Horace

Quintus Horace Flaccus was born on December 8, 65 BC. e. in the family of a freedman , the owner of a modest estate in Venusia - a Roman military colony in southeastern Italy, on the border of Lucania and Puglia ^[1] . His full name is attested in his works and in the signature to the “Jubilee Anthem”, which he wrote on behalf of the emperor Augustus for the centenary games of 17 BC. e. ; “Quintus Horatius Flaccus carmen composuit” (“Quintus Horace Flaccus composed the song”).

Horace's father was a freedman. Legally, the children of freedmen were equated with the free-born, but such an origin, nevertheless, was considered as social inferiority, which was finally smoothed out only in the next generation. This factor had a certain impact on the worldview and work of Horace. The poet does not tell about the mother, although she mentions the nanny Pullia.

When the future poet was a child, his father left the estate, a quiet, economical life in the province and moved to Rome to give his son a proper education in the capital, which could introduce him to higher social circles. In the capital, his father served as a commission agent at auctions , receiving one percent of the transaction from the buyer and seller. According to Suetonius , he also traded in salted fish ^[2] . The “poor, honest peasant,” as Horace himself portrays his father, nevertheless, through such an occupation, managed to cover the expenses associated with the formation of his son.

Horace went through all the levels of education common with the Roman nobility of his time: from his initial studies at the school of Orbilia in Rome, where he studied the "Latin Odyssey" by Livius Andronicus and Homer, to the Platonic Academy in Athens , where he studied Greek literature and philosophy (The Academy of of time served as a kind of university or higher school for the young aristocracy of Rome; one of Horace's “classmates” was, for example, the son of Cicero ). In Athens, Horace mastered Greek so well that he even wrote poetry on it.

Horace's literary and philosophical studies in Athens were interrupted by the civil war that ensued after the assassination of Caesar in 44 BC. e . In the fall of this year, about six months after the assassination of Caesar, Brutus arrived in Athens. Visiting philosophical lectures, he recruited adherents of the republican system to fight Caesar's successors - Anthony and Octavian . Like Cicero, Horace became a supporter of the cause of the republic and joined Brutus.

Horace entered the army of Brutus and even received a position of a military tribune (that is, an officer of the legion ) that was somewhat unexpected for the freedman's son - the positions of military tribunes were occupied mainly by the children of horsemen and senators , and this was the first step in the career of a military or magistrate . This fact suggests that by this time Horace (most likely, not without his father’s money) possessed an amount of 400,000 sisters , that is, the qualifications necessary for enrollment in the estate of horsemen, which later allowed him to enter the college of scribes.

At the Battle of Philippi in November 42 BC e. the army of Brutus and Cassius was scattered and put to flight, after which both Brutus and Cassius committed suicide. After this defeat, Horace revised his position and refused any activity in this direction. Subsequently, Horace repeatedly mentioned his early republican "illusions" and a gamble that could prove fatal for him. In one of Aude, he turned to his friend Pompey, who also took part in the battle of Philippi, where he said that he only survived "throwing a shield and escaping from the battlefield" (which, incidentally, was considered the first sign of cowardice).

He returned to Italy, probably at the beginning of 41 BC. e . The father was no longer alive; his homeland, Venusia, was among the cities surrendered to Caesar's veterans, and Horace's hereditary property was confiscated. After the amnesty declared in 40 BC. e. supporters of Brutus, he came to Rome and stayed there. Despite his own complaints about poverty, which forces him to engage in poetry, Horace had enough funds to join the board of scribal scribes (under the Department of Public Finance). Roman society prejudiced paid work, but this attitude did not apply to some qualified professions; the lifetime posts of this college were considered honorary. Horace worked as a secretary ( scriba quaestorius ), which provided him with the opportunity to live in Rome and engage in literature.

Apparently, to 39 - 38 years BC. e. the first poetic experiments of Horace in the Latin language are related: hexametric poems, which later became the first book of the Satyr, and iambic poems, which later became the Epodes. Horace's literary quest echoes the classic movement led by Publius Virgil Maron and Lucius Varius Rufus. Both senior poets became his friends. In the years 39-38 BC. e. they introduced Horace Guy to Tsilnius the Patron , a close friend and ally of Octavian.

