Römeroden

The term Römeroden describes the six poems at the beginning of the third of the four books of Odes by the Roman poet Horace ; it is generally first recorded in Theodor Plüss' Horace studies from 1882.

The metric speaks formally for the coherence of these texts : one and the same meter (the so-called " Alkean stanza ") for half a dozen consecutive poems can only be found here in the Horazi poetry. In addition, the announcement of 'previously unheard of poems' at the beginning of the third book of odes (c. 3,1,2 f .: carmina non prius / audita ) suggests more than just a single text .

Apparently the late antique grammarian Diomedes already read or counted the “Römeroden” as a poem; The probably earlier Horace commentator Pomponius Porphyrio also seems to point in this direction. In addition to questions of origin, dating and arrangement in the work, the context and unity of the assumed cycle of poems and the “political” Horace are the focus of modern research.

literature

Theodor Mommsen : Speech to celebrate the birthdays of King Friedrich II. And Kaiser Wilhelm II. [ The first six poems of the third book of the songs of Horace ] In: Otto Hirschfeld (Ed.): Session reports of the Royal Prussian Academy of Sciences . 1889, pp. 23–35 [again in: speeches and essays . Weidmannsche Buchhandlung, Berlin 1905 (reprint: Dogma, Bremen 2012), pp. 168–184]
Hugo Jurenka : To honor the Roman odes of Horace . In: Philologus , 57, 1898, pp. 289-306.
Friedrich Kreppel: The cycle of the Horazische Römeroden. I. part . (Program of the K. Humanist High School for the school year 1902/1903). Printed by Hermann Kayser, Kaiserslautern 1903
Karl Theodor Hiemer: The Romanodes of Horace . (Program of the Royal High School in Ellwangen at the end of the school year 1904–1905). Printed in the Ipf and Jagst newspaper , Ellwangen 1905
Hendrik Wagenvoort: De Horatii quae dicuntur Odis Romanis . Diss. Groningen 1911.
Giorgio Pasquali : Orazio lirico. Studi . Felice Le Monnier, Florence 1920 (reprint 1966), pp. 649-710 (Chapter 3 'Gli elementi Romani della lirica di Orazio': "2. Le odi Romane (III 1-6).").
Richard Heinze : The cycle of the Römeroden . In: New year books for science and youth education , 5, 1929, pp. 675-687 [again in: Erich Burck (ed.): Vom Geist des Römertums . 4th revised edition. Teubner, Stuttgart 1972, pp. 190-205].
Carl Koch : The cycle of the Römeroden . In: New Year Books , 4, 1941, pp. 62–83 [again in: Otto Seel (Ed.): Religio. Studies on cult and belief of the Romans (Erlangen contributions to linguistics and art studies 7). Hans Carl Verlag, Nuremberg 1960, pp. 114-141].
Leiv Amundsen: The 'Roman Odes' of Horace . In: Serta Eitremiana (Symbolae Osloenses Supplement 11). Oslo 1942, pp. 1-24 [Ger. The Romans of Horace. A lecture . Translated from English by Volker Eggers. In: Hans Oppermann (Ed.): Paths to Horace (= Paths of Research 99). Wissenschaftliche Buchgesellschaft, Darmstadt 1972, pp. 111-138].
Laura O. Sangiacome: Le odi novels . Rom (Roma) 1942 (a commented special edition with translation).
Walter Wili : Horace and the Augustan culture. Benno Schwabe & Co., Basel 1948 (reprint 1966; the 2nd, unchanged edition already Wissenschaftliche Buchgesellschaft, Darmstadt 1965), pp. 201–211.
Friedrich Klingner : Horazens Römeroden . In: Varia Variorum . Festgabe for Karl Reinhardt (offered by friends and students on February 14, 1951). Böhlau , Münster / Cologne 1952, pp. 118-136 [again in: Klaus Bartels (Ed.): Studies on Greek and Roman literature . Artemis, Zurich / Stuttgart 1964, pp. 333-352].
Eduard Fraenkel : Horace . (Original Horace . Clarendon Press, Oxford 1957). Wissenschaftliche Buchgesellschaft, Darmstadt 1963, 6th edition 1983, pp. 308–341.
Hans Oppermann : To the construction of the Römeroden . In: Gymnasium , 66, 1959, pp. 204-217.
Karl Büchner : The Römeroden . In: Studies on Roman Literature. Volume III: Horace . Franz Steiner Verlag, Wiesbaden 1962, pp. 125–138 [also alongside a contribution The unity of the Roman ods in the Horace chapter of: The Roman lyric. Texts, translations, interpretations, history . Reclam, Stuttgart 1976 (2nd edition 1983), pp. 139-163].
Jean-Marie André: Les odes romaines. Mission divine, otium et apothéose du chef . In: Jacqueline Bibauw (Ed.): Hommages à Marcel Renard I (Collection Latomus 101). Latomus , Brussels (Bruxelles) 1969, pp. 31-46.
Pierre Grimal : Les odes romaines d'Horace et les causes de la guerre civile . In: Revue d'Études Latines , 53, 1975, pp. 135-156.
Charles Witke: Horace's novel Odes. An Critical Examination . In: Mnemosyne , Supplement 77. Brill, Leiden 1983.
Michael von Albrecht : Horazens Römeroden . In: Acta Antiqua Academiae Scientiarum Hungaricae , 30, 1982-1984, pp. 229-241.
Dieter Lohmann : Horaz Carmen III 2 and the cycle of the 'Roman Odes' . In: Der Altsprachliche Studium , 34,3, 1991, pp. 62–75.
Karl Numberger: Horace - lyric poems. Commentary for high school teachers and students . 3. Edition. Aschendorff, Münster 1997, pp. 420-422.
Hans Peter Syndikus : The poetry of Horace. An interpretation of the odes. Volume II: Third and Fourth Books . 3rd, completely revised edition. Wissenschaftliche Buchgesellschaft, Darmstadt 2001, pp. 3–6 (“The cycle of the Roman electrodes”).
Gregor Maurach : Horace. Work and life . (Scientific commentaries on Greek and Latin writers). Winter, Heidelberg 2001, pp. 219-257 (Chapter X - Political Warning: The "Roman Odes").
Robin GM Nisbet , Niall Rudd : A Commentary on Horace: Odes Book III . Oxford: Oxford University Press 2004, pp. Xx – xxi ("3. The› Roman Odes ‹").
Friedemann Weitz: The 'Römeroden' at the crossroads. A snapshot of a powerful catchphrase (in) Horace research .

