Ralph Rosen
- Published in print:
- 2007
- Published Online:
- September 2007
- ISBN:
- 9780195309966
- eISBN:
- 9780199789443
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195309966.001.0001
- Subject:
- Classical Studies, Literary Studies: Classical, Early, and Medieval
This book explores the dynamics of comic mockery and satire in Greek and Latin poetry, and argues that poets working in such genres composed their “attacks” on targets, and constructed their ...
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This book explores the dynamics of comic mockery and satire in Greek and Latin poetry, and argues that poets working in such genres composed their “attacks” on targets, and constructed their relationships with audiences, in accordance with a set of common poetic principles, protocols, and tropes. It encourages a synoptic, synchronic view of such poetry, from archaic iambus through Roman satire, and argues that only when we appreciate how an abstracted “poetics of mockery” governs individual poets can we fully understand how such poetry functioned diachronically in its own historical moment. The book examines in particular the strategies deployed by satirical poets to enlist the sympathies of a putative audience and convince them of the legitimacy of their personal attacks. It discusses the tension deliberately created by such poets between self-righteous didactic claims and a persistent desire to undermine them, and concludes that such poetry was felt by ancient audiences to achieve its greatest success as comedy precisely when they were left unable to ascribe to the satirist any consistent moral position. Several early chapters look to Greek myth for paradigms of comic mockery, and argue that these myths can illuminate the ways in which ancient audiences conceptualized specifically poeticized forms of satire. Poets addressed in this part of the book include Archilochus, Hipponax, Horace, Homer, Aristophanes, and Theocritus. Two chapters follow which address the satirical poetics of Callimachus and Juvenal, and a final chapter on the question of how ancient audiences responded the inherently controversial elements of such poetry.Less
This book explores the dynamics of comic mockery and satire in Greek and Latin poetry, and argues that poets working in such genres composed their “attacks” on targets, and constructed their relationships with audiences, in accordance with a set of common poetic principles, protocols, and tropes. It encourages a synoptic, synchronic view of such poetry, from archaic iambus through Roman satire, and argues that only when we appreciate how an abstracted “poetics of mockery” governs individual poets can we fully understand how such poetry functioned diachronically in its own historical moment. The book examines in particular the strategies deployed by satirical poets to enlist the sympathies of a putative audience and convince them of the legitimacy of their personal attacks. It discusses the tension deliberately created by such poets between self-righteous didactic claims and a persistent desire to undermine them, and concludes that such poetry was felt by ancient audiences to achieve its greatest success as comedy precisely when they were left unable to ascribe to the satirist any consistent moral position. Several early chapters look to Greek myth for paradigms of comic mockery, and argue that these myths can illuminate the ways in which ancient audiences conceptualized specifically poeticized forms of satire. Poets addressed in this part of the book include Archilochus, Hipponax, Horace, Homer, Aristophanes, and Theocritus. Two chapters follow which address the satirical poetics of Callimachus and Juvenal, and a final chapter on the question of how ancient audiences responded the inherently controversial elements of such poetry.
Maria Plaza
- Published in print:
- 2006
- Published Online:
- September 2007
- ISBN:
- 9780199281114
- eISBN:
- 9780191712739
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199281114.001.0001
- Subject:
- Classical Studies, Literary Studies: Classical, Early, and Medieval
Our image of Roman satire has developed from that of a static, moralizing genre to a deliberately complex form, but our approach to the humour intrinsic to satire has not developed accordingly. This ...
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Our image of Roman satire has developed from that of a static, moralizing genre to a deliberately complex form, but our approach to the humour intrinsic to satire has not developed accordingly. This book offers a comprehensive new analysis of humour in the writings of Horace, Persius, and Juvenal, with an excursus to Lucilius. The main thesis is that far from being an external means of sweetening the moral lesson, humour lies at the heart of Roman satire and shapes its paradoxical essence. The book argues that while the satirist needs humour for the aesthetic merit of his work, his ideological message inevitably suffers from the ambivalence that humour carries. By analyzing object-oriented humour, humour directed at the speaker (including self-irony), and humour directed at neither object nor subject, the book shows how the Roman satirists work round this double mission of morals and merriment. As a result, they present the reader with a much more sprawling and ‘open’ literary product than they promise in their programmatic self-presentations. The argument is rounded off by a contemplation of the end of Roman satire, and its descendants — not only modern satire but also the novel, in which satire’s humorous orchestration of epic questions was later taken up and richly elaborated.Less
Our image of Roman satire has developed from that of a static, moralizing genre to a deliberately complex form, but our approach to the humour intrinsic to satire has not developed accordingly. This book offers a comprehensive new analysis of humour in the writings of Horace, Persius, and Juvenal, with an excursus to Lucilius. The main thesis is that far from being an external means of sweetening the moral lesson, humour lies at the heart of Roman satire and shapes its paradoxical essence. The book argues that while the satirist needs humour for the aesthetic merit of his work, his ideological message inevitably suffers from the ambivalence that humour carries. By analyzing object-oriented humour, humour directed at the speaker (including self-irony), and humour directed at neither object nor subject, the book shows how the Roman satirists work round this double mission of morals and merriment. As a result, they present the reader with a much more sprawling and ‘open’ literary product than they promise in their programmatic self-presentations. The argument is rounded off by a contemplation of the end of Roman satire, and its descendants — not only modern satire but also the novel, in which satire’s humorous orchestration of epic questions was later taken up and richly elaborated.