The philanthropist, after nine months of reflection, brought the poet closer to himself. Having been surrounded by the Patron and, accordingly, the Princeps , Horace kept his inherent discretion, did not try to stand out, showed poise in everything. The program of social and political reforms carried out by Augustus, Horace treated with due attention, not falling, however, to the level of "court flatterer". Horace was driven not so much by agreement with the principle’s ideology as by a sense of gratitude for the long-awaited peace restored by Augustus in Italy, in which civil wars had been going on for almost a hundred years.

Suetonius testifies that Octavian Augustus offered Horace the position of his personal secretary ^[3] . This proposal, which generally promised great benefits, Horace could not attract, and was tactfully rejected by him. Horace was also afraid that, having accepted the proposal, he would lose his independence, which he greatly valued.

In 38 BC e. Horace was supposedly present, along with the Patron, at the sea defeat of Octavian at Cape Palinur. In the same year, Horace, in the company of the Patron, lawyer Kokcey Nerva (great-grandfather of the emperor Mark Kokcey Nerva ), Fontain Kapiton (commissioner and legate Anthony in Asia), poets Virgil, Varius, publisher of the Aeneid, Plotius Tukki made a trip to Brundisy ; this journey is discussed in the famous Satire (I 5). Between 36 and 33 years BC e. (most likely in winter 36–35) the first collection of Horace's poems, the book “Satyr”, dedicated to the Patron, was published.

In his poetry, Horace always emphasized that his relationship with the Patron was based on mutual respect and friendship, regardless of social status; he sought to dispel the notion that their relationship was in the nature of a patron-client relationship. Horace never abused the friendship of the Patron and did not use his location to the detriment of anyone. Horace was far from demanding more from his patron; he did not even use this friendship to return his father’s estate confiscated by Octavian in favor of veterans after the battle of Philippi. However, this somewhat dependent state of Horace has more than once become a source of delicate situations, from which he always came out with perfect tact and dignity. Far from the ambitious aspirations, cares and troubles of urban life, Horace preferred a quiet and calm life in the village.

Having approached the Patron and his entourage, Horace acquired strong patrons and certainly received substantial gifts from the Patron. Presumably in 33 BC e. Horace acquired his illustrious estate in the Sabine Mountains, on the Tibur River, near the present Tivoli . According to some texts of Horace, it was concluded that the estate was donated to him by the Patron (eg Carmina II 18: 11-14), but neither Horace nor his biographer Suetonius mentioned this. Such fragments are generally problematic to consider as direct evidence that Villa Horace was a gift; in addition, there is evidence of Horace's considerable wealth by that time.

Interestingly, Horace respected the founder of the Cyrenaic school Aristippus and praised him more than once in his works. For example, he wrote to himself: “imperceptibly again I will jump to Aristippus's instructions - / I submit things to myself, and try not to obey them” (Horat. Epist. II) ^[4] . Also see Horat. Epist. I XCVII. This is probably due to a common feature: both the philosopher and the poet had noble and wealthy patrons, accepted their gifts as deserved, but at the same time they greatly valued independence and were engaged in the work of their lives, rather than serving for the good.

September 2, 31 BC e. Horace and the Patron were present at the battle at Cape of Shares . In 30 BC e. the second book Satyr and Episodes was published, a collection of 17 poems that he wrote simultaneously with satyrs. The name "Episodes" was given to the collection by grammars and indicates the shape of the couplets where the short verse follows the long one. Horace himself called these poems "iambic"; the iamba of the Greek poet of the first half of the 7th century BC served as a model for them. e. Archilochus . It is noteworthy that from the very beginning of his career Horace took as an example the ancient Greek classics, and not the poetry of the Alexandrians , in accordance with the tendency of his time and surroundings.

Starting from 30 BC e. With interruptions, Horace wrote lyric poems, the first collection of which, books Ι — III, was published in the second half of 23 BC. e . Lyric poems came out under the name "Songs" ("Carmina"), but even in antiquity they began to be called odes . This name has been preserved for them to our time. In antiquity, the Greek term “ode” was not associated with solemn pathos itself and was used in the meaning of “song” as the equivalent of the Latin carmen .

