BOOKTEXT5

Ode 1 – Intermissa, Venus, diu rursus bella moves?-

The Paullus Maximus of this ode is considered by most commentators to be the P. Fabius Maximus who was an intimate friend of Augustus. He became consul in 11 B.C., proconsul of Asia and then legatus Augusti in Nearer Spain in 3 B.C. It was rumoured that he accompanied Augustus on his secret visit to Agrippa Postumus in A.D. 14., and that knowledge of the visit was conveyed by his wife, Marcia, to Livia, the wife of Augustus and mother of Tiberius. His supposed suicide followed shortly after this.

Since we must assume from the opening of line 6., circa lustra decem, that Horace is near his fiftieth birthday then the ode can be reasonably dated around about 16 B.C.. Obviously, then, the distinguished career of Paullus Maximus had not really begun and he was still in the process of making a name for himself and attracting the attention of the great. His method of achieving this is well illustrated by Horace in the middle stanzas of the ode. As regards this particular young man, it should be borne in mind, as Quinn observes, (Horace The Odes 298, 14,) that Cassius Severus penned the epigram, 'Quasi disertus es, quasi formosus es, quasi dives es; unum tantum es non quasi vappa'.

However, this ode is about love. The kind of love that can strike an ageing man quite suddenly and unexpectedly and completely disrupt a steady and uncomplicated existence. The cause, more often than not, is a young person and those to whom it has happened will understand and sympathise with Horace. The effect must be devastating, the more so if one occupies any sort of a position in society. However well equipped to deal with the sudden realisation of passion from a young person, the additional shock of mutual attraction must be a traumatic episode indeed. We cannot know what motivated Horace to write this rather mixed ode, which is incomplete as either a praisesong or a love poem, yet contains elements of both. What is certain is that it must have been deliberate. Frankel is certain that its main theme is to praise Paullus Maximus, so much so that he is prepared to place it almost as a Dedicatio to the whole book. As to why Horace should include personal details of his own life, Frankel does not advance any reasonable theory. Quinn is not so certain. Although he is prepared to regard it as a compliment to Paullus Maximus, he does qualify it by reference to the epigram of Cassius Severus. As to the reason for the personal introspection, Quinn is silent.

However, if we turn the conventional argument on its head and assume that Horace himself is the main subject of the ode, relegating Paullus Maximus to an incidental role, then a much more reasonable field of speculation unfolds. Horace's discomposure at what appears to be an emotion of genuine love contrasts vividly with the transitory nature of love that occurs at the home of Paullus Maximus. His attempt to deflect Venus becomes a spontaneous reaction, an attempt to reject the genuine emotion as being of the same calibre as that he has enjoyed at that place in the past. Indeed he may have met Ligurinus there. Yet in the end he is forced to admit that this time it is different.

There seems to be no justification for assuming this to be the dedicatio for the whole book. Fraenkel's judgement thus can only be based on a superficial consideration of the text. Paulllus Maximus is seen to be only a makeweight as regards the subject matter of the ode, and then only used as an illustration of the decadence of Roman society. The nature of Horace's commentary on his lifestyle must make us question whether Paullus is indeed from the old nobility of Rome or whether, like Marcus Lollius dealt with in a later ode, he is an example of a 'new man'. a phrase first coined by Cicero to denote a parvenu, as opposed to its correct Republican meaning the first man in a family to hold a consulship, thus enobling all. These were, in the early years of the Principate, close associates of Augustus who were rapidly rising to power. With the custom of slaves. on buying their manumission, taking the family name of those from whom they were freed, it is by no means certain that the possession of a noble name carries any guarantee.

This ode is about a particular kind of love, made more poignant by the circumstances in which it is engendered. Set against a background of the promiscuity of Roman society, in which Horace had certainly been a willing participant, it seems to be almost a renunciation of a way of life that no longer appeals. Coupled with what emerges from Ode IV, 3, dealt with shortly, it seems to be a determination on the part of Horace to make a new start and with it to provide posterity with a candid testament of what effect the creation of an imperial dynasty has meant to Rome.

The Ode consists of ten four line stanzas in a metre which Quinn identifies as Asclepiad (b). Their subject matter is equally divided, five quatrains to Paullus Maximus and five to Horace himself. However, those allocated to Horace himself are divided into two episodes; at the beginning two stanzas reveal his predicament, while the final three stanzas observe the effect it is having upon him. The middle five stanzas might be seen to be in the nature of diversion to turn the spotlight from Horace on to character and activities of Paullus Maximus.

Episode 1

INTERMISSA*VENUS*DIU**

RURSUS*BELLA*MOVES*PARCE*PRECOR*PRECOR**

NON*SUM*QUALIS*ERAM*BONAE**

SUB*REGNO*CINARAE*DESINE*DULCIUM**

MATER*SAEVE*CUPIDINUM**

CIRCA*LUSTRUM*DECEM*FLECTERE*MOLLIBUS**

IAM*DURUM*IMPERIIS*ABI**

QUO*BLANDAE*IUVENUM*TE*REVOCANT*PRECES**

TEMPESTIVIUS*IN*DOMUM**

PAULLI*PURPUREIS*ALES*OLORIBUS**

COMISSABERE*MAXIMI**

SI*TORRERE*IECUR*QUAERIS*IDONEUM**

NAMQUE*ET*NOBILIS*ET*DECENS**

ET*PRO*SOLLICITIS*NON*TACITUS*REIS**

ET*CENTUM*PUER*ARTIUM**

LATE*SIGNA*FERET*MILITIAE*TUAE**

ET*QUANDOQUE*POTENTIOR**

LARGI*MUNERIBUS*RISERIT*AEMULI**

ALBANOS*PROPE*TE*LACUS**

PONET*MARMOREAM*SUB*TRABE*CITREA**

ILLIC*PLURIMA*NARIBUS**

DUCES*TURA*LYRAQUE*ET*BERECYNTIA**

DELECTABERE*TIBIA**

MIXTIS*CARMINIBUS*NON*SINE*FISTULA**

ILLIC*BIS*PUERI*DIE**

NUMEN*CUM*TENERIS*VIRGINIBUS*TUUM**

LAUDANTES*PEDE*CANDIDO**

IN*MOREM*SALIUM*TER*QUATIENT*HUMUM***

[Intermissa Venus] The passive perfect participle makes an impressive opening – 'having been suspended, Venus,'; it also leaves the reader hanging! [diu, rursus bella moves] gives us a rather contentious qualification which only on reflection indicates that the recurrence of war is not the subject. A more gentle interpretation yields, – 'you renew the contest after a long time.' [Parce, precor, precor.] does not require repetition for effect and an accusative pronoun is surely implied. – 'Mercy, I beg you, I entreat you.' [Non sum qualis eram] an awkward construction for the sake of metrical balance. – 'I am not of the sort I was.' [bonae sub regno Cinarae] here the adjective must take the genitive rather than dative, despite the feeling, arising from Epistles 1, 7 and 1, 14, that 'bonae' should be applied to her 'reign' rather than the lady herself. – 'under the reign of sweet Cinara.' [Desine dulcium mater saeve Cupidinum] The abrupt use of the imperative is not softened by a less that loving maternal reference and the plural Cupidinum must take a less specific meaning leaving us to doubt that Horace intended any reference to motherhood at all. – 'Desist, strict Goddess of sweet longings' might be considered a better choice. [circa lustra decem flectere mollibus iam durum imperiis] the infinitive must first resolve the previous imperative before the reference to the ten five year periods can make sense. – 'To entice me now, with gentle commands, after ten hard lustrums.' [abi quo blandae juvenum te revocant preces.] Once more a sharp imperative indicates the intensity of Horace's feelings. – 'begone to where the flattering prayers of young men recall you.' The next five stanzas are a diversion, intended only for Venus; it should be borne in mind that the main subject of the ode is Horace himslef.

