The Epodes
Epodon
Headnote
The Epodes are Horace’s book of iambics, seventeen poems published around 30 BC, soon after the first book of Satires and in the same years that the earliest Odes were taking shape. Horace called them iambi, naming not a meter but a tradition: the blame-poetry of Archilochus of Paros and Hipponax of Ephesus, the Greek masters whose verse could, by legend, hound a man to suicide. Horace claims that lineage openly — “I was the first to show the iambics of Paros to Latium,” he would later write — while softening the archaic ferocity into something more Roman and more self-aware. The collection’s modern title comes from the form of most of the poems: an epode is the shorter line that follows a longer one in a couplet, and sixteen of the seventeen are built from such paired lines (the seventeenth is in stichic iambic trimeter).
The book is tonally the most various, and the most experimental, of Horace’s works. Its center of gravity is invective and the iambic sneer, but the range is wide. Two poems are vicious sexual lampoons of an aging woman who pursues the poet (8 and 12), rendered here with the deliberate coarseness of the Latin rather than softened. Two are dramatic scenes of black magic built around the witch Canidia — the long fifth epode, in which a boy is buried alive to be rendered into a love-charm, and the seventeenth, a dialogue in which the poet begs the witch for release and is refused. Others turn the iambic weapon on public targets: the upstart freedman now a military tribune (4), the cowardly slanderer compared to a yapping cur (6), and twice on Rome itself in the agony of civil war (7 and 16), the second proposing flight to the Isles of the Blessed beyond the Ocean. Against these stand quieter, more lyric pieces that point toward the Odes: the loyal address to Maecenas on the eve of Actium (1), the storm-and-wine carpe diem of the thirteenth with its song of the Centaur to Achilles, and the two love-poems of frustration and broken faith (11, 15). The most famous poem in the book, the second, is a long, lovingly detailed praise of the simple country life — “Beatus ille” — undercut by its closing reveal that the speaker is the moneylender Alfius, who calls in his loans and lends them out again rather than buy the farm he idealizes.
Several epodes are datable to the war between Octavian (the future Augustus, called Caesar throughout) and Mark Antony with Cleopatra: the first and ninth belong to the campaign of Actium in 31 BC, the ninth apparently written in its immediate aftermath, with its scorn for a Roman soldier “enslaved to a woman.” The civil-war poems give the collection its darker frame — the recurring dread, sounded most fully in the sixteenth, that Rome is destroying herself and that the only escape is exile from history itself.
The voice is recognizably Horace: urbane even when obscene, ironic even when furious, and already capable of the chiselled compression that the Odes would perfect. The reader meets here, in rougher iambic dress, the same intelligence — the same eye for the telling detail, the same readiness to turn the joke against himself (Flaccus, he reminds us in the fifteenth, is the one worn down by love), and the same melancholy awareness of mortality beneath the wit.