Between 23 and 20 years BC e. Horace tried to stay away from Rome, abandoning "pure poetry" and returning to the semi-philosophical "prosaic Muse" of his "Satyr". This time, not in the polemic form of satire, but with a predominance of “peaceful positive” content; he wrote the first book of the Epistles, which included twenty poems. Messages were issued in 20 (or early 19 ) BC. e. In the interval from the end of 20 to the fall of 19 BC e. the Message to Julius Flora comes out, subsequently the second in the second collection of "Messages".

In 17 BC e. the "century-old games", the festival of "renewal of the century", which was to mark the end of the period of civil wars and the beginning of a new era of prosperity of Rome, cope with unprecedented solemnity. Augustus instructed Horace to write a hymn for the holiday ceremony. For the poet, this was a state recognition of the leading position that he occupied in Roman literature. The solemn "Jubilee anthem" was performed in the temple of Apollo Palatinsky by a choir of 27 young men and 27 girls on June 3, 17 BC. e.

We can say that now, when Horace has long "cooled" to the lyrics, he has become a popular, recognized master of it. Augustus turns to Horace with a new commission to write poems glorifying the military prowess of his stepsons Tiberius and Druze . According to Suetonius, the works of the emperor “Horace liked him so much that he was so sure that they would remain centuries old, that he entrusted him not only with the composition of the centennial anthem, but also with the glorification of the victory of his stepsons Tiberius and Druz over windeliki” ^[5] . So, in 13 BC e. the 4th book of od appeared, which included fifteen poems written in the prairie style of the ancient Greek poet Pindar . The empire finally stabilized, and in the odes there is no trace of a republican ideology. In addition to glorifying the emperor and his stepsons, Augustus' foreign and domestic policy as a bearer of peace and prosperity, the collection contains variations of the old lyrical themes.

The last book of the Epistles, devoted to the problems of literature, also belongs to the last decade of Horace's life. The book, consisting of three letters, was created between 19 and 10 years BC. e . The first message addressed to Augustus (who expressed his displeasure over the fact that he had not yet reached the number of recipients) came out presumably in 12 BC. e . The second message addressed to Julius Flora came earlier, between 20 and 19 years BC. e .; the third, addressed to the Pison, came out presumably at 10 (and came out separately, possibly as early as 18 ) BC. e.

Horace died from a sudden illness, shortly before his 57th birthday, November 27, 8 years. As Suetonius points out, Horace died “on the fifth day before the Calends of December, at the consulate of Gaius Marcius Censorin and Gaius Asinius Gallus, in Rome, fifty-nine days after the death of the Patron, in his fifty-seventh year of life. Augustus proclaimed his heir out loud, because, tormented by a fit of illness, he was unable to sign the will signs. He was buried and buried on the outskirts of Esquiline, near the tomb of the Patron of Arts ” ^[6] .

Horace was read a lot, not only in antiquity, but also in modern times, so all of his works have reached us: a collection of poems "Yamba" or "Episodes", two satyr books ("Conversations"), four books of lyric poems, known under the name "Odes", the anniversary hymn "Song of the Century" and two books of messages.

Satyrs

After returning to Rome after an amnesty and faced with a need, Horace, nevertheless, chooses a satire for the starter collection (despite such a combination of factors as his low origin and “tarnished republican” reputation). However, Horace's concept allows him to take on the genre least suitable for a person in his position. In the Satyrs, Horace does not attack the flaws of his contemporaries, but only demonstrates them and makes fun of them; to change people's behavior or “punish” them Horace does not think. Horace does not “splash with rage”, but speaks about everything with cheerful seriousness, like a friendly person. He refrains from direct censure, invites people to think about the nature of people, leaving everyone with the right to draw their own conclusions. He does not affect current politics and is far from personalities, his ridicule and teachings are general.

This concept coincides with Octavian’s aspirations to strengthen the moral principles of the state (therefore, its authority and its position in Rome) through a return to the “good morals” of the ancestors. (Propaganda in this direction has been actively carried out under the control of Octavian himself throughout the first decade of the empire, when Horace wrote Satire.) Horace believes that examples of other people's vices keep people from mistakes. This position corresponds to the program of Octavian, who believes that strong imperial power is also necessary for control over the "vicious representatives" of society.

