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Horace, Odes i 12 yet again: A Rejoinder*

Published online by Cambridge University Press:  08 May 2015

A. Treloar
A. Treloar*
Affiliation:
University of New England
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Extract

Professor Dunston gives my loosely expressed reference to Horatian scholars the treatment it deserved (above, 56). I ought perhaps to have said ‘scholars whose authority carries great weight with me’ and hoped to show that I was not merely advocating in this respect an eccentric view of my own. In view of what he goes on to say, I hope it will not seem arrogant if I now say that Horace has been a favourite author with me for forty years and that the kind of structure I advocated does seem to me to be an element in his art. In a work of art such a structure must be self-evident, if it is real: otherwise it is likely to be something imposed on the artist by scholars or critics.

Information

Type
Research Article
Information
Antichthon , Volume 7 , 1973 , pp. 60 - 61
Copyright
Copyright © Australasian Society for Classical Studies 1973

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References

1 Our pitifully inadequate fragments of Greek music suggest that the melody followed the pitch accent of the language (Pöhlniann, E., Griechisclie Müsikfragmentc [Numberg, 1960], pp. 17 ff.),Google Scholar just as is the case with the chanting of Vedic texts (The New Oxford History of Music I 200, and the U.N.E.S.C.O. recording BM 30 L 200 6 India I — Vedic Recitation and Chant), but there is no evidence for the practice in the case of choral music in the classical age. Was the accompaniment of the first triad imposed on the rest, or did the accompaniment follow the pitch accent throughout?

2 For this, seeHeinze, R., Die lyrischen Verse des Horaz (Verh. sächs. A kad. 70 4 1918,Google Scholar also published separately by Hakkert, [Amsterdam, 1959] Vom Geist des Rdmertums, 3rd ed. [Stuttgart, 1960], pp. 227–94).Google Scholar

3 Büchner, K., Horaz (Wiesbaden, 1962), pp. 52–101;Google ScholarWilkinson, L.P., Golden Latin Artistry (Cambridge, 1963), pp. 204–7.Google Scholar

4 Aug. De Musica, v 6 ff.

5 Heinze, ibid.

6 Bonavia-Hunt, N.A., Horace the Minstrel (Kineton, 1969), pp. 46–73.Google Scholar

7 Moritz, L.A., ‘Some “Central” Thoughts on Horace’s Odes’, CQ 18 (1968), 116–31;CrossRefGoogle ScholarBlangez, G., ‘La composition mésodique et l’ode d’Horace’, REL 42 (1964), 262–72.Google Scholar

8 N.A. Bonavia-Hunt, op. cit., pp. 86–7; Enk, P.J., ‘De Symmetria Horatiana’, Mnem. 4 (1936/7), pp. 164–72.Google Scholar

I do not agree that only an ode of comparable length can be compared for triadic structure (above, 56). Enk at any rate finds triadic structure in 11 4, 6, 9, and 11, to mention only one scholar–s study of one book. I do not find another example in Book i, which is notable for variety in structure as in metre, but cf. iii 21 and iv 3.

9 Bonavia-Hunt, op. cit, p. 95.