Sean Alexander Gurd
- Published in print:
- 2011
- Published Online:
- January 2012
- ISBN:
- 9780199837519
- eISBN:
- 9780199919505
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199837519.001.0001
- Subject:
- Classical Studies, Literary Studies: Classical, Early, and Medieval, Prose and Writers: Classical, Early, and Medieval
This book offers an in-depth study of the role of literary revision in the compositional practices and strategies of self-representation among Roman authors at the end of the republic and the ...
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This book offers an in-depth study of the role of literary revision in the compositional practices and strategies of self-representation among Roman authors at the end of the republic and the beginning of the principate. It focuses on Cicero, Horace, Quintilian, Martial, and Pliny the Younger, but also offers discussions of earlier Greek material, including Isocrates, Plato, and Hellenistic poetry. The book argues that revision made textuality into a medium of social exchange. Revisions were not always made by authors working alone; often, they were the result of conversations between an author and friends or literary contacts, and these conversations exemplified a commitment to collective debate and active collaboration. Revision was thus much more than an unavoidable element in literary genesis: it was one way in which authorship became a form of social agency. Consequently, when we think about revision for authors of the late republic and early empire we should not think solely of painstaking attendance to craft aimed exclusively at the perfection of a literary work. Nor should we think of the resulting texts as closed and invariant statements sent from an author to his reader. So long as an author was still willing to revise, his text served as a temporary platform around and in which a community came into being. Much more was at stake than the text itself: like all communities, such textual communities were subject to imbalances and differentiation in taste, ideology, capability and willingness to participate, and above all power, the ability to propose and enforce a specific set of textual choices.Less
This book offers an in-depth study of the role of literary revision in the compositional practices and strategies of self-representation among Roman authors at the end of the republic and the beginning of the principate. It focuses on Cicero, Horace, Quintilian, Martial, and Pliny the Younger, but also offers discussions of earlier Greek material, including Isocrates, Plato, and Hellenistic poetry. The book argues that revision made textuality into a medium of social exchange. Revisions were not always made by authors working alone; often, they were the result of conversations between an author and friends or literary contacts, and these conversations exemplified a commitment to collective debate and active collaboration. Revision was thus much more than an unavoidable element in literary genesis: it was one way in which authorship became a form of social agency. Consequently, when we think about revision for authors of the late republic and early empire we should not think solely of painstaking attendance to craft aimed exclusively at the perfection of a literary work. Nor should we think of the resulting texts as closed and invariant statements sent from an author to his reader. So long as an author was still willing to revise, his text served as a temporary platform around and in which a community came into being. Much more was at stake than the text itself: like all communities, such textual communities were subject to imbalances and differentiation in taste, ideology, capability and willingness to participate, and above all power, the ability to propose and enforce a specific set of textual choices.
Steve Bruce
- Published in print:
- 2007
- Published Online:
- September 2007
- ISBN:
- 9780199271962
- eISBN:
- 9780191709883
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199271962.003.0001
- Subject:
- Religion, Religion and Society
This chapter surveys a wide range of historic works on marriage and family. The first two sections place Jesus' teaching against the family, Paul's indifference toward marriage and family, and the ...
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This chapter surveys a wide range of historic works on marriage and family. The first two sections place Jesus' teaching against the family, Paul's indifference toward marriage and family, and the New Testament's household codes against the backdrop of the Greco-Roman emphasis on the family as the fundamental social cell. The following sections assess Augustine's affirmation of marriage in light of ambiguous patristic teaching, and medieval attempts to institutionalize marriage as a vocation roughly on a par with singleness. The final sections examine Reformation and Puritan themes, and three attempts by 19th-century theologians — Friedrich Schleiermacher, Horace Bushnell, and F. D. Maurice — to bolster the family in response to the rise of modern liberal social and political thought.Less
This chapter surveys a wide range of historic works on marriage and family. The first two sections place Jesus' teaching against the family, Paul's indifference toward marriage and family, and the New Testament's household codes against the backdrop of the Greco-Roman emphasis on the family as the fundamental social cell. The following sections assess Augustine's affirmation of marriage in light of ambiguous patristic teaching, and medieval attempts to institutionalize marriage as a vocation roughly on a par with singleness. The final sections examine Reformation and Puritan themes, and three attempts by 19th-century theologians — Friedrich Schleiermacher, Horace Bushnell, and F. D. Maurice — to bolster the family in response to the rise of modern liberal social and political thought.
S. J. Heyworth (ed.)
- Published in print:
- 2007
- Published Online:
- January 2010
- ISBN:
- 9780199218035
- eISBN:
- 9780191711534
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199218035.001.0001
- Subject:
- Classical Studies, Literary Studies: Classical, Early, and Medieval
This book comprises a collection of chapters on Latin literature by a number of distinguished classicists, produced in memory of Don Fowler, who died in 1999 at the age of forty-six. The authors of ...
