Addressees of Horace's Odes: Difference between revisions
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{{CITE|1=Chrysovalantis Sitsanis|2=April 2020|3=[http://doi.org/10.5281/zenodo.4672581 10.5281/zenodo.4672581]}}
Many themes and many characters find their way into [https://en.wikipedia.org/wiki/Horace Horace’s] [https://en.wikipedia.org/wiki/Odes_(Horace) Odes]. In what follows I attempt to list the direct addressees of the poet in this work. My classification is summarized in a table added as an apendix to this entry.
Some clarifications are now in order. This is a list of ''directly'' addressed individuals. Obviously many odes can be interpreted as a more or less unambiguous eulogy or censure of specific persons, but these indirect addresses are not recorded here.<ref>For example, Ode 4.4 is an encomium of the [https://en.wikipedia.org/wiki/Claudia_gens#Claudii_Nerones Claudii Nerones] and especially of Claudius Nero Drusus, but Rome is the direct addressee.</ref> There are, nevertheless, two notable exceptions. Firstly, the gods are deemed as direct addressees in the cases when the poet admonishes others to praise them.<ref>Ode 1.21 provides an example of this.</ref> Secondly, despite also being an indirect recipient, Plotius Numida is listed here due to the lack of other direct addressees in Ode 1.36.
Furthermore, the scope of this list also excludes exclamations,<ref>For example, the “''pro curia inversique mores!''” part in Ode 3.5.</ref> as well as addresses in embedded narratives.<ref>For example, the invocation of gods (“''o deorum siquis haec audis''”) during Europa’s outburst in Ode 3.27.</ref>
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Moreover, the ''oaristys'' between the poet and Lydia (3.9) (“''the only one of Horace’s lyrics in dialogue''”)<ref>Clifford Herschel Moore, ''Horace: The Odes, Epodes and Carmen Saeculare'', American Book Company, New York and Cincinnati, 1902, p. 267.</ref> is indexed under both headings – as would have happened with any ode including more than one addressees.
Finally, the Latin wording of each address is given in parentheses next to the numerical designation of the odes.<ref>As always, the first number denotes the book, while the second one marks the ode.</ref> My purpo-se is to include only the information which is required to identify the addressee. Thus, writing down the collocation “''Aeli vetusto nobilis ab Lamo''” (3.17) is necessary to recognize Lucius Aelius Lamia, but the phrase “''Maecenas atavis edite regibus''” (1.1) does not play the same crucial role in establishing the identity of [https://en.wikipedia.org/wiki/Gaius_Maecenas Gaius Cilnius Maecenas].
== 1. Specified addressees ==
== 1.1. Persons ==
== 1.1.1. Poet’s self ==
☞ 1.19, 1.34, 2.5,<ref>“''The anonymous addressee of 2.5 is most certainly the poet himself''” (Mario Citroni, “''Occasion and Levels of Address in Horatian Lyric''”, in Michele Lowrie (ed.), ''Horace: Odes and Epodes'', Oxford University Press, Oxford, 2009, p. 73n6).</ref> 3.9, 3.30.
== 1.1.2. Others ==
== 1.1.2.1. Non-human ==
== 1.1.2.1.1. Mythological ==
☞ [https://en.wikipedia.org/wiki/Apollo Apollo]: 1.12 (“''Phoebe''”), 1.21 (“''intonsum [...] Cynthium''”), 1.31 (“''Latoe''”), 4.6 (“''Dive''”).
☞ [https://en.wikipedia.org/wiki/Dionysus Bacchus]: 1.12, 2.19 (“''Liber''”), 3.25 (“''Bacche''”, “''Lenaee''”).
☞ [https://en.wikipedia.org/wiki/Calliope Calliope]: 3.4 (“''Calliope''”).
☞ [https://en.wikipedia.org/wiki/Clio Clio]: 1.12 (“''Clio''”).
☞ [https://en.wikipedia.org/wiki/Diana_(mythology) Diana]: 1.12 (“''saevis inimica virgo beluis''”), 1.21 (“''Dianam''”), 3.22 (“''montium custos nemorumque''”).
☞ [https://en.wikipedia.org/wiki/Faunus Faunus]: 3.18 (“''Faune''”).
☞ [https://en.wikipedia.org/wiki/Fortuna Fortuna]: 1.35 (“''diva, gratum quae regis Antium''”).
☞ [https://en.wikipedia.org/wiki/Jupiter_(mythology) Jupiter]: 1.12 (“''orte Saturno''”).
☞ [https://en.wikipedia.org/wiki/Leto Latona]: 1.21 (“''Latonamque''”).
