Editorial

Letter from the Editors

HORACE ON HORACE ODES 4

Horace’s fourth Book of Odes was published in 13 B.C.1 Ten years had passed since the publication of Odes 1-3. In Epistles 1.1.4 published 7 years before Odes 4 Horace already indicated that for him neither age nor mind was the same (non eadem est aetas, non mens, Epistles 1.1.17) and that a wise person (sanus) would turn the aging horse to pasture (solve senescentem mature sanus equum, Epistles 1.1.8). It is clear then that Horace would have needed some serious inducement to return from that pasture of retirement into the fray of committing himself to writing lyric poetry and especially odes again

APPEARANCE AND REALITY IN HORACE'S ODES 3.7-12

The artistic principle of contrast is seldom pushed to its limit to the same extent as is done in the first section of Horace's Odes Book 3. Six sonorous poems in the Alcaic metre are followed by a second group of poems reflecting such diversity of metre that they remind the reader of the initial nine Parade Odes.2 Six poems on the "state of the nation" are followed by a group of poems exclusively concerned with a seemingly idiosyncratic perspective on individual experience.) Six Roman odes are followed by a group of poems described by Syndikus as "sehr leichte, scheinbar gewichtlose Gedichte" (1990:98)

Classics in post-colonial worlds

The volume grew out of a conference on Classics in Post-Colonial Worlds held at theOpen University in the West Midlands Centre in Harborne, Birmingham in May2004

SATIRIC LYRIC? HORACE ODES 3.7-12

A cluster of six poems, Odes 3. 7–12, enhanced by their position in the collection of Odes (following as they do the Roman Odes, Odes 3. 1–6) seems to stake Horace’s claim as a poet of personal relationships to the same extent that the Parade Odes (Odes 1. 1–9) staked his claim as a master craftsman.1 Nowhere else in the collection do we have such a large group of poems dedicated exclusively to expressing aspects of personal relationships.2 In addition, it is striking that the group as a whole also seems to focus on ironic points of view on the situations concerned. The most obvious explanation for this special focus could lie in the fact that the poems are meant to be read as a group, which in turn requires that the perspective reflected by the group as a whole should be taken into careful consideration

MYTH AS HISTORIC BENCHMARK IN HORACE 1 ODES 3:1 – 6

Can a lyric poet have anything valid to say about historic realities?2 In this paper I argue that by looking carefully at Horace’s use of myth3 as a larger frame of reference against which Odes 3.1 – 64 should be read, a case can be made for a lyric poet’s subtly critical assessment of the contemporary reality.5 In short I want to suggest that the poet uses myth as a means to comment (implicitly) on the contemporary historic reality concerned. Furthermore, if a reference to myth can operate as implied comment on the present, this reference can also include didactic purpose, or more specifically advice on how to act in the present reality

The Formerly Unchurched: Bridges to the Unchurched in the 21st Century

This is the presidential lecture given at the American Society for Church Growth meetings in November 1999. In his article, Dr. Rainer shares some of his cutting edge research regarding effective evangelistic churches. His insights are extremely helpful for those consulting with churches in the area of evangelism

The Formerly Unchurched: Bridges to the Unchurched in the 21st Century

This is the presidential lecture given at the American Society for Church Growth meetings in November 1999. In his article, Dr. Rainer shares some of his cutting edge research regarding effective evangelistic churches. His insights are extremely helpful for those consulting with churches in the area of evangelism

The Live(d) Curriculum: Life Feeling Itself

The article focuses on the ideas and meanings that emerge for the author as she experiences the death of her father. Here, through a series of vignettes which expose curricula as live(d) by herself, her father, and others, the author explores multiple conceptions of the live(d) curriculum. As a result, ideas and meanings of (in)visibility, last(ing) rituals, and life feeling itself surface and in significant ways occasion the author’s new awareness and deeper understanding of the live(d) curriculum