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Quintus Horatius Flaccus, known in the English-speaking world as Horace, was the leading Roman lyric poet during the time of Augustus. The rhetorician Quintilian regarded his Odes as just about the only Latin lyrics worth reading: "He can be lofty sometimes, yet he is also full of charm and grace, versatile in his figures, and felicitously daring in his choice of words."
Alexander Pope was an English poet, translator, and satirist of the Enlightenment era who is considered one of the most prominent English poets of the early 18th century. An exponent of Augustan literature, Pope is best known for his satirical and discursive poetry including The Rape of the Lock, The Dunciad, and An Essay on Criticism, and for his translations of Homer.
In Greek mythology, Teucer, also Teucrus, Teucros or Teucris, was the son of King Telamon of Salamis Island and his second wife Hesione, daughter of King Laomedon of Troy. He fought alongside his half-brother, Ajax, in the Trojan War and is the legendary founder of the city of Salamis on Cyprus. Through his mother, Teucer was the nephew of King Priam of Troy and the cousin of Hector and Paris—all of whom he fought against in the Trojan War.
Pindar was an Ancient Greek lyric poet from Thebes. Of the canonical nine lyric poets of ancient Greece, his work is the best preserved. Quintilian wrote, "Of the nine lyric poets, Pindar is by far the greatest, in virtue of his inspired magnificence, the beauty of his thoughts and figures, the rich exuberance of his language and matter, and his rolling flood of eloquence, characteristics which, as Horace rightly held, make him inimitable." His poems can also, however, seem difficult and even peculiar. The Athenian comic playwright Eupolis once remarked that they "are already reduced to silence by the disinclination of the multitude for elegant learning". Some scholars in the modern age also found his poetry perplexing, at least until the 1896 discovery of some poems by his rival Bacchylides; comparisons of their work showed that many of Pindar's idiosyncrasies are typical of archaic genres rather than of only the poet himself. His poetry, while admired by critics, still challenges the casual reader and his work is largely unread among the general public.
"Ars Poetica", or "The Art of Poetry", is a poem written by Horace c. 19 BC, in which he advises poets on the art of writing poetry and drama. The Ars Poetica has "exercised a great influence in later ages on European literature, notably on French drama" and has inspired poets and authors since it was written. Although it has been well-known since the Middle Ages, it has been used in literary criticism since the Renaissance.
The Epistles of Horace were published in two books, in 20 BC and 14 BC, respectively.
Pindarics was a term for a class of loose and irregular odes greatly in fashion in England during the close of the 17th and the beginning of the 18th century. Abraham Cowley, who published fifteen Pindarique Odes in 1656, was the poet most identified with the form though many others had composed irregular verses before him. The term is derived from the name of a Greek archaic poet, Pindar, but is based on a misconception since Pindar's odes were in fact very formal, obeying a triadic structure, in which the form of the first stanza (strophe) was repeated in the second stanza (antistrophe), followed by a third stanza (epode) that introduced variations but whose form was repeated by other epodes in subsequent triads. Cowley's Resurrection, which was considered in the 17th century to be a model of the 'pindaric' style, is a formless poem of sixty-four lines, arbitrarily divided, not into triads, but into four stanzas of unequal volume and structure; the lines which form these stanzas are of lengths varying from three feet to seven feet, with rhymes repeated in no order. It was the looseness of these 'pindarics' that appealed to many poets at the close of the 17th century, including John Dryden, Aphra Behn, and Alexander Pope, and many lesser poets, such as John Oldham, Thomas Otway, Thomas Sprat, John Hughes and Thomas Flatman.
Friedrich W. Solmsen was a philologist and professor of classical studies. He published nearly 150 books, monographs, scholarly articles, and reviews from the 1930s through the 1980s. Solmsen's work is characterized by a prevailing interest in the history of ideas. He was an influential scholar in the areas of Greek tragedy, particularly for his work on Aeschylus, and the philosophy of the physical world and its relation to the soul, especially the systems of Plato and Aristotle.
Eric Robertson Dodds was an Irish classical scholar. He was Regius Professor of Greek at the University of Oxford from 1936 to 1960.
Clifford Herschel Moore (1866–1931) was an American Latin scholar.
Archilochian or archilochean is a term used in the metrical analysis of Ancient Greek and Latin poetry. The name is derived from Archilochus, whose poetry first uses the rhythms.
Eduard David Mortier FraenkelFBA was a German classical scholar who served as the Corpus Christi Professor of Latin at the University of Oxford from 1935 until 1953. Born to a family of assimilated Jews in the German Empire, he studied Classics at the universities of Berlin and Göttingen. In 1934, antisemitic legislation introduced by the Nazi Party forced him to seek refuge in the United Kingdom where he eventually settled at Corpus Christi College.
Nationality words link to articles with information on the nation's poetry or literature.
Miroslav Marcovich was a Serbian-American philologist and university professor.
The ionic is a four-syllable metrical unit (metron) of light-light-heavy-heavy that occurs in ancient Greek and Latin poetry. According to Hephaestion it was known as the Ionicos because it was used by the Ionians of Asia Minor; and it was also known as the Persicos and was associated with Persian poetry. Like the choriamb, in Greek quantitative verse the ionic never appears in passages meant to be spoken rather than sung. "Ionics" may refer inclusively to poetry composed of the various metrical units of the same total quantitative length that may be used in combination with ionics proper: ionics, choriambs, and anaclasts. Equivalent forms exist in English poetry and in classical Persian poetry.
Iambus or iambic poetry was a genre of ancient Greek poetry that included but was not restricted to the iambic meter and whose origins modern scholars have traced to the cults of Demeter and Dionysus. The genre featured insulting and obscene language and sometimes it is referred to as "blame poetry". For Alexandrian editors, however, iambus signified any poetry of an informal kind that was intended to entertain, and it seems to have been performed on similar occasions as elegy even though lacking elegy's decorum. The Archaic Greek poets Archilochus, Semonides and Hipponax were among the most famous of its early exponents. The Alexandrian poet Callimachus composed "iambic" poems against contemporary scholars, which were collected in an edition of about a thousand lines, of which fragments of thirteen poems survive. He in turn influenced Roman poets such as Catullus, who composed satirical epigrams that popularized Hipponax's choliamb. Horace's Epodes on the other hand were mainly imitations of Archilochus and, as with the Greek poet, his invectives took the forms both of private revenge and denunciation of social offenders.
Peter John Parsons, was a British classicist and academic specialising in papyrology. He was Regius Professor of Greek at the University of Oxford from 1989 to 2003.
William James Niall Rudd was an Irish-born British classical scholar.
Ilaria L. E. Ramelli is an Italian-born historian, academic author, and university professor who specializes in ancient, late antique, and early mediaeval philosophy and theology.
The Epodes are a collection of iambic poems written by the Roman poet Horace. They were published in 30 BC and form part of his early work alongside the Satires. Following the model of the Greek poets Archilochus and Hipponax, the Epodes largely fall into the genre of blame poetry, which seeks to discredit and humiliate its targets.
References
- Hugh Lloyd-Jones: Colin William Macleod (26. 6. 43 – 17. 12. 81) †, in: Gnomon 54, 1982, 413–415
