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This article reconsiders the methodological issues posed by the reception of archaic and classical poetry in imperial rhetorical texts. It argues that references to ancient poems and poets in the works of imperial sophists are always already the product of appropriation and rewriting, and that the study of sophists' engagement with poetry should go beyond Quellenforschung to explore how and why poetic models were transformed in light of their new rhetorical and imperial contexts. To illustrate this approach and its contribution to our understanding of both ancient-reception phenomena and imperial rhetorical culture, the article focusses on Himerius of Athens, a fourth-century c.e. sophist and teacher of rhetoric whose fondness for lyric poetry has caused his Orations to be used as a quarry for lyric fragments and testimonia. Himerius' treatment of carefully chosen lyric models is here discussed with attention to his self-presentation and rhetorical agenda to show how the sophist appropriated the voices of diverse lyric icons to promote his school and negotiate his position in relation to the imperial administration. This analysis restores Himerius' intellectual significance within late imperial culture and society, but it also demonstrates how a more in-depth study of the reception of ancient poetry in imperial sophistic literature has the potential to illuminate the strategies of cultural politics used by imperial authors to (re)construct Greek tradition. [ABSTRACT FROM AUTHOR] more...

This article reviews the isomorphism which may or may not have existed between the speech-prosodic principles pertaining in Old English (OE) and in later Englishes, and the metrical patterns evident in both OE and (early) Middle English lyric poetry. A key question is this: was there isomorphism in OE between rules of right-edge phrasal prominence in speech and purely metrical prominence? Recent theories of OE metrical prominence, particularly those of Russom (2017 and earlier works) show that many normative OE half-lines have a structure which can be adequately described without making reference to right-edge prominence. That very adequacy is a challenge to metrists since well-known eurhythmic phenomena of promotion (of erstwhile weaker syllables to relative stress position within the verse line) and demotion (of erstwhile stressed syllables to relatively less-stressed positions) depend crucially on phrasal right-headedness: if that right-headedness didn't exist in OE, where did it originate? And if it did exist in OE, why didn't poets then make use of the metrical opportunities the language afforded? What can revisiting and studying isomorphism (or the lack of it) between the forms of language and of verse teach scholars about English poetic history? [ABSTRACT FROM AUTHOR] more...

"The Inner Sea: Maritime Literary Culture in Early Modern Portugal" by Josiah Blackmore, published by the University of Chicago Press, delves into Portugal's literary connection to maritime voyages in the early modern period. Blackmore explores various texts, including hagiography, epic poetry, and historical documents, to uncover the significance of the sea as both a physical place and an idea in Portuguese literature. The study highlights how maritime themes infused Portuguese literary works with a unique sense of meaning, providing not only knowledge and power but also a sense of identity for the nation and its people. This insightful analysis is recommended for scholars and graduate students interested in early modern Iberian literature and Portuguese cultural history. [Extracted from the article] more...

This essay examines a handwritten refugee ballad in a handmade codex, using both to illuminate some of the lingering blind spots in national philology and world literature. The ballad, printed in full after the essay, belongs to the Karamanli Christians of Anatolia, who spoke Turkish but wrote it in the Greek alphabet. Uprooted from Turkey by the Greco-Turkish Population Exchange of 1923, Karamanli refugees were scattered across Greece and North America, where they were often excluded from publishing. Poets like the author of the present ballad, Agathangelos, turned instead to more accessible manuscript formats. I interpret Agathangelos's ballad and codex as a catalog, documenting and preserving his lost homeland, where multiple scriptworlds, languages, and confessions coexisted. I conclude by calling for a people's history of the book to decentralize and democratize world literature's political economy (tacitly accepted as print capitalism), foregrounding textual networks that have remained illegible to our discipline. [ABSTRACT FROM AUTHOR] more...

The article focuses on the lyric poem "Having a Coke With You" written by Frank O'Hara for the dancer Vincent Warren, the great romance of his life between 1959 and 1961. Topics discussed include O'Hara's description of the joy of sharing a drink with his lover, a discussion on the term relatable, and the role of sexuality in O'Hara's work. more...

