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

Twenty-one essays make a cogent case for reading Latin poet Horace as a verse form innovator--E.A. Fredricksmeyer seconds spring-song Odes 4.7 as a candidate for the most beautiful poem in ancient literature; espouser of the carpe diem theme in his love poems; and astute observer of Augustan era politics. In reprinted articles from classical studies journals and books (1956-89), the contributors address the Odes from Books 1-3 circa 30-23 BC, plus the Satire from his first publication of 35 BC. Lacks an index. Annotation copyrighted by Book News, Inc., Portland, OR

A deeply personal story of one man's life-long obsession with an ancient poet, and an exploration of what Horace's thoughts on life, leisure and love can teach us today 'A moving memoir that shakes the dust off Horace – and restores him to his rightful berth among the immortals' Harry Mount, author of Amo, Amas, Amat... 'Delightful ... Its seductive interweaving of a modern life and an ancient one will encourage a wider readership of this most appealing of Latin writers, even if only in translation' Economist Horace lived at a pivotal moment. Rome was facing a profound crisis: though it ruled the world, the values which had made it great were disintegrating. As efficiency and pragmatism became watchwords, Horace championed the 'supremely useless' endeavour of poetry, and glorified friendship and wine. Horace and Me charts Harry Eyres' evolving relationship with the Latin poet to show how, in an era of affluence and excess which seems to be hurtling out of control, Horace can help us navigate our way in uncertain times.

A Publishers Weekly Best Book of 2018 “An important contribution to our understanding of how ordinary people found the strength to fight for equality for schoolchildren and their teachers.” —Wall Street Journal In the epic tradition of Eyes on the Prize and with the cultural significance of John Lewis's March trilogy, an ambitious and harrowing account of the devoted black educators who battled southern school segregation and inequality For two years an aging Dr. Horace Tate—a former teacher, principal, and state senator—told Emory University professor Vanessa Siddle Walker about his clandestine travels on unpaved roads under the cover of night, meeting with other educators and with Dr. King, Georgia politicians, and even U.S. presidents. Sometimes he and Walker spoke by phone, sometimes in his office, sometimes in his home; always Tate shared fascinating stories of the times leading up to and following Brown v. Board of Education. Dramatically, on his deathbed, he asked Walker to return to his office in Atlanta, in a building that was once the headquarters of another kind of southern strategy, one driven by integrity and equality. Just days after Dr. Tate's passing in 2002, Walker honored his wish. Up a dusty, rickety staircase, locked in a concealed attic, she found the collection: a massive archive documenting the underground actors and covert strategies behind the most significant era of the fight for educational justice. Thus began Walker's sixteen-year project to uncover the network of educators behind countless battles—in courtrooms, schools, and communities—for the education of black children. Until now, the courageous story of how black Americans in the South won so much and subsequently fell so far has been incomplete. The Lost Education of Horace Tate is a monumental work that offers fresh insight into the southern struggle for human rights, revealing little-known accounts of leaders such as W.E.B. Du Bois and James Weldon Johnson, as well as hidden provocateurs like Horace Tate.

During his 28-year career, Matthew Horace rose through the ranks from a police officer working the beat to a federal agent working criminal cases in some of the toughest communities in America to a highly decorated federal law enforcement executive managing high-profile investigations nationwide. Yet it was not until seven years into his service- when Horace found himself face down on the ground with a gun pointed at his head by a white fellow officer-that he fully understood the racism seething within America's police departments. Through gut-wrenching reportage, on-the-ground research, and personal accounts from interviews with police and government officials around the country, Horace presents an insider's examination of archaic police tactics. He dissects some of the nation's most highly publicized police shootings and communities to explain how these systems and tactics have hurt the people they serve, revealing the mistakes that have stoked racist policing, sky-high incarceration rates, and an epidemic of violence. "Horace's authority as an experienced officer, as well as his obvious integrity and courage, provides the book with a gravitas." -- The Washington Post "The Black and the Blue is an affirmation of the critical need for criminal justice reform, all the more urgent because it/DIVDIVcomes from an insider who respects his profession yet is willing to reveal its flaws." -- USA Today

Horace and Morris, but mostly Dolores, are back again for another uproarious adventure. When the three best friends decide to try out for the school chorus together, they're shocked when Dolores (who can only sing notes that no one has ever heard before) is the only one who doesn't make the cut. After all, they've always done everything together. Once Horace and Morris start chorus practice, they're so busy that they don't have time to go exploring or climb trees with Dolores anymore. Feeling left out and alone, Dolores decides to take matters into her own hands. But can she prove to Moustro Provolone that there's a place for every kind of voice in the chorus?

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.

This book is a successor to the commentaries by Nisbet and Hubbard on Odes I and II, but it takes critical note of the abundant recent writing on Horace. It starts from the precise interpretation of the Latin; attention is paid to the nuances implied by the word-order; parallel passages arequoted, not to depreciate the poet's originality but to elucidate his meaning and to show how he adapted his predecessors; sometimes major English poets are cited to exemplify his influence on the tradition.In expounding the so-called Roman Odes the editors reject not only uncritical acceptance of Augustan ideology but also more recent attempts to find subversion in a court-poet. They show how Greek moralizing, particularly by the Epicureans, is applied to contemporary social situations. Poems oncountry festivals are treated sympathetically in the belief that the tolerant and inclusive religion of the Romans can easily be misunderstood. The poet's wit is emphasized in his addresses both to eminent Romans and to women with Greek names; the latter poems are taken as reflecting his generalexperience rather than particular occasions. Though Horace's ironic self-presentation must not be understood too literally, the editors reject the modern tendency to treat the author as unknowable.Although the text of the Odes is not printed separately, the headings to the notes provide a continuous text. The editors put forward a number of conjectures, most of them necessarily tentative, and in the few cases where they disagree, both opinions are summarized.

This nuanced reassessment transforms our understanding of Horace Pippin, casting the artist and his celebrated paintings as more complex than has previously been recognized

This edition provides current information and guidance on fundamental matters of language usage, poetic structure, and literary interpretation.