This article argues that Horace's incorporation of festivals does more than reflect his lived reality and add a Roman veneer to Greek lyric. Horace's festivals weave the poet and his life into publicly shared Roman time. His celebration of private events on public holidays mirrors the kind of penetration of public and private we see in imperial appropriation of the fasti. Just as 28 April, the start of the Floralia, gains new significance with the addition of feriae celebrating the transfer of Vesta's temple to Augustus’ house, so also 1 March comes to signify both the Matronalia as well as the divine rescue of Horace the bachelor. Horace's inclusion of private festivals in his monumentum allows him to create a parallel calendar, one which perhaps competes with the imperial fasti. This exploitation of the fasti plays a key role in Horace's ability to immortalize himself and what he cared most about.