[Tempestivius in domum Paulli ... Maximi] Eminent suitability is emphasised by a comparative as attention is directed away from Horace. – 'More appropriately in the house of Paullus Maximus.' There is, however, some confusion at this point on this praenomen. Both Loeb and Rupert Hart–Davis. 1964, who appear to use the OUP Wickham/Garrod text as a source, give Pauli, while Quinn's text, based on the Teubner Klinger source gives Paulli. It may seem a minor point but insofar as it bears upon the identity of the man himself, it is a point worthy of consideration. [purpureis ales oloribus, comissabere ...,] The reference to black swans, served as in lifelike flight is perhaps not intended as a culinary reference. The more likely answer to this peculiar reference is the quality of the company! – 'you will be feasting with fledgling purple swans'. [Si torrere jecur quaeris idoneum.] The infinitive is inclined more to drying up with heat or thirst, rather than merely burning the centre of passion and this would seem more in keeping with the sentiments expressed. The anatomical location of such a centre is perhaps irrelevant. – 'if you seek a worthy area of passion to parch.'

[namque et nobilis et decens et pro sollicitis non tacitus reis] In this list of personal qualities Horace requires that each needs the emphasis of a repetitive conjunction et which leaves one with a feeling that they might be intended to be taken with a pinch of salt. What is certain is that they must be deliberate and not introduced for metrical balance. We should perhaps examine their meanings with added care. The fact that he is of noble birth would need no mention so what other qualities does nobilis convey? Since the derivation of the word is from the verb nosco, the term 'well known' can be considered in a good sense, as indeed can the term 'notorious' in a bad sense. This is the first example of the sort of double–edged meaning that abounds in Book IV. In decens Horace is apparently using the participle of an impersonal verb to describe a characteristic of Paullus Maximus. Or is he qualifying the previous characteristic? Does he intend us to read 'becoming' for the person or 'fitting' for the previous quality. Once again we are left in the air. sollicitis is another example of a double–edged reference. Fraenkel, Horace p 413 describes it as a 'noticeable exception' while Quinn allows it without comment. It is certainly a very strange choice, with the emphasis on extreme agitation, particularly since the word reis is dependent upon this quality. Past commentators have considered this latter word to have a legal context and upon this have based the deduction that Horace intended a reference to court appearances by Paullus Maximus. It is an argument difficult to sustain within the whole context of the ode. The word is equally apposite for either defendent or plaintiff and it is surely as the latter, a 'plaintiff in the court of love' that Venus has been directed to Paullus Maximus. Given this, sollicitis is freed to be identified with a far wider range of emotion and non tacitus also benefits by this freedom. – 'Well known and fitting the part, not silent but extremely rapturous before such a supplicant.' is perhaps a middle line on a suitable translation.

[et centum puer artium] This line is an elusive reference that must be affected by our interpretation of the previous two lines, if its full meaning is to be extracted. It then depends upon the value, good or bad, that is to be given to the genitive plural of ars. Centum itself can obviously be taken as any large number and, bearing in mind the ambiguity of the whole stanza, the most charitable interpretation of this phrase would be – 'a youth of very many artifices'. [late signa feret militiae tuae;] There is no ambiguity here – 'widely he will bear the banners of your service' is in agreement with the stanza as a whole.

This stanza explores the power and influence of Paullus Maximus but in an indirect manner. [et quandoque ... aemuli] In this context aemuli must be taken as 'rivals in love' but it does not necessarily affect the translation, only what meaning we choose to accept. – 'and whenever rivals in love'. [... potentior largi muneribus riserit ...] The comparative fits much better with the infinitive than it would have done with the rivals in love and allows more sense to be introduced all round. – 'more able to give abundant gifts, he will triumph over them,' [Albanos prope te lacus ponet marmoream sub trabe citrea.] It is not the translation of this phrase which poses the problem, it is the implication. The Alban Hill and Lake were considered to be sacred ground and it would seem that Horace is telling us, albeit indirectly and perhaps a little facetiously, that Paullus Maximus had the necessary influence to build a shrine to Venus there. We are left to consider the real meaning behind– 'He will build for you, near the Alban Lake, a marble statue under a roof of citrus wood.'

These two stanzas indicate the sort of things that Paullus Maximus might do before such a temple and, in the circumstances arising from the text, they do not seem to be in any way religious. [Illic plurima naribus duces tura] The verb, duces, allows us a choice, to lead by the nostrils (swindle) or to draw in by the nostrils (inhale). Since incense is involved it is logical to read the latter meaning for duces naribus It is, however, a curious choice of verb and of phrase. Why not odorieris or olfacies if the mere fact of being aware of insense is intended? The actual fact of inhaling would seem to imply an expected reaction to the deed and one is reminded of the preparation for certain Asian rites. Is tura indeed intended to be interpreted as incense or some other aromatic herb or gum? However the literal meaning would seem to be – 'there you will inhale the very best incense.' [lyraeque et Berecyntiae delectabere tibiae mixtis carminibus] This phrase can only serve to heighten our unease. While the lyre was a common musical instrument, the Berecynthian Flute had sinister connotations with the worship of Cybele, where a drugged state was induced before the ensuing orgy which was often followed by self mutilation. The meaning is quite clear – 'you will take delight in the mixed music of the lyre and Berecynthian flute.' [non sine fistula] reminds us of the pipes of Pan, another deity with unusual rites. – 'not without the shepherds pipe;' concludes a rather unusual stanza.

[illic bis pueri die ... cum teneris virginibus] Is teneris to be taken as a passive verb or an ablative adjective? The latter would tend to over qualify virginibus; the former would change the sense entirely. On balance, considering the implications of the previous stanza, one must consider this last choice, and allow the line to read – 'In that place you are remembered twice daily; by maidens and young men,' [numen ... tuum laudantes pede candido in morem Salium ter quatient humum.] in morem Salium is a reference to the Salii who were priests of Mars, the 'leapers' or 'shakers', noted for their twice yearly processions which were interupted by rhythmic dances and clashing of weapons. While this gives sense to ter quatient humum, it does not allow pede candido a believable translation. Each night of the procession, the Salii feasted riotously and this was as much a feature of their rites as the 'shaking'. Given this, a feasible translation would give – 'praising your majesty with artless rhythm and shaking the ground repeatedly in the Salian manner. This particular section cannot really be about orgiastic assemblies, or tied to any one rite in particular. It is most likely to be a rather facetious reference to a community of young people engaged on an hedonistic way of life away from the moral strictures of their parents.

