Quintus Horace Flaccus (65 BC - 8 BC) is a poet of the ancient Roman era. The period of his work coincided with the civil war, the end of the republic and the emergence of the new regime of Octavian Augustus. In the literature of ancient Rome, this was the “golden age”.
Origin
Horace was born on December 8, 65 BC. e. His father was a former slave who was later set free and owned a modest estate in the Italian commune of Venusia (a military colony of Rome in the southeastern part of Italy, located at the junction of the regions of Apulia and Lucania). The poet's full name is known from his works. When Emperor Augustus gave him the order to compose the “Anniversary Hymn,” the caption to this work stated “The song was written by Quintus Horace Flaccus.”
Since Horace’s parent was a freedman, legally his son was equated to a freeborn child. But still, such an origin in social society was considered inferior; it could be completely smoothed out only after one generation. This fact influenced the creative direction and worldview of the future poet.
Horace never mentioned his mother anywhere in his works, so nothing is known about the woman who gave birth to him. There are only a few references to a certain nanny Pullia.
Education
The family lived quietly on a provincial estate and led a fairly economical life. But when the boy began to grow up, his father decided to leave everything and move to Rome. He wanted his son to enter a higher society, and for this it was necessary to receive a decent education in the capital. Horace described his father as a poor and honest peasant. Nevertheless, he managed to find something to do in the capital, with the help of which he covered the costs of a decent education for his son. In Rome, my father got a job as a commission agent at auctions. The buyer and seller paid him one percent of the transaction.
Horace successfully withstood all the stages of education that the Roman nobility of that time went through. He received his initial training at the Roman School of Orbilius, where they were taught the Latin Odyssey by the ancient Roman playwright and poet Livy Andronicus and the ancient Greek poet-storyteller Homer.
Then he continued his studies in Athens at the Platonic Academy, where he studied Greek philosophy and literature. This Academy provided university knowledge, was considered a higher school, and young Roman aristocrats studied there. For example, the son of the ancient Roman philosopher, orator and politician Cicero studied with Horace. At the Athens Academy, Horace studied the Greek language very well, and then even wrote his poetic works in it.
Civil war period
Horace had to interrupt his studies in philosophy and literature in Athens, because in 44 BC. e. Caesar was killed, which started the civil war. Six months passed after the death of the ruler, and Brutus appeared in Athens. He began attending philosophical classes, but in fact, during lectures, he was recruiting supporters of the republican system into his team. Brutus called for a fight against Caesar's successors - Antony and Octavian.
Horace supported the Republicans, sided with Brutus and joined his army. In the Roman legion he received the unexpected command position of military tribune. In fact, he became an officer of the legion, and then such positions were mainly given to children of the privileged ancient Roman classes (senators or equestrians). Such a position could well serve as the beginning of a military career, and in peacetime it was possible to find work with it in the class bodies of city government.
Most likely, by this time, Horace’s father had sufficient funds, which made it possible to enroll his son in the class of horsemen. In Ancient Rome, all this was determined as a result of a census - a kind of census of the property and wealth of citizens with the aim of dividing society into military and socio-political classes.
In the autumn of 42 BC. e. At Philippi, a battle took place between the republican troops led by Cassius and Brutus and the army of Octavian and Antony. The Republicans were defeated and fled. After this, Horace reconsidered his views, completely changed his position regarding power, and said many times later that it was his early republican adventures and illusions that almost cost him his life. Although this was the first sign of cowardice, Horace did not hide it: he remained alive only because he threw down his shield and ran away from the battlefield.
Return to Rome
At the beginning of 41 BC. e. Horace returned home to Venusia, by which time his father had already died. And his native province was included in the list of settlements that were given as rewards to veterans of Caesar’s army. All of Horace's property and inheritance were confiscated.
In 40 BC. e. An amnesty was declared for Brutus' supporters, and Horace left for Rome. Although he complained about the poverty and destitute situation that forced him to take up poetry, Horace had the funds that he paid to obtain a position in the college of quaestor scribes. He worked as a secretary, thereby ensuring his residence in Rome and the opportunity to freely engage in literature.
After 1-2 years, he composed his first poetic works in Latin. These were poems in the ancient classical size of hexameter, which were later included in the first book “Satyr” and the iambic “Epodes”. He met two poets, Lucius Varius Rufus and Publius Verilius Maro, and they, in turn, introduced the aspiring poet to Octavian’s comrade-in-arms and good friend Gaius Cilnius Maecenas. He was a patron of the arts and, under Octavian, held a position similar to the Minister of Culture.
Friendship with Patron
Maecenas pondered for nine months and finally decided to bring Horace closer to him. Finding himself in such an environment, the poet still remained balanced and cautious, he never tried to stand out in any way, did not flatter anyone, and carefully followed all the socio-political reforms carried out by the ruler Octavian. Perhaps, in some ways, Horace did not agree with the ruler’s policies, but he was eternally grateful to him only for the fact that, after a hundred years of civil wars, the peace that everyone had been waiting for had finally returned to Italy.
Octavian made an offer to Horace to become his personal secretary, but such a position did not attract the poet, and he politely refused. Despite the fact that the position of secretary was very tempting and profitable, Horace did not want to lose his independence, which he greatly valued.
Horace traveled a lot with Maecenas. They visited Cape Palinure, where Octavian suffered a naval defeat, the Italian seaport of Brindisi, and Cape Actium, where the last great naval battle in antiquity took place between the ancient Roman fleets.
Horace repeatedly noted in his poems that their relationship with Maecenas was based solely on friendship and respect for each other, regardless of social status. Their relationship has never been of a “patron and subordinate” nature. Horace never abused this friendship and did not demand anything from Maecenas; he did not even try in this way to return his father’s house, which was confiscated in Venusia.
Creation
Horace had a calm disposition, and he did not like city life with its worries and troubles. The poet preferred to live in a quiet village. In 33 BC. e. he acquired an estate on the Tibur River in the Sabine Mountains. There is no exact information as to whether he was able to buy the estate with his own funds or whether it was a gift from the Patron.
Here he wrote his famous works:
- the second book "Satyr";
- a collection of 17 poems “Epodes”;
- the first collection of lyrical poems “Songs”;
- the first book of the “Epistle” (it included 20 poems);
- second collection of "Messages".
In 17 BC. e. In Rome, the period of civil wars ended and an era of renewal and prosperity began. The celebrations of these events were planned to be large-scale and complex, and the script was developed very carefully. The announcements said that no one had ever seen such a ceremony and would never see it again; the most noble people of Rome were supposed to take part in it.
In this regard, Octavian instructed Horace to compose a hymn for the ceremony, which was supposed to be the end of the festive events. For the poet, this became the highest praise, thus the state recognized that Horace was listed in a leading position in Roman literature. He wrote the “Anniversary Hymn”, which was sung simultaneously by 27 girls and 27 young boys in the Temple of Apollo Palatine. The poet gained recognition and popularity.
His satire was different from others. He never attacked the shortcomings of his contemporaries, did not try to change people's behavior, much less punish them for anything, his works did not splash with rage. In all his satires it is clear that he is an extremely friendly person, he did not directly blame anyone, but, on the contrary, suggested thinking about the nature and essence of people. He never touched on current politics in his work, nor did he turn to personal likes and dislikes. His ridicule and teachings were of a general nature and left everyone the right to draw their own conclusions.
Horace died of a sudden illness on November 27, 8 BC. e. Maecenas died 59 days earlier. Horace was fully 56 years old; he bequeathed his entire literary heritage to Octavian Augustus. The disease set in and progressed so sharply and quickly that Horace could not even sign the tablet with his will. He made it orally in front of witnesses.
