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Ce livre historique peut contenir de nombreuses coquilles et du texte manquant. Les acheteurs peuvent generalement telecharger une copie gratuite scannee du livre original (sans les coquilles) aupres de l'editeur. Non reference. Non illustre. 1803 edition. Extrait: ...Satire xi, vers 53: "M stitia est caruisse anno circensibus uno. A la fin les concussions enfantent la disette, et c'est alors que commencent les tempetes. Voici un passage qui m'a frappe dans les Recherches philosophiques sur les Grecs.--Tout, dit M. Paw, etoit rejouissance chez les Atheniens; au lieu que l'on croit voir aujourd'hui, dans les etats militaires de l'Europe, des vaisseaux menaces "d'un prochain naufrage ', et ou deja l'on n'entend plus ni le chant des matelots, ni la musique des passagers; aussi est-il probable que cette crise violente finira enfin par une catastrophe qui etonnera les vaincus et les vainqueurs.--Et c'est avant i 788 que M. de Paw a trace ces lignes prophetiques, tome i, page 216. aD La fournaise est vaste, v. 82. Ce vers est diversement interprete; les uns l'entendent de la colere du prince, les autres de la fournaise allumee pour y fondre la statue de Sejan et y bruler ses complices. Observons que le diminutiffornacula, mis avec magna, n'est pas du bon style, puisque Quintilien ( Instit. Orat. Lib. i, cap. v ) a repris ceux qui ecrivoient magnum peculiolum. s6 Je viens de rencontrer pres de l'autel de Mars mon ami Brutidius, etc.v. 83. Il y avoil a Rome, dans les places et dans les carrefours, des autels sans temple, comme etoit l'autel d'Hercule, appele ara maxima, lequel etoit situe a l'entree du grand cirque, et dont il a deja ete fait mention, Satire vm, vers 13. Le Brutidius dont il s'agit etoit rheteur; il obtint, selon Tacite ( Annal. Lib. m ), la" faveur de Tibere par ses...
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In the ancient world, the Satires belonged to a small class of works which remained in constant circulation. They were read in the schools, were commented upon by scholars, and were forever the subject of controversy. This translation boasts several advantages over previous English versions : it is the work of a poet rather than a Latinist, and it offers a faithful rendering of Persius' franker passages which the Victorians never dared to translate fully.
In his first book of Satires, written in the late, violent days of the Roman republic, Horace exposes satiric speech as a tool of power and domination. Using critical theories from classics, speech act theory, and others, Catherine Schlegel argues that Horace's acute poetic observation of hostile speech provides insights into the operations of verbal control that are relevant to his time and to ours. She demonstrates that though Horace is forced by his political circumstances to develop a new, unthreatening style of satire, his poems contain a challenge to our most profound habits of violence, hierarchy, and domination. Focusing on the relationships between speaker and audience and between old and new style, Schlegel examines the internal conflicts of a notoriously difficult text. This exciting contribution to the field of Horatian studies will be of interest to classicists as well as other scholars interested in the genre of satire.
The Satires of Horace offer a hodgepodge of genres and styles: philosophy and bawdry; fantastic tales and novelistic vignettes; portraits of the poet, his contemporaries, and his predecessors; jibes, dialogue, travelogue, rants, and recipes; and poetic effects in a variety of modes. For all their apparent lightheartedness, however, the poems both illuminate and bear the marks of a momentous event in world history, one in which Horace himself played an active role--the death of the Roman Republic and the birth of the Principate. John Svarlien's lively blank-verse translation reflects the wide range of styles and tones deployed throughout Horace's eighteen sermons or conversations, deftly reproducing their distinctive humor while tracking the poet's changing mannerisms and moods. David Mankin's Introduction offers a brief account of the political upheavals in which Horace participated as well as the social setting in which his Satires were produced, and points up hallmarks of the poet's distinctive brand of satire. His detailed commentary offers a behind-the-scenes look at Roman society and an often between-the-lines examination of a key work of one of Rome's sharpest observers.