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Five years later (30 BC) Horace published a second book of satires; this book both continues and departs from its predecessor. Food and philosophy—and even food as philosophy—play prominent roles in this book whose individual poems balance and comment on one another. Book 2 is full of advice, but, unlike the advice of book 1, little is offered by the poet’s persona. The dialogue of the first satire sets the tone for the rest of the book. Instead of diatribes sprinkled with a few interlocutors (book 1, 1-3) or monologues ( Sat. 1.4, 1.10, 1.6) or narratives recounted either by the poet’s persona ( Sat. 1.5, 1.7, 1.9) or, in Sat. 1.8, by a wooden statue of Priapus, the second book presents various scenes. The poet may take the secondary role as the interlocutor while other characters speak in diatribes ( Sat. 2.3, 2.7). A chance encounter becomes the stimulus for a lecture on food ( Sat. 2.4) or a narrative about a fancy dinner gone awry ( Sat. 2.8). Themis had a handful of epithets related to her function as a goddess of justice, including ἱερά ( hierá, “holy”), σώτειρα ( sṓteira, “savior”), and εὔβουλος ( eúboulos, “well-counseling”) οr ὀρθόβουλος ( orthóboulos, “straight-counseling”). Attributes Between publication of the Epodes and Odes I-III, Rome underwent momentous changes. Returning triumphant to Rome, Octavian began the refashioning of the state that won him the honorific title Augustus in 27 BCE. Part of his vision included building on the Palatine River a temple to Apollo, which was connected to his home (dedicated in 28 BCE). The temple complex also housed two libraries—one Latin, one Greek—which held the best of Greek and Latin literature. Horace writes of having one’s works shelved in the library as an honor, a symbol of acceptance into the Roman literary canon. Sometime between the publication of the first book of satires (35/34 BCE) and 31 BCE. Horace acquired an estate in the Sabine Hills outside of Rome. Although he also had a home in Rome and later at Tibur, a fashionable resort town northeast of Rome, the Sabine estate figured most prominently in Horace’s poetry. It afforded the poet not only a peaceful place in which to think and write but also the landed respectability so important to the Romans. Maecenas has usually been credited with helping Horace to acquire the Sabine estate. In recent years, however, some scholars have suggested that Horace, a man of equestrian rank and a scribe, had the financial resources to buy the estate without Maecenas’s aid. Assuming that he did so, however, ignores the references to substantial material benefits received from Maecenas (for example, Epod. 1.31-32 and possibly Odes 2.18.11-14, 3.16.37-38). The extent of Maecenas’s financial assistance is uncertain. Further, ancient sources have not provided enough about relative wealth in Rome to demonstrate that even a man of equestrian rank would necessarily have the wherewithal to afford an estate in the Sabine Hills. Dr. Reddy's Venusia Derm Moisturizing Cream for Face & Body, Nourishes Dry Skin, Relieves Skin Irritation, 75 GM Dr. Reddy's Venusia Derm Moisturizing Cream for Face & Body, Nourishes Dry Skin, Relieves Skin Irritation, 75 GM

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While the reader might agree with his antagonist that Horace’s claims are difficult to believe, the idealized representation of the lesser-status friend who is secure in his own place and free from ambitious envy has a long tradition in Roman culture. The glimpse available to outsiders makes the group more desirable and at the same time more unattainable. 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.The emperor should especially value the writers whose work is aimed at a small, select audience of readers, rather than those who seek to please the masses by writing for large public performances. Painstaking contemporary poets (such as Horace) may not have large public appeal, Horace argues, but they contribute to the lasting legacy of Roman literature. Ofellus, the focus of the second satire, stands in contrast to other characters in the book. Ofellus lost his farm—but retained his convictions—when his land was transferred to veteran soldiers. Against Ofellus’s precepts that hard work, simple food, and plain but unstinting living are best, Horace has set those of Catius ( Sat. 2.4), who zealously recounts in philosophical style a lecture he has just heard on gourmet delicacies. Balancing Catius’s amusing precepts is the story told by Fundanius, Horace’s friend and writer of comedies ( Sat. 1.10.40-42), about the dinner party given by Nasidienus, who tries to impress Maecenas with trendy food and wines ( Sat. 2.8). Satire as a genre is something of a hodgepodge with a fitting name. Although the derivation of satura has long been the subject of controversy, it most plausibly refers to a lanx satura, or plate full of various foodstuffs. Food is a natural focus for satire, and several of Horace’s satires center on food and mealtime decorum, but the “mixed plate” metaphor refers more to the variety of topics in this genre that center on human foibles. The humble imagery also suits the low status of the genre in the literary hierarchy, a status reflected in the arrangement of the various genres in complete texts of Horace’s works: the epodes, satires, and epistles are printed after the more exalted genre of lyric. Combination and variety furthermore typify satire: Hellenistic philosophical diatribe joins with comic lampoon, iambic invective, and folksy narrative full of animal fables and deftly drawn character sketches. Sexual and scatological humor, although inappropriate in more elevated genres, are quite at home in satire. The phallic god Priapus indulges in earthy language and jokes in the eighth satire, while the second, the bawdiest of the satires, concerns proper sexual partners.

