial or equestrian rank and which seems to have inspired jealousy among his well-born confederates. He learned the basics of military life while on the march, particularly in the wilds of northern Greece, whose rugged scenery became a backdrop to some of his later poems. It was there in 42 BC that 6118: 513:"It lies on a range of hills, broken by a shady valley which is so placed that the sun when rising strikes the right side, and when descending in his flying chariot, warms the left. You would like the climate; and if you were to see my fruit trees, bearing ruddy cornils and plums, my oaks and ilex supplying food to my herds, and abundant shade to the master, you would say, 1605:, around the year 1170. He imitated all Horace's lyrical meters then followed these up with imitations of other meters used by Prudentius and Boethius, indicating that variety, as first modelled by Horace, was considered a fundamental aspect of the lyric genre. The content of his poems however was restricted to simple piety. Among the most successful imitators of 973:. Whereas Archilochus presented himself as a serious and vigorous opponent of wrong-doers, Horace aimed for comic effects and adopted the persona of a weak and ineffectual critic of his times (as symbolized for example in his surrender to the witch Canidia in the final epode). He also claimed to be the first to introduce into Latin the lyrical methods of Alcaeus ( 2682: 372:. Either way, he was a slave for at least part of his life. He was evidently a man of strong abilities however and managed to gain his freedom and improve his social position. Thus Horace claimed to be the free-born son of a prosperous 'coactor'. The term 'coactor' could denote various roles, such as tax collector, but its use by Horace was explained by 425:, and the Pompeius to whom he later addressed a poem. It was in Athens too that he probably acquired deep familiarity with the ancient tradition of Greek lyric poetry, at that time largely the preserve of grammarians and academic specialists (access to such material was easier in Athens than in Rome, where the public libraries had yet to be built by 1525:. Almost all of Horace's work found favour in the Medieval period. In fact medieval scholars were also guilty of over-schematism, associating Horace's different genres with the different ages of man. A twelfth-century scholar encapsulated the theory: "...Horace wrote four different kinds of poems on account of the four ages, the 1173:

addresses the emperor Augustus directly with more confidence and proclaims his power to grant poetic immortality to those he praises. It is the least philosophical collection of his verses, excepting the twelfth ode, addressed to the dead Virgil as if he were living. In that ode, the epic poet and the lyric poet are aligned with

2696: 1424:, the last major author of classical Latin literature, could still take inspiration from Horace, sometimes mediated by Senecan tragedy. It can be argued that Horace's influence extended beyond poetry to dignify core themes and values of the early Christian era, such as self-sufficiency, inner contentment and courage. 734:

may have been slow in coming, being published possibly as late as 11 BC. It celebrated, among other things, the 15 BC military victories of his stepsons, Drusus and Tiberius, yet it and the following letter were largely devoted to literary theory and criticism. The literary theme was explored still further in

461:. Horace later recorded it as a day of embarrassment for himself, when he fled without his shield, but allowance should be made for his self-deprecating humour. Moreover, the incident allowed him to identify himself with some famous poets who had long ago abandoned their shields in battle, notably his heroes 2873:

9 for example may offer proof of Horace's presence if 'ad hunc frementis' ('gnashing at this' man i.e. the traitrous Roman ) is a misreading of 'at huc...verterent' (but hither...they fled) in lines describing the defection of the Galatian cavalry, "ad hunc frementis verterunt bis mille equos / Galli

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4, after which Horace's reputation as Rome's premier lyricist was assured. His Odes were to become the best received of all his poems in ancient times, acquiring a classic status that discouraged imitation: no other poet produced a comparable body of lyrics in the four centuries that followed (though

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sets the philosophical tone for the rest of the collection: "So now I put aside both verses and all those other games: What is true and what befits is my care, this my question, this my whole concern." His poetic renunciation of poetry in favour of philosophy is intended to be ambiguous. Ambiguity is

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was prompted by Augustus, who desired a verse epistle to be addressed to himself. Augustus was in fact a prolific letter-writer and he once asked Horace to be his personal secretary. Horace refused the secretarial role but complied with the emperor's request for a verse letter. The letter to Augustus

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to a variety of friends and acquaintances in an urbane style reflecting his new social status as a knight. In the opening poem, he professed a deeper interest in moral philosophy than poetry but, though the collection demonstrates a leaning towards stoic theory, it reveals no sustained thinking about

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If my character is flawed by a few minor faults, but is otherwise decent and moral, if you can point out only a few scattered blemishes on an otherwise immaculate surface, if no one can accuse me of greed, or of prurience, or of profligacy, if I live a virtuous life, free of defilement (pardon, for a

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and he wrote a letter to Horace in the form of an ode. However he also borrowed from Horace when composing his Italian sonnets. One modern scholar has speculated that authors who imitated Horace in accentual rhythms (including stressed Latin and vernacular languages) may have considered their work a

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display a wide range of topics. Over time, he becomes more confident about his political voice. Although he is often thought of as an overly intellectual lover, he is ingenious in representing passion. The "Odes" weave various philosophical strands together, with allusions and statements of doctrine

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Horace's Hellenistic background is clear in his Satires, even though the genre was unique to Latin literature. He brought to it a style and outlook suited to the social and ethical issues confronting Rome but he changed its role from public, social engagement to private meditation. Meanwhile, he was

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came to Athens seeking support for the republican cause. Brutus was fêted around town in grand receptions and he made a point of attending academic lectures, all the while recruiting supporters among the young men studying there, including Horace. An educated young Roman could begin military service

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Horace can be regarded as the world's first autobiographer. In his writings, he tells us far more about himself, his character, his development, and his way of life, than any other great poet of antiquity. Some of the biographical material contained in his work can be supplemented from the short but

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Horace maintained a central role in the education of English-speaking elites right up until the 1960s. A pedantic emphasis on the formal aspects of language-learning at the expense of literary appreciation may have made him unpopular in some quarters yet it also confirmed his influence—a tension in

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was adapted to the more serious needs of this new genre. Such refinement of style was not unusual for Horace. His craftsmanship as a wordsmith is apparent even in his earliest attempts at this or that kind of poetry, but his handling of each genre tended to improve over time as he adapted it to his

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Suetonius recorded some gossip about Horace's sexual activities late in life, claiming that the walls of his bedchamber were covered with obscene pictures and mirrors, so that he saw erotica wherever he looked. The poet died at 56 years of age, not long after his friend Maecenas, near whose tomb he

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in the Sabine hills perhaps empowered him to some extent also yet even when his lyrics touched on public affairs they reinforced the importance of private life. Nevertheless, his work in the period 30–27 BC began to show his closeness to the regime and his sensitivity to its developing ideology. In

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lost his estate in the north about the same time). Horace later claimed that he was reduced to poverty and this led him to try his hand at poetry. In reality, there was no money to be had from versifying. At best, it offered future prospects through contacts with other poets and their patrons among

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As soon as Horace, stirred by his own genius and encouraged by the example of Virgil, Varius, and perhaps some other poets of the same generation, had determined to make his fame as a poet, being by temperament a fighter, he wanted to fight against all kinds of prejudice, amateurish slovenliness,

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in its beauty has been brought near to Rome! There is a fountain too, large enough to give a name to the river which it feeds; and the Ebro itself does not flow through Thrace with cooler or purer stream. Its waters also are good for the head and useful for digestion. This sweet, and, if you will

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Propertius published his third book of elegies within a year or two of Horace's Odes 1–3 and mimicked him, for example, in the opening lines, characterizing himself in terms borrowed from Odes 3.1.13 and 3.30.13–14, as a priest of the Muses and as an adaptor of Greek forms of poetry (R. Tarrant,

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At bottom, all the problems that the times were stirring up were of a social nature, which the Hellenistic thinkers were ill qualified to grapple with. Some of them censured oppression of the poor by the rich, but they gave no practical lead, though they may have hoped to see well-meaning rulers

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moment, my self-praise), and if I am to my friends a good friend, my father deserves all the credit... As it is now, he deserves from me unstinting gratitude and praise. I could never be ashamed of such a father, nor do I feel any need, as many people do, to apologize for being a freedman's son.

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4, thought to be composed at the emperor's request, takes the themes of the first three books of "Odes" to a new level. This book shows greater poetic confidence after the public performance of his "Carmen saeculare" or "Century hymn" at a public festival orchestrated by Augustus. In it, Horace

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The satirical poet Lucilius was a senator's son who could castigate his peers with impunity. Horace was a mere freedman's son who had to tread carefully. Lucilius was a rugged patriot and a significant voice in Roman self-awareness, endearing himself to his countrymen by his blunt frankness and

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In a verse epistle to Augustus (Epistle 2.1), in 12 BC, Horace argued for classic status to be awarded to contemporary poets, including Virgil and apparently himself. In the final poem of his third book of Odes he claimed to have created for himself a monument more durable than bronze ("Exegi

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is also integral to their success, since they could now accommodate a wide range of emotional effects, and the blend of Greek and Roman elements adds a sense of detachment and universality. Horace proudly claimed to introduce into Latin the spirit and iambic poetry of Archilochus but (unlike

989:. His style included 'metrical vandalism' and looseness of structure. Horace instead adopted an oblique and ironic style of satire, ridiculing stock characters and anonymous targets. His libertas was the private freedom of a philosophical outlook, not a political or social privilege. His 2315:. Wilfred Owen's famous poem, quoted above, incorporated Horatian text to question patriotism while ignoring the rules of Latin scansion. However, there were few other echoes of Horace in the war period, possibly because war is not actually a major theme of Horace's work. The Spanish poet 1225:

that might also be attributed to social causes, particularly the parasitism that Italy was sinking into). In the seventeenth and eighteenth centuries, ode-writing became highly fashionable in England and a large number of aspiring poets imitated Horace both in English and in Latin.

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beginning to interest Octavian's supporters, a gradual process described by him in one of his satires. The way was opened for him by his friend, the poet Virgil, who had gained admission into the privileged circle around Maecenas, Octavian's lieutenant, following the success of his

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with Antony, a fact Horace artfully keeps from the reader (political issues are largely avoided in the first book of satires). Horace was probably also with Maecenas on one of Octavian's naval expeditions against the piratical Sextus Pompeius, which ended in a disastrous storm off

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of the twelfth and thirteenth centuries, a distinction supposed to reflect the dominant classical Latin influences of those times. Such a distinction is over-schematized since Horace was a substantial influence in the ninth century as well. Traube had focused too much on Horace's

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1–3 disappointed him, however. He attributed the lack of success to jealousy among imperial courtiers and to his isolation from literary cliques. Perhaps it was disappointment that led him to put aside the genre in favour of verse letters. He addressed his first book of

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Octavian offered an early amnesty to his opponents and Horace quickly accepted it. On returning to Italy, he was confronted with yet another loss: his father's estate in Venusia was one of many throughout Italy to be confiscated for the settlement of veterans

3513:'Political' Epodes are 1, 7, 9, 16; notably obscene Epodes are 8 and 12. E. Fraenkel is among the admirers repulsed by these two poems, for another view of which see for example Dee Lesser Clayman, 'Horace's Epodes VIII and XII: More than Clever Obscenity?', 1448:. Horace's work probably survived in just two or three books imported into northern Europe from Italy. These became the ancestors of six extant manuscripts dated to the ninth century. Two of those six manuscripts are French in origin, one was produced in 332:). Various Italic dialects were spoken in the area and this perhaps enriched his feeling for language. He could have been familiar with Greek words even as a young boy and later he poked fun at the jargon of mixed Greek and Oscan spoken in neighbouring 268:, and became a spokesman for the new regime. For some commentators, his association with the regime was a delicate balance in which he maintained a strong measure of independence (he was "a master of the graceful sidestep") but for others he was, in 2438:

have largely been ignored in the modern era, excepting those with political associations of historical significance. The obscene qualities of some of the poems have repulsed even scholars yet more recently a better understanding of the nature of

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for old and complete men." It was even thought that Horace had composed his works in the order in which they had been placed by ancient scholars. Despite its naivety, the schematism involved an appreciation of Horace's works as a collection, the

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by birth. Italians in modern and ancient times have always been devoted to their home towns, even after success in the wider world, and Horace was no different. Images of his childhood setting and references to it are found throughout his poems.

1239:... when we hear his name we don't really think of a monument. We think rather of a voice which varies in tone and resonance but is always recognizable, and which by its unsentimental humanity evokes a very special blend of liking and respect. 1493:)—an association with western music quite appropriate for a lyric poet like Horace, though the language of the hymn is mainly Prudentian. Lyons argues that the melody in question was linked with Horace's Ode well before Guido d'Arezzo fitted 662:. The gift, which included income from five tenants, may have ended his career at the Treasury, or at least allowed him to give it less time and energy. It signalled his identification with the Octavian regime yet, in the second book of 54: 1197:, it is on the understanding that philosophical preferences, like political and social choices, are a matter of personal taste. Thus he depicts the ups and downs of the philosophical life more realistically than do most philosophers. 641:, described in one of his poems as a series of amusing incidents and charming encounters with other friends along the way, such as Virgil. In fact the journey was political in its motivation, with Maecenas en route to negotiate the 708:

concentrated on foreign wars in Britain (1.35), Arabia (1.29) Hispania (3.8) and Parthia (2.2). He greeted Augustus on his return to Rome in 24 BC as a beloved ruler upon whose good health he depended for his own happiness (3.14).

585:, is poetry written to blame and shame fellow citizens into a sense of their social obligations. Each poem normally has a archetype person Horace decides to shame, or teach a lesson to. Horace modelled these poems on the poetry of 1856:

authored a catalogue of Drury Lane and Covent Garden prostitutes, in Sapphic stanzas, and an encomium for a dying lady "of salacious memory". Some Latin imitations of Horace were politically subversive, such as a marriage ode by

1707:, along with other classical Latin authors, giving them all their own verses to speak in translation. Horace's part evinces the independent spirit, moral earnestness and critical insight that many readers look for in his poems. 1677:). The sixteenth century in western Europe was also an age of translations (except in Germany, where Horace wasn't translated into the vernacular until well into the seventeenth century). The first English translator was 1156:

1.7, praising Stoic virility and devotion to public duty while also advocating private pleasures among friends. While generally favouring the Epicurean lifestyle, the lyric poet is as eclectic as the satiric poet, and in

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a little more than a hundred years earlier, due to the vast wealth that could be gained by plunder and corruption. These social ills were magnified by rivalry between Julius Caesar, Mark Antony and confederates like

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left out both the English and Latin for those same two epodes, a gap in the numbering the only indication that something was amiss. French editions of Horace were influential in England and these too were regularly

352:. Such state-sponsored migration must have added still more linguistic variety to the area. According to a local tradition reported by Horace, a colony of Romans or Latins had been installed in Venusia after the 1648:

made constant and inventive use of Horatian quotes. The vernacular languages were dominant in Castilia and Portugal in the sixteenth century, where Horace's influence is notable in the works of such authors as

1041:, where human folly is revealed through dialogue between characters, is superior to the first, where he propounds his ethics in monologues. Nevertheless, the first book includes some of his most popular poems. 1032:. But nobody before Horace had ever composed an entire collection of verse letters, let alone letters with a focus on philosophical problems. The sophisticated and flexible style that he had developed in his 722:

ethics. Maecenas was still the dominant confidante but Horace had now begun to assert his own independence, suavely declining constant invitations to attend his patron. In the final poem of the first book of

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Horace left Rome, possibly after his father's death, and continued his formal education in Athens, a great centre of learning in the ancient world, where he arrived at nineteen years of age, enrolling in

1998:. There was considerable debate over the value of different lyrical forms for contemporary poets, as represented on one hand by the kind of four-line stanzas made familiar by Horace's Sapphic and Alcaic 611:

doing so. Philosophy was drifting into absorption in self, a quest for private contentedness, to be achieved by self-control and restraint, without much regard for the fate of a disintegrating community.

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to oversee his schooling and moral development. The poet later paid tribute to him in a poem that one modern scholar considers the best memorial by any son to his father. The poem includes this passage:

2970:"...resembles a man whose only concern is to force / something into the framework of six feet, and who gaily produces / two hundred lines before dinner and another two hundred after." – 3142:

signifies the lucubrations of a conscientious poet. According to Quintilian (93), however, many people in Flavian Rome preferred Lucilius not only to Horace but to all other Latin poets (R. Tarrant,

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may be considered among Horace's most innovative works. There was nothing like it in Greek or Roman literature. Occasionally poems had had some resemblance to letters, including an elegiac poem from

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recited his verses with feeling. His works were also used to justify commonplace themes, such as patriotic obedience, as in James Parry's English lines from an Oxford University collection in 1736:

726:, he revealed himself to be forty-four years old in the consulship of Lollius and Lepidus i.e. 21 BC, and "of small stature, fond of the sun, prematurely grey, quick-tempered but easily placated". 376:

as a reference to 'coactor argentarius' i.e. an auctioneer with some of the functions of a banker, paying the seller out of his own funds and later recovering the sum with interest from the buyer.

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couplets, the most beautiful poem of antiquity and yet he generally shared Horace's penchant for quatrains, being readily adapted to his own elegiac and melancholy strain. The most famous poem of

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The dating of Horace's works isn't known precisely and scholars often debate the exact order in which they were first 'published'. There are persuasive arguments for the following chronology:

1339:. A revival of popular interest in the satires of Lucilius may have been inspired by Horace's criticism of his unpolished style. Both Horace and Lucilius were considered good role-models by 356:

had been driven out early in the third century. In that case, young Horace could have felt himself to be a Roman though there are also indications that he regarded himself as a Samnite or

2427:. Now at the start of the third millennium, poets are still absorbing and re-configuring the Horatian influence, sometimes in translation (such as a 2002 English/American edition of the 3274:: "...first he composed his lyrics, and in them, speaking to the young, as it were, he took as subject-matter love affairs and quarrels, banquets and drinking parties. Next he wrote his 421:, whose theories and practises made a deep impression on the young man from Venusia. Meanwhile, he mixed and lounged about with the elite of Roman youth, such as Marcus, the idle son of 742:

2.3 (possibly the last poem he ever wrote). He was also commissioned to write odes commemorating the victories of Drusus and Tiberius and one to be sung in a temple of Apollo for the

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as the only Latin lyrics worth reading: "He can be lofty sometimes, yet he is also full of charm and grace, versatile in his figures, and felicitously daring in his choice of words."