☞ [https://en.wikipedia.org/wiki/Melpomene Melpomene]: 1.24, 3.30, 4.3 (“''Melpomene''”).
☞ [https://en.wikipedia.org/wiki/Mercury_(mythology) Mercury]: 1.2 (“''filius Maiae''”), 1.10, 3.11 (“''Mercuri''”).
☞ [https://en.wikipedia.org/wiki/Muses Muse]: 1.26 (“''quae fontibus integris gaudes''”, “''Piplei dulcis''”).<ref>Pipla is “''a bizarre spelling of Pimplea''’” (David R. Slavitt, ''Horace: Odes'', University of Wisconsin Press, Madison and London, 2014, p. 40). Pimplea or Pimpleia (Πίμπλεια in Greek) was a place sacred to the Muses in Pieria, Greece.</ref>
☞ [https://en.wikipedia.org/wiki/Venus_(mythology) Venus]: 1.30, 4.1 (“''Venus''”), 3.26 (“''quae beatam diva tenes Cyprum et Memphin carentem Sithonia nive, regina''”).
==1.1.2.1.2. Conceptual==
☞ Roma: 4.4 (“''Roma''”).
==1.1.2.2. Human==
==1.1.2.2.1. Individuals==
==1.1.2.2.1.1. Eponymous==
==1.1.2.2.1.1.1. Kinfolks==
☞ [https://en.wikipedia.org/wiki/Gaius_Maecenas Gaius Cilnius Maecenas]: 1.1, 1.20, 2.12, 2.17, 2.20, 3.8, 3.16, 3.29 (“''Maecenas''”).
☞ Gaius Marcius Censorinus: 4.8 (“''Censorine''”).
☞ Lucius Aelius Lamia: 3.17 (“''Aeli vetusto nobilis ab Lamo''”).
☞ Lucius Manlius Torquatus (filius): 4.7 (“''Torquate''”).
☞ Lucius Sestius Nepos: 1.4 (“''Sesti''”).
☞ Marcus Aristius Fuscus: 1.22 (“''Fusce''”).
☞ Plotius Numida: 1.36 (“''Numidae''”).
☞ Pompeius Grosphus: 2.16 (“''Grosphe''”).
☞ Pompeius Varro: 2.7 (“''Pompei''”).
☞ Publius Alfenus Varus: 1.18 (“''Vare''”).
☞ Publius Vergilius Maro: 1.24, 4.12 (“''Vergili''”).<ref>Concerning the Ode 4.12, let it be noted that “''it is a matter of dispute whether this Vergil is the famous poet or another, unknown individual''” (Jeffrey H. Kaimowitz (trans.), ''The Odes of Horace'', Johns Hopkins University Press, Baltimore, 2008, p. 165n3).</ref>
☞ Quinctius Hirpinus: 2.11 (“''Hirpine Quincti''”).<ref>Paul Shorey and Gordon J. Laing, ''Horace: Odes and Epodes'', Benj. H. Sanborn & Co, Chicago, 1919, read “''Quinti''”. I follow the corrections of Stanley Lombardo (trans.) and Anthony Corbeill (introd. and notes), ''Horace: Odes with Carmen Saeculare'', Hackett Publishing, Indianapolis and Cambridge, 2018, p. xviii.</ref>
☞ Septimius: 2.6 (“''Septimi''”).
==1.1.2.2.1.1.2. Public figures==
==1.1.2.2.1.1.2.1. Philosophers==
☞ [https://en.wikipedia.org/wiki/Archytas Archytas]: 1.28 (“''Archyta''”).
☞ Gaius Sallustius Crispus: 2.2 (“''Crispe Sallusti''”).
☞ Iccius: 1.29 (“''Icci''”).
==1.1.2.2.1.1.2.2. Poets==
☞ [https://en.wikipedia.org/wiki/Tibullus Albius Tibullus]: 1.33 (“''Albi''”).
☞ [https://en.wikipedia.org/wiki/Iullus_Antonius Gaius Antonius Iullus]: 4.2 (“''Iulle''”).
==1.1.2.2.1.1.2.3. Statesmen==
☞ [https://en.wikipedia.org/wiki/Augustus Augustus]: 1.2, 4.15 (“''Caesar''”), 4.5 (“''Divis orte bonis, optume Romulae custos gentis''”, “''duxe bone''”),<ref>The word “''Caesar''” exists in this ode, but Augustus is addressed here only through the use of honorific vocatives.</ref> 4.14 (“''Auguste''”).
☞ [https://en.wikipedia.org/wiki/Gaius_Asinius_Pollio Gaius Asinius Pollio]: 2.1 (“''Pollio''”).
