Thesis (MA)--Stellenbosch University, 2001. / ENGLISH ABSTRACT: In his Odes, Horace pays particular attention not only to the subject in hand, but also to the reader as his audience, or the addressee, who is usually mentioned at the beginning of the poem. As this kind of communication draws the poet into his own creation, it is useful to refer to him in that context, as the speaker. It is evident from the manner of communication with the addressee that Horace conveys the message of each poem not solely by means of statements, but by implying certain facts, through this interaction between speaker and addressee. The specific addressee for each ode - to whom the speaker's attitude is a reaction - is therefore chosen with great care, in order to underline a specific subject or support a point of view. Just as each ode is different, and contains a variety of differing emotions, Horace's speakers display a myriad of different attitudes. His deeper sentiments do however remain constant. This brings one to the realisation that Horace applies a number of "roles", in order to obtain the desired effect in each poem. Eventually the interaction is not between the speaker and the addressee, but between the poet and the reader. Some of the poems do not give the names of addressees, only the roles Horace plays as the speaker. These roles are termed personae, and represent the poet on a number of realistic and super-realistic planes. In this study, a selection of personae was analysed and the effects examined, in order to establish in what way the persona might influence the interpretation of the poem. Initially a collective overview of several personae was planned, for the purpose of a synthesis of those personae, possibly leading to the discovery of a central Horatian persona. It was however, found, in the complex perfection of his work, that that central person is Horace: the poet. / AFRIKAANSE OPSOMMING: In Horatius se Odes, gee hy dikwels spesifieke aandag nie net aan die onderwerp nie, maar ook aan die leser as sy gehoor, of die aangesproke persoon, wat dikwels in die begin van die gedig genoem word: Omdat so 'n kommunikasie die digter in sy eie skepping intrek, is dit sinvol om na hom in daardie konteks as die spreker te verwys. In die wyse waarop daar dan met die aangesprokene gekommunikeer word, word dit duidelik dat Horatius die boodskap van sy gedig nie slegs deur middel van stellings oordra nie, maar dat hy ook deur middel van die wisselwerking tussen die aangesprokene en die spreker, sekere feite impliseer. Die aangesproke persoon, waarop die spreker se houding dan'n reaksie is, word dus vir elke ode gekies om 'n sekere onderwerp of siening te ondersteun. Soos wat elke ode dus verskil, en'n verskeidenheid emosies bevat, verskil Horatius se houdings teenoor sy aangesprokenes drasties. Sy dieper oortuigings bly egter dieselfde. Dit lei die leser tot die besef dat Horatius 'n verskeidenheid "rolle" aanwend om in elke gedig die gewensde effek te verkry. Die werklike wisselwerking is nie tussen die spreker en die aangesprokene nie, maar tussen die digter en die leser. Sommige gedigte bevat geen name van aangesprokenes nie; slegs die rolle wat Horatius as die spreker gebruik. Hierdie rolle word personae genoem en verteenwoordig die digter op 'n aantal realistiese en bo-realistiese vlakke. Die effekte van 'n seleksie personae word in hierdie studie deur middel van analise ondersoek om vas te stel hoe die toepassing van die persona die interpretasie van die gedig beïnvloed. 'n Gesamentlike beskouing van 'n aantal digterlike personae is aanvanklik beplan, met die oog op 'n sintese van die personae, wat moontlik tot die ontdekking van 'n sentrale persona by Horatius sou kon lei. Daar is egter bevind dat die sentrale persoon wat in die komplekse perfeksie van sy werk self sit, dié is van Horatius as digter.

Since Suetonius, Odes 4 has been the focus of much criticism and apology. Some explanation seems required for Odes 4’s apparent disunity and eclectic mixture of encomium with occasional pieces. My dissertation offers an interpretation of Book 4 by considering it in the light of the Mausoleum of Augustus. By considering the ways in which Horace builds evocations of the Mausoleum into book 4, I argue that there is sustained connection between the two works, which points towards a unified purpose for Odes 4: Horace is building a literary Mausoleum of Augustus. The first chapter establishes the justification for viewing Odes 4 through the lens of the material world by considering the functions of architecture and topography in Horace's models and contemporaries. After studying the ways the city of Rome is used by the Augustan poets and by Horace, the chapter concludes by making a case for understanding Odes 4 as a poetic monument. The second chapter studies the interrelationship between C.3.30 and the Mausoleum. First, I parse out a preliminary list of the Mausoleum's evocations. I then show how Horace evokes the Mausoleum in C.3.30 and recreates it in the poetic sphere. In chapter 3, I revisit Horace's autobiography and Suetonius's statements regarding the origin of Odes 4. I argue that the impetus of Odes 4 is not imperial compulsion but rather Horace's understanding of his own role as poet in the years following his selection by Augustus to compose the Carmen Saeculare. In chapter 4, I make the case for Odes 4 being a literary Mausoleum of Augustus. I first discuss the ways Horace builds his new poetic work upon the foundation of his earlier lyric successes. I then show how Horace uses the themes of time, death and the power of poetry as the brick and mortar of his literary mausoleum. I conclude by showing how Horace praises Augustus in ways that engage specifically with the Mausoleum by incorporating many of its evocations into this book. / text