
Contents
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Sapphics: A Preliminary Analysis Sapphics: A Preliminary Analysis
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Silvae 4.7: Statius and Horace—and Sappho Silvae 4.7: Statius and Horace—and Sappho
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Catullus: Love and the Sapphic Stanza Catullus: Love and the Sapphic Stanza
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Μικραὶ στροϕαί: The Sapphic Stanza and Miniaturization Μικραὶ στροϕαί: The Sapphic Stanza and Miniaturization
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Circles Within Circles Circles Within Circles
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Sapphics, a Horatian Twist Sapphics, a Horatian Twist
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Odes 4.2: On Not Being Pindar Odes 4.2: On Not Being Pindar
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Odes 3.14: ‘Crystalline Privacies’ Odes 3.14: ‘Crystalline Privacies’
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Otivm and the Sapphic Stanza Otivm and the Sapphic Stanza
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Odes 4.6: Glossing the Carmen's Sapphics Odes 4.6: Glossing the Carmen's Sapphics
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Qvem Virvm Avt Heroa: Marking the Limits Qvem Virvm Avt Heroa: Marking the Limits
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Silvae 4.5: Statius, Horace, and Alcaeus Silvae 4.5: Statius, Horace, and Alcaeus
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3 ‘Narrower Circuits’: The Sapphic Stanza
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Published:December 2010
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Abstract
This chapter concentrates on a single, representative metrical system from Roman lyric poetry — the sapphic stanza — and traces its use through Catullus, Horace, and Statius. In Statius we find that the form carries with it the associations of its most prolific user, Horace, but still retains a tangibly ‘Sapphic’ quality, recalling the archaic Greek poet whose name it carried. In Catullus the evocation of Sappho is more obvious, the adoption of her signature metre in 51 accompanying a version of a sapphic poem, but the power of delivering the demolition of that affection, the iambic Poem 11, in sapphics has not been appreciated. Horace's sapphics play an important role in his self-positioning within the broad lyric field, in particular in poems such as Odes 1.12 and 4.2 where comparison and contrast with Pindar are in play. But the ability of the sapphic stanza to imply humility and lower aspirations is discernible in other odes as well, a number of which are analysed here.
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