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The first three books of Horace's Odes were issued together, apparently in the latter part of 23 BC. The second book, however, has a coherence of its own in terms of subject matter, tone of voice, and arrangement. In particular there is a predominance of poems concerned with philosophy, with conduct, and with friendship. This commentary provides the reader with the background knowledge of conventional forms and topics needed to appreciate fully every aspect of the poems. In particular word-play, literary parallels, and stylistic nuances are highlighted and discussed. The commentary may be used in conjunction with the Oxford Classical Text of Horace edited by E. C. Wickham.
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Horace's Odes are among the most popular, and the most misunderstood, of ancient writings. The present work is written in the belief that they are learned poems, which demand some knowledge of conventional forms and topics. Each ode is provided with an introduction which sets it against its Greek and Roman literary background. This edition may be used in conjunction with the Oxford Classical Text edited by E. C. Wickham. The commentary includes a large number of parallel passages, chosen to show how Horace plays new variations on old themes; it is hoped that these may prove useful to commentators on other ancient poets. The book also contains sections on chronology and metre, and a select bibliography is attached to each ode.
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Propertius' four books of love-elegies (c. 32-12 BC) were produced during the heyday of Augustan literature. His poetry has been noted by modern critics for its striking forms of expression, sometimes tortured syntax, sudden transitions and abstruse allusiveness. Much of this "difficulty", Hubbard argues, may stem as much from the many impenetrable corruptions in our surviving, comparatively late manuscripts as from Propertius himself. For ancient critics, in contrast with the modern, read him as polished, elegant and amusing. This book presents a Propertius along these latter lines. The four central chapters of this volume deal broadly with the four books, but at the same time raise general issues, such as the unity of Propertius' oeuvre, or his self-acknowledged indebtedness to Callimachus. Throughout Hubbard analyses in detail both extended and shorter passages which are always given in both the original and in a no-nonsense prose translation. There emerges a reading of the poet which renders him immediately accessible to student and general reader, while providing insights equally challenging for specialists.