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Copyright of Prace Filologiczne. Literaturoznawstwo is the property of University of Warsaw and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The aim of this paper is to present a new perspective on the religious function of the Latin adjectives cretatus (whitened with chalk) and calidus (having a white spot on the forehead). The researchers of Roman religion have attributed to the former a specific role. Whitening chalk was used to cover any imperfections in the appearance of the sacrificial animal. According to them, cretatus could also have a pejorative meaning. The author of the article, however, disagrees with this view and suggests to examine more closely the context in which the adjective was used and references to the white colour of the victims. He argues for a different, positive interpretation, namely that the adjective cretatus was used to indicate the effect of a ceremonial act intended to emphasise Roman piety. In the case of the other adjective, calidus, the examination of the context in which the word appeared proves that it most likely did not serve as a technical religious term and animals with a white spot on their foreheads were not considered pars pro toto as white victims in Rome. [ABSTRACT FROM AUTHOR]

Copyright of Nova Tellus is the property of Instituto de Investigaciones Filologicas - UNAM and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Lexicographical investigation, carried out in the drafting of the verbs renodo and renudo in the Thesaurus Linguae Latinae, can be useful for textual criticism by its proposing of new conjectures or its explanation of existing ones, by reconstructing the history and the use of a given word. This paper discusses Harm Marien Poortvliet's conjecture renudatam pharetris in place of the transmitted renodatam pharetris in Valerius Flaccus 5.380, which helps us better understand the meaning and the use of the verb renudo in the text and the different value of the prefix re- in renodo and renudo, for which we also consider other contexts such as Hor. epod. 11.28. [ABSTRACT FROM AUTHOR]

Copyright of Hipogrifo: revista de literatura y cultura del siglo de oro is the property of Hipogrifo: revista de literatura y cultura del siglo de oro and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper aims to explore the Parthian theme in Horace's poems throughout its development. First, it delves into the works featuring the ethnonym Parthus , which, unlike the synonymous Medus , notably aligns with the events contemporaneous to the poet. It becomes evident that Horace's early works reflect the Parthian invasion of 41/40 B.C. and the anxiety surrounding the possibility of a recurrence. However, this apprehension is gradually replaced by verses celebrating victory over the Parthians and their apprehension of Roman power. Ultimately, these poems demonstrate their acknowledgment of Roman authority and the compromise established during the age of Augustus. Horace himself never forgets the threat posed by the Parthians, yet there is no compelling reason to consider him an advocate for a conquest war against their eastern neighbors. He appeared content with the diplomatic compromise that had been achieved. [ABSTRACT FROM AUTHOR]

This study offers a reappraisal of Everyman's Library, the mass-market series of world 'classics' launched by the British publisher J. M. Dent & Sons in 1906. The collection's reliance on the 1842 and 1911 Copyright Acts has fostered a misconception within literary studies: namely, that reprint series were 'impervious to novelty'. Conversely, I argue that 'liveliness' and 'timeliness'—being in line with current trends and (re)printed at the right moment—became fundamental 'classic' attributes during the interwar years. Everyman advanced a rhetoric of the 'new' besides a rhetoric of the 'old', based on the idea that what consecrated both terms was only the passage of time, a gaze from the future. When Dent's series started featuring more contemporaneous authors, the American Modern Library (1917), formally considered its modern(ist) alter ego, began including more 'classic' literature instead. Both series exploited the tension between ancients and moderns as profitable: Confucius and Horace were advertised as 'the classics which are still modern: the modern works which have become classics'. Exploring the blurry boundaries between 'classic' and 'modern' as marketing categories, this paper draws on the J. M. Dent & Sons Records, Chapel Hill to bridge the gap between modernism and mass production. [ABSTRACT FROM AUTHOR]

