Odes 3.9

Love lost and found

by Horace

This verse form, in which two people speak alternately with each competing to cap the other, was used by Sappho and other Greek predecessors of Horace, and had already been adopted by Virgil in his pastoral poems, the Eclogues. The names are Greek: Thurii is a town in the south of Italy, and was also originally a Greek foundation. Ilia, to whom Lydia compares herself, was the mother who bore Romulus and Remus to the war God, Mars.

Horace admits elsewhere to having a quick temper, and commentators have wondered whether the reference to one in this piece was intended to associate him with the unnamed male speaker, but that is speculative: if there is such a reference, it could be jocular, autobiographical, both or neither.

Metre: (second) Asclepiad, couplets in which a standard twelve-syllable line is preceded by an eight-syllable glyconic.

See the illustrated blog post here.

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“Donec gratus eram tibi
nec quisquam potior bracchia candidae
cervici iuvenis dabat,
Persarum vigui rege beatior.”

“donec non alia magis
arsisti neque erat Lydia post Chloen,
multi Lydia nominis,
Romana vigui clarior Ilia.”

“me nunc Thressa Chloe regit,
dulcis docta modos et citharae sciens,
pro qua non metuam mori,
si parcent animae fata superstiti”

“me torret face mutua
Thurini Calais filius Ornyti,
pro quo bis patiar mori,
si parcent puero fata superstiti.”

“quid si prisca redit Venus
diductosque iugo cogit aeneo?
si flava excutitur Chloe
reiectaeque patet ianua Lydiae?”

“quamquam sidere pulchrior
ille est, tu levior cortice et inprobo
iracundior Hadria:
tecum vivere amem, tecum obeam lubens.”

“While I was dear to you, and there was no-one that you preferred to put his arms around your white neck, I flourished more happily than the King of the Persians.”

“While you did not burn for another more than for me, nor did Lydia come after Chloe, I, Lydia of great renown, flourished more brilliantly than Roman Ilia herself.”

“Now it is Thracian Chloe who rules me, skilled in sweet music and expert with the lyre, for whom I shall not fear to die, so long as the fates grant that my love survives.”

“It is Calais son of Ornytus of Thurii who burns me now with a torch of reciprocal flame, for whom I shall suffer death twice over, so long as the fates grant that my boy survives.

“What if our former love returns, and Venus drives us together, separated as we are, under her brazen yoke? What if Chloe and her fair hair are chased away, and my door stands open to my discarded Lydia?”

“Although he is lovelier than a star, and you are lighter than cork and quicker to anger than the fierce Adriatic, it is with you that I would love to live, with you that I would willingly die.”

`

More Poems by Horace

  1. Celebrating Neptune’s feast day
  2. Leave the cares of state, Maecenas
  3. Relief from care
  4. Give me comfort, not riches
  5. Caesar’s safe return
  6. Romulus becomes a God
  7. Soracte
  8. A garland from the Muses
  9. Gyges’s constancy
  10. Here’s to Murena!
  11. Ligurinus’s unwelcome change
  12. Pindar and Augustus
  13. A prayer to Venus
  14. Don’t trust Barine
  15. New temples, new morals
  16. Horace’s limitations
  17. What Roman youth should be
  18. The Golden Mean
  19. The consolations of wine
  20. Horace’s Chloe
  21. Last love
  22. Courage and decadence: the Regulus ode
  23. Horace’s fame and Apollo’s gift
  24. Roman values for the new age
  25. A call for a moral renaissance
  26. Poetry, the giver of immortality
  27. Horace rests from his labours
  28. Horace invites – Virgil?
  29. Diana and Apollo: a hymn
  30. Fortuna
  31. Unrequited love
  32. Love a slave-girl? Oh, Xanthias!
  33. Horace welcomes his army comrade
  34. Licymnia
  35. The country is best
  36. Romulus in Heaven
  37. The final ode
  38. Some advice for Dellius
  39. Postumus, the years slip by
  40. Locked out
  41. Luxury versus the simple life
  42. Stormy seas
  43. Pollio’s histories of civil war
  44. Horace, accepted bard of Rome
  45. Rome: disaster and salvation
  46. Lalage is too young
  47. Jupiter’s authority, and Caesar’s
  48. Horace, the wolf and the upright life
  49. Neobule
  50. Don’t worry, be happy
  51. Augustus, master of the world
  52. A plea for burial
  53. The tug-of-war for Nearchus
  54. A divine inspiration
  55. Horace returns to lyric poetry
  56. The lust for money versus the simple life
  57. Horace the peacemaker
  58. Mourning for a good man
  59. A prayer to Mercury
  60. Curse you, tree!
  61. An oath to Maecenas
  62. A day off for rain
  63. Iccius goes soldiering
  64. Wealth should be used, not hoarded
  65. A dedication to Diana
  66. Poscimur
  67. Augustus returns
  68. Be your age, Chloris!
  69. Horace’s first Ode
  70. Glycera
  71. Late stirrings
  72. A country sacrifice
  73. A tactful compliment
  74. Horace’s wine
  75. Awe for the Gods
  76. Lyce grows old
  77. The pleasures and dangers of wine
  78. Horace’s monument
  79. The victories of Drusus and Tiberius
  80. The fleeting years slip by
  81. Pyrrha
  82. Augustus at the pinnacle
  83. Numida’s back
  84. Diffugere nives
  85. Horace’s Cleopatra ode
  86. Horace’s reverence to Bacchus
  87. A change of mind
  88. O Fons Bandusiae
  89. Carpe diem, Sestius
  90. Jealousy
  91. A Farewell to arms
  92. Lydia’s tragedy
  93. Tibur or Tarentum: a poet’s dilemma?
  94. Gathering rosebuds: carpe diem
  95. A Prayer to the poetry-God
  96. Europa’s lament
  97. Nereus prophesies the Trojan War
  98. Lovely mother, lovelier daughter
  99. Valgius and Mystes
  100. An invitation to Maecenas
  101. An invocation to the lyre
  102. A prayer to Faunus
  103. Housman and Horace
  104. Horace the swan
  105. Horace’s prayer to a wine-jar
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