Together with the modern romantically minded intelligentsia, Horace comes to a Stoic - Epicurean philosophy, which preaches contempt for wealth and luxury, the desire for "aurea mediocritas" (the "golden mean"), moderation in everything, contentment with the little in the midst of nature, enjoyment with a glass of wine. This teaching served as the prism through which Horace began to consider the phenomena of life. In those cases when these phenomena conflicted with the morality of philosophy, they naturally tuned Horace's poetry into a satirical way. Such a philosophy aroused in him (like many of his contemporaries) a romantic exaltation of the valor and severity of the morals of earlier times. She also partially determined the form of his non-lyrical works - the form of conversation on the model of the so-called "philosophical diatribe " - a dialogue with an imaginary interlocutor, whose objections are refuted by the author.

In Horace, the diatrib is more often modified in the conversation of the author with certain persons or, less often, in the conversation of different people. Such is the form of his "Satyr" (lat. Satura - mixture, all sorts of things). Horace himself calls them Sermones, Conversations. These are conversations written by a hexameter on various topics, often in the form of a “pure” diatribe. They are satire in our sense of the word: or of a moralistic character (against luxury, envy, etc.; for example, about the advantages of village life, with a fable about the city and rural mice, subsequently processed by Lafontaine ); or invective , non-philosophical; or just descriptions.

The “conversations” of Horace are real “causeries” (“conversations”); in the midst of an incipient monarchy , they lack the sense of political independence characteristic of the satyr Lucilius, of whom Horace considered himself a follower.

Episodes

The first episodes were created at a time when the twenty-three-year-old Horace only returned to Rome, after the battle of Philippi 42 BC. e .; they "breathe the still-warming heat of the civil war." Others were created shortly before publication, at the end of the war between Octavian and Anthony, on the eve of the battle of Action 31 BC. e. and immediately after it. The collection also contains “youthful fiery lines”, addressed to the enemies of the poet and “elderly ladies”, who seek “young love”.

Already in the Episodes, the wide metric horizon of Horace is visible; but so far, in contrast to the lyrical odes, the meters of the episodes are not logaedic , and do not go back to the refined Aeolians Sappho and Alkey , but to the “straightforward” hot Archilochus . The first ten episodes are written in pure iamba; in Episodes XI through XVI, monocotyledon meters are connected - three-part dactyl (hexameter) and dicotyledonous iambic (iambic meter); Episode XVII consists of pure iambic trimeters.

Among the themes of the early episodes, the civil theme is particularly interesting and important; it runs through the whole thread of Horace’s creativity, but with the greatest strength and pathos it sounds, perhaps, here in these early poems (Episode VII, Episode XVI). About how Horace's views evolved (how his "anti-republican" transformation ended), two judgments of the "Akti" Episodes (I and IX), written in 31 BC, make it possible to judge e., in the year of the battle of the Promotion.

Between 33-31 Horace acquires his illustrious estate in the Sabine mountains; the new rustic setting may have inspired Horace to write the celebrated Episode II.

Episodes XI, XIII, XIV, XV form a special group: there is neither politics, nor causticism, ridicule, evil sarcasm characteristic of yambography . They are distinguished by a special mood - Horace is clearly trying his hand at the field of “pure lyricism”, and the episodes are written no longer with pure iamba, but with quasi-logaedic verses. In the "love" Episodes of the XIV and XV Horace is already far removed from the lyrics of Archilochus. In terms of ardor and passion, Archilloch is closer to the lyrics of Catullus , whose spectrum of emotions and doubts is more complex and much "disheveled" than that of Horace. The poetry of Horace reveals a different feeling (one might say, more Roman) - restrained, non-superficial, felt equally by "mind and heart" - consistent with the refined, passionlessly graceful image of his poetry as a whole.

The closest to their ancient prototypes, the epiches of Archilochus, are Episodes IV, V, VI, VIII, X and XII. The caustic satirical tone in them "reaches the scourging sarcasm"; at the same time, the "fervor of hatred" in these episodes is clearly more technological - for Horace, who was characteristically restrained even at the time of the "hot windy youth", such fervor is more likely an artistic device, an instrument.

However, usually restrained and gracefully impassive even in the early years, Horace could be both furious and cynical; Episodes VIII and XII open to obscenity pose considerable obstacles for translators. However, Horace himself did not feel any embarrassment in connection with them - such verses were common in the environment for which they were intended. (In general, the surviving fragments of Augustus' correspondence convey to us the spirit of gross cynicism that took place in the midst of Princeps's inner circle.)