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Horace's popularity is revealed in the large number of quotes from all his works found in almost every genre of medieval literature, and also in the number of poets imitating him in

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1–3 were not well received when first 'published' in Rome, yet Augustus later commissioned a ceremonial ode for the Centennial Games in 17 BC and also encouraged the publication of

2298:, satirising their stylistic idiosyncrasies and especially the extraordinary syntax, but he also used Horace's Roman patriotism as a focus for British imperialism, as in the story 1049:

Horace developed a number of inter-related themes throughout his poetic career, including politics, love, philosophy and ethics, his own social role, as well as poetry itself. His

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1–3 were the next focus for his artistic creativity. He adapted their forms and themes from Greek lyric poetry of the seventh and sixth centuries BC. The fragmented nature of the

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3.4). Yet Horace's lyrics could offer inspiration to libertines as well as moralists, and neo-Latin sometimes served as a kind of discrete veil for the risqué. Thus for example

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were to retain this privileged position in the medieval manuscript tradition and thus in modern editions also). Horace was often evoked by poets of the fourth century, such as

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These preliminary comments touch on a small sample of developments in the reception of Horace's work. More developments are covered epoch by epoch in the following sections.

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3.3.1–8 was especially influential in promoting the value of heroic calm in the face of danger, describing a man who could bear even the collapse of the world without fear (

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Horatian-style lyrics were increasingly typical of Oxford and Cambridge verse collections for this period, most of them in Latin but some like the previous ode in English.

1300:. Ovid followed his example in creating a completely natural style of expression in hexameter verse, and Propertius cheekily mimicked him in his third book of elegies. His 469:. The comparison with the latter poet is uncanny: Archilochus lost his shield in a part of Thrace near Philippi, and he was deeply involved in the Greek colonization of 2359:

began their careers as teachers of classics and both responded as poets to Horace's influence. Auden for example evoked the fragile world of the 1930s in terms echoing

6174: 1347:'s caustic satire was influenced mainly by Lucilius but Horace by then was a school classic and Juvenal could refer to him respectfully and in a round-about way as " 981:. He imitated other Greek lyric poets as well, employing a 'motto' technique, beginning each ode with some reference to a Greek original and then diverging from it. 348:' mentioned in one of his poems. Army veterans could have been settled there at the expense of local families uprooted by Rome as punishment for their part in the 6497: 1456:

for example). By the last half of the ninth century, it was not uncommon for literate people to have direct experience of Horace's poetry. His influence on the

892:. Despite these traditional metres, he presented himself as a partisan in the development of a new and sophisticated style. He was influenced in particular by 1497:

to it. However, the melody is unlikely to be a survivor from classical times, although Ovid testifies to Horace's use of the lyre while performing his Odes.

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first appeared in such a collection. It has few Horatian echoes yet Milton's associations with Horace were lifelong. He composed a controversial version of

598:, all jockeying for a bigger share of the spoils. One modern scholar has counted a dozen civil wars in the hundred years leading up to 31 BC, including the 7081: 7069: 5728: 606:, eight years before Horace's birth. As the heirs to Hellenistic culture, Horace and his fellow Romans were not well prepared to deal with these problems: 2155: 7128: 2451:

also appears in creative adaptations by recent poets (such as a 2004 collection of poems that relocates the ancient context to a 1950s industrial town).

1723:. It is not always easy to distinguish Horace's influence during those centuries (the mixing of influences is shown for example in one poet's pseudonym, 2424: 2338: 2257: 6221: 905:

philistinism, reactionary tendencies, in short to fight for the new and noble type of poetry which he and his friends were endeavouring to bring about.

1927:, who composed a Latin ode in Sapphic meter to celebrate her brother's return from overseas, with tea and coffee substituted for the wine of Horace's 1420:" By the early sixth century, Horace and Prudentius were both part of a classical heritage that was struggling to survive the disorder of the times. 7044: 2268: 1412:

presented himself as a Christian Horace, adapting Horatian meters to his own poetry and giving Horatian motifs a Christian tone. On the other hand,

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Suetonius signals that the report is based on rumours by employing the terms "traditur...dicitur" / "it is reported...it is said" (E. Fraenkel,

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1.5, for example, recounts in detail a real trip Horace made with Virgil and some of his other literary friends, and which parallels a Satire by

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in 36 BC, briefly alluded to by Horace in terms of near-drowning. There are also some indications in his verses that he was with Maecenas at the

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3.4.28: "nec (me extinxit) Sicula Palinurus unda"; "nor did Palinurus extinguish me with Sicilian waters". Maecenas' involvement is recorded by

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are the remnants of a much larger body of Horatian scholarship. Porphyrio arranged the poems in non-chronological order, beginning with the

8517: 8421: 8296: 7449: 6419: 1727:). However a measure of his influence can be found in the diversity of the people interested in his works, both among readers and authors. 1273: 3290:, and in them, following the method of a good farmer, he sowed the virtues where he had rooted out the vices." (cited by K. Friis-Jensen, 1193:. It is uncertain if those being addressed by the self-mocking poet-philosopher are being honoured or criticised. Though he emerges as an 8507: 7002: 2774:

Translated from Persius' own 'Satires' 1.116–17: "omne vafer vitium ridenti Flaccus amico / tangit et admissus circum praecordia ludit."

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If human life were complete without faith, without enthusiasm, without energy, Horace...would be the perfect interpreter of human life.

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3.30.1). For one modern scholar, however, Horace's personal qualities are more notable than the monumental quality of his achievement:

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Quintilian 10.1.96. The only other lyrical poet Quintilian thought comparable with Horace was the now obscure poet/metrical theorist,

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in 31 BC, where Octavian defeated his great rival, Antony. By then Horace had already received from Maecenas the famous gift of his

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And with the Teian lyre imitate Anacreon: The reception of Anacreon and the Carmina Anacreontea in Horace's lyric and iambic poetry

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5.99 but Horace's ode is the only historical reference to his own presence there, depending however on interpretation. (R. Nisbet,

1766:, as a hallmark of good judgement, moderation and manliness, a focus for moralising. His verses offered a fund of mottoes, such as 257:

to comment: "as his friend laughs, Horace slyly puts his finger on his every fault; once let in, he plays about the heartstrings".

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The comment is in Persius 1.114–18, yet that same satire has been found to have nearly 80 reminiscences of Horace; see D. Hooley,

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His career coincided with Rome's momentous change from a republic to an empire. An officer in the republican army defeated at the

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by thirty-six poets) and sometimes as inspiration for their own work (such as a 2003 collection of odes by a New Zealand poet).

977:

1.19.32–33) and he actually was the first Latin poet to make consistent use of Alcaic meters and themes: love, politics and the

8462: 6622: 6555: 6032: 3278:, and in them composed invectives against men of a more advanced and more dishonourable age...He next wrote his book about the 1755: 6201: 509:

He describes in glowing terms the country villa which his patron, Maecenas, had given him in a letter to his friend Quintius:

8457: 7376: 7301: 7059: 2121: 2209:...the quatrains inevitably recall the stanzas of the 'Odes', as does the narrating first person of the world-weary, ageing 1357:

paid homage to Horace by composing one poem in Sapphic and one in Alcaic meter (the verse forms most often associated with

396:

He never mentioned his mother in his verses and he might not have known much about her. Perhaps she also had been a slave.

7872: 2097: 1501: 8482: 7712: 7316: 6768: 6483: 8411: 3286:, in which he reproved those who had fallen a prey to various kinds of vices. Finally, he finished his oeuvre with the 1746:). Cheap editions were plentiful and fine editions were also produced, including one whose entire text was engraved by 364:

Horace's father was probably a Venutian taken captive by Romans in the Social War, or possibly he was descended from a

8477: 8336: 8095: 7151: 7034: 6580: 6014: 3564: 2497: 2148: 2064: 2044: 1650: 754:

was laid to rest. Both men bequeathed their property to Augustus, an honour that the emperor expected of his friends.

666:

that soon followed, he continued the apolitical stance of the first book. By this time, he had attained the status of

1966: 8371: 8035: 7927: 7697: 7469: 7291: 7199: 7064: 7007: 1662: 1311:

may have discouraged imitation. Conversely, they may have created a vogue for the lyrics of the archaic Greek poet

997:) but formal and highly controlled relative to the poems of Lucilius, whom Horace mocked for his sloppy standards ( 6167: 3342:

Were it not better done as others use,/ To sport with Amaryllis in the shade/Or with the tangles of Neaera's hair?

2246:

composed a sonnet depicting a woman willing her own death steadily, drawing on Horace's depiction of 'Glycera' in

1216:

The reception of Horace's work has varied from one epoch to another and varied markedly even in his own lifetime.

1129:

present a medley of philosophical programmes, dished up in no particular order—a style of argument typical of the

687:

had enabled his literary heroes to express themselves freely and his semi-retirement from the Treasury in Rome to

349: 8391: 7484: 7439: 7366: 7286: 7234: 7224: 7176: 6523: 2613:

More recent verse translations of the Odes include those by David West (free verse), and Colin Sydenham (rhymed).

1797: 1759: 6135:(critical edition of all Horace's poems), edited by O. Keller & A. Holder, published by B. G. Teubner, 1878. 1623:

is a key figure in the imitation of Horace in accentual meters. His verse letters in Latin were modelled on the

7992: 7902: 7411: 7391: 7386: 7371: 7324: 7264: 7219: 7021: 2805: 2524: 2323:, thus being dedicated to the Latin poet Horace, and employing Sapphics, Alcaics and similar types of stanzas. 2197: 2192: 1796:(seize the day, perhaps the only one still in common use today). These were quoted even in works as prosaic as 1168:

Many of Horace's poems also contain much reflection on genre, the lyric tradition, and the function of poetry.

1162: 746:, a long-abandoned festival that Augustus revived in accordance with his policy of recreating ancient customs ( 166: 2485: 8401: 8381: 8321: 8311: 8301: 7707: 7396: 7296: 7276: 7191: 7181: 6886: 6826: 6518: 6215: 2652: 2186: 1457: 1445: 558: 35: 1594: 1343:, who critiqued his own satires as lacking both the acerbity of Lucillius and the gentler touch of Horace. 8406: 8396: 8346: 8326: 8140: 8115: 8080: 7962: 7687: 7334: 7096: 6627: 2719: 2316: 2167: 2056: 1617:, around 1100, who composed four books, the first two exemplifying vices, the second pair mainly virtues. 2366:, where Horace advises a friend not to let worries about frontier wars interfere with current pleasures. 1468:, mysterious notations that may have been an aid to the memorization and discussion of his lyric meters. 8492: 8447: 8376: 8306: 8130: 7882: 7682: 7677: 7474: 7381: 7306: 7269: 7254: 7229: 7209: 7111: 3088:

1.20 the image of a poetry book as a slave boy eager to leave home, adapting it to the opening poems of

2159: 1751: 1602: 1073: 1058: 642: 111: 2957:

The date however is subject to much controversy with 22–18 BC another option (see for example R. Syme,

1885:(Marvell's ode was suppressed in spite of its subtlety and only began to be widely published in 1776). 1853: 1768: 2638:

The Oxford Latin Course textbooks use the life of Horace to illustrate an average Roman's life in the

1774: 1730:

New editions of his works were published almost yearly. There were three new editions in 1612 (two in

1719:, neoclassical culture was pervasive. English literature in the middle of that period has been dubbed 1377:, he varied established meters through the addition or omission of syllables, a technique borrowed by 8452: 8386: 8351: 8040: 8030: 7907: 7807: 7732: 7597: 7560: 6936: 6600: 6387: 6295: 6258: 6179: 3049: 3038:

1.1.25–26, 74–75, 1.2.111–12, 1.3.76–77, 97–114, 1.5.44, 101–03, 1.6.128–31, 2.2.14–20, 25, 2.6.93–97

2462: 2394: 2182: 2140: 1906: 1878: 1763: 1762:

had five hundred books with Horace-related titles. Horace was often commended in periodicals such as

1716: 1666: 1614: 1024:. Lucilius had composed a satire in the form of a letter, and some epistolary poems were composed by 936:

Horace generally followed the examples of poets established as classics in different genres, such as

831: 437: 313: 152: 76: 1304:

provided them both with a model for their own verse letters and it also shaped Ovid's exile poetry.

8316: 8165: 7967: 7837: 7787: 7106: 6703: 6464: 2687: 2163: 1720: 1389: 1062: 949: 696:

1.2, for example, he eulogized Octavian in hyperboles that echo Hellenistic court poetry. The name

553: 462: 6238: 6080: 6056: 1057:

are forms of 'blame poetry' and both have a natural affinity with the moralising and diatribes of

921:) and experience mediated by cultural vectors such as literature, philosophy and the visual arts ( 8366: 8090: 7897: 7752: 7692: 7612: 7555: 7419: 6655: 6634: 3518: 2243: 2117: 1982:

in its influence on literary theory and criticism. Milton recommended both works in his treatise

1452:, and the other three show Irish influence but were probably written in continental monasteries ( 1378: 1210: 1118: 1114: 1021: 893: 458: 261: 8005: 6162: 2234:, yet later became a critic of Horace's inadequacies relative to Greek poets, as role models of 969:

were modelled on the verses of the Greek poet, as 'blame poetry', yet he avoided targeting real

253:). The hexameters are amusing yet serious works, friendly in tone, leading the ancient satirist 6354: 6342: 6338: 6330: 6322: 3249:

Heiric, like Prudentius, gave Horatian motifs a Christian context. Thus the character Lydia in

3171:

1.9.24, where it describes a girl's half-hearted resistance to seduction. Elsewhere he borrows

1444:

Classical texts almost ceased being copied in the period between the mid sixth century and the

1418:

What harmony can there be between Christ and the Devil? What has Horace to do with the Psalter?

8000: 7852: 7607: 7567: 7545: 6753: 6447: 6373: 6366: 6362: 6358: 6350: 6346: 6334: 6147: 6094: 6070: 6046: 5982: 5954: 5875: 5856: 5837: 5814: 5786: 5599: 5418: 5399: 5317: 5286: 3282:, and in that instructed men of his own profession to write well...Later he added his book of 3257:

of St Germaine of Auxerre a saint ready to die twice for the Lord's commandments (R. Tarrant,

2739: 2673: 2623: 2343: 2207:, nevertheless shows a strong Horatian influence, since, as one modern scholar has observed, " 2011: 1786: 1641: 1637: 1461: 917:

In modern literary theory, a distinction is often made between immediate personal experience (

815: 799: 688: 655: 599: 523: 341: 239: 8502: 8065: 8025: 7957: 7892: 7817: 7812: 7584: 7507: 7454: 7249: 7244: 7133: 6992: 6941: 6901: 6871: 6866: 6861: 6851: 6773: 6720: 6713: 6698: 6693: 6617: 6545: 6433: 6380: 6290: 6103: 3644: 2701: 1924: 1703: 1658: 1130: 807: 775: 767: 651: 547: 442: 406: 233: 183: 3159:

in a negative context, as expressions of a secular life he is abandoning. Thus for example

993:

are relatively easy-going in their use of meter (relative to the tight lyric meters of the

8442: 8160: 7972: 7952: 7912: 7847: 7797: 7792: 7667: 7617: 7525: 7359: 7339: 7259: 6708: 6533: 6302: 6251: 6225: 6205: 6129:, recensuerunt O. Keller et A. Holder, 2 voll., Lipsiae in aedibus B. G. Teubneri, 1864–9. 3057:

3.2.13, "it is sweet and honourable to die for one's country", cited by Stephen Harrison,

2729: 2568: 2272: 2126: 1690: 1598: 1586: 1494: 1477: 910: 873: 783: 738:, published separately but written in the form of an epistle and sometimes referred to as 249: 228: 2304: 2147:

The Roman poet was presented in the nineteenth century as an honorary English gentleman.

1277:, had been adapted to the ethos of martyrdom in the lyrics of early Christian poets like 1149:

is the dominant influence, characterising about twice as many of these odes as Stoicism.

573:. Iambic poetry features insulting and obscene language; sometimes, it is referred to as 6125: 379:

The father spent a small fortune on his son's education, eventually accompanying him to

280: 176:; 8 December 65 BC – 27 November 8 BC), commonly known in the English-speaking world as 8215: 7857: 7592: 7540: 7512: 7459: 7444: 7424: 7239: 7214: 7171: 7161: 6987: 6961: 6891: 6876: 6841: 6801: 6562: 3626: 3366: 2758: 2647: 2639: 2603: 2539: 2518: 2440: 2356: 2224: 2075: 2036: 1894: 1886: 1866: 1654: 1482: 1370: 930: 885: 849: 845: 543: 426: 244: 172: 80: 6188: 5718: 3412: 2616:

In 1983, Charles E. Passage translated all the works of Horace in the original metres.

2040: 8436: 7747: 7717: 7632: 7166: 7143: 6956: 6811: 6796: 6743: 6550: 6426: 6309: 6216:

A discussion and comparison of three different contemporary translations of Horace's

5948: 5927: 5830: 5723: 5705: 3362: 2869:

The point is much disputed among scholars and hinges on how the text is interpreted.

2791:, excerpted from W.P.Ker's edition of Dryden's essays, Oxford 1926, vol. 2, pp. 86–87 2276: 2261: 2235: 2071: 2029: 1858: 1841: 1385: 1384:

Horace's poems continued to be school texts into late antiquity. Works attributed to

865: 823: 791: 743: 616: 595: 570: 433: 220: 146: 6210: 3451:

She stands as pale as Parian marble stands / Like Cleopatra when she turns at bay...

