Odes 1.4

Ninth-century manuscript ("R"), perhaps the oldest for the works of Horace,[1] in the Vatican Library, acquired from the estate of Christina of Sweden, formerly owned by the Abbey of St. Peter and St. Paul, Wissembourg[2]

Odes 1.4, also known by its incipit, Solvitur acris hiems, is an Ode by Horace addressed to Sestius, suffect consul in 23 B.C. The poem combines the coming of spring and the cycle of seasonal change with ideas of linear temporality and mortality, with recourse to the consolatory sympotic strategy of carpe diem.[3]: 12 [4]

Background

The coming of spring, celebrated in the Song of Songs[note 1] and universal to the human experience in temperate regions, has Greek literary antecedents in poems by Alcaeus and Leonidas of Tarentum, the latter quoted more than once by Cicero during the civil wars.[note 2][5]: 58f.  These poems include references to the Zephyr, frost thawing, flowers blooming, the start of the sailing season, Priapus—and the realm of Tartarus below.[5]: 59  Horace would return to the subject of spring in Odes 4.7 and 4.12,[6]: 4  although similarly their juxtaposition of nature's cyclical time and the linear life of man,[7] of sorrow at its passing and the implicit injunction to enjoy it while one can with banqueting and wine (carpe diem, nunc est bibendum[note 3]),[8] may make it misleading to call these "spring poems",[4] for "if spring comes, can winter be far behind?"[8]: 72  Yet unlike the Epitaphion Bionis, Catullus 5, and Odes 4.7, Horace has no need to spell the temporal contrasts out in full;[note 4] his readers, steeped in the tradition, can make the connections themselves.[9]: 161f. 

Structure

The cycle of the seasons has its counterpart in the poem's "open-ended" ring composition or chiastic structure,[10]: 92f.  the five quatrains of men at work→gods of Olympus→Faunus→gods of the Underworld→men at play,[11]: 287  opening with the advent of spring and resumption of activity, through the intrusion of death, to leisurely closure in the promise of sex and renewal.[10]: 92f.  Complementary analyses see a more complex twenty-line ten-couplet five-quatrain mirroring;[12]: 66  a "12–8 sonnet-like structure", pale death intruding in line 13;[11]: 286  "a circle" then "a line";[13]: 98  a "diminuendo" from "the panorama of spring" to the specificity of a "boy-favourite";[14]: 115  expansion outwards from a contrapuntal core;[15]: 159f.  and a "sonic circle".[11]: 66 

In the 12–8 analysis, the chiastic humans work→gods relax→gods work→humans relax (1–12) is followed by death (13–17) and the hedonistic response to it of the symposium and love-making (18–20).[16]: 769f.  But sadness may be found throughout, not only after the rupture of pale death in line 13; there are already "definite undertones of the death-theme".[16]: 769ff.  Before spring's advent, the herd and the ploughman were joyous indoors; returning to the fields, that happiness is by implication lost.[16]: 770  The moon that wanes, that rises in her chariot before going beneath the earth,[17]: 540  is associated with loss and death in Odes 2.11, 2.18, and 4.7.[16]: 771  Spring liberates, solvitur, while death constricts, premet; the verb used for the joining of Nymphs with Graces, iungere, cognate with iugum, "yoke", is that used for the harnessing and yoking of beasts of burden; ecstatic in their liberation, the dance of the Graces and Nymphs in Odes 4.7 is a naked one, in 1.4 it is more decorous, decentes, and inhibited; and the verb for the garlanding, impedire, is that for shackling and impeding.[16]: 771f.  The echo of the dance, quatiunt pede, in Death's knocking or kicking on the door, pulsat pede, transforms the former into a "frightening portent of it".[16]: 772  Venus leads the dance, the Graces and Nymphs moving alterno pede; her lame husband Vulcan cannot participate, underscoring his "deformity".[16]: 773  Death's even knocking aequo pede makes the dance alterno pede "almost 'out of step'".[16]: 773  With Pallida Mors, "pale death", the pristine whiteness of the frost and even the green viridis of the myrtle wreath is reassociated with death; the word viridis may be used of pallor, as twice in Appendix Vergiliana, while garlands were used in honouring the dead, as Dido her husband in Aeneid IV.[16]: 774 

Enjoying life while one can may be one response to death, but it does not go away; the sympotic scene is in the negative, nec...nec....[16]: 776  Soon the maidens will grow warm for Lycidas, his appeal lessening for the youth; in time, the virgines in turn may be lukewarm, the full cycle captured in the single, ambiguous, final word tepebunt.[16]: 776 