He was buried not far from the Maecenas’s grave. On the planet Mercury, a crater was named in honor of Horace.
“Epodes” (“Choruses”) is a collection of poems written in iambic meter. In these works, Horace focuses on the ancient Greek lyricist Archilochus. The collection contains 17 episodes. They contain themes from the contemporary Roman reality of the poet. Most episodes have the character of a personal invective, but with an orientation towards exposing individual aspects of social reality.
In Epode IV, Horace attacks some upstart freedman (name not given), who, thanks to his wealth, “sits like a prominent horseman in the front row” (verse 35); The poet angrily attacks the witchcraft that was widespread at that time, branding the old women involved in this craft (the common name of the sorceress Canidius) - Epodes III, V, XII. Episode V talks about the murder of a boy by witches in order to prepare a “love potion” from his entrails. Horace addresses them with threats:
“All of you, vile old women, stoned
The crowd will beat you on the street,
And the corpses of wolves will be torn to pieces by predatory
And the birds of the Esquiline"
(epode V, verses 97 – 100; trans. F.A. Petrovsky).
The motive of condemnation of the civil wars that were shaking Rome and shaking its former power (epodes VII and XVI) was heard with great force. Epode VII, addressed to the Roman people, begins with the words:
“Where, where are you going, criminals,
Snatching swords in madness?!
Are the fields and sea waves really not enough?
Covered in Roman blood?..”
(epode VII, verses 1–4; trans. A. Semenov-Tyan-Shansky).
In Epode XVI, written in 40 BC. e. - ten years before the release of the entire collection, Horace speaks about the disastrous consequences of civil wars, that Rome is dooming itself to suicidal death:
“For two generations now we have been languishing in civil war,
And Rome is being destroyed by its own force..."
(epode XVI, verses 1–2; trans. A. Semenov-Tyan-Shansky)
The poet does not see a way out of this situation; he enthusiastically sings of the wonderful life on the “blessed islands,” calling on his compatriots to flee to these islands, which have not yet been affected by the general collapse. But there is no answer to the question posed by the poet himself about the location of the fabulous happy islands in this (XVI) era. Thus, the “blessed islands” are just a pipe dream. And then Battle of Actium in Epode IX, facing Patron, Horace, having ridiculed Antony for his submission to Cleopatra, glorifies the princeps for the first time. This is the only episode where the poet expresses his positive point of view and expresses a positive attitude towards the politician. As for the first epod (by location in the collection), it should be highlighted especially for the programmatic motives expressed by Horace regarding his position in life, and his attitude towards Octavian Augustus and Maecenas. The poem is the last of the epodes in terms of the time of creation. The addressee of this work is the poet’s patron, Maecenas, to whom Horace declares his devotion:
“And on this and every other trip I am ready,
hoping for your love,
And not at all in the hope that I will succeed
Harness more oxen to the plows..."
(epode I, verses 23–26, trans. N. Gunzburg).
Close to Archilochus in the nature of its attacks is Epode X, addressed to Horace’s literary enemy, the poet Maevius. The character of the epic is parodic, built in the spirit of parting words with wishes for a good journey, common in Hellenistic literature. However, Horace wishes Mevia not success, but all sorts of misfortunes on the way, and the addressee is endowed with all sorts of offensive names:
“Then the goat is prodigal along with the sheep
Let him be a victim to the storms!”
(epode X, verses 23–24; trans. N. Gunzburg).
The collection contains episodes with lyrical themes - these are episodes XI, XIII–XV. There are ironic and parodic moments in them, but there are no sharp attacks or denunciations. Epode XI parodies a sentimental love elegy. In Epode XIII, addressing his friends, the poet urges, despite difficult circumstances, to “snatch an hour sent by chance,” because wine and songs save from severe sorrow. In Epode XIV, justifying his “languid inaction” to Maecenas, Horace confirms that “he had long promised to finish the song clean,” but refers to his passion for the “slave Phryne” and speaks ironically about the power of love interests. In Epode XV, addressed to a woman named Neera, he reproaches her for betrayal and says that there will be retribution - Flaccus will find himself another, more worthy, and then: “it will be my turn to laugh.”
Horace - "Satires"
Another important part of Horace’s works, “Satires,” is represented by two collections: the first contains 10 satires, the second – 8. In the satires, the poet addresses moral and philosophical themes. Criticizing certain human vices and shortcomings, Horace expresses his life principles. The main principle of “contentment with little,” based on the philosophy of Epicurus, results in the preaching of rural life in the lap of nature, far from the worries of the bustle of the city. The problem of personal happiness is associated with the philosophy of moderation, an example of which Horace considers his own life; he is content with a quiet life on the estate given to him by Maecenas, where he is served by only a few slaves, and with the fruits of the land of his estate.
Horace reads his satires to Maecenas. Painting by F. Bronnikov, 1863
This “philosophy of moderation” was a unique form of acceptance of the Augustan regime by wide circles of the nobility and the poet himself, allowing them to maintain the illusion of independence and freedom. At the same time, Horace does not create a positive ideal in his satires, although he quite clearly shows how not to live. While decrying the vices and shortcomings of individuals, Horace avoids too harsh criticism in his works. His satire has the character of preaching virtue and wisdom; it is devoid of harshness and accusatory power. A number of satires (Book I, satires 4, 10; Book II, satires 1, 3) address issues of literary theory. The polemical part of these works is largely associated with the name of Horace’s predecessor in this genre - the poet Lucilius:
“Yes, I, of course, said that Lucilius’s poems are rude,
That they run without order. Who, senseless, will
To protect him in this? However, on the same page
I praised him: for the caustic salt of his jokes.
This merit belongs to him, but I cannot acknowledge others.”
(book I, satire 1, verse 10; trans. M. Dmitriev).
Indeed, in Horace’s satires there is no “caustic salt” of Lucilius, who dared to make sharp political denunciations. Horace accuses Lucilius that his satires flow in a “muddy stream,” meaning haste in poetic work, which led to insufficient finishing of the verse. Horace himself strives for consistency in the presentation of his thoughts and grace in the finishing of his works. But Horace recognizes the merits of Lucilius and calls him the “inventor” of the genre of satire.
Horace - "Odes"
The greatest fame was brought to Horace by his “Odes” (“Songs”), a collection of lyric poems consisting of four books. In these works, Horace focuses on famous Greek poets: Alcaeus, Sappho, Anacreon. Taking their best traditions, adapting their poetic meters, using the achievements of previous Roman poetry, Horace reaches the pinnacle of perfection of Roman lyric poetry.
The themes of Horace's odes are varied: they include friendly messages, philosophical reflections, hymns to the gods, love and civil lyrics. The first book opens with a poem where Horace speaks of his poetic calling, which received the support of the powerful patron Maecenas. The first lines of the ode are addressed to him:
“Glorious grandson, Patron of the royal forefathers,
O my joy, honor and refuge!
(book I, ode 1, verses 1–2; trans. A. Semenov-Tyan-Shansky).
Horace lists the hobbies of people that they prefer in their lives: sports, the political arena, agriculture, trade, idle pastime, war, hunting. For everyone, their own occupation constitutes “the highest happiness.” And then in two stanzas (the poem is written in the first stanza of Asclepiades), in an exquisite poetic form he speaks about his calling: “a cool grove brings me close to the heights, where nymphs and satyrs dance in a circle.” Horace expresses his hope for the mercy of Maecenas:
“If you count me among the peaceful singers
I will raise my proud head to the stars"
(Book I, Ode I, verses 35–36; trans. A. Semenov-Tyan-Shansky).
