Horace
Horace, as imagined by Anton von Werner
Born	Quintus Horatius Flaccus 8 December 65 BC Venusia, Lucania, Roman Republic
Died	27 November 8 BC (age 56) Rome, Roman Empire
Resting place	Rome
Occupation	Soldier, scriba quaestorius, poet
Language	Latin
Nationality	Roman
Genres	Lyric poetry
Notable work(s)	Odes, Satires, Ars Poetica
Influenced Garcilaso de la Vega, Juan Boscán Almogáver, Torquato Tasso, Pierre de Ronsard, Luis de León

Quintus Horatius Flaccus (8 December 65 BC – 27 November 8 BC), known in the English-speaking world as Horace, was the leading Roman lyric poet during the time of Augustus. The rhetorician Quintillian regarded his Odes as almost the only Latin lyrics worth reading, justifying his estimate with the words: "He can be lofty sometimes, yet he is also full of charm and grace, versatile in his figures, and felicitously daring in his choice of words."^{[nb 1]}

Horace also crafted elegant hexameter verses (Sermones and Epistles) and scurrilous iambic poetry (Epodes). The hexameters are playful and yet serious works, leading the ancient satirist Persius to comment: "as his friend laughs, Horace slyly puts his finger on his every fault; once let in, he plays about the heartstrings".^{[nb 2]} Some of his iambic poetry, however, can seem wantonly repulsive to modern audiences.^[1]

His career coincided with Rome's momentous change from Republic to Empire. An officer in the republican army that was crushed at the Battle of Philippi in 42 BC, he was befriended by Octavian's right-hand man in civil affairs, Maecenas, and became something of a spokesman for the new regime. For some commentators, his association with the regime was a delicate balance in which he maintained a strong measure of independence (he was "a master of the graceful sidestep")^[2] but for others he was, in John Dryden's phrase, "a well-mannered court slave".^{[3][nb 3]}

His poetry became "the common currency of civilization", and he still retains a devoted following, despite some stigmatization after World War I (perhaps due to popular mistrust of old-fashioned patriotism and imperial glory, with which he was identified, fairly or unfairly).^[4] Horatian studies have become so diverse and intensive in recent years that it is probably no longer possible for any one scholar to command the whole range of arguments and issues.^[5]

Life[link]

Most of what we know about Horace comes from self-disclosures in his poetry, supplemented by a short biography probably written by Suetonius (Vita Horati).^[6] He has been considered the world's first autobiographer.^[7] Recent scholarship tends to frown on biographical interpretations of an author's works (critical analysis reveals only the author's mask or persona) but Horace not only invites our interest, he also mentions events that are verifiable, and thus it is valid to make some inferences about the individual behind the poems.^[8]

As Boy[link]

He was born on 8 December 65 BC^{[nb 4]} in Italy's Hellenized south-east. His home town, Venusia, lay on a trade route in the border region between Apulia and Lucania (Basilicata). Various dialects were spoken in the area and maybe this enriched his feeling for language. He could have been familiar with Greek words even as a young boy and later he poked fun at the jargon of mixed Greek and Oscan spoken in neighbouring Canusium (Satires 1.10.30). Literary Latin must have sounded to him like a semi-foreign language, heard only at school.^[9] One of the works he probably studied in school was the Odyssia of Livius Andronicus, crammed into Italian boys with threats and floggings by teachers like the 'Orbilius' mentioned in one of his poems (Epistles 2.1.69 ff.). School was made even more irksome by a number of his fellow pupils, the over-grown sons of beefy centurions (Satires 1.6.71 ff.). The army veterans could have been settled there at the expense of local families uprooted by Rome as punishment for their part in the Social War (91–88 BC).^[10] Such state-sponsored migration must have added still more linguistic variety to the area. According to a local tradition reported by Horace (Satires 2.1.34), a colony of Romans or Latins had been installed in Venusia after the Samnites had been driven out early in the third century. In that case, Horace could have felt himself to be Roman^[11][12] though there are also indications that he regarded himself as a Samnite or Sabellus (Epistles 1.16.49).^[13] Italians in modern and ancient times have always been devoted to their home towns, even after success in the wider world, and Horace was no different. Images of his childhood setting and references to it are found throughout his poems.^[14]

Horace's father was probably a Venusian taken captive by Romans in the Social War, or possibly he was descended from a Sabine captured in the Samnite Wars. Either way, he was a slave for at least part of his life. He was evidently a man of strong abilities however and managed to gain his freedom and improve his social position. Thus Horace claimed to be the free-born son of a prosperous 'coactor'.^[9] The term 'coactor' could denote various roles, such as tax collector, but its use by Horace (Satires 1.6.86) was explained by scholia as a reference to 'coactor argentareus' i.e. an auctioneer with some of the functions of a banker, paying the seller out of his own funds and later recovering the sum with interest from the buyer.^[15]

The father spent a small fortune on his son's education, eventually accompanying him to Rome to oversee his schooling and moral development. The poet later paid tribute to him in a poem (Satires 1.6) that one modern scholar considers the best memorial by any son to his father.^{[nb 5]} The poem includes this passage:

If my character is flawed by a few minor faults, but is otherwise decent and moral, if you can point out only a few scattered blemishes on an otherwise immaculate surface, if no one can accuse me of greed, or of prurience, or of profligacy, if I live a virtuous life, free of defilement (pardon, for a moment, my self-praise), and if I am to my friends a good friend, my father deserves all the credit... As it is now, he deserves from me unstinting gratitude and praise. I could never be ashamed of such a father, nor do I feel any need, as many people do, to apologize for being a freedman's son. Satires 1.6.65–92

He never mentioned his mother in his verses and he might not have known much about her. Perhaps she also had been a slave.^[9]

Young Man[link]

Horace left Rome, possibly after his father's death, and continued his formal education in Athens, the Oxbridge or Harvard of the ancient world, where he arrived at nineteen years of age, enrolling in The Academy. Founded by Plato, The Academy was now dominated by Epicureans and Stoics, whose theories and practises made a deep impression on the young man from Venusia.^[16] Meanwhile he mixed and lounged about with the elite of Roman youth, such as Marcus, the idle son of Cicero, and the Pompeius to whom he later addressed a poem (Odes 2.7). It was in Athens too that he probably acquired deep familiarity with the ancient tradition of Greek lyric poetry, at that time largely the preserve of grammarians and academic specialists (access to such material was easier in Athens than in Rome, where the public libraries had yet to be built by Asinius Pollio and Augustus).^[17]

Rome's troubles were soon to catch up with him in Athens. It was here that Marcus Junius Brutus turned, after the assassination of Julius Caesar, seeking support for a republican cause that was bereft of ideas, the much-vaunted ideal of liberty actually being irrelevant to a conflict that was essentially a struggle between elites.^[18] The Athenians however had a tradition of honouring tyrannicides, as types of their own heroes Harmodius and Aristogeiton, beside whose statues Brutus and his colleague Cassius were, by a popular decree, scheduled to be immortalized in bronze. Brutus was fêted around town in grand receptions and he made a point of attending academic lectures, all the while recruiting supporters among the impressionable young men studying there — Horace among them.^[19] An educated young Roman could begin military service high in the ranks and Horace was made tribunus militum (one of six senior officers of a typical legion), a post usually reserved for men of senatorial or equestrian rank and which seems to have inspired jealousy among his well-born confederates (Satires 1.6.48).^[20] He undoubtedly learned the basics of military life while on the march, particularly in the wilds of northern Greece, whose rugged scenery became a backdrop to some of his later poems.^[21] It was there in 42 BC that Octavian (later Augustus) and his associate Mark Antony crushed the republican forces at the Battle of Philippi. Horace later recorded it as a day of embarrassment for himself, when he fled without his shield (Odes 2.7.10), but allowance should be made for his self-deprecating humour and his self-identification with a tradition of poets who had long ago abandoned their shields in battle, notably his heroes Alcaeus and Archilochus (the latter did so in a part of Thrace near to Philippi, and was deeply involved in the Greek colonization of Thasos, where by coincidence the republican army finally surrendered).^[20]

Octavian offered an early amnesty to his opponents and the deflated ex-military tribune quickly accepted it. On returning to Italy, however, he was confronted with yet another loss: his father's estate in Venusia was one of many throughout Italy to be confiscated for the settlement of veterans (Virgil lost his estate in the north about the same time). Horace later claimed that he was reduced to poverty and this led him to try his hand at poetry (Epistles 2.2.51–2) yet there was no money to be had directly from versifying. At best, it offered future prospects through contacts with other poets and their patrons among the rich.^[22] Meanwhile he somehow obtained the sinecure of scriba quaestorius, a civil service position at the aerarium or Treasury, profitable enough to be purchased even by members of the ordo equester and not very demanding in its work-load, since tasks could be delegated to scribae or permanent clerks.^[23] It was about this time that he began writing his Satires and Epodes.

