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Odes (Horace)

The Odes (Carmina) are a collection in four books of Latin lyric poems by Horace. The Horatian ode format and style has been emulated since by other poets. Books 1 to 3 were published in 23 BC. A fourth book, consisting of 15 poems, was published in 13 BC.

The Odes were developed as a conscious imitation of the short lyric poetry of Greek originals – Pindar, Sappho and Alcaeus are some of Horace's models. His genius lay in applying these older forms to the social life of Rome in the age of Augustus. The Odes cover a range of subjects – love, friendship, wine, religion, morality, patriotism; poems of eulogy addressed to Augustus and his relations; and verses written on a miscellany of subjects and incidents, including the uncertainty of life, the cultivation of tranquility and contentment, and the observance of moderation or the "golden mean."

The Odes have been considered traditionally by English-speaking scholars as purely literary works. Recent evidence by a Horatian scholar suggests they may have been intended as performance art, a Latin re-interpretation of Greek lyric song. The Roman writer Petronius, writing less than a century after Horace's death, remarked on the curiosa felicitas (studied spontaneity) of the Odes (Satyricon 118). The English poet Alfred Tennyson declared that the Odes provided "jewels five-words long, that on the stretched forefinger of all Time / Sparkle for ever" (The Princess, part II, l.355).

Summary
The four books of odes contain 103 poems in total (104 if the Carmen Saeculare is included). They are not all of equal length. Books 1, 2, 3, and 4 have 876 lines, 572 lines, 1004 lines, and 582 lines respectively. (The Carmen Saeculare has 76 lines.) The number of poems in each book is 38, 20, 30, and 15. The odes range from 8 lines to 80 lines in length, the average being about 30 lines.

Book 1
Book 1 consists of 38 poems. The opening sequence of nine poems are all in a different metre, with a tenth metre appearing in 1.11. It has been suggested that poems 1.12–1.18 form a second parade, this time of allusions to or imitations of a variety of Greek lyric poets: Pindar in 1.12, Sappho in 1.13, Alcaeus in 1.14, Bacchylides in 1.15, Stesichorus in 1.16, Anacreon in 1.17, and Alcaeus again in 1.18. The book contains many well-known phrases, such as nunc est bibendum (1.37.1), carpe diem (1.9.7), and nil desperandum (1.7.27).

The poems can be summarised as follows:

I.1, Maecenas atavis edite regibus... – Dedication of the First Three Books of the Odes to Maecenas (Horace's Patron) –

Every man is governed by his ruling passion: the Olympian charioteer, the politician, the trader, the husbandman, the merchant, the man of pleasure, the soldier, and the hunter. To win the title of a lyric poet is all that Horace desires.

I.2, Iam satis terris nivis atque dirae... – To Octavian, The Deliverer and Hope of the State –

The subject of this ode is the overflowing of the Tiber, which recalls to the poet the flood of Deucalion. He imagines that the disaster is caused by the wrath of Ilia (the wife of Tiber), the civil wars, and the assassination of Julius Caesar. Octavian, as Mercury in human shape, is invoked to save the empire.

I.3, Sic te diva potens Cypri.. – To Virgil, Setting Out for Greece –

The ode begins with a prayer for the safe voyage of Virgil to Athens, which suggests the daring of the earliest mariners and the boldness of men in overcoming difficulties set by Nature.

I.4, Solvitur acris hiems... – A Hymn to Springtime –

The changing season warns us of the shortness of life. Horace urges his friend Sestius – vitae summa brevis spem nos vetat incohare longam (The brief sum of life forbids us cling to far-off hope).

I.5, Quis multa gracilis te puer in rosa... – To the flirt Pyrrha, who is as faithless as the winds or seas, and whose fancy no lover can hold onto. (See Odes 1.5.)

I.6, Scribēris Vario fortis et hostium victor... – Horace pleads his inability to worthily sing the praises of M. Vipsanius Agrippa, the distinguished Roman Commander.

I.7, Laudabunt alii claram Rhodon aut Mytilenen... – Fairest of Spots, O Plancus, is Tibur – There, or wherever you may be, drown your cares in wine.

I.8, Lydia, dic, per omnis te deos oro... – To Lydia, who has transformed Sybaris from a hardy athlete into a doting lover.

I.9, Vides ut alta stet nive candidum... – Winter Without Bids Us Make Merry Within (Soracte) –

(with borrowing from an original by Alcaeus) – To Thaliarchus. The snow is deep and the frost is keen – Pile high the hearth and bring out old wine – Leave all else to the gods.

I.10, Mercuri, facunde nepos Atlantis... – Hymn to Mercury –

Mercury is addressed as the god of eloquence and the promoter of the civilization of man; as the messenger of the gods and the inventor of the lyre; skilled in craft and cunning; and the conductor of souls to the Underworld.

I.11, Tu ne quaesieris... – Carpe Diem! –

The poet seeks to dissuade Leuconoe from giving heed to the false arts of astrologers and diviners. It is vain to inquire into the future – Let us enjoy the present, for this is all we can command. It closes with the famous line: carpe diem, quam minimum credula postero (Seize the day, trusting tomorrow as little as possible).

I.12, Quem virum aut heroa lyra... – The Praises of Octavian –

The poet praises Octavian by associating him with gods and heroes, and distinguished Romans of earlier days.

I.13, Cum tu, Lydia... – Jealousy –

Addressed to Lydia – The poet contrasts the misery of jealousy with the happiness secured by constancy in love.

I.14, O navis, referent in mare te novi fluctus... – The Ship of State –

Horace refers to a period during which the Roman state was tossed and nearly wrecked by perpetual storms. He exhorts it to beware of fresh perils and keep safely in harbor.

I.15, Pastor cum traheret... – The Prophecy of Nereus –

As Paris hurries from Sparta to Troy with Helen, Nereus stills the winds and prophesies – Ilium's doom is inevitable.

I.16, O matre pulchra filia pulchrior... – An Apology –

The poet has offended some lady by the intemperate utterances of his verse; he now seeks forgiveness for the fault. He describes the sad effects of unbridled anger, and urges her to restrain hers.