The second ode of the first book is addressed to Augustus, whom Horace portrays as the god Mercury, “the winged son of the blessed Maya,” who received the name Caesar on earth. Thus, already the initial works of the collection give an idea of the ideological orientation of Horace’s lyrics. And further, delving into the reading of Horace's works, the reader can see that the political motives that permeate the collection turn out to be connected with the glorification of Augustus and his policies.
Emperor Octavian Augustus ("Augustus of Prima Porta"). 1st century statue according to R.H.
In the spirit of official ideology, Horace glorifies ancient Roman valor in the so-called cycle of Roman odes (Book III, odes 1–6), which form a certain thematic unity and are written in the same poetic meter - Alcaeus stanza. These odes are united by a common theme - they reflect the positive ideal put forward by the Augustan program; the poet’s focus is on the state and its interests, the poet talks about the harmful influence of luxury and wealth, paints a picture of the degradation of Roman society, destroyed by corruption: “will a fighter whose freedom was bought with gold become bolder?” (Book III, Ode 5, verses 25–26). Horace sees a way out of this disastrous situation in the restoration of the old order, in a return to the beliefs of the gods, in the restoration of destroyed temples:
"The guilt of fathers is an innocent defendant
You will, Rome, until it is restored
Gods fallen dwellings,
Their statues in black smoke"
(book III, ode 6, verses 1–4; trans. N. Shaternikov).
In his works, Horace turns his gaze to the patriarchal gods, which corresponded to the official policy of Augustus, calls for ancient Roman good morals, simplicity of life and former valor (Book III, Ode 2). He sees the embodiment of valor in Augustus, who rises above all people. In Ode 3 of Book III, Horace prepares the apotheosis of Augustus: “from now on I will allow him (meaning Augustus) to join the host of the blessed gods” (verses 35–36). The reign of Augustus on earth is compared with the reign of Jupiter in heaven (Book III, Ode 5). The “Roman odes” adhere to the principle of unity of composition, adopted from Hellenistic poetry: the first and last poems of the cycle (odes 1 and 6) contain the same number of verses (48 each), both are addressed to the people, although with a slight difference: ode 1 is addressed to youth, to the new generation; There is no age limit in ode 6.
The philosophical motifs of “Horatian wisdom”, running through the entire collection of lyrical poems, are associated with the praise of enjoying the joys of life: love, feasts, the blessings and beauties of nature. In the spirit of superficially perceived Epicurean philosophy, the poet put forward the principles of “seize the day” (Book I, Ode 11) and “use the present without thinking about the future” (Book I, Ode 25), that is, enjoy the joys of today. This call is combined in the works of Horace with the preaching of “contentment with little” and the life principle of adhering to the “golden mean”, which was formalized in an ode to Licinius (Book II, Ode 10):
“Choosing the golden mean measure.
The wise will avoid the dilapidated roof,
Will escape the palaces that give birth to people
Black envy.
The wind bends the centuries-old pines stronger,
It is harder for the tallest towers to fall.
Lightning strikes more often
Mountain Heights"
(book II, ode 10, verses 5–12; trans. 3. Morozkina).
Even in such a traditional theme for the ancient poetic tradition as feasts and wine, Horace maintains his point of view regarding moderation. In the feasting verses that are often found in his lyrics, he does not give free rein to bacchanalian excess and does not lose power over his own actions:
“But for everyone there is a limit in drinking: Liber observes the limit.
The battle of the centaurs arose after wine with the Lapiths - here
Drunk people have the best lesson."
(Book I, Ode 18, verses 7–9; trans. N. Ginzburg).
In Ode 3 of Book II, Horace, in accordance with the philosophical views of the moderate Stoics, writes:
“Try to keep your spirit calm
In days of adversity; on happy days
Don't get drunk with jubilation
Subject to death, like all of us, Dellius"
(book II, ode 3, verses 1–4; trans. A. Semenov-Tyan-Shansky).
Odes dedicated to friends occupy a significant place. Of particular interest is the poem “To Pompey Varus” (Book II, Ode 7), translated by A. S. Pushkin, in which Horace recalls his flight from the battlefield when he “threw his shield at Philippi.” This was in 42 BC. e. after the defeat of the Republicans led by Brutus, under whom the poet served. The theme of “loss of the shield” was found in the poems of the Greek poets Archilochus, Alcaeus, and Anacreon. In the works of Horace this theme is presented in his own way - the author uses literary reminiscences from Greek lyric poetry.
There is no passion in Horace's love odes. Horace is never in the grip of love. He observes the passions of others (Book I, Ode 5) or calls to the joys of love (Book II, Ode 12). The heroines of his lyrical works are numerous: Chloe, Pyrrha, Lalaga, Neobula, etc. Among all the poems on this topic, only one ode (book III, ode 9), addressed to Lydia, stands out for its lyrical tone. This poem is a dialogue between Horace and Lydia, where in an elegant form and a humorous tone the poet talks about past mutual love, the happiness of new love when the objects of passion change, and the possibility of renewing relationships with each other. The poem ends with the words: “I want to live with you and die loving.” But in this poem on a love theme, as in others, Horace does not create the image of his beloved. The poet’s heroines are not very specific, each time they are endowed with some quality peculiar only to her alone: Chloe is timid and unapproachable (Book I, Ode 23), Pyrrha is golden-haired (Book I, Ode 5), Glikera “shines brighter than marble Paros" (Book I, Ode 19), Myrtala "was stormier than the sea" (Book I, Ode 33). Horace is alien to the suffering of his beloved’s betrayal: if one rejects him, then he can find consolation with the other. Therefore, he himself, with a playful reproach, turns to Barina, who “drives the young men of the crowd crazy”:
“You know how to lie, remembering in oaths
And father's ashes and the night sky,
And the silence of the stars and the gods who did not know
Death is cold.
But these vows only make Venus laugh,
And the nymphs laugh, and the cruel one himself
Cupid, sharpening on a bloody block
Burning Arrows"
(book II, ode 8, verses 9–16; trans. F.A. Petrovsky).
Horace's love works, more than others, were influenced by Hellenistic, Alexandrian poetry. The most characteristic in this regard in book 1 is ode 30, addressed to Venus.
Horace devotes the final verses of books II and III to his poetic calling and the theme of the immortality of the poet in his works. He begins Ode 20 of Book II with the words: “I will ascend on powerful, unprecedented wings, a two-faced singer, to ethereal heights” (verses 1–2).
Ode 30 of Book III, called "Monument", has achieved the highest fame and enjoys worldwide fame. Here are the final lines of this work:
“...With well-deserved glory,
Melpomene, be proud and supportive,
Now crown my head with the laurels of Delphi.”
(book III, ode 30, verses 14–16; trans. S. V. Shervinsky).
Thus ends the third book of Horace's lyric poems.
According to the poet’s original plan, the collection was to consist of three books, and “Monument” was conceived as an ode that completed this work. But at the insistence of Octavian Augustus, 10 years after the publication of the collection of three books, a fourth book was written, containing 15 poems. The poet continues to glorify Augustus and his political activities, and also glorifies the stepsons of the princeps - Tiberius and Druze; pays a lot of attention to the theme of the poet's immortality.
Horace also owns an anniversary hymn (“Song of the Ages”), written for the national celebration, which was supposed to mark the onset of the “golden age” ensured by Augustus. The anthem was written for choral performance. His words are addressed to the gods Apollo and Diana with a prayer to promote the prosperity of Rome and the divine Augustus.
