Francesco Filelfo (1398–1481), one of the great scholar-poets of the Italian Renaissance, was the principal humanist working in Lombardy in the middle of the Quattrocento and served as court poet to the Visconti and Sforza dukes of Milan. His long life saw him as busy with politics, diplomacy, and intrigue as with literature and scholarship, leaving him very often on the run from rival factions—and even from hired assassins. The first Latin poet of the Renaissance to explore the expressive potential of Horatian meters, Filelfo adapted the traditions of Augustan literature to address personal and political concerns in his own day.

The Odes, completed in the mid-1450s, constitute the first complete cycle of Horatian odes since classical antiquity and are a major literary achievement. Their themes include war, just rule, love, exile, patronage, and friendship as well as topical subjects like the plague’s grim effects on Milan.

This volume is the first publication of the Latin text since the fifteenth century and the first translation into English.

Monumental verse.

The poetry of Horace (born 65 BC) is richly varied, its focus moving between public and private concerns, urban and rural settings, Stoic and Epicurean thought. The Loeb Classical Library edition of the great Roman poet’s Odes and Epodes boasts a faithful and fluid translation and reflects current scholarship.

Horace took pride in being the first Roman to write a body of lyric poetry. For models he turned to Greek lyric, especially to the poetry of Alcaeus, Sappho, and Pindar; but his poems are set in a Roman context. His four books of Odes cover a wide range of moods and topics. Some are public poems, upholding the traditional values of courage, loyalty, and piety; and there are hymns to the gods. But most of the Odes are on private themes: chiding or advising friends; speaking about love and amorous situations, often amusingly. Horace’s seventeen Epodes, which he called iambi, were also an innovation for Roman literature. Like the Odes they were inspired by a Greek model: the seventh-century iambic poetry of Archilochus. Love and political concerns are frequent themes; the tone is only occasionally aggressive. “In his language he is triumphantly adventurous,” Quintilian said of Horace; Niall Rudd’s translation reflects his different voices.

THIS EDITION HAS BEEN REPLACED BY A NEWER EDITION.

Horace (b. 65 B.C.) claims the lyric poetry of Sappho and Alcaeus as models for his celebrated odes. His four books cover a wide range of moods and topics: friendship is the dominant theme of about a third of the poems; a great many deal with love and amorous situations, often amusingly; others deal with patriotic and political themes. The seventeen epodes, which Horace called iambi, were also inspired by a Greek model: the seventh century iambic poetry of Archilochus. As in the odes, love and politics are frequent themes; some of the epodes also display mockery and ridicule, of a harsher variety than we find in Horace's satires.

“Simply superb.”
—The Nation

A landmark study reconstructs the magnificent architecture of Keats’s odes beam by beam.

With the exception of Shakespeare, John Keats has garnered more critical attention than probably any other English poet, above all for his six great odes. Composed in the span of just a few months in 1819, the odes mark the high point of Keats’s all-too-short literary career, forming, as Helen Vendler puts it, “the group of works in which the English language finds an ultimate embodiment.”

Even with the mountain of criticism that precedes it, The Odes of John Keats nonetheless accomplishes something bracingly new: it reveals that the odes, typically read separately, demand to be read as a unified whole. Only when we read them together, Vendler argues, do we see how each ode builds upon, and contradicts, the one that came before it—a progression that expresses Keats’s sustained and deliberate inquiry into nature of creativity itself. From fruitless revery in “Ode on Indolence,” to successive explorations of music and mimetic art in “Ode to a Nightingale” and “Ode on a Grecian Urn,” to the final triumph of lyric poetry in “To Autumn,” each ode advances tentative theses about the relationship between truth, beauty, and sensory experience, only to subsequently overturn them from a higher vantage point.

Exquisitely attentive to the warp and weft of Keats’s “many languages,” from Greek mythology to eighteenth-century allegory, Vendler’s architectonic reading masterfully achieves criticism’s highest aim: keeping these classic poems, to borrow Keats’s own words, “forever warm and still to be enjoy’d.”