Studia Horatiana:
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | Polish |
| Veröffentlicht: |
Kraków
Polska Akademia Umiejętności
2013
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| Schriftenreihe: | Prace Komisji Filologii Klasycznej PAU / Polska Akademia Umiejętności
43 |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Abstract |
| Beschreibung: | Zsfassung in engl. Sprache Bibliogr. s. 161-167. Indeks |
| Beschreibung: | 174, [1] s. 24 cm |
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| 500 | |a Zsfassung in engl. Sprache | ||
| 500 | |a Bibliogr. s. 161-167. Indeks | ||
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Datensatz im Suchindex
| _version_ | 1804151796068777984 |
|---|---|
| adam_text | SPIS TREŚCI
Wstęp
......................................... 5
I. Curriculum
vitae
................................ 7
II.
Literackie satyry Horacego
........................... 17
III. Śladami Archilocha
............................... 25
IV.
Obraz życia codziennego w poezji Horacego
................. 32
V.
Struktury narracyjne w Pieśniach
....................... 43
VI.
Struktura obrazu poetyckiego w liryce Horacego
................ 54
VII.
Historia rzymska w Pieśniach
......................... 64
VIII.
Rzym w odach Horacego
............................ 81
IX.
Oda horacjańska
................................ 92
X.
Rzymska kultura literacka w świetle Listów Horacego
............ 98
XI.
Teoria gatunków literackich w Liście do Pizonów
............... 120
Appendix
...................................... 140
Summary........................................
155
Wybrana bibliografia
................................. 161
Indeks imion
...................................... 169
STUDIA HORATIANA
SUMMARY
In his Introduction the author explains the reasons for bringing together in a single volu¬
me of
Studia Horatiana
a selection of his critical studies and articles on Horace. They have
been written and published in the course of almost four decades, or to be precise since
1975.
This volume includes among others a number of the author s
Horatian
studies originally
published in Poland and abroad in languages other than Polish; now they have been made
available in Polish.
It seems that all the texts in this collection represent a fairly clear and consistent approach.
Dispersed across various periodicals and books, they look like more or less interesting
insights into some aspects of Horace s art. But, taken together, they form a sustained
critical project, and can well be treated as a fragmentary monograph of Horace s poetic
achievement.
They are, moreover, not just mechanically reprinted from their original sites without
taking into account the subsequent developments in philological studies, and especially the
new research on Horace. On the contrary, the author s main intention was to confront, as far
as possible, his own readings and interpretations with those that represent the current state of
research. This entailed, as a matter of course, consulting the new and the latest publications
in the field of
Horatian
studies, even if access to them in Polish libraries cannot be taken
for granted.
The volume opens with the essay Curriculum
vitae
(Chapter I) which presents Hora¬
ce s biography on the basis of Suetonius s Vita
Ногат,
the only extant ancient source for
the poet s life. The essay tries to reconstruct the most plausible account of Horace s life by
filtering out a number of modern biographers claims and opinions that do not stand up to
scrutiny.
The article Horace s Literary Satires (Chapter II) begins with the thesis that the lite¬
rary Satires were spurred by Horace s criticism of Lucilius. To be sure, Lucilius possessed
supreme poetic talent, but was also guilty of unpardonable blunders caused by his sloppi-
ness and inordinate haste. For Horace, who is not prepared to compromise on poetic craft¬
smanship, the only criterion of the value of poetry is its artistic excellence, and not the large
number of verses or their popular appeal. To become a true poet it is not enough to be able to
string up verses: one needs talent, inspiration and a noble mind. Furthermore, he states that
neither his own satires nor the ones written by Lucilius can qualify as poetry proper. It is so
because their mode
—
an informal, versified talk
-
falls short of the mark set for poetry. Yet
even within the confines of this low genre Horace does not give up on art. He steers clear
156
of slander, backbiting, deception, or hypocrisy to uphold the noble bond between art and
morality. And, as the genre of satire requires readjustments of style to content and frequent
shifts in the mode of writing, he tries to safeguard the artistic merit of his composition by
falling back on his own aesthetic sense.
