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Between Pindar and Sappho : Horace Odes 4 . 2 . 9-12
| Content Provider | Semantic Scholar |
|---|---|
| Author | Odes, Horace |
| Abstract | Horace’s description of Pindar’s poetry in Odes 4.2 is one of antiquity’s most celebrated literary characterizations.1 Numerous critics have explored the dynamics of the recusatio,2 and Llewelyn Morgan has recently offered a detailed examination of Horace’s use of metre in relation to his description of Pindar’s metrical practice.3 He notes the strong contrast between the simple, non-choral sapphics employed by Horace and the metres used by Pindar in his dithyrambs (and epinicians), which are of much greater structural complexity. The use of sapphics is an important part of the way Horace contrasts his relatively humble verse with Pindar’s grandeur.4 The contrast between Sapphic form and Pindaric subject matter also creates local effects: the use of a simple, repetitive metre emphasises the way in which 10-24 contain and delimit the entire Pindaric corpus, an effect balanced by the evocation of Pindaric style in the sweeping construction of the period and the repetition of siue/seu/-ue.5 The Horace/Pindar antithesis is furthered by the speaker’s characterization of himself as apis Matinae (26) in contrast to Pindar’s swan (multa Dircaeum leuat aura cycnum, 25), while his status as paruus (31) and his construction of operosa . . . carmina (30-31) associate him with small-scale Callimacheanism.6 Similarly, the tener uitulus which Horace promises to offer |
| File Format | PDF HTM / HTML |
| Alternate Webpage(s) | https://brill.com/previewpdf/journals/mnem/67/3/article-p466_10.xml |
| Language | English |
| Access Restriction | Open |
| Content Type | Text |
| Resource Type | Article |