As Poet[link]

The Epodes belong to the iambic genre of 'blame poetry', as practised by Archilochus, and it seems that Horace wrote them like his literary hero in order to shame his fellow citizens into a proper sense of their social responsibilities. Social bonds in Rome had been decaying since the destruction of Carthage a little more than a hundred years earlier, under the alluring prospect of vast wealth attainable by plunder and corruption,^[24] and the troubles weren't over yet, with Octavian, Mark Antony and confederates like Sextus Pompey all jockeying for a bigger share of the spoils. One modern scholar has counted a dozen civil wars in the hundred years leading up to 31 BC, including the Spartacus rebellion, eight years before Horace's birth.^[25] As the heirs to Hellenistic culture, Horace and his fellow Romans were not equipped intellectually for collective answers to their most pressing problems:

Horace reads before Maecenas, by Fyodor Bronnikov

"At bottom, all the problems that the times were stirring up were of a social nature, which the Hellenistic thinkers were ill qualified to grapple with. Some of them censured oppression of the poor by the rich, but they gave no practical lead, though they may have hoped to see well-meaning rulers doing so. Philosophy was drifting into absorption in self, a quest for private contentedness, to be achieved by self-control and restraint, without much regard for the fate of a disintegrating community." — V.G. Kiernan^[26]

Satire was a genre unique to Latin literature and Horace introduced to it a style and outlook suited to the social and ethical issues confronting Rome. Ironically, his approach radically changed its role from public, social engagement to private meditation.^[27] Meanwhile, the poet was beginning to interest Octavian's supporters, a gradual process described by him in Satires 1.6. The way was opened for him by his friend, the poet Virgil, who had gained admission into the privileged circle around Maecenas, Octavian's lieutenant, following the success of his Eclogues. An introduction soon followed and, after a discreet interval, Horace too was accepted. He depicted the process as an honourable one, based on merit and mutual respect, eventually leading to true friendship, and there is reason to believe that his relationship was genuinely friendly, not just with Maecenas but afterwards with Augustus as well.^[28] On the other hand, the poet has been unsympathetically described by one scholar as "a sharp and rising young man, with an eye to the main chance."^[29] There were advantages on both sides: Horace gained encouragement and material support, the politicians gained a hold on a potential dissident.^[30] His republican sympathies, and his role at Philippi, may have caused him some pangs of remorse over his new status. However most Romans considered the civil wars to be the result of contentio dignitatis, or rivalry between the foremost families of the city, and he too seems to have accepted the principate as Rome's last hope for much needed peace.^[31]

In 37 BC, Horace accompanied Maecenas on a journey to Brundisium, described in one of his poems (Satires 1.5) as a series of amusing incidents and charming encounters with other friends along the way, such as Virgil. In fact the journey was political in its motivation, with Maecenas en route to negotiatie the Treaty of Tarentum with Antony, a fact Horace artfully keeps from the reader (political issues are largely avoided in the first book of satires).^[30] Horace was probably also with Maecenas on one of Octavian's naval expeditions against the piratical Sextus Pompeius, which ended in a disastrous storm off Palinurus in 36 BC, briefly alluded to by Horace in terms of near-drowning (Odes 3.4.28).^{[nb 6]} There are also some indications in his verses that he was with Maecenas at the Battle of Actium in 31 BC, where Octavian put an end to Antony's hopes (Epodes 1 and 9).^{[nb 7]} By then Horace had already received from Maecenas the famous gift of his Sabine farm, probably not long after the publication of the first book of Satires. The gift, which included income from five tenants, may have ended his career at the Treasury, or at least allowed him to give it less time and energy.^[32] It signalled his identification with the Octavian regime yet, in the second book of Satires that soon followed, he continued the apolitical stance of the first book. By this time, he had attained the status of eques Romanus (Satires 2.7.53), perhaps as a result of his work at the Treasury.^[33]

And Knight[link]

Odes 1–3 were the next focus for his artistic creativity. He adapted their forms and themes from Greek lyric poetry of the seventh and sixth centuries. The fragmented nature of the Greek world had enabled his literary heroes to express themselves freely and maybe his semi-retirement from the Treasury in Rome to his own estate in the Sabine hills empowered him to some extent also.^[34] Thus even when his lyrics touched on public affairs they reinforced the importance of private life.^[2]

Nevertheless his work in the period 30–27 BC began to show his closeness to the regime and his sensitivity to its developing ideology. In Odes 1.2, for example, he eulogized Octavian in hyperboles that echo Hellenistic court poetry. The name Augustus, which Octavian assumed in January 27 BC, is first attested in Odes 3.3 and 3.5. In the period 27–24 BC, political allusions in the Odes concentrated on foreign wars in Britain (1.35), Arabia (1.29) Spain (3.8) and Parthia (2.2). He greeted Augustus on his return from abroad in 24 BC as a beloved ruler whose recent illness had endangered his own happiness (3.14).^[35]

The public reception of Odes 1–3 disappointed him however. He attributed the lack of success to jealousy among imperial courtiers and to his isolation from literary cliques (Epistles 1.19.35–44). Perhaps it was disappointment that led him to put aside the genre in favour of verse letters. He addressed his first book of Epistles to a variety of friends and acquaintances in an urbane style reflecting his new social status as a knight. In the opening poem, he professed a deeper interest in moral philosophy than poetry (Epistles 1.1.10) but, though the collection demonstrates a leaning towards stoic theory, it reveals no sustained thinking about ethics.^[36] Maecenas was still the dominant confidante but Horace had now begun to assert his own independence, suavely declining constant invitations to attend him (Epistles 1.7). In the final poem of the first book of Epistles, he revealed himself to be forty-four years old in the consulship of Lollius and Lepidus i.e. 21 BC, and "of small stature, fond of the sun, prematurely grey, quick-tempered but easily placated" (Epistles 1.20.24–5).^[37]

According to Suetonius, the second book of Epistles was prompted by Augustus, who desired a verse epistle to be addressed to himself. Augustus was in fact a prolific letter-writer and he once asked Horace to be his personal secretary. Horace refused the secretarial role but complied with the emperor's request for a verse letter.^[38] The letter to Augustus however may have been slow in coming, being published possibly as late as 11 BC. It celebrated, among other things, the 15 BC military victories of his stepsons, Drusus and Tiberius, yet it and the following letter (Epistles 2.2) were largely devoted to literary theory and criticism. The literary theme was explored still further in Ars Poetica, published separately but written in the form of an epistle and sometimes referred to as Epistles 2.3 (possibly the last poem he ever wrote).^[39] He was also commissioned to write odes commemmorating the victories of Drusus and Tiberius (Odes 4.4 and 4.14) and one to be sung in a temple of Apollo for the Secular Games, a long abandoned festival that Augustus revived in accordance with his policy of recreating ancient customs (Carmen Saeculare).

Suetonius is also the source for gossip about Horace's sexual activities towards the end of his life, involving mirrors.^{[nb 8]} The poet died at 56 years of age, not long after his friend Maecenas, near whose tomb he was laid to rest. Both men bequeathed their property to Augustus, an honour that the emperor expected of his friends.^[40]

Works[link]

The dating of Horace's works isn't known precisely and scholars often debate the exact order in which they were first 'published'. There are good arguments for the following chronology:^[41]

• Satires 1 (c. 35–34 BC)
• Satires 2 (c. 30 BC)
• Epodes (30 BC)
• Odes 1–3 (c. 23 BC)^{[nb 9]}
• Epistles 1 (c. 21 BC)
• Carmen Saeculare (17 BC)
• Epistles 2 (c. 11 BC)^{[nb 10]}
• Odes 4 (c. 11 BC)
• Ars Poetica (c. 10–8 BC)^{[nb 11]}

Historical context[link]

Latin poetry was a product of the Hellenistic period and thus it was self-consciously a literary artifact. Horace's works were written in Greek metres, ranging from the hexameters of the Satires and Epistles and iambs of the Epodes, which were relatively easy to adapt into Latin, to the more complex measures used in the Odes, such as alcaics and sapphics, which were sometimes a difficult fit for Latin structure and syntax. He incorporated literary theory and criticism in his poems throughout his career and he considered himself a partisan in the development of a new and sophisticated style, influenced by the Callimachian aesthetics of brevity, elegance and polish.^[42]

"As soon as Horace, stirred by his own genius and encouraged by the example of Virgil, Varius, and perhaps some other poets of the same generation, had determined to make his fame as a poet, being by temperament a fighter, he wanted to fight against all kinds of prejudice, amateurish slovenliness, philistinism, reactionary tendencies, in short to fight for the new and noble type of poetry which he and his friends were endeavouring to bring about." — Eduard Fraenkel^[43]

In modern literary theory, a distinction has often been made between immediate personal experience (Urerlebnis) and a mediated form of experience derived from cultural norms such as literature, philosophy and the visual arts (Bildungserlebnis). The distinction has little relevance for Horace however since his poetry is a complete blend of personal and literary experiences, such as Satires 1.5, which recounts in realistic details an actual trip Horace made with Virgil and some other literary friends and which is closely modelled on a Satire by Lucilius, his predecessor.^[44] Unlike much Hellenistic-inspired literature, his poetry was not composed primarily for a small coterie of admirers and fellow poets, nor does it rely on abstruse allusions for many of its effects. It was elitist in its literary standards yet it was written for a wide readership, as a publicly accessible form of art.^[45] A similar kind of ambivalence characterizes his literary persona, since his presentation of himself as part of a small community of philosophically aware people, seeking true peace of mind and shunning vices like greed, was well suited to Augustus's ambitious plans to reform public morality, corrupted by greed. His plea for moderation was part of a grand message to the nation.^[46]