In short Episodes, strong and sonorous, full of fire and youthful ardor, there is a clear vision of the world available to a true genius. Here we find an extraordinary palette of images, thoughts and feelings, cast in a chased form, which, on the whole, was fresh and unusual for Latin poetry. The episodes still lack that crystal clear sound, the unique conciseness and the thoughtful depth that will distinguish the best odes of Horace. But already with this small book of poems Horace presented himself as a “star of the first magnitude” in the literary firmament of Rome.

Odes

From the archilochian style of the epic Horace goes to the forms of monodic lyrics . Now his samples - Anacreon , Pindar , Sappho , primarily Alkey , and Horace sees his right to literary immortality in that "he first brought the Aeolian song into Italian fashion." The first collection contains poems originally written in Greek sizes: Alchean stanza , sapphic , Asklepiadova and others in various variations. In total, there are thirteen stanza forms, and almost all of them are new for Latin poetry (only the sapphic stanza was met earlier by Catullus). In the Latin interpretation of Greek prototypes that have “non-native” properties for the Latin language, Horace discovers metric skill not surpassed by any of the subsequent Roman poets.

Odes are distinguished by a high style, which is absent in the episodes and from which he refuses to satyrs. Reproducing the metric construction and the general stylistic tone of the Aeolian lyrics, Horace, in everything else, goes his own way. As in the episodes, he uses the artistic experience of different periods and often echoes the Hellenistic poetry. The ancient Greek form is the vestment for the Hellenistic-Roman content.

So-called. "Roman odes" (III, 1-6), in which Horace's attitude to the ideological program of Augustus is most fully expressed. Odes are connected by a common theme and a single poetic size (the favorite of Horace Alkeeva stanza). The program of the “Roman odes” is as follows: the sins of the fathers committed by them during the civil wars and as a curse on children, will be redeemed only by the return of the Romans to the ancient simplicity of morals and the ancient veneration of the gods. "Roman odes" reflect the state of Roman society, which entered a decisive stage of Hellenization, which gave the culture of the Empire a clear Greco-Roman character.

It is curious that the jewelry crafted and “saturated with thought”, but restrained and dispassionate lyrics did not meet with contemporaries the technique that the author had expected. She was found too aristocratic and not original enough (it should be concluded that this was the opinion of the general “educated mass”).

In general, odes carry out the same morality of moderation and quietism . In the famous 30 Ode of the third book, Horace promises himself immortality as a poet; the ode caused numerous imitations, of which the imitations of Derzhavin and Pushkin are most famous).

Messages

In terms of form, content, artistic techniques and a variety of topics, the “Messages” come close to the “Satyrs” with which Horace's poetic career begins. Horace himself points to the connection of the messages with the satyrs, calling them, as earlier, “Satires”, “conversations” (“sermones”); in them, as before in satires, Horace uses a dactyl hexameter. Commentators of all periods consider the Messages to be a significant step in the art of depicting the inner life of man; Horace himself did not even rank them as poetry proper.

A separate place is occupied by the famous Epistola ad Pisones, later called Ars poëtica . The message refers to the type of "normative" poetics containing "dogmatic prescriptions" from the standpoint of a particular literary trend. In this letter we find the most complete exposition of Horace's theoretical views on literature and the principles that he himself followed in his poetic practice. With this message, Horace is included in the literary controversy between admirers of archaic literature and admirers of modern poetry (the last epic pomp and the primitive form of old poets contrasted the poetry of subjective feelings and the refinement of poetic technique). The message sounds a warning to Augustus, who intended to revive the ancient theater as an art of the masses and use it for political propaganda. Horace believes that the princeps should not please the rude tastes and whims of an uneducated public.

According to an ancient commentator, Horace's theoretical source was the treatise of Neoptolem from Parion , which he follows in the arrangement of the material and in the basic aesthetic representations. (Poetry in general, a poetic work, a poet — this course of Neoptolemus’s exposition is preserved by Horace.) But Horace does not set out to create any complete treatise. The free form of the "message" allows him to dwell only on certain issues, more or less relevant from the point of view of literary trends in Rome. The "science of poetry" is a kind of "theoretical manifesto" of Roman classicism of the time of Augustus.

