In the opening lines of his preface to The Metalogicon, translator Daniel D. McGarry invokes Horace’s enduring admonition to writers:
If ever you write anything, keep it to yourself for nine years, for what has never been divulged can be destroyed, but once published it is beyond recall.
McGarry,
There is a woman in the water meadows of Oxford. Draped in Oxford blue, she sits in quiet majesty, her lap sheltering a small, idealized city. Its dreaming spires rise like prayers from her womb. She is Isis, Queen and Mother, as imagined by Evelyn Dunbar in her painting Oxford.
Submitted on August 25, 2015, to Professor Ben Lockerd as part of the doctoral course, LIT 7324 Literary Analysis: Great Ideas, Authors, and Writings.
Studies in classical literature, such as Plato's Republic (Book X), Ion, and Phaedrus, Aristotle's Poetics, Horace's The Art of Poetry,
Submitted on August 25, 2015, to Professor Ben Lockerd as part of the doctoral course, LIT 7324 Literary Analysis: Great Ideas, Authors, and Writings.
Studies in classical literature, such as Plato's Republic (Book X), Ion, and Phaedrus, Aristotle's Poetics, Horace's The Art of Poetry,
In the opening lines of his preface to The Metalogicon, translator Daniel D. McGarry invokes Horace’s enduring admonition to writers:
If ever you write anything, keep it to yourself for nine years, for what has never been divulged can be destroyed, but once published it is beyond recall.
McGarry,
There is a woman in the water meadows of Oxford. Draped in Oxford blue, she sits in quiet majesty, her lap sheltering a small, idealized city. Its dreaming spires rise like prayers from her womb. She is Isis, Queen and Mother, as imagined by Evelyn Dunbar in her painting Oxford.
These key lines raise the following considerations:
1.
(1) the presence of a question of choice in the equation ("what...we can possibly do, you and I, to untie the difficult knot"),[12]
2.
(2) the necessity of making a decision to alter the status quo ("to
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