I.17, Velox amoenum saepe Lucretilem... – An Invitation to Tyndaris to Enjoy the Delights of the Country –

Horace invites Tyndaris to his Sabine farm, and describes the air of tranquility and security there, blessed as it is with favoring protection of Faunus and the rural deities.

I.18, Nullam, Vare, sacra vite prius severis arborem... – The Praise of Wine, and the ill effects of intemperance.

I.19, Mater saeva Cupidinum... – The Poet's Love for Glycera

I.20, Vile potabis modicis Sabinum cantharis... – An Invitation to Maecenas –

You will drink poor Sabine wine in modest bowls when you visit the poet.

I.21, Dianam tenerae dicite virgines... – Hymn to Diana and Apollo and their mother Latona

I.22, Integer vitae scelerisque purus... – Upright of Life and Free from Wickedness –

Addressed to Aristius Fuscus – Begins as a solemn praise of honest living and ends in a mock-heroic song of love for sweetly laughing "Lalage" (cf. II.5.16, Propertius IV.7.45).

I.23, Vitas inuleo me similis, Chloë... – Fear Me Not, Chloe, and do not shun me. (See Odes 1.23.)

I.24, Quis desiderio sit pudor aut modus... – To Virgil – A Lament for the Death of Quintilius

I.25, Parcius iunctas quatiunt fenestras... – Lydia, Thy Charms Are Past –

Horace taunts Lydia with her approaching old age and her lack of admirers.

I.26, Musis amicus tristitiam et metus tradam... – In Praise of Aelius Lamia –

The poet bids the Muses to inspire him to sing the praises of Aelius Lamia, a man distinguished for his exploits in war.

I.27, Natis in usum laetitiae scyphis... – Let Moderation Reign –

At a wine party, Horace endeavors to restrain his quarrelsome companions – He asks the brother of Megilla of Opus to confide the object of his affections.

I.28, Te maris et terrae numeroque... – Death, The Doom of All –

An unburied corpse first addresses the deceased philosopher Archytas with some philosophical reflections, then requests a passing merchant to stop and bury him.

I.29, Icci, beatis nunc Arabum invides... – The Scholar Turned Adventurer –

A remonstrance addressed to Iccius on his intention of giving up philosophy and of joining the expedition to Arabia Felix.

I.30, O Venus, regina Cnidi Paphique... – A Prayer to Venus –

Venus is invoked to abandon for a while her beloved Cyprus, and to honor with her presence the temple prepared for her at the home of Glycera.

I.31, Quid dedicatum poscit Apollinem vates?... – Prayer to Apollo on the consecration of his temple.

I.32, Poscimus, si quid vacui sub umbra... – Invocation to the Lyre –

The poet addresses his lyre, and blends with the address the praises of the Greek poet Alcaeus.

I.33, Albi, ne doleas plus nimio memor... – The Faithless Glycera –

A consolation to the contemporary poet Tibullus over a lost love.

I.34, Parcus deorum cultor et infrequens... – The Poet's Conversion from Error –

After hearing thunder in a cloudless sky, Horace renounces his former error and declares his belief in Jupiter, Fortuna, and the superintending providence of the gods.

I.35, O diva, gratum quae regis Antium... – Hymn to Fortuna –

The poet invokes Fortune as an all-powerful goddess. He implores her to preserve Octavian in his distant expeditions, and to save the state from ruinous civil wars.

I.36, Et ture et fidibus iuvat – An Ode of Congratulation to Plotius Numida, on his safe return from Spain, where he had been serving under Octavian in a war against the Cantabrians.

I.37, Nunc est bibendum... – Now Is the Time to Drink! –

An ode of joy for Octavian's victory at Actium, the capture of Alexandria, and the death of Cleopatra (30 BC). The tone of triumph over the fallen queen is tempered by a tribute of admiration to her lofty pride and resolute courage.

I.38, Persicos odi, puer, apparatus... – Away With Oriental Luxury! –

Horace directs his servant to make the simplest preparations for his entertainment.

Book 2
Book 2 consists of 20 poems. This book is noticeably different in style from book 1: the great variety of metres of book 1 has gone: instead, all but two of the odes are either Alcaic or Sapphic. The odes are a little longer on average than those in book 1: only one ode has less than 6 stanzas, compared with 24 in book 1; also there are no odes longer than 10 stanzas, a contrast with book 3, where 10 of the odes are longer. The poems seem carefully arranged: the first and last are addressed respectively to Pollio and Maecenas (Horace's two patrons), and the two central odes (10 and 11) are addressed to Lucius Licinius Varro Murena, who was Maecenas's brother-in-law, and a certain Quinctius, who may have been Pollio's brother-in-law. 13 of the 20 poems are addressed to living individuals, a higher proportion than in books 1 and 3. In many of them Horace gives advice drawn from different philosophical schools.

II.1, Motum ex Metello consule civicum... – To Asinius Pollio, the writer of tragedy, who is now composing a history of the civil wars. A lament for the carnage caused by the conflicts of the Romans with their fellow-citizens.

II.2, Nullus argento color est avaris... – The Wise Use of Money –

To Sallustius Crispus (nephew of the historian Sallust). The love of gain grows by self-indulgence. The moderate man is the genuine king.

II.3, Aequam memento rebus in arduis... – The Wisdom of Moderation, The Certainty of Death –

To Quintus Dellius. Let us enjoy our life while we may, for death will soon strip us all alike of our possessions.

II.4, Ne sit ancillae tibi amor pudori... – To Xanthias Phoceus – Horace encourages his friend on his love for Phyllis, his slave.

II.5, Nondum subacta ferre iugum valet... – Not Yet! –

The beautiful Lalage is still too young to return his passion – Soon it will be otherwise.

II.6, Septimi, Gadis aditure mecum et... – Fairest of All is Tibur – Yet Tarentum, Too, Is Fair –

To Horace's friend, the Roman knight Septimius, who would go with him to the ends of the earth. The poet prays that Tibur may be the resting-place of his old age; or, if that may not be, he will choose the country which lies around Tarentum.