2326: 1436:

Horace in his Studium: German print of the fifteenth century, summarizing the final

1205: 8225: 8085: 7530: 7479: 7434: 7429: 7281: 7091: 6977: 6921: 6916: 6806: 6688: 6572: 6506: 6194: 2714: 2643: 2591: 2467: 2401: 1678: 1319:). The iambic genre seems almost to have disappeared after publication of Horace's 1252: 1194: 1178: 1146: 1084: 881: 538: 369: 207: 135: 5311: 2010:. Translations occasionally involved scholars in the dilemmas of censorship. Thus 1432: 1255:, scarred by experiences of World War I, his poetry stood for discredited values: 1145:

Books 1–3, ranging from the flippant (1.22, 3.28) to the solemn (2.10, 3.2, 3.3).

6152: 6132: 3179:

4.5.5 and 37, where it refers to Augustus, and applies it to Christ (R. Tarrant,

2572: 2408:

in the conversational and sententious idiom of some of his longer poems, such as

672:(Roman 'cavalryman', 'knight'), perhaps as a result of his work at the Treasury. 8020: 7642: 7464: 7354: 6748: 6440: 5531:

Hutchinson, G (2002). "The publication and individuality of Horace's Odes 1–3".

3104:

2.1, both being letters addressed to Augustus on literary themes (A. Barchiesi,

2913:

were issued separately, possibly in 26, 24 and 23 BC (see G. Hutchinson (2002),

2734: 2481: 2352: 1995: 1916: 1829: 1780: 1328: 1307:

His influence had a perverse aspect. As mentioned before, the brilliance of his

937: 897: 684: 586: 466: 454: 269: 6090: 1901:

of Horace (published with the original Latin alongside) and also echoed him in

518:

believe me, charming retreat keeps me in good health during the autumnal days."

8245: 8185: 8150: 7942: 7877: 7867: 7762: 7647: 7535: 7118: 7086: 6831: 6758: 6590: 6585: 6412: 4726: 2975: 2926:

19 BC is the usual estimate but c. 11 BC has good support too (see R. Nisbet,

2900:

36–35 BC according to Gowers (2012) 4 (note 22), citing DuQuesnay (1984) 20–21

2784: 2709: 2663: 2475: 2471: 2131: 2092: 2079: 2049: 1862: 1792: 1698: 1633: 1409: 1297: 1278: 1244: 1152:

A group of odes combines these two influences in tense relationships, such as

1093: 1029: 638: 414: 329: 215: 6234:

Horati opera, Acronis et Porphyrionis commentarii, varia lectio etc. (latine)

6075: 6051: 1574:, and he awarded him a privileged position in the first circle of Hell, with 8275: 8270: 8230: 8155: 8125: 8105: 7982: 7922: 7832: 7782: 7777: 7702: 7662: 7550: 7520: 7329: 7204: 6997: 6881: 6856: 6735: 6326: 3559: 2214: 2003: 1928: 1882: 1747: 1743: 1735: 1645: 1413: 1088: 1013: 978: 970: 853: 647: 603: 293: 2203: 1292:

Horace's influence can be observed in the work of his near contemporaries,

1037:

own needs. Thus for example it is generally agreed that his second book of

494:

and not very demanding in its work-load, since tasks could be delegated to

264:

in 42 BC, he was befriended by Octavian's right-hand man in civil affairs,

6143: 3253:

3.19.15, who would willingly die for her lover twice, becomes in Heiric's

1994:

however also had a huge impact, influencing theorists and critics such as

8235: 8220: 8210: 8195: 8110: 8100: 8070: 8060: 8055: 8045: 7947: 7862: 7742: 7727: 7657: 7637: 7627: 7622: 7602: 7401: 6982: 6946: 6836: 6763: 6595: 6318: 6314: 6211:

Translations of several odes in the original meters (with accompaniment).

6112: 3015: 2334: 2330: 2218: 2217:

exhortation and 'carpe diem' with splendid moralising and 'memento mori'

2210: 1682: 1620: 1453: 1421: 1405: 1401: 1336: 1174: 1110: 1025: 986: 626: 590: 450: 446: 357: 353: 345: 333: 265: 211: 5732:. Vol. 13 (11th ed.). Cambridge University Press. p. 687. 2574:

The Odes of Horace, Translated Into English Verse, with a Life and Notes

2528: 1909:. He even emerged as "a quite Horatian Homer" in his translation of the 1396:, because of their general popularity and their appeal to scholars (the 17: 8255: 8250: 8240: 8205: 8200: 8190: 8135: 8120: 7937: 7932: 7917: 7887: 7842: 7822: 7802: 7757: 7489: 7344: 7123: 6931: 6926: 6816: 5342:

Speaking Volumes: Narrative and Intertext in Ovid and Other Latin Poets

3522: 2291: 1833: 1739: 1486: 1416:, modelled an uncompromising response to the pagan Horace, observing: " 1354: 1344: 1340: 1332: 1231: 1061:. This often takes the form of allusions to the work and philosophy of 896:

aesthetics of brevity, elegance and polish, as modelled in the work of

668: 527: 514: 373: 325: 254: 115: 6475: 1921:

Original sonnets on various subjects, and odes paraphrased from Horace

498:

or permanent clerks. It was about this time that he began writing his

490:

or Treasury, profitable enough to be purchased even by members of the

8265: 8145: 8075: 8015: 8010: 7977: 7737: 7672: 7652: 7074: 6951: 6846: 6405: 2850: 2607: 2007: 1731: 1694: 1629: 1465: 1449: 1316: 1315:, due to the fact that Horace had neglected that style of lyric (see 1312: 1097:

is the inspiration behind Horace's repeated punning on his own name (

1076:

along with all impractical and "high-falutin" philosophy in general.

1017: 889: 478: 470: 422: 418: 365: 321: 317: 309: 72: 5513:

Harrison, Stephen (2007). "The nineteenth and twentieth centuries".

1632:

were the poetic models for a group of vernacular authors called the

6138: 6108: 3202:

qui consensus Christo et Belial? quid facit cum psalterio Horatius?

2412:(1941), and also in his gentle advocacy of life on the farm, as in 2162:

translated the boy innocently as 'child'. Horace was translated by

1628:

natural sequel to Horace's metrical variety. In France, Horace and

8050: 7772: 7499: 6791: 6243: 5560:

Latin and English Poems, by a Gentleman of Trinity College, Oxford

2724: 2385: 2325: 2227:

advised a friend in verse not to worry about politics, an echo of

2021:

and re-numbered the remaining odes. He also removed the ending of

1965: 1911: 1579: 1575: 1567: 1431: 1204: 1009: 589:. Social bonds in Rome had been decaying since the destruction of 552: 537: 410: 279: 125: 31: 5671:. Vol. 118. American Journal of Philology. pp. 538–612. 5631:

Money, David (2007). "The seventeenth and eighteenth centuries".

3449:, dated 1854, was not published in her own lifetime. Some lines: 3022:

1.2 could be either Cynic or Stoic in its orientation (J. Moles,

2584:

The Odes of Horace. Translated into English Verse by Edward Marsh

2082:

wrote voluminously in Horatian meters, including an ode on gout.

1365:. Ancient scholars wrote commentaries on the lyric meters of the 8260: 7827: 7767: 7349: 6725: 2189:

also wrote translations during his last days as Prime Minister.

2055:

Most European nations had their own 'Horaces': thus for example

1970:

Horace in an anonymous late 18th to early 19th century engraving

1814: 1293: 1065:

but it is as much a literary game as a philosophical alignment.

704:

3.3 and 3.5. In the period 27–24 BC, political allusions in the

700:, which Octavian assumed in 27 January BC, is first attested in 380: 92: 30:

This article is about the Roman poet. For the Egyptian god, see

6479: 6247: 4608:

Santirocco "Unity and Design", Lowrie "Horace's Narrative Odes"

2043:

in the original Latin but left out their English translations.

888:, which were sometimes a difficult fit for Latin structure and 658:, probably not long after the publication of the first book of 6821: 4488: 4486: 2490:(London: Jacob Tonson, 1685) with adaptations of three of the 1933: 5979:

Horace 2000: A Celebration – Essays for the Bimillennium

5717: 1558:. The later Middle Ages however gave special significance to 1327:

was a rare attempt at the form but it was inspired mainly by

192: 1361:), which he included in his collection of occasional poems, 5942:. Bertha Humez, trans. New York: New York University Press. 5832:

Horace and the Dialectic of Freedom: Readings in Epistles 1

5450:

Friis-Jensen, Karsten (2007). "Horace in the Middle Ages".

5415:

The Facts on File Companion to British Poetry, 19th Century

6233: 6230:

academia.edu: Tossing Augustus out of Horace's Ars Poetica

3018:

and also of social adaptations of Cynic precepts, and yet

2170:) but minus some ungentlemanly verses, such as the erotic 1877:, in which subtly nuanced reflections on the execution of 5755:

Tarrant, Richard (2007). "Ancient receptions of Horace".

3409:

My heart aches, and a drowsy numbness pains / my sense...

3373:

20, 1729 where Boswell remarked of Johnson that Horace's

3167:

to describe a willful desire for victory, is lifted from

1475:

is neumed with the melody of a hymn to John the Baptist,

985:

explicit politics. His work expressed genuine freedom or

336:. One of the works he probably studied in school was the 195: 3991:, Loeb Classical Library (1999), Introduction pages i–iv 2789:

Discourse Concerning the Original and Progress of Satire

2290:, as well as its motif of nostalgia for a former flame. 1715:

During the seventeenth and eighteenth centuries, or the

473:, where Horace's die-hard comrades finally surrendered. 4832:

Stuart Lyons, Horace's Odes and the Mystery of Do-Re-Mi

4639:

Davis "Polyhymnia" and Lowrie "Horace's Narrative Odes"

3643:, edited by Hans-Christian Günther, Brill, 2012, p. 7, 3014:

1.17 and 1.18.6–8 are critical of the extreme views of

2070:(the latter was much imitated by English poets such as 1758:

owned five editions of Horace's work and the physician

5504:

Harrison, Stephen (2007). "Style and poetic texture".

3377:"were the compositions in which he took most delight." 2381: Our picnics in the sun. 2337:

tyre company) takes his name from the opening line of

637:

In 37 BC, Horace accompanied Maecenas on a journey to

6175:"A Biography of Horace and an Annotated Bibliography" 5746:

Talbot, J (2001). "A Horatian Pun in Paradise Lost".

5658:

Nisbet, Robin (2007). "Horace: life and chronology".

2279:

took its title and its heroine's name from a line of

526:

are situated on a wooded hillside above the river at

198: 5387:

Polyhymnia. The Rhetoric to Horatian Lyric Discourse

5351:

Classical Influences on European Culture AD 500–1500

3222:

si fractus illabatur orbis,/impavidum ferient ruinae

2375: What violence is done; 8284: 8178: 7991: 7583: 7576: 7498: 7410: 7315: 7190: 7142: 7020: 6970: 6909: 6900: 6782: 6734: 6654: 6571: 6532: 6457: 6397: 6282: 5950:

Artifices of Eternity: Horace's Fourth Book of Odes

5783:

Polyhymnia the Rhetoric of Horatian Lyric Discourse

5524:

The Knotted Thong: Structures of Mimesis in Persius

2598:(London: Rupert Hart-Davis, 1964) Included a dozen 2487:

