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For information on how to proceed, first see the FAQ for blocked users and the guideline on block appeals. The guide to appealing blocks may also be helpful. Other useful links: Blocking policy · Help:I have been blocked You can view and copy the source of this page: ===Age of Enlightenment=== During the seventeenth and eighteenth centuries, or the [[Age of Enlightenment]], neoclassical culture was pervasive. English literature in the middle of that period has been dubbed [[Augustan literature|Augustan]]. It is not always easy to distinguish Horace's influence during those centuries (the mixing of influences is shown for example in one poet's pseudonym, ''Horace Juvenal'').'Horace Juvenal' was author of ''Modern manners: a poem'', 1793 However a measure of his influence can be found in the diversity of the people interested in his works, both among readers and authors.D. Money, ''The seventeenth and eighteenth centuries'', 318, 331, 332 New editions of his works were published almost yearly. There were three new editions in 1612 (two in [[Leiden]], one in [[Frankfurt]]) and again in 1699 ([[Utrecht]], [[Barcelona]], [[Cambridge]]). Cheap editions were plentiful and fine editions were also produced, including one whose entire text was engraved by [[John Pine]] in [[copperplate engraving|copperplate]]. The poet [[James Thomson (poet)|James Thomson]] owned five editions of Horace's work and the physician [[James Douglas (physician)|James Douglas]] had five hundred books with Horace-related titles. Horace was often commended in periodicals such as [[The Spectator (1711)|The Spectator]], as a hallmark of good judgement, moderation and manliness, a focus for moralising.see for example ''Spectator'' '''312''', 27 Feb. 1712; '''548''', 28 Nov. 1712; '''618''', 10 Nov. 1714 His verses offered a fund of mottoes, such as ''[[simplex munditiis]]'' (elegance in simplicity), ''[[splendide mendax]]'' (nobly untruthful), ''[[sapere aude]]'' (dare to know), ''[[nunc est bibendum]]'' (now is the time to drink), ''[[carpe diem]]'' (seize the day, perhaps the only one still in common use today). These were quoted even in works as prosaic as [[Edmund Quincy (1703-1788)|Edmund Quincy]]'s ''A treatise of hemp-husbandry'' (1765). The fictional hero [[The History of Tom Jones, a Foundling|Tom Jones]] recited his verses with feeling.D. Money, ''The seventeenth and eighteenth centuries'', 322 His works were also used to justify commonplace themes, such as patriotic obedience, as in James Parry's English lines from an Oxford University collection in 1736:D. Money, ''The seventeenth and eighteenth centuries'', 326–27 {{poemquote| What friendly [[Muse]] will teach my Lays To emulate the Roman fire? Justly to sound a Caeser's praise Demands a bold Horatian lyre. }} Horatian-style lyrics were increasingly typical of Oxford and Cambridge verse collections for this period, most of them in Latin but some like the previous ode in English. [[John Milton]]'s [[Lycidas]] first appeared in such a collection. It has few Horatian echoesOne echo of Horace may be found in line 69: "''Were it not better done as others use,/ To sport with Amaryllis in the shade/Or with the tangles of Neaera's hair?''", which points to the Neara in ''Odes'' 3.14.21 (Douglas Bush, ''Milton: Poetical Works'', 144, note 69) yet Milton's associations with Horace were lifelong. He composed a controversial version of ''Odes'' 1.5, and [[Paradise Lost]] includes references to Horace's 'Roman' ''Odes'' 3.1–6 (Book 7 for example begins with echoes of ''Odes'' 3.4).J. Talbot, ''A Horatian Pun in Paradise Lost'', 21–3 Yet Horace's lyrics could offer inspiration to libertines as well as moralists, and neo-Latin sometimes served as a kind of discrete veil for the risqué. Thus for example [[Benjamin Loveling]] authored a catalogue of Drury Lane and Covent Garden prostitutes, in Sapphic stanzas, and an encomium for a dying lady "of salacious memory".B. Loveling, ''Latin