Books 1–3
Although the first three books have different characters (e.g. book 1 starts with a variety of metres, while 3.1–6 are all in the same metre), yet there are some indications of a pattern in the arrangement of the poems in the collection as a whole. A number of schemes have been suggested, but one principle of arrangement appears to be that there is a symmetry (that is, a chiastic or ring structure) between the first and second half of the collection, so that several of the odes in the first half have a thematic or phrasal connection with corresponding odes in the second half.[31]
For example, in the first (1.1) and last ode (3.30), which are both in the same rare metre and both addressed to Maecenas, Horace boasts of being the first poet to imitate aeolic-style lyric poetry in Latin. In both the 5th poem (1.5) and the 5th from the end (3.26) Horace signals his retirement from love affairs by stating that he has dedicated his clothes or lyre in the temple of the god or goddess of the sea. The 6th ode (1.6), in which he claims that the Muse forbids him from singing the praises of Caesar (Octavian), contrasts with the 6th from the end (3.25), in which he declares that Bacchus has inspired him to sing Caesar's praises. The 10th poem (1.10) is a hymn to Mercury, and the 10th from the end (3.21) is a hymn to a wine jar.
Sometimes the poems are linked by phrases rather than thematically. For example, the 18th poem (in praise of wine) and the 18th from the end (the spring of Bandusia) have little in common thematically, but are linked by the similar phrases perlucidior vitro 'more transparent than glass' in the last line of 1.18 and splendidior vitro 'more shining than glass' in the first line of 3.13. In 1.19, Horace admires the 'shining beauty of Glycera' (Glycerae nitor), and in 3.12 (19th from the end) the young girl Neobule admires the 'shining beauty of Hebrus' (nitor Hebri). In 1.24 Horace depicts Virgil as weeping for his friend Quintilius, while in 3.7 (24th from the end) he depicts a girl Asterie as weeping for her friend Gyges.
In one or two cases the position of the corresponding poems is not quite exact: for example, ode 1.3, in which Horace prays for a safe voyage across the dangerous Adriatic Sea for his friend Virgil, has links not to 3.28 (the 3rd from the end) but with 3.27, which starts by praying for a safe journey across the Adriatic for a certain Galatea; and the 20th poem (1.20), an invitation to Maecenas, matches not 3.11 as expected, but 3.8, which is also an invitation to Maecenas.
The central two poems, according to this symmetrical scheme, are 2.6 and 2.7 (the 44th from the beginning and 44th from the end respectively), which are both on the theme of friendship: in one Horace describes the places he imagines his friend Septimius would like to visit with him in the future, in the other he mentions places he has visited in the past with his friend Pompeius. There are also verbal echoes between these two poems, for example the word mecum 'with me' in the first line of each poem, and amici/amico 'friend' as the last word of each. The four poems preceding these (2.2–2.5) and four poems following them (2.8–2.11) also show symmetry: for example, in both 2.3 and 2.10 Horace recommends living by the "golden mean"; in 2.5 and 2.8 he describes two courtesans, one as yet inexperienced, the other experienced; and so on.[32]
However, not all the odes are matched individually with their opposite in the other half of the collection. For example, the eight odes 1.8–1.14 appear to form an independent cycle. Within this group only one poem (1.10) can be matched with its opposite number (3.21), but the group as a whole balances another group of eight odes from 3.17–3.24. Similarly, the group 1.30–1.38 balances 2.13–2.20. Within each group, there may be internal correspondences: for example, 1.8 and 1.13 are both love poems addressed to Lydia.[33] Thus the entire collection can be seen as symmetrical, even though the two halves are not of equal length (1040 and 1412 lines respectively).
Other scholars have noted that in some cases poems are paired thematically with the poem which follows. Thus in book 2, 2.2 and 2.3 both give philosophical advice; 2.4 and 2.5 both give advice on love affairs; 2.6 and 2.7 are both poems about friendship; 2.8 and 2.9 love poems; and 2.10 and 2.11 again philosophical, making a chiastic arrangement.[34] However, some scholars claim that it is difficult to continue this principle throughout the book.[35]
A chiastic arrangement has also been observed in other books of poems of this period, for example, in Virgil's Eclogues, Horace's Satires book 1, Propertius book 1, and in Tibullus book 1 and 2.