Remarks

^ Hans Theodor Plüss : Horace Studies. Old and new essays on Horazi poetry . Teubner, Leipzig 1882. Niklas Holzberg ( Horaz. Dichter und Werk . CHBeck, Munich 2009, p. 149) claims without more precise evidence : “Anyone who coined the term› Römeroden ‹has existed since the middle of the 19th century and is today used internationally - can no longer be clearly identified today. "; perhaps this dating is due to the note in Fraenkel (p. 308, footnote 1): “T. Plüß, Horazstudien, 1882, p. 185 ff. Seems to use the term “the Romanodes” as a common one. As [sc. Arthur Woollgar] Veral <l> published his Studies [sc .: literary and historical] in the Odes of Horace in 1884 [sc. London: Macmillan and Co.], he knew the book by Plüß (Verrall, 8, note 2); he himself says on p. 106: 'the ›Römer-Oden‹ as they are sometimes called'. ”In their own way, both scholars agree on the skeptical assessment of the collective term:“ Der Brauch, Od. 3, 1–6 to use the heading 'Römeroden' is not above criticism. ”In Fraenkel (p. 308) and“ It is of course not a happy term. ”In Holzberg ( Horaz. Dichter und Werk . CH Beck, Munich 2009, p. 149); Lohmann notes in a similar direction (p. 67): “One has got used to the fact that the first six poems (sc. of the third book of Odes) are subordinate to the (for about a hundred years usual) because of the metrical correspondence and because of a very questionable prior understanding ) Title ›Römeroden‹ to summarize. ”And almost in summary Gerhard Binder : War service and peace service. About “Political Poetry” and the 2nd Ode of Horace “To the Youth” . In: Acta Antiqua Academiae Scientiarum Hungaricae , 39, 1999, pp. 53–72 right at the beginning (p. 53): “› Römeroden ‹has been the name of the most controversial group of lyrical poems by Horace since the 19th century, the six Carmina in Alkean stanza at the beginning of the 3rd book. ³ With this label, the poems, which the poet undoubtedly combined into a cycle, are assigned a uniform line and function: They contain the poet's political credo and all have the same goal, the aspirations and measures of the Roman people aimed at the moral rebirth of the Roman people To support Augustus'. Assessments like these have caused interpretational hardening in German Horace philology, which made it difficult for a long time to perceive other tones characteristic of Horace's poetry in addition to the undoubtedly existing affirmative, ›patriotic‹ tones in the poetry group. "With footnote 3 : "E. FRAENKEL: Horace (Oxford 1957) 260: ›The habit of attaching the label 'Roman Odes' to Odes III. 1–6 may be open to criticism. ‹According to FRAENKEL a. O. Note 1 probably a German term coinage; … ”An early criticism is in Carl Nauck's Horace explanations for school use (Teubner, Leipzig 1889, p. 146, books.google.de ):“ The Oden III. 1–6 has recently been given the little or no meaningful name Römeroden. ”In the fourteenth, revised edition of this work, however, the new editor Otto Weissenfels (Teubner, Leipzig 1894) writes in the“ Introduction ”(§ 22, here p . 18): "Those great solemn poems in which the virtues of ancient Rome and Rome's glorious past, in which Augustus, Drusus and Tiberius are glorified, primarily have the six first poems of the third book, have a Roman character. which has therefore been called the Romanodes. ”Finally, as a small impetus for further research into the history of science, the year 1880 - from a second edition! - Hermann Schütz to c. 3.1 quoted ( Q. Horatius Flaccus. Explained by H. Sch. First Part: Oden und Epoden . Second edition. Weidmannsche Buchhandlung, Berlin, p. 174): “About the general internal connection of the 6 following so-called political or Roman codes sd critical appendix. "