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Themis has continued to thrive in popular culture via the symbol of Lady Justice. Robed in a classical chiton and bearing the scales of justice, Lady Justice weighs the deeds of humans and dispenses judgment based on facts and evidence. However, the blindfold, which is often present in modern depictions, was not a characteristic of the ancient Themis. As the embodiment of fairness, Lady Justice is a powerful symbol of Western legal systems—including the American judiciary—and is often depicted in statues and court house decor. Neoptolemus was surely not the sole source for the Ars. Horace’s debt to Philodemus and Epicurean poetics may become clearer with further discoveries from his works in the Villa de Papyri in Herculaneum. Some of Horace’s precepts correspond to those found in Cicero’s De oratore, and many of them are familiar from Horace’s other writings about literature. Although little is known of the literary debates and theories in Horace’s time, contemporary Roman thought certainly had an impact on the Ars. Ad Pyrrham: A Polyglot Collection of Translations of Horace's Ode to Pyrrha (Book 1, Ode 5), compiled by Ronald Storrs (London: Oxford University Press, 1959). Despite the plague that had reduced its population from the 13,000 of 1503 to 6,000, Venosa had a flourishing cultural life under the Gesualdos: apart from the famous Carlo, other relevant figures of the period include the poet Luigi Tansillo (1510–1580) and the jurist Giovanni Battista De Luca (1614–1683). During this time Horace was working on what many consider his masterpiece, three books of lyric poetry to rival Greek lyric in Latin ( Odes I-III). The earliest datable poem, Odes 1.37, concerns the Battle of Actium (31 BCE) and the subsequent suicide of Cleopatra. Horace worked on the odes for at least seven years and published them in 23 BCE when he was 42. The three books comprise a total of 88 carefully arranged poems. The number of poems in each book varies (book 1 includes 38 poems; book 2, 20 poems; and book 3, 30 poems), as does the total number of verses (book 1 includes 876 lines; book 2, 572 lines; and book 3, 1,008 lines) and length of individual poems (from the shortest, which consisted of eight lines, to the longest, which consisted of 80).Richard J. Tarrant, "Horace," in Texts and Transmission, edited by L. D. Reynolds (Oxford: Oxford University Press, 1983), 182-186. Unlike many of the other Titans, Themis was very close with the Olympian gods, especially Zeus. In fact, Themis became Zeus’ second wife (before he married his sister Hera) and bore him several immortal children. In some traditions, Themis was also one of Zeus’ nurses when he was a newborn. [12] 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. Instead of having his son educated by the local schoolmaster, Flavius, in the company of magni ... pueri magnis e centurionibus orti (big sons sired by big centurions, Sat. 1.6.73-74), Horace’s father took his son to Rome for his education ( Sat. 1.6.76-78; Epist. 2.2.41-42). He wanted his son to have the best and to be taught in the city among the children of knights and senators, rather than with the children of small-town former army officials ( Sat. 1.6.72-78). Horace’s schooling suggests that his father’s poverty was relative to the standards of the poet’s later associations: his father could afford to move to Rome and to have his son educated and equipped with the proper accoutrements to render him indistinguishable from the sons of the elite. Although Horace did not have the education of the truly rich (both Cicero’s son and nephew, for example, were privately educated at the home of Crassus), he did have the best of a semiprivate education: his teacher, Orbilius ( Epist. 2.1.70-71), was eminent enough to be included in Suetonius’s biography of distinguished grammatici et rhetorici (grammarians and rhetoricians). The Rome of Horace’s adolescence was home to ambitious and experimental poets such as Lucretius and Catullus (both of whom probably died before Horace arrived in Rome), Calvus, Cinna, and Cornelius Gallus, and to philosophers who lectured on Hellenistic ethical thought. Ans: This Venusia Max Lotion comes in 1 bottle with 500g of lotion in it. There are also other sizes available such as 300g Venusia lotion and other products like 75g Venusia soap, 100ml Venusia Soft plus lotion and others.

Venusia ~ City view. The aquarelle belongs to Leon Einberger Venusia ~ City view. The aquarelle belongs to Leon Einberger

The spectre of civil war had not yet passed, even though the satirist had traded in his armor for a stylus. From 40 BCE until the battle of Actium in 31 BCE, full-scale civil war was avoided by, in effect, a division of the Roman world, with Antony controlling the East and Octavian the West. The sparring between Octavian and Antony prompted two peacekeeping expeditions to southern Italy. A teasing version of the poet’s participation in such a diplomatic expedition is the subject of Sat. 1.5, often called the Journey to Brundisium. Sat. 1.5 has been read in various ways: as a political portrait aimed to influence Roman opinion, as a reminiscence composed primarily for the pleasure of his fellow travelers, as a realistic depiction of an actual event, as a purely literary creation, and as a programmatic poem reacting to Lucilius, who had also written a satire about a journey. 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. 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.Sat. 1.9 also gives the poet the opportunity to reveal much by revealing little about the close—and closed—group around Maecenas. The poet makes clear that his interests and talents lie in writing poetry, not in social maneuvering, by telling a tale at his own expense about the antics of an ambitious pest who confounds Horace’s attempts at escape. A stranger to guile, Horace is at the mercy of his pursuer, who seeks an introduction to Maecenas. Horace declares that the group is free from social posturing and competition: each member knows and is happy with his own place (48-52): L. P. Wilkinson, Horace and His Lyric Poetry, 2nd edition, revised (London: Bristol Classical Press, 1994). 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. Dr. Reddy's Venusia Max Intensive Moisturizing Lotion 300 GM and Venusia Moisturizing Bathing Bar 75 GM Dr. Reddy's Venusia Max Intensive Moisturizing Lotion 300 GM and Venusia Moisturizing Bathing Bar 75 GM

Horace | Poetry Foundation Horace | Poetry Foundation

From its central recommendation the poem moves out again to the particular, but in a different direction—Thaliarchus’s youth and its appropriate pleasures—and ends with a scene of lovers flirting on a balmy evening in the Campus Martius; Dryden translates, “The pleasing whisper in the dark, / The half unwilling willing kiss, / The laugh that guides thee to the mark” (37-39).

Ferdinand Hauthal, ed., Acronis et Porphyrionis Commentarii in Q. Horatium Flaccum, 2 volumes (Amsterdam: Springer, 1966).