II.7, O saepe mecum tempus in ultimum... – A Joyful Return –

An ode of congratulation to Pompeius Varus, once the poet's comrade in the army of Brutus, on his restoration to civil rights.

II.8, Ulla si iuris tibi peierati... – The Baleful Charms of Barine –

On the courtesan Barine's utter faithlessness, which Heaven will not punish – Indeed, her beauty and fascination are ever-increasing. She brings dread to mothers, fathers, and wives.

II.9, Non semper imbres nubibus hispidos... – A Truce to Sorrow, Valgius! –

To Gaius Valgius Rufus on the death of a boy called Mystes. Since all troubles have their natural end, do not mourn overmuch. Rather let us celebrate the latest victories of Augustus.

II.10, Rectius vives, Licini, neque altum... – The Golden Mean –

To Lucius Licinius Varro Murena. The moderate life is the perfect life.

II.11, Quid bellicosus Cantaber et Scythes... – Enjoy Life Wisely! –

Horace in a half-playful tone advises his friend Quinctius Hirpinus to enjoy life wisely, and not to fret.

II.12, Nolis longa ferae bella Numantiae... – The Charms of Licymnia –

Horace pleads the unfitness of his lyric poetry to record the wars of the Romans or the battles of mythology. He advises Maecenas to write in prose the history of Caesar's campaigns, while he himself will sing the praises of Licymnia (some commentators say that Licymnia was another name for Terentia, the wife of Maecenas).

II.13, Ille et nefasto te posuit die... – A Narrow Escape –

This ode owes its origin to Horace's narrow escape from sudden death by the falling of a tree on his Sabine estate. (This same event is also alluded to in Odes, II.17 line 28 and III.4 line 27.) After expressing his indignation against the person who planted the tree, he passes to a general reflection on the uncertainty of life and the realms of dark Proserpine.

II.14, Eheu fugaces, Postume, Postume... – Death is Inevitable –

Addressed to Postumus, a rich friend. Nothing can stay the advance of decay and death, the common doom of all on earth. Men pile up wealth, only for another to waste it.

II.15, Iam pauca aratro iugera regiae... – Against Luxury –

Horace describes the extravagant luxury prevalent among the rich, and praises the simplicity and frugality of the old Romans.

II.16, Otium divos rogat in patenti... – Contentment With Our Lot the Only True Happiness –

All men long for repose, which riches cannot buy. Contentment, not wealth, makes genuine happiness.

II.17, Cur me querellis exanimas tuis?... – To Maecenas on His Recovery from Illness –

Horace says that the same day must of necessity bring death to them both – Their horoscopes are wonderfully alike and they have both been saved from extreme peril.

II.18, Non ebur neque aureum... – The Vanity of Riches –

The poet, content with his own moderate fortune, inveighs against the blindness of avarice – for the same end awaits all men.

II.19, Bacchum in remotis carmina rupibus... – Hymn to Bacchus –

The poet celebrates Bacchus as all-powerful, all-conquering, and lord of creation; whom the earth, the sea and all nature obey; to whom men are subject, and the giants and the monsters of Orcus are all brought low.

II.20, Non usitata nec tenui ferar... – The Poet Prophesies His Own Immortality –

Transformed into a swan, the poet will soar away from the abodes of men, nor will he need the empty honors of a tomb.

Book 3

The ancient editor Porphyrion read the first six odes of this book as a single sequence, one unified by a common moral purpose and addressed to all patriotic citizens of Rome. These six "Roman odes", as they have since been called (by H.T. Plüss in 1882), share a common metre and take as a common theme the glorification of Roman virtues and the attendant glory of Rome under Augustus. Ode III.2 contains the famous line Dulce et decorum est pro patria mori ("It is sweet and honorable to die for one's country"). Ode III.5 Caelo tonantem credidimus Jovem makes explicit identification of Augustus as a new Jove destined to restore in modern Rome the valor of past Roman heroes like Marcus Atilius Regulus, whose story occupies the second half of the poem.

Book 3 consists of 30 poems.

III.1, Odi profanum vulgus et arceo... – On Happiness –

Philosophy is a mystery which the uninitiated crowd cannot understand. The worthlessness of riches and rank. The praise of contentment. Care cannot be banished by change of scene.

III.2, Angustam amice pauperiem pati... – On Virtue –

Horace extols the virtue of endurance and valor in fighting for one's country, of integrity in politics, and of religious honor.

III.3, Iustum et tenacem propositi virum... – On Integrity and Perseverance –

The merit of integrity and resolution: the examples of Pollux, Hercules and Romulus. Juno's speech to the gods on the destiny of Rome.

III.4, Descende caelo et dic age tibia... – On Wise Counsel and Clemency –

The Muses have guarded and given counsel to Horace since his youth. They also do so to Augustus, and prompt him to clemency and kindness. The evils of violence and arrogance, on the other hand, are exemplified by the Titans and Giants, and others.

III.5, Caelo tonantem credidimus Iovem... – To Augustus – On Virtue and Fortitude –

Augustus will be recognized as a god on earth for his subjugation of the Britons and Parthians. The disgraceful actions of Crassus's troops (who married Parthians after being taken prisoner) are contrasted by the noble example of Regulus (who was released from Carthage to negotiate a peace, but dissuaded the Senate, and then returned to Carthage to be tortured to death).

III.6, Delicta maiorum inmeritus lues... – Piety & Chastity – Return to the Old Morals! –

Horace condemns the prevailing domestic immorality and contempt of the institutions of religion, and earnestly urges a speedy return to the simpler and purer manners of ancient times.

III.7, Quid fles, Asterie, quem tibi candidi... – Constancy, Asterie! –

Horace consoles Asterie on the absence of her lover Gyges, and warns her not to be unfaithful to her own vows.

III.8, Martis caelebs quid agam Kalendis... – A Happy Anniversary –

Horace invites Maecenas to celebrate with him the festival of the Calends of March (the Feast of the Matrons), which was also the anniversary of his narrow escape from sudden death by a falling tree.