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This book comprises a collection of chapters on Latin literature by a number of distinguished classicists, produced in memory of Don Fowler, who died in 1999 at the age of forty-six. The authors of the chapters were all inspired by the desire to commemorate a beloved colleague and friend. The chapters, including that by Don Fowler himself, are much concerned with the reception of the classical world, extending into the realms of modern philosophy, art history, and cultural studies. There are fundamental studies of Horace’s style and Ovid’s exile. The book is unusual in the informality of the style of a number of pieces, and the openness with which the contributors have reminisced about Fowler and reflected on his early death.Less
This book comprises a collection of chapters on Latin literature by a number of distinguished classicists, produced in memory of Don Fowler, who died in 1999 at the age of forty-six. The authors of the chapters were all inspired by the desire to commemorate a beloved colleague and friend. The chapters, including that by Don Fowler himself, are much concerned with the reception of the classical world, extending into the realms of modern philosophy, art history, and cultural studies. There are fundamental studies of Horace’s style and Ovid’s exile. The book is unusual in the informality of the style of a number of pieces, and the openness with which the contributors have reminisced about Fowler and reflected on his early death.
Denis Feeney
- Published in print:
- 2010
- Published Online:
- May 2010
- ISBN:
- 9780199558681
- eISBN:
- 9780191720888
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199558681.003.0013
- Subject:
- Classical Studies, European History: BCE to 500CE
This chapter investigates the historiographical traditions concerning the patrician family of the Manlii Torquati, and the use made of those traditions by the two Roman poets Catullus and Horace. The ...
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This chapter investigates the historiographical traditions concerning the patrician family of the Manlii Torquati, and the use made of those traditions by the two Roman poets Catullus and Horace. The family of the Manlii Torquati are marked in Roman historiography for the template of a father killing his son, and the historians treat the family as a hard test case for the survival of aristocratic tradition: how can a family perpetuate a family tradition if the tradition says you have to kill your inheritor? The chapter demonstrates how three major poems — Catullus Poem 61, Horace Epistles 1.5, and Odes 4.7 — all capitalize on the family traditions as they address two members of this family; who are, it is argued, father and son. Both Catullus and Horace are interested in the precarious nature of family continuity in the Roman aristocracy.Less
This chapter investigates the historiographical traditions concerning the patrician family of the Manlii Torquati, and the use made of those traditions by the two Roman poets Catullus and Horace. The family of the Manlii Torquati are marked in Roman historiography for the template of a father killing his son, and the historians treat the family as a hard test case for the survival of aristocratic tradition: how can a family perpetuate a family tradition if the tradition says you have to kill your inheritor? The chapter demonstrates how three major poems — Catullus Poem 61, Horace Epistles 1.5, and Odes 4.7 — all capitalize on the family traditions as they address two members of this family; who are, it is argued, father and son. Both Catullus and Horace are interested in the precarious nature of family continuity in the Roman aristocracy.
Douglas A Hicks
- Published in print:
- 2009
- Published Online:
- January 2009
- ISBN:
- 9780195337174
- eISBN:
- 9780199868407
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195337174.003.0003
- Subject:
- Religion, Religion and Society
This chapter examines the role of religion in American civic life from the time Alexis de Tocqueville visited the early United States until September 11, 2001. It focuses on an array of historical ...
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This chapter examines the role of religion in American civic life from the time Alexis de Tocqueville visited the early United States until September 11, 2001. It focuses on an array of historical images for how Americans in their diversity can—and should—come together in public life. Tocqueville called religion the first of America’s political institutions, due to the religious nature of many voluntary associations, but he was limited in assuming Christianity was the common denominator. Israel Zangwill and Horace Kallen offered opposing images — the melting pot and cultural pluralism, respectively — but they each also spoke of an American symphony. Will Herberg introduced the “triple melting pot” of Protestant, Catholic, and Jew, and Lyndon Johnson gave the most vivid picture of America as the home of immigrants from every corner of the world. None of these images can fix the current challenges, but they do help show some imaginative, alternative visions.Less
This chapter examines the role of religion in American civic life from the time Alexis de Tocqueville visited the early United States until September 11, 2001. It focuses on an array of historical images for how Americans in their diversity can—and should—come together in public life. Tocqueville called religion the first of America’s political institutions, due to the religious nature of many voluntary associations, but he was limited in assuming Christianity was the common denominator. Israel Zangwill and Horace Kallen offered opposing images — the melting pot and cultural pluralism, respectively — but they each also spoke of an American symphony. Will Herberg introduced the “triple melting pot” of Protestant, Catholic, and Jew, and Lyndon Johnson gave the most vivid picture of America as the home of immigrants from every corner of the world. None of these images can fix the current challenges, but they do help show some imaginative, alternative visions.
Steven K. Green
- Published in print:
- 2010
- Published Online:
- May 2010
- ISBN:
- 9780195399677
- eISBN:
- 9780199777150
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195399677.003.0008
- Subject:
- Religion, History of Christianity, Religion and Society
This chapter is the first of two to discuss the legal issues surrounding the rise and development of nonsectarian public schooling in America. The controversy, called the “school question,” had two ...
