Abstract
This thesis investigates formal echoes in the Horatian corpus, and seeks to shed new light on connections between individual poems and books. In addition to traditional philological methods, it makes use of available resources in disciplines such as linguistics, literary theory and anthropology in an exploration of the significance of self-repetition in Horace. It combines insights from classicists and scholars of verse history (such as Denis Feeney, Ellen Oliensis, Martin West, Mikhail Gasparov) with central concepts from other theorists and literary critics (Roman Jakobson, Mikhail Bakhtin, Fredric Jameson). In particular, this thesis focuses on two crystallized rhythmical figures positioned at line-end in Horace’s highly regularized version of Aeolic verse. Its central argument is that these figures can be invested with parallel verbal material in specific ways that are able to link poems together, sometimes across considerable textual distance, and have them participate in a special kind of substrate sermo.The importance of various historical conditions for the formation of this phenomenon in Horace is also addressed.