The article In Archilochus s Footsteps (Chapter III) argues that Horace, while taking
Archilochus s iambs as his general model, produced a series of poems which owe their
striking originality first and foremost to their being set in the Roman world. His moving
away from the Greek the iambic verse
-
even though he did adhere to it to some extent
-
manifests itself first of all in his choice of new themes. Their broad diversity will eventually
become the hallmark of Horace s late poems. Similarly, the three main thematic categories
of the Epodes may well foreshadow the key motifs of his subsequent work. Meanwhile
the principal function of the Epodes, determined in a way by the nature
ofthat
genre, gets
blurred as Horace abandons the scurrilous posturing characteristic of Greek iambography
for a more reflective, philosophical tone which gradually becomes a distinctive feature of
his poetry in
ali
its varieties, satirical, epistolographic, and lyrical. If the Epodes show that
he was not particularly keen on sarcasm or malicious caricaturing, they also exhibit all of
his strengths
—
a fine sense of humour, a concern for the public good, an abhorrence of evil,
a keen sensitivity, and a superb ability to evoke a whole range of emotions, from stun¬
ning horror and grotesque fun to grave seriousness. Already this earliest collection of verse
proves to be a brilliant demonstration of Horace s poetic mastery. It shows not only in his
handling of iambic meters (which after all do not afford as much scope for formal effects
as the Sapphic or Alcaic stanzas he was to take up later) and his making the most of the
techniques of the iamb and the Hellenistic epigram, but also in his creative use of various
structural devices, carefully adjusted to the subject in hand.
The study entitled Representation of everyday life in Horace s poetry (Chapter IV)
tries to demonstrate that Horace s work contains, contrary to the general belief, quite a num¬
ber of references to everyday life. Their distribution is uneven
:
most of them can be found
in his Odes and
Sermones.
While most of the references and allusions in the Odes function
as elements of moral argument, those in the
Sermones
depict details of the narrator s way
of life and usually link up to form extended pictures. As Horace s glimpses of everyday life
are fairly selective and illuminate only few of its aspects, it is hardly possible to use them for
a comprehensive reconstruction
ofthat
life during the time of Augustus.
The article Narrative structures in Horace s
Carmina
(Chapter V) traces the narrative
structures in his Odes with a view of formulating some general conclusions. Most important
of them is the observation that practically none of Horace s lyrical poems is built round
a narrative. In all of the analyzed texts the narratives function as interpolations controlled
by the lyrical I . They usually take the form of episodic narrations focused on a single
event, eg. in Odes
1.22,
II.7, and
111.7.
When, however, they cover a string of events, as may
occasionally happen, they tend to approach the epic mode. On the whole, these two basic
narrative structures of Horace s Odes correspond to two themes, mundane experiences of
everyday life (as eg. in Ode
1.22
and II.
7)
and the heroic-mythological or heroic-historical
subject matter (eg. in Ode
1.37
and III.
5).
Only in one case is the incorporation of narrative
elements into the structure of an ode {Ode 1.
15)
conducted by means of a separate narrator
(Nereus); otherwise the narrations are introduced by the lyrical I himself. It is also worth
noting that in each case the embedded narrative has structural links to the rest of the ode.
157
Since the shape and nature
ofthat
connection can be rather elusive, the question about the
function of the narrative sequences within the structure of individual poems is very difficult
to answer without raising all kinds of controversy. The debates focus especially on the use of
dramatization, eg. in
1.37,
Ш.5,
III.
11,
and
Ш.27.
In some cases the purpose of the interpo¬
lated narration is to illustrate a thesis or a point (eg.
1.22
and III.4). Finally, some narrations
function as vehicles of political allusions (eg. in Ode
1.15
and II.
7)
although their referential
clarity can vary a great deal.
The essay The structure of the poetic image in Horace s poetry (Chapter VI) proceeds
from the observation that the loose and unconventional structure of his Odes
—
which results
from abrupt changes of subject, tone or mood as well as the rejection of fixed patterns in
favour of the structural principle of variatio ~ to the question whether the same features cha¬
racterize the poetic images employed in these poems. It should stressed that in all the odes
discussed here the images are closely linked with the message articulated by these poems. In
practice, it means that the individual images are subordinated to the poem s ideological and
artistic function. Our analyses show that the images are intended to illustrate, or visualize,
the philosophical reflections, meditations, or exhortations that punctuate the poetic mono¬
logue in the poems. The fact that in each poem analyzed here its images are in full harmony
its message offers yet another proof of Horace s consummate mastery of the poetic form, his
technical skill and unerring artistic taste.