Episode 2

ME*NEC*FEMINA*NEC*PUER**

IAM*NEC*SPES*ANIMI*CREDULA*MUTUI**

NEC*CERTARE*IUVAT*MERO**

NEC*VINCIRE*NOVIS*TEMPORA*FLORIBUS**

SED*CUR*HEU*LIGURINE*CUR**

MANAT*RARA*MEAS*LACRIMA*PER*GENAS**

CUR*FACUNDA*PARUM*DECORO**

INTER*VERBA*CADIT*LINGUA*SILENTIO**

NOCTURNIS*EGO*SOMNIIS**

IAM*CAPTUM*TENEO*IAM*VOLUCREM*SEQUOR**

TE*GRAMINA*MARTII**

CAMPI*TE*PER*AQUAS*DURE*VOLUBILIS***

[Me nec femina nec puer iam] Although me ... iam indicates quite clearly that Horace has just reached a decision. – 'For me, now, neither woman nor youth.' [nec spes animi credula mutui] A strange phrase altogether and animi ... mutui itself redolent of a continual disappointment in love. – 'nor credulous hope of mutual attraction.' [nec certare juvat mero] the conjunction of the verbs gives us – 'it no longer pleases to wallow in unmixed wine.' [nec vincire novis tempora floribus] Tempora must be taken as 'forehead' to make sense of floribus. Wearing flowers around the neck and head was a prerequisite for a party so, by this, Horace completes his renunciation of all that Paullus Maximus stands for. – 'nor to bind the forehead with fresh blossoms.'

[Sed cur heu, Ligurine, cur] This requires no comment; it is a cry from the heart. – 'But why alas, why Ligurinus,' [manat rara mea lacrima per genas?] This is an emotion that causes tears, whether of joy or apprehension is not made clear. Whatever the reason it does not augur well for Horace. – 'an unexpected tear courses down my cheeks?' [cur facunda parum decoro inter verba cadit lingua silentio?] The instrument of his trade is rendered inoperable! – 'Why does the eloquent tongue I possess halt between words into inadequate silence?' [Nocturnis ... somniis ... dure] Horace dwells upon the unreality of the situation. – 'Nightly in dreams, hard to the touch.' [... volucrem sequor te per gramina Marti Campi] Horace continues his fantasy. – 'I pursue you, winged. over the grass of the Field of Mars.' [iam ... per aquas ... volubis] – 'now through the swirling waters..' [ego ... iam captum teneo te] a miraculous ending, worthy of Sappho herself. – 'Now, having taken possession, I hold you close.'

Ode 10 – O crudelis adhuc et Veneris muneribus potens,:-

Horace had already fallen in love with Ligurinus or rather, fallen in love with the idea of being in love with him. There is no intimation that the affection was reciprocated and certainly no mention of consumation, except in dreams. This ode confirms these facts. Horace points out the wasted opportunity of youth, when the first beauty fades. He does so with a little indication of pique that he himself had made no headway with the boy but there is a certain amount of melancholy within the writing.

Horace, having already described his dreams and feelings for Ligurinus, now allows us to see that they have come to naught. Whether he was ever very serious in his intent is by no means certain or whether he was exercising a poet's licence. Since his admiration for the boy was part of an ode which describes the scurrilous activities of someone else, it may well have been an attempt on Horace's part to distract the reader from his true purpose.

There does not seem to be any hidden satire in this ode except that caused by some sort of pique on Horace's part. Ligurinus is obviously someone special in a society which, aping the Greek ethos, accepts that men will openly court young boys for sexual satifaction. This however cannot be the whole reason for this ode, it is too negative a theme for someone of the stature of Horace to pursue. Is Horace drawing attention to the practice itself as being a perversion of the contemporary society?

Although consisting of eight lines this ode is not divided into four line stanzas but can be seen to be of two episodes. The first, of five lines, describes the retreat of extreme youth when puberty occurs and boys begin to grow facial hair and lose their rosy complexions. The second, of three lines, describes the slowly awakening realisation that these assets have gone and that daily comparisons in the mirror will confirm this.

Episode 1

O*CRUDELIS*ADHUC*ET*VENERIS*MUNERIBUS*POTENS**

INSPERATA*TUAE*CUM*VENIET*PLUMA*SUPERBIAE**

ET*QUAE*NUNC*UMERIS*INVOLITANT*DECIDERINT*COMAE**

NUNC*ET*QUI*COLOR*EST*PUNICEAE*FLORE*PRIOR*ROSAE**

MUTATUS*LIGURINE*IN*FACIEM*VERTERIT*HISPIDAM***

[O crudelis adhuc et Veneris muneribus potens, ... Ligurine,] – 'O Ligurinus, still possessing the powerful gifts of Venus and hitherto unfeeling,' [insperata tuae cum veniet pluma superbiae] – 'when the unexpected down on the chin shall impinge upon your pride' [et quae nunc umeris involitant, deciderint comae,] – 'and the locks of hair, which now float over the shoulder, will have fallen flat,' [nunc et qui color est puniceae flore prior rosae mutatus,] – 'and the complexion which now is the pale pink of the first blossom on the rose having been changed' [... in faciem verterit hispidam:] – 'may have turned into a bristly countenance:'

Horace describes the assets of a young boy in a world which obviously countenances the use, by men, of young boys for sexual pleasures and the abrupt termination of these qualities when puberty is reached. The use of puniceae to describe the complexion seems a little strange. By common usage it has always been allocated the meaning of 'pink' or 'rose–coloured' but sensible reflection on word derivation might lead us to suppose otherwise. Puniceae or poeniceae must surely be derived from Poeni meaning Punic or Cathaginian. Does Horace use it in this context? Is Ligurinus from Africa or of mixed blood with a complexion to suit? Is this his attraction to Horace and presumably other men?

Episode 2

DICES*HEU*QUOTIENS*TE*SPECULO*VIDERIS*ALTERUM**

QUAE*MENS*EST*HODIE*CUR*EADEM*NON*PUERO*FUIT**

VEL*CUR*HIS*ANIMIS*INCOLUMES*NON*REDEUNT*GENAE***

[Dices "heu," quotiens te speculo videris alterum,] – 'How often might you have seen the other you in the mirror, exclaiming "alas," ["quae mens est hodie, cur eadem non puero fuit,"] – '"what character is it today, why not the same boy as it was", ["vel cur his animis incolumes non redeunt genae?"] – '"or why are these cheeks not restored unblemished to physical perfection?"' Presumably the change that Horace is inferring is quite a drastic one since one does not usually expect puberty to have such an immediate and marked effect. However we can only speculate on this as a fact or wonder whether Horace is over emphasising to vent his own feelings.

Ode 12 – Iam veris comites, quae mare temperant,:-

Fraenkel dismisses any claim that the Virgil to whom this ode is dedicated can possibly be the poet and friend of H. who died suddenly in 19 BC., citing passing time and bad taste as conclusive reasons against. Quinn is quite certain that it is intended to the poet but that it is a much earlier ode, included in Book IV by way of a makeweight. The theme is apparently quite simple. It is spring and party time. Come and join in, bring a bottle as part of your contribution and let us drink to past times.

Neither Fraenkel or Quinn is prepared to assume that Horace is invoking the shade of Virgil to be present at a gathering in his honoured remembrance. Yet it would seem an eminently reasonable conclusion and one in keeping with that time. If this argument is sustained then the ode becomes very relevant and the often puzzling allusions within begin to make much more sense.

This ode, which seemed at first to be a pastoral observation and a celebration, would then seem to a contain a sinister element. There can be no doubt that the Vergilius mentioned is indeed the poet who, at the time of writing, would have been dead at least eight, if not eleven, years. Once this is established then the whole ode must take on a surrealistic tone. Issuing an invitation to a 'shade' to come to a party may have been commonplace in ancient Rome, say on the anniversary of the death. Certainly the images of ancestors were always carried in procession on special occasions and presumably they could also have been present on the occasion of a party. But the expectancy of an actual shade is quite unique. It must surely suggest something a little more specific than just fond remembrance. Were ghosts of the uneasy dead supposed to roam the Earth in search of retribution in Roman mythology, as in other civilizations?

