ellauri041.html on line 380: Tommin mielirunoilija ei ole Vergilius eikä Flaccuskaan niinkuin HK Riikosella, vaan Puovo Huovikko.
ellauri053.html on line 690: Flaccus oli ize asiassa aika mauton, vai mitä Uarne? Talouslibertiiniinen. Se oli ize vapautetun orjan poika.
ellauri141.html on line 45: Quintus Horatius "Veltto" Flaccus (8. joulukuuta 65 eaa. – 27. marraskuuta 8 eaa.) oli roomalainen runoilija. Häntä pidetään yhtenä merkittävimmistä latinaksi kirjoittaneista runoilijoista. Horatius oli vapautetun orjan poika. Hän kuului Vergiliuksen tavoin Maecenaksen ylläpitämään kirjailijapiiriin. Parhaiten Horatiukselta tunnetaan nykypäivän yleinen lausahdus carpe diem eli tartu hetkeen tai kirjaimellisesti poimi päivä.
ellauri141.html on line 52: Hyvä Flaccus! Hyvä Roope!
ellauri141.html on line 109: Quintus Horatius Flaccus (8th of December, Ab Urbe Condita 689, B. C. 65 - 27th of November, B. C. 8) was born at or near Venusia (Venosa), in the Apennines, on the borders of Lucania and Apulia. His father was a freedman, having, as his name proves, been the slave of some person of the Horatia gens. As Horace implies that he himself was ingenuus, his father must have obtained his freedom before his birth. He afterwards followed the calling of a coactor, a collector of money in some way or other, it is not known in what. He made, in this capacity, enough to purchase an estate, probably a small one, near the above town, where the poet was born. We hear nothing of his mother, except that Horace speaks of both his parents with affection. His father, probably seeing signs of talent in him as a child, was not content to have him educated at a provincial school, but took him (at what age he does not say, but probably about twelve) to Rome, where he became a pupil of Orbilius Pupillus, who had a school of much note, attended by boys of good family, and whom Horace remembered all his life as an irritable teacher, given unnecessarily to the use of the rod. With him he learnt grammar, the earlier Latin authors, and Homer. He attended other masters (of rhetoric, poetry, and music perhaps), as Roman boys were wont, and had the advantage (to which he afterwards looked back with gratitude) of his father’s care and moral training during this part of his education. It was usual for young men of birth and ability to be sent to Athens, to finish their education by the study of Greek literature and philosophy under native teachers; and Horace went there too, at what age is not known, but probably when he was about twenty. Whether his father was alive at that time, or dead, is uncertain. If he went to Athens at twenty, it was in B. C. 45, the year before Julius Cæsar was assassinated. After that event, Brutus and Cassius left Rome and went to Greece. Foreseeing the struggle that was before them, they got round them many of the young men at that time studying at Athens, and Horace was appointed tribune in the army of Brutus, a high command, for which he was not qualified. He went with Brutus into Asia Minor, and finally shared his defeat at Philippi, B. C. 42. He makes humorous allusion to this defeat in his Ode to Pompeius Varus (ii. 7). After the battle he came to Italy, having obtained permission to do so, like many others who were willing to give up a desperate cause and settle quietly at home. His patrimony, however, was forfeited, and he seems to have had no means of subsistence, which induced him to employ himself in writing verses, with the view, perhaps, of bringing himself into notice, rather than for the purpose of making money by their sale. By some means he managed to get a place as scriba in the Quæstor’s office, whether by purchase or interest does not appear. In either case, we must suppose he contrived soon to make friends, though he could not do so by the course he pursued, without also making many enemies. His Satires are full of allusions to the enmity his verses had raised up for him on all hands. He became acquainted, among other literary persons, with Virgil and Varius, who, about three years after his return (B. C. 39), introduced him to Mæcenas, who was careful of receiving into his circle a tribune of Brutus, and one whose writings were of a kind that was new and unpopular. He accordingly saw nothing of Horace for nine months after his introduction to him. He then sent for him (B. C. 38), and from that time continued to be his patron and warmest friend.
ellauri141.html on line 341: Pientä epäselvyyttä vallizee siitä oliko Flaccus sittenkään epikurolainen vaiko ize asiassa salastoalainen. Bisexuaaliko vaiko vaan asexuaali? Ehkä molempia. Satiiri tulee sanasta satura, roomalainen rosolli. Kaiken kaikkiaan voi sanoa että Flaccus oli vitun kuivakka, lähes Kimmo Koskenniemi-luokan pedantti. Häneltä puuttuu välittömyyttä, lainataxemme Eero Kivikaria. Vaikka toisinaan Horatius voi mennä suorastaan arveluttavan pitkälle, kuten esimerkixi epoodeissa 8 ja 12. Blame Horace’s snaky, samba-like rhythms and the culture that spawned the poems. Horace is fond of wordplays, including subtly allusive bilingual wordplays.
ellauri141.html on line 404: 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 was not just a superb literary craftsman, but a musician, songwriter and entertainer for the Roman elite, creating a new Latin idiom derived from Greek lyric song. A final chapter, "Horace, Guido and the Do-re-mi Mystery", the result of careful research and detective work, argues that Guido d'Arezzo, an eleventh-century Benedictine choirmaster, used the melody of Horace's Ode to Phyllis (alla) to invent the do-re-mi mnemonic, but applied it to an eighth-century Hymn to John the Baptist ("Ut queant laxis") by Paul the Deacon, keeping the true source secret. A musical comparison of the Horatian melody and Guido's version of "ut-re-mi" is included. Lyons' verse translation of the Odes was named a Financial Times Book of the Year (1996) and was welcomed as 'a wonderful rendering of one of the great, central poets in the European tradition.'
ellauri152.html on line 84: who retranslated several poems without realizing they were fakes. Täähän on kuin Rudyardin Flaccus-kepponen.
ellauri155.html on line 785: It’s a great illustration of an important biblical truth: Redemption. It’s a word from the slave market. A slave could be redeemed, set free from their old way of life with a suitable sum of mmmooonneeeyyy! Horatius Flaccus was a son of a redeemed slave, and much good did that do to him. And Epictetus was another one.
ellauri198.html on line 660: Horace Slughorn is a character in the Harry Potter series of novels by J. K. Rowling. Professor Horace Eugene Flaccus Slughorn (b. 28 April, between 1882 and 1913) was a pure-blood or half-blood wizard. He attended Hogwarts School of Witchcraft and Wizardry as a member of Slytherin before returning in 1931 as Potions Master. Joopa joo, flaccid slughorn, kiitos JK tiedetään mitä ajat takaa. Although Professor Slughorn certainly isn't a villain in Harry Potter, he's definitely done some rotten things. As they all.
ellauri278.html on line 218: Päinvastoin, tum tua res agitur paries cum proximus ardet, sanoi Flaccus. Epist. 1, 18.
ellauri321.html on line 452: Quintus Horatius Flaccus, Carmina I.22, Lalage eli naisen pää
xxx/ellauri306.html on line 177: Aulus Persius Flaccus (34–62) oli roomalainen runoilija ja satiirikko. Hänen elinaikaansa kutsutaan roomalaisen kirjallisuuden hopea-ajaksi ja samaan aikaan elivät myös Martialis ja Juvenalis.
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