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Sat. 1.9 is the last of a series of three fairly short narratives. Sat. 1.7 vividly recounts an anecdote from Horace’s army days in Asia—a legal altercation (with Brutus presiding) between a proscribed Italian and a Greek businessman. The witch Canidia makes the first of her several appearances in Horace’s poetry in Sat. 1.8. She and Sagana, another witch, are frightened from the Esquiline by a flatulent statue of Priapus, a fertility god who protected gardens. Beyond praises of the old-fashioned virtues of simplicity, chastity, reverence for the gods, tempered ambition, respectable poverty, and love of Rome, Horace’s odes praise the princeps himself for bringing peace to an empire torn by war. The odes cannot be divided easily between public and private, however. Often the two spheres blend, as in Odes 3.14, where a comparison between the triumphant Augustus and Hercules, and the public joy over the safe return of the princeps, leads into the poet’s anticipation of a private celebration with Neaera. Dr. Reddy's Venusia Baby Intensive Moisturizing Lotion, provides soft and smooth skin, 300 GM Dr. Reddy's Venusia Baby Intensive Moisturizing Lotion, provides soft and smooth skin, 300 GM Davus’s harangue comments on Horace’s self-portrait in Sat. 2.6 and points out the complex presentation of the satires. The praises of simplicity in Sat. 2.6 contrast with the extremes of philosophizing ( Sat. 2.3, 2.7), gourmandizing ( Sat. 2.4, 2.8), and moneygrubbing ( Sat. 2.5) portrayed in the book. The poet represents himself as grateful and content, living a simple life far from ambitious Rome, where folk wisdom and animal fables—like the tale of the city mouse and country mouse with which the satire ends—take the place of urban philosophizing. In the next poem, however, Horace offers a different reading of Sat. 2.6 and makes the reader wonder if the poet is partly the object of his own satire in both poems. The effusive gratitude and deep contentment expressed in the previous satire, Davus’s tirade suggests, reflect the poet’s mood, not a stable sentiment: “you can’t stand your own company for an hour, you are unable to make good use of your leisure and, a fugitive and a wanderer, you avoid your very self, seeking one minute to drink away, the next to sleep away your troubles” (112-115). Davus uses the argument that all fools are slaves to eradicate the social distinctions between himself and his master. His master suffers from all the same desires and foibles as Davus, but the master’s social station allows him to make aesthetic distinctions and masquerade in ways unavailable to (and unnecessary for) his slave. Dr. Reddy's Venusia Max Intensive Moisturizing Lotion, 500 GM & Venusia Moisturizing Bathing Bar 75 GM Dr. Reddy's Venusia Max Intensive Moisturizing Lotion, 500 GM & Venusia Moisturizing Bathing Bar 75 GM

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The first poem of a poetry book, often programmatic, sets the tone for the rest of the book and provides information on the matter and style, the dedicatee, and the place of the work in the literary tradition as well as the poet’s innovation. The discursive chatter to Maecenas in the opening poem of Satires I, which centers on discontent and greed, places Horace in the Lucilian literary tradition. Lucilius’s persona was that of a wealthy equestrian confidently publicizing his opinions. The haphazard logic of Horace’s narrator mimics the careless authority of those accustomed to voicing any and all of their opinions; his style is that of someone comfortably making judgments in the company of those who share his values and assumptions. The poem cannot be called a philosophical argument: the transitions are awkward, and the logic wanders. Solid ethical sense, however, shines through: people should be content with what they have, enjoying their resources and advantages instead of hoarding and competing with others. Much of the focus of the book, however, is on the poet’s love affair with his art and its power. The poet of book 4 exults in his well-defined and secure place as esteemed poet of Rome. In the style of Pindar he declares himself not a Pindaric swan but a bee of the Italian countryside fashioning tightly worked poems ( Odes 4.2). The swan soars; Horace stays happily by the Tiber. To the muse Melpomene, Horace expresses his gratitude for the literary prestige he has won ( Odes 4.3). The sixth ode weaves mythological references to Apollo’s supremacy over Niobe, Tityos, and Achilles into a hymn of gratitude for the gifts that Erato has bestowed on Horace and an exhortation to the chorus of young boys and girls who will sing the Carmen saeculare.