Anniversary Anthem

In 17 BC e. the "century-old games", the festival of "renewal of the century", which was to mark the end of the period of civil wars and the beginning of a new era of prosperity of Rome, cope with unprecedented solemnity. It was supposed to be a complex, carefully designed ceremony, which, according to the official announcement, “no one has ever seen and will never see again” and in which noble people of Rome were to take part. It ended with a hymn, summing up the whole festival. The anthem was entrusted to Horace. For the poet, this was a state recognition of the leading position that he occupied in Roman literature. Horace accepted the assignment and resolved this issue by turning the formulas of cult poetry into the glory of wildlife and the manifesto of Roman patriotism. The solemn "Jubilee Anthem" was performed in the temple of Apollo Palatinsky by a choir of 27 young men and 27 girls on June 3, 17 BC. e.

The poet himself measured in the "Monument" his literary immortality by the eternity of the Roman state, but the greatest flowering of his glory was yet to come. Since Carolingian times, interest in Horace has been increasing; evidence of this interest are 250 extant medieval manuscripts of his works. During the early Middle Ages, the moral and philosophical works of Horace, satire, and especially the epistles, attracted more attention than lyrics; Horace was revered as a moralist and was known mainly as the author of satyrs and epistles. To him, the “satirist of Horace,” Dante (Hell IV) is assigned a place in Hades after Virgil and Homer.

The Renaissance brought a new appraisal when the nascent "bourgeois personality" contrasted with "church contemplation." (It is known that in 1347, Petrarch acquired the manuscript with the works of Horace; Horace is clearly influenced in some of his poems.) As a lyrical exponent of such a new attitude, Horace became the beloved poet of the Renaissance (along with Virgil, and often surpassing him). Humanists considered Horace “their own” entirely; but the Jesuits also appreciated him - the emasculated or Christianized Horace had a positive moral impact on the students. Pictures of simple village ("Goratian") life appealed to people of fate similar to him, close tastes (such as, for example, Petrarch, Ronsard , Montaigne , Robert Gerrick , Ben Johnson , Milton ).

Horace’s lyrical dimensions were used in the Novolatinsk versification, which is believed to have been especially successfully obtained by the German humanist Conrad Celtis , who also established the custom of singing Horace’s odes at school (which became a widespread practice in the 16th century). Subsequently, Horace began to be translated into new languages ​​(most successful, as is believed, into German).

In Russia, Horace was imitated by Cantemir ; Pushkin , Delvig , Maykov and others were fond of him.

The Art of Poetry has had a tremendous impact on literary criticism; classical principles were borrowed from it, the efforts to curb the excesses of Baroque were justified by references to it. From Ars poëtica, Boileau borrowed a lot for his Poetics; Byron admires him, he is studied by Lessing and others. However, “The Tempest and the Onslaught”, other movements of the romantics were not in the way with the “singer of prudence, poise and moderation,” and since then Horace’s popularity has not risen to its former height.

After the invention of printing, not a single antique author was published as many times as Horace. His legacy caused a huge number of both New Latin and national imitations and played a large role in the formation of new European lyrics.

In honor of Horace named a crater on Mercury .

Carpe diem - “seize the day” (Carmina I 11, 8). In its entirety: “carpe diem quam minimum credula postero”, “use (every) day, relying as little as possible on the next”

Dulce et decorum est pro patria mori - “It is beautiful and sweet to die for the fatherland” (Carmina III 2, 13). Often used in the newspapers of the First World War, the slogan; also the title of the bitterly ironic poem by the English poet Wilfred Owen " Dulce Et Decorum Est " about this war.

Sapere aude - “decide to be wise” (Epistulae I 2, 40). The dictum was adopted by Immanuel Kant and became a peculiar slogan of the Age of Enlightenment . This saying is the motto of the Moscow Institute of Physics and Technology (“dare to know” option).

In chronological order:

• Sermonum liber primus, Satire I ( 35 BC )
• Epodes, Episodes ( 30 BC )
• Sermonum liber secundus, Satire II ( 30 BC )
• Carminum liber primus, Odes I ( 23 BC )
• Carminum liber secundus, Oda II ( 23 BC )
• Carminum liber tertius, Oda III ( 23 BC )
• Epistularum liber primus, Epistles I ( 20 BC )
• Ars Poetica, Epistle to the Pisces ( 24/10 BCE )
• Carmen Saeculare, The Century-Old Anthem ( 17 BC )
• Epistularum liber secundus, Epistles II ( 14 BC )
• Carminum liber quartus, Odes IV ( 13 B.C. )

• In the Loeb classical library series, compositions are published in 2 volumes (No. 33, 194).
• In the Collection Budé series, essays are published in 3 volumes.