Metre

Main articles: Greek and Latin metre and Latin prosody

Coming after his Satires, in dactylic hexameters and that look to Lucilius, and iambic Epodes, Archilochus and Hipponax their model, Horace's Odes emulate the Greek lyric tradition with its nine canonical poets.[18]: 14  The so-called Parade Odes that open Book 1 are "characterized by their metrical diversity", each of the first nine poems having a different metre.[19]: 33f.  Odes 1.4[note 5][20][21] is in the Third/Fourth Archilochian, in which the first line of each distich (couplet) is in the greater Archilochian (an "asynartete" combination,[22] comprising a dactylic tetrameter (the first three feet of which may through contraction be a spondee instead of a dactyl) followed by an ithyphallic (three trochees or two followed by a spondee), with a penthemimeral [de] caesura in the third foot[23] and a diaeresis after the tetrameter), the second line an iambic trimeter catalectic (with the first syllable anceps, a spondee substituted for the iamb in the third foot, the final syllable long, and a caesura after the fifth syllable); there is no elision.[22][24] The only example in the Odes of a poem in this metre,[10]: 99  the more lively long lines are somewhat stayed by the slow short lines,[22]: 61  the rotation and alternation echoing spring's "equivocal nature".[23]

Mythology

The poem's mythological plane need not imply religious belief, being operative also as symbolic and linguistic convention, as "poetic code".[23]: 129 

Favonius, the Roman Zephyr or spring's clement west wind,[23] is, according to Pliny the Elder, the "generative sprit of the world", his name derived from the verb fovere, to warm or nurture.[25]: 252  According to Claudian, he is the "father of spring", Pliny giving Favonius pride of place in spring's softening of the skies and opening of the seas to navigation.[25]: 252  In Ovid's Fasti, Flora, the "mother of flowers", tells of how, once called Chloris, she was ravished by Zephyrus/Favonius, before becoming his bride.[25]: 256, 259 

Venus, in the opening invocation of Lucretius' De rerum natura, is genetrix or mother and ancestral begetter of the line of Aeneas (from whom, through Iulus, the gens Julia, Julius Caesar, and Augustus claimed descent); it is she who brings plenty to the seas of navigation and the fruitful lands.[25]: 256  In Book V of Lucretius, spring and Venus move together, with Cupid in the vanguard, followed by the Zephyr and flower-strewing Flora.[25]: 258  Horace's epithet for Venus, Cytherea, refers to her rising from the sea and coming ashore on Cythera, off Laconia and the southeast Peloponnese, one of her supposed birthplaces, alongside the Paphos of Odes 1.30.[27] The myrtle was sacred to her.[27]

Luna, goddess of the moon, leans over to watch,[23] the verb used of her, imminere "impending", having overtones of future threat;[28]: 14  as the moon doth wax and wane, the winter that gives way to spring will return.[28]: 14  In a fragment of Ennius, Luna on her daily course is identified with Proserpina, Persephone by interpretatio Graeca, for her time spent beneath the earth.[note 6][17]: 540f. 

The Graces feature for the first time in extant Latin literature in Horace.[27] Typically three in number, as in Hesiod's Theogony, they were linked with spring by Stesichorus.[5] As in Odes 1.30, here they cavort with the Nymphs.[5]

The Cyclopes, shepherds in the Odyssey, are thunderbolt-forgers in Hesiod's Theogony, and nymph-scaring smiths toiling away at the "anvils of Hephaestus" in Callimachus.[5] Their foundry is variously located, on Lipari or beneath Mount Etna, Jupiter availing himself of their thunderbolts in the more tempestuous times to come.[27] Vulcan, the "cripple" and "cuckolded" husband of Venus,[29] is off to inspect their workshops, officinas, "a calculatedly prosaic word, to round off the fantasy".[23]

Faunus, the native Italian woodland and countryside deity, was identified with Pan,[27] and likely fills Priapus' part in the Greek antecedents above.[5] It is he who affords divine protection to the herd and the ploughman of line three,[28]: 15  having also a darker side, that of an amorous pursuer of nymphs.[28]: 18  Faunus was endowed also with prophetic powers and if properly approached—involving, according to Ovid's Fasti, dietary and sexual abstinence, animal sacrifice, sprinkling the head with water, and the pressing of leaves to the temple—might be consulted for an oracular response to the "ever-present question" amid change, 'what will tomorrow bring?'[28]: 15ff.  In Ovid's Fasti, such solemnities take place on the Ides of February; later the same day began the Parentalia, the feast of the dead.[30]: 9f.  Faunus is also connected with the Lupercalia.[18]: 31 