Sylvæ; or, The second Part of Poetical Miscellanies

530:, which joins the Aniene as it flows on to Tivoli. 189: 186: 141: 131: 121: 106: 98: 86: 64: 45: 5926: 5829: 5704: 5468:Griffin, Jasper (1993). "Horace in the Thirties". 3428:Comment by S. Harrison, editor and contributor to 2533:(1860; rev. 1862) Included versions of ten of the 872:, all of which were relatively easy to adapt into 59:Bronze medallion depicting Horace, 4th-5th century 5349:Bischoff, B (1971). "Living with the satirists". 3270:According to a medieval French commentary on the 3100:2 May be understood as a counterpart to Horace's 3084:Ovid for example probably borrowed from Horace's 2909:According to a recent theory, the three books of 2319:published his renowned collection of poems named 1881:echo Horace's ambiguous response to the death of 1260:My friend, you would not tell with such high zest 482:the rich. Meanwhile, he obtained the sinecure of 1915:. Horace appealed also to female poets, such as 1875:Horatian Ode upon Cromwell's Return from Ireland 1848:3.1–6 (Book 7 for example begins with echoes of 1597:, who dedicated his work to the patron saint of 1181:respectively, in a mood of bitter-sweet pathos. 1087:, with frequent allusions to the Epicurean poet 6239:Horace MS 1a Ars Poetica and Epistulae at OPenn 5576:Lyne, R (1986). "Augustan Poetry and Society". 2995:2.2.60, and the clearest allusion to him is in 2368: 2103: 1810: 1504:, once dubbed the tenth and eleventh centuries 1257: 1237: 902: 608: 511: 432:Rome's troubles following the assassination of 6159:of Horace in Latin recited by Thomas Bervoets. 5813:. Charles E. Passage, trans. New York: Ungar. 5551:Roman Satirists in Seventeenth Century England 5486:Harrison, Stephen (2005). "Lyric and Iambic". 5085:Roman Satirists in Seventeenth Century England 3808: 3806: 3483:Edited by McClatchy, reviewed by S. Harrison, 1669:, the last writing odes on the Horatian theme 6491: 6259: 5622:Moles, John (2007). "Philosophy and ethics". 5477:Griffin, Jasper (2007). "Gods and religion". 4755:R. Tarrant, Ancient receptions of Horace, 280 4090: 4088: 3340:One echo of Horace may be found in line 69: " 2999:1.6, which parallels Bion fragments 1, 2, 16 1689:, 1566. That was also the year that the Scot 1613:was another Germanic author, calling himself 8: 5920:. Brussels: Latomus, revue d’études latines. 5785:. Berkeley: University of California Press. 5242:Costa i Llobera i el món clàssic (1854-1922) 3978:, D.E. Gerber (ed), Leiden 1997, pages 13–88 3576: 3574: 1381:when adapting Horatian meters to the stage. 1262:To children ardent for some desperate glory, 4789: 4787: 3625:For the Life of Horace by Suetonius, see: ( 2622:Stuart Lyons (rhymed) Aris & Phillips 2288:Non sum qualis eram bonae sub regno Cynarae 2201:, though formally derived from the Persian 2158:in which Horace's 'boy' became 'Lucy', and 2108:Not for thy faults, but mine; it is a curse 1516:of the eighth and ninth centuries, and the 1165:as a remedy for Rome's political troubles. 729:According to Suetonius, the second book of 7580: 6906: 6538: 6498: 6484: 6476: 6266: 6252: 6244: 6168:Works by Horace at Perseus Digital Library 5855:. Go ttingen: Vandenhoeck & Ruprecht. 5495:Harrison, Stephen (2007). "Introduction". 3767: 3765: 2991:There is one reference to Bion by name in 2002:and, on the other, the loosely structured 1566:, being considered Horace's mature works. 1485:. This hymn later became the basis of the 880:featured more complex measures, including 272:'s phrase, "a well-mannered court slave". 214:(also known as Octavian). The rhetorician 53: 42: 5891:Horace's Odes and the Mystery of Do-Re-Mi 5578:The Oxford History of the Classical World 5189:Companion to British Poetry, 19th Century 3886: 3884: 3517:Vol. 6, No. 1 (September 1975), pp 55–61 2812:1.20.27, the day in Suetonius' biography 2620:Horace's Odes and the Mystery of Do-Re-Mi 2112:To comprehend, but never love thy verse. 1091:. So for example the Epicurean sentiment 961:Archilochus) without persecuting anyone ( 320:, lay on a trade route in the region of 6021:. Cambridge: Cambridge University Press. 5953:. Ithaca, NY: Cornell University Press. 5613:Michie, James (1967). "Horace the Man". 5281:Balme, Maurice; Moorwood, James (1996). 5244:. Lleonard Muntaner Editor. p. 313. 5150:The seventeenth and eighteenth centuries 5098:The seventeenth and eighteenth centuries 5059:The seventeenth and eighteenth centuries 5033:The seventeenth and eighteenth centuries 4994:The seventeenth and eighteenth centuries 4981:The seventeenth and eighteenth centuries 4968:The seventeenth and eighteenth centuries 4702:The seventeenth and eighteenth centuries 3537:2004, Washington, cited by S. Harrison, 3500:, Auckland 2003, (cited by S. Harrison, 2512:The Satires, Epistles, and Art of Poetry 1873:1.37 to compose his English masterpiece 1844:includes references to Horace's 'Roman' 1554:appearing to find favour as well as the 1331:, and there are some iambic elements in 6191:: text, concordances and frequency list 5649:Muecke, Frances (2007). "the Satires". 5394:Ferri, Rolando (2007). "The Epistles". 3552: 2750: 2110:To understand, not feel thy lyric flow, 965:1.19.23–25). It was no idle boast. His 173:[ˈkʷiːntʊs(h)ɔˈraːtiʊsˈfɫakːʊs] 5981:. Ann Arbor: Univ. of Michigan Press. 5228:the nineteenth and twentieth centuries 5202:The nineteenth and twentieth centuries 5163:The nineteenth and twentieth centuries 5137:The nineteenth and twentieth centuries 5111:The nineteenth and twentieth centuries 3539:The nineteenth and twentieth centuries 3502:The nineteenth and twentieth centuries 3472:The nineteenth and twentieth centuries 3434:The nineteenth and twentieth centuries 3417:The nineteenth and twentieth centuries 3396:The nineteenth and twentieth centuries 3059:The nineteenth and twentieth centuries 2545:The Odes and Carmen Sæculare of Horace 2106:Then farewell, Horace, whom I hated so 441:high in the ranks and Horace was made 5678:Fray Luis de León: The Original Poems 4943:Fray Luis de León: The Original Poems 4585:Some studies in Horace's odes on love 2502:The Odes, Epodes, and Carmen Seculare 2466:was first translated into English by 1861:that included a rallying cry for the 457:crushed the republican forces at the 171: 7: 6420:Dulce et decorum est pro patria mori 5836:. Ithaca: Cornell University Press. 5716:Sellar, William; Gow, James (1911). 3976:A Companion to the Greek Lyric Poets 2586:(London: Macmillan & Co., 1941). 2577:(Boston: Ticknor & Fields, 1866) 1952:What verses and jokes might the bold 1889:took particular pleasure in reading 1589:. The most prolific imitator of his 1464:and in some manuscripts marked with 1274:Dulce et decorum est pro patria mori 6007:Horace The Complete Odes and Epodes 5640:Morgan, Llewelyn (2005). "Satire". 5072:Literary Criticism: Plato to Dryden 5057:Translation adapted from D. Money, 3155:Prudentius sometimes alludesto the 2948:13 BC, according to Gowers (2012) 3 2939:14 BC, according to Gowers (2012) 3 2373:Where Poland draws her Eastern bow, 2185:produced a popular translation and 1943:Temperent baccis Arabes, vel herbis 1939:Quos procax nobis numeros, jocosque 1701:put Horace on the stage in 1601 in 542:Horace reads his poems in front of 413:, The Academy was now dominated by 308:He was born on 8 December 65 BC in 5378:New Studies of a Great Inheritance 4028:New Studies of a Great Inheritance 3470:, 1933, and cited by S. Harrison, 3196:22.29, incorporating a quote from 2447:collection. A re-appraisal of the 2443:has led to a re-evaluation of the 2379:Our freedom in this English house, 1954:Muse dictate? while for you and me 486:, a civil service position at the 25: 5757:The Cambridge Companion to Horace 5707:Unity and Design in Horace's Odes 5696:The Satires of Horace and Persius 5660:The Cambridge Companion to Horace 5651:The Cambridge Companion to Horace 5633:The Cambridge Companion to Horace 5624:The Cambridge Companion to Horace 5515:The Cambridge Companion to Horace 5506:The Cambridge Companion to Horace 5497:The Cambridge Companion to Horace 5479:The Cambridge Companion to Horace 5452:The Cambridge Companion to Horace 5396:The Cambridge Companion to Horace 4731:The Satires of Horace and Persius 3965:16th Letter of the First Book 41 3595:The Satires of Horace and Persius 3430:The Cambridge Companion to Horace 2980:The Satires of Horace and Persius 1956:Arabs flavour our cups with beans 1821:Justly to sound a Caesar's praise 1335:but the main influence there was 1264:The Old Lie: Dulce et decorum est 1083:also include a strong element of 6116: 5872:Horace: Behind the Public Poetry 3344:", which points to the Neara in 3224:). Echoes are found in Seneca's 2694: 2680: 2666: 2377:Nor ask what doubtful act allows 2371:And, gentle, do not care to know 2120:'s mature poetry, including the 1141:present in about a third of the 436:were soon to catch up with him. 182: 6182:: Selections from Horace's Odes 5874:. New Haven: Yale Univ. Press. 5711:. University of North Carolina. 5642:A Companion to Latin Literature 5553:. Lincoln, Nebraska and London. 5488:A Companion to Latin Literature 5007:A Horatian Pun in Paradise Lost 3303:'Horace Juvenal' was author of 2982:, Penguin Classics 1973, p. 69) 2874:canentes Caesarem" (R. Nisbet, 2134:echoed the opening of Horace's 1941:Musa dictaret? mihi dum tibique 1869:took inspiration from Horace's 1369:, including the scholarly poet 1161:2.10 even proposes Aristotle's 844:Horace composed in traditional 557:Horace reciting his verses, by 344:, taught by teachers like the ' 6199:I.22, read by Robert Sonkowsky 5669:Horatius: the man and the hour 5398:. Cambridge University Press. 3390:(1837), contains allusions to 1978:is second only to Aristotle's 1823:Demands a bold Horatian lyre. 1317:Influence and Legacy of Pindar 1: 5968:Reckford, Kenneth J. (1969). 5947:Putnam, Michael C.J. (1986). 5851:Lutkenhaus, Veronika (2023). 5759:. Cambridge University Press. 5662:. Cambridge University Press. 5653:. Cambridge University Press. 5635:. Cambridge University Press. 5626:. Cambridge University Press. 5589:. Cambridge university Press. 5517:. Cambridge University Press. 5508:. Cambridge University Press. 5499:. Cambridge University Press. 5481:. Cambridge university Press. 5463:. Cambridge University Press. 5454:. Cambridge University Press. 5353:. Cambridge University Press. 4617:Ancona, "Time and the Erotic" 2294:wrote a famous parody of the 2091:his reception that underlies 1681:, who placed translations of 1512:), and placed it between the 1460:can be found in the poems of 292:valuable "Life of Horace" by 7070:Frontiers and fortifications 6081:Resources in other libraries 6057:Resources in other libraries 5811:The Complete Works of Horace 5703:Santirocco, Matthew (1986). 5685:Rossetti, Christina (2001). 5542:Horace: Poetics and Politics 5369:Horace: A New Interpretation 5283:Oxford Latin Course Part one 5124:Horace: Poetics and Politics 4821:Ancient receptions of Horace 4808:Ancient receptions of Horace 4795:Ancient receptions of Horace 4779:Ancient receptions of Horace 4766:Ancient receptions of Horace 4744:Ancient receptions of Horace 4689:Horace: Poetics and Politics 4676:Ancient receptions of Horace 4559:Horace: Poetics and Politics 4246:Horace: Poetics and Politics 4196:Horace: Poetics and Politics 4041:Horace: Poetics and Politics 3942:Horace: Poetics and politics 3826:Horace: Poetics and Politics 3773:Horace: Poetics and Politics 3719:Horace: A New Interpretation 3468:Out on the lawn I lie in bed 3388:Memorials of a Tour of Italy 3259:Ancient receptions of Horace 3238:Ancient receptions of Horace 3181:Ancient receptions of Horace 3144:Ancient receptions of Horace 3094:Ancient receptions of Horace 3073:Ancient receptions of Horace 2763:Ancient Receptions of Horace 2521:favoured these translations. 2507:(Dublin, 1742; London, 1743) 2006:associated with the odes of 1802:A treatise of hemp-husbandry 1790:(now is the time to drink), 1229:monumentum aere perennius", 1068:By the time he composed his 1016:and some lyrical poems from 227:Horace also crafted elegant 8518:People of the War of Actium 7129:Decorations and punishments 6115:(public domain audiobooks) 6019:Horace and His Lyric Poetry 5933:. New York: Sheed and Ward. 5918:Augustus and the New Poetry 5900:Music in the Odes of Horace 5598:. Oxford University Press. 5558:Loveling, Benjamin (1741). 5389:. University of California. 5285:. Oxford University Press. 4715:Augustan Poetry and Society 4397:Gundolf, Friedrich (1916). 4359:Horace: life and chronology 4283:Horace: life and chronology 4209:Horace: life and chronology 4183:Horace: life and chronology 4096:Horace: life and chronology 4067:Augustan Poetry and Society 3892:Horace: life and chronology 3744:Horace: life and chronology 3641:Brill's Companion to Horace 3394:3.4 and 3.13 (S. Harrison, 3204:(cited by K. Friis-Jensen, 3163:, employed in Prudentius's 3053:(1917), echoes a line from 2928:Horace: life and chronology 2876:Horace: life and chronology 2858:Horace: life and chronology 2833:" — E. Fraenkel, 2818:Horace: life and chronology 2138:14 in the opening lines of 2065:Maciej Kazimierz Sarbiewski 1804:(1765). The fictional hero 1685:and Horace side by side in 1428:Middle Ages and Renaissance 8534: 8508:Ancient Roman philhellenes 8036:Dionysius of Halicarnassus 6611:historiography of the fall 6139:Common sayings from Horace 6009:. Oxford University Press. 5804:. Oxford: Clarendon Press. 5766:Poems on Several Occasions 5764:Tollet, Elizabeth (1755). 5750:. Oxford University Press. 