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Review of Horace, 2022
In this volume M. revisits Horace and provides a thoughtful overview of his works from the playfully philosophical perspective of Socratic irony. He provides an engaging analysis of this poet of contradictions (p. 2), whose content is perpetually elusive for readers and especially scholars seeking to pin him down. He 'never means exactly what he says' (p. 3), since what he says (dictum) is often able to be understood (intellectum) in a variety of differentand often seemingly contradictoryways (pp. 62-3). These challenges are further examined in four chapters, each of which tackles Horace's works in chronological order. There is a short epilogue followed by two pages of notes, and the volume concludes with a bibliography and a general index. The text is clear, and the volume as a whole is easy to digest in terms of its organisation into chapters that contain more detailed arguments regarding individual instances of irony and what they entail. The first chapter takes W.S. Anderson's study 'The Roman Socrates: Horace and his Satires' (originally published in 1963, later included in the 1982 collection Essays on Roman Satire) and applies it to the entire Horatian corpus (p. 20). Through a significantly broader analysis of the poet's 'drive for an adequate self-knowledge' (p. 19), M. argues for the consistency of this philosophical tradition in Horace by cataloguing its pervasive influence as seen in specific passages, especially in the Satires. After a helpful overview of the genre, M. tackles Satires 1.4, which highlights the poet's methodology as distinct from that of Lucilius (and is therefore the perfect place to begin). Central to this poem is the ambiguity of libertas: Horatian 'freedom' is not defined by the attacks of Lucilius but rather by 'moral health' (sanus, itself an equivocal term), which comes from attentiveness to one's own behaviour, 'self-surveillance' and the 'silent internalization' of the morally destructive behaviour of others (pp. 27-8). Indeed, the unexamined life is not worth living. The rest of the chapter focuses on three satires, namely 1.1, 2.7 and 2.8. What these have in common, according to M., is Socratic irony leading to playful ambiguity. Whether dealing with the serio-comic speaker of 1.1, who in his diatribe uses words like finis to mean both 'spatial limitations' as well as the 'limits of nature' (pp. 36-7), or the wordplay and ethical examinations in the other poems, the overall thesis is that 'the poet himself envisions a process where external observation leads to internal critique and self-interrogation: precisely the ultimate aim of Socratic discourse, which more often ends in aporia or perplexity than dogmatic assurance' (p. 49). Turning to the Epodes, M. gives another helpful overview of the literary context while connecting these poems to the Satires by means of their frank speech (libertas), which in both cases 'can function as a weapon' (p. 53). What makes Horace's invective in the Epodes special, and what distinguishes it from his predecessors Callimachus and Catullus, is that it is not only more uniform (written mostly in Archilochean, epodic metres) but also that it is 'more amusing than cruel and more Socratic than vengeful' (p. 60). Beginning with Epodes 3, which includes references to both Canidia and Maecenas, M. argues that it is the nexus or 'nodal point' (p. 64) of the entire collection, since it contains structural references to major themes such as impotence (Horace is 'poisoned' by an almost lethal dose of garlic) and politics (the perpetrator of the crime is none other than his patron). The next poem in the collection involves political ambiguity:
Revista Calundu, 2022
Αθήνα: Εθνικό και Καποδιστριακό Πανεπιστήμιο Αθηνών – Θεολογική Σχολή –Τμήμα Θεολογίας, 2022
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