and English Poems'', 49–52, 79–83 Some Latin imitations of Horace were politically subversive, such as a marriage ode by [[Anthony Alsop]] that included a rallying cry for the [[Jacobitism|Jacobite]] cause. On the other hand, [[Andrew Marvell]] took inspiration from Horace's ''Odes'' 1.37 to compose his English masterpiece [[Horatian Ode upon Cromwell's Return from Ireland]], in which subtly nuanced reflections on the execution of [[Charles I of England|Charles I]] echo Horace's ambiguous response to the death of [[Cleopatra]] (Marvell's ode was suppressed in spite of its subtlety and only began to be widely published in 1776). [[Samuel Johnson]] took particular pleasure in reading ''The Odes''.Cfr. [[James Boswell]], "The Life of [[Samuel Johnson]]" ''Aetat.'' 20, 1729 where Boswell remarked of Johnson that Horace's ''Odes'' "were the compositions in which he took most delight." [[Alexander Pope]] wrote direct ''Imitations'' of Horace (published with the original Latin alongside) and also echoed him in ''Essays'' and [[The Rape of the Lock]]. He even emerged as "a quite Horatian Homer" in his translation of the ''[[Iliad]]''.D. Money, ''The seventeenth and eighteenth centuries'', 329–31 Horace appealed also to female poets, such as [[Anna Seward]] (''Original sonnets on various subjects, and odes paraphrased from Horace'', 1799) and [[Elizabeth Tollet]], who composed a Latin ode in Sapphic meter to celebrate her brother's return from overseas, with tea and coffee substituted for the wine of Horace's [[symposium|sympotic]] settings: {{verse translation|lang=la | Quos procax nobis numeros, jocosque Musa dictaret? mihi dum tibique Temperent baccis Arabes, vel herbis Pocula SeresE. Tollet, ''Poems on Several Occasions'', 84 | What verses and jokes might the bold Muse dictate? while for you and me Arabs flavour our cups with beans Or Chinese with leaves.Translation adapted from D. Money, ''The seventeenth and eighteenth centuries'', 329 }} Horace's ''Ars Poetica'' is second only to Aristotle's ''Poetics'' in its influence on literary theory and criticism. Milton recommended both works in his treatise ''of Education''.A. Gilbert, ''Literary Criticism: Plato to Dryden'', 124, 669 Horace's ''Satires'' and ''Epistles'' however also had a huge impact, influencing theorists and critics such as [[John Dryden]].W. Kupersmith, ''Roman Satirists in Seventeenth Century England'', 97–101 There was considerable debate over the value of different lyrical forms for contemporary poets, as represented on one hand by the kind of four-line stanzas made familiar by Horace's Sapphic and Alcaic ''Odes'' and, on the other, the loosely structured [[Pindarics]] associated with the odes of [[Pindar]]. Translations occasionally involved scholars in the dilemmas of censorship. Thus [[Christopher Smart]] entirely omitted ''Odes'' [[:wikisource:la:Carmina (Horatius)/Liber IV/Carmen X|4.10]] and re-numbered the remaining odes. He also removed the ending of ''Odes'' [[:wikisource:la:Carmina (Horatius)/Liber IV/Carmen I|4.1]]. [[Thomas Creech]] printed ''Epodes'' [[:wikisource:la:Epodi#VIII|8]] and [[:wikisource:la:Epodi#XII|12]] in the original Latin but left out their English translations. [[Philip Francis (translator)|Philip Francis]] left out both the English and Latin for those same two epodes, a gap in the numbering the only indication that something was amiss. French editions of Horace were influential in England and these too were regularly [[bowdlerize]]d. Most European nations had their own 'Horaces': thus for example [[Friedrich von Hagedorn]] was called ''The German Horace'' and [[Maciej Kazimierz Sarbiewski]] ''The Polish Horace'' (the latter was much imitated by English poets such as [[Henry Vaughan]] and [[Abraham Cowley]]). Pope [[Urban VIII]] wrote voluminously in Horatian meters, including an ode on gout.D. Money, ''The seventeenth and eighteenth centuries'', 319–25 Return to Horace. 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