This paper analyzes a poem by Osip Mandel΄shtam, his 1932 "To the German Tongue," as it explores and reveals the tensions and dangers of Soviet discursivity and subjectivity. Tracing its semantic unfolding shaped by ambiguities, nuances, and subtle transitions, and illuminating its evocations of the cultural past, I approach the poem as a consistent, if meaningfully opaque, reflection on the Soviet experience. Mandel΄shtam built upon and self-consciously enacted theoretically-informed conceptions of the lyric, the poetic subject, and poetic language developed in Formalist scholarship and adopted in some of his own critical writing. I argue that in the poem, as well as in the criticism which framed it, these Formalist concepts revealed an undercurrent of political signification, made even more evident in the reflections on Soviet political and aesthetic experience in the memoirist writing of a Lidiia Ginzburg or a Nadezhda Mandel΄shtam. [ABSTRACT FROM AUTHOR] more...

As recent art historical scholarship has demonstrated, the techniques of linear perspective displace narrative (the artwork's content) in favor of the relations between aesthetic objects (the artwork's form). In this regard, perspectival art performs a rhetorical transaction analogous to that of its "sister art," lyric poetry. he formal features and poetic strategies of lyric parallel the geometric effects of perspectival art: both practices differentiate the aesthetic surface from the transparentizing demands of narrative. Each art form stages the interaction of irreconcilable terms--content and form--and documents the dynamic and incommensurable relation between semantic meaning and meaninglessness. Lyric's dominance in the Renaissance, exemplified here by sonnets of Sidney and Shakespeare, reflects a wider cultural valorization of the experiential and materializing priorities of the aesthetic, an affirmation of objective, apprehensible elements whose significance is unyoked from the obligation to narrative. [ABSTRACT FROM AUTHOR] more...

This article constitutes a preliminary attempt to explore the geographical dimension of premodern Persian lyric poetry from the perspective of the relationship between the historical adherence of a text to external reality and the rhetorics of intertextuality and performativity. The pretext for this exploration is the poem known as "Tork-e Shirazi" or "The Turk from Shiraz," one of the most celebrated ghazals of Hafez of Shiraz. The analysis focuses in particular on the first two lines of the ghazal, whose rich and ambiguous imagery has challenged the community of readers, interpreters, and scholars for centuries. On the basis of historiographical, formalist, and poststructuralist approaches to the study of lyric poetry, the article outlines a generative paradigm that analyzes a given text from the perspective of its abstract, genre-specific, conventionally negotiated, and referential levels of meaning. The contribution of geocritical studies will be combined with rhetorical analysis to conceive of Hafez's text as a geopoetic map in which the cities of Shiraz, Samarkand, and Bukhara are put in conversation with the mental and historical representations of Iran and India between the thirteenth and fourteenth centuries, during the transition from the Mongol to the Timurid models and ideals of power. [ABSTRACT FROM AUTHOR] more...

The article focuses on historical poetics. Topics discussed include information on Jonathan Culler's book "Theory of the Lyric", Virginia Jackson and Yopie Prins's anthology "Lyric Theory Reader", and Meredith Martin's "The Rise and Fall of Meter"; debate between Culler and Jackson over whether the lyric should continue to be understood as a transhistorical genre; and information on prosimetrum, and its mixed- verse variation. more...

This article revisits the common discourse that Ottoman poetry is a derivative imitation of Persian poetry. I begin by surveying and discussing the discourse of imitation that has pervaded approaches to Ottoman poetry in particular and Ottoman literature in general. Then I turn to explore how Ottoman poets engaged with Persian poetry by focusing on a lyric poem composed by the Ottoman sultan Süleyman the Magnificent (1494‒1566) in imitation of the Persian master poet Hafiz of Shiraz (ca. 1315‒90). In light of intertextual analysis, I illustrate and discuss the intricate ways in which Süleyman models himself on Hafiz in crafting his poem. I conclude with the idea that a closer analytical look at Ottoman poets’ intertextual dialogue with Persian poetry can offer better insights into the Ottoman reception of Persian poetic models as well as into the meaning and workings of imitation in the Ottoman literary context. [ABSTRACT FROM PUBLISHER] more...

The article provides an account of the new Sappho song by Dirk Obbink, an American-born papyrologist and classicist. It reveals whether the songs reveal the relationship between the female world of the Sapphic circle and the male sphere of the brothers Charaxus and Larichus. It also mentions oracular gods. more...