The study Roman History in the
Carmina 1
(Chapter
VII)
brings in the distinction
between two types of historical references in the Odes, one pointing to events of more or less
remote past, and the other
—
to characters and events that are relatively contemporaneous.
Considering Horace s emotional and intellectual concerns, it is no surprise that the balance
is tipped in favour of the latter. The story of the Roman state and the Romans that emerges
from those revocations, both the distant and the recent ones, is an alteration of triumphs and
defeats, which together they give shape to Rome s glorious and troubling history. In Hora¬
ce s Odes history functions as
magistra
vitae,
teacher of the nation, but even more so as
teacher of the Roman youth. After all, it was to them that the poems were addressed. Conse¬
quently, the purpose of the historical revocations was to show the young Romans the exam¬
ple of their great ancestors for imitation and emulation. But Horace s history is more than
a string of narratives with a didactic import; it is also a sequence of episodes and characters
that add up to a great, polyphonic encomium of
Octavian
Augustus, whose military and
political triumphs had consolidated Rome s might. Augustus s greatness, of which Horace
is deeply convinced, is demonstrated not only by his victories in the battlefield (Philippi,
Actium, the Cantabrian War), but also his extraordinary talent for negotiating peace settle¬
ments, concluding advantageous alliances and avoiding unnecessary conflicts or wars (in
relations with Armenia, Egypt, the Parthian Empire, the Scythians and the Dacians).
The essay Rome in Horace s Odes (Chapter
VIII)
tries to show that also the current
political and social climate is in a way reflected in Horace s representations of the Eternal
City. There even seems to be a clear interconnectedness: the picture gets brighter and more
sanguine as the condition of the Roman state improves under the benign rule of Augustus.
A comparison of the image of Rome in the Epodes with its match in the Odes, especially
in Book IV, reveals a contrast that could hardly be more striking. It is almost as if we were
offered glimpses of two different cities
—
one sad and gloomy, the other joyful and happy.
Similarly, Horace idealizes Rome s past, making it nobler and more admirable than it was
158
in reality, in order to build a strong contrast with the desolate present age, shattered by civil
wars, and tainted by immorality, impiety, love of luxury and other vices. He extols the Rome
of the likes of
Cato,
Scauros, Regulus or Claudius; but he also tries hard to convince his
fellow countrymen that under Augustus
,
called „pater atque
princeps
in Ode
1.2,
Rome is
on the threshold of a new golden age. Thanks to Augustus s efforts and achievements, things
have already started changing for the better: the signs of it are clear to see, Horace argues.
He warns, however, that the happy prospect will not become reality unless people revert to
the old Roman virtues.
The study The
Horatian Ode
(Chapter IX) begins with the assertion that the supreme
beauty of Horace s poetic world is a product of both his formal skills, ie. his absolute mastery
of the techniques of versification and composition, as well as his extraordinary intellectual
and emotional range. Since the time they were written until this day his Odes have been
a paragon of classic harmony and equilibrium. That special balancing includes not only the
construction of symmetries or the combination of diverse elements into a unified whole, but
also the art of bringing together the passions and the intellect in such a way that the latter
both transfuses and controls a finely differentiated gamut of emotions. Though amazingly
complex in terms of content and structural diversity, Horace s poetry remains committed to
the values of moderation and restraint in handling personal feelings and passions. If some
of the odes lack spontaneity or appear too conventional, these deficits are more than com¬
pensated by their seriousness, depth of reflection, clarity of thought, and succinct precision
of poetic phrase.
The first part of the analytical study Roman Literary Culture in the Light of Horace s
Epistles (Chapter X) concerns itself with some passages from Epistle
1.3
and
1.2
to Flo¬
ras; in Part II the attention is focused on Epistle II.
