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’11 Nevertheless, the more youthful Arnold experienced indulged in Horatian pastiche in his ‘Horatian echo’ (1847), which addresses a friend advising him not to stress about politics, in a distinct echo of the opening of Odes 2.11.12 Arnold’s good friend Arthur Hugh Clough also manufactured some use of the two Odes and Epistles in his epistolary Amours de Voyage (1858), which finishes with an envoi which plainly echoes the closing poem of Horace’s Epistles one (1.20): So go forth to the earth, to the great report and the evil! Go, small reserve! thy tale, is it not evil and fantastic? Go, and if strangers revile, move quietly without having reply. ‘a desire / To satisfy the shade of Horace by the aspect / Of his Bandusian fount’, combining an allusion to Odes 3.4 with one to Odes 3.13 in his Memorials of a Tour of Italy (1837), and Keats, normally a lot more interested in Hellenic tradition, could echo Horace in the opening of one particular of his most famed poems, Ode to a Nightingale 1.1-4: ‘My heart aches, and a drowsy numbness pains / my sense’ plainly echoes Epodes 14.1-4, in its initial place as very well as in its theme

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Here the sharp, personifying imagery (‘rancour’, ‘thirsty hull’, ‘frost-cap from its skull’) is productive in renewing Horace’s ode for the translator’s Audenish moments, and most likely reacting towards Housman’s far more sentimental variation (see previously mentioned). It does not treat the use of Horace’s verse in literary prose texts,1 or talk about scholarly work on the poet in these durations.2 From the Romantics to the Victorians Horace was well-liked between equally basic and scholarly readers in Victorian England.3 The centrality of Horace to the curriculum of the newly influential elite English ‘public’ (non-public) schools4 was plainly a single root cause of this reputation, along with the reception and development of Horace as an honorary English gentleman who represented the values of the male Victorian English elite.5 Horace was not a new ingredient in English culture he experienced been crucial in the eighteenth century, and even though the Romantics may possibly revolt against the tyranny of becoming taught Horace at college, they however admired him, a tension which arrives out well in Byron’s famed lines (Childe Harold Canto iv (1818) 77), motivated by the sight of Soracte in Italy and consequent recall of Odes 1.9: ‘Then farewell Horace, whom I hated so, / Not for thy faults, but mine.’6 The Romantic connection of literature and landscape is also seen in Wordsworth’s motivation to discover ‘Sabine vales’ following one For a study of the use of Horace in Thackeray’s novels see Nitchie (1918). two For some discussion of twentieth-century Horatian scholarship see Fowler (1993) and S. J. Harrison (1995c) I hope to do additional function on the nineteenth-century substance