Sappho and her songs became popular throughout the Greek world very soon after her death, as reflected on Attic vases, in comedies and in the many references to her songs by authors of all times. One important source for her songs, especially before the discovery of the papyri at Oxyrhynchus and elsewhere, is Athenaeus’ Deipnosophistae. This article presents a close analysis of three fragments of Sappho that were transmitted within this work, in order to establish the form of the fragments as they were incorporated by Athenaeus. Divergence from Sappho's original need not be the result of scribal error, but may represent a variation born in performance or active reception of the poems by Athenaeus or his source. Furthermore, the fragments demonstrate that it is insufficient to describe Athenaeus’ engagement with the Lesbian dialect as atticizing. By extension, the idiosyncracies of his quotations of Sappho's songs should be reflected in editions of the Deipnosophistae. [ABSTRACT FROM PUBLISHER] more...

πολλὰ γὰρ πολλᾷ λέλεκται, νεαρὰ δ᾽ ἐξευρόντα δόμεν βαϲάνῳ 20ἐϲ ἔλεγχον, ἅπαϲ κίνδυνοϲ· ὄψον δὲ λόγοι φθονεροῖϲιν,ἅπτεται δ᾽ ἐϲλῶν ἀεί, χειρόνεϲϲι δ᾽ οὐκ ἐρίζει.κεῖνοϲ καὶ Τελαμῶνοϲ δάψεν υἱόν, φαϲγάνῳ ἀμφικυλίϲαιϲ.21. ὄψον δὲ λόγοι BD : δὲ λόγοι om. Tricliniusφθονεροῖϲιν BD : φθόνῳ εἰϲίν Vauvilliers (vel potius φθονερῷ ᾽ιϲιν) I translate: ʻFor many things have been told in many ways, but to give novel things, when one has found them out, to the touchstone | For testing is pure danger: words are an amuse-bouche to the envious, | And it fastens on good men always, not taking issue with inferiors. | That too gnawed at Telamon's son, had him writhing on a sword.’ The difficulty presented by the transition in 22 from the plural ʻthe envious' to the singular subject ʻit' will be obvious. However, some commentators, including Mezger, Fennell and Bury, have assumed that φθόνοϲ can be supplied as the subject of ἅπτεται in 22 from φθονεροῖϲιν in 21, and the modern texts of Pindar – Bowra, Puech, Turyn and Snell–Maehler – do not mention the possibility of corruption in 21. [ABSTRACT FROM PUBLISHER] more...

This essay examines a contemporary poetics that implicitly challenges prevailing critiques of lyric as asocial, monologic, and naively self-expressive. Louise Glück practices a lyric mode whose plainspoken surface and emotional immediacy belie its metalinguistic and metafictional complexity. Her poems' illocutionary structures and their attunement to everyday grammatical nuance convey an understanding of language as situational, context-dependent shared action, an understanding that chimes with the insights of ordinary-language philosophy. The perspectives offered by Glück's work can fruitfully complicate dominant models of lyric and binary narratives of American poetic history that set lyric voice against philosophical ambition and linguistic innovation. [ABSTRACT FROM AUTHOR] more...

Carmen 4.2 is one of the most commented upon of the odes of Horace. It is indeed a complex poem. To summarize roughly: addressing the young poet Iullus Antonius, Horace presents the dangers of emulating Pindar, offering what seems like a lengthy description as well as an approximation of Pindar's own poetic style (1–24). Not as a doomed Icarus imitating the grand Pindaric swan, but in his own preferred mode, like a bee on the banks of Tibur, Horace will continue to produce his own highly refined poems on a small scale (25–30). Iullus Antonius, on the other hand, will sing of Augustus’ triumph maiore plectro (33, a phrase which in all likelihood refers to his activity as an epic poet). Modestly, Horace himself will be content to join in with the popular chants for Augustus’ triumphal return as one happy civilian among the crowd (33–52). Iullus Antonius will moreover offer a grand sacrifice of ten bulls and as many cows on that occasion, whereas Horace promises a single bull-calf that he is saving especially for the purpose (53–60). I will try to offer a new interpretation of these last two strophes by pointing out an unnoticed allusion to a Hellenistic subtext. [ABSTRACT FROM PUBLISHER] more...

A literary criticism of Greek lyric poet Archilochus' fable of the fox and the eagle is presented. It explains that in the fable, the fox prays to Zeus after her cubs were stolen. It also compares Archilochus' fable with the "Works and Days" fable of the hawk and the nightingale by Hesiod. It discusses how both fables use an anthropomorphic facade. more...

