Editing Horace (section)

===Themes===
Horace developed a number of inter-related themes throughout his poetic career, including politics, love, philosophy and ethics, his own social role, as well as poetry itself. His ''Epodes'' and ''Satires'' are forms of 'blame poetry' and both have a natural affinity with the moralising and diatribes of [[Cynicism (philosophy)|Cynicism]]. This often takes the form of allusions to the work and philosophy of [[Bion of Borysthenes]]<ref group="nb">There is one reference to Bion by name in ''Epistles'' 2.2.60, and the clearest allusion to him is in ''Satire'' 1.6, which parallels Bion fragments 1, 2, 16 ''Kindstrand''</ref> but it is as much a literary game as a philosophical alignment.

By the time he composed his ''Epistles'', he was a critic of [[Cynicism (philosophy)|Cynicism]] along with all impractical and "high-falutin" philosophy in general.<ref group="nb">''Epistles'' 1.17 and 1.18.6–8 are critical of the extreme views of [[Diogenes]] and also of social adaptations of Cynic precepts, and yet ''Epistle'' 1.2 could be either Cynic or Stoic in its orientation (J. Moles, ''Philosophy and ethics'', p. 177</ref><ref>J. Moles, ''Philosophy and ethics'', pp. 165–69, 177</ref>

The ''Satires'' also include a strong element of [[Epicureanism]], with frequent allusions to the Epicurean poet [[Lucretius]].<ref group="nb">''Satires'' 1.1.25–26, 74–75, 1.2.111–12, 1.3.76–77, 97–114, 1.5.44, 101–03, 1.6.128–31, 2.2.14–20, 25, 2.6.93–97</ref> So for example the Epicurean sentiment ''[[carpe diem]]'' is the inspiration behind Horace's repeated punning on his own name (''Horatius ~ hora'') in ''Satires'' 2.6.<ref>K. J. Reckford, ''Some studies in Horace's odes on love''</ref> The ''Satires'' also feature some [[Stoicism|Stoic]], [[Peripatetic school|Peripatetic]] and [[Platonic Dialogues|Platonic]] (''Dialogues'') elements. In short, the ''Satires'' present a medley of philosophical programmes, dished up in no particular order—a style of argument typical of the [[Satires (Horace)|genre]].<ref>J. Moles, ''Philosophy and ethics'', p. 168</ref>

The ''Odes'' display a wide range of topics. Over time, he becomes more confident about his political voice.<ref>Santirocco "Unity and Design", Lowrie "Horace's Narrative Odes"</ref> Although he is often thought of as an overly intellectual lover, he is ingenious in representing passion.<ref>Ancona, "Time and the Erotic"</ref> The "Odes" weave various philosophical strands together, with allusions and statements of doctrine present in about a third of the ''Odes'' Books 1–3, ranging from the flippant (1.22, 3.28) to the solemn (2.10, 3.2, 3.3). [[Epicureanism]] is the dominant influence, characterising about twice as many of these odes as Stoicism.

A group of odes combines these two influences in tense relationships, such as ''Odes'' 1.7, praising Stoic virility and devotion to public duty while also advocating private pleasures among friends. While generally favouring the Epicurean lifestyle, the lyric poet is as eclectic as the satiric poet, and in ''Odes'' 2.10 even proposes Aristotle's [[golden mean (philosophy)|golden mean]] as a remedy for Rome's political troubles.<ref>J. Moles, ''Philosophy and ethics'', pp. 171–73</ref>

Many of Horace's poems also contain much reflection on genre, the lyric tradition, and the function of poetry.<ref>Davis "Polyhymnia" and Lowrie "Horace's Narrative Odes"</ref> ''Odes'' 4, thought to be composed at the emperor's request, takes the themes of the first three books of "Odes" to a new level. This book shows greater poetic confidence after the public performance of his "Carmen saeculare" or "Century hymn" at a public festival orchestrated by Augustus. In it, Horace addresses the emperor Augustus directly with more confidence and proclaims his power to grant poetic immortality to those he praises. It is the least philosophical collection of his verses, excepting the twelfth ode, addressed to the dead Virgil as if he were living. In that ode, the epic poet and the lyric poet are aligned with [[Stoicism]] and [[Epicureanism]] respectively, in a mood of bitter-sweet pathos.<ref>J. Moles, ''Philosophy and ethics'', p. 179</ref>

The first poem of the ''Epistles'' sets the philosophical tone for the rest of the collection: "So now I put aside both verses and all those other games: What is true and what befits is my care, this my question, this my whole concern." His poetic renunciation of poetry in favour of philosophy is intended to be ambiguous. Ambiguity is the hallmark of the ''Epistles''. It is uncertain if those being addressed by the self-mocking poet-philosopher are being honoured or criticised. Though he emerges as an [[Epicureanism|Epicurean]], it is on the understanding that philosophical preferences, like political and social choices, are a matter of personal taste. Thus he depicts the ups and downs of the philosophical life more realistically than do most philosophers.<ref>J. Moles, ''Philosophy and ethics'', pp. 174–80</ref>