Francesco Calogero
- Published in print:
- 2008
- Published Online:
- May 2008
- ISBN:
- 9780199535286
- eISBN:
- 9780191715853
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199535286.003.0003
- Subject:
- Physics, Theoretical, Computational, and Statistical Physics
In Chapter 3 several ω-modified ordinary differential equations (ODEs) are obtained and their isochronous character is discussed. Firstly a large class of such equations is identified and several of ...
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In Chapter 3 several ω-modified ordinary differential equations (ODEs) are obtained and their isochronous character is discussed. Firstly a large class of such equations is identified and several of the cases it includes are discussed. The ω-modified, isochronous versions of several classical ODEs are then treated, including first-order algebraic ODEs, the ODEs describing a polynomial vector field in the plane, the ODE of a standard oscillator with an additional cubic force, the first Painlevé ODE, other second- and third-order ODEs, and certain interesting ODEs introduced by Painlevé and by Chazy.Less
In Chapter 3 several ω-modified ordinary differential equations (ODEs) are obtained and their isochronous character is discussed. Firstly a large class of such equations is identified and several of the cases it includes are discussed. The ω-modified, isochronous versions of several classical ODEs are then treated, including first-order algebraic ODEs, the ODEs describing a polynomial vector field in the plane, the ODE of a standard oscillator with an additional cubic force, the first Painlevé ODE, other second- and third-order ODEs, and certain interesting ODEs introduced by Painlevé and by Chazy.
Jennifer Radden
- Published in print:
- 2002
- Published Online:
- October 2011
- ISBN:
- 9780195151657
- eISBN:
- 9780199849253
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195151657.003.0020
- Subject:
- Philosophy, General
This chapter discusses two poems by John Keats — “Ode of Melancholy” and “What the Thrush Said.” Keats knew much suffering and died while still a young man. Consumptive and weak, he experienced many ...
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This chapter discusses two poems by John Keats — “Ode of Melancholy” and “What the Thrush Said.” Keats knew much suffering and died while still a young man. Consumptive and weak, he experienced many phases of despondency and moodiness. By the time he received recognition for his work, he was seriously ill with tuberculosis. The ode on melancholy starts with the world of darkness and pain, so vividly described that we are reminded that Keats wrote from personal experience. His evocation of the dual aspects of melancholy, the stress on the paradox uniting sensual pleasure, energy, and vitality, on the one hand, and despair, suffering, and passivity, on the other, elevates his writing on melancholy to a place beside that of Elizabethan authors.Less
This chapter discusses two poems by John Keats — “Ode of Melancholy” and “What the Thrush Said.” Keats knew much suffering and died while still a young man. Consumptive and weak, he experienced many phases of despondency and moodiness. By the time he received recognition for his work, he was seriously ill with tuberculosis. The ode on melancholy starts with the world of darkness and pain, so vividly described that we are reminded that Keats wrote from personal experience. His evocation of the dual aspects of melancholy, the stress on the paradox uniting sensual pleasure, energy, and vitality, on the one hand, and despair, suffering, and passivity, on the other, elevates his writing on melancholy to a place beside that of Elizabethan authors.
David G. Hunter
- Published in print:
- 2007
- Published Online:
- May 2007
- ISBN:
- 9780199279784
- eISBN:
- 9780191707391
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199279784.003.0006
- Subject:
- Religion, Early Christian Studies
A survey of the history of the idea of Mary's virginitas in partu shows that the notion had only marginal support in the tradition of the first three centuries. Associated with both docetism and ...
