Title: Horace, Romanae fidicen lyrae? : analysis of some musical metaphors found in Horace's Carmina
Source document: Graeco-Latina Brunensia. 2013, vol. 18, iss. 1, pp. [199]-212
Extent
[199]-212
-
ISSN1803-7402 (print)2336-4424 (online)
Stable URL (handle): https://hdl.handle.net/11222.digilib/127207
Type: Article
License: Not specified license
Notice: These citations are automatically created and might not follow citation rules properly.
Abstract(s)
Poetry and music were firmly bound in Classical Greece. Despite numerous allusions to music found in later poetry, the practice of singing verse was probably abandoned in Hellenistic Era and the musical metaphors were the only reminders of the long bygone tradition. However, the discussion over the original mode of performance of Horace's Carmina has now been going on for over a century. Did Horace really sing his odes to the accompaniment of a stringed instrument in front of an audience or his manifold references to musical execution are merely a metaphor drawing on Alcaeus' and Sappho's poetry? It seems that both alternatives gained equal number of supporters, who invoke diverse evidence to prove their point. One often adopted approach is searching for the solution in the internal evidence found in the odes, accepting Horace's own testimony as compliant with reality. In my paper I am going to analyse by juxtaposition and comparison the references to musical performance Horace makes in his odes in order to assess the purpose and function of these allusions, then I am going to judge whether the references provide relevant evidence in the dispute over the mode of performance of the Horatian Odes.
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[5] Commager, Steele. 1962. The Odes of Horace: a critical study. New Haven: Yale University Press.
[6] Feeney, Denis. 2009. Horace and the Greek Lyric Poets. In: Lowrie, Michele [Ed.]. Horace: Odes and Epodes. Oxford: 202–231.
[7] Fraenkel, Eduard. 1957. Horace. Oxford: Clarendon Press.
[8] Harrison, Stephen. J. 2007. Generic enrichment in Vergil and Horace. Oxford: Oxford University Press.
[9] Jacobson, Howard 1974. Ovid's Heroides. Princeton: N.J.
[10] Jurewicz, Oktawiusz. 1986. Quintus Horatius Flaccus. Ody i epody. Wrocław: Zakład Narodowy im. Ossolińskich.
[11] Lefkowitz, Mary R. 1988. Who Sang Pindar's Victory Odes. The American Journal of Philology, 109 (1): 1–11. | DOI 10.2307/294754
[12] Liddell, Scott. 1996. A Greek-English lexicon. Oxford: Clarendon Press.
[13] Lowrie, Michele. 1997. Horace's narrative Odes. Oxford: Clarendon Press.
[14] Lowrie, Michele. 2009. Writing, performance, and authority in Augustan Rome. Oxford: Oxford University Press.
[15] Lyons, Stuart. 2010. Music in the odes of Horace. Oxford: Aris & Phillips.
[16] Mariotti, Scevola [Ed.]. 1997. Orazio: enciclopedia oraziana. 2, La cultura, la societa, la poesia. Orazio. Roma: Istituto della Enciclopedia italiana.
[17] Nisbet, Robin, G. M. – Hubbard, Margaret. 1999. A commentary on Horace: Odes, book 1. Oxford: Clarendon Press.
[18] Nisbet, Robin, G. M. – Rudd, Niall. 2004. A commentary on Horace: Odes, book 3. Oxford: Oxford University Press.
[19] Paschalis, Michael – Putnam, Michael C. J. [Eds.]. 2002. Horace and Greek lyric poetry. Rethymnon: University of Crete, Dept. of Philology.
[20] Putnam, Michael C. J. 2000. Horace's Carmen saeculare: ritual magic and the poet's art. New Haven: Yale University Press.
[21] Snyder, Jane. 1972. The Barbitos in the Classical Period. Classical Journal, 67 (4): 331– 340.
[22] Syndikus, Hans P. 2001. Die Lyrik des Horaz 1, Erstes und zweites Buch. Darmstadt: Wissenschaftliche Buchgesellschaft.
[23] Syndikus, Hans P. 2001. Die Lyrik des Horaz 2. Drittes und viertes Buch. Darmstadt: Wissenschaftliche Buchgesellschaft.
[24] Takács, László. 2010. Ad Italos deduxisse modos (Hor. carm. 3, 30, 13–14). Corollarium, Tanulm'anyok a 65 'eves Tar Ibolya tisztelet'ere, szerkesztette. (Acta Universitatis Szegediensis, Acta Antiqua et Archaeologica, Supplementum XIII.) Czerovski, Mariann – Nagiyllés, János [Eds.]. Szeged: 321–325.
[25] West, David A. 1995. Horace Odes I. Carpe diem. Oxford: Clarendon Press.
[26] West, David A. 1998. Horace Odes II. Vatis amici. Oxford: Clarendon Press.
[27] West, David A. 2002. Horace Odes III. Dulce periculum. Oxford: Oxford University Press.
[28] West, Martin L. 1992. Ancient Greek music. Oxford: Clarendon Press.
[29] Wille, Günther. 1967. Musica Romana. Die Bedeutung der Musik im Leben der Römer. Amsterdam: P. Schippers.
[30] Williams, Gordon W. 1969. The third book of Horace's "Odes". Oxford: Clarendon Press.
[31] Wimmel, Walter. 1960. Kallimachos in Rom; die Nachfolge seines apologetischen Dichtens in der Augusteerzeit. Wiesbaden: F. Steiner.
[32] Woodman, A. J. – Feeney, Denis [Eds.]. 2002. Traditions and contexts in the poetry of Horace. Cambridge: Cambridge University Press.