☞ [https://en.wikipedia.org/wiki/Valgius_Rufus Gaius Valgius Rufus]: 2.9 (“''Valgi''”).
☞ Lucius Licinius Murena: 2.10 (“''Licini''”).
☞ [https://en.wikipedia.org/wiki/Lucius_Munatius_Plancus Lucius Munatius Plancus]: 1.7 (“''Plance''”).
☞ Marcus Lollius: 4.9 (“''Lolli''”).
☞ [https://en.wikipedia.org/wiki/Marcus_Vipsanius_Agrippa Marcus Vipsanius Agrippa]: 1.6 (“''Agrippa''”).
☞ Quintus Dellius: 2.3 (“''Delli''”).
==1.1.2.2.1.1.3. Others==
This section mostly (but not always) lists the poet’s love interests: “''Horace introduces so many different names [...], and refrains so consistently from decisively casting his erotic lot with any of these, that readers must either marvel at the variegation of his love life or recognize that Horatian lyric is not invested in the development of a coherent erotic ‘plot’''” (Ellen Oliensis, ''Loving Writing / Ovid’s Amores'', Cambridge University Press, Cambridge, 2019, p. 109).
☞ Asterie: 3.7 (“''Asterie''”).
☞ Barine: 2.8 (“''Barine''”).
☞ Chloe: 1.23 (“''Chloe''”).
☞ Chloris: 3.15 (“''Chlori''”).
☞ Galatea: 3.27 (“''Galatea''”).
☞ Leuconoe: 1.11 (“''Leuconoe''”).
☞ Ligurinus: 4.1, 4.10 (“''Ligurine''”).<ref>Shorey and Laing, ''op. cit.'', read “''Ligurinum''” in Ode 4.10. I follow the corrections of Lombardo and Corbeill, ''op. cit.''</ref>
☞ Lyce: 3.10, 4.13 (“''Lyce''”).
☞ Lyde: 3.28 (“''Lyde''”).
☞ Lydia: 1.8, 1.13, 1.25, 3.9 (“''Lydia''”).
☞ Neobule’s self: 3.12 (“''Neobule''”).
☞ Phidyle: 3.23 (“''Phidyle''”).
☞ Phyllis: 4.11 (“''Phylli''”).
☞ Postumus: 2.14 (“''Postume, Postume''”).
☞ Pyrrha: 1.5 (“''Pyrrha''”).
☞ Pyrrhus: 3.20 (“''Pyrrhe''”).
☞ Thaliarchus: 1.9 (“''Thaliarche''”).
☞ Tyndaris: 1.17 (“''Tyndari''”).
☞ Xanthias the Phocean: 2.4 (“''Xanthia Phoceu''”).
==1.1.2.2.1.2. Anonymous==
☞ 1.16 (“''matre pulcra filia pulchrior''”).
☞ 2.18 (“''tu''”).<ref>This anonymous addressee is perhaps Maecenas, see R. G. M. Nisbet and M. Hubbard, ''A Commentary on Horace: Odes, Book II'', Clarendon Press, Oxford, 1978, p. 289-290.</ref>
☞ 1.38, 3.14, 3.19 (“''puer''”).<ref>The ode contains a toast to Lucius Licinius Murena and yet “''in 3.19 none of the characters addressed can be identified with Murena''” (Citroni, ''op. cit.'', p. 73n2).</ref>
☞ 3.24.<ref>The ode is addressed to a “''diatribic ‘you’''” (Citroni, ''op. cit.'', p. 74).</ref>
==1.1.2.2.2. Multitudes==
☞ 1.21 (“''tenerae [...] virgines''”, “''pueri''”, “''mares''”).
☞ 1.27, 1.37 (“''sodales''”).
☞ 2.19 (“''posteri''”).
☞ 3.1 (“''virginibus puerisque''”).
☞ 3.6 (“''Romane''”).<ref>Needless to say, “''Romanus''” is here a collective noun.</ref>
☞ 3.14 (“''plebs''”, “''pueri et puellae''”).
==1.2. Things==
☞ [https://en.wikipedia.org/wiki/Spring_of_Bandusium Bandusia’s fount]: 3.13 (“''fons Bandusiae''”).
☞ Lyre: 1.32, 3.11 (“''testudo''”).
☞ Ship: 1.3, 1.14 (“''navis''”).
☞ Tree: 2.13 (“''arbos''”).
☞ Wine-jar: 3.21 (“''testa''”).
==2. Unspecified addressees==
☞ 1.15, 2.15, 3.2, 3.3, 3.5
==Notes==
<references />
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