Horace - "Epistle"
Horace's last works are the Epistles. These are letters in poetic form that have specific addressees. They are written in hexameter. The themes of the messages are varied due to the use of extensive illustrative material from life and literature. As for the main semantic orientation, in the first collection of “Epistles” Horace strives to reveal the “art of living” that he has already achieved (stick to the “golden mean”, not be surprised by anything, be able to be content with the accessible joys of life), and the second collection (of the three “Epistles” ") is devoted to issues of literary theory. Of particular note is the last “Epistle” - “Epistle to the Piso” (“Science of Poetry”). The ancients already singled out this message as a separate work, considering it as a statement of the theory of poetic art. Horace formulates the most important aesthetic principles of classicism about the unity, simplicity and integrity of the work. He talks about the content of art, about the means of influencing the audience, about the social significance of poetry and about the role of the poet. Much attention is paid to the artistic form and composition of the work, and to the criteria for assessing poetic skill. The poet himself speaks about the tasks that he sets for himself in this, in his opinion, theoretical guide:
“Without creating it myself, I will show what the gift is, what the duty of the poet is,
What gives him means, forms him and nourishes him,
What is good, what is not, where is the right path, where is the wrong one.”
(Epistle, book II, last 3, verses 306–308; trans. N. Ginzburg).
Horace's "Science of Poetry" is a monument to ancient classical aesthetics. This work served as the basis for “Poetic Art” by N. Boileau.
Horace is the second great Roman poet after Virgil, who set himself the task of creating exemplary literature. He believed that poetry is “the gymnastics of language.” Horace did not like the lyrics of Catullus and sought to write works that would be similar to the highly meaningful and moralistic poems of Virgil.
The reader is interested not only in the work of the great Roman poet, but also in his historical era and biography. Horace Quintus made enormous contributions to world literature, although he came from a simple family. In his poems, he formulated his own wisdom and gave a number of moral and ethical recommendations, which were based on the philosophy of the golden mean.
Horace: biography and life path
The Great was born in 65 BC. e. in Venusia. His work falls on the first decade of the reign that took Caesar's place. He was born into the family of a freedman, who took care of his son’s education and left him a small estate after his death.
The poet's life was directly related to the activities of the Maecenas. When Caesar was killed in Rome, Quintus Horace Flaccus joined the supporters of Brutus. It was Maecenas who helped him establish himself in life: he gave him an estate and introduced him into the circle of Augustus.
Horace died of a sudden illness in the 8th century BC. e. He was buried next to his virtue Maecenas on the outskirts of Esquiline.
Features of creativity
Quintus Horace Flaccus was a multifaceted poet who created examples of poetry in various lyrical genres - odes and hymns. Both works are quite solemn in form and mood. However, his odes, published in four books, are not aimed at praising anyone’s merits, but reflect the poet’s life wisdom and philosophy. Horace gives advice in them, addressing the one to whom the odes are dedicated.
All the work of the great Roman poet can be divided into several cycles by genre:
1. Epodes (poems-couplets of an iambic character).
2. Satires (works of an accusatory nature). Written in hexameter.
3. Odes (lyric poems dedicated to an event).
Horace, whose biography is represented by three periods of creativity, all his life adhered to the philosophy of the golden mean, built on wisdom, prudence, beauty, virtue and harmony.
Message genre
Quintus Horace Flaccus, whose poems were mostly dedicated to individuals, was very successful in this. He wrote 23 epistles, the last of which, “To the Piso,” became the second work on literary criticism after Aristotle’s “Science of Poetry,” which indicates its significance in the context world literature. The main thing in Horace’s aesthetics is rationality, compliance with nature, so that the style and chosen words are fully consistent with the topic being raised. His poetry is difficult to understand. Johann Wolfgang Goethe once wrote that the images in the messages are like a “pendulum.” The composition of lyrical poems is complex in that Horace skillfully could move from one image to another, using different poetic meters in the text. His poems are filled with various place names and he also pays attention to detail.
Thematic groups of odes to Horace
Poems of reflection are the embodiment of wisdom. Quintus Horace Flaccus, whose work is mainly represented by four books of odes, writes in this thematic group about the shortness of life and the speed of current time. For him, the desire for honor and wealth is meaningless. The odes sound the theme of love and feasting, but unlike the poems of Catullus, their tone is happy and comforting. You can count 7 female names to which Horace writes reflective poems. In one of his odes (No. 30 “To Melpomene”), he raises the problem of the poet’s immortality and enters into the tradition, starting with Egyptian poetry, that a person’s immortality is achieved as a result of his work, creation. Horace sees his infinity in poetry.
Analysis of Ode No. 30
This work received the code name “Monument”. The classics of Russian literature liked the poem so much that the idea of the immortality of the poet’s work was borrowed by Gavrila Derzhavin (“I erected a wonderful, eternal monument to myself”), Alexander Pushkin (“I erected a miraculous monument to myself”), Valery Bryusov (“My monument stands, from the stanzas consonant complex"). The last two borrowed stanzas in Latin as an epigraph, which Horace once pronounced. The poet’s biography, as we know, was far from enviable: from childhood he did not know luxury and, with his own efforts, tried to remain in people’s memory for many centuries.
Ode No. 30 is called “To Melpomene” and completes the third book of odes; Melpomene in mythology is the muse of tragedy. In the work, Horace talks about his achievements and at the end makes a call to crown himself with a laurel crown. To date, the most successful translations of Ode No. 30 are considered to be poems by Lomonosov and Vostokov.
Satires of Horace
The great Roman poet wrote several collections of satires. From this we can conclude that he became famous not only as a master of odes. Horace's satires resemble philosophical discussions on the meaning of life; it is in them that he expresses the philosophy of the golden mean. The main object of ridicule is the false paths of happiness, the pursuit of imaginary benefits. Quintus Horace Flaccus, whose poems are satirical, sneers at revelers and drunkards. One of his life recommendations says that you should not become a slave to wine and abuse this drink to quench your sadness. Despite the fact that human passions and vices become the object of ridicule in satires, in them he also writes about personal things: in satire No. 6, for example, he tells the story of his life. Horace, having a low birth, lives and does not know luxury.
Master of poetic meters
Horace sometimes does not hide his origin in his poems and is not ashamed that he is the son of a manumitted slave. According to literary critic Mikhail Gasparov, the poet used 12 types of ancient Greek stanzas in his poetry; his genius lies in his masterful knowledge and mastery of the art of poetry. In the first book of his odes, he gave a “parade” of these meters, presented the sapphic, alcaean and other stanzas. In addition to odes, Horace, whose years of life were very productive, worked with epodes, which are very similar in form to choruses. They express political content and, like iambics, ridicule the shortcomings of the people and people (the clearest example is “To the Roman People”).
"Be happy with what you have in your hands." The poet implied a simple truth of life, which says that you need to live and enjoy today and not condemn the creator for the fact that not every person is noble and rich. All benefits should be obtained in an honest way and be content with little.
“Money is of no use if you save it but don’t spend it.” History knows how many cases when a person spent his whole life striving to earn capital, denying himself many things, and, having earned it, died suddenly. Horace considers this philosophy wrong: you need to spend the money you earn evenly and live fully, without restrictions.
“Dispel the sorrows of life with wine, but know when to stop.” Hedonism as a trend in aesthetics promotes the idea of pleasure as the highest goal of human life. Horace shared this point of view halfway: drinking wine can certainly quench sorrows, but you should not abuse it.
"Fall in love, but don't suffer from love." Horace, whose biography is replete with seven female names, brought out the truth, thanks to which a man can live in harmony with his heart. He does not deny love, but opposes passion and suffering.
History of Roman literature in names
The most famous Roman comedian is Titus Maccius Plautus. He wrote about fifty comedies, but only 19 have reached us. In total, he wrote over 20 thousand lines of poetry.
Titus Lucretius Carus and Gaius Valerius Catullus are the brightest representatives of Roman literature of the period of the republic. The first is the author of the work “On the Nature of Things,” and the second became famous for his love poems.
