The introductory ode of Horace's fourth book has been given comparatively little critical attention, although it might have been expected to arouse exceptional interest, being the first-fruits of the lyricist's autumnal harvest. The neglect is due partly to the poem's deceptive simplicity but much more to the unease which it arouses in Horace's admirers: Venus does not seem the most fitting deity for the poet laureate to invoke, and moreover this is not so much an invocation as an appeal to (...) be left alone; the young man who is the subject of Horace's eulogy was hardly a person of much eminence at the time of writing, though he became prominent later and is now prosopographically well endowed; above all, there is the disturbing picture of the elderly poet testily acknowledging an amorous urge and surrendering his dignity in pederastic dreams. (shrink)

What is the dry garment which Sceparnio offers to the sea-soaked Charmides? First of all, there is doubt about the spelling of the word. The Palatine tradition is tigillum, though T has tixillum; the Ambrosian palimpsest is provokingly defective at this point and Studemund was unable to determine whether the vowel is e or i. Since the beginning of the sixteenth century editors have chosen to print tegillum, being influenced by notes preserved in the collections of two grammarians—Nonius and Paulus. (...) I quote these from Lindsay's Teubner editions. (shrink)

Probably no Greek tragedy has proved as rich a source of perplexity, theory, and debate as the Antigone. A number of the formidable problems which various critics have seen in the play emerge from the two watchman scenes and the great ode which separates them. It will be argued here that these difficulties are the result of certain radical misunderstandings and are capable of straightforward solution.