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During the Roman transition from Republic to Empire in the first century B.C.E., the poet Horace found his own public success in the era of Emperor Augustus at odds with his desire for greater independence. In Horace between Freedom and Slavery, Stephanie McCarter offers new insights into Horace's complex presentation of freedom in the first book of his Epistles and connects it to his most enduring and celebrated moral exhortation, the golden mean. She argues that, although Horace commences the Epistles with an uncompromising insistence on freedom, he ultimately adopts a middle course. She shows how Horace explores in the poems the application of moderate freedom first to philosophy, then to friendship, poetry, and place. Rather than rejecting philosophical masters, Horace draws freely on them without swearing permanent allegiance to any—a model for compromise that allows him to enjoy poetic renown and friendships with the city's elite while maintaining a private sphere of freedom. This moderation and adaptability, McCarter contends, become the chief ethical lessons that Horace learns for himself and teaches to others. She reads Horace's reconfiguration of freedom as a political response to the transformations of the new imperial age.
Originally published in 1888, this book contains the Latin text of the first book of Horace's Epistulae. Distinguished classicist Shuckburgh includes a biography of the poet and commentaries on each of the 20 poems in the book, as well as a brief synopsis of each letter. This book will be of value to anyone interested in Horace or in Augustan poetry more generally.
This volume fulfills the need for a student edition of Horace's literary epistles, which have recently been the subject of renewed scholarly interest. Professor Rudd provides a clear introduction to each of the three poems: the Epistles to Augustus, to Florus, and to the Pisones (the so-called "Ars Poetica"). He sketches the historical context in which the poems were written and comments on their structure and purpose. He also discusses their literary preoccupations: the relations of poet and patron and the role of poetry in the state (Augustus), the problems of a professedly tiring poet (Florus), and the presentation of classical poetic theory ("Ars Poetica"). He notes Horace's influence on later criticism, drawing attention in one section to one of Alexander Pope's Imitations. He also addresses problems of grammar and style, focusing on linguistic difficulties and the subtle movement of the poet's thought.
A collection of articles representing some of the finest writing on Horace's satires (Sermones) and epistles (Epistulae) over the past fifty years. Several have previously only been accessible in specialist journals, while five appear here for the first time in English translation.
First-person poetry is a familiar genre in Latin literature. Propertius, Catullus, and Horace deployed the first-person speaker in a variety of ways that either bolster or undermine the link between this figure and the poet himself. In I, the Poet, Kathleen McCarthy offers a new approach to understanding the ubiquitous use of a first-person voice in Augustan-age poetry, taking on several of the central debates in the field of Latin literary studies—including the inheritance of the Greek tradition, the shift from oral performance to written collections, and the status of the poetic "I-voice." In light of her own experience as a twenty-first century reader, for whom Latin poetry is meaningful across a great gulf of linguistic, cultural, and historical distances, McCarthy positions these poets as the self-conscious readers of and heirs to a long tradition of Greek poetry, which prompted them to explore radical forms of communication through the poetic form. Informed in part by the "New Lyric Studies," I, the Poet will appeal not only to scholars of Latin literature but to readers across a range of literary studies who seek to understand the Roman contexts which shaped canonical poetic genres.