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Published online by Cambridge University Press: 11 February 2009
Walter Savage Landor's exasperated marginal comment on line 13 of Horace, C. 1. 4 (‘pallida mors has nothing to do with the above’) has sent modern commentators scurrying to the poem's defence. The skirmish has been won for Horace, but at the expense perhaps of magnifying the importance of line 13: A. Y. Campbell insisted that pallida mors, far from being irrelevant, was ‘the focus of the whole poem’
1 Horace: A New Interpretation (London, 1924), p. 78.Google Scholar
1 Horace and his Lyric Poetry (Cambridge, 1945). PP. 39–40.Google Scholar
3 ‘Unity in the Odes of Horace’, Phoenix ix (1955), 156.Google Scholar
4 ‘Patterns in Horatian Lyric’, A.J.P. lxxxi (1960), 380. It should be said that Rudd finds overall unity in patterns of imagery extending from beginning to end of the poem (the ratio spring: winter:: life: death reinforced by antithetic images of freedom: bondage, warmth: cold, green: white).Google Scholar
5 The Structure of Horace's Odes (London, 1961), pp. 95–98. The two-part structure of the poem is described as ‘a circle and a line’.Google Scholar
6 ‘Romanae Fidicen Lyrae: The Odes of Horace’, in Critical Essays in Roman Literature (London, 1962), p. 194.Google Scholar
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12 That lines 9–10, as well as lines 11–12, refer to the ceremonies of Faunus is clear from Calpurnius, Eel. i; Virgil, , Aen. vii. 81 ff.;Google Scholar and Ovid, , Fasti iv. 649 ff.Google Scholar
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14 ‘Horace, Odes i. 4’, C.R. N.s. xii (1962), 5–11.Google Scholar
15 Horaz I (Berlin, 1960), pp. 25–26.Google Scholar
1 It might be noted that s-sounds predominate at the principal caesurae of both long and short lines (hiems, siccas, stabulis, canis, choros, Nymphis, ardens) until the centre of the poem is reached.