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The Aragonese castle, built in 1470 by Pirro del Balzo Orsini. It has a square plan with four cylindrical towers. The shining sun, the del Balzo coat of arms, is visible on the western towers. It was turned into a residence by Carlo and Emanuele Gesualdo, who added also an internal loggia, the north-western wing and bastions used as prisons. From 1612 it was the seat of the Accademia dei Rinascenti. It is now home to the National Museum of Venosa, inaugurated in 1991, with ancient Roman and other findings up to the 9th century. The entrance is preceded by a fountain conceded by King Charles I of Anjou. Like Pyrrha, the beauty of the rich economy in the odes has attracted many suitors in many languages, whose attempts at translation were gathered into the volume Ad Pyrrham (1959) by Ronald Storrs. Friedrich Wilhelm Nietzsche’s frequently quoted appraisal suggests the lapidary appeal of Horace’s verse: Many fragments of Roman workmanship are built into the walls of the cathedral, which is due to Pirro del Balzo also (c. 1470). Ans: Venusia moisturizing cream is meant especially for use on the face but can be used on other parts as well, while lotion can be applied to the whole body. Horace adapted various combinations of Archilochus’s meters to his native Latin, but Archilochus is not the only model for the iambs. The prolific works of the 3rd-century BCE scholar-poet associated with the Mouseion at Alexandria, Callimachus of Cyrene, include thirteen iambs, followed in the manuscripts by four lyric poems, for a total of seventeen, the same number of poems as Horace included in his iambs. Callimachus associates his iambs with the 6th-century-BCE poet Hipponax, whose work also influenced Horace.

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Horace (Quintus Horatius Flaccus) was a Roman poet, satirist, and critic. Born in Venusia in southeast Italy in 65 BCE to an Italian freedman and landowner, he was sent to Rome for schooling and was later in Athens studying philosophy when Caesar was assassinated. Horace joined Brutus’s army and later claimed to have thrown away his shield in his panic to escape. Returning to Rome, Horace began his career as a scribe, employment that gave him time to write. He befriended poets and important figures of his day such as Virgil and the Emperor Augustus, and he eventually achieved great renown. Horace is known for detailed self-portraits in genres such as epodes, satires and epistles, and lyrics. By offering a poetic persona who speaks to so many human concerns, Horace has encouraged each reader to feel that he or she is one of the poet’s circle, a friend in whom he confides. Horace’s life, however, is as much masked as revealed by his confessional narratives, which present a literary autobiography—the author as he wishes his audience to view him. The poet’s delight in shifting perspectives also serves as a reminder that the poetic I gives voice to a persona and mood only of the moment. Perhaps the greatest irony of the poet who so relished irony is that by constantly talking about himself, he has left a portrait of a man varying not only from generation to generation but also from reader to reader.Epistles, Book II and Epistle to the Pisones ('Ars Poetica'), edited by Niall Rudd (Cambridge: Cambridge University Press, 1989).

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S. J. Harrison, Homage to Horace: A Bimillenary Celebration (Oxford: Clarendon Press / New York: Oxford University Press, 1995).

Suetonius supplies what little is known of the end of Horace’s life. Maecenas, who died in the late summer of 8 BC, had recorded his affection for Horace in a codicil of his will to the Emperor: “Horati Flacci ut mei esto memor” (Keep Horatius Flaccus in mind as you would me). Horace, who had written many years before that when Maecenas died, so would he ( Odes 2.17), died 58 days after Maecenas on November 27, 8 BCE at age 57. Augustus was proclaimed his heir in front of witnesses, since the violent decline in Horace’s health did not permit him to have his will signed and witnessed. He was buried at the periphery of the Esquiline next to the tomb of Maecenas. Home to a traditionally strong republican tradition, Venosa had a role in the peasant revolts and the Carbonari movement of the early 19th century.