The article examines the peripheral recensions of the "Ballad of Early Rulers," which is said to reflect on the early rulers in Mesopotamia. It claims that the textual history of the literary work contributes to the general debate concerning the origin, date of composition and transmission of Mesopotamian literature. It cites that the Ugarit recension is based on an Old Babylonian forerunner and the Emar recension is based on a Middle Babylonian version. It discusses the Babylonian literary and scholarly background of the early rulers. more...

The article asserts that the Theognidean elegies have a consistent ideology. According to the author, the shared ideology of the Theognidea is distinct, compared with that of other Archaic elegists. He states that the consistency of the elegiac collection demonstrates that the Theognidea was derived largely from some specific tradition within Archaic elegy which shares vocabulary, themes and ideological attitudes with the elegiac collection. more...

Lyric poetry's investment in structural delimitation has been read as a commitment to the exclusion of otherness and more specifically of other people. But delimitation need not be synonymous with exclusivity. Giorgio Agamben suggests that lyric closure and the satisfaction it affords may be a model for achieving peace with the other--a mode] of how we might find, in or with another, not merely alterity but contentment. Wallace Stevens offers examples of how such contentment might be realized between text and reader, as an effect of the bounded aural intensity of lyric language. Agamben's poetics and Stevens's poems complicate our assumptions about the sociality of lyric structure. In addition, they offer a provocative alternative to the Levinasian models that influence much of our current thinking about ethics. [ABSTRACT FROM AUTHOR] more...

The article discusses the Scots ballad "Thomas Rhymer (A)" and the tradition of early modern feminist theology. It notes that the ballad contradicted the traditional medieval Christian ideas on the role of women and sexuality. It also explains why women are important in English and Scots ballad tradition. more...

A literary criticism of the poem "Odes 1.1," by Horace is presented. It explores the outline structure of the poem, in which the poet addresses himself to Gaius Maecenas in the first two lines, then list eight possible careers before asserting poetry as his own choice. It examines how Horace's critics and commentators favor that the poet looks to be enrolled as a tenth member in the Alexandrian canon of the nine great lyric poets. more...

The article discusses the relation between poetry and desire in the poem with consideration to poems orchestrated by Gaius Valerius Catullus and Sextus Propertius. Accordingly, some poems by Propetius advances his view by illustrating how poetry has become an appropriate recompense for erotic pleasure, an aid in erotic pursuit and a medicine for the wounds of love. For Catullus, the desire between men is depicted as symmetrical and dyadic. He also comes to decipher anguish in the mediation of the exchange of pleasure through tablets, verses and meters. more...

The article explores the potential location of the fons Bandusiae which has been mentioned in Horace's Odes. Some scholars, including David West, proposes that the fons Bandusiae can be found on Horace's Sabine estate. Bertrand Capmartin De Chaupy has also asserted that the fons Bandusiae was not a feature of Horace's Sabine estate but a landmark of Horace's youth in the marches of Lucania and Apulia. However, to the author, the exact location of it lays 10 miles or so to the east of Venusia and it has been traced though locating the origin of the poet. more...

In this article Aaron Beaver analyzes two elegies written by Joseph Brodsky-one for his father ("Pamiati ottsa: Avstraliia") and one for his mother ("Mysi' o tebe udaliaetsia …"). The point of departure is Brodsky's appropriation of the genre from his Silver Age predecessors (Anna Akhmatova, Osip Mandel'shtam, Marina Tsvetaeva), as made evident in a number of Brodsky's well-known essays. Beaver's central thesis is that Brodsky reshapes the elegy by centering it not on the death of the loved one but on time. Brodsky is inspired in this endeavor by his Silver Age forebears, but he extends their poetic practice into more philosophical territory. Specifically, close reading of Brodsky's two elegies exposes a model of time consistent with the temporal idealism elaborated by Jean-Paul Sartre in Being and Nothingness. Based on this exegesis Beaver ventures to generalize about the nature of lyricism in Brodsky's verse, arguing that it is inseparable from his philosophical assumptions. [ABSTRACT FROM AUTHOR] more...

The article examines two lyric poems by Johann Wolfgang von Goethe, each set to the music of Austrian composer Franz Schubert, to illustrate the conflict between poetic and instrumental/vocal musics, in which some of the original, essential music and meaning of a poem is apt be lost when adapted to a tonal setting. It illustrates ways in which Schubert's settings alters the rhythm, accentuation and nuances of Goethe's texts, thus subtly changing their meaning and hints. more...