His general practise was to follow the examples of poets established as classics in different genres, such as Archilochus in Epodes, Lucilius in Satires and Alcaeus in the Odes, later broadening his scope for the sake of variation and because his models were ultimately unsuited to the realities confronting him in his own life. Archilochus was an aristocratic Greek whose iambic poetry had a social function that was immediately intelligible to an audience in the seventh century but which became a mere contrivance or literary motif when transposed to Rome, and Lucilius was a senator's son who could castigate his peers with impunity, whereas Horace was a mere freedman's son who had to tread carefully.^[47] His craftsmanship, as a wordsmith, is evident even in his earliest attempts in any particular genre, but his handling of each genre tended to improve over time as he adapted it to his own needs.^[47] Thus for example it is generally agreed that his second book of Satires, where human folly identifies itself through dialogue between characters, is superior to the first, where human folly is pointed out in the poet's monologues (though the first book also includes somes of his most popular poems).^[48]

Lucilius, his model in satire, was an aggressively Roman poet and a significant voice in Roman self-awareness, endearing himself to his countrymen by his blunt frankness and explicit politics, indicative of libertas. His style included 'metrical vandalism' and looseness of structure. Horace instead adopted an oblique and ironic style of satire, ridiculing stock characters and anonymous targets. His libertas was the private freedom of a philosophical outlook, not a political or social privilege.^[49] His use of meter in the Satires is relatively easy-going (relative to his later use of tight lyric meters in the Odes)^[50] but formal and highly controlled relative to the rough and ready Lucilius, whom he mocked for his sloppy standards (Satires 1.10.56–61)^{[nb 12]}

Horace proudly claimed to introduce into Latin the spirit and iambic meter of Archilochus but (unlike Archilochus) without persecuting anyone (Epistles 1.19.23–5). It was no idle boast. His Epodes were modelled on the verses of the Greek poet in their meter and in some formal aspects of the iambic genre, as 'blame poetry', yet he avoided targeting real scapegoats. Whereas Archilochus presented himself as a serious and vigorous opponent of wrong-doers, Horace aimed for comic effects and adopted the persona of a weak and ineffectual critic of his times (as symbolized for example in his surrender to the witch Canidia in the final epode).^[51] He also claimed to be the first to introduce into Latin the lyrical methods of Alcaeus (Epistles 1.19.32–3) and he actually was the first Latin poet to make consistent use of Alcaeic meters and themes: love, politics and the symposium. He imitated many other Greek lyric poets as well, and many scholars believe he employed a 'motto' technique, beginning each ode with some reference to a Greek original and then diverging from it.^[52]

Reception[link]

Horace, portrayed by Giacomo Di Chirico

The reception of Horace's work has varied from one epoch to another. In a verse epistle to Augustus (Epistle 2.1), in 12 BC, he argued for classic status to be awarded to contemporary poets, including Virgil and apparently himself.^[53] In the final poem of his third book of Odes he claimed to have created for himself a monument more durable than bronze ("Exegi monumentum aere perennius", Carmina 3.30.1). For one modern scholar, his personal qualities are more notable than the monumental quality of his achievement:

"...when we hear his name we don't really think of a monument. We think rather of a voice which varies in tone and resonance but is always recognizable, and which by its unsentimental humanity evokes a very special blend of liking and respect. — Niall Rudd^[54]

Yet for men like Wilfred Owen, scarred by experiences of World War I, his poetry stood for discredited values:

My friend, you would not tell with such high zest
To children ardent for some desperate glory,
The Old Lie: Dulce et decorum est
Pro patria mori.^{[nb 13]}

The same motto, Dulce et decorum est pro patria mori, was echoed sympathetically in the lyrics of early Christian poets, such as Prudentius, being adapted to an ethos of martydom.^[55]

Appreciation of Horace's work varied markedly in his own lifetime. Odes 1–3 were not well received when first 'published' in Rome, yet Augustus later commissioned a ceremonial ode for the Centennial Games in 17 BC and encouraged the publication of Odes 4, after which Horace's reputation as Rome's premier lyricist was assured. His Odes were to become the best received of all his poems in ancient times, acquiring a classic status that discouraged imitation: no other poet produced a comparable body of lyrics in the four centuries that followed^[56] (though that may have had more to do with social causes, particularly the parasitism that Italy was sinking into).^[57] In the seventeenth and eighteenth centuries, ode-writing became highly fashionable in England and a large number of aspiring poets imitated him both in English and in Latin.^[58]

These preliminary comments touch on a small sample of developments in the reception of Horace's work. More developments are covered epoch by epoch in the following sections.

Antiquity[link]

Horace's influence can be traced in the works of his younger contemporaries, Ovid and Propertius. The former rivalled him in creating a completely natural style of expression in hexameter verse, and the latter cheekily mimicked him in his third book of elegies.^{[nb 14]} His Epistles provided them with a model for their own verse letters and also for Ovid's exile poetry.^{[nb 15]} His influence also seems to have had an ironically negative power. As mentioned above, the brilliance of his Odes may have discouraged imitation. Moreover publication of Odes 1–3 may have created a vogue for Pindar's lyrics, due to the fact that Horace had largely neglected that form (see Pindar#Influence and legacy).^[59] His criticism of the unpolished style of his predecessor in satire, Lucilius, may have revived popular interest in him. For Persius, and later for Juvenal, both Horace and Lucilius offered valid models — thus Persius described his own satires as lacking Lucilian acerbity and Horace's gentler touch.^{[nb 16]} Juvenal's caustic satire was influenced mainly by Lucilius but Horace by then was a school classic and echoes of his work could be identified by Juvenal in a round-about way as "themes worthy of the Venusine lamp".^{[nb 17]} The iambic genre seems almost to have disappeared after publication of Horace's Epodes. Ovid's Ibis was a rare attempt at the form, inspired mainly by Callimachus, and there are some iambic elements in Martial but they owe more to Catullus than Horace.^[60]

Statius paid homage to Horace by composing one poem in Sapphic and one in Alcaic meter (the verse forms most often associated with Odes), which he included in his collection of occasional poems, Silvae. Ancient scholars wrote commentaries on the lyric meters of the Odes. Caesius Bassus was one such metrical theorist, as well as being a poet himself. By a process called derivatio, he varied established meters through the addition or omission of syllables, a technique that Seneca the Younger borrowed when adapting Horatian meters to the stage.^[61]

Horace's poems continued to be school texts into late antiquity. Works attributed to Helenius Acro and Pomponius Porphyrio are just the remnants of a much larger body of Horatian scholarship. Porphyrio arranged the poems in non-chronological order, beginning with the Odes, reflecting their general popularity and/or appeal to scholars (the Odes generally kept this privileged position in the medieval manuscript tradition and thus in modern editions also). Horace was often evoked by poets of the fourth century, such as Ausonius and Claudian. Approaching the fifth century, Prudentius, presented himself in the role of a Christian Horace, adapting Horatian meters and giving Horatian motifs a Christian tone.^{[nb 18]} St Jerome however modelled an uncompromising response to pagan literature, observing: "What harmony can there be between Christ and the Devil? What has Horace to do with the Psalter?"^{[nb 19]} By the early 6th century, Horace and Prudentius were both part of a classical heritage that was struggling to survive the disorder of the times. Boethius, the last major author of classical Latin literature, could still take inspiration from Horace, sometimes mediated by Senecan tragedy.^[62] It can be argued that Horace's influence extended beyond poetry to dignify core themes and values, such as self-sufficiency, inner contentment and courage.^{[nb 20]}

Middle Ages and Renaissance[link]

Horace in his Studium: German print of the XV century, summarizing the final ode 4.15 (in praise of Augustus).