5741:. Oxford University Press. 5580:. Oxford University Press. 5571:. Oxford University Press. 5445:. Oxford University Press. 5362:. Oxford University Press. 5046:Poems on Several Occasions 3485:Bryn Mawr Classical Review 2974:1.10.59–61 (translated by 2646:. Horace was portrayed by 2634:In literature and the arts 1865:cause. On the other hand, 1819:To emulate the Roman fire? 1772:(elegance in simplicity), 1125:) elements. In short, the 29: 27:Roman lyric poet (65–8 BC) 8468:Roman Republican soldiers 8417:External wars and battles 6541: 6514: 6076:Resources in your library 6052:Resources in your library 5977:Rudd, Niall, ed. (1993). 5800:Fraenkel, Eduard (1957). 5594:McNeill, Randall (2010). 5441:Fraenkel, Eduard (1957). 4955:Horace in the Renaissance 4930:Horace in the Renaissance 4917:Horace in the Middle Ages 4904:Horace in the Middle Ages 4891:Horace in the Middle Ages 4878:Horace in the Middle Ages 4865:Horace in the Middle Ages 4852:Living with the satirists 4401:. Berlin, Germany: Bondi. 3466:Quoted from Auden's poem 3292:Horace in the Middle Ages 3206:Horace in the Middle Ages 2416:(1916), evoking Horace's 2302:in the school collection 206:), was the leading Roman 90:27 November 8 BC (age 56) 52: 8498:Ancient literary critics 8473:Golden Age Latin writers 6173:Willett, Steven (1998). 6163:Selected Poems of Horace 6100:Works by or about Horace 5996:Sydenham, Colin (2005). 5938:Perret, Jacques (1964). 5748:Notes and Queries 48 (1) 5739:The Augustan Aristocracy 5667:Reckford, K. J. (1997). 5567:Lowrie, Michèle (1997). 5540:Kiernan, Victor (1999). 5413:Flesch, William (2009). 5335:. Penguin/Pelican Books. 5310:Arnold, Matthew (1970). 4520:Style and poetic texture 4372:Style and poetic texture 3236:1 metrum 4.(R. Tarrant, 2959:The Augustan Aristocracy 2198:Rubaiyat of Omar Khayyam 1958:Or Chinese with leaves. 1937: 1636:, including for example 1587:quantitative Latin meter 1440:(in praise of Augustus). 712:The public reception of 162:Quintus Horatius Flaccus 68:Quintus Horatius Flaccus 8513:Simple living advocates 8488:Ancient Roman satirists 8412:Roman–Iranian relations 6887:Optimates and populares 5870:Lyne, R.O.A.M. (1995). 5828:Johnson, W. R. (1993). 5781:Davis, Gregson (1991). 5729:Encyclopædia Britannica 5644:. Blackwell Publishing. 5569:Horace's Narrative Odes 5490:. Blackwell Publishing. 5417:. Infobase Publishing. 5385:Davis, Gregson (1991). 5240:Cifre Forteza, Bernat. 5020:Latin and English Poems 3348:3.14.21 (Douglas Bush, 2650:in the 1976 miniseries 2530:Verses and Translations 1697:in a Horatian setting. 1593:was the Bavarian monk, 1458:Carolingian Renaissance 285:Horatii Flacci Sermonum 36:Horace (disambiguation) 8463:1st-century BC writers 8422:Civil wars and revolts 7688:Sextus Pompeius Festus 7335:Conflict of the Orders 6694:Legislative assemblies 6224:18 August 2020 at the 6133:Q. Horati Flacci opera 5925:Noyes, Alfred (1947). 5907:Michie, James (1964). 5902:. Aris & Phillips. 5898:Lyons, Stuart (2010). 5893:. Aris & Phillips. 5889:Lyons, Stuart (1997). 5676:Rivers, Elias (1983). 5585:Mankin, David (1995). 5549:Kupersmith, W (1985). 5533:Classical Quarterly 52 5459:Gowers, Emily (2012). 5432:Frank, Tenney (1928). 5360:Milton: Poetical Works 5358:Bush, Douglas (1966). 4080:Horace in the Thirties 3974:Christopher Brown, in 3350:Milton: Poetical Works 3305:Modern manners: a poem 3232:4.5–12 and Boethius's 3228:593–603, Prudentius's 2720:List of ancient Romans 2470:in 1556, and later by 2397: 2384: 2348: 2317:Miquel Costa i Llobera 2151:produced a version of 2115: 2057:Friedrich von Hagedorn 1971: 1950: 1826: 1570:referred to Horace as 1441: 1373:. By a process called 1269: 1249: 1213: 1184:The first poem of the 915: 621: 562: 550: 520: 394: 288: 34:. For other uses, see 8458:1st-century BC Romans 8131:Simplicius of Cilicia 7883:Quintus Curtius Rufus 7112:Siege in Ancient Rome 6721:Executive magistrates 5916:Newman, J.K. (1967). 5461:Horace Satires Book 1 5340:Barchiesi, A (2001). 4663:Philosophy and ethics 4650:Philosophy and ethics 4628:Philosophy and ethics 4597:Philosophy and ethics 4572:Philosophy and ethics 3092:1 and 3 (R. Tarrant, 3024:Philosophy and ethics 2800:The year is given in 2563:Ars Poëtica of Horace 2389: 2329: 2238:virtues, observing: " 2213:Omar himself, mixing 2160:Gerard Manley Hopkins 2095:'s famous lines from 1969: 1738:) and again in 1699 ( 1595:Metellus of Tegernsee 1435: 1209:Horace, portrayed by 1208: 1072:, he was a critic of 556: 541: 386: 350:Social War (91–88 BC) 283: 8141:Stephanus Byzantinus 8046:Eusebius of Caesaria 7908:Sidonius Apollinaris 7598:Ammianus Marcellinus 6937:Tribune of the plebs 6005:West, David (1997). 5911:. Rupert Hart-Davis. 5694:Rudd, Niall (1973). 5544:. St Martin's Press. 5367:Campbell, A (1924). 3498:The Commonplace Odes 3327:, 28 November 1712; 3323:, 27 February 1712; 3050:Dulce et decorum est 2410:The Lesson for Today 2308:, which he based on 2183:Edward Bulwer-Lytton 2141:Ode to a Nightingale 1907:The Rape of the Lock 1778:(nobly untruthful), 1717:Age of Enlightenment 1711:Age of Enlightenment 1651:Garcilaso de la Vega 1537:for mature men, the 1500:The German scholar, 1189:the hallmark of the 632:contentio dignitatis 559:Adalbert von Rössler 453:) and his associate 438:Marcus Junius Brutus 8483:Ancient Roman poets 8317:Distinguished women 7968:Velleius Paterculus 7808:Nicolaus Damascenus 7788:Marcellus Empiricus 7177:Republican currency 6465:Spring of Bandusium 6204:27 May 2009 at the 6144:The works of Horace 5972:. New York: Twayne. 5698:. Penguin Classics. 5680:. Grant and Cutler. 5617:. Penguin Classics. 5434:Catullus and Horace 4841:Tristia, 4.10.49–50 3989:Greek Iambic Poetry 3987:Douglas E. Gerber, 3706:Catullus and Horace 3623:Oxford: 1957, p. 1. 3515:The Classical World 3445:Rossetti's sonnet, 3134:comes via Horace's 2915:Classical Quarterly 2787:from John Dryden's 2688:Ancient Rome portal 2395:Wall poem in Leiden 2333:(the symbol of the 2164:Sir Theodore Martin 1533:for young men, the 1446:Carolingian revival 1390:Pomponius Porphyrio 1063:Bion of Borysthenes 324:at the border with 210:during the time of 8478:People from Venosa 8091:Phlegon of Tralles 7898:Seneca the Younger 7372:Naming conventions 7102:Personal equipment 6635:Later Roman Empire 5929:Horace: A Portrait 5909:The Odes of Horace 5687:The Complete Poems 5615:The Odes of Horace 5522:Hooley, D (1997). 5376:Conway, R (1921). 5331:Barrow, R (1949). 3619:Fraenkel, Eduard. 3610:Pelican Books, 119 3582:The Odes of Horace 3331:, 10 November 1714 2596:The Odes of Horace 2400:The American poet 2398: 2349: 2244:Christina Rossetti 2118:William Wordsworth 1972: 1817:will teach my Lays 1687:Medicinable Morall 1442: 1379:Seneca the Younger 1214: 1211:Giacomo Di Chirico 1109:also feature some 1022:Hieron of Syracuse 944:, Lucilius in the 840:Historical context 643:Treaty of Tarentum 563: 551: 484:scriba quaestorius 459:Battle of Philippi 298:Lives of the Poets 289: 262:Battle of Philippi 112:scriba quaestorius 8430: 8429: 8392:Pontifices maximi 8174: 8173: 8031:Diogenes Laërtius 7853:Pliny the Younger 7608:Asconius Pedianus 7568:Romance languages 7440:Civil engineering 7182:Imperial currency 7055:Political control 7016: 7015: 6650: 6649: 6473: 6472: 6448:Ut pictura poesis 6153:Carmina Horatiana 6148:The Latin Library 6123:Q. Horati Flacci 6095:Project Gutenberg 6033:Library resources 5605:978-0-19-980511-2 5424:978-0-8160-5896-9 5405:978-0-521-53684-4 5323:978-0-14-043058-5 5316:. Penguin Books. 4915:K. Friis-Jensen, 4902:K. Friis-Jensen, 4889:K. Friis-Jensen, 4876:K. Friis-Jensen, 4574:, pp. 165–69, 177 4452:Gods and Religion 3119:The Knotted Thong 2674:Literature portal 2628:978-0-85668-790-7 2548:(1863; rev. 1872) 2344:Nunc est bibendum 2253:and Cleopatra in 2193:Edward FitzGerald 2187:William Gladstone 2149:William Thackeray 2068:The Polish Horace 2061:The German Horace 2014:entirely omitted 2012:Christopher Smart 1964: 1963: 1854:Benjamin Loveling 1787:nunc est bibendum 1769:simplex munditiis 1667:Fray Luis de León 1642:Joachim du Bellay 1638:Pierre de Ronsard 1506:The age of Horace 1462:Heiric of Auxerre 1349:the Venusine lamp 1266:Pro patria mori. 1251:Yet for men like 600:Third Servile War 391:Satires 1.6.65–92 342:Livius Andronicus 316:. His home town, 159: 158: 153:The Art of Poetry 16:(Redirected from 8525: 8382:Magistri equitum 8297:Cities and towns 8290: 8216:Constantinopolis 8026:Diodorus Siculus 7958:Valerius Maximus 7893:Seneca the Elder 7813:Nonius Marcellus 7581: 7134:Hippika gymnasia 7097:Infantry tactics 7003:Consular tribune 6993:Magister equitum 6942:Military tribune 6907: 6867:Pontifex maximus 6862:Princeps senatus 6852:Magister militum 6618:Byzantine Empire 6539: 6500: 6493: 6486: 6477: 6434:Nullius in verba 6381:Carmen Saeculare 6268: 6261: 6254: 6245: 6195:SORGLL: Horace, 6185: 6120: 6119: 6104:Internet Archive 6022: 6010: 6001: 5998:Horace: The Odes 5992: 5973: 5964: 5943: 5934: 5932: 5921: 5912: 5903: 5894: 5885: 5866: 5847: 5835: 5824: 5805: 5796: 5769: 5760: 5751: 5742: 5737:Syme, R (1986). 5733: 5721: 5712: 5710: 5699: 5690: 5689:. Penguin Books. 5681: 5672: 5663: 5654: 5645: 5636: 5627: 5618: 5609: 5590: 5581: 5572: 5563: 5554: 5545: 5536: 5527: 5518: 5509: 5500: 5491: 5482: 5473: 5464: 5455: 5446: 5437: 5428: 5409: 5390: 5381: 5372: 5363: 5354: 5345: 5336: 5327: 5297: 5296: 5278: 5272: 5265: 5259: 5252: 5246: 5245: 5237: 5231: 5224: 5218: 5215:Kipling's Horace 5211: 5205: 5198: 5192: 5185: 5179: 5172: 5166: 5159: 5153: 5146: 5140: 5133: 5127: 5120: 5114: 5107: 5101: 5094: 5088: 5081: 5075: 5068: 5062: 5055: 5049: 5042: 5036: 5029: 5023: 5016: 5010: 5003: 4997: 4990: 4984: 4977: 4971: 4964: 4958: 4957:, 306–07, 313–16 4951: 4945: 4939: 4933: 4928:Michael McGann, 4926: 4920: 4913: 4907: 4900: 4894: 4887: 4881: 4874: 4868: 4863:K. Friis-Jensen, 4861: 4855: 4848: 4842: 4839: 4833: 4830: 4824: 4817: 4811: 4804: 4798: 4791: 4782: 4775: 4769: 4762: 4756: 4753: 4747: 4740: 4734: 4724: 4718: 4711: 4705: 4698: 4692: 4685: 4679: 4672: 4666: 4659: 4653: 4646: 4640: 4637: 4631: 4624: 4618: 4615: 4609: 4606: 4600: 4593: 4587: 4583:K. J. Reckford, 4581: 4575: 4568: 4562: 4555: 4549: 4542: 4536: 4529: 4523: 4516: 4510: 4503: 4497: 4490: 4481: 4478:Lyric and Iambic 4474: 4468: 4465:Lyric and Iambic 4461: 4455: 4448: 4442: 4435: 4429: 4422: 4416: 4409: 4403: 4402: 4394: 4388: 4381: 4375: 4368: 4362: 4355: 4349: 4342: 4336: 4330: 4324: 4317: 4311: 4305: 4299: 4292: 4286: 4279: 4273: 4267: 4261: 4255: 4249: 4242: 4236: 4230: 4224: 4218: 4212: 4205: 4199: 4192: 4186: 4179: 4173: 4167: 4161: 4154: 4148: 4142: 4136: 4130: 4124: 4118: 4112: 4105: 4099: 4092: 4083: 4076: 4070: 4063: 4057: 4050: 4044: 4037: 4031: 4024: 4018: 4011: 4005: 3998: 3992: 3985: 3979: 3972: 3966: 3963: 3957: 3950: 3944: 3938: 3932: 3926: 3920: 3914: 3908: 3901: 3895: 3888: 3879: 3873: 3867: 3860: 3854: 3847: 3841: 3835: 3829: 3822: 3816: 3810: 3801: 3794: 3788: 3782: 3776: 3769: 3760: 3753: 3747: 3740: 3734: 3728: 3722: 3715: 3709: 3702: 3696: 3690: 3684: 3677: 3671: 3665: 3659: 3653: 3647: 3638: 3632: 3617: 3611: 3604: 3598: 3591: 3585: 3578: 3569: 3557: 3542: 3531: 3525: 3511: 3505: 3494: 3488: 3481: 3475: 3464: 3458: 3447:A Study (a soul) 3443: 3437: 3426: 3420: 3411:" echoes Epodes 3405: 3399: 3386:The quote, from 3384: 3378: 3359: 3353: 3338: 3332: 3316:see for example 3314: 3308: 3301: 3295: 3268: 3262: 3247: 3241: 3215: 3209: 3190: 3184: 3153: 3147: 3130:The allusion to 3128: 3122: 3115: 3109: 3106:Speaking Volumes 3082: 3076: 3068: 3062: 3045: 3039: 3033: 3027: 3009: 3003: 2989: 2983: 2968: 2962: 2955: 2949: 2946: 2940: 2937: 2931: 2924: 2918: 2907: 2901: 2898: 2892: 2885: 2879: 2867: 2861: 2844: 2838: 2827: 2821: 2808:), the month in 2806:"Consule Manlio" 2798: 2792: 2781: 2775: 2772: 2766: 2755: 2704: 2702:Biography portal 2699: 2698: 2697: 2690: 2685: 2684: 2683: 2676: 2671: 2670: 2669: 2602:in the original 2494:, and one Epode. 2404:echoed Horace's 2305:Stalky & Co. 2101:(Canto iv, 77): 1934: 1925:Elizabeth Tollet 1784:(dare to know), 1775:splendide mendax 1693:paraphrased the 1663:Antonio Ferreira 1514:aetas Vergiliana 1271:The same motto, 1247: 923:Bildungserlebnis 913: 808:Carmen Saeculare 748:Carmen Saeculare 652:Battle of Actium 619: 548:Fyodor Bronnikov 443:tribunus militum 368:captured in the 229:hexameter verses 205: 204: 201: 200: 197: 194: 191: 188: 175: 170: 70:8 December 65 BC 57: 43: 21: 8533: 8532: 8528: 8527: 8526: 8524: 8523: 8522: 8433: 8432: 8431: 8426: 8288: 8286: 8280: 8170: 8006:Aëtius of Amida 7987: 7973:Verrius Flaccus 7953:Valerius Antias 7913:Silius Italicus 7848:Pliny the Elder 7793:Marcus Aurelius 7668:Cornelius Nepos 7618:Aurelius Victor 7572: 7494: 7406: 7340:Secessio plebis 7311: 7186: 7138: 7012: 6966: 6896: 6778: 6730: 6646: 6567: 6528: 6510: 6504: 6474: 6469: 6453: 6393: 6278: 6272: 6226:Wayback Machine 6206:Wayback Machine 6172: 6117: 6109:Works by Horace 6091:Works by Horace 6087: 6086: 6085: 6062: 6061: 6041: 6040: 6036: 6029: 6015:Wilkinson, L.P. 6013: 6004: 5995: 5989: 5976: 5967: 5961: 5946: 5937: 5924: 5915: 5906: 5897: 5888: 5882: 5869: 5863: 5850: 5844: 5827: 5821: 5809:Horace (1983). 