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A survey of the history of the idea of Mary's virginitas in partu shows that the notion had only marginal support in the tradition of the first three centuries. Associated with both docetism and encratism, the doctrine was opposed even by ascetically minded teachers, such as Tertullian and Origen. In the late fourth century, however, the notion of Mary's virginitas in partu reappeared in the sermons of Zeno of Verona and the ascetical treatises of Ambrose; Jerome, by contrast, was more reticent about embracing the idea. Jovinian's opposition to the virginitas in partu, therefore, stood squarely in the mainstream of Christian opinion, as it had developed by the late fourth century.Less
A survey of the history of the idea of Mary's virginitas in partu shows that the notion had only marginal support in the tradition of the first three centuries. Associated with both docetism and encratism, the doctrine was opposed even by ascetically minded teachers, such as Tertullian and Origen. In the late fourth century, however, the notion of Mary's virginitas in partu reappeared in the sermons of Zeno of Verona and the ascetical treatises of Ambrose; Jerome, by contrast, was more reticent about embracing the idea. Jovinian's opposition to the virginitas in partu, therefore, stood squarely in the mainstream of Christian opinion, as it had developed by the late fourth century.
Anne Pippin Burnett
- Published in print:
- 2005
- Published Online:
- January 2010
- ISBN:
- 9780199277940
- eISBN:
- 9780191707841
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199277940.001.0001
- Subject:
- Classical Studies, Poetry and Poets: Classical, Early, and Medieval
This book examines choral performance, audience response, and the poetic means used by Greek lyric poet Pindar to control this response. It consists of individual studies of Pindar's eleven odes for ...
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This book examines choral performance, audience response, and the poetic means used by Greek lyric poet Pindar to control this response. It consists of individual studies of Pindar's eleven odes for Aiginetan victors, preceded by a brief survey of the history of the island and the nature of its aristocracy. The discussion focuses in particular on questions of mythic self-presentation in Pindar's choral songs, as exemplified by such non-literary evidence as the pedimental sculptures of the Aphaia Temple, and the parallel ‘narrative’ sections of the odes. The overall concern is with Pindaric techniques for unifying an audience and leading it into a shared experience of inspired success, but there is also a concern with the realities of athletic contest and its celebration.Less
This book examines choral performance, audience response, and the poetic means used by Greek lyric poet Pindar to control this response. It consists of individual studies of Pindar's eleven odes for Aiginetan victors, preceded by a brief survey of the history of the island and the nature of its aristocracy. The discussion focuses in particular on questions of mythic self-presentation in Pindar's choral songs, as exemplified by such non-literary evidence as the pedimental sculptures of the Aphaia Temple, and the parallel ‘narrative’ sections of the odes. The overall concern is with Pindaric techniques for unifying an audience and leading it into a shared experience of inspired success, but there is also a concern with the realities of athletic contest and its celebration.
Francesco Calogero
- Published in print:
- 2008
- Published Online:
- May 2008
- ISBN:
- 9780199535286
- eISBN:
- 9780191715853
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199535286.003.0004
- Subject:
- Physics, Theoretical, Computational, and Statistical Physics
In Chapter 4—the longer one in this book—a lemma is first introduced and several isochronous systems of ODEs encompassed by it are treated. One-, two-, three- and multi-dimensional isochronous ...
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In Chapter 4—the longer one in this book—a lemma is first introduced and several isochronous systems of ODEs encompassed by it are treated. One-, two-, three- and multi-dimensional isochronous systems of ODEs—many of them interpretable as many-body models—are then discussed, including several integrable and solvable variants of the “goldfish” many-body problem, nonlinear oscillators models, and two Hamiltonian systems.Less
In Chapter 4—the longer one in this book—a lemma is first introduced and several isochronous systems of ODEs encompassed by it are treated. One-, two-, three- and multi-dimensional isochronous systems of ODEs—many of them interpretable as many-body models—are then discussed, including several integrable and solvable variants of the “goldfish” many-body problem, nonlinear oscillators models, and two Hamiltonian systems.
Ben Brice
- Published in print:
- 2007
- Published Online:
- January 2008
- ISBN:
- 9780199290253
- eISBN:
- 9780191710483
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199290253.003.0004
- Subject:
- Literature, 19th-century Literature and Romanticism
This chapter begins with a discussion of a range of Coleridge's early writings in which he explores his uncertain faith in his ability to read the handwriting of God in nature. It then turns to ...
