Playing at Lyric’s Boundaries: Dreaming Forward in Book Two of Horace’s Sermones
In this paper I look at the ways in which certain poems of Sermones Book Two and the Epodes routinely look past their own generic horizons to spy on an alternate, and highly idealized, poetic landscape that lies just ahead in the poet’s career. Like rich fields waiting to be developed and tended, th...
Ausführliche Beschreibung
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| Autor*in: |
Kirk Freudenburg [verfasserIn] |
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E-Artikel |
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Deutsch ; Englisch ; Französisch ; Italienisch |
| Erschienen: |
2010 |
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| Übergeordnetes Werk: |
In: Dictynna - Université Lille-3, 2012, 3(2010) |
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volume:3 ; year:2010 |
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| 520 | |a In this paper I look at the ways in which certain poems of Sermones Book Two and the Epodes routinely look past their own generic horizons to spy on an alternate, and highly idealized, poetic landscape that lies just ahead in the poet’s career. Like rich fields waiting to be developed and tended, the Odes occupy the poet’s time and thoughts in the late 30’s B.C.E. These ‘singing’ poems, like a newly purchased farm, await his full-time attention, even while he is still deeply enmeshed in the life of the city and the generic enterprises that need to be finished there. The Odes, poems given special urgency by Octavian’s victory at Actium, are thus constructed as a dreamscape that the poet wants to enter but, as yet, cannot. To make my case, I focus especially on Sermones 2.6, treating that poem’s many extra-generic glosses not only as a means of locating the host-genre’s center, but as a way of chafing at its too narrow limits, and perhaps also as a way of signaling how the poet intends to break new ground in the Odes, as a poet deeply committed to mode-mixing, variation, and ironic play. The pressures and restrictions that come with being a satirist in 31-30 B.C.E. are played out in this poem. And Horace’s own extra-generic pipe-dreaming, I suggest, is at the heart of its concluding fable. | ||
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(DE-627)DOAJ071805524 (DE-599)DOAJ0d08d2f6fb8743ad91d00692e7a63d22 DE-627 ger DE-627 rakwb ger eng fre ita Kirk Freudenburg verfasserin aut Playing at Lyric’s Boundaries: Dreaming Forward in Book Two of Horace’s Sermones 2010 Text txt rdacontent Computermedien c rdamedia Online-Ressource cr rdacarrier In this paper I look at the ways in which certain poems of Sermones Book Two and the Epodes routinely look past their own generic horizons to spy on an alternate, and highly idealized, poetic landscape that lies just ahead in the poet’s career. Like rich fields waiting to be developed and tended, the Odes occupy the poet’s time and thoughts in the late 30’s B.C.E. These ‘singing’ poems, like a newly purchased farm, await his full-time attention, even while he is still deeply enmeshed in the life of the city and the generic enterprises that need to be finished there. The Odes, poems given special urgency by Octavian’s victory at Actium, are thus constructed as a dreamscape that the poet wants to enter but, as yet, cannot. To make my case, I focus especially on Sermones 2.6, treating that poem’s many extra-generic glosses not only as a means of locating the host-genre’s center, but as a way of chafing at its too narrow limits, and perhaps also as a way of signaling how the poet intends to break new ground in the Odes, as a poet deeply committed to mode-mixing, variation, and ironic play. The pressures and restrictions that come with being a satirist in 31-30 B.C.E. are played out in this poem. And Horace’s own extra-generic pipe-dreaming, I suggest, is at the heart of its concluding fable. Horace Hipponax Epodes Sermones satire Lucilius Greek language and literature. Latin language and literature PA In Dictynna Université Lille-3, 2012 3(2010) (DE-627)500318832 (DE-600)2203435-3 17653142 nnns volume:3 year:2010 https://doaj.org/article/0d08d2f6fb8743ad91d00692e7a63d22 kostenfrei http://journals.openedition.org/dictynna/228 kostenfrei https://doaj.org/toc/1969-4202 Journal toc kostenfrei GBV_USEFLAG_A SYSFLAG_A GBV_DOAJ GBV_ILN_20 GBV_ILN_22 GBV_ILN_24 GBV_ILN_39 GBV_ILN_40 GBV_ILN_62 GBV_ILN_63 GBV_ILN_65 GBV_ILN_69 GBV_ILN_70 GBV_ILN_73 GBV_ILN_95 GBV_ILN_110 GBV_ILN_151 GBV_ILN_161 GBV_ILN_213 GBV_ILN_230 GBV_ILN_285 GBV_ILN_293 GBV_ILN_602 GBV_ILN_2014 GBV_ILN_2093 GBV_ILN_4012 GBV_ILN_4037 GBV_ILN_4112 GBV_ILN_4125 GBV_ILN_4126 GBV_ILN_4249 GBV_ILN_4305 GBV_ILN_4306 GBV_ILN_4322 GBV_ILN_4323 GBV_ILN_4324 GBV_ILN_4325 GBV_ILN_4367 GBV_ILN_4392 GBV_ILN_4700 AR 3 2010 |