Translations into Russian

Among those who translated works into Russian:

Repeatedly published "school publications" of selected poems of Horace.

Basic Russian translations:

• Quinta Horace Flaccus Ten letters of the first book. / Per. Hariton Mackentin . 2nd ed. - SPb. , 1744.- 81, 24 s.
• Letter of Horace Flaccus about the poem to the Pisons / Per. N. Popovsky. - SPb. , 1753. - 40 s.
• Quinta Horace Flaccus Satire, or Conversations with notes / Per. I. S. Barkova . - SPb. , 1763. - 184 p.
• The science of poetry, or the Epistle to the Pions Qu. Horace Flaccus / Per. and approx. M. Dmitrieva. - M. , 1853. - 90 p.
• Odes of Quintus Horace Flaccus / Per. A. Feta. - SPb. , 1856. - 130 s.
• Satires of Quintus Horace Flaccus / Per. M. Dmitrieva. - M. , 1858. - 191 p.
• K. Horace Flaccus / Per. A. Feta. - M. , 1883. - 485 p. (almost complete translation with insignificant omissions)
• Selected Poems / Transl. and comm. O. A. Shebora . - SPb. , 1894. - Issue. 1-2. (First edition. There were a total of 16 editions.)
• Quintus Horace Flaccus . Complete Works / Transl. under the editorship of F.A. Petrovsky, entry Art. V. Ya. Kaplinsky. - M. - L .: Academia. 1936 .-- 447 p. - 5300 copies.
  • reprint. under the name "Collected Works" / Entry. Art. V. S. Durova. - SPb. : Studio Biography, 1993 .-- 446 p.
• Horace . Odes. Episodes. Satire. Messages / Entry. Art. M. L. Gasparova . - M. , Khudozh. lit. 1970 .-- 479 p. - 40,000 copies. (in particular, the publication includes a new translation by Gasparov of “The Science of Poetry”)
• Quintus Horace Flaccus . Science of poetry / Transl. M. M. Pozdneva // Book of the writer. - SPb. : Amphora, 2008 .-- S. 113-142.
• Quintus Horace Flaccus . Book of Episodes / Prev. and approx. G. M. North. - Toronto: Aeterna, 2015. - (New translations of classics). - ISBN 978-1-329-45480-4 .

• Ab ovo
• Ab ovo usque ad mala
• Exegi monumentum

• New edition of Heinze R., Lpz., 1921 .
• Critical ed. Volmer F., Lpz., 1921 .
• Guy Suetonius Tranquill. Biography of Horace.

• Schanz M., Gesch. d. röm. Liter., I, München, 1927 .
• Ribbeck, Gesch. d. röm. Dichtung, Stuttg. 1889 .
• Stemplinger, Ed., Horaz im Urteil der Jahrhunderte, Lpz. 1921 .
• Campbell AV, Horace. A new interpretation. 1924 .

• Naguevsky D.I. History of Roman literature. t. II. Kazan. 1925 .
• Blagoveshchensky N. M. Horace and his time. St. Petersburg, 1864. 2nd ed. Warsaw, 1878 .
• Kossovich I. A. Horatian lyrical dimensions, their application to the Russian metric, with appendices and explanations. Warsaw, 1874 . 118 p.
• Tsvetkov P. Thoughts of Horace on poetry and the conditions for the perfection of poetic works in "Epistles to the Pisons" (speech). M., 1885.
• Zenger G.E. Critical commentary on some controversial texts by Horace. Warsaw, 1886. XL, 451 pp.
• Detto V.A. Horace and his time. Vilna, 1888. 172 p.
• Kaplinsky V. Ya. “Poetics” of Horace. Controversial issues of interpretation, form and content. Saratov, 1920.
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• HORATIUS.RU - all translations since the 1730s. Until now; materials, etc.
• HORATIUS.NET - texts and comments (in Latin)
• Horace in the library of Maxim Moshkov
• Odes of Horace
• The Book of Episodes, essay