The adjacent references to 'guardians of sheep playing songs' in connection with the mention of the name 'Virgil' is surely not accidental? Such 'guardians' being despatched to the 'black hills of Arcadia' might be reasonably advanced as a direct reference to Hades. The necessity of having spikenard in your wine when drinking with young noblemen cannot be ignored and can only be taken as a dire warning. The reassurance that Horace's own wine is untainted merely underlines it and in the concluding stanza Horace's advice to his old friend summarises the whole sad story. It leaves us with a conclusion, horrifying as it may be, that Virgil might well have been poisoned. Why, how and by whom can only be a matter of conjecture. Beyond the term iuvenum nobilium cliens, Horace leaves us no clue.

The metre, according to Quinn, is Asclepiad (b) and there are three episodes, of three, two and a further two stanzas respectively. The first sets the scene, of springtime with allegories to the nightingale and the shepherd and his flock in Arcadia. The second is the invitation to the party and to the chief guest, Virgil while the third assures him of the welcome awaiting him there.

Episode 1

IAM*VERIS*COMITES*QUAE*MARE*TEMPERANT**

INPELLUNT*ANIMAE*LINTEA*THRACIAE**

IAM*NEC*PRATA*RIGENT*NEC*FLUVII*STREPUNT**

HIBERNA*NIVE*TURGIDI**

NIDUM*PONIT*ITYN*FLEBILITER*GEMENS**

INFELIX*AVIS*ET*CECROPIAE*DOMUS**

AETERNUM*OPPROBRIUM*QUOD*MALE*BARBARAS**

REGUM*EST*ULTA*LIBIDINES**

DICUNT*IN*TENERO*GRAMINE*PINGUIUM**

CUSTODES*OVIUM*CARMINA*FISTULA**

DELECTANTQUE*DEUM*CUI*PECUS*ET*NIGRI**

COLLES*ARCADIAE*PLACENT***

[Iam veris comites, quae mare temperant, impellunt animae lintea Thraciae;] – 'Already Spring's attendants, the north winds of Thrace that moderate the sea, impel the ships sails; [Iam nec prata rigent nec fluvit strepunt hiberna nive turgidi.] – 'not now are the meadows stiff nor the swollen streams with winter snow. [Nidum ponit, Ityn flebiliter gemens infelix avis et Cecropiae domus aeternum opprobrium,] – 'Groaning tearfully for Itys, the unhappy bird builds her nest, having brought eternal disgrace to the race of birds and the house of Cecrops,' [quod male barbaras regum est ulta libidines] – 'because the barbarous lust of kings was avenged improperly.' Horace uses the legend of Itys, the son of Tereus and Procne, who was killed by his mother and served, unknowingly, to his father as food because Tereus had raped his sister–in–law Philomena. The intention must be to create an example of killing someone precious to spite someone else. Presumably what is to follow in this ode must embrace a similar case in order to justify the allusion.

[Dicunt in tenero gramine pinguium custodes ovium carmina fistula delectantque deum,] – 'In the tender grass the attendant of gentle sheep plays songs upon the shepherd's pipe to the delight of the Gods' [cui pecus et nigri colles Arcadiae placent.] – 'to whom are such simple folk agreeable in the black hills of Arcadia?' This is a curious, complex stanza which cannot be explained by a simple pastoral analogy. It would seem to clearly end in a question, even though not marked as such and nigri colles Arcadiae can only refer to the black cliffs from which the river Styx descends into Hades. Following on from the previous stanza, Horace must surely be making some sort of connection. Custodes ... pinguium ovium ... deum must presumably be taken as one collective reference, which would then connect custodes with the reference to Hades. It would seem then that a reference is being made to somebody connected with a god, a pastoral background and who is skilled in song who has ended up in Hades. Further, by the nature of the question posed at the end, coupled with the previous allusion to Itys, that the person in question had been sent there deliberately. Moreover such a person must also have been of a very special nature and precious. This connection is not entirely tenuous, but a quite typical build–up, by Horace, towards a specific reference.

Episode 2

ADDUXERE*SITIM*TEMPORA*VERGILI**

SED*PRESSUM*CALIBUS*DUCERE*LIBERUM**

SI*GESTIS*IUVENUM*NOBILIUM*CLIENS**

NARDO*VINA*MEREBERE**

NARDI*PARVUS*ONYX*ELICIET*CADUM**

QUI*NUNC*SULPICIIS*ACCUBAT*HORREIS**

SPES*DONARE*NOVAS*LARGUS*AMARAQUE**

CURARUM*ELUERE*EFFICAX***

[Adduxere sitim tempora, Vergili;] – 'O Virgil, a thirst to bring you back to the present;' [sed pressum Calibus ducere Liberum si gestis, iuvenum nobilium cliens,] – 'with a juice of Bacchus having been pressed at Cales! But if you desire to consort as a cherished client of young nobles,' [nardo vina merebere.] – 'you will be needing a wine with spikenard.' This stanza is pivotal to the whole message of this ode. The Virgil mentioned must be the late poet, of whom Augustus was patron. He died suddenly in 19 BC.. Unbelievable as it must seem, the words of Horace seem to indicate that Virgil was the one consigned to Hades and that he might well have been poisoned. The reference to needing wine mixed with spikenard is perplexing unless the latter was regarded as an antidote. 'Nard', (Nardostachys grandiflora or Nardostachys jatamansi), was a fragrant herb often noted for its medicinal and cosmetic qualities, while its use as an antidote to poison is not so well documented. However, among other things, it was known to 'help gnawing pains of the stomach, drying up the defluxions that trouble the belly and entrails.' Pliny notes its wide use in Rome and lists four kinds in order of popularity – Indian, Syrian, Gallic and Cretan. The further reference to being a 'cherished client of young nobles' leaves us in no doubt as to the identity of the would–be poisoners. As to the reason, we cannot begin to understand and Horace does not, or dare not, be more specific or even take the matter any further.

[Nardi parvus onyx ... Sulpiciis horreis,] – 'The small onyx casket of nard from Sulpicius's warehouses,' [eliciet cadum ... qui nunc ... adcubat] – 'that now lies beside your place, will neutralize a wine jar,' In the context of these two stanzas, eliciet would seem to indicate the operation of 'drawing out' or similar, for which 'neutralize' would seem to be a fair substitution. Similarly, adcubat seems somewhat wasted indicating a storage operation whereas, as part of a place setting for a guest, it could conceivably indicate a necessary precaution in the uncertain times that pertained to the Rome of that era. Some resolution of word order and punctuation is required for this reading but it would seem to be quite justified. [spes donare novas largus amaraque curarum eluere efficax] – 'to make you renew everlasting hope and to present an efficient cure to wash away that which is unpleasant.' This final couplet must surely underline the fact of intended poisoning. The plural curarum would seem to favour 'cure' rather than 'care', spes ... novas largus identifies the verb 'to renew', leaving donare to justify the 'present' of the nard itself.