Mors, death personified, is pale—cause for effect[27]—and impartial, striking with his foot—and the "lavish" alliteration[30]: 10  and plosive onomatopoeia of p, t, b, and d‍[28]: 18 —the doors of rich and poor alike with the same sound.[23] "Storied" are the Manes, the spirits of the dead, while Pluto's underworld realm and meagre mansion is "insubstantial",[23] oxymoronic play on Plutus, wealth.[27]

Mores

In the almost tideless Mediterranean, it was customary to draw boats—or, pars pro toto, their "keels"—a short distance up out of the water, as encountered at Ostia in the Octavius of Minucius Felix, for shelter from winter storms; manoeuvred onto sleds on wheels or rollers, they could be hauled with pulleys and winches, and propped up on blocks.[5] In Vegetius, the sailing season opens in early March, in the Fasti Praenestini and Macrobius' Saturnalia, April.[32]: 179ff.  The grating velar k and g sounds of acris, grata, -que, siccas machinae carinas in the opening couplet, like the cracking ice and creaking cables, give way, with the abundant i sounds of the whistling wind, to the liquid r sounds and softer spirant v and sibilant s sounds of spring.[12]: 67 [11]: 287  The previous ode, 1.3, purports to be a propempticon or "sending-off" poem, wishing Virgil a safe voyage to Greece, though this may be a metapoetic allegory for his epic venture;[33]: 6, 11  following on so closely, the boats we see setting out to sea in spring may be a reference to the start, freshness, and novelty of the Odes.[18]: 31f. 

The symposium scene with its homoeroticism are conventions of Greek erotic poetry,[5][29] the appeal of the eromenos changing as he approaches manhood.[18]: 32 [34] As the nautical imagery links with the preceding Ode, the "lyrical eroticism" of the ending connects with the Ode that follows, 1.5, on the topic of love, the final word tepebunt, "warming up", as is the weather, reinforcing the equivalence of spring with youth.[18]: 31f. 

Addressee

While the poem's speaker has a relatively undeveloped persona, that of a disinterested if knowing acquaintance of a prominent patrician politician,[35]: 118, 122  the character of Sestius is more complex, functioning as he does as a reminder of the closeness of death, even for those in comfortable circumstances, in elevated positions.[35]: 116  The verb used for his journey to the underworld is used elsewhere most often by Lucretius for the movement of inanimate forces, while the other verbs where he is the subject or object similarly stress his lack of "agency" and "powerlessness".[10]: 94f.  Augustus' choice of Sestius, known for his loyalty to Brutus, to replace him as consul as part of the so-called second settlement of 23 B.C. has seen the vernal opening interpreted as a metaphor,[10]: 101  hinting at a "milder political climate";[18]: 31  but the spring is not wholly serene and peaceable, there is still betrayal (Venus and Vulcan), uncertainty, and death.[10]: 101f.  23 B.C. was also the year the first three books of the Odes were most likely published; this poem's position within the collection, Maecenas, Augustus, and Virgil the addressees in the three poems preceding, points to it being "more than a simple occasional piece".[10]: 101 

Sestius' bearing upon the poem may be even closer: in a letter to his friend Atticus, Cicero mention's "Sestius' vessels", brick stamps with his name (indicating ownership of a brickyard) have been found at the towered villa of Settefinestre, and he is named on amphorae (used in shipping wine); these may be alluded to in the poem's "dry keels", "workshops", "towers", and "wine".[36] Many of the bricks are stamped OF (officina, "workshop"),[29] while an amphora stamp found at Cosa, LVC.LV.SE, may even intimate Lyc(idas) was a real person, perhaps a Greek slave or freedman of Lu(cius) Se(stius).[36]: 244 

Reception

The fourth of the twelfth-century Quirinalia of Metellus of Tegernsee begins with the line Solvitur acris hiemps tersa nive persecutionis, "Melteth harsh winter with the snow of persecution wiped away", echoing the incipit of the fourth of Horace's Odes.[37]: 197  Eight centuries later, Paul Claudel would write a poem with which to greet spring entitled Solvitur acris hiems.[38] In his search for the sources of Botticelli's Primavera, Aby Warburg noted a close relationship with Poliziano's Rusticus of 1483,[39]: 251  vv. 217–221 of which draw in turn on Horace, borrowing alterno terram pede from line 7.[25]: 257f. [40]: 330  In Milton's "Horatian" Sonnet 20 To Mr. Lawrence, there is "conscious imitation".[41]: 64f. [42]: 354  Walter Savage Landor presented a copy of the works of Horace to Robert Browning, annotated in the margins with his own critiques, including, for Odes 1.4, the provocation that the pale death of line 13 "has nothing to do with the above".[30]: 5  The image that follows, of death knocking at the door, recurs in the works of poets including Coleridge, Byron, and Tennyson.[43] According to Ezra Pound, the ode's first line alone "has a week's work in it for any self-respecting translator", including at least one day of inspiration.[44]: 220  A setting to music of the ode, likely by Wolfgang Gräfinger, may be found in the marginalia to the 1505 Donnino Pinzi Venetian edition of the works of Horace in the Cantonal Library of St. Gallen.[45] Another was published in 1930, with piano accompaniment, for singing in schools and colleges.[46][47]