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This chapter begins with a discussion of a range of Coleridge's early writings in which he explores his uncertain faith in his ability to read the handwriting of God in nature. It then turns to Coleridge's Lectures on Revealed Religion (1795), in which his early debts to post-Newtonian natural religion are made explicit. Coleridge's poem, Religious Musings, is discussed. The chapter continues with a detailed examination of three important ‘Conversation’ poems: Fears in Solitude, France: an Ode, and Frost at Midnight published together in 1798, which further reveal Coleridge's religious uncertainty, and its connection with his sense of being fallen. The chapter concludes with a discussion of the poem, Dejection: An Ode, in which a state of creative sterility is again linked by the poet with a sense of being fallen.Less
This chapter begins with a discussion of a range of Coleridge's early writings in which he explores his uncertain faith in his ability to read the handwriting of God in nature. It then turns to Coleridge's Lectures on Revealed Religion (1795), in which his early debts to post-Newtonian natural religion are made explicit. Coleridge's poem, Religious Musings, is discussed. The chapter continues with a detailed examination of three important ‘Conversation’ poems: Fears in Solitude, France: an Ode, and Frost at Midnight published together in 1798, which further reveal Coleridge's religious uncertainty, and its connection with his sense of being fallen. The chapter concludes with a discussion of the poem, Dejection: An Ode, in which a state of creative sterility is again linked by the poet with a sense of being fallen.
Jennifer A. Glancy
- Published in print:
- 2010
- Published Online:
- May 2010
- ISBN:
- 9780195328158
- eISBN:
- 9780199777143
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195328158.003.0004
- Subject:
- Religion, Church History, Early Christian Studies
Chapter 4 examines the earliest representations of Mary in childbirth in writings dating from the second and early third centuries, including Odes of Solomon, Ascension of Isaiah, Protevangelium of ...
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Chapter 4 examines the earliest representations of Mary in childbirth in writings dating from the second and early third centuries, including Odes of Solomon, Ascension of Isaiah, Protevangelium of James, and works by Tertullian. In a period in which Mary is not yet canonized as a uniquely sinless Eve, her virginity is interpreted in multiple and complex ways. Mary’s childbearing body is located in the context of both ancient and modern discourses about childbirth. Drawing theoretically on the work of Maurice Merleau-Ponty as well as feminist philosophers including Elizabeth Grosz, Luce Irigiray, and Julia Kristeva, chapter 4 considers the parturient body—Mary’s body and, by extension, the bodies of other childbearing women—as a site of corporal knowledge. Corporal knowing begins in the womb.Less
Chapter 4 examines the earliest representations of Mary in childbirth in writings dating from the second and early third centuries, including Odes of Solomon, Ascension of Isaiah, Protevangelium of James, and works by Tertullian. In a period in which Mary is not yet canonized as a uniquely sinless Eve, her virginity is interpreted in multiple and complex ways. Mary’s childbearing body is located in the context of both ancient and modern discourses about childbirth. Drawing theoretically on the work of Maurice Merleau-Ponty as well as feminist philosophers including Elizabeth Grosz, Luce Irigiray, and Julia Kristeva, chapter 4 considers the parturient body—Mary’s body and, by extension, the bodies of other childbearing women—as a site of corporal knowledge. Corporal knowing begins in the womb.
T. P. Wiseman
- Published in print:
- 2010
- Published Online:
- May 2010
- ISBN:
- 9780199558681
- eISBN:
- 9780191720888
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199558681.003.0005
- Subject:
- Classical Studies, European History: BCE to 500CE
This chapter discusses the first surviving part of Velleius Paterculus' history (1.1-8), which covers the period from the Trojan War to the reign of Romulus, with particular reference to the ...