Episode 3

AD*QUAE*SI*PROPERAS*GAUDIA*CUM*TUA**

VELOX*MERCE*VENI*NON*EGO*TE*MEIS**

INMUNEM*MEDITOR*TINGUERE*POCULIS**

PLENA*DIVES*UT*IN*DOMO**

VERUM*PONE*MORAS*ET*STUDIUM*LUCRI**

NIGRORUMQUE*MEMOR*DUM*LICET*IGNIUM**

MISCE*STULTITIAM*CONSILIIS*BREVEM**

DULCE*EST*DESIPERE*IN*LOCO***

[Ad quae si properas gaudia, cum tua velox merce veni;] – 'If to which joyfullness you aspire, come for your swift reward,' [non ego te meis immunem meditor tingere poculis, plena dives ut in domo.] – I am pressing so much wine that there is plenty and I intend to make it safe for you; I do not intend to imbue it with any poison of mine! [Verum pone moras et studium lucri nigrorumque memor,] – ' Nevertheless, put aside the reckoning and be mindful of the passage of time and of the darkness of death. [dum licet, ignium misce stultitiam consiliis breven; dulce est despiere in loco.] – Insofar as it is allowed, mingle brief folly with the verdict of

the funeral pyres; it is sweet to be foolish at the right moment!

Ode 11 – Est mihi nonum superantis annum plenus Albani cadus,:-

An ode about a party, ostensibly in honour of Phyllis, celebrating the Ides of April. Or is it? On a day which has some significance to Maecenas also, although the impression is given that he is rather remote and he is apparently not invited. Horace describes the domestic upheaval that the preparations impose on his household and leaves us with the impression that he is away from it all drinking his favourite wine. The ode is addressed to Phyllis who is exhorted to forget the young man Telephus and stay with Horace.

The ode is a deceptively simple description on the occasion of a party and Horace is in a lyrical mood describing the preparations and the principal guest. There is mention of his patron, Maecenas, but this seems only a passing reference to what appears to be the coincidence of his birthday occuring on the same day. Horace tries to woo Phyllis away from pursuing an upper class noble youth, suggesting that liasions so far above her station will only end in unhappiness. He tempts her to remain with him and console him with music.

This ode can now be seen to be far deeper than at first sight. Certainly there is a party and Phyllis is the principal guest. However Horace has used her desire for Telephus to underline a far more significant event that will effect him considerably. There is a curious reference in stanza 5. the stanza in which the name Maecenas is introduced – iure ... proprio; has Maecenas fallen foul of the newly propagated law such as the lex Juliae maiestas? If so, the phrase Maecenas meus adfluentis ordinat annos needs very careful study. Does it mean that he had been called to account because of some action against Augustus as the head of state or an indication that it may have been because of some slighting reference to the first citizen. Certainly there was civil unrest during the reign of Augustus, usually occuring during his long absences in the provinces. One was even fostered by Varro Murena, Maecenas's own brother–in–law! Are we being alerted to another, hitherto unrecorded or was Augustus taking an opportunity to rid himself of an erstwhile ally as he had done so often in the past.

Whatever the event that precipitated it, this ode undoubtedly bears a distinct air of melancholy throughout and, since the occasion is meant to be a joyful one, it is difficult to understand why. However, if Horace is contemplating the end of the patronage and protection that Maecenas offered him then it does become clear. It could also be that Horace himself has also fallen foul of the new law also.

The ode consists of eight four line stanzas in the metre of Sapphics. They are divided into three episodes; the first of three stanzas, in which the domestic turmoil is described, the second of two stanzasa the ostensible reason for the party and the third, of three stanzas, on Phyllis herself.

Episode 1

EST*MIHI*NONUM*SUPERANTIS*ANNUM**

PLENUS*ALBANI*CADUS*EST*IN*HORTO**

PHYLLI*NECTENDIS*APIUM*CORONIS**

EST*HEDERAE*VIS**

MULTA*QUA*CRINIS*RELIGATA*FULGES**

RIDET*ARGENTO*DOMUS*ARA*CASTIS**

VINCTA*VERBENIS*AVET*IMMOLATO**

SPARGIER*AGNO**

CUNCTA*FESTINAT*MANUS*HUC*ET*ILLUC**

CURSITANT*MIXTAE*PUERIS*PUELLAE**

SORDIDUM*FLAMMAE*TREPIDANT*ROTANTES**

VERTICE*FUMUM***

[Est mihi nonum superantis annum plenus Albani cadus;] – 'For me a full jar of nine year old Alban wine surpasses all;' [est in horto, Phylli nectendis apium coronis est hederae vis multa,] – 'Parsley is in the garden, Phyllis, for fashioning a wreath, with a wealth of ivy it is very stylish' [qua crines religata fulges;] – 'which fastened behind the hair, by whatever way, will make you distinguished?' [ridet argento domus, ara castis vincta verbenis] – 'the house glistens with silver, the spotless altar having been decorated with sacred boughs' [avet immolato spargier agno;] – 'desires to be sprinkled by the sacrificed lamb;' [Cuncta festinet manus, huc et illuc cursitant mixtae pueris puellae,] – 'everyone's hand is in rapid motion, hither and thither they run, a mixture of girls with boys,' [sordidum flammae trepidant rotantes vertice fumum.] – 'the flames are agitated rolling off filthy smoke in an eddy.' This is obviously Horace engaged in preparing for a party and there is, as yet, no cause to look for anything untoward.

Episode 2

UT*TAMEN*NORIS*QUIBUS*ADVOCERIS**

GAUDIIS*IDUS*TIBI*SUNT*AGENDAE**

QUI*DIES*MENSEM*VENERIS*MARINAE**

FINDIT*APRILEM**

IURE*SOLLEMNIS*MIHI*SANCTIORQUE**

PAENE*NATALI*PROPRIO*QUOD*EX*HAC**

LUCE*MAECENAS*MEUS*ADFLUENTIS**

ORDINAT*ANNOS***

[Ut tamen noris quibus advoceris gaudiis,] – 'However, as to which of our joyful occasions you may be summoned,' [Idus tibi sunt agendae,] – 'the Ides are to be celebrated for you,' [qui dies mensem Veneris marinae findit Aprilem,] – 'the day which divides April, the month of sea–borne Venus,' [Iure sollemnis mihi sanctiorque paene natali proprio,] – 'by recent law, an almost more solemn occasion to me than being born,' [quod ex hac luce Maecenas meus adfluentes ordinat annos.] – 'because, by this day's light, my Maecenas must give a reckoning and make an account of his ongoing activities.'The reason for the gathering might now be reinterpreted. It is not necessarily a festival to Venus, or the birthday of Maecenas. It begins to sound like a wake!

The term ordinat adfluentes annos seems far too cumbersome a phrase to indicate a mere birthday. Certainly his 'remaining years' are referred to but ordinat must impose a far more serious state of affairs, more in keeping with 'setting ones affairs in order', as though facing some crisis in life. Certainly at the time that these odes were being written Maecenas's influence over Augustus must have waned considerably. With Agrippa dead and the control of the army entirely with Augustus. Like Julius before him, Augustus could use it as a threat to could the Senate directly and he had his 'new men' to support him. Maecenas was clearly redundant in this capacity.

