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Registrum multorum auctorum 66–73 (text in Das Registrum multorum auctorum des Hugo von Trimberg: Untersuchungen und kommentierte Textausgabe, ed. K. Langosch, Berlin, 1942). The lines are cited in numerous studies of the afterlife of Horatian lyric and of classical literature more generally: see, e.g., K. Friis-Jensen, ‘The Medieval Horace and his Lyrics’, in Horace: L’œuvre et les imitations. Un siècle d’interprétation, ed. W. Ludwig, Geneva, 1993, pp. 257–98 (292); L. P. Wilkinson, Horace and his Lyric Poetry, 2nd ed., Cambridge, 1951, p. 160 n. 1; G. Highet, The Classical Tradition: Greek and Roman Influences on Western Literature, New York and London, 1949, p. 634 n. 64; E. R. Curtius, European Literature and the Latin Middle Ages, tr. W. R. Trask, New York, 1953, p. 50 n. 37; E. Stemplinger, Horaz im Urteil der Jahrhunderte, Leipzig, 1921, p. 50; J. E. Sandys, A History of Classical Scholarship, 3rd ed., 3 vols, Cambridge, 1921, I, pp. 636–7; E. Moore, Studies in Dante, first series: Scripture and Classical Authors in Dante, Oxford, 1896 (repr. Oxford, 1969), pp. 205–6.
See J. K. Farge, ‘Tempête, Pierre (c. 1480–1530)’, in The Rabelais Encyclopedia, ed. E. C. Zegura, Westport, CT and London, 2004, p. 241.
For discussion see Moore (n. 1), pp. 300–302; the parallel is noted as early as La Divina Commedia di Dante Alighieri, ed. G. Biagioli, 3 vols, Paris, 1818–1819, II, pp. 80–81.
J. Masen, Palaestra eloquentiae ligatae, 3 vols, Cologne, 1654–1657, II, pp. 179–83 (180; Ecloga. Narcissus, ll. 22, 34). On Masen, now best known for his Latin dramas, see essays by M. Embach, F. Pohle and D. Breuer in Spee-Jahrbuch, 14, 2007; also M. C. Halbig, The Jesuit Theater of Jacob Masen: Three plays in Translation with an Introduction, New York etc., 1987.
N. P. Giannettasio, Piscatoria et Nautica, 2nd ed., Naples, 1686, p. 238 (Nautica 8.190–92). On Giannettasio as a Neo-Latin poet, see generally W. L. Grant, Neo-Latin Literature and the Pastoral, Chapel Hill, 1965, especially pp. 216–20; Y. A. Haskell, Loyola’s Bees: Ideology and Industry in Jesuit Latin Didactic Poetry, Oxford, 2003, pp. 70–82; D. Marsh, ‘Italy’, in The Oxford Handbook of Neo-Latin, ed. S. Knight and S. Tilg, Oxford, 2015, pp. 395–410 (397); and on the Nautica, see C. Schindler, ‘Nicolò Partenio Giannettasios Nauticorum libri VIII: Ein neulateinisches Lehrgedicht des 17. Jahrhunderts’, Neulateinisches Jahrbuch, 3, 2001, pp. 145–76.
Materials for the History of Thomas Becket, Archbishop of Canterbury, ed. J. C. Robertson and J. B. Sheppard, 7 vols, Rolls Series 67, London, 1875–1885, III, pp. 142–4; also in K. Sidwell, Reading Medieval Latin, Cambridge, 1995, pp. 313–19 (318), who notes the Horatian allusion.
See now also A. Stadeler, Horazrezeption in der Renaissance. Strategien der Horazkommentierung bei Cristoforo Landino und Denis Lambin, Berlin and Boston, 2015, especially pp. 120–3, 129–30, 131, 146–7, 152–5, 159–60, 167, 257–8. The tag with which this review closes is quoted, along with the following line and a half, by the titular character in Edward Bulwer-Lytton’s posthumously published novel Kenelm Chillingly ‘in order to see if you had not acquired what is called a classical education’ (Kenelm Chillingly, His Adventures and Opinions, 4 vols, Leipzig, 1873, II, p. 30); the implication that knowledge of the Epodes constitutes a touchstone for possession of ‘a classical education’ is surely highly suggestive in the context of Oliensis’s argument. Bulwer-Lytton himself was a translator of the Odes and Epodes: see Oliensis, p. 237.
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Houghton, L.B.T. Horace’s Epodes: Context, Intertexts, and Reception, ed. Philippa Bather and Claire Stocks. Int class trad 25, 89–92 (2018). https://doi.org/10.1007/s12138-017-0438-6
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DOI: https://doi.org/10.1007/s12138-017-0438-6