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This chapter is the first of two to discuss the legal issues surrounding the rise and development of nonsectarian public schooling in America. The controversy, called the “school question,” had two interrelated issues: Protestant religious exercises (including Bible reading) and the funding of Catholic parochial schools. The chapter examines the origins and later modifications of nonsectarianism (led by Horace Mann), early Protestant-Catholic conflicts over Bible reading and funding (including the impact of nativism), and several early legal cases involving funding and Bible reading. The chapter ends with a discussion of the most important Bible reading case of the century, which arose in Cincinnati and concluded with the Ohio Supreme Court banning the religious exercises.Less
This chapter is the first of two to discuss the legal issues surrounding the rise and development of nonsectarian public schooling in America. The controversy, called the “school question,” had two interrelated issues: Protestant religious exercises (including Bible reading) and the funding of Catholic parochial schools. The chapter examines the origins and later modifications of nonsectarianism (led by Horace Mann), early Protestant-Catholic conflicts over Bible reading and funding (including the impact of nativism), and several early legal cases involving funding and Bible reading. The chapter ends with a discussion of the most important Bible reading case of the century, which arose in Cincinnati and concluded with the Ohio Supreme Court banning the religious exercises.
R. O. A. M. Lyne
S. J. Harrison (ed.)
- Published in print:
- 2007
- Published Online:
- September 2007
- ISBN:
- 9780199203963
- eISBN:
- 9780191708237
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199203963.001.0001
- Subject:
- Classical Studies, Literary Studies: Classical, Early, and Medieval
This book collects the papers of Oliver Lyne, and was conceived by a group of his former pupils and colleagues as a memorial to Oliver. To make it the more accessible, effective, and compact, it was ...
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This book collects the papers of Oliver Lyne, and was conceived by a group of his former pupils and colleagues as a memorial to Oliver. To make it the more accessible, effective, and compact, it was eventually decided to omit papers which were particularly short or technical, or which had been superseded through Oliver's later work or changes of view. Oliver's output may be grouped into three periods: the first (A) from the beginning to the publication of The Latin Love Poets (1980); the second (B) from 1983 to the publication of Horace: Behind the Public Poetry (1995); the third (C) the papers that followed. The papers (like the books) present a striking concentration on the most well-known period of Latin poetry, from c.60 BC to c.20 AD, and show particular concern with the relation of personal and public poetry. Period A is chiefly preoccupied with personal poetry, which is conceived as reflecting actual personality and opinions. Period B deals with poetry which seems to present a public and Augustan stance. This stance, however, is undermined; undermining indeed (with its more devious congeners) forms perhaps the central concern in Lyne's analysis of poetry. The return to avowedly or professedly personal poetry in period C now gives more emphasis to its literary forms and structures, and to intertextuality.Less
This book collects the papers of Oliver Lyne, and was conceived by a group of his former pupils and colleagues as a memorial to Oliver. To make it the more accessible, effective, and compact, it was eventually decided to omit papers which were particularly short or technical, or which had been superseded through Oliver's later work or changes of view. Oliver's output may be grouped into three periods: the first (A) from the beginning to the publication of The Latin Love Poets (1980); the second (B) from 1983 to the publication of Horace: Behind the Public Poetry (1995); the third (C) the papers that followed. The papers (like the books) present a striking concentration on the most well-known period of Latin poetry, from c.60 BC to c.20 AD, and show particular concern with the relation of personal and public poetry. Period A is chiefly preoccupied with personal poetry, which is conceived as reflecting actual personality and opinions. Period B deals with poetry which seems to present a public and Augustan stance. This stance, however, is undermined; undermining indeed (with its more devious congeners) forms perhaps the central concern in Lyne's analysis of poetry. The return to avowedly or professedly personal poetry in period C now gives more emphasis to its literary forms and structures, and to intertextuality.
Jonathan Beecher
- Published in print:
- 2001
- Published Online:
- March 2012
- ISBN:
- 9780520222977
- eISBN:
- 9780520924727
- Item type:
- book
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520222977.001.0001
- Subject:
- History, European Modern History
This book's study is both a lively life story of one of the most engaging figures among the French romantic intellectuals of the 1840s and a compelling chronicle of early French socialism. Victor ...
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This book's study is both a lively life story of one of the most engaging figures among the French romantic intellectuals of the 1840s and a compelling chronicle of early French socialism. Victor Considerant (1808–1893), a follower of the great utopian thinker Charles Fourier, played an important role in the creation of a Fourierist movement and the development of socialist journalism. In the process of conveying a rich understanding of Considerant's life, this book traces the rise and fall of French romantic socialism and demonstrates how the utopian visions of thinkers such as Charles Fourier came to inspire a whole generation of young radicals and reformers not only in France but also in Dostoevky's Russia and in the America of Horace Greeley and Margaret Fuller. It paints a vivid portrait of a particularly important period of European intellectual history and gives readers insight into the experience of a generation of thinkers and political activists.Less
This book's study is both a lively life story of one of the most engaging figures among the French romantic intellectuals of the 1840s and a compelling chronicle of early French socialism. Victor Considerant (1808–1893), a follower of the great utopian thinker Charles Fourier, played an important role in the creation of a Fourierist movement and the development of socialist journalism. In the process of conveying a rich understanding of Considerant's life, this book traces the rise and fall of French romantic socialism and demonstrates how the utopian visions of thinkers such as Charles Fourier came to inspire a whole generation of young radicals and reformers not only in France but also in Dostoevky's Russia and in the America of Horace Greeley and Margaret Fuller. It paints a vivid portrait of a particularly important period of European intellectual history and gives readers insight into the experience of a generation of thinkers and political activists.