The copying of classical texts virtually ceased in the period between the mid sixth century and the Middle Ages. Horace's work survived probably just in two or three books imported into northern Europe from Italy, these being the ancestors of six extant manuscripts dated to the ninth century. Two of the six manuscripts are French in origin, one was produced in Alsace, and the other three show Irish influence, probably written in continental monasteries (Lombardy for example).^[63] By the last half of the ninth century, direct knowledge of Horace's poetry was not unusual. His influence on the Carolingian Renaissance can be found in the poems of Heiric of Auxerre^{[nb 21]} and in some manuscripts marked with neumes, possibly intended as an aid to the memorization and discussion of his lyric meters. Ode 4.11 is even neumed with the melody of a hymn to John the Baptist, Ut queant laxis, both composed in Sapphic stanzas. The hymn became the basis of the solfege system — an association with western music quite appropriate for a lyric poet, though the language of the hymn is Prudentian rather than Horatian.^[64]

The German scholar, Ludwig Traube, once dubbed the tenth and eleventh centuries The age of Horace (aetas Horatiana), and placed it between the aetas Vergiliana of the eighth and ninth centuries, and the aetas Ovidiana of the twelfth and thirteenth centuries, a distinction supposed to reflect the dominant classical Latin influences of those times. It was over-schematized: Horace was a substantial influence in the ninth century as well, and it seems Traube had focused on Horace's Satires.^[65] Medieval scholars also over-schematized: they associated Horace's different genres with the different ages of man. A twelfth century scholar encapsulated the theory: "...Horace wrote four different kinds of poems on account of the four ages, the Odes for boys, the Ars Poetica for young men, the Satires for mature men, the Epistles for old and complete men."^[66] It was even thought that Horace had composed his works in the order in which they had been placed by ancient scholars.^{[nb 22]} Despite its naivety, the schematism involved an appreciation of Horace's works as a collection, the Ars Poetica, Satires and Epistles appearing to find as much favour as the Odes. Dante referred to him as Orazio satiro, an epithet perhaps reflecting the special status that the Satires and Epistles had attained by the later Middle Ages, and he awarded him a privileged position in the first circle of Hell, with Homer, Ovid and Lucan.^[67]

One measure of Horace's popularity is the large number of quotes from all his works found in almost every genre of medieval literature, and the number of imitators composing in ancient quantitative Latin meter . The most prolific imitator of his Odes was the Bavarian monk, Metellus of Tegernsee, who composed a large collection of poems dedicated to the patron saint of Tegernsee Abbey, St Quirinus, around the year 1170. He imitated all Horace's lyrical meters then followed these up with imitations of other meters used by Prudentius and Boethius, indicating that variety, as first modelled by Horace, was considered a fundamental aspect of the genre. The content of his poems however was restricted to simple piety.^[68] Among the most successful imitators of Horace's hexameters was another Germanic author, calling himself Sextus Amarcius, around 1100, who composed four books, the first two exemplifying vices, the second pair mainly virtues, modelled on Horace's Satires and Epistles and exhibiting some of the stylistic differences between the two genres.^[69]

Petrarch is a key figure in the transition from imitations of Horace in quantitative Latin meter to imitations in accentual meters. His verse letters in Latin were modelled on the Epistles and he wrote a letter to Horace in the form of an ode. However he also borrowed from Horace when composing his Italian sonnets. One modern scholar has speculated that authors who imitated Horace in meters based on accentual rhythms (including stressed Latin and vernacular languages) may have considered their work a natural sequel to Horace's metrical variety.^[70] In France, Horace and Pindar were the inspiration for a group of vernacular authors called the Pléiade, including for example Pierre de Ronsard and Joachim du Bellay. Montaigne made constant and inventive use of Horatian quotes.^[71] The vernacular languages were dominant in Spain and Portugal in the sixteenth century, where Horace's influence is notable in the works of such authors as Garcilaso de la Vega, Juan Boscán Sá de Miranda, Antonio Ferreira and Fray Luis de León, the latter for example writing odes on the Horatian theme beatus ille (happy the man).^[72] The sixteenth century in western Europe was also an age of translations (except in Germany, where Horace wasn't translated until well into the next century). The first English translator was Thomas Drant, who placed translations of Jeremiah and Horace side by side in Medicinable Morall, 1566, the same year that the Scot George Buchanan paraphrased the Psalms in a Horatian context. Ben Jonson put Horace on the stage in 1601 in Poetaster, along with other classical Latin authors, giving them all their own verses to speak in translation. Horace's part evinces the independent spirit, moral earnestness and critical insight that many readers look for in his poems.^[73]

Age of Enlightenment[link]

During the seventeenth and eighteenth centuries, or the Age of Enlightenment, neo-classical culture was pervasive and English literature in the middle of that period has been dubbed Augustan. It is not always easy to separate out Horace's influence during those centuries (the mixing of influences is shown for example in one poet's pseudonym, Horace Juvenal).^{[nb 23]} However a measure of his influence can be found in the diversity of the people interested in his works, both among readers and authors.^[74]

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. The poet James Thomson owned five editions of Horace's work and the physician James Douglas had five hundred books with Horace-related titles. Horace was often commended in periodicals such as The Spectator, as a hallmark of good judgement, moderation and manliness, a focus for moralising.^{[nb 24]} His verses offered a fund of mottoes, such as simplex munditiis, splendide mendax, sapere aude, nunc est bibendum, carpe diem (the latter perhaps being the only one still in common use today),^[62] quoted even in works as prosaic as Edmund Quincy's A treatise of hemp-husbandry (1765). The fictional hero Tom Jones recited his verses with feeling.^[75] 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:^[76]

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 echoes^{[nb 25]} 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).^[77] 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".^[78] Some Latin imitations of Horace were politically subversive, such as a marriage ode by Anthony Alsop that included a rallying cry for the Jacobite cause. On the other hand, Andrew Marvel 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 echo Horace's ambiguous response to the death of Cleopatra (Marvel'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.^{[nb 26]} 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.^[79] 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 sympotic settings:

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.^[82] Horace's Satires and Epistles however also had a huge impact, influencing theorists and critics such as John Dryden.^[83] 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 4.10 and re-numbered the remaining odes. He also removed the ending of Odes 4.1. Thomas Creech printed Epodes 8 and 12 in the original Latin but left out their English translations. 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 bowdlerized.

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.^[84]

19th century, on[link]

The 'Von Trapp Family': a semi-professional cast in a small town performance of The Sound of Music, Georgia, USA.
The solfege system (Do, Re, Mi), which is the theme of a song by the Von Trapp children, is just a small sample of Horace's all-pervasive influence on western culture, even among people who might never have heard the name Quintus Horatius Flaccus.

Horace maintained a central role in the education of English-speaking elites right up until the 1960s.^[85] A pedantic emphasis on the formal aspects of language-learning at the expense of literary appreciation may have made him unpopular in some quarters^[86] yet it also confirmed his influence — a tension in his reception that underlies Byron's famous lines from Childe Harold (Canto iv, 77):^[87]

Then farewell, Horace, whom I hated so

Not for thy faults, but mine; it is a curse

To understand, not feel thy lyric flow,

To comprehend, but never love thy verse.

William Wordsworth's mature poetry, including the preface to Lyrical Ballads, reveals Horace's influence in its rejection of false ornament^[88] and he once expressed "a wish / to meet the shade of Horace...".^{[nb 27]} John Keats echoed the opening of Horace's Epodes 14 in the opening lines of Ode to a Nightingale.^{[nb 28]}

The Roman poet was presented in the nineteenth century as an honourary English gentleman. William Thackery produced a version of Odes 1.38 in which Horace's questionable 'boy' became 'Lucy', and Gerard Manley Hopkins translated the boy innocently as 'child'. Horace was translated by Sir Theodore Martin (biographer of Prince Albert) but minus some ungentlemanly verses, such as the erotic Odes 1.25 and Epodes 8 and 12. Lord Lytton produced a popular translation and William Gladstone also wrote translations during his last days as Prime Minister.^[89]

Edward FitzGerald's Rubaiyat of Omar Khayyam, though formally derived from the Persian ruba'i, nevertheless shows a strong Horatian influence, since, as one modern scholar has observed,"...the quatrains inevitably recall the stanzas of the 'Odes', as does the narrating first person of the world-weary, ageing Epicurean Omar himself, mixing sympotic exhortation and 'carpe diem' with splendid moralising and 'memento mori' nihilism."^{[nb 29]} Matthew Arnold advised a friend in verse not to worry about politics, an echo of Odes 2.11, yet later became a critic of Horace's inadequacies relative to Greek poets, as role models of Victorian virtues, observing: "If human life were complete without faith, without enthusiasm, without energy, Horace...would be the perfect interpreter of human life."^[90] Christina Rossetti composed a sonnet depicting a woman willing her own death steadily, drawing on Horace's depiction of 'Glycera' in Odes 1.19.5–6 and Cleopatra in Odes 1.37.^{[nb 30]} A. E. Housman considered Odes 4.7, in Archilochian couplets, the most beautiful poem of antiquity^[91] and yet he generally shared Horace's penchant for quatrains, being readily adapted to his own elegiac and melancholy strain.^[92] The most famous poem of Ernest Dowson took its title and its heroine's name from a line of Odes 4.1, Non sum qualis eram bonae sub regno Cynarae, as well as its motif of nostalgia for a former flame. Kipling wrote a famous parody of the Odes, satirising their stylistic idiosyncracies and especially the extraordinary syntax, but he also used Horace's Roman patriotism as a focus for British imperialism, as in the story Regulus in the school collection Stalky & Co., which he based on Odes 3.5.^[93] Wilfred Owen's famous poem, quoted above, incorporated Horatian text to question patriotism while ignoring the rules of Latin scansion. However there were few other echoes of Horace in the war period, possibly because war is not actually a major theme of Horace's work.^[94]

Bibendum (the symbol of the Michelin tyre company) takes his name from the opening line of Ode 1.37, Nunc est bibendum.

Both W.H.Auden and Louis MacNeice began their careers as teachers of classics and both responded as poets to Horace's influence. Auden for example evoked the fragile world of the 1930s in terms echoing Odes 2.11.1–4, where Horace advises a friend not to let worries about frontier wars interfere with current pleasures.