Publius Virgil Maro tried himself in many literary genres. This ancient Roman poet is the author of the heroic poem "Aeneid"
Publius Ovid Naso is called a younger contemporary of Horace. He is the author of the poem “The Science of Love,” written in an ironic spirit, as well as the collection of songs “Amores.”
Phaedrus is an outstanding fabulist poet who was the first to write fables in poetic form. He became famous for his own works and translations of Aesop.
The term "prose" was originally used by the Romans to refer to irregular speech. The first works in non-poetry form appeared much later. Apuleius, the author of the adventure novel “The Golden Ass,” is considered to be a famous prose writer; behind him in importance is Petronius the Arbiter, who wrote the “Satyricon.”
; “Quintus Horatius Flaccus carmen composuit” (“Quintus Horatius Flaccus composed [this] song”).
Horace's father was a freedman. Legally, the children of freedmen were equated with freeborns, but such origin, nevertheless, was considered as a social inferiority, which was finally smoothed out only in the next generation. This factor had a certain influence on Horace’s worldview and creativity. The poet does not talk about his mother, although he mentions the nanny Pullia.
When the future poet was a child, his father left the estate, a quiet, economical life in the province and moved to Rome to give his son a proper metropolitan education that could introduce him to higher social circles. In the capital, he served as a commission agent at auctions, receiving one percent of the transaction from the buyer and seller. “The poor, honest peasant,” as Horace portrays his father, nevertheless, through such an occupation, he managed to cover the costs associated with his son’s education.
Horace went through all the stages of education common among the Roman nobility of his time: from his initial studies at the Orbilius school in Rome, where he studied the Latin Odyssey of Livy Andronicus and Homer, to Plato's Academy in Athens, where he studied Greek literature and philosophy. (The Academy of that time served as a kind of university or higher school for the young aristocracy of Rome; one of Horace’s “classmates” was, for example, the son of Cicero.) In Athens, Horace mastered Greek so well that he even wrote poetry in it.
Horace's literary and philosophical studies in Athens were interrupted by the civil war that followed the assassination of Caesar in the autumn of this year, approximately six months after the assassination of Caesar, Brutus arrived in Athens. Attending philosophical lectures, he recruits adherents of the republican system to fight Caesar's successors - Antony and Octavian. Like Cicero, Horace becomes a supporter of the republican cause and joins Brutus.
Horace enters the army of Brutus and even receives the position of military tribune (tribunus militum), that is, commander of the legion, somewhat unexpected for the son of a freedman; this position was occupied mainly by the children of equestrians and senators, and it was the first step in the career of a military man or magistrate. This fact suggests that by this time Horace (most likely, not without his father’s money) possessed the sum of 400,000 sesterces, that is, the qualification necessary for enrollment in the equestrian class, which amount later allowed him to buy into the college of scribes.
At the Battle of Philippi in November, the army of Brutus and Cassius was scattered and put to flight, after which both Brutus and Cassius committed suicide. After this defeat, Horace reconsiders his position and refuses any activity in this direction. Subsequently, Horace repeatedly mentions his early republican “illusions” and the adventure that could have been fatal for him. In one of the Odes, he turns to his friend Pompey, who also took part in the battle of Philippi, where he reports that he survived only by “throwing away his shield and fleeing the battlefield” (which, by the way, was considered the first sign of cowardice).
He returns to Italy, probably at the beginning the Father was no longer alive; his homeland, Venusia, was among the cities given to Caesar's veterans, and Horace's inherited property was confiscated. After an amnesty declared for Brutus' supporters, he comes to Rome and remains there. Despite his own complaints about poverty, which forces him to take up poetry, Horace has enough money to buy into the college of quaestor scribes (under the department of public finance). Roman society was prejudiced against paid work, but this attitude did not extend to some skilled professions; Lifelong positions of this board were considered honorary. Horace works as a secretary (scriba quaestorius), which provides him with the opportunity to live in Rome and study literature.
We can say that now that Horace had long since “lost interest” in lyric poetry, he became popular and recognized as its master. Augustus turns to Horace with a new commission to write poems glorifying the military prowess of his stepsons Tiberius and Drusus. According to Suetonius, the emperor “appreciated the works of Horace to such an extent, and believed that they would remain for centuries, that he not only entrusted him with the composition of the “Anniversary Hymn”, but also the glorification of the Vindelic victory of Tiberius and Drusus...by assigning “Odes” to those three books after a long break, add a fourth.” Thus, the 4th book of odes appeared, which included fifteen poems written in the dithyrambic manner of the ancient Greek poet Pindar. The empire has finally stabilized, and there is no longer a trace of republican ideology left in the odes. In addition to the glorification of the emperor and his stepchildren, the foreign and domestic policies of Augustus as the bearer of peace and prosperity, the collection contains variations of previous lyrical themes.
The second book of the Epistles, dedicated to literary issues, also dates back to the last decade of Horace’s life. The book, consisting of three letters, was created between and years. The first message addressed to Augustus (who expressed his displeasure at the fact that he had not yet been included in the number of addressees) was presumably published in . The second message, addressed to Julius Florus, came out earlier, between and years; the third, addressed to the Piso, was presumably published in (and was published separately, perhaps even in).
Horace's death occurred from a sudden illness, shortly before his 57th birthday, on November 27. As Suetonius points out, Horace died “fifty-nine days after the death of Maecenas, in the fifty-seventh year of his life, having appointed Augustus as heir, in front of witnesses orally, since Tormented by an attack of illness, he was unable to sign the will. He was buried and buried on the outskirts of Esquiline next to the grave of Maecenas.”
Creation
Satires
Having returned to Rome after the amnesty and faced with poverty there, Horace nevertheless chose satire for his starting collection (despite such a combination of factors as his low origin and “tarnished republican” reputation). However, Horace's concept allows him to take on a genre least suitable for a man in his position. In the Satires, Horace does not attack the flaws of his contemporaries, but only demonstrates and ridicules them; Horace does not think of changing people’s behavior or “punishing” them. Horace does not “splash with rage,” but speaks about everything with cheerful seriousness, like a benevolent person. He refrains from direct condemnation and invites reflection on the nature of people, leaving everyone the right to draw their own conclusions. He does not touch upon current politics and is far from personalities; his ridicule and teachings are of a general nature.
This concept coincides with Octavian’s aspirations to strengthen the moral foundations of the state (hence, his authority and his position in Rome) through a return to the “good morals” of his ancestors. (Propaganda in this direction was actively carried out under the control of Octavian himself throughout the first decade of the empire, when Horace wrote the Satires.) Horace believes that examples of other people's vices keep people from making mistakes. This position corresponds to the program of Octavian, who believes that strong imperial power is also necessary to control the “vicious representatives” of society.
Together with the modern, romantically inclined intelligentsia, Horace comes to the Stoic-Epicurean philosophy, which preaches contempt for wealth and luxury, the desire for “aurea mediocritas” (“golden mean”), moderation in everything, contentment with little in the lap of nature, pleasure with a glass of wine. This teaching served as the prism through which Horace began to view the phenomena of life. In cases where these phenomena came into conflict with the morality of philosophy, they naturally set Horace’s poetry in a satirical mood. Such a philosophy evoked in him (as in many of his contemporaries) a romantic exaltation of the valor and severity of the morals of former times. It also partly determined the form of his non-lyrical works - a form of conversation modeled on the so-called "philosophical diatribe" - a dialogue with an imaginary interlocutor, whose objections are refuted by the author.