G. O. Hutchinson
- Published in print:
- 2008
- Published Online:
- September 2008
- ISBN:
- 9780199279418
- eISBN:
- 9780191707322
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199279418.001.0001
- Subject:
- Classical Studies, Literary Studies: Classical, Early, and Medieval
The study of Latin poetry-books, though seen as important, has suffered from limited engagement with Greek literature and papyri. This book, which combines unpublished and recently published pieces, ...
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The study of Latin poetry-books, though seen as important, has suffered from limited engagement with Greek literature and papyri. This book, which combines unpublished and recently published pieces, shows the importance of considering Greek and Latin works together, and of using Greek and Latin papyri in the study of poetic books. Important here are both new texts and evidence on the making and reading of books. The study of book-structure should embrace books which consist of short poems and books which make up part of long poems. The combination of poems within books, of books within a group or series, and of works within an œuvre, are all related. Book-structure should be seen as an aspect of sequential reading; changes and meanings, it emerges, are more significant than abstract symmetries. The book frames a series of discussions of major poems and collections from the 3rd and 1st centuries BC with an illustrated survey of poetry-books and reading and a more general discussion of structures involving books. The main poets discussed are Callimachus, Apollonius, Posidippus, Catullus, Horace, Ovid; there is a chapter on Latin didactic (Lucretius, Virgil, Ovid, Manilius). The discussions deal with fundamental issues in the works, and, in accordance with the approach advocated, bring in many critical and scholarly questions beside book-structure.Less
The study of Latin poetry-books, though seen as important, has suffered from limited engagement with Greek literature and papyri. This book, which combines unpublished and recently published pieces, shows the importance of considering Greek and Latin works together, and of using Greek and Latin papyri in the study of poetic books. Important here are both new texts and evidence on the making and reading of books. The study of book-structure should embrace books which consist of short poems and books which make up part of long poems. The combination of poems within books, of books within a group or series, and of works within an œuvre, are all related. Book-structure should be seen as an aspect of sequential reading; changes and meanings, it emerges, are more significant than abstract symmetries. The book frames a series of discussions of major poems and collections from the 3rd and 1st centuries BC with an illustrated survey of poetry-books and reading and a more general discussion of structures involving books. The main poets discussed are Callimachus, Apollonius, Posidippus, Catullus, Horace, Ovid; there is a chapter on Latin didactic (Lucretius, Virgil, Ovid, Manilius). The discussions deal with fundamental issues in the works, and, in accordance with the approach advocated, bring in many critical and scholarly questions beside book-structure.
Yasmin Annabel Haskell
- Published in print:
- 2003
- Published Online:
- January 2012
- ISBN:
- 9780197262849
- eISBN:
- 9780191734588
- Item type:
- chapter
- Publisher:
- British Academy
- DOI:
- 10.5871/bacad/9780197262849.003.0006
- Subject:
- Literature, 17th-century and Restoration Literature
In the ancient didactic poems, man is regularly presented as a product of cultivation or as an object of art. In the preceding chapters, Jesuit poets framed snapshots of ideal life in Virgilian ...
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In the ancient didactic poems, man is regularly presented as a product of cultivation or as an object of art. In the preceding chapters, Jesuit poets framed snapshots of ideal life in Virgilian terms. While there are no specific examples of classical verses and poems that dealt on the preservation of physical, mental and spiritual life, procreation, and child-rearing, Ovid's Ars amatoria and Remedia amoris provided models for poets writing conventions of sexual and social relations. However, Ovid's immoral morality poems had to be handled with great care by the didactic poets of the Society of Jesuits. In Horace, whose satire of human foibles was more chaste, the Jesuits found a perfect model for the purpose of modern moralizing. In his Ars poetica, Jesuits began to cast life as art and art as life. This chapter explores the role of art as conceived by the Society of Jesuits, including its spiritual, social, and cultural poetry. It also discusses the paradox of the paucity of the Jesuit didactics devoted to the religious life. Although the Jesuits wrote a great quantity of Latin theological and devotional verses, they nevertheless succeeded because of their preservation of its secular interior. This approach was a perfect vehicle for winning the hearts of the Catholic public for disseminating Jesuit culture in a manner that was as inoffensive as it was invisible.Less
In the ancient didactic poems, man is regularly presented as a product of cultivation or as an object of art. In the preceding chapters, Jesuit poets framed snapshots of ideal life in Virgilian terms. While there are no specific examples of classical verses and poems that dealt on the preservation of physical, mental and spiritual life, procreation, and child-rearing, Ovid's Ars amatoria and Remedia amoris provided models for poets writing conventions of sexual and social relations. However, Ovid's immoral morality poems had to be handled with great care by the didactic poets of the Society of Jesuits. In Horace, whose satire of human foibles was more chaste, the Jesuits found a perfect model for the purpose of modern moralizing. In his Ars poetica, Jesuits began to cast life as art and art as life. This chapter explores the role of art as conceived by the Society of Jesuits, including its spiritual, social, and cultural poetry. It also discusses the paradox of the paucity of the Jesuit didactics devoted to the religious life. Although the Jesuits wrote a great quantity of Latin theological and devotional verses, they nevertheless succeeded because of their preservation of its secular interior. This approach was a perfect vehicle for winning the hearts of the Catholic public for disseminating Jesuit culture in a manner that was as inoffensive as it was invisible.