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playing at lyric’s boundaries: dreaming forward in book two of horace’s sermones |
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Playing at Lyric’s Boundaries: Dreaming Forward in Book Two of Horace’s Sermones |
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In this paper I look at the ways in which certain poems of Sermones Book Two and the Epodes routinely look past their own generic horizons to spy on an alternate, and highly idealized, poetic landscape that lies just ahead in the poet’s career. Like rich fields waiting to be developed and tended, the Odes occupy the poet’s time and thoughts in the late 30’s B.C.E. These ‘singing’ poems, like a newly purchased farm, await his full-time attention, even while he is still deeply enmeshed in the life of the city and the generic enterprises that need to be finished there. The Odes, poems given special urgency by Octavian’s victory at Actium, are thus constructed as a dreamscape that the poet wants to enter but, as yet, cannot. To make my case, I focus especially on Sermones 2.6, treating that poem’s many extra-generic glosses not only as a means of locating the host-genre’s center, but as a way of chafing at its too narrow limits, and perhaps also as a way of signaling how the poet intends to break new ground in the Odes, as a poet deeply committed to mode-mixing, variation, and ironic play. The pressures and restrictions that come with being a satirist in 31-30 B.C.E. are played out in this poem. And Horace’s own extra-generic pipe-dreaming, I suggest, is at the heart of its concluding fable. |
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In this paper I look at the ways in which certain poems of Sermones Book Two and the Epodes routinely look past their own generic horizons to spy on an alternate, and highly idealized, poetic landscape that lies just ahead in the poet’s career. Like rich fields waiting to be developed and tended, the Odes occupy the poet’s time and thoughts in the late 30’s B.C.E. These ‘singing’ poems, like a newly purchased farm, await his full-time attention, even while he is still deeply enmeshed in the life of the city and the generic enterprises that need to be finished there. The Odes, poems given special urgency by Octavian’s victory at Actium, are thus constructed as a dreamscape that the poet wants to enter but, as yet, cannot. To make my case, I focus especially on Sermones 2.6, treating that poem’s many extra-generic glosses not only as a means of locating the host-genre’s center, but as a way of chafing at its too narrow limits, and perhaps also as a way of signaling how the poet intends to break new ground in the Odes, as a poet deeply committed to mode-mixing, variation, and ironic play. The pressures and restrictions that come with being a satirist in 31-30 B.C.E. are played out in this poem. And Horace’s own extra-generic pipe-dreaming, I suggest, is at the heart of its concluding fable. |
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In this paper I look at the ways in which certain poems of Sermones Book Two and the Epodes routinely look past their own generic horizons to spy on an alternate, and highly idealized, poetic landscape that lies just ahead in the poet’s career. Like rich fields waiting to be developed and tended, the Odes occupy the poet’s time and thoughts in the late 30’s B.C.E. These ‘singing’ poems, like a newly purchased farm, await his full-time attention, even while he is still deeply enmeshed in the life of the city and the generic enterprises that need to be finished there. The Odes, poems given special urgency by Octavian’s victory at Actium, are thus constructed as a dreamscape that the poet wants to enter but, as yet, cannot. To make my case, I focus especially on Sermones 2.6, treating that poem’s many extra-generic glosses not only as a means of locating the host-genre’s center, but as a way of chafing at its too narrow limits, and perhaps also as a way of signaling how the poet intends to break new ground in the Odes, as a poet deeply committed to mode-mixing, variation, and ironic play. The pressures and restrictions that come with being a satirist in 31-30 B.C.E. are played out in this poem. And Horace’s own extra-generic pipe-dreaming, I suggest, is at the heart of its concluding fable. |
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