The article provides an interpretation of the texts of Euripide's Hippolytus 271, 626, 680 to 681, 1045, 1123, 1153. In Hippolytus 271, it states that the nurse explained the nature of Phaedra's illness with a sentence that has resisted both interpretation and emendation. In Hippolytus 626, its literal meaning is derived from the practice of ravaging the countryside of the enemy during wartime. The Hippolytus 680 to 681 is the chorus that sings this ode immediately followed by trimeters. The Hippolytus 1045 is not difficult to understand due to its interrogative particles. In Hippolytus 1123, the mind of the chorus may well have been tainted by the dismal events. In Hippolytus 1153, the messenger speaks the message. more...

Although considered a 'modern' poet, unlike most of her contemporaries (e.g. Ahmad Shamlou, Mehdi Akhavan-e Sales, and Nader Naderpour), Simin Behbahani, has, on the whole, avoided the free verse forms of shi'r-i nu and has chosen to employ the most popular classical genre of Persian lyric poetry, the ghazal, as the chief vehicle for her poetic expression. Behbahani has been praised by many literary critics for her use of innovative metric schemes, especially from the mid-1970s onwards, and she is perhaps one of the first Persian poets since the medieval period to do so with any success. This article, however, will focus on features other than meter (such as imagery, language, and structure) to examine how innovative or traditional Behbahani's ghazals are in these respects. There is a tangible tension between the old and the new in Behbahani's ghazals, which has yet to be fully explored. After a broader discussion of how Behbahani has reworked the classical ghazal and how her remolding of this traditional genre has been received by literary critics, I will examine two poems from her 1973 collection Rastakhiz [Resurrection] in order to demonstrate how the poet blends the old with the new in her ghazals. [ABSTRACT FROM AUTHOR] more...

From the beginning of her career, Simin Behbahani stresses her intention to reflect contemporary concerns in her poetry. She has continued to use the traditional form of ghazal and to affirm the ghazal's capacity to reflect the contemporary environment. Behbahani tells us how she changed the structure of the ghazal to suit her poetic needs. This paper focuses on the poetic conversation as a feature of Behbahani's poetic style which leads her poetry firmly into present time. Early female poets in Iran made use of poetic conversation to bring attention to a changing social system and, especially, issues of concern to women. Behbahani refines and perfects the technique of poetic conversation. Her poetic conversations range from a single-voiced complaint to complex commentary involving more than one perspective. In particular, a character identified only as "you" at times represents society or a companion, and may even bring the poet face-to-face with herself. This character widens the scope of the poetic drama. Behbahani's poetic conversations convey a femininity that is complex and a sensibility that is modern. [ABSTRACT FROM AUTHOR] more...

The article presents arguments to disprove the disclaim of two galliambic meters attributed to Callimachus. The article discusses on the merits to alter the claims by David Mulroy on the attribution of the meters to Callimachus which were quoted by Hephaestion during the second century. Mulroy claimed that the two lines quoted by Hephaestion is not by Callimachus citing a phrase in Choeroboscus' work. It is argued that the source of Choeroboscus was Hephaestion and that the former's cultural awakening can be traced in the late eighth to early ninth century which would suggest that it would be impossible for him to have access to lyric poetry in particular to Callimachus' work in any form. more...

The article discusses the dynamics of the Tithonus poem of Sappho. The author cites several verses of the poem which are probably the end of the poem. These verses contain the mythological exemplum which is considered by scholars to be the ending of the poem. However, there is confusion concerning the impression that exemplum suggests an ending because there are ancient poems which have the term exempla in the middle of a poem. more...

The article interprets Aristophanes' poem, "Wasps." The ode of the second parabasis of "Wasps," satirizes a certain Amynias, a prominent Athenian during the period 1265 to 1274. The discrepancy between the different interpretations begins with 1265-7b and subsequently influences the interpretation of the whole ode. more...

The article examines the classical books, Horace's "Odes" and the Alexandrian edition of Alcaeus. The traditional view of Horace's "Odes" is that the first three books were issued together as a unit in 23 B.C., addressed to the suffect consul of that year. Still, speculations remain that the books were not just written but published sequentially in the 20's B.C. Also, there was an argument for a biformis uates with Sappho and Alcaeus jointly forming Horace's lyric model. more...