Jeffrey Magee
- Published in print:
- 2005
- Published Online:
- May 2008
- ISBN:
- 9780195090222
- eISBN:
- 9780199871469
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195090222.003.0008
- Subject:
- Music, Popular
In the early Depression years, Henderson's band enjoyed a steady job at an elite Harlem nightclub called Connie's Inn. The band, thus known as “Connie's Inn Orchestra” on many of its records, has ...
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In the early Depression years, Henderson's band enjoyed a steady job at an elite Harlem nightclub called Connie's Inn. The band, thus known as “Connie's Inn Orchestra” on many of its records, has been denigrated for forsaking jazz during difficult economic times, but a closer look at the professional circumstances and the records themselves reveals the picture of a thriving group of versatile musicians playing the kind of repertory expected of a top nightclub band, including, for the first time, a significant number of vocal recordings that represent a new age of jazz singing. While the band's personnel changed regularly, it made several records that reveal its varied repertory and disparate arrangers, including Benny Carter and Horace Henderson. Henderson absorbed these various creative currents and began to forge his own arranging style, which would profoundly shape the swing style of the 1930s.Less
In the early Depression years, Henderson's band enjoyed a steady job at an elite Harlem nightclub called Connie's Inn. The band, thus known as “Connie's Inn Orchestra” on many of its records, has been denigrated for forsaking jazz during difficult economic times, but a closer look at the professional circumstances and the records themselves reveals the picture of a thriving group of versatile musicians playing the kind of repertory expected of a top nightclub band, including, for the first time, a significant number of vocal recordings that represent a new age of jazz singing. While the band's personnel changed regularly, it made several records that reveal its varied repertory and disparate arrangers, including Benny Carter and Horace Henderson. Henderson absorbed these various creative currents and began to forge his own arranging style, which would profoundly shape the swing style of the 1930s.
Cynthia Grant Tucker
- Published in print:
- 2010
- Published Online:
- September 2010
- ISBN:
- 9780195390209
- eISBN:
- 9780199866670
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195390209.003.0001
- Subject:
- Religion, Religion and Society
This chapter describes a culture of contradictions where religiously liberal people tend to be socially conservative, where the pulpits' descriptions of truth conflict with the daily reality known in ...
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This chapter describes a culture of contradictions where religiously liberal people tend to be socially conservative, where the pulpits' descriptions of truth conflict with the daily reality known in the pews, and where parsonage females bear the brunt of these incongruities. Unitarian women who treasure their freedom from punishing Calvinist creeds and who revel in stretching their minds as they study the Bible in light of their reason and conscience complain of being betrayed by the pulpits' blind‐sided optimism and coldly cerebral sermons. Increasingly, too, they protest that the cult of domestic religion and separate spheres, as canonized by Horace Bushnell, violates the Unitarian values of equity and inclusion. The double standard of authorship and separatist ideology distort and diminish the women's posthumous reputations.Less
This chapter describes a culture of contradictions where religiously liberal people tend to be socially conservative, where the pulpits' descriptions of truth conflict with the daily reality known in the pews, and where parsonage females bear the brunt of these incongruities. Unitarian women who treasure their freedom from punishing Calvinist creeds and who revel in stretching their minds as they study the Bible in light of their reason and conscience complain of being betrayed by the pulpits' blind‐sided optimism and coldly cerebral sermons. Increasingly, too, they protest that the cult of domestic religion and separate spheres, as canonized by Horace Bushnell, violates the Unitarian values of equity and inclusion. The double standard of authorship and separatist ideology distort and diminish the women's posthumous reputations.
Anne Stott
- Published in print:
- 2004
- Published Online:
- January 2010
- ISBN:
- 9780199274888
- eISBN:
- 9780191714962
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199274888.001.0001
- Subject:
- History, British and Irish Modern History
Hannah More was a public figure at a time when the ideology of separate spheres relegated women to the private and the domestic. She was a friend of many notable writers, artists, and intellectuals ...
