Horace’s elegiac criticism and the open-ended door (c. Iii.10)

• Timothy S. Johnson ^[1]
  1. [1] College of Charleston

     College of Charleston

     Estados Unidos

     
• Localización: Classical journal, ISSN 0009-8353, Vol. 107, Nº 2, 2012, págs. 165-188
• Idioma: inglés
• Texto completo no disponible (Saber más ...)
• Resumen

  • Horace rebalances elegy between the negative and positive: the singer abandons his self-obsessed suffering while each competing perspective (including the audience’s) is determinative for the song’s interpretation. Horace’s paraklausithyra exhibit this dual strategy. When faced with a reluctant beloved, the lyric lover deflects attention from his own rejection and pain (C. I.25; III.9; 15), and even when Horace mimics the elegiac lover (C. III.10), he manages to broaden the genre’s audience appeal and display his own artistry in the process. By working both sides of the equation, Horace aligns elegy with his lyric.