And, gentle, do not care to know

Where Poland draws her Eastern bow,

     What violence is done;

Nor ask what doubtful act allows

Our freedom in this English house,

     Our picnics in the sun.^{[nb 31]}

The American poet, Robert Frost, echoed Horace's Satires in the conversational and sententious idiom of some of his longer poems, such as The Lesson for Today (1941), and also in his gentle advocacy of life on the farm, as in Hyla Brook (1916), evoking Horace's fons Bandusiae in Ode 3.13. Now at the start of the third millennium, poets are still absorbing and re-configuring the Horatian influence, sometimes in translation (such as a 2002 English/American edition of the Odes by thirty-six poets)^{[nb 32]} and sometimes as inspiration for their own work (such as a 2003 collection of odes by a New Zealand poet).^{[nb 33]}

Horace's Epodes have largely been ignored in the modern era, excepting those with political associations of historical significance. The obscene qualities of some of the poems have repulsed even scholars^{[nb 34]} yet more recently a better understanding of the nature of Iambic poetry has led to a re-evaluation of the whole collection.^[95][96] A re-appraisal of the Epodes also appears in creative adaptations by recent poets (such as a 2004 collection of poems that relocates the ancient context to a 1950s industrial town).^{[nb 35]}

See also[link]

• Horatia (gens)
• Otium
• Translation
• Prosody (Latin)

Notes[link]

1. ^ Quintilian 10.1.96. The only other lyrical poet Quintillian thought comparable with Horace was the now obscure poet/metrical theorist, Caesius Bassus (R. Tarrant, Ancient receptions of Horace, 280)
2. ^ Translated from Persius' own 'Satires' 1.116–17: "omne vafer vitium ridenti Flaccus amico / tangit et admissus circum praecordia ludit."
3. ^ Quoted by N. Rudd from John Dryden's Discourse Concerning the Original and Progress of Satire, excerpted from W.P.Ker's edition of Dryden's essays, Oxford 1926, vol. 2, pp. 86–7
4. ^ The year is given in Odes 3.21.1 ("Consule Manlio"), the month in Epistles 1.20.27, the day in Suetonius' biography Vita (R. Nisbet, Horace: life and chronology, 7)
5. ^ "No son ever set a finer monument to his father than Horace did in the sixth satire of Book I...Horace's description of his father is warm-hearted but free from sentimentality or exaggeration. We see before us one of the common people, a hard-working, open-minded, and thoroughly honest man of simple habits and strict convictions, representing some of the best qualities that at the end of the Republic could still be found in the unsophisticated society of the Italian municipia" — E. Fraenkel, Horace, 5–6
6. ^ Odes 3.4.28: "nec (me extinxit) Sicula Palinurus unda"; "nor did Palinurus extinguish me with Sicilian waters". Maecenas' involvement is recorded by Appian Bell. Civ. 5.99 but Horace's ode is the only historical reference to his own presence there, depending however on interpretation. (R. Nisbet, Horace: life and chronology, 10)
7. ^ The point is much disputed among scholars and hinges on how the text is interpreted. Epodes 9 for example may offer proof of Horace's presence if 'ad hunc frementis' ('gnashing at this' man i.e. the traitrous Roman ) is a misreading of 'at huc...verterent' (but hither...they fled) in lines descibing the defection of the Galatian cavalry, "ad hunc frementis verterunt bis mille equos / Galli canentes Caesarem" (R. Nisbet, Horace: life and chronology, 12).
8. ^ Suetonius signals that the report is based on rumours by employing the terms "traditur...dicitur" / "it is reported...it is said" (E. Fraenkel, Horace, 21)
9. ^ According to a recent theory, the three books of Odes were issued separately, possibly in 26, 24 and 23 BC (see G. Hutchinson (2002), Classical Quarterly 52: 517–37
10. ^ 19 BC is the usual estimate but c. 11 BC has good support too (see R. Nisbet, Horace: life and chronology, 18–20
11. ^ The date however is subject to much controversy with 22–18 BC another option (see for example R. Syme, The Augustan Aristocracy, 379–81
12. ^ "[Lucilius]...resembles a man whose only concern is to force / something into the framework of six feet, and who gaily produces / two hundred lines before dinner and another two hundred after." – Satire 1.10.59–61 (translated by Niall Rudd, The Satires of Horace and Persius, Penguin Classics 1973, p 69)
13. ^ Wilfred Owen, Dulce et decorum est (1917), echoes a line from Carmina 3.2.13, "it is sweet and honourable to die for one's country", cited by Stephen Harrison, The nineteenth and twentieth centuries, 340.
14. ^ Propertius published his third book of elegies within a year or two of Horace's Odes 1–3 and mimicked him, for example, in the opening lines, characterizing himself in terms borrowed from Odes 3.1.13 and 3.30.13–14, as a priest of the Muses and as an adaptor of Greek forms of poetry (R. Tarrant, Ancient receptions of Horace, 227)
15. ^ Ovid for example probably borrowed from Horace's Epistle 1.20 the image of a poetry book as a slave boy eager to leave home, adapting it to the opening poems of Tristia 1 and 3 (R. Tarrant, Ancient receptions of Horace), and Tristia 2 may be understood as a counterpart to Horace's Epistles 2.1, both being letters addressed to Augustus on literary themes (A. Barchiesi, Speaking Volumes, 79–103)
16. ^ The comment is in Persius 1.114–18, yet that same satire has been found to have nearly 80 reminiscences of Horace; see D. Hooley, The Knotted Thong, 29
17. ^ The allusion to Venusine comes via Horace's Sermones 2.1.35, while lamp signifies the lucubrations of a conscientious poet. According to Quintillian (93), however, many people in Flavian Rome preferred Lucilius not only to Horace but to all other Latin poets (R. Tarrant, Ancient receptions of Horace, 279)
18. ^ Prudentius sometimes alludesto the Odes in a negative context, as expressions of a secular life he is abandoning. Thus for example male pertinax, employed in Prudentius's Praefatio to describe a wilful desire for victory, is lifted from Odes 1.9.24, where it describes a girl's half-hearted resistance to seduction. Elsewhere he borrows dux bone from Odes 4.5.5 and 37, where it refers to Augustus, and applies it to Christ (R. Tarrant, Ancient receptions of Horace, 282
19. ^ St Jerome, Epistles 22.29, incorporating a quote from 2 'Corinthians 6.14: qui consensus Christo et Belial? quid facit cum psalterio Horatius?(cited by K. Friis-Jensen, Horace in the Middle Ages, 292)
20. ^ Odes 3.3.1–8 was especially influential in promoting the value of heroic calm in the face of danger, describing a man who could bear even the collapse of the world without fear (si fractus illabatur orbis,/impavidum ferient ruinae). Echoes are found in Seneca's Agamemnon 593–603, Prudentius's Peristephanon 4.5–12 and Boethius's Consolatio 1 metrum 4.(R. Tarrant, Ancient receptions of Horace, 283–85)
21. ^ Heiric, like Prudentius, gave Horatian motifs a Christian context. Thus the character Lydia in Odes 3.19.15, who would willingly die for her lover twice, becomes in Heiric's Life of St Germaine of Auxerre a saint ready to die twice for the Lord's commandments (R. Tarrant, Ancient receptions of Horace, 287–88)
22. ^ According to a medieval French commentary on the Satires: "...first he composed his lyrics, and in them, speaking to the young, as it were, he took as subject-matter love affairs and quarrels, banquets and drinking parties. Next he wrote his Epodes, and in them composed invectives against men of a more advanced and more dishonourable age...He next wrote his book about the Ars Poetica, and in that instructed men of his own profession to write well...Later he added his book of Satires, in which he reproved those who had fallen a prey to various kinds of vices. Finally he finished his oeuvre with the Epistles, and in them, following the method of a good farmer, he sowed the virtues where he had rooted out the vices." (cited by K. Friis-Jensen, Horace in the Middle Ages, 294–302)
23. ^ 'Horace Juvenal' was author of Modern manners: a poem, 1793
24. ^ see for example Spectator 312, 27 Feb. 1712; 548, 28 Nov. 1712; 618, 10 Nov. 1714
25. ^ One 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)
26. ^ 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."
27. ^ The quote, from Memorials of a Tour of Italy (1837), contains allusions to Odes 3.4 and 3.13 (S. Harrison, The nineteenth and twentieth centuries, 334–35)
28. ^ "My heart aches, and a drowsy numbness pains / my sense..." echoes Epodes 14.1–4 (S. Harrison, The nineteenth and twentieth centuries, 335)
29. ^ Comment by S. Harrison, editor and contributor to The Cambridge Companion to Horace (S. Harrison, The nineteenth and twentieth centuries, 337
30. ^ Rossetti's sonnet, A Study (a soul), dated 1854, was not published in her own lifetime. Some lines: She stands as pale as Parian marble stands / Like Cleopatra when she turns at bay... (C. Rossetti, Complete Poems, 758
31. ^ Quoted from Auden's poem Out on the lawn I lie in bed, 1933, and cited by S. Harrison, The nineteenth and twentieth centuries, 340
32. ^ Edited by McClatchy, reviewed by S. Harrison, Bryn Mawr Classical Review 2003.03.05
33. ^ I. Wedde, The Commonplace Odes, Auckland 2003, (cited by S. Harrison, The nineteenth and twentieth centuries, 345)
34. ^ 'Political' Epodes are 1, 7, 9, 16; notably obscene Epodes are 8 and 12. E. Fraenkel is among the admirers repulsed by these two poems, for another view of which see for example Dee Lesser Clayman, 'Horace's Epodes VIII and XII: More than Clever Obscenity?', The Classical World Vol. 6, No. 1 (September 1975), pp 55–61 online here
35. ^ M. Almond, The Works 2004, Washington, cited by S. Harrison, The nineteenth and twentieth centuries, 346

