Hostname: page-component-74656f9884-c52kr Total loading time: 0 Render date: 2026-11-09T00:57:48.135Z Has data issue: false hasContentIssue false
  • English
  • Français

NVMEROSVS HORATIVS?

Published online by Cambridge University Press:  23 October 2019

A.J. Woodman
A.J. Woodman*
Affiliation:
Durham
*
ajw6n@virginia.edu
Rights & Permissions [Opens in a new window]

Extract

One of the most famous inscriptions to have survived from ancient Rome is the acta of the Ludi Saeculares of 17 b.c. (CIL 6.32323 = ILS 5050), and one of the most evocative of all epigraphic sentences occupies a line to itself (149): Carmen composuit Q. Horatius Flaccus. This reference to the author of the Carmen Saeculare, says Fraenkel, ‘was the result of a carefully considered decision of the highest authorities’. The degree of careful consideration is initially evident from the prominent positioning of the poet's name directly above those of Augustus and Agrippa in the following line. It will also be noticed that the sentence concludes with a clausula (cretic + spondee) which is one of Cicero's favourites. A further refinement emerges, however, if the poet's name is spelled out in full, something precluded by the naming conventions of the inscription:

      Cārmēn cōmpŏsŭīt ´ Quīntŭs Hŏrātĭūs | Flaccus.
The inscribed sentence incorporates an Asclepiad line, the ‘signature’ metre of Odes 1–3, which are framed by Horace's only two poems in stichic Asclepiads. In identifying the author of the Carmen Saeculare, the sentence also acknowledges the collection of poems which won him the commission.

Information

Type
Shorter Notes
Information
The Classical Quarterly , Volume 69 , Issue 2 , December 2019 , pp. 911 - 912
Copyright
Copyright © The Classical Association 2019

One of the most famous inscriptions to have survived from ancient Rome is the acta of the Ludi Saeculares of 17 b.c. (CIL 6.32323 = ILS 5050),Footnote 1 and one of the most evocative of all epigraphic sentences occupies a line to itself (149): Carmen composuit Q. Horatius Flaccus. This reference to the author of the Carmen Saeculare, says Fraenkel, ‘was the result of a carefully considered decision of the highest authorities’.Footnote 2 The degree of careful consideration is initially evident from the prominent positioning of the poet's name directly above those of Augustus and Agrippa in the following line.Footnote 3 It will also be noticed that the sentence concludes with a clausula (cretic + spondee) which is one of Cicero's favourites. A further refinement emerges, however, if the poet's name is spelled out in full, something precluded by the naming conventions of the inscription:

Cārmēn cōmpŏsŭīt ´ Quīntŭs Hŏrātĭūs | Flaccus.

The inscribed sentence incorporates an Asclepiad line, the ‘signature’ metre of Odes 1–3, which are framed by Horace's only two poems in stichic Asclepiads. In identifying the author of the Carmen Saeculare, the sentence also acknowledges the collection of poems which won him the commission.

Footnotes

For comment I am grateful to I.M.Le M. Du Quesnay and J. Nelis-Clément.

References

1 The standard edition is Schnegg-Köhler, B., Die augusteischen Säkularspiele (Munich and Leipzig, 2002)Google Scholar; on the Games, see e.g. Feeney, D., Literature and Religion at Rome (Cambridge, 1998), 28–31Google Scholar.

2 Fraenkel, E., Horace (Oxford, 1957), 406Google Scholar.

3 See Nelis-Clément, J. and Nelis, D., ‘Furor epigraphicus: Augustus, the poets, and the inscriptions’, in Liddel, P. and Low, P. (edd.), Inscriptions and their Uses in Greek and Latin Literature (Oxford, 2013), 317–47CrossRefGoogle Scholar, at 322–3.