The first substantial commentary for a generation on this book of Horace's Odes, a great masterpiece of classical Latin literature.

A collection of recent articles representing some of the best recent writing on Horace's Odes and Epodes. Several classic studies in French, German, and Italian appear in English for the first time, while the Introduction surveys the state of current scholarship and offers guidance on the interpretation of Horatian lyric today.

This book explores how Horace's poems construct the literary and social authority of their author. Bridging the traditional distinction between 'persona' and 'author', Ellen Oliensis considers Horace's poetry as one dimension of his 'face' - the projected self-image that is the basic currency of social interactions. She reads Horace's poems not only as works of art but also as social acts of face-saving, face-making and self-effacement. These acts are responsive, she suggests, to the pressure of several audiences: Horace shapes his poetry to promote his authority and to pay deference to his patrons while taking account of the envy of contemporaries and the judgement of posterity. Drawing on the insights of sociolinguistics, deconstruction and new historicism Dr Oliensis charts the poet's shifting strategies of authority and deference across his entire literary career.

A collection of lyric poetry by the Roman poet Horace.

This is by far the most detailed commentary yet on Horace's Epodes. The line-by-line commentary on each epode is prefaced by a substantial interpretative essay which offers a reading of that poem and synthesises existing scholarship. These essays, the first of their kind, will provideessential critical orientation to undergraduates approaching the Epode-book for the first time. Moreover, the scale and density of the commentary will make it an invaluable resource for scholars of Latin poetry. A particular feature is the first in-depth treatment of the two lengthy magical Epodes 5and 17. The author draws extensively on ancient magical texts preserved on papyrus and lead, as well as the recent flood of publications on Greek and Roman magic, to cast light on countless details in these epodes which reveal a marked familiarity on Horace's part with authentic magical belief andpractice.

The Epodes, with the first book of the Satires, were Horace's first published work. They consist of a collection of seventeen poems in different versions of the iambus, the metre traditionally associated with lampoon. David Mankin's introduction and commentary examine all aspects of Horace's relationship with his models and of the technical accomplishment of his verse; it also gives help with linguistic problems. His edition places the Epodes firmly in their literary and historical context: Rome at the time of its greatest crisis, the Civil War which ended the Republic and led to the establishment of the Principate. Students and scholars alike will welcome this commentary, only the second in any language since the 1930s and the only one providing a full and detailed interpretation in English.