Citations[link]

1. ^ E. Fraenkel, Horace, 58
2. ^ ^{a b} J. Michie, The Odes of Horace, 14
3. ^ N. Rudd, The Satires of Horace and Persius, 10
4. ^ V. Kiernan, Horace: Poetics and Politics, ix
5. ^ S. Harrison, The Cambridge Companion to Horace, 1
6. ^ E. Fraenkel, Horace, 1–2.
7. ^ R. Barrow R., The Romans Pelican Books, 119
8. ^ N. Rudd, The Satires of Horace and Persius, 13
9. ^ ^{a b c} V. Kiernan, Horace: Poetics and Politics, 24
10. ^ E. Fraenkel, Horace, 2–3
11. ^ T. Frank, Catullus and Horace, 133–34
12. ^ A. Campbell, Horace: A New Interpretation, 84
13. ^ R. Nisbet, Horace: life and chronology, 7
14. ^ E. Fraenkel, Horace, 3–4
15. ^ E. Fraenkel, Horace, 4–5
16. ^ V. Kiernan, Horace: Poetics and Politics, 25
17. ^ E. Fraenkel, Horace, 8–9
18. ^ V. Kiernan, Horace: Politics and Poetics, 21
19. ^ E. Fraenkel, Horace, 9–10
20. ^ ^{a b} R. Nisbet, Horace: life and chronology, 8
21. ^ V. Kiernan, Horace, 25
22. ^ V. Kiernan, Horace: Poetics and politics
23. ^ E. Fraenkel, Horace, 14–15
24. ^ D. Mankin, Horace: Epodes, 6
25. ^ R. Conway, New Studies of a Great Inheritance, 49–50
26. ^ V. Kiernan, Horace: Poetics and Politics, 18–19
27. ^ F. Muecke, The Satires, 109–10
28. ^ R. Lyne, Augustan Poetry and Society, 599
29. ^ J. Griffin, Horace in the Thirties, 6
30. ^ ^{a b} R. Nisbet, Horace: life and chronology, 10
31. ^ D. Mankin, Horace: Epodes, 5
32. ^ E. Fraenkel, Horace, 15
33. ^ R. Nisbet, Horace: life and chronology, 11
34. ^ V. Kiernan, Horace: Poetics and Politics, 61–2
35. ^ R. Nisbet, Horace: life and chronology, 13
36. ^ V. Kiernan, Horace: Poetics and Politics, 149, 153
37. ^ R. Nisbet, Horace: life and chronology, 14–15
38. ^ E. Fraenkel, Horace, 17–18
39. ^ R. Ferri, The Epistles, 121
40. ^ E. Fraenkel, Horace, 23
41. ^ R Nisbet, Horace: life and chronology, 17–21
42. ^ S. Harrison, Style and poetic texture, 262
43. ^ E. Fraenkel, Horace, 124–5
44. ^ E. Fraenkel, Horace, 106–7
45. ^ E. Fraenkel, Horace, 74
46. ^ E. Fraenkel, Horace, 95–6
47. ^ ^{a b} E. Fraenkel, Horace, 32, 80
48. ^ V. Kiernan, Horace: Poetics and Politics, 28
49. ^ L. Morgan, Satire, 177–8
50. ^ S. Harrison, Style and poetic texture, 271
51. ^ S. Harrison, Lyric and Iambic, 192
52. ^ S. Harrison, Lyric and Iambic, 194–6
53. ^ R. Lyme, Augustan Poetry and Society, 603
54. ^ Niall Rudd, The Satires of Horace and Persius, 14
55. ^ R. Tarrant, Ancient receptions of Horace, 282–3
56. ^ R. Tarrant, Ancient receptions of Horace, 279
57. ^ V. Kiernan, Horace: Poetics and Politics, 176
58. ^ D. Money, The seventeenth and eighteenth centuries, 326, 332
59. ^ R. Tarrant, Ancient receptions of Horace, 280
60. ^ R. Tarrant, Ancient receptions of Horace, 278
61. ^ R. Tarrant, Ancient receptions of Horace, 280–81
62. ^ ^{a b} R. Tarrant, Ancient receptions of Horace, 283
63. ^ R. Tarrant, Ancient receptions of Horace, 285–87
64. ^ R. Tarrant, Ancient receptions of Horace, 288–89
65. ^ B. Bischoff, Living with the satirists, 83–95
66. ^ K. Friis-Jensen,Horace in the Middle Ages, 291
67. ^ K. Friis-Jensen, Horace in the Middle Ages, 293, 304
68. ^ K. Friis-Jensen, Horace in the Middle Ages, 296–8
69. ^ K. Friis-Jensen, Horace in the Middle Ages, 302
70. ^ K. Friis-Jensen, Horace in the Middle Ages, 299
71. ^ Michael McGann, Horace in the Renaissance, 306
72. ^ E. Rivers, Fray Luis de León: The Original Poems
73. ^ M. McGann, Horace in the Renaissance, 306–7, 313–16
74. ^ D. Money, The seventeenth and eighteenth centuries, 318, 331, 332
75. ^ D. Money, The seventeenth and eighteenth centuries, 322
76. ^ D. Money, The seventeenth and eighteenth centuries, 326–7
77. ^ J. Talbot, A Horatian Pun in Paradise Lost, 21–3
78. ^ B. Loveling, Latin and English Poems, 49–52, 79–83
79. ^ D. Money, The seventeenth and eighteenth centuries, 329–31
80. ^ E. Tollet, Poems on Several Occasions, 84
81. ^ Translation adapted from D. Money, The seventeenth and eighteenth centuries, 329
82. ^ A. Gilbert, Literary Criticism: Plato to Dryden, 124, 669
83. ^ W. Kupersmith, Roman Satirists in Seventeenth Century England, 97–101
84. ^ D. Money, The seventeenth and eighteenth centuries, 319–25
85. ^ S. Harrison, The nineteenth and twentieth centuries, 340
86. ^ V. Kiernan, Horace: Poetics and Politics, x
87. ^ S. Harrison, The nineteenth and twentieth centuries, 334
88. ^ D. Money, The seventeenth and eighteenth centuries, 323
89. ^ S. Harrison, The nineteenth and twentieth centuries, 335–37
90. ^ M. Arnold, Selected Prose, 74
91. ^ W. Flesch, Companion to British Poetry, 19th Century, 98
92. ^ S. Harrison, The nineteenth and twentieth centuries, 339
93. ^ S. Medcalfe, Kipling's Horace, 217–39
94. ^ S. Harrison, the nineteenth and twentieth centuries, 340
95. ^ D. Mankin, Horace: Epodes, 6–9
96. ^ R. McNeill, Horace, 12

References[link]

• Arnold, Matthew (1970). Selected Prose. Penguin Books. ISBN 978-0-14-043058-5. 
• Barrow, R (1949). The Romans. Penguin/Pelican Books. 
• Barchiesi, A (2001). Speaking Volumes: Narrative and Intertext in Ovid and Other Latin Poets. Duckworth. 
• Bischoff, B (1971). "Living with the satirists". Classical Influences on European Culture AD 500–1500. Cambridge University Press. 
• Bush, Douglas (1966). Milton: Poetical Works. Oxford University Press. 
• Campbell, A (1924). Horace: A New Interpretation. London. 
• Conway, R (1921). New Studies of a Great Inheritance. London. 
• Ferri, Rolando (2007). "The Epistles". The Cambridge Companion to Horace. Cambridge University Press. 
• Flesch, William (2009). The Facts on File Companion to British Poetry, 19th Century. Infobase Publishing. ISBN 978-0-8160-5896-9. 
• Frank, Tenney (1928). Catullus and Horace. New York. 
• Fraenkel, Eduard (1957). Horace. Oxford University Press. 
• Friis-Jensen, Karsten (2007). "Horace in the Middle Ages". The Cambridge Companion to Horace. Cambridge University Press. 
• Griffin, Jasper (1993). "Horace in the Thirties". Horace 2000. Ann Arbor. 
• Harrison, Stephen (2005). "Lyric and Iambic". A Companion to Latin Literature. Blackwell Publishing. 
• Harrison, Stephen (2007). "Introduction". The Cambridge Companion to Horace. Cambridge University Press. 
• Harrison, Stephen (2007). "Style and poetic texture". The Cambridge Companion to Horace. Cambridge University Press. 
• Harrison, Stephen (2007). "The nineteenth and twentieth centuries". The Cambridge Companion to Horace. Cambridge University Press. 
• Hooley, D (1997). The Knotted Thong: Structures of Mimesis in Persius. Ann Arbor. 
• Hutchinson, G (2002). "The publication and individuality of Horace's Odes 1–3". Classical Quarterly 52. 
• Kiernan, Victor (1999). Horace: Poetics and Politics. St Martin's Press. 
• Kupersmith, W (1985). Roman Satirists in Seventeenth Century England. Lincoln, Nabraska and London. 
• Loveling, Benjamin (1741). Latin and English Poems, by a Gentleman of Trinity College, Oxford. London. 
• Lyne, R (1986). "Augustan Poetry and Society". The Oxford History of the Classical World. Oxford University Press. 
• Mankin, David (1995). Horace: Epodes. Cambridge university Press. 
• McNeill, Randall (2010). Horace. Oxford University Press. ISBN 978-0-19-980511-2. 
• Michie, James (1967). "Horace the Man". The Odes of Horace. Penguin Classics. 
• Money, David (2007). "The seventeenth and eighteenth centuries". The Cambridge Companion to Horace. Cambridge University Press. 
• Morgan, Llewelyn (2005). "Satire". A Companion to Latin Literature. Blackwell Publishing. 
• Muecke, Frances (2007). "the Satires". The Cambridge Companion to Horace. Cambridge University Press. 
• Nisbet, Robin (2007). "Horace: life and chronology". The Cambridge Companion to Horace. Cambridge University Press. 
• Rivers, Elias (1983). Fray Luis de León: The Original Poems. Grant and Cutler. 
• Rossetti, Christina (2001). The Complete Poems. Penguin Books. 
• Rudd, Niall (1973). The Satires of Horace and Persius. Penguin Classics. 
• Syme, R (1986). The Augustan Aristocracy. Oxford University Press. 
• Talbot, J (2001). "A Horatian Pun in Paradise Lost". Notes and Queries 48 (1). Oxford University Press. 
• Tarrant, Richard (2007). "Ancient receptions of Horace". The Cambridge Companion to Horace. Cambridge University Press. 
• Tollet, Elizabeth (1755). Poems on Several Occasions. London. 