Episode 3

TELEPHUM*QUEM*TU*PETIS*OCCUPAVIT**

NON*TUAE*SORTIS*IUVENEM*PUELLA**

DIVES*ET*LASCIVA*TENETQUE*GRATA**

COMPEDE*VINCTUM**

TERRET*AMBUSTUS*PHAETHON*AVARAS**

SPES*ET*EXEMPLUM*GRAVE*PRAEBET*ALES**

PEGASUS*TERRENUM*EQUITEM*GRAVATUS**

BELLEROPHONTEM**

SEMPER*UT*TE*DIGNA*SEQUARE*ET*ULTRA**

QUAM*LICET*SPERARE*NEFAS*PUTANDO**

DISPAREM*VITES*AGE*IAM*MEORUM**

FINIS*AMORUM**

NON*ENIM*POSTHAC*ALIA*CALEBO**

FEMINA*CONDISCE*MODOS*AMANDA**

VOCE*QUOS*REDDAS*MINUENTOR*ATRAE**

CARMINE*CURAE***

[Telephum, quem tu petis, ... non tuae sortis iuvenem puella dives et lasciva] – 'You reach towards young Telephus, not of your rank, whom a rich and wanton girl' [occupavit ... tenetque grata compede vinctum.] has taken possession and holds in a welcome binding shackle.' [Terret ambustus Phaethon avaras spes] – 'Phaethon, having been scorched by lightning, frightens away avaricious hope' [et exemplum grave praebet ales Pegasus terentum equitus] – 'and the terrifying winged horse Pegasus furnishes a cautionary example' [gravatus Bellerophontem] – 'having to bear Bellerophon,' [Semper ut te digna sequare et ultra quam licet sperare nefas] – 'So that you may always follow that which is suitable for you and further to hope for that which is not permitted only insofar as it is allowed' [putando disparem vites;] – 'by reflecting you may avoid a disparate match;' [age iam, meorum finis amorum] – 'now, greatest of my loves, set the party in motion' [(non enim posthac alia calebo femina),] – '(for after this for no other woman shall I be inflamed)' [condisce modos, amanda voce quos reddas;] – 'learn thoroughly the ways, that you may reawaken with the loving voice;' [minuentur atrae carmine curae.] – 'black cares will be diminished with song.' The use of allegory to demonstrate the futility of ambition seems rather too intense to model a freewoman's desire for a noble Roman youth. Phaethon, the son of Helios, attempts to drive his father's chariot and sets the world on fire, only to be killed himself by a thunderbolt from Zeus. Bellerophon, attempting to fly to heaven on the winged Pegasus, was thrown off for his presumption and fell back to his destruction on Earth. However, given the passing reference to Maecenas that precedes the use of allegory and the rather strange choice of adfluentes ordinat annos to describe it, this could be seen as describing why Maecenas fell from favour.

Ode 8 – Donarem pateras grataque commodus,:-

This ode is addressed to a certain Censorinus of whom little is known except that his name appears in Suetonius as consul in the year of Horace's death. It is humble in tone, reflecting on the apparent wealth of Censorinus and saying that he, Horace, cannot hope to offer him anything comparable to what he might presently be used to. Exactly why Horace should be expected to make such gifts is not apparent. Horace then launches on to a panegyric of poets in general, advising Censorinus that their products are far more valuable that he can comprehend, for they hold the key to immortality. Instances are then quoted and the ode ends with a warning that without their help Censorinus might not hope to be remembered by posterity.

'Placatory' is the one word that occurs to describe this ode. As though Horace was in some way required to pay Censorinus money or goods and is trying to prove that his wealth could not be measured in a quantitative form.

This is an ambiguous ode as far as praise is concerned; while ostensibly praising Censorinus, it uses historical and allegorical comparisons which are far from flattering. Above all, Horace pushes home the fact that, without poets to write about the deeds of men and gods, there is no history or remembrance. It is left to the reader to comprehend his inner meaning, that such writing immortalises the good as well as the evil. The public spirited actions as well as those aimed at self aggrandizment and self interest. Mention is made of Scipio Africanus Major, a remarkably ambiguous comparison. Scipio served a brilliant military career and made his name by securing the province of Africa for Rome. At the same time he made himself wealthy and founded a powerful dynasty. Not surprisingly he was bitterly resented by the existing nobility and they eventually forced him into a bitter retirement by casting aspersions on the way he conductedhimself in the service of the Republic. The proconsulship of Africa was within the influence of Augustus and his close friend, Nonius Asprenas, is known to have been proconsul much later. It is possible that Censorinus had been proconsul in Africa, hence the Scipio reference. If so it would almost certainly indicate that he had benefited financially from the appointment, sufficiently so to have been made consul in 8 BC. Given this it makes the opening lines of this ode, where Horace makes ambivalent references to precious gifts, more pointed and understandable. The ambiguity of the Scipio reference is underlined further by the reference to Romulus. Romulus built the first city of Rome but killed his brother because of it. His fame is for the former act only since the poets do not dwell on the latter. The comparison with Aeacus is less obvious, unless because he was grandfather to both Achilles and Ajax, who both fell in the Trojan war with its implications for Rome. The fact that Aecus was celebrated as a judge in the underworld was, according to Horace, the work of the poets. The references to Hercules, Castor and Pollux and Bacchus are all along the same theme; the poets make you what they wish you to be. Your reputation rests with them.

The structure of this ode is not really conducive to verse form at all. Its thirty–four lines, all of identical metric structure, do not allow themselves to be grouped into smaller clusters of cohesive narrative at all. Quinn likens the form to that of an epistle or, indeed, straight prose. However there are three recognizable episodes that could be extracted, consisting of ten lines, eighteen lines and six lines, where, each time, the trend of the argument takes a slighly different tangent. For no valid literary reason whatsoever, except to give some semblance of order, these three episodes have been grouped into an opening couplet and succeeding quatrains respectively.

A disturbing corollary is that the curiously unfinished nature of this ode could be taken to mean that it was the last thing that Horace wrote, intending it to be epistular in context and that it was mistakenly bundled in with Book IV after his sudden death. This would tie in with the reference to Censorinus, the consul in the year of his death.

Episode 1

DONAREM*PATERAS*GRATAQUE*COMMODUS**

CENSORINE*MEIS*AERA*SODALIBUS**

DONAREM*TRIPODAS*PRAEMIA*FORTIUM**

GRAIORUM*NEQUE*TU*PESSUMA*MUNERUM**

FERRES*DIVITE*ME*SCILICET*ARTIUM**

QUAS*AUT*PARRHASIUS*PROTULIT*AUT*SCOPAS**

HIC*SAXO*LIQUIDIS*ILLE*COLORIBUS**

SOLLERS*NUNC*HOMINEM*PONERE*NUNC*DEUM**

SED*NON*HAEC*MIHIM*VIS*NEC*TIBI*TALIUM**

RES*EST*AUT*ANIMUS*DELICIARUM*EGENS***

[Donarem pateras grataque commodus. Censorine, meis aera sodalibus] – 'Censorinus, I might present to my companions charming and appropriate copper bowls,' This two line stanza must be regarded as the inscription and salutation of the whole ode. It serves to make Censorinus stand out and away from Horace's normal aquaintances. Although it would seem to be a flattering introduction, it might equally well become quite the opposite as the ode progresses.

[Donarem tripodas, praemia fortium Graiorum, neque tu pessima munerum ferres] – 'I might present sacred tripods, the rewards of courageous Greeks, neither might you bear off the meanest of gifts.' This seems to emphasise that Censorinus is not one of Horace's normal companions. [divite me scilicet artium,] – 'naturally, were I wealthy, with works of art,' [Quas aut Parrhasius protulit aut Scopas,] – 'which either Parrhasius or Scopas created,' [Hic saxo. liquidus ille coloribus sollers nunc hominem ponere, nunc deum.] – 'this one in granite, the other one in liquid colours, now to portray a man, now the skilful likeness of a God.' Within the bantering nature of this passage of Horace there seems to be an element of real bitterness.