In Horace, the diatribe is more often modified into a conversation between the author and certain persons or, less often, into a conversation between different persons. This is the form of his “Satyr” (Latin satura - mixture, all sorts of things). Horace himself calls them "Sermones", "Conversations". These are conversations written in hexameter on various topics, often in the form of a “pure” diatribe. They represent satire in our sense of the word: either of a moralistic nature (against luxury, envy, etc.; for example, about the advantages of country life, with the fable of the city and country mouse, later revised by La Fontaine); or invective, non-philosophical; or just descriptions.
Horace's "conversations" are real "causeries"; in the context of the emerging monarchy, they do not have the sense of political independence characteristic of the satyrs of Lucilius, whose follower Horace considered himself.
Epodes
The first epics were created at a time when twenty-three-year-old Horace had just returned to Rome after the Battle of Philippi BC. e.; they “breathe the heat of the civil war that has not yet cooled down.” Others were created shortly before publication, at the end of the war between Octavian and Antony, on the eve of the Battle of Actium BC. e. and immediately after it. The collection also contains “youthfully ardent lines” addressed to the poet’s enemies and “elderly beauties” seeking “young love.”
Already in the Epodes the wide metric horizon of Horace is visible; but so far, unlike the lyrical odes, the meters of the epods are not logaedic, and go back not to the refined Aeolians Sappho and Alcaeus, but to the “straightforward” hot Archilochus. The first ten epodes are written in pure iambic; in Epodes XI to XVI, multi-partite meters are combined - tripartite dactylic (hexameter) and bipartite iambic (iambic meter); Epode XVII consists of pure iambic trimeters.
Among the themes of the early epics, the civil theme seems especially interesting and important; it runs like a red thread through all of Horace’s work, but perhaps sounds with the greatest power and pathos here, in these early poems (Epod VII, Epod XVI). How Horace’s views developed (how his “anti-republican” transformation ended) can be judged by two “Actian” Epodes (I and IX), written in 31 BC. e., in the year of the Battle of Actium.
Between 33-31 Horace acquires his illustrious estate in the Sabine Mountains; the new rural setting may have inspired Horace to write the celebrated Epodes II.
Epodes XI, XIII, XIV, XV form a special group: there is no politics, no causticity, ridicule, or evil sarcasm characteristic of iambiography. They are distinguished by a special mood - Horace is clearly trying his hand at “pure lyricism”, and the epics are no longer written in pure iambic, but in quasi-logaedic verse. In the “love” Epodes XIV and XV, Horace already departs far from the lyrics of Archilochus. In the sense of ardor and passion, Archilochus is closer to the lyrics of Catullus, the range of experiences and doubts of which is more complex and much more “disheveled” than that of Horace. Horace’s lyrics reveal a different feeling (one might say, more Roman) - restrained, non-superficial, felt equally “with the mind and the heart” - consistent with the polished, dispassionately elegant image of his poetry as a whole.
The closest to their ancient prototypes, the Epodes of Archilochus, are Epodes IV, V, VI, VIII, X and XII. The caustic satirical tone in them “reaches the point of flagellating sarcasm”; at the same time, the “fervor of hatred” in these episodes is clearly more technological - for Horace, who was characteristically restrained even at the time of his “hot, windy youth,” such fervor here is more of an artistic device, a tool.
However, usually reserved and gracefully dispassionate even in his early years, Horace could be both furious and cynical; Epodes VIII and XII, which are frank to the point of obscenity, pose considerable obstacles for translators. However, Horace himself did not feel any embarrassment in connection with them - such poems were common in the environment for which they were intended. (In general, the surviving fragments of Augustus’ correspondence convey to us the spirit of crude cynicism that took place among the princeps’ inner circle.)
The short “Epodes,” strong and sonorous, full of fire and youthful ardor, contain a clear vision of the world, accessible to a true genius. We find here an extraordinary palette of images, thoughts and feelings, cast in a minted form, which was generally fresh and unusual for Latin poetry. The epics still lack that crystal clear sound, unique laconicism and thoughtful depth that will distinguish the best odes of Horace. But already with this small book of poems, Horace introduced himself as a “star of the first magnitude” in the literary firmament of Rome.
Odes
From the Archilochian style of epics, Horace moves on to the forms of monodic lyric poetry. Now his models are Anacreon, Pindar, Sappho, primarily Alcaeus, and Horace sees his right to literary immortality in the fact that he was “the first to reduce the Aeolian song to the Italic mode.” The first collection contains poems written in original Greek meters: Alcaean stanza, sapphic stanza, asclepiadic stanza and others in various variations. There are thirteen strophic forms in total, and almost all of them are new for Latin poetry (only the sapphic stanza was previously found in Catullus). In the Latin interpretation of Greek prototypes, which have properties “non-native” to the Latin language, Horace reveals metrical mastery, unsurpassed by any of the subsequent Roman poets.
The odes are distinguished by a high style, which is absent in the epics and which he refuses in the satires. Reproducing the metrical structure and general stylistic tone of the Aeolian lyric, Horace in all other respects follows his own path. As in the epics, he uses the artistic experience of different periods and often echoes Hellenistic poetry. The ancient Greek form serves as vestment for the Hellenistic-Roman content.
A special place is occupied by the so-called. “Roman Odes” (III, 1-6), in which Horace’s attitude to the ideological program of Augustus is most fully expressed. The odes are connected by a common theme and a single poetic meter (Horace's favorite Alcaeus stanza). The program of the “Roman Odes” is as follows: the sins of the fathers, committed by them during civil wars and like a curse weighing on their children, will be redeemed only by the return of the Romans to the ancient simplicity of morals and ancient veneration of the gods. The Roman Odes reflect the state of Roman society, which had entered the decisive stage of Hellenization, which gave the culture of the Empire a clear Greco-Roman character.
It is curious that the brilliantly crafted and “thought-rich,” but restrained and dispassionate lyrics did not meet with the reception that the author expected among his contemporaries. She was considered too aristocratic and not original enough (one must conclude that this was the opinion of the general “educated masses”).
In general, the odes carry out the same morality of moderation and quietism. In the famous 30 Ode of the third book, Horace promises himself immortality as a poet; The ode gave rise to numerous imitations, of which the most famous are those of Derzhavin and Pushkin).
Messages
In form, content, artistic techniques and variety of themes, the “Epistle” is close to the “Satires”, with which Horace’s poetic career began. Horace himself points out the connection between the epistles and satyrs, calling them, as before “Satires,” “conversations” (“sermones”); in them, as before in satires, Horace uses dactylic hexameter. Commentators of all periods consider the Epistles to be a significant advance in the art of depicting the inner life of man; Horace himself did not even classify them as poetry proper.
A special place is occupied by the famous “Epistle to the Pisons” (“Epistola ad Pisones”), later called “Ars poëtica”. The message belongs to the type of “normative” poetics containing “dogmatic prescriptions” from the standpoint of a certain literary movement. In this message we find the most complete presentation of Horace's theoretical views on literature and the principles that he himself followed in his poetic practice. With this message, Horace is included in the literary debate between admirers of archaic literature and admirers of modern poetry (the latter contrasted the poetry of subjective feelings and the refinement of poetic technique with the epic bombast and primitive form of the old poets). The message sounds a warning to Augustus, who intended to revive the ancient theater as an art of the masses and use it for political propaganda purposes. Horace believes that the princeps should not cater to the coarse tastes and whims of the uneducated public.
According to the ancient commentator, Horace's theoretical source was the treatise of Neoptolemus from Parion, which he follows in the arrangement of material and in basic aesthetic ideas. (Poetry in general, a poetic work, a poet - this course of presentation of Neoptolemus is preserved by Horace.) But Horace does not set out to create any complete treatise. The free form of the “message” allows him to dwell only on some issues that are more or less relevant from the point of view of literary trends in Rome. The Science of Poetry is a kind of “theoretical manifesto” of Roman classicism of the time of Augustus.