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This chapter discusses the first surviving part of Velleius Paterculus' history (1.1-8), which covers the period from the Trojan War to the reign of Romulus, with particular reference to the foundations of cities and colonies, and the succession of monarchical power (imperium) in Greece and Asia. The discussion concentrates on Velleius' interest in Hercules, whose apotheosis he even uses as a dating marker like the Trojan War or the foundation of Rome. Comparison with Diodorus's narrative of Hercules' deeds, and with the first Nemean Ode of Pindar (written for a Sicilian patron), suggests that Velleius may have been following a western tradition in which Hercules became a god after the defeat of the Giants in Campania. Velleius himself was Campanian, as was his patron M. Vinicius, whose family's presence there can be traced back to the 5th century BC.Less
This chapter discusses the first surviving part of Velleius Paterculus' history (1.1-8), which covers the period from the Trojan War to the reign of Romulus, with particular reference to the foundations of cities and colonies, and the succession of monarchical power (imperium) in Greece and Asia. The discussion concentrates on Velleius' interest in Hercules, whose apotheosis he even uses as a dating marker like the Trojan War or the foundation of Rome. Comparison with Diodorus's narrative of Hercules' deeds, and with the first Nemean Ode of Pindar (written for a Sicilian patron), suggests that Velleius may have been following a western tradition in which Hercules became a god after the defeat of the Giants in Campania. Velleius himself was Campanian, as was his patron M. Vinicius, whose family's presence there can be traced back to the 5th century BC.
Mark Csikszentmihalyi
- Published in print:
- 2008
- Published Online:
- May 2008
- ISBN:
- 9780195311600
- eISBN:
- 9780199870707
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195311600.003.0003
- Subject:
- Religion, World Religions
This chapter begins with an introduction that surveys some of the ways that the Confucian Analects has been read and argues that any attempt to reconstruct an original meaning of the text must locate ...
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This chapter begins with an introduction that surveys some of the ways that the Confucian Analects has been read and argues that any attempt to reconstruct an original meaning of the text must locate it in its historical context. It proceeds to examine three quotations from the text—one on the Odes, one on sacrifice, and one on Confucius's relationship with his disciples—with some remarks on the way these quotations have been read. Once these aspects of the Analects are recontextualized, it becomes clear that despite the fact that these passages have been read in variety of ways, they originally expressed a religious vision that differed from the norm at the time of its composition.Less
This chapter begins with an introduction that surveys some of the ways that the Confucian Analects has been read and argues that any attempt to reconstruct an original meaning of the text must locate it in its historical context. It proceeds to examine three quotations from the text—one on the Odes, one on sacrifice, and one on Confucius's relationship with his disciples—with some remarks on the way these quotations have been read. Once these aspects of the Analects are recontextualized, it becomes clear that despite the fact that these passages have been read in variety of ways, they originally expressed a religious vision that differed from the norm at the time of its composition.
Raymond P. Scheindlin
- Published in print:
- 2007
- Published Online:
- September 2008
- ISBN:
- 9780195315424
- eISBN:
- 9780199872039
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195315424.003.0008
- Subject:
- Religion, Judaism
The chapter studies four poems in which Halevi, still in al-Andalus, describes his longing for and vision of the Land of Israel. Among these poems is Halevi’s most famous poem, the Ode to Jerusalem. ...
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The chapter studies four poems in which Halevi, still in al-Andalus, describes his longing for and vision of the Land of Israel. Among these poems is Halevi’s most famous poem, the Ode to Jerusalem. It is interpreted as speaking not, as usually understood, on behalf of the people as a whole, but as the voice of an individual who, toward the end, becomes the spokesman of a small, elite group of Zion’s true devotees.Less
The chapter studies four poems in which Halevi, still in al-Andalus, describes his longing for and vision of the Land of Israel. Among these poems is Halevi’s most famous poem, the Ode to Jerusalem. It is interpreted as speaking not, as usually understood, on behalf of the people as a whole, but as the voice of an individual who, toward the end, becomes the spokesman of a small, elite group of Zion’s true devotees.
Paul Baird and John C. Wood
- Published in print:
- 2003
- Published Online:
- September 2007
- ISBN:
- 9780198503620
- eISBN:
- 9780191708435
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198503620.003.0013
- Subject:
- Mathematics, Pure Mathematics
When a map has a certain symmetry, the equations for a harmonic morphism reduce to equations in a smaller number of variables. Here, the appropriate symmetry is equivariant with respect to ...