5808: 5799: 5793: 5780: 5777: 5775:Further reading 5772: 5763: 5754: 5745: 5736: 5715: 5702: 5693: 5684: 5675: 5666: 5657: 5648: 5639: 5630: 5621: 5612: 5606: 5593: 5584: 5575: 5566: 5557: 5548: 5539: 5530: 5521: 5512: 5503: 5494: 5485: 5476: 5467: 5458: 5449: 5440: 5431: 5425: 5412: 5406: 5393: 5384: 5375: 5366: 5357: 5348: 5339: 5330: 5324: 5309: 5305: 5300: 5293: 5280: 5279: 5275: 5266: 5262: 5253: 5249: 5239: 5238: 5234: 5225: 5221: 5212: 5208: 5199: 5195: 5186: 5182: 5173: 5169: 5160: 5156: 5147: 5143: 5134: 5130: 5121: 5117: 5108: 5104: 5095: 5091: 5083:W. Kupersmith, 5082: 5078: 5069: 5065: 5056: 5052: 5043: 5039: 5030: 5026: 5017: 5013: 5004: 5000: 4991: 4987: 4978: 4974: 4970:, 318, 331, 332 4965: 4961: 4952: 4948: 4940: 4936: 4927: 4923: 4914: 4910: 4901: 4897: 4888: 4884: 4875: 4871: 4862: 4858: 4849: 4845: 4840: 4836: 4831: 4827: 4818: 4814: 4805: 4801: 4792: 4785: 4776: 4772: 4763: 4759: 4754: 4750: 4741: 4737: 4725: 4721: 4712: 4708: 4699: 4695: 4686: 4682: 4673: 4669: 4660: 4656: 4647: 4643: 4638: 4634: 4625: 4621: 4616: 4612: 4607: 4603: 4594: 4590: 4582: 4578: 4569: 4565: 4556: 4552: 4543: 4539: 4530: 4526: 4517: 4513: 4504: 4500: 4491: 4484: 4475: 4471: 4462: 4458: 4449: 4445: 4436: 4432: 4423: 4419: 4410: 4406: 4396: 4395: 4391: 4382: 4378: 4369: 4365: 4356: 4352: 4343: 4339: 4331: 4327: 4318: 4314: 4306: 4302: 4293: 4289: 4280: 4276: 4268: 4264: 4256: 4252: 4243: 4239: 4231: 4227: 4219: 4215: 4206: 4202: 4193: 4189: 4180: 4176: 4168: 4164: 4155: 4151: 4143: 4139: 4131: 4127: 4119: 4115: 4106: 4102: 4093: 4086: 4077: 4073: 4064: 4060: 4051: 4047: 4038: 4034: 4025: 4021: 4012: 4008: 3999: 3995: 3986: 3982: 3973: 3969: 3964: 3960: 3951: 3947: 3939: 3935: 3927: 3923: 3915: 3911: 3902: 3898: 3889: 3882: 3874: 3870: 3861: 3857: 3848: 3844: 3836: 3832: 3823: 3819: 3811: 3804: 3795: 3791: 3783: 3779: 3770: 3763: 3754: 3750: 3741: 3737: 3729: 3725: 3716: 3712: 3703: 3699: 3691: 3687: 3678: 3674: 3666: 3662: 3654: 3650: 3639: 3635: 3624: 3618: 3614: 3605: 3601: 3592: 3588: 3579: 3572: 3558: 3554: 3550: 3545: 3532: 3528: 3512: 3508: 3495: 3491: 3482: 3478: 3465: 3461: 3444: 3440: 3427: 3423: 3406: 3402: 3385: 3381: 3365:, "The Life of 3360: 3356: 3352:, 144, note 69) 3339: 3335: 3315: 3311: 3302: 3298: 3269: 3265: 3248: 3244: 3216: 3212: 3191: 3187: 3154: 3150: 3129: 3125: 3116: 3112: 3083: 3079: 3069: 3065: 3046: 3042: 3034: 3030: 3010: 3006: 2990: 2986: 2969: 2965: 2956: 2952: 2947: 2943: 2938: 2934: 2925: 2921: 2908: 2904: 2899: 2895: 2886: 2882: 2868: 2864: 2845: 2841: 2828: 2824: 2799: 2795: 2782: 2778: 2773: 2769: 2756: 2752: 2748: 2730:Prosody (Latin) 2700: 2695: 2693: 2686: 2681: 2679: 2672: 2667: 2665: 2662: 2636: 2569:Theodore Martin 2525:C. S. Calverley 2457: 2383: 2380: 2378: 2376: 2374: 2372: 2166:(biographer of 2127:Lyrical Ballads 2114: 2111: 2109: 2107: 2088: 2086:19th century on 1960: 1957: 1955: 1953: 1947: 1944: 1942: 1940: 1825: 1822: 1820: 1818: 1713: 1691:George Buchanan 1615:Sextus Amarcius 1599:Tegernsee Abbey 1510:aetas Horatiana 1495:Ut queant laxis 1483:Sapphic stanzas 1478:Ut queant laxis 1430: 1290: 1268: 1265: 1263: 1261: 1248: 1243: 1203: 1099:Horatius ~ hora 1047: 914: 911:Eduard Fraenkel 909: 842: 760: 678: 620: 615: 536: 522:The remains of 429:and Augustus). 402: 306: 278: 185: 181: 167:Classical Latin 165: 150: 91: 71: 69: 60: 48: 39: 28: 23: 22: 15: 12: 11: 5: 8531: 8529: 8521: 8520: 8515: 8510: 8505: 8500: 8495: 8490: 8485: 8480: 8475: 8470: 8465: 8460: 8455: 8450: 8445: 8435: 8434: 8428: 8427: 8425: 8424: 8419: 8414: 8409: 8404: 8399: 8394: 8389: 8384: 8379: 8374: 8369: 8364: 8359: 8354: 8349: 8344: 8339: 8334: 8329: 8324: 8319: 8314: 8309: 8304: 8299: 8293: 8291: 8282: 8281: 8279: 8278: 8273: 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7538: 7533: 7528: 7523: 7515: 7510: 7504: 7502: 7496: 7495: 7493: 7492: 7487: 7482: 7477: 7472: 7467: 7462: 7457: 7452: 7447: 7442: 7437: 7432: 7427: 7422: 7416: 7414: 7408: 7407: 7405: 7404: 7399: 7394: 7389: 7384: 7379: 7374: 7369: 7364: 7363: 7362: 7352: 7347: 7342: 7337: 7332: 7327: 7321: 7319: 7313: 7312: 7310: 7309: 7304: 7302:Toys and games 7299: 7294: 7289: 7284: 7279: 7274: 7273: 7272: 7262: 7257: 7252: 7247: 7242: 7237: 7232: 7227: 7222: 7217: 7212: 7207: 7202: 7196: 7194: 7188: 7187: 7185: 7184: 7179: 7174: 7169: 7164: 7159: 7154: 7148: 7146: 7140: 7139: 7137: 7136: 7131: 7126: 7121: 7116: 7115: 7114: 7109: 7104: 7099: 7094: 7084: 7079: 7078: 7077: 7067: 7062: 7057: 7052: 7047: 7042: 7037: 7032: 7026: 7024: 7018: 7017: 7014: 7013: 7011: 7010: 7005: 7000: 6995: 6990: 6985: 6980: 6974: 6972: 6968: 6967: 6965: 6964: 6959: 6954: 6949: 6944: 6939: 6934: 6929: 6924: 6919: 6913: 6911: 6904: 6898: 6897: 6895: 6894: 6889: 6884: 6879: 6874: 6869: 6864: 6859: 6854: 6849: 6844: 6842:Vigintisexviri 6839: 6834: 6829: 6824: 6819: 6814: 6809: 6804: 6802:Cursus honorum 6799: 6794: 6788: 6786: 6780: 6779: 6777: 6776: 6771: 6766: 6761: 6756: 6751: 6746: 6740: 6738: 6732: 6731: 6729: 6728: 6723: 6718: 6717: 6716: 6711: 6706: 6701: 6691: 6686: 6681: 6676: 6671: 6666: 6660: 6658: 6652: 6651: 6648: 6647: 6645: 6644: 6643: 6642: 6632: 6631: 6630: 6625: 6615: 6614: 6613: 6608: 6601:Western Empire 6598: 6593: 6588: 6583: 6577: 6575: 6569: 6568: 6566: 6565: 6560: 6559: 6558: 6548: 6542: 6536: 6530: 6529: 6527: 6526: 6521: 6515: 6512: 6511: 6505: 6503: 6502: 6495: 6488: 6480: 6471: 6470: 6468: 6467: 6461: 6459: 6455: 6454: 6452: 6451: 6444: 6437: 6430: 6423: 6416: 6409: 6401: 6399: 6395: 6394: 6392: 6391: 6384: 6377: 6370: 6306: 6299: 6286: 6284: 6280: 6279: 6273: 6271: 6270: 6263: 6256: 6248: 6242: 6241: 6236: 6231: 6228: 6213: 6208: 6192: 6189:Horace's works 6186: 6170: 6165: 6160: 6150: 6141: 6136: 6130: 6121: 6106: 6097: 6084: 6083: 6078: 6073: 6067: 6063: 6060: 6059: 6054: 6049: 6043: 6042: 6031: 6030: 6028: 6027:External links 6025: 6024: 6023: 6011: 6002: 5993: 5987: 5974: 5965: 5959: 5944: 5935: 5922: 5913: 5904: 5895: 5886: 5880: 5867: 5861: 5848: 5842: 5825: 5819: 5806: 5797: 5791: 5776: 5773: 5771: 5770: 5761: 5752: 5743: 5734: 5724:Chisholm, Hugh 5719:"Horace" 5713: 5700: 5691: 5682: 5673: 5664: 5655: 5646: 5637: 5628: 5619: 5610: 5604: 5591: 5587:Horace: Epodes 5582: 5573: 5564: 5555: 5546: 5537: 5528: 5519: 5510: 5501: 5492: 5483: 5474: 5465: 5456: 5447: 5438: 5429: 5423: 5410: 5404: 5391: 5382: 5373: 5364: 5355: 5346: 5337: 5328: 5322: 5313:Selected Prose 5306: 5304: 5301: 5299: 5298: 5292:978-0195212037 5291: 5273: 5260: 5256:Horace: Epodes 5247: 5232: 5219: 5206: 5193: 5180: 5176:Selected Prose 5167: 5154: 5141: 5128: 5115: 5102: 5089: 5076: 5063: 5050: 5037: 5024: 5022:, 49–52, 79–83 5011: 4998: 4985: 4972: 4959: 4946: 4934: 4921: 4908: 4895: 4882: 4869: 4856: 4843: 4834: 4825: 4812: 4799: 4783: 4770: 4757: 4748: 4735: 4719: 4706: 4693: 4680: 4667: 4654: 4641: 4632: 4619: 4610: 4601: 4588: 4576: 4563: 4550: 4537: 4524: 4511: 4498: 4482: 4469: 4456: 4443: 4430: 4417: 4404: 4389: 4376: 4363: 4350: 4337: 4325: 4312: 4300: 4287: 4274: 4262: 4250: 4237: 4225: 4213: 4200: 4187: 4174: 4162: 4149: 4137: 4125: 4113: 4109:Horace: Epodes 4100: 4084: 4071: 4058: 4045: 4032: 4019: 4015:Horace: Epodes 4006: 4002:Horace: Epodes 3993: 3980: 3967: 3958: 3945: 3933: 3921: 3909: 3896: 3880: 3868: 3855: 3842: 3830: 3817: 3802: 3789: 3777: 3761: 3748: 3735: 3723: 3710: 3697: 3685: 3672: 3660: 3648: 3633: 3612: 3606:R. Barrow R., 3599: 3586: 3570: 3565:Life of Horace 3551: 3549: 3546: 3544: 3543: 3526: 3506: 3489: 3476: 3459: 3455:Complete Poems 3453:(C. Rossetti, 3438: 3432:(S. Harrison, 3421: 3415:(S. Harrison, 3400: 3379: 3367:Samuel Johnson 3354: 3333: 3309: 3296: 3263: 3242: 3210: 3185: 3148: 3138:2.1.35, while 3123: 3110: 3077: 3063: 3047:Wilfred Owen, 3040: 3028: 3004: 2984: 2963: 2950: 2941: 2932: 2919: 2902: 2893: 2880: 2862: 2839: 2822: 2793: 2776: 2767: 2759:Caesius Bassus 2749: 2747: 2744: 2743: 2742: 2740:Horace's Villa 2737: 2732: 2727: 2722: 2717: 2712: 2706: 2705: 2691: 2677: 2661: 2658: 2648:Norman Shelley 2635: 2632: 2631: 2630: 2617: 2614: 2611: 2588: 2587: 2582:Edward Marsh, 2579: 2578: 2566: 2549: 2540:John Conington 2537: 2522: 2519:Samuel Johnson 2508: 2498:Philip Francis 2495: 2479: 2456: 2453: 2418:fons Bandusiae 2369: 2357:Louis MacNeice 2225:Matthew Arnold 2104: 2087: 2084: 2076:Abraham Cowley 2045:Philip Francis 1962: 1961: 1948: 1895:Alexander Pope 1887:Samuel Johnson 1867:Andrew Marvell 1813:What friendly 1811: 1725:Horace Juvenal 1712: 1709: 1529:for boys, the 1518:aetas Ovidiana 1481:, composed in 1429: 1426: 1371:Caesius Bassus 1289: 1286: 1258: 1241: 1202: 1199: 1046: 1043: 907: 850:Archaic Greece 848:borrowed from 841: 838: 837: 836: 828: 820: 812: 804: 796: 788: 780: 772: 759: 756: 689:his own estate 677: 674: 613: 535: 532: 524:Horace's Villa 427:Asinius Pollio 401: 398: 305: 302: 277: 274: 243:) and caustic 157: 156: 143: 139: 138: 133: 129: 128: 123: 119: 118: 108: 104: 103: 100: 96: 95: 88: 84: 83: 81:Roman Republic 66: 62: 61: 58: 50: 49: 46: 26: 24: 14: 13: 10: 9: 6: 4: 3: 2: 8530: 8519: 8516: 8514: 8511: 8509: 8506: 8504: 8501: 8499: 8496: 8494: 8491: 8489: 8486: 8484: 8481: 8479: 8476: 8474: 8471: 8469: 8466: 8464: 8461: 8459: 8456: 8454: 8451: 8449: 8446: 8444: 8441: 8440: 8438: 8423: 8420: 8418: 8415: 8413: 8410: 8408: 8405: 8403: 8400: 8398: 8395: 8393: 8390: 8388: 8385: 8383: 8380: 8378: 8375: 8373: 8370: 8368: 8365: 8363: 8360: 8358: 8355: 8353: 8350: 8348: 8345: 8343: 8340: 8338: 8335: 8333: 8330: 8328: 8325: 8323: 8320: 8318: 8315: 8313: 8310: 8308: 8305: 8303: 8300: 8298: 8295: 8294: 8292: 8283: 8277: 8274: 8272: 8269: 8267: 8264: 8262: 8259: 8257: 8254: 8252: 8249: 8247: 8244: 8242: 8239: 8237: 8234: 8232: 8229: 8227: 8224: 8222: 8219: 8217: 8214: 8212: 8209: 8207: 8204: 8202: 8199: 8197: 8194: 8192: 8189: 8187: 8184: 8183: 8181: 8177: 8167: 8164: 8162: 8159: 8157: 8154: 8152: 8149: 8147: 8144: 8142: 8139: 8137: 8134: 8132: 8129: 8127: 8124: 8122: 8119: 8117: 8114: 8112: 8109: 8107: 8104: 8102: 8099: 8097: 8094: 8092: 8089: 8087: 8084: 8082: 8079: 8077: 8074: 8072: 8069: 8067: 8064: 8062: 8059: 8057: 8054: 8052: 8049: 8047: 8044: 8042: 8039: 8037: 8034: 8032: 8029: 8027: 8024: 8022: 8019: 8017: 8014: 8012: 8009: 8007: 8004: 8002: 7999: 7998: 7996: 7994: 7990: 7984: 7981: 7979: 7976: 7974: 7971: 7969: 7966: 7964: 7961: 7959: 7956: 7954: 7951: 7949: 7946: 7944: 7941: 7939: 7936: 7934: 7931: 7929: 7926: 7924: 7921: 7919: 7916: 7914: 7911: 7909: 7906: 7904: 7901: 7899: 7896: 7894: 7891: 7889: 7886: 7884: 7881: 7879: 7876: 7874: 7871: 7869: 7866: 7864: 7861: 7859: 7856: 7854: 7851: 7849: 7846: 7844: 7841: 7839: 7836: 7834: 7831: 7829: 7826: 7824: 7821: 7819: 7816: 7814: 7811: 7809: 7806: 7804: 7801: 7799: 7796: 7794: 7791: 7789: 7786: 7784: 7781: 7779: 7776: 7774: 7771: 7769: 7766: 7764: 7761: 7759: 7756: 7754: 7751: 7749: 7748:Julius Paulus 7746: 7744: 7741: 7739: 7736: 7734: 7731: 7729: 7726: 7724: 7721: 7719: 7716: 7714: 7711: 7709: 7706: 7704: 7701: 7699: 7696: 7694: 7691: 7689: 7686: 7684: 7683:Fabius Pictor 7681: 7679: 7676: 7674: 7671: 7669: 7666: 7664: 7661: 7659: 7656: 7654: 7651: 7649: 7646: 7644: 7641: 7639: 7636: 7634: 7631: 7629: 7626: 7624: 7621: 7619: 7616: 7614: 7611: 7609: 7606: 7604: 7601: 7599: 7596: 7594: 7591: 7590: 7588: 7586: 7582: 7579: 7575: 7569: 7566: 7562: 7559: 7557: 7554: 7552: 7549: 7547: 7544: 7542: 7539: 7537: 7534: 7532: 7529: 7527: 7524: 7522: 7519: 7518: 7516: 7514: 7511: 7509: 7506: 7505: 7503: 7501: 7497: 7491: 7488: 7486: 7483: 7481: 7478: 7476: 7473: 7471: 7468: 7466: 7463: 7461: 7458: 7456: 7453: 7451: 7448: 7446: 7443: 7441: 7438: 7436: 7433: 7431: 7428: 7426: 7423: 7421: 7420:Amphitheatres 7418: 7417: 7415: 7413: 7409: 7403: 7400: 7398: 7395: 7393: 7390: 7388: 7385: 7383: 7380: 7378: 7375: 7373: 7370: 7368: 7365: 7361: 7358: 7357: 7356: 7353: 7351: 7348: 7346: 7343: 7341: 7338: 7336: 7333: 7331: 7328: 7326: 7323: 7322: 7320: 7318: 7314: 7308: 7305: 7303: 7300: 7298: 7295: 7293: 7290: 7288: 7285: 7283: 7280: 7278: 7275: 7271: 7268: 7267: 7266: 7263: 7261: 7258: 7256: 7253: 7251: 7248: 7246: 7243: 7241: 7238: 7236: 7233: 7231: 7228: 7226: 7223: 7221: 7218: 7216: 7213: 7211: 7208: 7206: 7203: 7201: 7198: 7197: 7195: 7193: 7189: 7183: 7180: 7178: 7175: 7173: 7170: 7168: 7165: 7163: 7160: 7158: 7157:Deforestation 7155: 7153: 7150: 7149: 7147: 7145: 7141: 7135: 7132: 7130: 7127: 7125: 7122: 7120: 7117: 7113: 7110: 7108: 7107:Siege engines 7105: 7103: 7100: 7098: 7095: 7093: 7090: 7089: 7088: 7085: 7083: 7080: 7076: 7073: 7072: 7071: 7068: 7066: 7063: 7061: 7058: 7056: 7053: 7051: 7048: 7046: 7043: 7041: 7040:Establishment 7038: 7036: 7033: 7031: 7028: 7027: 7025: 7023: 7019: 7009: 7006: 7004: 7001: 6999: 6996: 6994: 6991: 6989: 6986: 6984: 6981: 6979: 6976: 6975: 6973: 6971:Extraordinary 6969: 6963: 6960: 6958: 6957:Promagistrate 6955: 6953: 6950: 6948: 6945: 6943: 6940: 6938: 6935: 6933: 6930: 6928: 6925: 6923: 6920: 6918: 6915: 6914: 6912: 6908: 6905: 6903: 6899: 6893: 6890: 6888: 6885: 6883: 6880: 6878: 6875: 6873: 6870: 6868: 6865: 6863: 6860: 6858: 6855: 6853: 6850: 6848: 6845: 6843: 6840: 6838: 6835: 6833: 6830: 6828: 6825: 6823: 6820: 6818: 6815: 6813: 6810: 6808: 6805: 6803: 6800: 6798: 6795: 6793: 6790: 6789: 6787: 6785: 6781: 6775: 6772: 6770: 6767: 6765: 6762: 6760: 6757: 6755: 6752: 6750: 6747: 6745: 6744:Twelve Tables 6742: 6741: 6739: 6737: 6733: 6727: 6724: 6722: 6719: 6715: 6712: 6710: 6707: 6705: 6702: 6700: 6697: 6696: 6695: 6692: 6690: 6687: 6685: 6682: 6680: 6677: 6675: 6672: 6670: 6667: 6665: 6662: 6661: 6659: 6657: 6653: 6641: 6638: 6637: 6636: 6633: 6629: 6626: 6624: 6621: 6620: 6619: 6616: 6612: 6609: 6607: 6604: 6603: 6602: 6599: 6597: 6594: 6592: 6589: 6587: 6584: 6582: 6579: 6578: 6576: 6574: 6570: 6564: 6561: 6557: 6554: 6553: 6552: 6549: 6547: 6544: 6543: 6540: 6537: 6535: 6531: 6525: 6522: 6520: 6517: 6516: 6513: 6508: 6501: 6496: 6494: 6489: 6487: 6482: 6481: 6478: 6466: 6463: 6462: 6460: 6456: 6450: 6449: 6445: 6443: 6442: 6438: 6436: 6435: 6431: 6429: 6428: 6427:In