Anniversary anthem
Influence
The poet himself measured his literary immortality in the “Monument” by the eternity of the Roman state, but the greatest flowering of his fame was still ahead. Since Carolingian times, interest in Horace has increased; evidence of this interest is provided by the 250 surviving medieval manuscripts of his works. During the early Middle Ages, the moral and philosophical works of Horace, satires and especially epistles attracted more attention than lyrics; Horace was revered as a moralist and was known mainly as the author of satires and epistles. To him, the “satirist Horace,” Dante (Hell IV) assigns a place in Hades after Virgil and Homer.
The Renaissance brought with it a new assessment, when the emerging “bourgeois personality” opposed itself to “church contemplation.” (It is known that in 1347 Petrarch acquired a manuscript of Horace’s works; some of his poems show a clear influence of Horace.) As a lyrical exponent of this new worldview, Horace became the favorite poet of the Renaissance (along with Virgil, and often surpassing him). Humanists considered Horace completely “one of their own”; but the Jesuits also valued him highly - the emasculated or Christianized Horace had a positive moral influence on his students. Pictures of simple village (“Horatian”) life appealed to people of a similar fate and similar tastes (such as Petrarch, Ronsard, Montaigne, Robert Herrick, Ben Jonson, Milton).
Horace's lyrical meters were used in New Latin versification, which is believed to have been especially successful by the German humanist Conrad Celtis, who also established the custom of singing Horace's odes in school (which became a widespread practice in the 16th century). Subsequently, Horace began to be translated into new languages (most successfully, it is believed, into German).
Works
In chronological order:
Sayings
Carpe diem - “seize the day” (Carmina I 11, 8). In full: “carpe diem quam minimum credula postero”, “take advantage of (every) day, relying as little as possible on the next”
Dulce et decorum est pro patria mori - “It is beautiful and sweet to die for the fatherland” (Carmina III 2, 13). Often used in newspapers
Horace personifies the most important facets of Golden Age poetry at its highest artistic peak. Virgil personifies the epic side, Horace - the lyrical side. Both captured their time. And at the same time, they gave their quest such a perfect aesthetic form, filled their poems with such deep universal human content that they forever remained in the history of not only Roman, but also world literature.
Quintus Horace Flaccus was five years younger than Virgil, with whom he had a friendship. Horace was born in 65 BC. in Southern Italy in the city of Venusia in the family of a wealthy freedman. First, Horace studied at a prestigious school in Rome, then in Greece. In Athens, Horace improved in the arts and sciences, studied poetry, and studied philosophy, primarily Epicurean and Stoic.
In Greece, Horace was involved in a cycle of political storms that left their mark on his fate. After the assassination of Caesar in 44 BC. The Republican conspirators fled to the north of Greece, where they formed an army. Marcus Brutus attracted the sympathy of Horace, who became a republican and received the title of military tribune. In 42 BC. at Philippi in Thrace, the forces of Anthony and Octavian defeated the Republicans; Brutus and Cassius died. This event, according to Horace, “clipped his wings.” Horace was saved from repression by an amnesty. He returned to Rome, but the stigma of being an ex-republican hung over him for a long time. Horace had to prove his loyalty to the new government. Meanwhile, Horace's estate was confiscated in favor of Octavian's veterans. And at first, the poet had to be content with the modest position of a scribe.
In the early 30s, Horace, prompted by poverty, began to actively compose poetry. He gains fame and becomes close to the leading Roman poets Varius and Virgil. Virgil supports Horace's endeavors and introduces him to Maecenas. Soon Horace becomes one of the main figures in the circle of poets that formed around Maecenas.
Soon Augustus, who showed royal favor towards the poet, learns about Horace. Octavian Augustus offered Horace the position of his personal secretary. However, this tempting offer, which promised the poet many benefits, was tactfully rejected by him. Apparently, he feared that by accepting the princeps' offer, he would forever lose his independence, which he valued extremely highly. Be that as it may, this refusal caused Augustus to distrust Horace.
As for Horace’s friendship with Maecenas, it lasted until the latter’s death. The patron died in September 8 BC. e., and on November 27 of the same year he dies, having slightly outlived his friend and patron, Horace. Thus the poet’s prediction was fulfilled that he would die soon after the death of Maecenas.
...Let's perform, let's perform
Together with you on the last journey -
Together, whenever it starts.
Horace left a poetic legacy that was modest in volume but significant in significance. The poet worked on the poems slowly, with care. In total, Horace wrote: a book of epics, two collections of satires, four books of odes and two books of epistles.
Epodes. Satires. Messages
EPODES. Horace made his debut with a book called Epodes (31-30 BC), which included 17 poems. The word epod is Greek and literally means choruses. This was the name in ancient literature for a poem written in an intermittent rhythm; odd verses are dactylic, even verses are iambic.
Thematically, Horace's epics are varied. Some concern the sphere of politics. Two epodes are addressed to the Roman people. In the 7th and 16th the poet condemns civil strife.
Epode 9 is addressed to Maecenas. In total, about two dozen different poems dedicated to his patron came from the pen of Horace. The patron and Horace were connected by mutual sympathy, but there was no familiarity between them. Horace valued independence, peace of mind and inner freedom above material wealth. In the 9th epod, addressed to Maecenas, joy is expressed at Octavian’s victory at Actium, the crushing of the “queen” (Cleopatra), as well as hope for cheerful libations on this occasion.
SATIRE. In the 30s, Horace also appeared in another lyrical genre - satire, releasing two books of works of this kind. Latin word "satire" means a dish with various fruits that was brought to the temple of Ceres, the ancient Italian goddess of fertility. In Roman literature, satire initially represented a mixed genre in which the comic and serious, the sublime and the base could coexist.
In Horace's "Satires" one can see similarities with Lucilius (in the works of Lucilius the pathos directed against everyday vices such as vanity, greed, ignorance, and superstition was strongly exposed). But at the same time, Horace raises the satirical genre to a new level of skill. Unlike Lucilius, Horace does not simply denounce. He philosophizes. Indulges in meditation. Reflections on moral and ethical topics determine the tone of many of Horace’s satires, who are inclined to “speak the truth with a smile.”
The characters who populate the “Satires” are people with whom Horace encounters every day: the curmudgeon, the impudent, the talker, the ambitious, the simple sensible man, the pitiful philosopher with his straightforwardness and paradoxical theses, the voluptuous, the hunter of inheritance, the rich upstart who wants to distinguish himself in front of the guests.
In satires, as well as in other genres, Horace’s life philosophy finds expression. In the 6th satire of the 1st book, Horace talks about himself, his humble origins, parents, and upbringing. He does not envy nobility, wealth, power. His low-key, independent lifestyle is the highest good. The poet has inner freedom, is not obliged to anyone or anything, and is independent. In the 3rd satire of the 1st book, Horace recalls the simple truth: people are far from perfect, one is talkative, another is rude, another is a spender, etc. And the poet finds flaws in himself. How to react to all this? One should not go to extremes, Horace believes. The wisest thing to do is to soften the sharp edges, because as a result, “friendship becomes stronger between us, and the consent of people unites.” Who will be born without defects?
Horace's intelligence and sobriety, his wise maxims, are far from useless for any serious writer.
MESSAGES. Another lyrical genre in which Horace worked is messages. He worked on them in the last years of his life. They form two books: the first includes 20 messages, the second - three (“To Augustus”, “To Florus”, “To the Pisons”).
The genre of poetic messages existed before Horace. They were used by Lucilius, Cicero, Ovid.