[sed non haec mihi vis,] – 'but not for me such manner of wealth,' [non tibi talium res est aut animus deliciarum egens.] – 'neither to you such things nor does the true intellectual spirit have need of such delights.' What is the relationship between Horace and Censorinus based upon? It does not really sound as if it were intellectual.

Episode 2

GAUDES*CARMINIBUS*CARMINA*POSSUMUS**

DONARE*ET*PRETIUM*DICERE*MUNERI**

NON*INCISA*NOTIS*MARMORA*PUBLICIS**

PER*QUAE*SPIRITUS*ET*VITA<FFE6>REDIT*BONIS**

POST*MORTEM*DUCIBUS*NON*CELERES*FUGAE**

REIECTAEQUE*RETRORSUM*HANNIBALIS*MINAE**

NON*INCENDIA*KARTHAGINIS*INPIAE**

EIUS*QUI*DOMITA*NOMEN*AB*AFRICA**

LUCRATUS*REDIIT*CLRIUS*INDICANT**

LAUDES*QUAM*CALABRAE*PIERIDES*NEQUE**

SI*CHARTAE*SILEANT*QUOD*BENE*FECERIS**

MERCEDEM*TULERIS*QUID*FORET*ILIAE**

MAVORTISQUE*PUER*SI*TACITURNITAS**

OBSTARET*MERITIS*INVIDA*ROMULI**

EREPTUM*STYGIIS*FLUCTIBUS*AEACUM**

VIRTUS*ET*FAVOR*ET*LINGUA*POTENTIUM**

VATUM*DIVITIBUS*CONSECRAT*INSULIS**

DIGNUM*LAUDE*VIRUM*MUSA*VETAT*MORI**

CAELO*MUSA*BEAT*SIC*IOVIS*INTEREST**

OPTATIS*EPULIS*INPIGER*HERCULES**

CLARUM*TYNDARIDAE*SIDUS*AB*INFIMIS**

QUASSAS*ERIPIUNT*AEQUORIBUS*RATIS**

ORNATUS*VIRIDI*TEMPORA*PAMPINO**

LIBER*VOTA*BONOS*DUCIT*AD*EXITUS***

[Gaudes carminibus: carminis possumus donare et pretium dicere muneri.] – 'Do you rejoice in songs: we are able to dedicate songs and to give value for money,' [non incisa notis marmora publicis,] – 'not stone monuments having been engraved with public records,' [per quae spiritus et vita redit bonis] – 'by which the breath of life is given back to brave' [post mortem ducibus,] – 'commanders after death,' [non celeres fugae reiectaeque retrorsum Hannibalis minae,] – 'not the swift reversals of Hannibals threats and the rapid retreats,' [non incendia Cathaginis impiae eius,] – 'not the burning of that godless Carthage, he' [qui domita nomen ab Africa lucratus rediit,] – 'who, having conquered, came back from Africa, having won that name,' [clarius indicant laudes quam Calabrae Pierides neque,] – 'to more illustrious praise than even the muses of Calabria would proclaim nor,' [si chartae sileant quod bene feceris, mercedem tuleris.] – 'unless the parchments should be silent on what you may have done well, would you have earned that reward.' This is a very complex passage but the full translation would seem to place Censorinus in an unfavourable light. The implication being that if the truth were really told, Censorinus would not enjoy the good name he has apparently gained.

[quid foret Iliae Mavortisque puer, si taciturnitas obstaret meritis invida Romuli?] – 'what might have become of the son of Ilia and Mars, if envious silence may have stood in the way of Romulus having been deserved merit?' Once again this is a complex passage and not to be taken at face value. Ostensibly it says that without publicity, Romulus would have gained no credit. Reading deeper we might ask whether the 'son of Ilia and Mars' does not refer to the other twin, Remus. In effect, it becomes a matter of a 'favourable press', Romulus lived and had all the credit; Remus died and was given very little. It is as though Horace here confirms the supposition voiced in the preceding paragraph, that evil deeds as well as good deeds can be recorded for posterity. Or otherwise! Whether we should consider to be a form of literary blackmail is not important; Horace is merely stating a fact

[Ereptum Stygiis fluctibus Aeacum] – 'Aeacus, having been snatched from the Stygian waves,' [virtus et favor et lingua potentium vatum divitibus consecrat insulis.] – 'dedicates to the service of the gods in the blessed isles, the virtue, goodwill and eloquence of influential poets.' [Dignum laude virum Musa vetat mori.] – 'The Muse forbids the hero, having been endowed with praise, to die.'

[Caelo Musa beat.] – 'The Muse bestows immortality.' [sic Iovis interest optatis epulis impiger Hercules,] – 'so diligent Hercules is under the patronage of Jupiter having been elected to a place at the table of the gods,' [Clarum Tyndarae sidus ab infimis quassas eripiunt aequoribus ratis,] – 'the bright constellation of Castor and Pollux rescues a ship, having been shaken by storms, from the bottomless seas,' [ornatus viridi tempora pampino Liber vota bonos ducit ad exitus.] – 'the temple having been embellished with a green vine tendril, Bacchus leads good intentions to go astray.' Although Bacchus is never associated with moral conclusions; the consumption of wine, in the ancient world, is almost always indicative of moral lapses, not moral victories. But nobody seemed to be censorious of the fact.

Ode 6 – Dive, quem proles Niobaea magnae vindicem linguae-

Ostensibly a hymn to Apollo, yet set in a curious form. Apollo is first greeted for his role as a punisher of boastful words, as in the case of Niobe and Tityos. Then as the punisher of Achilles for taking upon himself to role of a god. Horace then adressses him personally to thank him for his gifts as a muse but also to implore his protection from an unspecified danger. The stanza containing this cry of help is the means of connecting the first part of the ode to the concluding part, an address to the young chorus of youths and maidens with whom he is apparently in rehearsal. This concluding part is valedictory in tone.

What at first seems to be a simple ode to Apollo is seen, on closer inspection, to be far more complex. After identifying the various roles that Apollo assumes Horace asks for his help in dealing with his own situation which seems to require all of these talents at once. What seems to be a self–congratulary final section is thus revealed as more of an apologia for his own existence.

It is assumed that this ode might well have been intended as the last of Book IV. It matches the mood of IV, 3, which would have occupied a similar position at the beginning, as the opening ode of Book IV. Then the muse Melpomene was addressed as Horace confirms he is embarking on a new enterprise of tragic poetry. This final ode has a valedictory feeling about it as though Horace has completed his task and is rather fearful of the outcome. He appeals to Apollo for help and at the same time reminds Rome, and particularly the children of Rome, of his other achievements. This last echoes the reference to the children of Rome in ode IV, 3. As though Horace is unsure that his contemporaries will care to acknowledge him in the circumstances arising from Book IV; his only hope lies with their children and future posterity.

The ode consists of eleven four line stanzas and Quinn identifies the metre as Sapphics. The ode is divided into three episodes, the first of six stanzas, the second a single stanza and the third of four stanzas.