medias res 6424: 6422: 6421: 6417: 6415: 6414: 6410: 6408: 6407: 6403: 6402: 6400: 6396: 6390: 6389: 6385: 6383: 6382: 6378: 6376: 6375: 6371: 6368: 6364: 6360: 6356: 6352: 6348: 6344: 6340: 6336: 6332: 6328: 6324: 6320: 6316: 6312: 6311: 6307: 6305: 6304: 6300: 6297: 6293: 6292: 6288: 6287: 6285: 6281: 6277: 6269: 6264: 6262: 6257: 6255: 6250: 6249: 6246: 6240: 6237: 6235: 6232: 6229: 6227: 6223: 6220: 6219: 6214: 6212: 6209: 6207: 6203: 6200: 6198: 6193: 6190: 6187: 6183: 6181: 6176: 6171: 6169: 6166: 6164: 6161: 6158: 6154: 6151: 6149: 6145: 6142: 6140: 6137: 6134: 6131: 6128: 6127: 6122: 6114: 6110: 6107: 6105: 6101: 6098: 6096: 6092: 6089: 6088: 6082: 6079: 6077: 6074: 6072: 6069: 6068: 6066: 6058: 6055: 6053: 6050: 6048: 6045: 6044: 6039: 6034: 6026: 6020: 6016: 6012: 6008: 6003: 5999: 5994: 5990: 5988:0-472-10490-X 5984: 5980: 5975: 5971: 5966: 5962: 5960:0-8014-1852-6 5956: 5952: 5951: 5945: 5941: 5936: 5931: 5930: 5923: 5919: 5914: 5910: 5905: 5901: 5896: 5892: 5887: 5883: 5881:0-300-06322-9 5877: 5873: 5868: 5864: 5862:9783525311516 5858: 5854: 5849: 5845: 5843:0-8014-2868-8 5839: 5834: 5833: 5826: 5822: 5820:0-8044-2404-7 5816: 5812: 5807: 5803: 5798: 5794: 5792:0-520-91030-3 5788: 5784: 5779: 5778: 5774: 5767: 5762: 5758: 5753: 5749: 5744: 5740: 5735: 5731: 5730: 5725: 5720: 5714: 5709: 5708: 5701: 5697: 5692: 5688: 5683: 5679: 5674: 5670: 5665: 5661: 5656: 5652: 5647: 5643: 5638: 5634: 5629: 5625: 5620: 5616: 5611: 5607: 5601: 5597: 5592: 5588: 5583: 5579: 5574: 5570: 5565: 5561: 5556: 5552: 5547: 5543: 5538: 5534: 5529: 5525: 5520: 5516: 5511: 5507: 5502: 5498: 5493: 5489: 5484: 5480: 5475: 5471: 5466: 5462: 5457: 5453: 5448: 5444: 5439: 5435: 5430: 5426: 5420: 5416: 5411: 5407: 5401: 5397: 5392: 5388: 5383: 5379: 5374: 5370: 5365: 5361: 5356: 5352: 5347: 5343: 5338: 5334: 5329: 5325: 5319: 5315: 5314: 5308: 5307: 5302: 5294: 5288: 5284: 5277: 5274: 5270: 5264: 5261: 5257: 5251: 5248: 5243: 5236: 5233: 5229: 5226:S. Harrison, 5223: 5220: 5216: 5213:S. Medcalfe, 5210: 5207: 5203: 5200:S. Harrison, 5197: 5194: 5190: 5184: 5181: 5177: 5171: 5168: 5164: 5161:S. Harrison, 5158: 5155: 5151: 5145: 5142: 5138: 5135:S. Harrison, 5132: 5129: 5125: 5119: 5116: 5112: 5109:S. Harrison, 5106: 5103: 5099: 5093: 5090: 5086: 5080: 5077: 5073: 5067: 5064: 5060: 5054: 5051: 5047: 5041: 5038: 5034: 5028: 5025: 5021: 5018:B. Loveling, 5015: 5012: 5008: 5002: 4999: 4995: 4989: 4986: 4982: 4976: 4973: 4969: 4963: 4960: 4956: 4950: 4947: 4944: 4938: 4935: 4931: 4925: 4922: 4918: 4912: 4909: 4905: 4899: 4896: 4892: 4886: 4883: 4879: 4873: 4870: 4866: 4860: 4857: 4853: 4850:B. Bischoff, 4847: 4844: 4838: 4835: 4829: 4826: 4822: 4816: 4813: 4809: 4803: 4800: 4796: 4790: 4788: 4784: 4780: 4774: 4771: 4767: 4761: 4758: 4752: 4749: 4745: 4739: 4736: 4732: 4728: 4723: 4720: 4716: 4710: 4707: 4703: 4697: 4694: 4690: 4684: 4681: 4677: 4671: 4668: 4664: 4658: 4655: 4651: 4645: 4642: 4636: 4633: 4629: 4623: 4620: 4614: 4611: 4605: 4602: 4598: 4592: 4589: 4586: 4580: 4577: 4573: 4567: 4564: 4560: 4554: 4551: 4547: 4544:E. Fraenkel, 4541: 4538: 4534: 4528: 4525: 4521: 4518:S. Harrison, 4515: 4512: 4508: 4502: 4499: 4495: 4492:E. Fraenkel, 4489: 4487: 4483: 4479: 4476:S. Harrison, 4473: 4470: 4466: 4463:S. Harrison, 4460: 4457: 4453: 4447: 4444: 4440: 4437:E. Fraenkel, 4434: 4431: 4427: 4424:E. Fraenkel, 4421: 4418: 4414: 4411:E. Fraenkel, 4408: 4405: 4400: 4393: 4390: 4386: 4383:E. Fraenkel, 4380: 4377: 4373: 4370:S. Harrison, 4367: 4364: 4360: 4354: 4351: 4347: 4344:E. Fraenkel, 4341: 4338: 4334: 4329: 4326: 4322: 4316: 4313: 4309: 4304: 4301: 4297: 4294:E. Fraenkel, 4291: 4288: 4284: 4278: 4275: 4271: 4266: 4263: 4259: 4254: 4251: 4247: 4241: 4238: 4234: 4229: 4226: 4222: 4217: 4214: 4210: 4204: 4201: 4197: 4191: 4188: 4184: 4178: 4175: 4171: 4166: 4163: 4159: 4156:E. Fraenkel, 4153: 4150: 4146: 4141: 4138: 4134: 4129: 4126: 4122: 4117: 4114: 4110: 4104: 4101: 4097: 4091: 4089: 4085: 4081: 4075: 4072: 4068: 4062: 4059: 4055: 4049: 4046: 4042: 4036: 4033: 4029: 4023: 4020: 4016: 4010: 4007: 4003: 3997: 3994: 3990: 3984: 3981: 3977: 3971: 3968: 3962: 3959: 3955: 3952:E. Fraenkel, 3949: 3946: 3943: 3937: 3934: 3930: 3925: 3922: 3918: 3913: 3910: 3906: 3900: 3897: 3893: 3887: 3885: 3881: 3877: 3872: 3869: 3865: 3862:E. Fraenkel, 3859: 3856: 3852: 3849:E. Fraenkel, 3846: 3843: 3839: 3834: 3831: 3827: 3821: 3818: 3814: 3809: 3807: 3803: 3799: 3796:E. Fraenkel, 3793: 3790: 3786: 3781: 3778: 3774: 3768: 3766: 3762: 3758: 3755:E. Fraenkel, 3752: 3749: 3745: 3739: 3736: 3732: 3727: 3724: 3720: 3717:A. Campbell, 3714: 3711: 3707: 3701: 3698: 3694: 3689: 3686: 3682: 3679:E. Fraenkel, 3676: 3673: 3669: 3664: 3661: 3657: 3652: 3649: 3646: 3642: 3637: 3634: 3630: 3629: 3622: 3616: 3613: 3609: 3603: 3600: 3596: 3590: 3587: 3583: 3577: 3575: 3571: 3568: 3566: 3561: 3556: 3553: 3547: 3540: 3536: 3530: 3527: 3524: 3520: 3516: 3510: 3507: 3503: 3499: 3493: 3490: 3486: 3480: 3477: 3473: 3469: 3463: 3460: 3456: 3452: 3448: 3442: 3439: 3435: 3431: 3425: 3422: 3418: 3414: 3410: 3404: 3401: 3397: 3393: 3389: 3383: 3380: 3376: 3372: 3368: 3364: 3363:James Boswell 3358: 3355: 3351: 3347: 3343: 3337: 3334: 3330: 3326: 3322: 3319: 3313: 3310: 3306: 3300: 3297: 3293: 3289: 3285: 3281: 3277: 3273: 3267: 3264: 3260: 3256: 3252: 3246: 3243: 3239: 3235: 3231: 3230:Peristephanon 3227: 3223: 3219: 3214: 3211: 3207: 3203: 3199: 3198:2 Corinthians 3195: 3189: 3186: 3182: 3178: 3174: 3170: 3166: 3162: 3161:male pertinax 3158: 3152: 3149: 3145: 3141: 3137: 3133: 3127: 3124: 3120: 3114: 3111: 3107: 3103: 3099: 3095: 3091: 3087: 3081: 3078: 3074: 3067: 3064: 3060: 3056: 3052: 3051: 3044: 3041: 3037: 3032: 3029: 3025: 3021: 3017: 3013: 3008: 3005: 3002: 2998: 2994: 2988: 2985: 2981: 2977: 2973: 2967: 2964: 2960: 2954: 2951: 2945: 2942: 2936: 2933: 2929: 2923: 2920: 2916: 2912: 2906: 2903: 2897: 2894: 2890: 2884: 2881: 2877: 2872: 2866: 2863: 2859: 2855: 2852: 2848: 2843: 2840: 2836: 2832: 2826: 2823: 2819: 2815: 2811: 2807: 2803: 2797: 2794: 2790: 2786: 2780: 2777: 2771: 2768: 2764: 2761:(R. Tarrant, 2760: 2754: 2751: 2745: 2741: 2738: 2736: 2733: 2731: 2728: 2726: 2723: 2721: 2718: 2716: 2713: 2711: 2708: 2707: 2703: 2692: 2689: 2678: 2675: 2664: 2659: 2657: 2655: 2654: 2649: 2645: 2641: 2640:late Republic 2633: 2629: 2625: 2621: 2618: 2615: 2612: 2609: 2605: 2601: 2597: 2593: 2590: 2589: 2585: 2581: 2580: 2576: 2575: 2570: 2567: 2564: 2561: 2558: 2554: 2550: 2547: 2546: 2541: 2538: 2536: 2532: 2531: 2526: 2523: 2520: 2516: 2513: 2509: 2506: 2503: 2499: 2496: 2493: 2489: 2488: 2483: 2480: 2477: 2473: 2469: 2465: 2464: 2459: 2458: 2454: 2452: 2450: 2446: 2442: 2441:Iambic poetry 2437: 2432: 2430: 2426: 2423: 2419: 2415: 2411: 2407: 2403: 2396: 2392: 2388: 2382: 2367: 2365: 2362: 2358: 2354: 2346: 2345: 2340: 2336: 2332: 2328: 2324: 2322: 2318: 2314: 2311: 2307: 2306: 2301: 2297: 2293: 2289: 2285: 2282: 2278: 2277:Ernest Dowson 2274: 2270: 2267: 2263: 2262:A. E. Housman 2259: 2256: 2252: 2249: 2245: 2241: 2237: 2233: 2230: 2226: 2222: 2220: 2216: 2212: 2206: 2205: 2200: 2199: 2194: 2190: 2188: 2184: 2180: 2176: 2173: 2169: 2168:Prince Albert 2165: 2161: 2157: 2154: 2150: 2145: 2143: 2142: 2137: 2133: 2129: 2128: 2123: 2119: 2113: 2102: 2100: 2099: 2098:Childe Harold 2094: 2085: 2083: 2081: 2077: 2073: 2072:Henry Vaughan 2069: 2066: 2062: 2058: 2053: 2051: 2046: 2042: 2038: 2035: 2031: 2030:Thomas Creech 2027: 2024: 2020: 2017: 2013: 2009: 2005: 2001: 1997: 1993: 1989: 1985: 1981: 1977: 1968: 1959: 1949: 1946: 1945:Pocula Seres 1936: 1935: 1932: 1930: 1926: 1922: 1918: 1914: 1913: 1908: 1904: 1900: 1897:wrote direct 1896: 1892: 1888: 1884: 1880: 1876: 1872: 1868: 1864: 1860: 1859:Anthony Alsop 1855: 1851: 1847: 1843: 1842:Paradise Lost 1839: 1835: 1831: 1824: 1816: 1809: 1807: 1803: 1799: 1798:Edmund Quincy 1795: 1794: 1789: 1788: 1783: 1782: 1777: 1776: 1771: 1770: 1765: 1764:The Spectator 1761: 1760:James Douglas 1757: 1756:James Thomson 1753: 1749: 1745: 1742:, Barcelona, 1741: 1737: 1733: 1728: 1726: 1722: 1718: 1710: 1708: 1706: 1705: 1700: 1696: 1692: 1688: 1684: 1680: 1676: 1675:happy the man 1672: 1668: 1664: 1660: 1659:Sá de Miranda 1656: 1652: 1647: 1643: 1639: 1635: 1631: 1626: 1622: 1618: 1616: 1612: 1608: 1604: 1600: 1596: 1592: 1588: 1583: 1581: 1577: 1573: 1572:Orazio satiro 1569: 1565: 1561: 1557: 1553: 1549: 1545: 1540: 1536: 1532: 1528: 1524: 1519: 1515: 1511: 1507: 1503: 1502:Ludwig Traube 1498: 1496: 1492: 1491:Do, re, mi... 1488: 1484: 1480: 1479: 1474: 1471: 1467: 1463: 1459: 1455: 1451: 1447: 1439: 1434: 1427: 1425: 1423: 1419: 1415: 1411: 1407: 1403: 1399: 1395: 1391: 1387: 1386:Helenius Acro 1382: 1380: 1376: 1372: 1368: 1364: 1360: 1356: 1352: 1350: 1346: 1342: 1338: 1334: 1330: 1326: 1322: 1318: 1314: 1310: 1305: 1303: 1299: 1295: 1287: 1285: 1282: 1280: 1276: 1275: 1267: 1256: 1254: 1246: 1240: 1236: 1234: 1233: 1226: 1223: 1219: 1212: 1207: 1200: 1198: 1196: 1192: 1187: 1182: 1180: 1176: 1171: 1166: 1164: 1160: 1155: 1150: 1148: 1144: 1139: 1134: 1132: 1128: 1124: 1120: 1116: 1112: 1108: 1104: 1100: 1096: 1095: 1090: 1086: 1082: 1077: 1075: 1071: 1066: 1064: 1060: 1056: 1052: 1044: 1042: 1040: 1035: 1031: 1027: 1023: 1019: 1015: 1011: 1007: 1002: 1000: 996: 992: 988: 982: 980: 976: 972: 968: 964: 959: 955: 951: 947: 943: 939: 934: 932: 928: 924: 920: 912: 906: 901: 899: 895: 891: 887: 883: 879: 875: 871: 867: 863: 859: 855: 851: 847: 839: 834: 833: 829: 826: 825: 821: 818: 817: 813: 810: 809: 805: 802: 801: 797: 794: 793: 789: 786: 785: 781: 778: 777: 773: 771:(c. 35–34 BC) 770: 769: 765: 764: 763: 757: 755: 751: 749: 745: 744:Secular Games 741: 737: 732: 727: 725: 720: 715: 710: 707: 703: 699: 695: 690: 686: 682: 675: 673: 671: 670: 669:eques Romanus 665: 661: 657: 653: 649: 644: 640: 635: 633: 629: 628: 618: 617:V. G. Kiernan 612: 607: 605: 601: 597: 596:Sextus Pompey 592: 588: 584: 580: 576: 572: 571:iambic poetry 568: 560: 555: 549: 545: 540: 533: 531: 529: 525: 519: 516: 510: 507: 505: 501: 497: 493: 492:ordo equester 489: 485: 480: 474: 472: 468: 464: 460: 456: 452: 448: 444: 439: 435: 434:Julius Caesar 430: 428: 424: 420: 416: 412: 409:. Founded by 408: 399: 397: 393: 392: 385: 382: 377: 375: 371: 367: 362: 359: 355: 351: 347: 343: 339: 335: 331: 327: 323: 319: 315: 311: 303: 301: 299: 295: 286: 282: 275: 273: 271: 267: 263: 258: 256: 252: 251: 246: 245:iambic poetry 242: 241: 236: 235: 230: 225: 223: 222: 218:regarded his 217: 213: 209: 203: 179: 174: 168: 163: 154: 149: 148: 144: 142:Notable works 140: 137: 134: 130: 127: 124: 120: 117: 113: 109: 105: 101: 99:Resting place 97: 94: 89: 85: 82: 78: 74: 67: 63: 56: 51: 44: 41: 37: 33: 19: 8493:Iambic poets 8448:65 BC births 8362:Institutions 8226:Leptis Magna 8179:Major cities 8086:Philostratus 7873:Quadrigarius 7722: 7693:Rufus Festus 7556:Contemporary 7277:Romanization 7200:Architecture 6807:Collegiality 6656:Constitution 6507:Ancient Rome 6446: 6439: 6432: 6425: 6418: 6411: 6404: 6386: 6379: 6372: 6308: 6301: 6289: 6275: 6217: 6196: 6178: 6156: 6124: 6071:Online books 6064: 6047:Online books 6037: 6018: 6006: 6000:. Duckworth. 5997: 5978: 5969: 5949: 5939: 5928: 5917: 5908: 5899: 5890: 5871: 5852: 5831: 5810: 5801: 5782: 5765: 5756: 5747: 5738: 5727: 5706: 5695: 5686: 5677: 5668: 5659: 5650: 5641: 5632: 5623: 5614: 5595: 5586: 5577: 5568: 5559: 5550: 5541: 5532: 5526:. Ann Arbor. 5523: 5514: 5505: 5496: 5487: 5478: 5472:. Ann Arbor. 5469: 5460: 5451: 5442: 5433: 5414: 5395: 5386: 5377: 5368: 5359: 5350: 5344:. Duckworth. 5341: 5332: 5312: 5282: 5276: 5268: 5267:R. McNeill, 5263: 5255: 5250: 5241: 5235: 5227: 5222: 5214: 5209: 5201: 5196: 5188: 5183: 5175: 5170: 5162: 5157: 5149: 5144: 5136: 5131: 5123: 5122:V. Kiernan, 5118: 5110: 5105: 5097: 5092: 5084: 5079: 5071: 5070:A. Gilbert, 5066: 5058: 5053: 5045: 5040: 5032: 5027: 5019: 5014: 5006: 5001: 4993: 4988: 4980: 4975: 4967: 4962: 4954: 4949: 4942: 4937: 4929: 4924: 4916: 4911: 4903: 4898: 4890: 4885: 4877: 4872: 4864: 4859: 4851: 4846: 4837: 4828: 4820: 4819:R. Tarrant, 4815: 4807: 4806:R. Tarrant, 4802: 4794: 4793:R. Tarrant, 4778: 4777:R. Tarrant, 4773: 4765: 4764:R. Tarrant, 4760: 4751: 4743: 4742:R. Tarrant, 4738: 4730: 4722: 4714: 4709: 4701: 4696: 4688: 4687:V. Kiernan, 4683: 4675: 4674:R. Tarrant, 4670: 4665:, pp. 174–80 4662: 4657: 4649: 4644: 4635: 4630:, pp. 171–73 4627: 4622: 4613: 4604: 4596: 4591: 4584: 4579: 4571: 4566: 4558: 4557:V. Kiernan, 4553: 4545: 4540: 4535:, pp. 121–22 4533:The Epistles 4532: 4527: 4519: 4514: 4506: 4501: 4493: 4477: 4472: 4464: 4459: 4451: 4450:J. Griffin, 4446: 4438: 4433: 4425: 4420: 4412: 4407: 4398: 4392: 4384: 4379: 4371: 4366: 4358: 4353: 4345: 4340: 4335:4.4 and 4.14 4332: 4328: 4321:The Epistles 4320: 4315: 4307: 4303: 4295: 4290: 4282: 4277: 4269: 4265: 4257: 4253: 4245: 4244:V. Kiernan, 4240: 4232: 4228: 4220: 4216: 4208: 4203: 4195: 4194:V. Kiernan, 4190: 4182: 4177: 4169: 4165: 4157: 4152: 4144: 4140: 4132: 4128: 4120: 4116: 4108: 4103: 4095: 4079: 4078:J. Griffin, 4074: 4066: 4061: 4053: 4048: 4040: 4039:V. Kiernan, 4035: 4027: 4022: 4014: 4009: 4001: 3996: 3988: 3983: 3975: 3970: 3961: 3953: 3948: 3941: 3940:V. Kiernan, 3936: 3928: 3924: 3916: 3912: 3904: 3903:V. Kiernan, 3899: 3891: 3875: 3871: 3863: 3858: 3850: 3845: 3837: 3833: 3825: 3824:V. Kiernan, 3820: 3812: 3797: 3792: 3784: 3780: 3772: 3771:V. Kiernan, 3756: 3751: 3743: 3738: 3730: 3726: 3718: 3713: 3705: 3700: 3692: 3688: 3680: 3675: 3667: 3663: 3655: 3651: 3645:Google Books 3640: 3636: 3627: 3620: 3615: 3607: 3602: 3594: 3589: 3581: 3563: 3555: 3538: 3534: 3529: 