By S. J. Harrison
S. J. Harrison units out to cartoon one solution to a key query in Latin literary heritage: why did the interval c.39-19 BC in Rome produce one of these wealthy variety of complicated poetical texts, specifically within the paintings of the recognized poets Vergil and Horace? Harrison argues that one significant element of this literary flourishing used to be the way varied poetic genres or forms (pastoral, epic, tragedy, etc.) interacted with one another and that that interplay itself used to be a widespread literary topic. He explores this factor heavily via specified research of passages of the 2 poets' works among those dates. Harrison opens with an overview of known thought historic and sleek as a foundation for his argument, suggesting how assorted poetic genres and their partial presence in one another might be detected within the Latin poetry of the 1st century BC.
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Additional resources for Generic Enrichment in Vergil and Horace
Example text
But run, you spindles, drawing your threads, [tell] what destiny is to follow. 15 See Fontenrose (1978). 16 Cf. Nisbet (1995: 48–52). 17 Pelling (1996: 17–19), the best modern account of this episode, argues (19) that Ecl. 4 belongs not to 40 but to 41; this in my view underplays the epithalamial aspect of this poem and that Ecl. 11–12 indicates that the child’s pregnancy will begin in Pollio’s consulship, fully consistent with a date in autumn 40 bc given the ancient fable convenue of instant post-marital pregnancy.
In both literary cultures the most distinguished poets avoided works wholly dedicated to straightforward political panegyric of the monarchy, but honoured the monarchy nevertheless through the inclusion of honoriWc passages or poems in other works; in Rome this was often accompanied by a rhetorical refusal and wish 64 Zetzel (1980a). 65 Rossi (1971: 83). See again Fantuzzi and Hunter (2004: 17–41) on this topic. 66 Cf. g. Galinsky (1996: 332–63). 67 The recusatio and the perceived pressure for court-poetry as well as for the renewal of traditional classical genres (largely unmonarchical) raises an important link between generic enrichment and political exigency.
This leaves 4 and 6; these are clearly the least pastoral of all the poems, framing 5 in the centre of the book. This makes it clear that the least pastoral poems, 4, 6, and 10, are located in signiWcant positions within the collection (framing the centre and last), and that 4 and 6 are set in tandem. This is surely not accidental, for these are the three poems in the collection which speciWcally mark themselves out as presenting material which pushes most explicitly at the previously perceived boundaries of the pastoral genre.