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Hannah More was a public figure at a time when the ideology of separate spheres relegated women to the private and the domestic. She was a friend of many notable writers, artists, and intellectuals of the late Georgian period, including David Garrick, Samuel Johnson, Sir Joshua Reynolds, Horace Walpole, and the women of the bluestocking circle. Following her religious conversion she became a friend of William Wilberforce and the members of the Evangelical Clapham sect. Her career as playwright, bluestocking, educationalist, anti-slavery campaigner, political writer, and novelist made her one of the most influential women of the period. Using previously unpublished sources, in particular her letters, this book shows that Hannah More was a complex and contradictory figure, a conservative who was accused of political and religious subversion, an ostensible anti-feminist who opened up new opportunities for female activism.Less
Hannah More was a public figure at a time when the ideology of separate spheres relegated women to the private and the domestic. She was a friend of many notable writers, artists, and intellectuals of the late Georgian period, including David Garrick, Samuel Johnson, Sir Joshua Reynolds, Horace Walpole, and the women of the bluestocking circle. Following her religious conversion she became a friend of William Wilberforce and the members of the Evangelical Clapham sect. Her career as playwright, bluestocking, educationalist, anti-slavery campaigner, political writer, and novelist made her one of the most influential women of the period. Using previously unpublished sources, in particular her letters, this book shows that Hannah More was a complex and contradictory figure, a conservative who was accused of political and religious subversion, an ostensible anti-feminist who opened up new opportunities for female activism.
G. O. Hutchinson
- Published in print:
- 2008
- Published Online:
- September 2008
- ISBN:
- 9780199279418
- eISBN:
- 9780191707322
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199279418.003.0006
- Subject:
- Classical Studies, Literary Studies: Classical, Early, and Medieval
This chapter argues against the normal view that Odes 1-3 had their first publication together in 23 BC and should be read as a single entity. Book 1, and then Book 2, were first published ...
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This chapter argues against the normal view that Odes 1-3 had their first publication together in 23 BC and should be read as a single entity. Book 1, and then Book 2, were first published separately: so it is contended on the basis of detailed consideration of metre, chronology, etc. Approaching the three books as successive and deliberately differing entities produces a much more satisfying and distinctive understanding of the individual books, and the cumulative entity which they build up. The differences between the three books are presented under headings; Book 3 in a sense conjoins Books 1 and 2, to create conflicts of its own.Less
This chapter argues against the normal view that Odes 1-3 had their first publication together in 23 BC and should be read as a single entity. Book 1, and then Book 2, were first published separately: so it is contended on the basis of detailed consideration of metre, chronology, etc. Approaching the three books as successive and deliberately differing entities produces a much more satisfying and distinctive understanding of the individual books, and the cumulative entity which they build up. The differences between the three books are presented under headings; Book 3 in a sense conjoins Books 1 and 2, to create conflicts of its own.
G. O. Hutchinson
- Published in print:
- 2008
- Published Online:
- September 2008
- ISBN:
- 9780199279418
- eISBN:
- 9780191707322
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199279418.003.0007
- Subject:
- Classical Studies, Literary Studies: Classical, Early, and Medieval
The discussion of Horace's lyric is taken beyond the previous chapter. The book of Epodes and each book of Odes are seen to have a dynamic structure, to move decisively. Horace uses Archilochus and ...
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The discussion of Horace's lyric is taken beyond the previous chapter. The book of Epodes and each book of Odes are seen to have a dynamic structure, to move decisively. Horace uses Archilochus and Hipponax and Alcaeus, Sappho, and other Greek lyric poets in the creation of structures which revolve around the relation of and tension between art and the narrator. These are metaliterary books, concerned with themselves. Papyri of lyric and related texts are used to show the scholarly and critical tradition which would have shaped Horace's reading and study of lyric. The arrangement of poems in lyric papyri is considered, and Horace's intertextuality with a complex tradition explored.Less
The discussion of Horace's lyric is taken beyond the previous chapter. The book of Epodes and each book of Odes are seen to have a dynamic structure, to move decisively. Horace uses Archilochus and Hipponax and Alcaeus, Sappho, and other Greek lyric poets in the creation of structures which revolve around the relation of and tension between art and the narrator. These are metaliterary books, concerned with themselves. Papyri of lyric and related texts are used to show the scholarly and critical tradition which would have shaped Horace's reading and study of lyric. The arrangement of poems in lyric papyri is considered, and Horace's intertextuality with a complex tradition explored.
Llewelyn Morgan
- Published in print:
- 2010
- Published Online:
- January 2011
- ISBN:
- 9780199554188
- eISBN:
- 9780191594991
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199554188.003.0001
- Subject:
- Classical Studies, Literary Studies: Classical, Early, and Medieval
This introductory chapter begins by discussing the nature of metrical form, and explaining the various ways in which metre can contribute to the meaning of poetry, before presenting the main focus of ...