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When a map has a certain symmetry, the equations for a harmonic morphism reduce to equations in a smaller number of variables. Here, the appropriate symmetry is equivariant with respect to isoparametric mappings. The latter is discussed and the concept of eigen-harmonic morphism — reduction theorem — is given. The modification of reduction equations by suitable conformal changes of metric is discussed, which allows us to find equivariant harmonic morphisms by first finding an equivariant map which is horizontally weakly conformal, and then rendering it harmonic by a suitable conformal change of metric. This way, solving the second-order system for a harmonic morphism is reduced to solving two first-order systems in turn. This technique allows the construction of many harmonic morphisms by reduction to an ordinary or partial differential equation (ODE or PDE).Less
When a map has a certain symmetry, the equations for a harmonic morphism reduce to equations in a smaller number of variables. Here, the appropriate symmetry is equivariant with respect to isoparametric mappings. The latter is discussed and the concept of eigen-harmonic morphism — reduction theorem — is given. The modification of reduction equations by suitable conformal changes of metric is discussed, which allows us to find equivariant harmonic morphisms by first finding an equivariant map which is horizontally weakly conformal, and then rendering it harmonic by a suitable conformal change of metric. This way, solving the second-order system for a harmonic morphism is reduced to solving two first-order systems in turn. This technique allows the construction of many harmonic morphisms by reduction to an ordinary or partial differential equation (ODE or PDE).
David Constantine
- Published in print:
- 1988
- Published Online:
- October 2011
- ISBN:
- 9780198157885
- eISBN:
- 9780191673238
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198157885.003.0010
- Subject:
- Literature, European Literature, Poetry
Friedrich Hölderlin wrote odes as a youth in Denkendorf and continued to do so throughout the time of his intense preoccupation with elegy and hymn. He had mastered the ode before he left Frankfurt, ...
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Friedrich Hölderlin wrote odes as a youth in Denkendorf and continued to do so throughout the time of his intense preoccupation with elegy and hymn. He had mastered the ode before he left Frankfurt, and two or three of these written in Homburg were among his best poems. After a few rather uncertain experiments early on, and with one notable exception in 1801, Hölderlin confined himself to two varieties: the alcaic ode and the asclepiad ode. The exception is the beautiful and difficult poem ‘Unter den Alpen gesungen’, which is sapphic (slightly modified). Long before he approached the form himself it had been thoroughly naturalised in German by Friedrich Gottlieb Klopstock, and it was his prosodic scheme which Hölderlin adopted. In the four lines of an alcaic strophe three different patterns occurred, and the expressive use of that variation was something Hölderlin soon learned.Less
Friedrich Hölderlin wrote odes as a youth in Denkendorf and continued to do so throughout the time of his intense preoccupation with elegy and hymn. He had mastered the ode before he left Frankfurt, and two or three of these written in Homburg were among his best poems. After a few rather uncertain experiments early on, and with one notable exception in 1801, Hölderlin confined himself to two varieties: the alcaic ode and the asclepiad ode. The exception is the beautiful and difficult poem ‘Unter den Alpen gesungen’, which is sapphic (slightly modified). Long before he approached the form himself it had been thoroughly naturalised in German by Friedrich Gottlieb Klopstock, and it was his prosodic scheme which Hölderlin adopted. In the four lines of an alcaic strophe three different patterns occurred, and the expressive use of that variation was something Hölderlin soon learned.
Yonatan Malin
- Published in print:
- 2010
- Published Online:
- September 2010
- ISBN:
- 9780195340051
- eISBN:
- 9780199863785
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195340051.003.0006
- Subject:
- Music, Theory, Analysis, Composition
Brahms's songs belong to a late period of cultural history, with the beginnings of canonization—in the Lied as in other genres—and more frequent public performances. Brahms likewise approached poetic ...
