Horace's Satiric Program and the Language of Contemporary Theory in Satires 2.1

Freudenburg, Kirk

doi:10.2307/294975

Cited by 22 publications

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“…On Serm . 2.1, see Freudenburg (1990); on 2.3 and 2.4, Freudenburg (1996); on 2.4 and 2.8, Gowers (1993), 126–79; on 2.6, Freudenburg (2006). On metapoetics in Satires 1, Freudenburg (1993), 185–98; in the Odes , Davis (1991), esp.…”

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LIES, DECEITS, MANIPULATIONS, AND OTHER FORMS OF AESTHETIC EXPRESSION IN HORACE, SATIRES 2.5

Horne

2022

Ramus

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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.

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LIES, DECEITS, MANIPULATIONS, AND OTHER FORMS OF AESTHETIC EXPRESSION IN HORACE, SATIRES 2.5

Horne

2022

Ramus

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“…To read these terms, fi rst, with reference to the sublime and humile genera, and then, as sexual allusion, see Freudenburg (1990).…”

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Flaccus’ Poetics: Horace-Paris saved by Mercury-Augustus

Hasegawa¹

2020

Augustan Poetry New Trends and Revaluations

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In this paper, fi rstly I want to discuss some Horatian passages in which we fi nd the recusatio, that, more often than not, is taken as a declaration of poetic principles which Callimachus invented. But recently, the staging of the refusal of the epic genre by Augustan poets has been understood as a representation of political recusationes, often carried out by Augustus himself 1 . I believe, however, that one can explore the poetic and political topos in Horace, from another perspective yet: the affi rmation of his weakness by refusing the highest genre or war, in all his works, is not only a subterfuge used to associate himself with the poetics of Callimachus and representation of political acts, but it is also a facetious statement, which plays with its own name and proposes a poetics of weakness. Hence, in the second part of this paper, I intend to show how, in the Odes, this weakness * I would like to thank Artur Costrino and Artur Padovan for helping me elaborate the English version of this article. I would also like to thank Stephen Harrison for his corrections and suggestions.1 Freudenburg (2014). AUGUSTAN POETRY 214is identifi ed with the eff eminate Paris, a warrior suitable for the lyre and love, and, conversely, Horace as a lyric poet unfi t for war. In this second part I also explore an aspect sometimes forgotten in reading certain poems, although it is not a new trend in Horatian studies, the poetic book format Opening the book of Epodes, the poet, addressing his friend Maecenas, calls himself imbellis ac fi rmus parum (epod. 1.16), being, by litotes -a weak mode of expression -not suitable for war. Previously, the feeble poet, even when speaking about the brave (v.10: qua ferre non mollis uiros), uses the euphemism that Cavarzere (1992, 121) noted as a possible joke on the poet's own cognomen (Flaccus). He also notes that the litotes at v. 16 -imbellis ac parum fi rmus -is likely an echo of Homer 2 . I think that it is a sure reference to the second book of the Iliad (v. 201), in which Odysseus, to rebuke those who want to return home, addresses one of them in these terms: ... ἀπτόλεμος καὶ ἄναλκις (unwarlike and feeble). Horace, therefore, portrays himself, not wanting to go to war, as a weak warrior who wants to return home, like Th ersites, whom Odysseus addresses (vv. 246-264) and makes him the object of the Achaean's laughter. Th us the poet, in turn, laughs at himself.Th is inaugural weakness -and comedy -will pervade all the epodic work so that the iambic poet who once led his opponents to death, like Archilochus and Hipponax 3 , wants, conversely, to die, but powerless -in many ways -he is subjugated by Canidia the sorceress, his most constant opponent, and suff ers at her 2 Cavarzere (1992, 122). 3On the paradoxicality of the arquiloquean Horace, see Barchiesi (2001, 154) and Harrison (2001, 167-74). However, for the resumption of the despised genre of the infi del Lycambes and of the bitter enemy of Bupalus, see Cucchiarelli (2008, 92-4). Remember that Archilochus also has his moment...

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Afterlives of the Roman Poets

Goldschmidt¹

2019

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Horace's Satiric Program and the Language of Contemporary Theory in Satires 2.1

Cited by 22 publications

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LIES, DECEITS, MANIPULATIONS, AND OTHER FORMS OF AESTHETIC EXPRESSION IN HORACE, SATIRES 2.5

LIES, DECEITS, MANIPULATIONS, AND OTHER FORMS OF AESTHETIC EXPRESSION IN HORACE, SATIRES 2.5

Flaccus’ Poetics: Horace-Paris saved by Mercury-Augustus

Afterlives of the Roman Poets

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