1
to Augustus. Horace s comments on
the Roman literary culture of his day, ie. the Age of Augustus, which overlapped with the
mature phase of his poetic career. The epistolary evidence suggests that Rome had a rela¬
tively vibrant literary community patronized perhaps by the
princeps
himself and his step¬
son Tiberius. Horace does not mince words in declaring his expectation, apparently shared
by the general public, that that community should come up with poem paying tribute to
Augustus s exploits and offering a fit celebration of his rule. Horace s interest in the work
of the younger Roman poets manifests itself in his admonition to Albino vanus Celsus not to
overstep the accepted boundaries of imitation. To do so, warns Horace, would bring scorn
and ridicule on his head. The career of an orator or lawyer
-
as was the case of Florus
-
need not prevent one from seeking distinction and fame in the realm of poetry; nonetheless
nothing is more important than the pursuit of philosophy, the crown of all the arts and the
gateway to true virtue. Horace believes that at that point of cultural development lyrical
poetry will be taken over completely by young writers who are just acquiring the necessary
literary and philosophical credentials
.
This type of education was the educational standard
of the Roman elites, which were quick to react to any new product on the literary market.
They also had a considerable influence on the rise and relative rank of various poetic genres,
which in turn may have put a lot of pressure on poets from Rome, whose life, as we know,
was not made any easier by the hectic way of life of the metropolis. Having said that, we
may also note that the reading public was not a monolith, and the differences in taste and
demand are proof of a sophisticated literary culture. When Horace portrays it Epistle II.2,
he does it in an unmistakably satirical tone. Groups, or rather coteries, of poets striving to
159
outdo one another in displays of flattery do little but stifle the growth of Roman poetry. Its
recovery, we are told by Horace, depends on competent, professional criticism and, even
more so, on the poets taking an honest and self-critical view of their own work which should
be judged by the highest standards of the poetic craft.
Horace s assessment of the current condition of the Roman poetry in Epistle
ILI
ends
with the conclusion that its future can be secured by Augustus s patronage and a new educa¬
tional strategy that would instil a higher literary culture into the Roman society. He rejects
the entrenched Roman preference for the poets of old by arguing that mere antiquity cannot
be regarded as a hallmark of artistic merit. So for example ancient Roman poetry
—
in con¬
trast to early Greek literature
-
did not produce anything of superior value, and the passage
of time has not affected the low opinion of its worth. Horace notes the high claims made by
Roman literary critics on behalf of Pacuvius, Plautus, Terence and other ancient poets but
dismisses them as totally unfounded. For Horace such extravagant praise of inferior poetic
work merely betrays the literary incompetence of those who voice it. An absurd attachment
to antiquity and the habitual conservatism of the critics and the general public is not just
a sign of bad taste and thoughtlessness; it has further consequences like for example a pre¬
judice against contemporary writers. Yet the scorn poured over modern versifiers by both
young and old, the educated and the uneducated, may also indicate that at least some sec¬
tions of the Roman society are in possession of a better judgement. This optimistic suppo¬
sition does not apply to the rowdy regulars of theatricals, whose moral and intellectual
primitivism
is absolutely appalling. Poetry played a major role in the social life and the
education of generations of Romans.
Ifit
is to maintain its role, Horace insists, modern poets
should be encouraged and promoted under the benign patronage of Caesar Augustus.
The article Theory of literary genres in Epistula ad
Pisones
(Chapter XI) argues at
length that Horace concentrates his attention primarily on just a few genological issues,
ie. the classification of genres, the function of poetry and the poetic genres, the origins of
genres and the problem of distinctive features of genre (on the level of style and language).
These issues
—
that are of key importance to any genological doctrine
-
are subject of an
exhaustive examination in Horace s treatise, even if some of his formulas tend to be me-
taphoric or somewhat laconic. Now there be no longer any doubt that Horace owes the
basic elements of his theory of genres to the Alexandrian eidographers. This indebtedness is
reflected in the scope of his discussion and in the choice of some genres for closer exami¬
nation. He focuses on tragedy, comedy, satyr plays, iambic poetry and Greek lyric, ie. those
types of poetry which the Alexandrian scholars canonized into genres. For Horace, too,
literary genres are not concepts
ort
ideas, but rather classes of individual objects, in this case
works of literature, distinguished on the basis of theme, function, metre, language and style.
His approach is remarkably similar to Aristotle s understanding of literary genre, although
the issue of Horace s direct indebtedness to Aristotle s Poetics remains an open question.