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Brahms's songs belong to a late period of cultural history, with the beginnings of canonization—in the Lied as in other genres—and more frequent public performances. Brahms likewise approached poetic texts as “works,” and he was anxious about his contribution to the music‐text blend. This chapter shows that Brahms's songs, more than those of earlier composers, function as musical performances of poetic readings. Brahms was not as concerned about precise declamation as Wolf; nonetheless, attention to performative temporality links Brahms and Wolf across the divide of the later nineteenth century. Analyses focus on five songs: “In der Fremde,” Op. 3 No. 5 (in comparison with Schumann's song); “Liebestreu,” Op. 3 No. 1 (an early dramatic setting); “Die Mainacht,” Op. 43 No. 2, and “Der Kuß,” Op. 19 No. 1 (asclepiadic odes by Hölty); and “Wenn du nur zuweilen lächelst,” Op. 57 No. 2 (poem by Daumer).Less
Brahms's songs belong to a late period of cultural history, with the beginnings of canonization—in the Lied as in other genres—and more frequent public performances. Brahms likewise approached poetic texts as “works,” and he was anxious about his contribution to the music‐text blend. This chapter shows that Brahms's songs, more than those of earlier composers, function as musical performances of poetic readings. Brahms was not as concerned about precise declamation as Wolf; nonetheless, attention to performative temporality links Brahms and Wolf across the divide of the later nineteenth century. Analyses focus on five songs: “In der Fremde,” Op. 3 No. 5 (in comparison with Schumann's song); “Liebestreu,” Op. 3 No. 1 (an early dramatic setting); “Die Mainacht,” Op. 43 No. 2, and “Der Kuß,” Op. 19 No. 1 (asclepiadic odes by Hölty); and “Wenn du nur zuweilen lächelst,” Op. 57 No. 2 (poem by Daumer).
Michael O'Neill
- Published in print:
- 1997
- Published Online:
- October 2011
- ISBN:
- 9780198122852
- eISBN:
- 9780191671579
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198122852.003.0007
- Subject:
- Literature, 19th-century Literature and Romanticism, Poetry
This chapter explores poetry's concern with its status as poetry and with the status of poetry more generally. It argues that Keats's relevance to us resides, to a considerable degree, in the way his ...
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This chapter explores poetry's concern with its status as poetry and with the status of poetry more generally. It argues that Keats's relevance to us resides, to a considerable degree, in the way his whole-hearted pursuit of poetic excellence is crossed (though never deflected) by a fear that poetry may itself be ‘a mere Jack a lanthern’. Above all, it is fascinated by the different forms which ‘self-consciousness’ takes in Keats's poetry, examining his oeuvre in the light of the propositions and hidden challenges, even contradictions, in the ‘poetical Character’ letter which the poet wrote to Richard Woodhouse in October 1818. Among other things, the chapter suggests that the drama of ‘Ode to a Nightingale’ has much to do with Keats's sense of the burden of imaginative experience — a burden which attracts and repels the poet — and that ‘Ode on Indolence’ is an underestimated and central poem, exploring the poet's wish not to be stirred out of an ‘indolence’ at once fruitless and potentially fertile.Less
This chapter explores poetry's concern with its status as poetry and with the status of poetry more generally. It argues that Keats's relevance to us resides, to a considerable degree, in the way his whole-hearted pursuit of poetic excellence is crossed (though never deflected) by a fear that poetry may itself be ‘a mere Jack a lanthern’. Above all, it is fascinated by the different forms which ‘self-consciousness’ takes in Keats's poetry, examining his oeuvre in the light of the propositions and hidden challenges, even contradictions, in the ‘poetical Character’ letter which the poet wrote to Richard Woodhouse in October 1818. Among other things, the chapter suggests that the drama of ‘Ode to a Nightingale’ has much to do with Keats's sense of the burden of imaginative experience — a burden which attracts and repels the poet — and that ‘Ode on Indolence’ is an underestimated and central poem, exploring the poet's wish not to be stirred out of an ‘indolence’ at once fruitless and potentially fertile.
Jasper Griffin
- Published in print:
- 2006
- Published Online:
- January 2012
- ISBN:
- 9780197263235
- eISBN:
- 9780191734328
- Item type:
- chapter
- Publisher:
- British Academy
- DOI:
- 10.5871/bacad/9780197263235.003.0013
- Subject:
- Classical Studies, Literary Studies: Classical, Early, and Medieval
Quintus Horatius Flaccus brought his first three books of Odes before the public in 23 bc. They came with impressive sponsors, addressed to Maecenas, the second to the Princeps himself, the fourth to ...