III.9, Donec gratus eram tibi... – The Reconciliation of Two Lovers –

Often referred to as an "Amoebaean" ode (from the Greek αμείβω – to exchange), it describes, in graceful dialogue, a quarrel between two lovers and their reconciliation.

III.10, Extremum Tanain si biberes, Lyce... – A Lover's Complaint –

Horace warns Lyce that he cannot put up with her unkindness forever.

III.11, Mercuri, – nam te docilis magistro... – Take Warning, Lyde, from the Danaids! –

To Mercury – Horace begs the god to teach him such melody as will overcome the unkindness of Lyde. The ode concludes with the tale of the daughters of Danaus, and their doom in the underworld.

III.12, Miserarum est neque amori dare ludum... – Unhappy Neobule –

Joyless is the life of Neobule, ever under the watchful eye of a strict guardian. Only thoughts of handsome Hebrus take her mind off her troubles.

III.13, O fons Bandusiae splendidior vitro... – O, Fountain of Bandusia! –

Tomorrow a sacrifice will be offered to the fountain of Bandusia, whose refreshing coolness is offered to the flocks and herds, and which is now immortalized in verse.

III.14, Herculis ritu modo dictus, o plebs... – The Return of Augustus –

Horace proclaims a festal day on the return of Augustus from Spain (c. 24 BC), where he had reduced to subjection the fierce Cantabri.

III.15, Uxor pauperis Ibyci... – Chloris, Act Your Age! –

Horace taunts Chloris with her attempts to appear young, and with her frivolous life, while she is really an old woman.

III.16, Inclusam Danaen turris aenea... – Contentment is Genuine Wealth –

Gold is all-powerful, but its possession brings care and restlessness. True contentment is to be satisfied with little, as Horace is with his Sabine farm.

III.17, Aeli vetusto nobilis ab Lamo... – Prepare for Storms Tomorrow –

To Aelius Lamia – The crow foretells a stormy day tomorrow – Gather some firewood while you may, and spend the day in festivity.

III.18, Faune, Nympharum fugientum amator... – Hymn to Faunus –

Horace asks Faunus to bless his flocks and fields, for when Faunus is near, the whole countryside is glad.

III.19, Quantum distet ab Inacho... – Invitation to a Banquet –

Horace invites Telephus to give up for a time his historical researches, and join him at a banquet in honor of Murena.

III.20, Non vides quanto moveas periclo... – The Rivals –

Horace humorously describes a contest between Pyrrhus and some maiden for the exclusive regards of Nearchus.

III.21, O nata mecum consule Manlio... – To a Wine-Jar –

Horace, preparing to entertain his friend the orator Marcus Valerius Messalla Corvinus, sings of the manifold virtues of wine.

III.22, Montium custos nemorumque virgo – To Diana –

Horace dedicates a pine tree to Diana, and vows to the goddess a yearly sacrifice.

III.23, Caelo supinas si tuleris manus – Humble Sacrifices Devoutly Offered –

Horace assures the rustic Phidyle that the favor of the gods is gained not by costly offerings, but simple sacrifices such as salted meal offered with true feeling.

III.24, Intactis opulentior... – The Curse of Mammon –

Boundless riches cannot banish fear or avert death. A simple life like that of the Scythians is the healthiest and best. Stringent laws are needed to curb the present luxury and licentiousness.

III.25, Quo me, Bacche, rapis tui... – To Bacchus in Honor of Augustus –

Horace fancies himself carried along by Bacchus amid woods and wilds to celebrate, in some distant cave, the praises of Augustus.

III.26, Vixi puellis nuper idoneus... – Love's Triumphs Are Ended –

Scorned by the haughty Chloe, the poet, like a discharged soldier, abandons the arms of love. But he begs of Venus, as a last request, that his slighted love may not go unavenged.

III.27, Impios parrae recinentis omen... – Galatea, Beware! –

Addressed to Galatea, whom the poet wishes well on a voyage she is about to make across the stormy Adriatic Sea. He bids her to beware – for it was through lack of caution that Europa was carried away across the sea. It has been argued that the poem is allegorical: one suggestion is that Galatea is a girl about to embark on the stormy seas of love; another is that there is a reference to the Roman province of Galatia, which became part of the Roman Empire in 25 BC. It has also been noted that Horace develops the story of Europa as if she were a heroine in a tragic drama.

III.28, Festo quid potius die... – In Neptune's Honor –

An invitation to Lyde to visit the poet on the festival of Neptune, and join him in wine and song.

III.29, Tyrrhena regum progenies, tibi... – Invitation to Maecenas –

Horace invites Maecenas to leave the smoke and wealth and bustle of Rome, and come to visit him on his Sabine farm. He bids him to remember that we must live wisely and well in the present, as the future is uncertain.

III.30, Exegi monumentum aere perennius... – The Poet's Immortal Fame –

In this closing poem, Horace confidently predicts his enduring fame as the first and greatest of the lyric poets of Rome. He asserts: Exēgī monument(um) aere perennius (I have raised a monument more permanent than bronze).

Book 4
Horace published a fourth book of Odes in 13 BC consisting of 15 poems. Horace acknowledged the gap in time with the first words of the opening poem of the collection: Intermissa, Venus, diū / rūrsus bella movēs (Venus, you return to battles long interrupted).

IV.1, Intermissa, Venus, diu... – Venus, Forbear! –

Horace complains that in advancing age he is vexed with new desires by the cruel goddess of love. He bids her to turn to a more youthful and worthy subject, his friend Paulus Maximus. But why is he, Horace, pining for the handsome Ligurinus?

IV.2, Pindarum quisquis studet aemulari... – Not for Me to Sing of Augustus! –

Horace was asked by Iulus Antonius (the son of Mark Antony and stepson of Augustus' sister Octavia) to sing of Augustus' victories in a Pindaric ode. Horace declines, alleging lack of talent, and requests Iulus to compose the poem himself.

IV.3, Quem tu, Melpomene, semel... – To Melpomene, Muse of Lyric Poetry –

To the Muse Melpomene Horace ascribes his poetic inspiration and the honors which he enjoys as the lyric poet of Rome.