↑ The classic German Horaz commentary by Kießling / Heinze states in its seventh edition from 1930 (p. 248): “Only once did H. [oraz] otherwise have three [sc. c. 2,13-15], rarely [sc. c. 1.9 f .; 1.24 f .; 1.26 f .; 1.34 f .; c. 2.19 f .; c. 4.14 f.] Two poems of the same stanza form placed side by side ”.
↑ "liber tertius prima ode alcaicum metrum habet, quod similiter scanditur," odi profanum uulgus et arceo ". Secunda or asclepiadeum metrum habet et per quaternos uersus scanditur. Nam duo penthemimeres, duo tripodia dactylice tlesibi" quatida "candieidem tlesibi insunt. "(Third book: The first ode has an Alkaean meter, which is chanted in the same way: 'Odi profanum volgus et arceo'. The second ode [according to popular counting c. 3.7!] Has an Asklepiadean meter and is made up of four verses chanted, because there are two (times the metric incision) 'penthemimeres' and dactylically two tripods: 'Quid fles, Asterie, quem tibi candida').
↑ "haec autem ᾠδή multiplex per varios deducta est sensus" (This ode, however, is carried out in many different moods): "One can only understand this in such a way that in this carmen longissimum a uniform theme is varied in many ways ( per varios sensus deducta ). "(Lohmann p. 67)
↑ The title ' Augustus ' became Octavian (with Horace mostly 'Caesar', which today means and designates Gaius Iulius Caesar !) In January of the year 27 BC. And marks the so-called terminus post quem for the third (c. 3,3,11) and fifth ode (c. 3,5,3); The relationship between the request, integrated in a poem, to restore the sanctuaries of the gods (c. 3,6,2 f.), to the statement of the (emperor) Augustus that he had in the year of his sixth consulate (= 28 BC) had 82 urban Roman temples restored based on the authorization of the Senate (“duo et octoginta templa deum in urbe consul sextum ex auctoritate senatus refeci”; Res gestae divi Augusti 20). Either way, the (generally accepted) publication of the first three books of Oden in 23 BC The time limit for conception ('program'), writing and arrangement of all 88 contained 'songs'.
↑ Such a conscious approach in the creation of his poetry collection (s) seems undisputed for Horace: The first book of the odes begins with no less than nine poems in different meters (so-called "paradeodes"), the second with the alternation of Alkaean and Sapphic stanzas over eleven poems before c. 2.12 another meter appears.
↑ Pointedly pointed in the Tusculum edition by Gerhard Fink ( Horaz. Oden und Epoden . Artemis & Winkler, Düsseldorf / Zurich 2002, p. 340): “Anyone who in no way can make friends with the idea that Horace sometimes has the highest in the shadow of Augustus wittily and not without a certain risk, his distance to the principle in one or the other poem should shine through, ought by right to accept the sometimes exuberant praise either as being seriously meant or as an expression of servile slouching. In one case the intellect comes off badly, in the other the poet's character. ”As a Gretchen question on the“ Roman odes ”resp. One could pose an example to its author: How do you feel about c. 3,2,13? ("Dulce et decorum est pro patria mori": It is sweet and honorable to die for the fatherland.)

