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== 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 Le-vels of Address in Horatian Lyric”, in Michele Lowrie (ed.), Horace: Odes and Epodes, Oxford U-niversity Press, Oxford, 2009, p. 73n6).</ref> 3.9, 3.30.
== 1.1.2. Others ==
== 1.1.2.1.1. Mythological ==
• Apollo: 1.12 (“Phoebe”), 1.21 (“intonsum [...] Cynthium”), 1.31 (“Latoe”), 4.6 (“Dive”).
• Bacchus: 1.12, 2.19 (“Liber”), 3.25 (“Bacche”, “Lenaee”).
• Calliope: 3.4 (“Calliope”).
• Clio: 1.12 (“Clio”).
• Diana: 1.12 (“saevis inimica virgo be-luis”), 1.21 (“Dianam”), 3.22 (“montium custos nemorumque”).
• Faunus: 3.18 (“Faune”).
• Fortuna: 1.35 (“diva, gratum quae re-gis Antium”).
• Jupiter: 1.12 (“orte Saturno”).
• Latona: 1.21 (“Latonamque”).
• Melpomene: 1.24, 3.30, 4.3 (“Mel-pomene”).
• Mercury: 1.2 (“filius Maiae”), 1.10, 3.11 (“Mercuri”).
• 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>
• Venus: 1.30, 4.1 (“Venus”), 3.26 (“quae beatam diva tenes Cyprum et Memphin carentem Sithonia nive, re-gina”).
== 1.1.2.1.2. Conceptual ==
• Roma: 4.4 (“Roma”).
== 1.1.2.2. Human ==
== 1.1.2.2.1.1.1. Kinfolks ==
• 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 (“Fu-sce”).
• Plotius Numida: 1.36 (“Numidae”).
• Pompeius Grosphus: 2.16 (“Gros-phe”).
• Pompeius Varro: 2.7 (“Pompei”).
• Publius Alfenus Varus: 1.18 (“Va-re”).
• 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 ==
• Archytas: 1.28 (“Archyta”).
• Gaius Sallustius Crispus: 2.2 (“Cris-pe Sallusti”).
• Iccius: 1.29 (“Icci”).
== 1.1.2.2.1.1.2.2. Poets ==
• Albius Tibullus: 1.33 (“Albi”).
• Gaius Antonius Iullus: 4.2 (“Iulle”).
== 1.1.2.2.1.1.2.3. Statesmen ==
• 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”).
• Gaius Asinius Pollio: 2.1 (“Pollio”).
• Gaius Valgius Rufus: 2.9 (“Valgi”).
• Lucius Licinius Murena: 2.10 (“Lic-ini”).
• Lucius Munatius Plancus: 1.7 (“Plance”).
• Marcus Lollius: 4.9 (“Lolli”).
• 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”).
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