Horace's Epistles are different from satires. They are more personal, subjective in nature, because they are built as a confidential exchange of opinions with like-minded people. The poet writes about himself, his lifestyle, habits, relationships with friends, patrons, such as Maecenas and Augustus. In the Messages, criticism of social and human vices is noticeably softened. The main thing for Horace is the search for positive principles in life.
Odes: politics, philosophy of life, love
The odes constitute the most significant part of Horace's legacy. The first book of odes was published in 23 BC, i.e. after Octavian's final victory. Horace called his lyric poems "Songs" ("Carmina"); later his commentators began to call them odes. This name has remained with them to this day. The odes are collected in four books: in the first - 38 odes, in the second - 20, in the third - 30, in the fourth - 15. In some odes, Horace continues the traditions of Pindar. But closer to him are the early Greek lyrics of such poets as Archilochus, Alcaeus, Sappho, Anacreon. In particular, he uses their characteristic poetic meters.
In the Odes, Horace often addresses topics of current politics that are completely absent in the Satires. However, socio-political problems are least close to the spirit of the poet, therefore, in poems dedicated to topical events of our time, his voice sounds unnatural. Whenever Horace seeks inspiration in politics and glorifies contemporary reality, he falls into mannerisms. Behind the elegant form, skillful weaving of words and pretentious erudition hide the hackneyed motifs and stencil images of Alexandrian poetry. True, the great past of Rome and the military prowess of his ancestors evoke a keen response in him, and, nevertheless, the themes of national glory are not deeply in tune with his spirit.
His “Roman Odes” are fundamentally significant for understanding Horace as a statist poet. These are the first six odes of the 3rd book. Horace's odes are a direct appeal to Augustus, the Roman youth, and the people. The poet pins his special hopes on the younger generation, those who are destined to fulfill their civic duty and elevate and strengthen Rome. In general, the “Roman odes” are characterized by both unity of problematics and internal artistic integrity. The 6th ode that concludes the cycle is a new appeal to the Roman people, a call to restore the authority of the gods who cruelly punish apostates:
Guilt of fathers by innocent defendant
You will be, Rome, until you are restored
Gods fallen dwellings
And statues in black smoke.
Horace owns a term that expresses the essence of his life philosophy: “golden mean.” It contains the exact expression of his moral and ethical position. The poet does not accept extremes, asserts common sense, and leans towards the common path. For him, moderation and prudence are the most reliable line. Horace is close to the Hellenic sages and philosophers, one of whom, the famous Athenian statesman and poet, Solon, expressed his aphorism: “Nothing too much.” Horace develops this idea in the 1st ode of the 2nd book.
The philosophy of the “golden mean” is organically associated with a stoic sense of life.
LOVE LYRICS. Love occupies a huge place in Horace's poetry. But even in the love sphere, the poet remains subject to a sense of proportion. Even in the 27th ode of the 1st book, the ode addressed “To the feasting,” in the midst of reckless fun, he maintains a clear head.
Stop the quarrel! With heavy cups
Let them fight in barbaric Thrace!
They are given for the joy of people -
Bacchus hates bloody discord.
Among people having mindless fun, he is inclined to conduct a balanced conversation about love, which “burns with a fire that is not shameful.”
Horace's love lyrics are addressed to many women. As a rule, they are heterae, who played an important role in the personal life of the Roman aristocracy and artistic bohemia.
In Horace's poems there is a kaleidoscope of female names: Fidyllia, Lika, Lydia, Chloe, Barina, Phyllida...
His ode to Lydia is filled with genuine feeling: it is a dialogue between the poet and the woman he once loved.
How cute did I still seem to you?
And your white shoulders, sorrow for love,
None of the young men touched
I lived more blissfully than the Persian king.
The poet's other lover is Barina; she is seductive, but treacherous and flighty. For her, it is in the order of things to take an oath and immediately break it. And the poet was among those who could not resist her charms.
...Young wives
They tremble before yours for their husbands
Greedy breath.
Horace is one of the poets whose poems constantly discuss the problems of literary work and the nature of poetic creativity.
"EPISTLE TO THE PISONS." Among Horace's "Epistle" his address to the Pisons, the aristocrats, stands out; one of whom wrote plays. The Epistle to the Piso is one of the most significant theoretical documents of Roman literature; later it received the title: “On the Art of Poetry.”
Horace's aesthetic principles are in harmony with the philosophy of the "golden mean". Horace is a proponent of taking creativity seriously, does not approve of extremes, and proceeds from common sense and wisdom. This determines the laws of artistic creativity formulated by him.
In matters of poetics, Horace shares the Aristotelian principle of appropriateness and measure, which consists in the consistency of all parts of a work of art, the correspondence of form and content, the content and creative capabilities of the poet. Discussing classical tragedy, Horace puts the law of proportionality and internal harmony at the forefront. Thus, in a dramatic work, each character must be expressed in a language appropriate to his character, age, position, and occupation.
One of Horace's most important requirements for a work of art is brevity combined with clarity of presentation. The Roman poet recommends constantly turning to Greek models, learning skills from Greek writers, but also observing reasonable measures in this, so as not to fall into servile imitation.
Horace also formulates a number of specific tips on the structure and form of a dramatic work. It must have five actions, or acts. There can be no more than three actors on stage. It is unacceptable to use the “God with the machine” technique. Each genre has its own style: tragedy is contraindicated in “light verse chatter”; Comedy is alien to ponderous seriousness and sublimity.
In the time of Horace, the question of the purpose of poetry was extremely acute. Should poetry be useful and educate the reader, or should it only give him pleasure and aesthetic pleasure? Horace comes to the conclusion that perfection lies in combining the useful with the pleasant, instruction with entertainment. To achieve this, the poet must be a sage, that is, have rich life experience, a sound mind and peace of mind. Horace here enters into polemics with those who shared the mystical doctrine of poetry as a “divine frenzy.” Discussing the relationship between talent and knowledge, Horace believes that natural talent alone is not enough; it must be supplemented by study. The poet's artistic skill is expressed in the careful treatment and perfect form of the work, which must be hidden for nine years before it is published. Personally, Horace gives preference to artistic skill, which distinguishes new poets from archaic ones, who seemed to carve out their poems with an ax.
"EPISTLE TO AUGUST". This message also develops Horace's thoughts about art and the purpose of a poet. An overview of early Roman literature, the epic poets Ennius and Naevius, the authors of comedies from Roman life Afranius and Attus, as well as the comedies of Plautus and Terence is given. Once again, Horace admires the Greeks, recalling their role in the development of Roman literature. Along the way, Horace explains to the princeps the nature of poetic art and the psychology of poets. Horace is convinced of the high, educational purpose of the poet.
Horace's poems are written in feet of different sizes, syllables of different durations. This feature of the Greek and Latin languages cannot be adequately translated into Russian. An important feature of Horace’s poetry is “materiality,” a kind of “objective” vision of the world. In his poems there is a clear “dominance” of nouns with a paucity of verbs. Horace's word is weighty. The verse itself is elastic, internally energetic. In Horace, the “stress” is usually the first line.
Horace very soon became a school author. His works were read, studied, and commented on a lot. He was imitated by the Roman satirists of Persia and Juvenal. In the Middle Ages, he was valued as a moralist poet, the author of Satyrs and Epistles. During the Renaissance, preference was given to Horace the lyric poet. His poetry inspired Petrarch and Ariosto. Horace's views on poetry were reflected in Boileau's The Poetic Art. Russian poets especially often turned to Horace. Horatian motifs are found in Kantemir, Lomonosov, Derzhavin, Pushkin, Delvig, Tyutchev, Maykov and others.