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Quintus Horatius Flaccus brought his first three books of Odes before the public in 23 bc. They came with impressive sponsors, addressed to Maecenas, the second to the Princeps himself, the fourth to L. Sestius and M. Agrippa. Horace did not repeat, in books 1 to 3, the bold stroke of directly addressing the Princeps; that was reserved for book 4, odes 5 and 15. This chapter describes his relation to Augustus, and the relation of his poetry to the imperial propaganda. What is called ‘Augustan poetry’ is so intimately connected with the estimate of the crucial event in Roman history, the change from Republic to Empire, that both historians and literary scholars find the question fascinating.Less
Quintus Horatius Flaccus brought his first three books of Odes before the public in 23 bc. They came with impressive sponsors, addressed to Maecenas, the second to the Princeps himself, the fourth to L. Sestius and M. Agrippa. Horace did not repeat, in books 1 to 3, the bold stroke of directly addressing the Princeps; that was reserved for book 4, odes 5 and 15. This chapter describes his relation to Augustus, and the relation of his poetry to the imperial propaganda. What is called ‘Augustan poetry’ is so intimately connected with the estimate of the crucial event in Roman history, the change from Republic to Empire, that both historians and literary scholars find the question fascinating.
Joseph Arthur Mann
- Published in print:
- 2020
- Published Online:
- May 2021
- ISBN:
- 9781949979237
- eISBN:
- 9781800341531
- Item type:
- chapter
- Publisher:
- Liverpool University Press
- DOI:
- 10.3828/liverpool/9781949979237.003.0006
- Subject:
- Music, History, Western
The conclusion provides a broad retrospective on the arguments presented and defended throughout the book. In addition, it also offers avenues of future research on the topic of musical propaganda in ...
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The conclusion provides a broad retrospective on the arguments presented and defended throughout the book. In addition, it also offers avenues of future research on the topic of musical propaganda in early modern England. For example, it suggests the presence of musical propaganda campaigns presenting moral instruction to individuals during the Elizabethan era, especially thorough broadside ballads. It also suggests a propaganda campaign prosecuted through the musical Birthday and New Year’s Day odes for William and Mary during their reign.Less
The conclusion provides a broad retrospective on the arguments presented and defended throughout the book. In addition, it also offers avenues of future research on the topic of musical propaganda in early modern England. For example, it suggests the presence of musical propaganda campaigns presenting moral instruction to individuals during the Elizabethan era, especially thorough broadside ballads. It also suggests a propaganda campaign prosecuted through the musical Birthday and New Year’s Day odes for William and Mary during their reign.
S.J. Harrison
- Published in print:
- 2007
- Published Online:
- September 2007
- ISBN:
- 9780199203581
- eISBN:
- 9780191708176
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199203581.003.0006
- Subject:
- Classical Studies, Poetry and Poets: Classical, Early, and Medieval
Horace's re-invention of archaic Greek lyric for Augustan Rome raises many issues of generic complexity, which are deliberately foregrounded by the texts. The boundaries of lyric are severely probed ...
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Horace's re-invention of archaic Greek lyric for Augustan Rome raises many issues of generic complexity, which are deliberately foregrounded by the texts. The boundaries of lyric are severely probed and tested by the incorporation and admixture of other literary genres (e.g., epic, epigram, prophecy, and tragedy).Less
Horace's re-invention of archaic Greek lyric for Augustan Rome raises many issues of generic complexity, which are deliberately foregrounded by the texts. The boundaries of lyric are severely probed and tested by the incorporation and admixture of other literary genres (e.g., epic, epigram, prophecy, and tragedy).
Porscha Fermanis
- Published in print:
- 2009
- Published Online:
- March 2012
- ISBN:
- 9780748637805
- eISBN:
- 9780748652181
- Item type:
- book
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748637805.001.0001
- Subject:
- Literature, Poetry
John Keats is generally considered to be the least intellectually sophisticated of all the major Romantic poets, but he was a more serious thinker than either his contemporaries or later scholars ...