Episode 1

DIVE*QUEM*PROLES*NIOBAEA*MAGNAE**

VINDICEM*LINGUAE*TITYOSQUE*RAPTOR**

SENSIT*TROIAE*PROPE*VICTOR*ALTAE**

PHTHIUS*ACHILLES**

CETERIS*MAIOR*TIBI*MILES*INPAR**

FILIUS*QUAMVIS*THETIDIS*MARINAE**

DARDANAS*TURRIS*QUATERET*TREMENDA**

CUSPIDE*PUGNAX**

ILLE*MORDACI*VELUT*ICTA*FERRO**

PINUS*AUT*INPULSA*EURO**

PROCIDIT*LATE*POSUITQUE*COLLUM*IN**

PULVERE*TEUCRO**

ILLE*NON*INCLUSUS*EQUO*MINERVAE**

SACRA*MENTITO*MALE*FERIATOS**

TROAS*ET*LAETAM*PRIAMI*CHOREIS**

FALLERET*AULAM**

SED*PALAM*CAPTIS*GRAVIS*HEU*NEFAS*HEU**

NESCIOS*FARI*PUEROS*ACHIVIS**

URERET*FLAMMIS*ETIAM*LATENTEM**

MATRIS*IN*ALVO**

NI*TUIS*FLEXUS*VENERISQUE*GRATAE**

VOCIBUS*DIVOM*PATER*ADNUISSET**

REBUS*AENEAE*POTIORE*DUCTOS**

ALITE*MUROS***

[Dive, quem proles Niobea magnae vindicem linguae Tityosque raptor sensit] – 'O God, who the the offspring of Niobe and the ravisher, Tityos, perceived as an avenger of brash claims.' [et Troiae prope victor altae Phthius Achilles] – 'as did Phthian Achilles, a near victor at ancient Troy' [ceteris maior, tibi miles impar,] – 'greater than the rest but, as a warrior, no match for you,' [filius quamvis Thetidis marinae] – 'albeit a son of the sea–goddess Thetis' [Dardanas turres quateret tremenda cuspide pugnax.] – 'so fond of fighting with terrible javelin, he would shake the Dardanian towers.' These first two stanzas are in the form of a parable, they who boast too much, the Gods cut down to size. Thus Niobe is punished through her children for claiming to be a better mother than Leto, the mother of Apollo and Artemis. Tityos was struck down for attempting to rape their mother Leto. Precisely why the usually heroic figure of Achilles is included is not immediately clear. Quinn suggest that it is because too often he used his powers as a demi–god to kill mere mortals. However, since mythology is full of such incidents on the part of gods subduing mortals, this theory does not seem to be at all convincing. Perhaps the ensuing stanzas may enlighten us.

[Ille, mordaci velut icta ferro pinus aut impulsa cupressus Euro,] – 'He, even as a pine tree having been struck by biting steel or a cypress having been thrown to the ground by the east wind,' [procidit late posuitque collum in pulvere Teucro.] – 'fell forward full length and stretched out the neck in Trojan dust.' This of course refers to the Odyssey rather that the Iliad, which describes the killing of Achilles by Apollo who has taken on the disguise of Paris.

[Ille non inclusus equo Minervae sacra mentito] – 'He would have disdained to be enclosed within the horse, invented as a sacrifice to Minerva' [male feriatos Troas et laetam Priami choreis falleret aulam;] – 'so that it might improperly deceive Troy to keep holidays and the joyful court of Priam to choral dancing.' [sed palam captis gravis] = 'but, without concealment, heavy handed to captives.' [heu nefas, heu, nescios fari pueros Achivis ureret flammis,] – 'Alas a horrible thing, a crime, that he should burn helpless children with Greek fire in the name of the Gods,' [etiam latentem matris in alvo,] – 'even to mothers concealing them in the womb,' Is this then, is Achilles crime? That he would have killed children wantonly and cruelly in the name of the Gods and was punished by Apollo. We may ask why Horace used such an extended parable. With whom does he mean it to be compared? [ni tuis victus Venerisque gratae vocibus divom pater adnuisset] – 'and the father of the gods might have given his consent had not the magic incantation of yourself and beloved Venus overcome' [rebus Aeneae potiore ductos alite muros.] – 'for the interests of Aeneas in building better walls.' This summarises these first six stanzas; Achilles was killed for the good of Rome so that he would not continue the annihilation of the Trojans and prevent the escape of Aeneas. Once again the parable begs a question; whose death is now required to save Rome?

Episode 2

DOCTOR*ARGUTAE*FIDICEN<FFE6>*THALIAE**

PHOEBE*QUI*XANTHO*LAVIS*AMNE*CRINIS**

DAUNIAE*DEFENDE*DECUS*CAMENAE**

LEVIS*AGYIEU***

This is the pivotal stanza of the entire ode, connecting two apparently disparate episodes. It is enigmatic in structure but is clearly a cry for help from Horace to Apollo. Apollo who not only inspires poets and renews his strength in the sacred river Xanthus but protects the public places and their occupants. This looks back upon Apollo's punitive role as regards Niobe, Tityos and Achilles but looks forward to the remainder of the ode in which Horace comments on his own skills, as a lyrical poet, that Apollo has bestowed upon him. Despite his success with the Carmen Saeculare, Horace feels in need of protection and it can only be connected with the venture on which he is now engaged. Feeling the need for protection he calls again on Apollo, who taught Thalia, the Greek muse of Comedy and Satire.

Episode 3

SPIRITUM*PHOEBUS*MIHI*PHOEBUS*ARTEM**

CARMINIS*NOMENQUE*DEDIT*POETAE**

VIRGINUM*PRIMAE*PUERIQUE*CLARIS**

PATRIBUS*ORTI**

DELIAE*TUTELA*DEAE*FUGACIS**

LYNCAS*ET*CERVOS*COHIBENTIS*ARCU**

LESBIUM*SERVATE*PEDEM*MEIQUE**

POLLICIS*ICTUM**

RITE*LATONAE*PUERUM*CANENTES**

RITE*CRESCENTEM*FACE*NOCTILUCAM**

PROSPERAM*FRUGUM*CELEREMQUE*PRONOS**

VOLVERE*MENSIS***

NUPTA*IAM*DICES*EGO*DIS*AMICUM**

SAECULO*FESTAS*REFERENTE*LUCES**

REDDIDI*CARMEN*DOCILIS*MODORUM**

VATIS*HORATI***

[Spiritum Phoebus mihi, Phoebus artem carminis nomenque dedit poetae.] –'Phoebus Apollo gave breath to me, the art of song and the name of poet.' [virginum primae puerique claris patribus orti,] – 'Foremost among virgins and young men, having been born of illustrious fathers,' [Deliae tutela deae, fugacis lyncas et cervos cohibentis arcu,] – 'as the fleeting lynxes and stags, being held together by the Delian Goddess, protected by the bowstring,' [Lesbium servate pedem meique pollicis ictum,] – 'keep to the Lesbian rhythm and the striking of the strings of my lyre,' [rite Latonae puerum canentes,] – 'and celebrating the son of Latona in the proper manner,' [rite crescentem face Noctilucam,] – 'as with a torch rekindling the moonlight,' [prosperam frugum celeremque pronos volvere menses.] – 'to rotate the favourable months of fruitfullness and swift prosperity

[nupta iam dices,] – 'presently, having been married, you will say,' ["ego ... amicum ... docilis modorum vatis Horati] – 'I, a friend of the poet Horace, attentive to the measures,' [saeculo festas reddidi carmen] – 'rendered the hymn in the sacred festival' [dis ... referente luces] – 'bringing back benediction from the Gods.'

These last four stanzas should on no account be taken as self–congratulatory! Their very tone makes them more in the nature of a valediction, as though Horace was saying farewell to friends and reminding them of his part in their lives and his contribution to Rome.