By Douglas E. Gerber
Olympian 9 celebrates the wrestling victory in 468 of Epharmostus of Opous. even though one in every of PindarAes longer odes, it has obtained much less scholarly cognizance than others of similar dimension. the current observation fills this hole. a good portion of the ode is dedicated to EpharmostusAe prior victories and an appendix analyses how victory catalogues are handled in different places through Pindar in addition to via Bacchylides and agonistic epigrams. "There are 1000 issues to treasure right here; info are a steep direction and require an excessive amount of dialogue to offer a feeling of the total. IAell placed it easily: Gerber makes demanding scholarship glance effortless. The clever will shop up opposed to destiny need." Classical international
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Even Fraenkel, though he pronounces Horace’s treatment of the subject masterful, remarks that the subject itself is not only unpleasant but a hackneyed aspect of the diatribe repertoire (, , ). does much more than merely reproduce the “folly of adultery” theme of diatribe, however. Horace is not attacking loose morals in this satire in a conventional way; true, he exploits the conventions of diatribe to attack adultery, for example, but this is subordinate to a larger perspective, one that has not always been understood.
By pointing out to his son living examples of human failings, Horace’s father aimed to illustrate the type of behavior the young Horace should avoid. His method was both personal and pragmatic. , a practical man, relegated a theoretical concern with virtue and vice to the philosopher; he felt it suﬃcient to pass on to his son the custom (morem) of the ancients (ancestors—ab antiquis) and to keep his son’s life and reputation safe, so long as his son needed a guardian. Horace movingly quotes his father’s words in vv.
We have an impulse to reject friends, or scorn them, for trivial failings—which is to say that we have a satiric impulse. , vitia are connected to satire, vitia that have moral and ethical implications and have to do with the human being and his character, his ethical outlook, and, ﬁnally, with how the ethical outlook of the poet controls his poetry. Horace’s character, as constructed by the poem, will be the delimiter of his poetry. The desire to mark faults in others, Horace will assert, is the deep genetic impulse that makes his satiric predecessor Lucilius the oﬀspring of Athenian Old Comedy.