IV.4, Qualem ministrum fulminis alitem... – In Praise of Drusus, the Younger Stepson of Augustus –

(A companion to Ode IV.14, which praises Tiberius). This ode praises Drusus, the younger son of the Empress Livia, on his victory over the Raeti and Vindelici. His stepfather Augustus is praised as having trained him to greatness. A speech of Hannibal about Rome's resilience is also included.

IV.5, Divis orte bonis, optume Romulae... – Augustus, Return! –

Horace begs Augustus to return to Rome, and describes the peace and good order of the principate under his reign.

IV.6, Dive, quem proles Niobaea magnae... – Invocation to Apollo –

In the year 17 BC, Augustus commissioned Horace to write the Carmen Saeculare, a hymn to be sung at the Saecular festival. This ode is an invocation to Apollo, begging help and inspiration for this important task.

IV.7, Diffugere nives, redeunt iam... – The Lesson of Spring's Return –

An ode on the same springtime theme as I.4 – Addressed to his friend Torquatus. Though the earth renews itself, and the waning moon waxes afresh, yet death is the ending of human life. Let us then make the best of our days while they last.

IV.8, Donarem pateras grataque commodus... – In Praise of Poetry –

This ode was written to C. Marcius Censorinus and probably sent as a Saturnalian gift. Horace would give bronze vases, or tripods, or gems of Grecian art, but he does not have these. What he has to give instead is the immortality of a poem. (The ode contains the line (28) dignum laude virum Mūsa vetat morī 'A man worthy of praise the Muse does not allow to die'.)

IV.9, Ne forte credas interitura quae... – In Praise of Lollius –

As in IV.8, Horace promises immortality through his verses, this time to Lollius, a man of wisdom and integrity.

IV.10, O crudelis adhuc et Veneris... – Beauty Is Fleeting –

An ode to a beautiful boy, Ligurinus, and the inevitability of old age.

IV.11, Est mihi nonum superantis annum... – A Joyous Birthday –

An invitation to Phyllis to celebrate the birthday of Maecenas at Horace's Sabine farm.

IV.12, Iam veris comites... – The Delights of Spring –

Addressed to Virgil (although not necessarily the poet, who died in 19 BC). The breezes and birds have returned – An invitation to a feast of Spring – The poet agrees to supply some fine wine, if Virgil will bring a jar of perfume.

IV.13, Audivere, Lyce, di mea vota... – Retribution –

Horace taunts Lyce, now growing old, on her desperate attempts to seem young and fascinating.

IV.14, Quae cura patrum quaeve Quiritium... – In Praise of Tiberius, the Elder Stepson of Augustus –

(A companion to Ode IV.4, which praises Drusus.) Horace honors the courage and exploits of Tiberius, the elder son of the empress Livia, on his victories over the tribes of the Raetian Alps. He then praises Augustus, whom he extols as the glory of the war, the defense of Roman and Italy, and as the undisputed ruler of the world.

IV.15, Phoebus volentem proelia me loqui... – The Praises of Augustus –

Horace records in song the victories of Augustus – Peace, good order, the establishment of public morals, the extended glory of the Roman name abroad, and security and happiness at home.

Developments of style
In their commentary on Odes book 1, Nisbet and Hubbard (1970) observe certain developments in the style of Horace's Alcaics across the four books. These include, for example:
 * a gradual decrease in the percentage of short first syllables in the first three lines of the stanza (7.2% in book 1, 3.1% in book 2, 2.0% in book 3, and 0% in book 4).
 * a much larger proportion of polysyllable + disyllable endings (e.g. fātālis incestusque iūdex) in the 3rd line of the stanza in books 3 and 4: 5.0%, 5.8%, 24.6%, 30.2% respectively.
 * the complete avoidance of quadrisyllabic or double disyllabic endings (e.g. nōdō coercēs vīperīnō or prōnōs relābī posse rīvōs) in the 3rd line of the stanza in books 3 and 4.
 * the gradual decrease in the number of 4th lines beginning with a dactylic word (e.g. torquibus exiguīs renīdet): 35.0%, 22.1%, 17.8%, 13.2% respectively.

From these observations Nisbet and Hubbard deduce that the odes in books 1 to 3 are probably arranged roughly in order of composition, though they do not rule out that some of the poems in book 1 might be comparatively late. They add, however, that the use of lines of the type fātālis incestusque iūdex may not by itself be indicative of a late date, since such lines are associated with a grandiloquent style: in book 3, for example, there are 21 such lines in the six Roman Odes (3.1–6), but none in the slighter 3.17, 3.21, 3.23.

G. O. Hutchinson (2002) looks at several other stylistic features which support the view that the books were written in sequence. One is the decreasing use of atque 'and' pronounced as two syllables. In the four books of Odes, it occurs in 0.8%, 0.7%, 0.1%, and 0.3% of lines respectively. This trend is seen not only in the Odes, but also in other works of Horace and even in other poets such as Virgil.

Another indication that the books were written sequentially is the proportion of Sapphic 4th lines of the type terruit urbem) (3 syllables + 2) versus rara iuventūs (2 syllables + 3). The two types are equally common in book 1, but in later books the first type becomes increasingly common.

For these and other reasons Hutchinson argues that rather than being published all together, as is usually thought, it is likely that the first two books were at first published individually, but that all three books were later issued as a collection in 23 BC. This republication is probably what is referred to in Epistle 1.13, in which Horace requests his friend Vinnius to present a collection of books to Augustus at an opportune moment.

Datable odes
According to L. P. Wilkinson, there is no certain evidence that any of the Odes were written before 30 BC. In his view it would seem that Horace completed both the Epodes and the second book of his Satires in 30 BC, and immediately started work on the Odes. However, Nisbet and Hubbard, noting that 1.37 "does not read like a first attempt at Alcaics", believe that it is not possible to be sure that some the Odes were not written earlier.

