Priamel

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This paper explores particularisation and its relation to the priamel in Horace’s Odes. I argue that Horace used particularisation more extensively than his predecessors and that it played an important role in his stylistic arsenal. I trace the occupational priamel through history to show the peculiarity of its treatment in Horace. Further, I establish that Horace skillfully manipulated the established patterns of particularisation (for instance in the sequences of four examples) in his priamels to promote his literary purposes and to confound the reader’s expectations. Finally, I also argue that this research direction offers a fresh perspective on some vexing issues of Horatian textual criticism.

RESUMEN: Este artículo estudia el diseño retórico de la "Canción al Oro" del poeta sevillano Juan de Jáuregui y rastrea los textos de Séneca que pudieron inspirarle, así como otros pertenecientes a Horacio, Virgilio y Ovidio, conforme a la práctica renacentista de la imitatio. Entre las formas líricas y retóricas que se reconocen destacan el himno, la priamel y el epichirema, y en lo referente a las fuentes primarias se concluye que las Epistulae morales y el tratado De beneficiis de Séneca tuvieron un papel relevante. ABSTRACT: This article studies the rhetorical design of the "Canción al Oro" by the Sevillian poet Juan de Jáuregui and traces the texts of Seneca the Younger that could inspire him, as well as others belonging to Horace, Virgil and Ovid, according to the Renaissance practice of imitatio. Among the recognized lyrical and rhetorical forms, the hymn, the priamel and the epichirema stand out, and with regard to the primary sources, it is concluded that the Seneca's Epistulae morales and the treatise De beneficiis played a significant role.