Further reading[link]

• Davis, Gregson (1991). Polyhymnia the rhetoric of Horatian lyric discourse. Berkeley: University of California Press. ISBN 0-520-91030-3. 
• Fraenkel, Eduard (1957). Horace. Oxford: Clarendon Press. 
• Horace (1983). The complete works of Horace. Charles E. Passage, trans. New York: Ungar. ISBN 0-8044-2404-7. 
• Johnson, W.R. (1993). Horace and the dialectic of freedom : readings in Epistles 1. Ithaca: Cornell University Press. ISBN 0-8014-2868-8. 
• Lyne, R.O.A.M. (1995). Horace : behind the public poetry. New Haven: Yale Univ. Press. ISBN 0-300-06322-9. 
• Lyons, Stuart (1997). Horace's Odes and the Mystery of Do-Re-Mi. Aris & Phillips. 
• Lyons, Stuart (2010). Music in the Odes of Horace. Aris & Phillips. 
• Michie, James (1964). The Odes of Horace. Rupert Hart-Davis. 
• Newman, J.K. (1967). Augustus and the New Poetry. Brussels: Latomus, revue d’études latines. 
• Noyes, Alfred (1947). Horace: A Portrait. New York: Sheed and Ward. 
• Perret, Jacques (1964). Horace. Bertha Humez, trans. New York: New York University Press. 
• Putnam, Michael C.J. (1986). Artifices of eternity : Horace's fourth book of Odes. Ithaca, NY: Cornell University Press. ISBN 0-8014-1852-6. 
• Reckford, Kenneth J. (1969). Horace. New York: Twayne. 
• Rudd, Niall, ed. (1993). Horace 2000: a celebration : essays for the bimillennium. Ann Arbor: Univ. of Michigan Press. ISBN 0-472-10490-X. 
• Sydenham, Colin (2005). Horace The Odes. Duckworth. 
• West, David (1997). Horace The Complete Odes and Epodes. Oxford University Press. 
• Wilkinson, L.P. (1951). Horace and His Lyric Poetry. Cambridge: Cambridge University Press. 

Translations[link]

• John Dryden successfully adapted three of the Odes (and one Epode) into verse for readers of his own age. Samuel Johnson favored the versions of Philip Francis. Others favor unrhymed translations.
• In 1964 James Michie published a translation of the Odes—many of them fully rhymed—including a dozen of the poems in the original Sapphic and Alcaic metres.
• More recent verse translations of the Odes include those by David West (free verse), and Colin Sydenham (rhymed).
• Ars Poetica was first translated into English by Ben Jonson and later by Lord Byron.
• Horace's Odes and the Mystery of Do-Re-Mi Stuart Lyons (rhymed) Aris & Phillips ISBN 978-0-85668-790-7

External links[link]

Wikiquote has a collection of quotations related to: Horace

Latin Wikisource has original text related to this article: Latin texts of Quintus Horatius Flaccus

English Wikisource has original text related to this article: English translations of texts of Quintus Horatius Flaccus

Wikisource has the text of the 1911 Encyclopædia Britannica article Horace.

Wikimedia Commons has media related to: Quintus Horatius Flaccus

• Full text (in Latin): Horace’s Satirae (= Satires), Epistolae (= Epistles, Letters), etc. From archive.org. Retrieved 13 September 2010.
• Works by Horace at Project Gutenberg
• Common sayings from Horace
• The works of Horace at The Latin Library
• Selected Poems of Horace
• The Perseus Project — Latin and Greek authors (with English translations), including Horace
• Biography and chronology
• Horace's works: text, concordances and frequency list
• SORGLL: Horace, Odes I.22, read by Robert Sonkowsky
• Translations of several odes in the original meters (with accompaniment).
• A discussion and comparison of three different contemporary translations of Horace's Odes
• Some spurious lines in the Ars Poetica?
• Works by or about Horace in libraries (WorldCat catalog)

Horace Andy
At Bestival 2007
Background information
Birth name	Horace Hinds
Also known as	Sleepy
Born	(1951-02-19) 19 February 1951 (age 61)
Origin	Kingston, Jamaica
Genres	Reggae, trip hop
Instruments	Vocals
Years active	1967–present
Associated acts	Massive Attack Easy Star All-Stars

Horace Andy (born Horace Hinds on 19 February 1951)^[1] is a roots reggae songwriter and singer, known for his distinctive vocals and hit songs such as "Government Land", "Angel", "Five Man Army" and a cover version of "Ain't No Sunshine".

Biography[link]

Early days[link]

Born in Kingston, Jamaica, Hinds recorded his first single in 1967 for producer Phil Pratt.^[1] "This is a Black Man's Country" failed to make an impact, and it wouldn't be until 1970 that he achieved a breakthrough. After unsuccessfully auditioning at Coxsone Dodd's Studio One as a duo along with Frank Melody, he successfully auditioned on his own a few days later.^[1] Dodd decided Hinds should record as Horace Andy, partly to capitalize on the popularity of Bob Andy, and partly to avoid comparisons with his cousin, Justin Hinds, with whom his singing style at the time showed a resemblance.^[1] "Got To Be Sure", the song he had auditioned with, became his first release for Studio One. The following two years saw the release of further singles such as "See a Man's Face", "Night Owl", "Fever", and "Mr. Bassie". One of Andy's most enduring songs, "Skylarking", first appeared on Dodd's Jamaica Today compilation album, but after proving a sound system success, it was released as a single, going on to top the Jamaican chart.^[1] The next few years saw Andy regularly in the reggae charts with further singles for Dodd such as "Something on My Mind", "Love of a Woman", "Just Say Who", and "Every Tongue Shall Tell", as well as singles for other producers such as "Lonely Woman" (for Derrick Harriott), "Girl I Love You" (Ernest and Joseph Hoo Kim), "Love You to Want Me" and "Delilah" (Gussie Clarke), and "Get Wise", "Feel Good", and "Money Is The Root of All Evil" for Phil Pratt. Andy had a second Jamaican number one single in 1973 with "Children of Israel".^[1] Andy's most successful association with a producer, however, was with Bunny Lee in the middle part of the 1970s. This era produced a series of singles now regarded as classics such as a re-recorded "Skylarking", "Just Say Who", "Don't Try To Use Me", "You Are My Angel", "Zion Gate", "I've Got to Get Away", and a new version of "Something on My Mind".^[1]

In 1977, Andy moved to Hartford, Connecticut, with his first wife, Claudette, where he recorded for Everton DaSilva, including the In The Light album and its associated dub album, and singles such as "Do You Love My Music" and "Government Land".^[2] Andy set up his own Rhythm label, which became an outlet for his work with DaSilva. The association with the producer was brought to an abrupt end when DaSilva was murdered in 1979.^[1] Andy's 1978 album Pure Ranking had anticipated the rise of dancehall reggae, and he was a key figure in the early development of the genre, confirmed by 1982's Dance Hall Style album.^[1] Andy continued to record with a variety of producers in the first half of the 1980s. In 1985, with his second wife Caroline, he relocated to Ladbroke Grove, London, and he recorded in the United Kingdom as well as regularly visiting Jamaica for further recording work.