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This introductory chapter begins by discussing the nature of metrical form, and explaining the various ways in which metre can contribute to the meaning of poetry, before presenting the main focus of the book: the meaning possessed by metres by virtue of their history of usage. The relation of metrical meaning to genre is discussed, and the inherently negotiable nature of metrical character, which is both complex and changeable over time. Greek precedents for Roman metrical play are considered, but the claim is made for a characteristically Roman perception of metrical form, a consequence of Roman poetry's peculiarly belated and derivative nature; and related to that, for the unusually academic character of Roman metrical practice, and the consequent need to study the metrical theory of Roman metricians alongside poetic practice. The arguments are illustrated with reference to Horace Odes 4.7 and Ovid Remedia Amoris, and finally through close readings of poems by Martial and Catullus.Less
This introductory chapter begins by discussing the nature of metrical form, and explaining the various ways in which metre can contribute to the meaning of poetry, before presenting the main focus of the book: the meaning possessed by metres by virtue of their history of usage. The relation of metrical meaning to genre is discussed, and the inherently negotiable nature of metrical character, which is both complex and changeable over time. Greek precedents for Roman metrical play are considered, but the claim is made for a characteristically Roman perception of metrical form, a consequence of Roman poetry's peculiarly belated and derivative nature; and related to that, for the unusually academic character of Roman metrical practice, and the consequent need to study the metrical theory of Roman metricians alongside poetic practice. The arguments are illustrated with reference to Horace Odes 4.7 and Ovid Remedia Amoris, and finally through close readings of poems by Martial and Catullus.
Llewelyn Morgan
- Published in print:
- 2010
- Published Online:
- January 2011
- ISBN:
- 9780199554188
- eISBN:
- 9780191594991
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199554188.003.0003
- Subject:
- Classical Studies, Literary Studies: Classical, Early, and Medieval
This chapter tackles the class of iambic metres, represented in non-dramatic Latin verse by the iambic trimeter, ‘limping’ iambic and the epodic systems used by Horace in the Epodes. After a ...
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This chapter tackles the class of iambic metres, represented in non-dramatic Latin verse by the iambic trimeter, ‘limping’ iambic and the epodic systems used by Horace in the Epodes. After a consideration of the continuing prominence of the choliambic or ‘limping’ iambic, the discussion turns to the peculiarly Roman development represented by the ‘pure’ iambic trimeter, which offers a salient illustration of the interpenetration of academic theory and poetic practice in Roman metrical usage. The argument focuses on the parody of Catullus 4 attributed to Virgil, Catalepton 10, but there is also close analysis of Horace's theoretical commentary on iambics and later contributions from the Latin metricians. After a rehearsal of recent work on Horace's meaningful deployment of metres in the Epodes, the chapter concludes by reading Epode 16, a combination of hexameters and pure trimeters, in the light of the understanding gained into pure iambics earlier in the chapter.Less
This chapter tackles the class of iambic metres, represented in non-dramatic Latin verse by the iambic trimeter, ‘limping’ iambic and the epodic systems used by Horace in the Epodes. After a consideration of the continuing prominence of the choliambic or ‘limping’ iambic, the discussion turns to the peculiarly Roman development represented by the ‘pure’ iambic trimeter, which offers a salient illustration of the interpenetration of academic theory and poetic practice in Roman metrical usage. The argument focuses on the parody of Catullus 4 attributed to Virgil, Catalepton 10, but there is also close analysis of Horace's theoretical commentary on iambics and later contributions from the Latin metricians. After a rehearsal of recent work on Horace's meaningful deployment of metres in the Epodes, the chapter concludes by reading Epode 16, a combination of hexameters and pure trimeters, in the light of the understanding gained into pure iambics earlier in the chapter.
Llewelyn Morgan
- Published in print:
- 2010
- Published Online:
- January 2011
- ISBN:
- 9780199554188
- eISBN:
- 9780191594991
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199554188.003.0004
- Subject:
- Classical Studies, Literary Studies: Classical, Early, and Medieval
This chapter concentrates on a single, representative metrical system from Roman lyric poetry — the sapphic stanza — and traces its use through Catullus, Horace, and Statius. In Statius we find that ...
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This chapter concentrates on a single, representative metrical system from Roman lyric poetry — the sapphic stanza — and traces its use through Catullus, Horace, and Statius. In Statius we find that the form carries with it the associations of its most prolific user, Horace, but still retains a tangibly ‘Sapphic’ quality, recalling the archaic Greek poet whose name it carried. In Catullus the evocation of Sappho is more obvious, the adoption of her signature metre in 51 accompanying a version of a sapphic poem, but the power of delivering the demolition of that affection, the iambic Poem 11, in sapphics has not been appreciated. Horace's sapphics play an important role in his self-positioning within the broad lyric field, in particular in poems such as Odes 1.12 and 4.2 where comparison and contrast with Pindar are in play. But the ability of the sapphic stanza to imply humility and lower aspirations is discernible in other odes as well, a number of which are analysed here.Less
This chapter concentrates on a single, representative metrical system from Roman lyric poetry — the sapphic stanza — and traces its use through Catullus, Horace, and Statius. In Statius we find that the form carries with it the associations of its most prolific user, Horace, but still retains a tangibly ‘Sapphic’ quality, recalling the archaic Greek poet whose name it carried. In Catullus the evocation of Sappho is more obvious, the adoption of her signature metre in 51 accompanying a version of a sapphic poem, but the power of delivering the demolition of that affection, the iambic Poem 11, in sapphics has not been appreciated. Horace's sapphics play an important role in his self-positioning within the broad lyric field, in particular in poems such as Odes 1.12 and 4.2 where comparison and contrast with Pindar are in play. But the ability of the sapphic stanza to imply humility and lower aspirations is discernible in other odes as well, a number of which are analysed here.