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John Keats is generally considered to be the least intellectually sophisticated of all the major Romantic poets, but he was a more serious thinker than either his contemporaries or later scholars have acknowledged. This book provides a major reassessment of Keats' intellectual life by considering his engagement with a formidable body of eighteenth-century thought from the work of Voltaire, Robertson, and Gibbon to Hutcheson, Hume, and Smith. The book re-examines some of Keats' most important poems, including The Eve of St Agnes, Hyperion, Lamia, and Ode to Psyche, in the light of a range of Enlightenment ideas and contexts from literary history and cultural progress to anthropology, political economy, and moral philosophy. By demonstrating that the language and ideas of the Enlightenment played a key role in establishing his poetic agenda, Keats' poetry is shown to be less the expression of an intuitive young genius than the product of the cultural and intellectual contexts of his time. The book contributes to one of the most important current debates in literary scholarship — the understanding of the relationship between the Romantic period and the Enlightenment of the eighteenth century.Less
John Keats is generally considered to be the least intellectually sophisticated of all the major Romantic poets, but he was a more serious thinker than either his contemporaries or later scholars have acknowledged. This book provides a major reassessment of Keats' intellectual life by considering his engagement with a formidable body of eighteenth-century thought from the work of Voltaire, Robertson, and Gibbon to Hutcheson, Hume, and Smith. The book re-examines some of Keats' most important poems, including The Eve of St Agnes, Hyperion, Lamia, and Ode to Psyche, in the light of a range of Enlightenment ideas and contexts from literary history and cultural progress to anthropology, political economy, and moral philosophy. By demonstrating that the language and ideas of the Enlightenment played a key role in establishing his poetic agenda, Keats' poetry is shown to be less the expression of an intuitive young genius than the product of the cultural and intellectual contexts of his time. The book contributes to one of the most important current debates in literary scholarship — the understanding of the relationship between the Romantic period and the Enlightenment of the eighteenth century.
Andrew Morrison
- Published in print:
- 2010
- Published Online:
- January 2011
- ISBN:
- 9780199546510
- eISBN:
- 9780191594922
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199546510.003.0007
- Subject:
- Classical Studies, Poetry and Poets: Classical, Early, and Medieval
This chapter investigates the different performances (including reperformances) and audiences of Pindar's Aeginetan odes, one of the two main clusters of Pindaric odes for victors from one locale ...
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This chapter investigates the different performances (including reperformances) and audiences of Pindar's Aeginetan odes, one of the two main clusters of Pindaric odes for victors from one locale (the other being Pindar's fifteen odes for Sicilian victors), and the possibility in the case of Aeginetan compositions that a substantial proportion of the audience for one ode might have heard another ode. A good case for audience overlap are the three Pindaric and one Bacchylidean odes for the victories of the sons of Lampon (Nemean 5, Bacchylides 13, Isthmian 6, Isthmian 5). Cross-references between these four odes are discussed, and it is suggested that Nemean 5 and Bacchylides 13, both composed for the same victory of Pytheas, were designed by their respective poets with some awareness of the other's ode. This has important consequences for the way we should read intertextual echoes between odes, and for our view of ‘conventional’ material in epinician poetry.Less
This chapter investigates the different performances (including reperformances) and audiences of Pindar's Aeginetan odes, one of the two main clusters of Pindaric odes for victors from one locale (the other being Pindar's fifteen odes for Sicilian victors), and the possibility in the case of Aeginetan compositions that a substantial proportion of the audience for one ode might have heard another ode. A good case for audience overlap are the three Pindaric and one Bacchylidean odes for the victories of the sons of Lampon (Nemean 5, Bacchylides 13, Isthmian 6, Isthmian 5). Cross-references between these four odes are discussed, and it is suggested that Nemean 5 and Bacchylides 13, both composed for the same victory of Pytheas, were designed by their respective poets with some awareness of the other's ode. This has important consequences for the way we should read intertextual echoes between odes, and for our view of ‘conventional’ material in epinician poetry.
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.
