Odes

Horace,

doi:10.1093/oseo/instance.00089828

Cited by 4 publications

(10 citation statements)

References 0 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…1 Cicero, in the chapter in which occurs the description of the shrine, speaks of the visit paid by the famous Greek philosopher Carneades, who is reported to have said that Fortune at Praeneste was more fortunate than anywhere else. 2 The shrine of the Goddess seems to have suffered severery when Praeneste was captured by Sulla. But Sulla paid special reverence to the Goddess Fortune whom he held as his patroness, and under him the shrine was rebuilt with great magnificence on a much larger scale.…”

Section: Imentioning

confidence: 99%

“…With regard to the Temple we learn from Pliny that it contained a heavily gilded statue of Fortune. 2 In another place 3 Pliny, in talking about various kinds of paving, mentions that called ' lithostroton,' and says that the pavement of this kind given by Sulla to the Temple of Fortune at Praeneste remained in his day. This gift of Sulla has by many been thought to be the mosaics with marine and Egyptian subjects, the former of which is still in situ, while the latter, the famous Nile mosaic, was removed and restored and is now in the Palazzo Barberini at the top of the town.…”

Section: IImentioning

confidence: 99%

“…208 ff. 2 of statues we learn of the existence of a building called the ' Junonarium ' and also that the Temple of Fortune had a ' pronaos. '…”

Section: IImentioning

confidence: 99%

See 2 more Smart Citations

Praeneste: A Study for its Restoration

Bradshaw¹

1920

Pap. Br. Sch. Rome

View full text Add to dashboard Cite

This study forms part of my work as Rome Scholar in Architecture, 1913, and was undertaken in accordance with the Memorandum of the Faculty of Architecture of the British School at Rome.In collecting and arranging material and in writing these notes I have been helped by my wife who, as holder of the Mary Ewart Travelling Studentship from Newnham College, Cambridge, has collaborated with me throughout. To her I owe many ideas and suggestions of archaeological importance in my scheme for restoration.Further, I am greatly indebted to Mr. Ernest Prestwich, M.A., A.R.I.B.A. In 1911 Mr. Prestwich made a survey of the existing antiquities of Palestrina with a view to making a restoration. As he was unable to carry out this plan he very kindly put the material he had collected at my disposal. This has been very valuable to me throughout.

show abstract

Section: Imentioning

confidence: 99%

Section: IImentioning

confidence: 99%

See 1 more Smart Citation

Praeneste: A Study for its Restoration

Bradshaw¹

1920

Pap. Br. Sch. Rome

View full text Add to dashboard Cite

show abstract

“…Would so discreetly Things dispose, None ever saw her pluck a Rose. (l. [1][2][3][4][5][6][7][8][9][10][11][12][13][14][15][16] The effect is of a lyric sequence gone wrong, a fluid progression of notes that somehow conducts the poetic line gracefully where we don't quite want it to go: before, behind, above, below. Then the call is answered with a full harmonious rhyme -'Could from her taintless Body flow'.…”

mentioning

confidence: 99%

“…Stop retailing the talk of gods and reducing great matters to small measures. 7Descend from the sky, Queen Calliope, Come, utter a long melody on the pipe or with your piercing voice if you now prefer or on the lyre or cithara of Phoebus 8. …”

mentioning

confidence: 99%

‘Love was in the next Degree’: Lyric, Satire, and Inventive Modulation

Fairer

2011

J Eighteenth Century Stud

View full text Add to dashboard Cite

Taking ancient Greek lyric and its musical performance as a starting-point, this essay considers the creative potential of modulation, the skilful deploying of dynamic and tonal effects in poetry. It argues that poets of the period from 1660 to 1740 found in the Classical tradition a range of contrasting lyric modes that could be varied and combined in inventive ways. From this perspective it is also possible to appreciate how the period's satiric writing exploits the more flexible and responsive elements of the lyrist's skill, its modal creativity. In this period, lyric and satire are closer together than we might think.Hermes took the lyre on his left arm, and tried it out with the plectrum, part by part. At the touch of his hand, the lyre rang out with a tremendous sound, and Phoebus Apollo laughed with joy, for the lovely breath of its marvellous voice went through his heart, and sweet desire took hold of his spirit as he listened. Then Hermes was encouraged, and took his stand on the left side of Apollo, playing in lovely notes on the lyre. Soon, as he touched the piercing-toned strings, he began to utter speech in a prelude (lovely was the voice that attended him) [...] [Hermes] honoured the immortal gods in order of their age, telling how each came to be. All this he told in order, still playing the lyre held against his forearm, and Apollo's spirit in his chest was gripped by irresistible yearning. 1 These lines from the fourth of the ancient Homeric hymns give us a primal creative moment; but what specifically is being created here? The young god Hermes has been born that very day, and on leaving the cradle he has invented the lyre, and with it the art of lyric poetry. Apollo has been furious with the baby, who had earlier driven away his cattle (Hermes has had a busy first morning), but he is immediately won round by this new music, and the description of the lyric performance is as much about his delighted response to the sounds. The strings of the lyre are 'piercing-toned', and Apollo feels within himself an 'irresistible yearning' that affects him physically as well as temperamentally. The subject of the first ever lyric (the birth of the gods) is far from original, although it concerns the beginnings of things. 2 It is as if originality declares itself by recording origins, genuine creativity evokes the

show abstract

Humanism and Scholasticism in Sixteenth-Century Academe: Five Student Orations from the University of Salamanca^*

Liere

2000

Renaiss. Q.

View full text Add to dashboard Cite

A collection of student orations by the Salamancan jurist Diego de Covarrubias, edited here in the appendix, offers a glimpse of the mental landscape of canon and civil lawyers in this era. The orations combine traditional scholastic forms of argumentation with humanistic themes, most prominently that of “arms and letters”. The article sets the orations in their intellectual and institutional context, and traces the intellectual lineages for this central topos. Although Covarrubias was conversant with the humanist literary tradition, in which “arms and letters” stood for twin achievements of a well-rounded courtier, the main point of these exercises was to assert, following Bartolus, that the legal profession rightfully deserved to inherit the honor and privileges bestowed in ancient times upon men of arms.

show abstract

Odes

Cited by 4 publications

References 0 publications

Praeneste: A Study for its Restoration

Praeneste: A Study for its Restoration

‘Love was in the next Degree’: Lyric, Satire, and Inventive Modulation

Humanism and Scholasticism in Sixteenth-Century Academe: Five Student Orations from the University of Salamanca^*

Contact Info

Product

Resources

About

Odes

Cited by 4 publications

References 0 publications

Praeneste: A Study for its Restoration

Praeneste: A Study for its Restoration

‘Love was in the next Degree’: Lyric, Satire, and Inventive Modulation

Humanism and Scholasticism in Sixteenth-Century Academe: Five Student Orations from the University of Salamanca*

Contact Info

Product

Resources

About

Humanism and Scholasticism in Sixteenth-Century Academe: Five Student Orations from the University of Salamanca^*