Copyright of Revista de Poética Medieval is the property of Instituto Universitario de Investigacion en Estudios Medievales and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The aim of this paper is to underline the intertextual ties of the second book of the Horatian Epistles with the poetry of Callimachus. Horace is markedly inspired by the Alexandrian way of writing, both in choosing the form of the collection and in the manner that he uses some of the common motifs found in the Epistles. In other words, most of the famous motifs of Callimachus, such as the ὀλιγοστιχία and the need for originality that Callimachus declares in the prologue of Aitia are firmly present, yet they undergo transformation in Horace's poetry. [ABSTRACT FROM AUTHOR]

The anti-Catullan and anti-elegiac perspective characterizing Horace's erotic Odes builds on elements of the biography of his persona found in his juvenile collections, the Satires and the Epodes , where the construction of Horace's poetic autobiography as a lover brings together matters of didactics, ethics and literary criticism. [ABSTRACT FROM AUTHOR]

This article argues that Horace's incorporation of festivals does more than reflect his lived reality and add a Roman veneer to Greek lyric. Horace's festivals weave the poet and his life into publicly shared Roman time. His celebration of private events on public holidays mirrors the kind of penetration of public and private we see in imperial appropriation of the fasti. Just as 28 April, the start of the Floralia, gains new significance with the addition of feriae celebrating the transfer of Vesta's temple to Augustus' house, so also 1 March comes to signify both the Matronalia as well as the divine rescue of Horace the bachelor. Horace's inclusion of private festivals in his monumentum allows him to create a parallel calendar, one which perhaps competes with the imperial fasti. This exploitation of the fasti plays a key role in Horace's ability to immortalize himself and what he cared most about. [ABSTRACT FROM AUTHOR]

Finagling an inheritance is one time-tested way of resolving a money shortage: just flatter your way into the good graces of the aged and rich. In Satires 2.5 Horace parodies the Roman version of this vice, known as captatio or 'legacy-hunting'; with baroque imagination, he presents Odysseus, the mythological hero, consulting the prophet Tiresias in the Underworld and learning how to increase his fortune by amassing inheritances. Odysseus asks: tu protinus, unde | diuitias aerisque ruam, dic, augur, aceruos ('tell me forthwith, prophet, where I can dig up riches and heaps of money', 21f.). Tiresias responds: captes astutus ubique | testamenta senum ('cleverly snatch on all sides the testaments of old men', 23f.). Social critique naturally looms large in this poem about venal dishonesty. In major studies, Niall Rudd and Klaus Sallmann have examined the poem's criticism of contemporary Roman society, and later scholars have taken a similar line, often reading the poem as a send-up of flattery. All true, but there is more to say. Even as it treats of wills, money, and flattery, the satire also shows a quiet concern with aesthetic issues, especially the state of contemporary poetry. [ABSTRACT FROM AUTHOR]

Copyright of Ars & Humanitas is the property of Ars & Humanitas and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Horace's MAECENAS ATAVIS (Hor., Carm. 1.1) is shown to enumerate nine allusive icons whose attributes evoke signature elements in the works and biographical traditions of the nine canonical Greek lyric poets. In his first ode the Roman poet thus announces the commencement of a lyric programme synthesising the distinctive styles and subjects of his illustrious predecessors. In so doing, Horace figuratively and literally inserts himself among these nine 'lyric bards' in ironic fulfilment of his own request for canonisation, with which the poem concludes. His programmatic priamel therefore harmonises archaic subject-matter and Hellenistic method in a manner which sets the tone for the entire project to follow. [ABSTRACT FROM AUTHOR]

The article discusses "Near the Ocean," a 1967 poetry collection, written by Robert Lowell. Topics covered include Lowell's similarity to the Roman poet Horace, his attack on what he calls the monotonous sublime, and his grasp on what is beyond everyday reality. Also mentioned is Lowell's criticism of the Vietnam War and American religiosity through his poetry.

The present note deals with a poem which Henry of Avranches addressed to Engelbert, Archbishop of Cologne (R 45.15-19). Here it can be shown that Henry is engaging in extensive and hitherto unidentified imitatio of Horace and Virgil. [ABSTRACT FROM AUTHOR]