The conclusions of this survey of the genological debate in the Epistula ad
Pisones
challenge the traditional consensus about Horace s idea of the distinctive features of genre.
Most importantly, the evidence of the text does not support the commonly held view that
Horace took theme and metre to be the sole markers of genre. In fact, as this analysis of
the Epistula ad
Pisones
demonstrates function, language and style were as important for
him as the other two features. This appears to be consistent with his belief that the question
of the origin of genre is answered best by a monogenetic explanation, that each genre has
160
a specific, well-defined social function, and that individual genres are inherently stable and
unsuited for fusions or crossovers.
The last item in this collection of
Studia Horatiana
is an Appendix with close readings
of Horace s three odes:
1.7
{Laudabunt alii
ciaram
Rhodon
aut
Mytilenen); I
28
{Te maris et
terrae numeroque carentis harenae); and
11.19
{Bacchum in remotis
carmina rupibus).
The
test of each of them is followed by a general commentary, an analysis of its structure and
theme, and a cluster of notes expounding and clarifying some details of the Latin text.
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| genre | (DE-588)4143413-4 Aufsatzsammlung gnd-content |
| genre_facet | Aufsatzsammlung |
| id | DE-604.BV041602370 |
| illustrated | Not Illustrated |
| indexdate | 2024-07-10T01:00:30Z |
| institution | BVB |
| language | Polish |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-027043544 |
| oclc_num | 869894276 |
| open_access_boolean | |
| owner | DE-12 |
| owner_facet | DE-12 |
| physical | 174, [1] s. 24 cm |
| psigel | gbd_4_1403 |
| publishDate | 2013 |
| publishDateSearch | 2013 |
| publishDateSort | 2013 |
| publisher | Polska Akademia Umiejętności |
| record_format | marc |
| series2 | Prace Komisji Filologii Klasycznej PAU / Polska Akademia Umiejętności |
| spelling | Stabryła, Stanisław 1936- Verfasser (DE-588)103260730 aut Studia Horatiana Stanisław Stabryła Kraków Polska Akademia Umiejętności 2013 174, [1] s. 24 cm txt rdacontent n rdamedia nc rdacarrier Prace Komisji Filologii Klasycznej PAU / Polska Akademia Umiejętności 43 Zsfassung in engl. Sprache Bibliogr. s. 161-167. Indeks Horatius Flaccus, Quintus / (65-8 a.C.) Horatius Flaccus, Quintus v65-v8 (DE-588)118553569 gnd rswk-swf (DE-588)4143413-4 Aufsatzsammlung gnd-content Horatius poeta (DE-2581)TH000001527 gbd Horatius Flaccus, Quintus v65-v8 (DE-588)118553569 p DE-604 Polska Akademia Umiejętności Prace Komisji Filologii Klasycznej PAU 43 (DE-604)BV011115374 43 Digitalisierung BSB Muenchen 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=027043544&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB Muenchen 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=027043544&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Abstract |
| spellingShingle | Stabryła, Stanisław 1936- Studia Horatiana Horatius Flaccus, Quintus / (65-8 a.C.) Horatius Flaccus, Quintus v65-v8 (DE-588)118553569 gnd |
| subject_GND | (DE-588)118553569 (DE-588)4143413-4 |
| title | Studia Horatiana |
| title_auth | Studia Horatiana |
| title_exact_search | Studia Horatiana |
| title_full | Studia Horatiana Stanisław Stabryła |
| title_fullStr | Studia Horatiana Stanisław Stabryła |
| title_full_unstemmed | Studia Horatiana Stanisław Stabryła |
| title_short | Studia Horatiana |
| title_sort | studia horatiana |
| topic | Horatius Flaccus, Quintus / (65-8 a.C.) Horatius Flaccus, Quintus v65-v8 (DE-588)118553569 gnd |
| topic_facet | Horatius Flaccus, Quintus / (65-8 a.C.) Horatius Flaccus, Quintus v65-v8 Aufsatzsammlung |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=027043544&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=027043544&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
| volume_link | (DE-604)BV011115374 |
| work_keys_str_mv | AT stabryłastanisław studiahoratiana |