In book 1 some odes can be approximately dated. 1.37 describes the death of Queen Cleopatra (30 BC). 1.31 appears to be set at the time of Octavian's dedication of the temple to Apollo on the Palatine Hill in 28 BC. 1.29 probably refers to Aelius Gallus's expedition to Arabia Felix in 26/25 BC.

In book 2, 2.9 must be after January 27 BC, since it names Octavian as Augustus, a title he was granted in that year. The title also occurs in books 3 and 4, but is not found in book 1, although Octavian is mentioned in that book six times, always under the name "Caesar". In 2.4, Horace claims to be 40 years old, an age he reached in December 25 BC. The mention of the Cantabrians in 2.6 perhaps refers to the rebellion of 25 or 24 BC.

In book 3 there are few certain dates, except for 3.14, which marks the return of Augustus from Spain in 24 BC.

After this there was a gap of a few years, and in this time, in 17 BC, Horace composed the Carmen saeculare.

In 4.1 Horace tells us that he is now "about" 50 years old, dating this poem to about 15 BC. The dramatic date of odes 4.2 and 4.5 is before summer 13 BC, which is probably the year when the fourth book was published.

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.

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.

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. 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. However, some scholars claim that it is difficult to continue this principle throughout the book.

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.

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. 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. 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. 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. 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). Similar numerical schemes have been found in other Augustan poetry collections such as Virgil's Eclogues and Tibullus book 2.

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. 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.

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, 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. 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.

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).

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.

Metres
Altogether the four books contain 103 odes, to which may be added the Carmen Saeculare. A variety of different metres is used, but the main ones are Alcaic, Sapphic, and the various forms of Asclepiad.

The metres are not all evenly spread. Asclepiad metres, which are common in books 1, 3, and 4, are found only once in book 2. In book 2, all the odd-numbered poems are Alcaic, as well as 2.14 and 2.20; while most of the even numbered poems are Sapphic. The first nine poems of book 1 (known as the "parade odes") are each in a different metre; the first six poems of book 3 (known as the "Roman odes") are all in Alcaic.

The metre of most of the poems can be deduced from the first three syllables of their first line:
 * x – ᴗ = Alcaic
 * – ᴗ – = Sapphic (except 2.18)
 * – – – = Asclepiadic (except 1.7, 4.7)
 * ᴗ ᴗ – = Ionic

Thus the poem beginning ēheu fugācēs is Alcaic, integer vītae is Sapphic, ō fōns Bandusiae is Asclepiadic, and miserārum est is Ionic.

Because Alcaeus and Sappho wrote in the Aeolic Greek dialect, their metres are known as "Aeolic". Horace himself ('Odes 3.30.13–14) claimed to be "the first to have brought Aeolic song to Latin poetry" (prīnceps Aeolium carmen ad Ītalōs/ dēdūxisse modōs); which is true if two poems written by Catullus (11 and 51) in Sapphic stanzas are not counted. Asclepiades lived in the 3rd century BC, and did not write in the Aeolic dialect. Only a few epigrams written by him survive, none of them in the asclepiadean metre.

Alcaic stanza
The four-line Alcaic stanza is used in 37 Odes. These are:
 * Book 1: 9, 16, 17, 26, 27, 29, 31, 34, 35, 37
 * Book 2: 1, 3, 5, 7, 9, 11, 13, 14, 15, 17, 19, 20
 * Book 3: 1, 2, 3, 4, 5, 6, 17, 21, 23, 26, 29
 * Book 4: 4, 9, 14, 15

In the Alcaic stanza the first two lines start with an iambic rhythm. The first syllable is sometimes short (13 times in book 1), but usually long. There is almost always a word-break after the 5th syllable. The third line has an iambic rhythm, but the fourth line starts with two dactyls.

 * x – ᴗ – – / – ᴗ ᴗ – ᴗ x
 * x – ᴗ – – / – ᴗ ᴗ – ᴗ x
 * x – ᴗ – – – ᴗ – x
 * – ᴗ ᴗ – ᴗ ᴗ – ᴗ – x

 * Vidēs ut altā / stet nive candidum
 * Soracte nec iam / sustineant onus
 * silvae labōrantēs gelūque
 * flūmina cōnstiterint acūtō?

 * 'Do you see how Soracte is standing,
 * white with deep snow, and the labouring woods
 * no longer sustain their burden
 * and the rivers have frozen with sharp frost?'

The Alcaic stanza does not appear to have been used by any Roman poet before Horace. It is used in one poem of Statius (Silv. 4.5), imitating Horace, otherwise it does not appear to have been written by any major Latin poet.

The Alcaic stanza was often used by Horace for poems in the grand style, for example, the six Roman Odes (Odes 3.1–6), and the odes in praise of Drusus (4.4), Tiberius (4.14) and Augustus (4.15) in book 4.

Sapphic stanza
The Sapphic stanza is used in 25 odes, and in the Carmen Saeculare. The odes in this metre are:
 * Book 1: 2, 10, 12, 20, 22, 25, 30, 32, 38
 * Book 2: 2, 4, 6, 8, 10, 16
 * Book 3: 8, 11, 14, 18, 20, 22, 27
 * Book 4: 2, 6, 11
 * Carmen Saeculare

The first three lines of a Sapphic stanza have a trochaic rhythm. In Sappho and Alcaeus the fourth syllable can sometimes be short, but in Horace it is always long. There is normally a word-break after the fifth syllable, but occasionally (especially in the Carmen Saeculare and Odes book 4) it can come after the 6th syllable. The fourth line is an adonean (– ᴗ ᴗ – x).

 * – ᴗ – – – / ᴗ ᴗ – ᴗ – x
 * – ᴗ – – – / ᴗ ᴗ – ᴗ – x
 * – ᴗ – – – / ᴗ ᴗ – ᴗ – x
 * – ᴗ ᴗ – x

 * Iam satis terrīs / nivis atque dīrae
 * grandinis mīsit / Pater et rubente
 * dexterā sacrās / iaculātus arcēs
 * terruit Urbem,

 * 'By now the Father has sent enough snow and fearsome
 * hail on the earth, and by casting thunderbolts
 * with red right hand at the sacred citadels
 * has terrified the City.'