The article analyzes the dramatic functions of the allusion of the interpretation of Greek lyric in Latin, explicating the Plautine passage as a reading of one of Sappho's most famous poems, citing Acroteleutium's Sapphic infatuation. Recognition of allusions to the Sappho and Phaon of comedy indicates how Acroteleutium plays a sophisticated literary joke on a very unliterary dupe, and draws on a comic tradition of eroticizing Sappho and depicting her as a hetaira. more...

Focuses on "Odes 3.5" by Horace. Emphatic moment of Horace's version of the Alcaic stanza; Motivation of heroic stand before the senate.

Focuses on the poem "Odes" 3.14. Relevance of Hercules in the poem; Assimilation of Augustus and Hercules; Emblem of cohesion and integration.

The meter of Greek lyric poetry shows great variation within and between lines regarding the shape, number and combinations of basic metrical units. We offer a simplifying analysis in terms of markedness, in which meters are defined by distinctive violations of linguistic constraints controlling rhythm, layering, binarity, and alignment. The constraints that are distinctively violated in meter are low ranked in the phonology of Greek. [ABSTRACT FROM AUTHOR] more...

The article examines myth and the "Polis" in Bacchylides' eleventh ode. Myth is central to the rhetorical purpose of all Bacchylides' longer epinicians. Bacchylides' eleventh epinician ends not with renewed praise of the victor but with an extension to the ode's main myth which forges a link between the Arcadian cult of Artemis founded by Proteus and his daughters and the foundation of the victor's home city of Metapontum by Achaean colonists. In this paper, the author argues that Bacchylides has set the present victory in the context of praise of the victor's city as a successful and divinely favored colonial foundation. more...

Supports the suggestion that the Russian lyric sequence emerged during the 18th century and not during the Romantic period or the 19th century. Extratextual evidence supporting the claim; Analysis of the poems of 18th century author Aleksandr Sumarokov published in `Elegii liubovnye'; Other 18th century poets using the lyric sequence method. more...

Presents the lyrical works of Eric Bentley, composer. Dancing the Tingle Tangle; Spring's Awakening; Lulu; Moral; Eros Two.

The article analyzes the second stasimon of the ode "Oedipus Tyrannus." According to the article, the second stasimon is a highly specific articulation of concerns arising in the play's world to exonerate Oedipus of Laius' killing. The mode of the play is to run in allusive counterpoint to the central issues of the plot. The ode expects the audience to supply the background from the cues given by the language. However, modern readers find it difficult to supply the right background because it is suggested on the basis of a dynamic relationship between chorus and action. more...

The article focuses on the early Greek elegy period. According to the author, although elegy was one of the major genres in the archaic period, very less is known about it than hexameter epic. He thinks that elegy's metrical form is similar to hexameter epic, but no evidence proves it to be a more recent genre. Singing elegy was a pastime in which several members of a group can participate. To strike a sympathetic response a song will tend to identify the singer with that group rather than set him apart from it. more...

The article discusses some textual and metric issues in the ionic stanzas Supplices 42-70 by Euripides. The four ionic stanzas discussed in this article presents a challenging crux, at 45 (-6) in the first strophe, and more can be said about the ode's metrical structure. The metre of a first stanza-pair discussed by the author is properly interpreted as a system of ionic diameters, with word-end at verse-end except where synartesis or word overlap in one or both stanzas creates a run of four metra. The system of twenty-four metra has a structure at once bipartite, tripartite and quadripartite. more...

Examines the first choral ode of Euripides' "Supplices," or the Parodos, particularly where the chorus of attendants provide a further or different concerted lament. Antiphon to the Seven Mothers lamenting; Idea of supportive mourning; Idea of the co-singers sympathizing; Textual, metrical and interpretative detail in the two stanzas. more...

Examines the third "Pythian" ode of Pindar. Poems of the Sicilian prince Hieron of Syracuse; Observation that the poem is consolatory, not celebratory; Poem that advocates the acceptance of distances, both spatial and temporal and decries the folly of trying to bridge them. more...

Crticizes the poem "Odes 3:7," by Horace. Theme of the poem; Representation of the lovers of Postumus and Galla as Odysseus and Penelope, and Ovid; Introduction of a series of antitheses.

Comments on the consensus of modern opinion on the performance of the "Ode 5." Identification of the poetic epistle; Appreciation of Hieron's literary taste; Destination and origin of the ode.

Examines passages from "Odes," by Horace. Textual analysis; Translation and interpretation; Implications on studies of classical Latin literature.