The Roman Odes
The six odes which begin book 3, all in the Alcaic metre, and on serious subjects such as the Roman Empire, virtue, and Augustus, have long been recognised as forming an independent group within the collection. Since Plüss (1882) they have generally been known as the "Roman Odes". At 336 lines, they form exactly one third of book 3, the 13 poems from 3.7 to 3.19 forming the second third, and the 11 poems from 3.20 to 3.30 the remainder.[36]
Scholars have suggested a number of schemes showing how the six odes are structured, but a common view is that the longest ode, 3.4, describing the lifelong protection given to Horace by the Muses and the victory of Jupiter over the giants, is central. (At 80 lines, this is the longest of all the Odes in any book.) This central ode is flanked by two odes, 3.3 and 3.5, whose closely parallel structure has been noted.[37] Among other points, both contain a long speech starting at line 18, one by Juno, the other by Regulus; one speaks of the fall of Troy, the other of Carthage.[38] These in turn are flanked by 3.2 and 3.6, one describing the virtue required of Roman men, the other the moral degeneracy to be deplored in Roman women.[39] According to this arrangement, the first ode, 3.1, serves as an introduction to the other five; its first eight lines in particular anticipate the themes of 3.4, marking out Horace as the priest of the Muses, and equating the victory of Jupiter over the giants with Augustus's rule over the empire.
The placing of 3.4 as the central ode is confirmed by the lengths of the odes. For it has been pointed out that if the lengths of the six odes, 48, 32, 72, 80, 56, and 48 lines, are examined, it will be seen that the combined length of 3.2 and 3.3 (104 lines) is exactly the same as the combined length of 3.5 and 3.6 (also 104 lines), making a symmetrical frame around the central ode.[40] Another symmetry is that the combined length of 3.2 and 3.6 (80 lines) is equal to the length of the central ode 3.4 itself (also 80 lines).[40] Similar numerical schemes have been found in other Augustan poetry collections such as Virgil's Eclogues and Tibullus book 2.[41]
Another possibility is to take 3.1 and 3.2 together as balancing 3.6, keeping 3.4 as the central ode as before. This arrangement can also be supported by line numbers, since the sum of outer frame 3.1 + 3.2 + 3.6 (128 lines) is equal to that of the inner frame 3.3 + 3.5 (also 128 lines). The combination of 3.1 and 3.4 also adds up to 128 lines.[40] It may perhaps not be a coincidence that the cycle in the second half of book 2 (2.13 to 2.20) can be divided into two halves, each of 128 lines.[42]
Ode 3.2 (29th from the end of books 1–3) is one of the poems which has links to its counterpart in the first half of the book, 1.29 (29th from the beginning). The phrase acrem militiam/acri militia 'fierce warfare' is found in line 2 of both poems, and they are also linked by the shared vocabulary Medo/Parthos 'Persian(s)', virginum/virgo 'virgin(s)', and sponsus/sponso 'betrothed'. In both poems Horace appears to sympathise with the conquered barbarians more than the Roman conquerors, greedy for loot and slaves.
Book 4
For book 4, several schemes have been suggested, such as pentadic or triadic,[43] but a number of scholars such as Eduard Fraenkel have seen the central three poems (4.7–4.9), dealing with the inevitability of death, as forming a separate group.[44] Helena Dettmer points out that this central group of three poems is flanked by two other groups (4.3–4.6 and 4.10–4.13), each consisting of four poems chiastically arranged: thus the themes of 4.3–4.6 are Carmen Saeculare – Praise of Drusus – Praise of Augustus – Carmen Saeculare, while those of 4.10–4.13 are Old Age and Love – Invitation – Invitation – Old Age and Love.[45]
The poem at the centre of the book, 4.8, is unusual in that it uses the rare 1st Asclepiad metre, otherwise only used for the first and last poems of Odes 1–3; all three of these poems describe how Horace will gain everlasting fame through his poetry. With 38 lines it is also the only one of the 103 odes to have a number of lines not divisible by four (although some critics have tried to remedy this by suggesting two lines for deletion).[43]
Dettmer notes further links between the first six poems and the last six, though these are not completely systematic. For example, 4.1~4.10 (Ligurinus), 4.2~4.11 (Celebration of Augustus's return / Maecenas's birthday, both in Sapphics), 4.3~4.12 (Horace and Virgil), 4.6~4.15 (both addressed to Apollo) and so on. The book begins and ends by naming the goddess Venus, who like Apollo was particularly venerated by Augustus.[46]