3514: 3509: 3501: 3497: 3492: 3484: 3479: 3471: 3467: 3462: 3454: 3450: 3446: 3441: 3433: 3429: 3424: 3416: 3408: 3403: 3395: 3391: 3387: 3382: 3374: 3370: 3357: 3349: 3345: 3341: 3336: 3328: 3324: 3320: 3317: 3312: 3304: 3299: 3291: 3287: 3283: 3279: 3275: 3271: 3266: 3258: 3254: 3250: 3245: 3237: 3233: 3229: 3225: 3221: 3217: 3213: 3205: 3201: 3197: 3193: 3188: 3180: 3176: 3172: 3168: 3164: 3160: 3156: 3151: 3143: 3139: 3135: 3131: 3126: 3118: 3113: 3105: 3101: 3097: 3093: 3089: 3085: 3080: 3072: 3066: 3058: 3054: 3048: 3043: 3035: 3031: 3023: 3019: 3011: 3007: 3000: 2996: 2992: 2987: 2979: 2971: 2966: 2958: 2953: 2944: 2935: 2927: 2922: 2914: 2910: 2905: 2896: 2888: 2883: 2875: 2870: 2865: 2857: 2853: 2846: 2842: 2834: 2830: 2825: 2817: 2816:(R. Nisbet, 2813: 2809: 2801: 2796: 2788: 2779: 2770: 2762: 2753: 2715:Horatia gens 2651: 2644:Early Empire 2637: 2619: 2599: 2595: 2592:James Michie 2583: 2573: 2562: 2559: 2556: 2552: 2544: 2534: 2529: 2514: 2511: 2504: 2501: 2491: 2486: 2468:Thomas Drant 2461: 2455:Translations 2448: 2444: 2435: 2433: 2428: 2421: 2417: 2413: 2409: 2405: 2402:Robert Frost 2399: 2390: 2370: 2360: 2350: 2342: 2320: 2309: 2303: 2299: 2295: 2287: 2280: 2273:Archilochian 2265: 2254: 2247: 2239: 2228: 2208: 2202: 2196: 2191: 2178: 2171: 2152: 2146: 2139: 2135: 2125: 2116: 2105: 2096: 2089: 2067: 2060: 2054: 2033: 2022: 2015: 1999: 1991: 1987: 1984:of Education 1983: 1979: 1975: 1973: 1951: 1938: 1923:, 1799) and 1920: 1910: 1902: 1898: 1890: 1870: 1849: 1845: 1837: 1827: 1812: 1801: 1791: 1785: 1779: 1773: 1767: 1729: 1724: 1714: 1702: 1686: 1679:Thomas Drant 1674: 1670: 1624: 1619: 1610: 1606: 1590: 1584: 1571: 1563: 1559: 1555: 1551: 1547: 1543: 1538: 1534: 1530: 1526: 1522: 1517: 1513: 1509: 1505: 1499: 1490: 1476: 1469: 1443: 1417: 1397: 1393: 1383: 1374: 1366: 1362: 1358: 1353: 1348: 1324: 1320: 1308: 1306: 1301: 1291: 1283: 1272: 1270: 1259: 1253:Wilfred Owen 1250: 1238: 1230: 1227: 1221: 1217: 1215: 1190: 1185: 1183: 1179:Epicureanism 1169: 1167: 1158: 1153: 1151: 1147:Epicureanism 1142: 1137: 1135: 1126: 1122: 1106: 1102: 1098: 1092: 1085:Epicureanism 1080: 1078: 1069: 1067: 1054: 1050: 1048: 1038: 1033: 1005: 1003: 1001:1.10.56–61) 998: 994: 990: 983: 974: 966: 962: 957: 953: 945: 941: 935: 926: 922: 918: 916: 903: 877: 869: 861: 857: 852:, employing 843: 835:(c. 10–8 BC) 830: 822: 814: 806: 798: 790: 782: 774: 766: 761: 752: 747: 739: 735: 730: 728: 723: 718: 713: 711: 705: 701: 697: 693: 680: 679: 667: 663: 659: 636: 631: 625: 622: 609: 583:shame poetry 582: 579:Blame poetry 578: 575:blame poetry 574: 566: 564: 521: 512: 508: 503: 499: 495: 491: 487: 483: 475: 431: 403: 395: 390: 387: 378: 370:Samnite Wars 363: 337: 307: 297: 290: 284: 259: 248: 238: 232: 226: 219: 177: 161: 160: 145: 136:Lyric poetry 40: 8453:8 BC deaths 8357:Geographers 8041:Dioscorides 8021:Cassius Dio 7643:Cassiodorus 7546:Renaissance 7152:Agriculture 7124:Auxiliaries 7065:Engineering 6902:Magistrates 6754:Citizenship 6749:Mos maiorum 6684:Late Empire 6441:Sapere aude 6388:Ars Poetica 5470:Horace 2000 5436:. New York. 5254:D. Mankin, 5187:W. Flesch, 5174:M. Arnold, 5044:E. Tollet, 5005:J. Talbot, 4953:M. McGann, 4941:E. Rivers, 4505:L. Morgan, 4281:R. Nisbet, 4207:R. Nisbet, 4181:R. Nisbet, 4107:D. Mankin, 4094:R. Nisbet, 4054:The Satires 4052:F. Muecke, 4026:R. Conway, 4013:D. Mankin, 4004:, C.U.P., 8 4000:D. Mankin, 3890:R. Nisbet, 3742:R. Nisbet, 3628:Vita Horati 3580:J. Michie, 3533:M. Almond, 3280:Ars Poetica 3192:St Jerome, 2917:52: 517–37) 2735:Translation 2653:I, Claudius 2553:The Satires 2482:John Dryden 2463:Ars Poetica 2353:W. H. Auden 2264:considered 2059:was called 2050:bowdlerized 1996:John Dryden 1986:. Horace's 1976:Ars Poetica 1917:Anna Seward 1830:John Milton 1781:sapere aude 1754:. The poet 1752:copperplate 1671:beatus ille 1655:Juan Boscán 1603:St Quirinus 1578:, Ovid and 1544:Ars Poetica 1531:Ars Poetica 1329:Callimachus 1163:golden mean 1115:Peripatetic 938:Archilochus 898:Callimachus 894:Hellenistic 874:Latin forms 832:Ars Poetica 736:Ars Poetica 685:Greek world 656:Sabine farm 587:Archilochus 467:Archilochus 455:Mark Antony 407:The Academy 312:, south of 270:John Dryden 8437:Categories 8246:Mediolanum 8186:Alexandria 8151:Themistius 8116:Porphyrius 7943:Tertullian 7878:Quintilian 7868:Propertius 7763:Lactantius 7713:Fulgentius 7648:Censorinus 7470:Sanitation 7455:Metallurgy 7412:Technology 7377:Demography 7325:Patricians 7292:Spectacles 7250:Literature 7245:Hairstyles 7082:Technology 6832:Praefectus 6784:Government 6774:Litigation 6759:Auctoritas 6704:Centuriate 6591:Principate 6586:Pax Romana 6546:Foundation 6413:Carpe diem 6398:Quotations 5333:The Romans 5303:References 5148:D. Money, 5096:D. Money, 5074:, 124, 669 5031:D. Money, 4992:D. Money, 4979:D. Money, 4966:D. Money, 4880:, 293, 304 4727:Niall Rudd 4704:, 326, 332 4700:D. Money, 4661:J. Moles, 4648:J. Moles, 4626:J. Moles, 4595:J. Moles, 4570:J. Moles, 4531:R. Ferri, 4357:R Nisbet, 4319:R. Ferri, 4272:1.20.24–25 4248:, 149, 153 4223:1.19.35–44 3704:T. Frank, 3670:2.1.69 ff. 3608:The Romans 3496:I. Wedde, 3487:2003.03.05 3294:, 294–302) 3234:Consolatio 3001:Kindstrand 2976:Niall Rudd 2854:Bell. Civ. 2783:Quoted by 2710:Carpe diem 2476:Lord Byron 2472:Ben Jonson 2414:Hyla Brook 2321:Horacianes 2181:8 and 12. 2132:John Keats 2080:Urban VIII 1931:settings: 1899:Imitations 1793:carpe diem 1699:Ben Jonson 1410:Prudentius 1298:Propertius 1279:Prudentius 1245:Niall Rudd 1094:carpe diem 1030:Propertius 971:scapegoats 919:Urerlebnis 854:hexameters 827:(c. 11 BC) 819:(c. 11 BC) 816:Epistles 2 803:(c. 21 BC) 800:Epistles 1 795:(c. 23 BC) 779:(c. 30 BC) 639:Brundisium 569:belong to 415:Epicureans 330:Basilicata 216:Quintilian 208:lyric poet 107:Occupation 8402:Quaestors 8332:Empresses 8322:Dynasties 8312:Dictators 8287:and other 8276:Volubilis 8271:Vindobona 8231:Londinium 8156:Theodoret 8126:Procopius 8106:Polyaenus 8081:Pausanias 7983:Vitruvius 7928:Symmachus 7923:Suetonius 7833:Petronius 7818:Obsequens 7783:Macrobius 7778:Lucretius 7703:Frontinus 7678:Eutropius 7663:Columella 7613:Augustine 7603:Appuleius 7551:Neo-Latin 7526:Classical 7517:Versions 7425:Aqueducts 7367:Patronage 7287:Sexuality 7260:Mythology 7235:Education 7225:Cosmetics 7050:Campaigns 7045:Structure 6998:Decemviri 6857:Imperator 6556:overthrow 6274:Works by 6065:By Horace 5768:. London. 5562:. London. 5380:. London. 5371:. London. 4713:R. Lyme, 4065:R. Lyne, 3931:2.2.51–52 3593:N. Rudd, 3560:Suetonius 3548:Citations 3535:The Works 3398:, 334–35) 3318:Spectator 3261:, 287–88) 3240:, 283–85) 3226:Agamemnon 3165:Praefatio 3108:, 79–103) 2831:municipia 2515:of Horace 2505:of Horace 2434:Horace's 2236:Victorian 2211:Epicurean 2004:Pindarics 1974:Horace's 1883:Cleopatra 1879:Charles I 1840:1.5, and 1806:Tom Jones 1748:John Pine 1744:Cambridge 1736:Frankfurt 1734:, one in 1704:Poetaster 1646:Montaigne 1414:St Jerome 1375:derivatio 1323:. Ovid's 1288:Antiquity 1201:Reception 1195:Epicurean 1123:Dialogues 1105:2.6. The 1089:Lucretius 1014:Mimnermus 979:symposium 776:Satires 2 768:Satires 1 648:Palinurus 604:Spartacus 400:Adulthood 304:Childhood 294:Suetonius 110:Soldier, 8407:Tribunes 8397:Praetors 8347:Generals 8327:Emperors 8236:Lugdunum 8221:Eboracum 8211:Carthage 8196:Aquileia 8111:Polybius 8101:Plutarch 8071:Libanius 8061:Josephus 8056:Herodian 7948:Tibullus 7863:Priscian 7838:Phaedrus 7798:Manilius 7743:Jordanes 7728:Hydatius 7658:Claudian 7638:Catullus 7628:Boëthius 7623:Ausonius 7541:Medieval 7513:Alphabet 7485:Theatres 7460:Numerals 7445:Concrete 7435:Circuses 7402:Bagaudae 7392:Adoption 7387:Marriage 7360:Assembly 7265:Religion 7240:Folklore 7220:Clothing 7215:Calendar 7172:Currency 7162:Commerce 7060:Strategy 7022:Military 7008:Triumvir 6988:Dictator 6983:Interrex 6962:Governor 6947:Quaestor 6910:Ordinary 6892:Province 6882:Tetrarch 6872:Augustus 6837:Vicarius 6827:Officium 6764:Imperium 6714:Plebeian 6674:Republic 6596:Dominate 6563:Republic 6524:Timeline 6374:Epistles 6222:Archived 6202:Archived 6113:LibriVox 6017:(1951). 5217:, 217–39 5165:, 335–37 5100:, 319–25 5087:, 97–101 5035:, 329–31 4996:, 326–27 4893:, 296–98 4823:, 288–89 4810:, 285–87 4781:, 280–81 4746:, 282–83 4652:, p. 179 4599:, p. 168 4548:, p. 309 4509:, 177–78 4496:, 32, 80 4480:, 194–96 4415:, 106–07 4387:, 124–25 4308:Epistles 4270:Epistles 4258:Epistles 4233:Epistles 4221:Epistles 4056:, 109–10 3929:Epistles 3731:Epistles 3708:, 133–34 3668:Epistles 3288:Epistles 3194:Epistles 3173:dux bone 3136:Sermones 3132:Venusine 3102:Epistles 3026:, p. 177 3016:Diogenes 3012:Epistles 2993:Epistles 2961:, 379–81 2810:Epistles 2804:3.21.1 ( 2660:See also 2557:Epistles 2364:2.11.1–4 2339:Ode 1.37 2335:Michelin 2331:Bibendum 2251:1.19.5–6 2219:nihilism 2215:sympotic 2078:). Pope 2032:printed 1992:Epistles 1929:sympotic 1891:The Odes 1863:Jacobite 1721:Augustan 1683:Jeremiah 1625:Epistles 1621:Petrarch 1611:Epistles 1564:Epistles 1552:Epistles 1539:Epistles 1489:system ( 1454:Lombardy 1438:ode 4.15 1422:Boethius 1406:Claudian 1402:Ausonius 1337:Catullus 1302:Epistles 1242:— 1191:Epistles 1186:Epistles 1175:Stoicism 1119:Platonic 1074:Cynicism 1070:Epistles 1059:Cynicism 1026:Catullus 1006:Epistles 987:libertas 975:Epistles 963:Epistles 931:Lucilius 908:— 886:sapphics 862:Epistles 792:Odes 1–3 740:Epistles 731:Epistles 724:Epistles 719:Epistles 698:Augustus 627:Eclogues 614:— 591:Carthage 544:Maecenas 515:Tarentum 488:aerarium 451:Augustus 447:Octavian 358:Sabellus 354:Samnites 346:Orbilius 334:Canusium 296:(in his 266:Maecenas 240:Epistles 212:Augustus 122:Language 114:, poet, 18:Horatian 8503:Horatii 8377:Legions 8337:Fiction 8307:Consuls 8302:Climate 8256:Ravenna 8251:Pompeii 8241:Lutetia 8206:Bononia 8201:Berytus 8191:Antioch 8166:Zosimus 8161:Zonaras 8136:Sozomen 8121:Priscus 8096:Photius 7938:Terence 7933:Tacitus 7918:Statius 7903:Servius 7888:Sallust 7843:Plautus 7823:Orosius 7803:Martial 7758:Juvenal 7733:Hyginus 7718:Gellius 7577:Writers 7508:History 7490:Thermae 7480:Temples 7430:Bridges 7397:Slavery 7345:Equites 7317:Society 7297:Theatre 7270:Deities 7230:Cuisine 7210:Bathing 7192:Culture 7167:Finance 7144:Economy 7035:Borders 7030:History 6932:Tribune 6927:Praetor 6817:Legatus 6812:Emperor 6699:Curiate 6669:Kingdom 6664:History 6640:History 6623:decline 6581:History 6551:Kingdom 6534:History 6519:Outline 6458:Related 6291:Satires 6180:Diotíma 6157:Carmina 6102:at the 5726:(ed.). 4854:, 83–95 4441:, 95–96 4361:, 17–21 4298:, 17–18 4285:, 14–15 4198:, 61–62 4170:Satires 4147:1 and 9 4121:Satires 4043:, 18–19 4030:, 49–50 3956:, 14–15 3876:Satires 3813:Satires 3785:Satires 3733:1.16.49 3693:Satires 3658:1.10.30 3656:Satires 3621:Horace. 3523:4348329 3284:Satires 3272:Satires 3098:Tristia 3096:), and 3090:Tristia 3086:Epistle 3055:Carmina 3036:Satires 3020:Epistle 2930:, 18–20 2785:N. Rudd 2610:metres. 2604:Sapphic 2517:(1746) 2406:Satires 2393:1.14 – 2300:Regulus 2292:Kipling 2122:preface 1988:Satires 1980:Poetics 1834:Lycidas 1740:Utrecht 1634:Pléiade 1607:Satires 1560:Satires 1548:Satires 1535:Satires 1523:Satires 1487:solfege 1355:Statius 1345:Juvenal 1341:Persius 1333:Martial 1232:Carmina 1127:Satires 1107:Satires 1103:Satires 1081:Satires 1055:Satires 1039:Satires 1034:Satires 999:Satires 991:Satires 952:in the 950:Alcaeus 946:Satires 940:in the 927:Satires 882:alcaics 868:in his 858:Satires 856:in his 811:(17 BC) 787:(30 BC) 664:Satires 660:Satires 528:Licenza 500:Satires 496:scribae 463:Alcaeus 449:(later 374:scholia 338:Odyssia 326:Lucania 318:Venusia 255:Persius 234:Satires 116:senator 73:Venusia 8443:Horace 8387:Nomina 8372:Legacy 8352:Gentes 8289:topics 8285:Lists 8266:Smyrna 8146:Strabo 8076:Lucian 8066:Julian 8016:Arrian 8011:Appian 8001:Aelian 7978:Vergil 7753:Justin 7738:Jerome 7723:Horace 7708:Fronto 7698:Florus 7673:Ennius 7653:Cicero 7633:Caesar 7531:Vulgar 7355:Tribes 7282:Romans 7092:Legion 7075:castra 6952:Aedile 6922:Censor 6917:Consul 6877:Caesar 6847:Lictor 6769:Status 6709:Tribal 6689:Senate 6679:Empire 6573:Empire 6509:topics 6406:Ab ovo 6303:Epodes 6283:Poetry 6276:Horace 6038:Horace 6035:about 5985: 5970:Horace 5957: 5940:Horace 5878: 5859: 5840: 5817: 5802:Horace 5789: 5602: 5596:Horace 5443:Horace 5421: 5402: 5320: 5289: 5269:Horace 5009:, 21–3 4546:Horace 4507:Satire 4494:Horace 4439:Horace 4426:Horace 4413:Horace 4399:Goethe 4385:Horace 4346:Horace 4296:Horace 4235:1.1.10 4172:2.7.53 4158:Horace 4145:Epodes 4135:3.4.28 3954:Horace 3919:2.7.10 3905:Horace 3878:1.6.48 3866:, 9–10 3864:Horace 3851:Horace 3798:Horace 3787:1.6.86 3757:Horace 3695:2.1.34 3681:Horace 3521: 3504:, 345) 3419:, 335) 3413:14.1–4 3371:Aetat. 3307:, 1793 3276:Epodes 3208:, 292) 3200:6.14: 3146:, 279) 3075:, 227) 3061:, 340. 2997:Satire 2972:Satire 2889:Horace 2878:, 12). 2871:Epodes 2851:Appian 2835:Horace 2765:, 280) 2626: 2608:Alcaic 2565:(1869) 2449:Epodes 2436:Epodes 2204:ruba'i 2179:Epodes 2136:Epodes 2034:Epodes 2008:Pindar 1903:Essays 1732:Leiden 1695:Psalms 1630:Pindar 1466:neumes 1450:Alsace 1363:Silvae 1321:Epodes 1313:Pindar 1051:Epodes 1045:Themes 1018:Pindar 967:Epodes 942:Epodes 890:syntax 876:. His 870:Epodes 864:, and 846:metres 824:Odes 4 784:Epodes 676:Knight 602:under 567:Epodes 504:Epodes 479:Virgil 471:Thasos 423:Cicero 419:Stoics 366:Sabine 322:Apulia 310:Apulia 287:(1577) 250:Epodes 178:Horace 47:Horace 8051:Galen 7993:Greek 7963:Varro 7773:Lucan 7585:Latin 7500:Latin 7475:Ships 7465:Roads 7450:Domes 7382:Women 7330:Plebs 7255:Music 6797:Forum 6792:Curia 6126:opera 5722:. 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