The Sapphic stanza can be distinguished from the Alcaic and Asclepiad by the cretic rhythm (– ᴗ –) of its first three syllables.

Although called "Sapphic", in fact this metre was used by both Alcaeus and Sappho. In Latin, Catullus had already used the Sapphic stanza in poems 11 and 51 (the latter being a translation of one of Sappho's poems). The poet Statius wrote one poem in this metre (Silv. 4.7) and Seneca the Younger wrote a chorus (Medea 579–606) in Sapphic stanzas, as well as sometimes writing the longer line continuously (e.g. Phaedr. 274–324).

Asclepiad systems
The asclepiad line is a glyconic with an extra choriamb; the greater asclepiad has two extra choriambs. It is used in 5 different patterns, which are numbered differently in different authors. The numbers 1, 2, 3, 4, 5 used by Klingner (1939), Nisbet & Hubbard (1970), D. West (1995), and Mayer (2012), (followed here) are called 1, 4, 5, 3, 2 by Wickham (1896) and Raven (1965), and 1, 3, 4, 2, 5 by Page (1895), Bennett (1914), and Rudd (2004). In their joint edition of Odes book 3 (2004), Nisbet and Rudd drop the numbering and simply refer to "Asclepiad systems".

Altogether the various asclepiad metres are used in 34 odes.

1st Asclepiad (a continuous series of lesser asclepiad lines used stichically)
 * Book 1: 1
 * Book 3: 30
 * Book 4: 8

 * – – – ᴗ ᴗ – / – ᴗ ᴗ – ᴗ x

 * Maecēnās atavīs / ēdite rēgibus
 * ō et praesidi(um) et / dulce decus meum

 * 'Maecenas, descended from ancestral kings,
 * and o! my protection and sweet glory'

In Horace, there is almost always a word-break after the sixth syllable of the asclepiad. In the Greek poets the first two syllables of the asclepiad, pherecratean, and glyconic can be long or short (making the so called "Aeolic base"), but in Horace they are always long (except apparently at 1.15.36). The asclepiad can easily be distinguished from the Alcaic and Sapphic metres by the three long syllables with which it begins.

2nd Asclepiad (a series of three asclepiads followed by a glyconic)
 * Book 1: 6, 15, 24, 33
 * Book 2: 12
 * Book 3: 10, 16
 * Book 4: 5, 12

 * – – – ᴗ ᴗ – / – ᴗ ᴗ – ᴗ x.
 * – – – ᴗ ᴗ – / – ᴗ ᴗ – ᴗ x.
 * – – – ᴗ ᴗ – / – ᴗ ᴗ – ᴗ x.
 * – – – ᴗ ᴗ – ᴗ x.

 * Iam vēris comitēs, / quae mare temperant,
 * impellunt animae / lintea Thrāciae,
 * iam nec prāta rigent, / nec fluviī strepunt
 * hībernā nive turgidī.

 * 'Now spring's companions, the Thracian breezes,
 * which calm the sea, are driving on the sails;
 * now the meadows are no long frozen, nor do the rivers roar,
 * swollen with winter snow.'

3rd Asclepiad (two asclepiads followed by a pherecratean and a glyconic)
 * Book 1: 5, 14, 21, 23
 * Book 3: 7, 13
 * Book 4: 13

 * – – – ᴗ ᴗ – / – ᴗ ᴗ – ᴗ x.
 * – – – ᴗ ᴗ – / – ᴗ ᴗ – ᴗ x.
 * – – – ᴗ ᴗ – x
 * – – – ᴗ ᴗ – ᴗ x.

 * Quis multā gracilis / tē puer in rosā
 * perfūsus liquidīs / urget odōribus
 * grātō, Pyrrha, sub antrō?
 * cui flāvam religās comam?

 * 'What slender boy, drenched in perfumed oil,
 * is pressing you on a bed of roses
 * in a pleasant grotto, Pyrrha?
 * For whom do you bind up your yellow hair...?

4th Asclepiad (a glyconic followed by an asclepiad)
 * Book 1: 3, 13, 19, 36
 * Book 3: 9, 15, 19, 24, 25, 28
 * Book 4: 1, 3

 * – – – ᴗ ᴗ – ᴗ x
 * – – – ᴗ ᴗ – / – ᴗ ᴗ – ᴗ x.

 * Māter saeva Cupīdinum
 * Thēbānaeque iubet / mē Semelae puer
 * et lascīva Licentia
 * fīnītīs animum / redder(e) amōribus.

 * 'The cruel mother of the Cupids
 * and the son of Theban Semele
 * and wanton Licentiousness are bidding me
 * to return my mind to the loves I thought were finished.'

5th Asclepiad (a series of greater asclepiads used stichically)

 * Book 1: 11, 18
 * Book 4: 10

The greater asclepiad is similar to the lesser asclepiad, but lengthened by an extra choriamb (– ᴗ ᴗ –). In Horace it has a word-break after both the 6th and the 10th syllable. This metre is also found in Theocritus 28, 30 and Catullus 30, as well as several poems by Alcaeus.

 * – – – ᴗ ᴗ – / – ᴗ ᴗ – / – ᴗ ᴗ – ᴗ x

 * tū nē quaesierīs, / scīre nefās, / quem mihi, quem tibī
 * fīnem dī dederint, / Leuconoē, / nec Babylōniōs
 * temptārīs numerōs. / ut melius, / quidquid erit patī
 * seu plūrīs hiemēs, / seu tribuit / Iuppiter ultimam.

 * 'Do not inquire – it is a sin to know – what end the gods
 * have given to me, and what to you, Leuconoë; and do not try out
 * Babylonian astrology. How much better it is to suffer whatever will be,
 * whether Jupiter will grant more winters, or has granted our last.'

Rarer metres
The remaining metres are only used in one or two poems each. As with the asclepiad metres, there is no general agreement among scholars as to the names of the archilochian ones.