[1] Hans Theodor Plüss : Horace Studies. Old and new essays on Horazi poetry . Teubner, Leipzig 1882. Niklas Holzberg ( Horaz. Dichter und Werk . CHBeck, Munich 2009, p. 149) claims without more precise evidence : “Anyone who coined the term› Römeroden ‹has existed since the middle of the 19th century and is today used internationally - can no longer be clearly identified today. "; perhaps this dating is due to the note in Fraenkel (p. 308, footnote 1): “T. Plüß, Horazstudien, 1882, p. 185 ff. Seems to use the term “the Romanodes” as a common one. As [sc. Arthur Woollgar] Veral <l> published his Studies [sc .: literary and historical] in the Odes of Horace in 1884 [sc. London: Macmillan and Co.], he knew the book by Plüß (Verrall, 8, note 2); he himself says on p. 106: 'the ›Römer-Oden‹ as they are sometimes called'. ”In their own way, both scholars agree on the skeptical assessment of the collective term:“ Der Brauch, Od. 3, 1–6 to use the heading 'Römeroden' is not above criticism. ”In Fraenkel (p. 308) and“ It is of course not a happy term. ”In Holzberg ( Horaz. Dichter und Werk . CH Beck, Munich 2009, p. 149); Lohmann notes in a similar direction (p. 67): “One has got used to the fact that the first six poems (sc. of the third book of Odes) are subordinate to the (for about a hundred years usual) because of the metrical correspondence and because of a very questionable prior understanding ) Title ›Römeroden‹ to summarize. ”And almost in summary Gerhard Binder : War service and peace service. About “Political Poetry” and the 2nd Ode of Horace “To the Youth” . In: Acta Antiqua Academiae Scientiarum Hungaricae , 39, 1999, pp. 53–72 right at the beginning (p. 53): “› Römeroden ‹has been the name of the most controversial group of lyrical poems by Horace since the 19th century, the six Carmina in Alkean stanza at the beginning of the 3rd book. ³ With this label, the poems, which the poet undoubtedly combined into a cycle, are assigned a uniform line and function: They contain the poet's political credo and all have the same goal, the aspirations and measures of the Roman people aimed at the moral rebirth of the Roman people To support Augustus'. Assessments like these have caused interpretational hardening in German Horace philology, which made it difficult for a long time to perceive other tones characteristic of Horace's poetry in addition to the undoubtedly existing affirmative, ›patriotic‹ tones in the poetry group. "With footnote 3 : "E. FRAENKEL: Horace (Oxford 1957) 260: ›The habit of attaching the label 'Roman Odes' to Odes III. 1–6 may be open to criticism. ‹According to FRAENKEL a. O. Note 1 probably a German term coinage; … ”An early criticism is in Carl Nauck's Horace explanations for school use (Teubner, Leipzig 1889, p. 146, books.google.de ):“ The Oden III. 1–6 has recently been given the little or no meaningful name Römeroden. ”In the fourteenth, revised edition of this work, however, the new editor Otto Weissenfels (Teubner, Leipzig 1894) writes in the“ Introduction ”(§ 22, here p . 18): "Those great solemn poems in which the virtues of ancient Rome and Rome's glorious past, in which Augustus, Drusus and Tiberius are glorified, primarily have the six first poems of the third book, have a Roman character. which has therefore been called the Romanodes. ”Finally, as a small impetus for further research into the history of science, the year 1880 - from a second edition! - Hermann Schütz to c. 3.1 quoted ( Q. Horatius Flaccus. Explained by H. Sch. First Part: Oden und Epoden . Second edition. Weidmannsche Buchhandlung, Berlin, p. 174): “About the general internal connection of the 6 following so-called political or Roman codes sd critical appendix. "