See also

Notes

  1. ^ Song of Songs 2.11f.: "...lo, the winter is past, the rain is over and gone; The flowers appear on the earth; the time of the singing of birds is come..." (King James Version)
  2. ^ Alcaeus fr. 286(a) (numbering per Campbell Loeb edition; P. Oxy. 2301 fr. 1); Leonidas A.P. X.1; Cicero Epistulae ad Atticum IX.18.3, X.2
  3. ^ Horace Odes 4.7, 4.12; carpe diem "pluck the day" (it being ripe) 1.11.8, nunc est bibendum "now is the time to drink" 1.37.1
  4. ^ Epitaphion Bionis 99ff.; Catullus 5.4–6 soles occidere et redire possunt: / nobis, cum semel occidit brevis lux, / nox est perpetua una dormienda, "suns can set and rise again; for us, when once our short-lived light has set, unitary and never-ending is the night we must sleep"; Horace Odes 4.7.13–16 damna tamen celeres reparant caelestia lunae: / nos ubi decidimus / quo pius Aeneas, quo Tullus dives et Ancus, / pulvis et umbra sumus "yet fleet moons repair their losses in the sky: when once we have descended whither pious Aeneas, whither wealthy Tullus and Ancus, but dust and shade are we"
  5. ^ Scansion of Odes 1.4, quantity notated with macron and breve, caesurae with a double vertical bar, and the diaereses after the tetrameter with a vertical ellipsis: ¯˘˘ ¯˘˘ ¯‖¯ ¯˘˘ ⋮ ¯˘ ¯˘ ¯¯ / ˘¯ ˘¯ ¯‖¯ ˘¯ ˘¯ ¯ / ¯˘˘ ¯˘˘ ¯‖¯ ¯˘˘ ⋮ ¯˘ ¯˘ ¯¯ / ¯¯ ˘¯ ¯‖¯ ˘¯ ˘¯ ¯ / ¯˘˘ ¯˘˘ ¯‖¯ ¯˘˘ ⋮ ¯˘ ¯˘ ¯¯ (5) / ¯¯ ˘¯ ¯‖¯ ˘¯ ˘¯ ¯ / ¯¯ ¯¯ ¯‖˘˘ ¯˘˘ ⋮ ¯˘ ¯˘ ¯˘ / ¯¯ ˘¯ ¯‖¯ ˘¯ ˘¯ ¯ / ¯˘˘ ¯˘˘ ¯‖˘˘ ¯˘˘ ⋮ ¯˘ ¯˘ ¯¯ / ¯¯ ˘¯ ¯‖¯ ˘¯ ˘¯ ¯ (10) / ¯˘˘ ¯¯ ¯‖¯ ¯˘˘ ⋮ ¯˘ ¯˘ ¯¯ / ¯¯ ˘¯ ¯‖¯ ˘¯ ˘¯ ¯ / ¯˘˘ ¯¯ ¯‖¯ ¯˘˘ ⋮ ¯˘ ¯˘ ¯¯ / ˘¯ ˘¯ ¯‖¯ ˘¯ ˘¯ ¯ / ¯¯ ¯˘˘ ¯‖¯ ¯˘˘ ⋮ ¯˘ ¯˘ ¯˘ (15) / ¯¯ ˘¯ ¯‖¯ ˘¯ ˘¯ ¯ / ¯˘˘ ¯¯ ¯‖¯ ¯˘˘ ⋮ ¯˘ ¯˘ ¯¯ / ¯¯ ˘¯ ¯‖¯ ˘¯ ˘¯ ¯ / ¯˘˘ ¯˘˘ ¯‖¯ ¯˘˘ ⋮ ¯˘ ¯˘ ¯¯ / ¯¯ ˘¯ ¯‖¯ ˘¯ ˘¯ ¯ (20)
  6. ^ Ennius Epicharmus in Varro De lingua Latina V.68, on Luna: Hinc Epicharmus Ennii Proserpinam quoque appelat, quod solet esse sub terris, "From this the Epicharmus of Ennius also calls her Proserpina, because she is wont to be under the lands"

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