Mainstream success with Massive Attack[link]

1990 saw Andy's profile further raised when he began collaborating with Bristol trip hop pioneers Massive Attack, going on to contribute to all five of their albums (the only artist to do so), most notably with "Angel" (a new version of "You are My Angel") released on their third album, Mezzanine and most recently on their 2010 release Heligoland, on the tracks "Splitting the Atom" and "Girl I Love You." In the mid-1990s he also worked with Mad Professor, releasing the albums Life Is For Living and Roots and Branches. He continues to record new music, with the Living in the Flood album released in 1999 on Massive Attack's Melankolic record label, and Mek It Bun in 2002. He also featured on the world music project, 1 Giant Leap, and on the Easy Star All-Stars 2006 album, Radiodread.

He is a Rastafarian. Some of his lyrics on the subject of homosexuality have been considered controversial. Andy stated that Trojan Records only agreed to release his album On Tour after removing a track containing the lyrics, "The Father never make Adam and Steve, he make Adam and Eve".^[3][4][5]

Albums[link]

• Skylarking (1972) Studio One
• You Are My Angel (1973) Trojan
• Earth Must Be Hell (1974) Atra (with Winston Jarrett) aka The Kingston Rock
• Earth Must Be Hell - Dub (1974) Atra (with Winston Jarrett)
• In The Light (1977) Hungry Town
• In The Light Dub (1977) Hungry Town
• Pure Ranking (1978) Clocktower
• Bim Sherman Meets Horace Andy and U Black Inna Rub a Dub Style (1980) Yard International (with Bim Sherman and U Black)
• Natty Dread a Weh She Want (1980) New Star
• Unity Showcase (1981) Pre (with Errol Scorcher)
• Dance Hall Style (1982) Wackies aka Exclusively (1982) Solid Groove
• Showcase (1984) Vista Sounds
• Confusion (1984) Music Hawk
• Sings For You and I (1985) Striker Lee
• Clash of the Andy's (1985) Thunderbolt (with Patrick Andy)
• Elementary (1985) Rough Trade
• Reggae Superstars Meet (1986) Striker Lee (with Dennis Brown)
• From One Extreme To Another (1986) Beta (with John Holt)
• Haul & Jack Up (1987) Live & Love
• Fresh (1988) Island In The Sun
• Shame and Scandal (1988)
• Everyday People (1988) Wackies
• Rude Boy (1993) Shanachie
• Jah Shaka Meets Horace Andy (1994) Jah Shaka Music
• Dub Salute 1 Featuring Horace Andy (1994) Jah Shaka Music
• Seek and You Will Find (1995) Blackamix International
• Seek and You Will Find - The Dub Pieces (1995) Blackamix International
• Life Is For Living (1995) Ariwa
• Roots and Branches (1997) Ariwa
• See and Blind (1998) Heartbeat
• Living In The Flood (1999) Melankolic
• Mek It Bun (2002) Wrasse
• From the Roots: Horace Andy Meets Mad Professor RAS
• This World (2005) Attack
• Livin' It Up (2007) Medium (with Sly & Robbie)
• On Tour (2008) Sanctuary
• Two Phazed People (2009) dontTouch (with Alpha)
• Serious Times (2010)

References[link]

External links[link]

• Horace Andy on Myspace
• Searchable discography at Roots Archives
• Discography with reviews of some albums^{[dead link]}
• Site french on Horace Sleepy Andy: Discography, photographs, Videos/Mp3 ...

This article relies on references to primary sources or sources affiliated with the subject, rather than references from independent authors and third-party publications. Please add citations from reliable sources. (June 2007)

Jeff Lorber
Photo by Jessica Lorber
Background information
Born	(1952-11-04) November 4, 1952 (age 59) Philadelphia, Pennsylvania, United States
Genres	Jazz fusion Smooth Jazz Jazz pop Crossover jazz
Occupations	Musician
Instruments	Piano/Keyboard/Guitar
Years active	1975–present
Labels	Inner City Blue Note Narada Zebra Verve Warner Bros. Arista Peak (since 2008)
Associated acts	Michael Jeffries, Karyn White

Jeff Lorber (born November 4, 1952 in Philadelphia, Pennsylvania) is an American Grammy Award-nominated keyboardist, composer, and record producer.^[1]

After leading his own group, The Jeff Lorber Fusion, he went on to pioneer the smooth jazz genre.^{[citation needed]}

Many of his songs were featured on The Weather Channel's Local On The 8s segments, including appearances on the channel's compilation albums, The Weather Channel Presents: The Best of Smooth Jazz and The Weather Channel Presents: Smooth Jazz II.

In February, it was announced Jeff Lorber signed with Peak Records. Lorber's first CD for his new label is expected to hit the street on Tuesday, June 10.

He was also nominated for a Grammy for his 2007 Blue Note Records release titled, "He Had A Hat."

Early life[link]

Jeff Lorber was born to a Jewish family in Philadelphia, Pennsylvania. Lorber started to play the piano when he was four years old and after playing in a number of R&B bands as a teen, went on to attend Berklee College of Music, where he developed his love for jazz.^[2] He moved to Vancouver, Washington in 1972.

The Jeff Lorber Fusion (1977-1981)[link]

His first group, The Jeff Lorber Fusion, released their self-titled debut album in 1977 on Inner City Records. Supported by a revolving cast of musicians including longtime drummer Dennis Bradford, Lorber recorded five studio albums under this moniker. These early releases showcased a funky sound influenced by other jazz fusion practitioners like Herbie Hancock, Weather Report and Return to Forever, the latter's Chick Corea appearing on several noteworthy Fusion cuts. Like his contemporaries, Lorber performed on multiple keyboard instruments including piano, Rhodes piano, and various analog synthesizers, often favoring the Minimoog and Sequential Circuits Prophet 5.

"Rain Dance," found on the 1979 album Water Sign, was sampled for the 1996 Lil' Kim single "Crush On You." It was also sampled for the track Love Like This (featuring Lil' Cease) on SWV's 1997 release Release Some Tension

The Jeff Lorber Fusion's 1980 LP Wizard Island introduced a young saxophonist named Kenny Gorelick, better known as Kenny G.

Solo career (1982-present)[link]

In 1982, Lorber recorded his first solo album It's A Fact, which explored Lorber's R&B roots with a smoother, more synth-heavy sound. The album featured a new backing band as well as contributions from former Fusion bandmate Kenny G and legendary percussionist Paulinho Da Costa. It's A Fact also contained several songs with vocalists, a stark contrast to the instrumental recordings of the Fusion.

1984 was a prolific year for Lorber, who followed up his solo debut with In the Heat of the Night and Lift Off. Later that same year, Lorber teamed up with influential R&B production duo David Frank and Mic Murphy, otherwise known as The System [2], to produce his most successful effort to date, Step By Step[3]. The synth-driven title track rose to number 31 on the R&B charts[4].

Jeff Lorber's keyboard work is featured in the PlayStation video game Castlevania: Symphony of the Night. His keyboarding can be heard during the game's closing theme song "I Am the Wind" (which also features saxophonist Gerald Albright).^[3]

His subsequent albums continued to evolve in a smooth jazz direction. Two greatest hits compilations, The Definitive Collection and The Very Best of Jeff Lorber, were released in 2000 and 2002 respectively. To date, he has recorded a dozen solo albums, his most recent being 2005's Flipside which was nominated for a Grammy Award in the Best Pop Instrumental Album category.

Lorber has done extensive production and session work for other artists including Dave Koz, Eric Benet, Herb Alpert^[4] and Laura Branigan, as well as working on a track for the critically acclaimed 1997 PlayStation game Castlevania: Symphony of the Night. In addition to his recording and performing, Lorber also hosts his own show on Sirius Satellite Radio.

Personal life[link]

Jeff Lorber is married to Mingquan Tungwarapotwitan. When Lorber was diagnosed with polycystic kidney disease, he received a successful kidney transplant from his wife. Jeff has two daughters, Nica Lorber and Jessica Lorber.^{[citation needed]}

Discography[link]

Studio albums (The Jeff Lorber Fusion)[link]

• The Jeff Lorber Fusion (1977, Inner City)
• Soft Space (1978, Inner City)
• Water Sign (1979, Arista)
• Wizard Island (1980, Arista)
• Galaxian (1981, Arista)
• Now Is The Time (2010, Heads Up)
• Galaxy (2012)

Studio albums (solo career)[link]

• It's a Fact (1982, Arista)
• In the Heat of the Night (1984, Arista)
• Lift Off (1984, Arista)
• Step by Step (1984, Arista)
• Private Passion (1986, Warner Bros.)
• Worth Waiting For (1993, Verve Forecast)
• West Side Stories (1994, Verve Forecast)
• State of Grace (1996, Verve Forecast)
• Midnight (1998, Zebra)
• Kickin' It (2001, Samson)
• Philly Style (2003, Narada Jazz)
• Flipside (2005, Narada Jazz)
• He Had a Hat (2007, Blue Note)
• Heard That (2008, Peak)

Compilations[link]

• The Definitive Collection (2000, Arista)
• The Very Best of Jeff Lorber (2002, GRP/Verve)

References[link]

External links[link]

Wikimedia Commons has media related to: Jeff Lorber

• Official site
• Jeff Lorber Interview at allaboutjazz.com