[2] The classic German Horaz commentary by Kießling / Heinze states in its seventh edition from 1930 (p. 248): “Only once did H. [oraz] otherwise have three [sc. c. 2,13-15], rarely [sc. c. 1.9 f .; 1.24 f .; 1.26 f .; 1.34 f .; c. 2.19 f .; c. 4.14 f.] Two poems of the same stanza form placed side by side ”.

[3] "liber tertius prima ode alcaicum metrum habet, quod similiter scanditur," odi profanum uulgus et arceo ". Secunda or asclepiadeum metrum habet et per quaternos uersus scanditur. Nam duo penthemimeres, duo tripodia dactylice tlesibi" quatida "candieidem tlesibi insunt. "(Third book: The first ode has an Alkaean meter, which is chanted in the same way: 'Odi profanum volgus et arceo'. The second ode [according to popular counting c. 3.7!] Has an Asklepiadean meter and is made up of four verses chanted, because there are two (times the metric incision) 'penthemimeres' and dactylically two tripods: 'Quid fles, Asterie, quem tibi candida').

[4] "haec autem ᾠδή multiplex per varios deducta est sensus" (This ode, however, is carried out in many different moods): "One can only understand this in such a way that in this carmen longissimum a uniform theme is varied in many ways ( per varios sensus deducta ). "(Lohmann p. 67)

[5] The title ' Augustus ' became Octavian (with Horace mostly 'Caesar', which today means and designates Gaius Iulius Caesar !) In January of the year 27 BC. And marks the so-called terminus post quem for the third (c. 3,3,11) and fifth ode (c. 3,5,3); The relationship between the request, integrated in a poem, to restore the sanctuaries of the gods (c. 3,6,2 f.), to the statement of the (emperor) Augustus that he had in the year of his sixth consulate (= 28 BC) had 82 urban Roman temples restored based on the authorization of the Senate (“duo et octoginta templa deum in urbe consul sextum ex auctoritate senatus refeci”; Res gestae divi Augusti 20). Either way, the (generally accepted) publication of the first three books of Oden in 23 BC The time limit for conception ('program'), writing and arrangement of all 88 contained 'songs'.

[6] Such a conscious approach in the creation of his poetry collection (s) seems undisputed for Horace: The first book of the odes begins with no less than nine poems in different meters (so-called "paradeodes"), the second with the alternation of Alkaean and Sapphic stanzas over eleven poems before c. 2.12 another meter appears.

[7] Pointedly pointed in the Tusculum edition by Gerhard Fink ( Horaz. Oden und Epoden . Artemis & Winkler, Düsseldorf / Zurich 2002, p. 340): “Anyone who in no way can make friends with the idea that Horace sometimes has the highest in the shadow of Augustus wittily and not without a certain risk, his distance to the principle in one or the other poem should shine through, ought by right to accept the sometimes exuberant praise either as being seriously meant or as an expression of servile slouching. In one case the intellect comes off badly, in the other the poet's character. ”As a Gretchen question on the“ Roman odes ”resp. One could pose an example to its author: How do you feel about c. 3,2,13? ("Dulce et decorum est pro patria mori": It is sweet and honorable to die for the fatherland.)