1st Archilochian
(a dactylic hexameter followed by a dactylic tetrameter)

 * Book 1: 7, 28

 * – ᴗ ᴗ – ᴗ ᴗ – / ᴗ ᴗ – ᴗ ᴗ – ᴗ ᴗ – x
 * – ᴗ ᴗ – ᴗ ᴗ – ᴗ ᴗ – x

 * Laudābunt aliī clāram Rhodon aut Mytilēnēn
 * aut Epheson bimarisve Corinthī
 * moenia vel Bacchō Thēbās vel Apolline Delphōs
 * īnsignīs aut Thessala Tempē:

 * 'Others will praise famous Rhodes or Mytilene
 * or Ephesus or two-sea'd Corinth's
 * city walls or Thebes, notable for Bacchus, or Delphi for Apollo,
 * or Thessalian Tempe.'

This metre is also known as the Alcmanian (or Alcmanic) stanza. The metre is also used in Epode 12, and it is the only metre Horace uses in both the Odes and Epodes.

2nd Archilochian
(a dactylic hexameter followed by a dactylic hemiepes.)

 * Book 4: 7

 * – ᴗ ᴗ – ᴗ ᴗ – / ᴗ ᴗ – ᴗ ᴗ – ᴗ ᴗ – x
 * – ᴗ ᴗ – ᴗ ᴗ x

 * Diffūgēre nivēs / redeunt iam grāmina campīs
 * arboribusque comae

 * 'The snows have fled away and the grass is now returning to the plains
 * and the leaves to the trees'

This metre is also known as the "1st Archilochian".

3rd Archilochian
(a dactylic tetrameter + ithyphallic (= 3 trochees), followed by an iambic trimeter catalectic)

 * Book 1: 4

 * – ᴗ ᴗ – ᴗ ᴗ – ᴗ ᴗ / – ᴗ – ᴗ – x
 * x – ᴗ – – / – ᴗ – ᴗ – x

 * Solvitur ācris hiēms grātā vice / vēris et Favōnī
 * trahuntque siccās / māchinae carīnās,
 * ac neque iam stabulīs gaudet pecus / aut arātor ignī
 * nec prāta cānīs / albicant pruīnīs.

 * 'Harsh winter is being loosened with a welcome change of spring and the West Wind;
 * and machines are dragging the dry keels (to the shore);
 * the cattle no longer rejoice in their stables or the ploughman in his fire;
 * nor are the meadows white with hoar frost.'

This metre is also called the "4th Archilochian". The first of these lines is known as a "greater Archilochian".

Hipponactean
(a trochaic dimeter catalectic, followed by an iambic trimeter catalectic)
 * Book 2: 18

 * – ᴗ – ᴗ – ᴗ x
 * x – ᴗ – x / – ᴗ – ᴗ – x

 * Nōn ebur nequ(e) aureum
 * meā renīdet / in domō lacūnar

 * 'No ivory and no golden
 * panelled ceiling glitters in my house'

Greater Sapphic
(an aristophaneus followed by a greater Sapphic line)
 * Book 1: 8
 * – ᴗ ᴗ – ᴗ – x
 * – ᴗ – – – ᴗ ᴗ – / – ᴗ ᴗ – ᴗ – x

 * Lȳdia, dīc, per omnīs
 * hoc deōs vērē, Sybarin / cūr properēs amandō
 * perdere, cūr aprīcum
 * ōderit campum, patiēns / pulveris atque sōlis,...

 * 'Lydia, by all the gods tell me
 * this truly, why do you hasten to destroy Sybaris by loving him,
 * why does he shun the sunny
 * Campus, though he can well tolerate the dust and the sun?'

Nisbet and Hubbard cite no other examples of this metrical form in Horace or in other poets. The metre is not found in the surviving fragments of Sappho and Alcaeus.

Ionic
(an ionic metron (ᴗ ᴗ – –) repeated ten times)

 * Book 3: 12

 * ᴗ ᴗ – – / ᴗ ᴗ – – / ᴗ ᴗ – – / ᴗ ᴗ – – /
 * ᴗ ᴗ – – / ᴗ ᴗ – – / ᴗ ᴗ – – / ᴗ ᴗ – – /
 * ᴗ ᴗ – – / ᴗ ᴗ – –

 * Miserārum (e)st / nequ(e) amōrī / dare lūdum / neque dulcī
 * mala vīnō / laver(e) aut exanimārī / metuentīs
 * patruae verbera linguae.

 * 'It is only sad girls who do not play with love, or wash away
 * their troubles with sweet wine or faint for fear
 * of the lashings of an uncle's tongue.'

There tends to be a word-break after each metron, although not every time. The above arrangement is as given in Wickham's Oxford Classical Text. Other editors arrange the stanzas 4 + 4 + 2 or 4 + 3 + 3. Other editors, such as Gould (1977) and Quinn (1980), prefer to arrange the poem in four-line stanzas. Woodman (2021) agrees and prints it with a 2 + 2 + 4 + 2 arrangement as follows:

 * Miserārum (e)st nequ(e) Amōrī
 * dare lūdum neque dulcī
 * mala vīnō laver(e) aut exanimārī metuentēs
 * patruae verbera linguae.

This four-line arrangement is felt to be more in keeping with the rest of the Odes. Another advantage is that the number of lines in 3.7–3.19 (336) now becomes exactly the same as that of 3.1–3.6 and 3.20–3.30.

Another possibility, also in four-line stanzas, was suggested in the 19th century by a certain "S.S.I.", with a 3 + 3 + 3 + 1 arrangement.

 * Miserārum (e)st / nequ(e) amōrī / dare lūdum
 * neque dulcī / mala vīnō / laver(e) aut ex-
 * animārī / metuentīs / patruae ver-
 * bera linguae.

He suggested that by moving the position of the words simul ... undis in the 3rd stanza to follow victus, the word Bellerophonte comes at the end of a line where its anomalous short final vowel can perhaps be licensed by the principle of brevis in longo.

title: Odes (Horace)


text:
Tuan mac Cairill

In Irish mythology Tuan mac Cairill was a recluse who retains his memories from his previous incarnations, going back to Antediluvian age. Initially a follower of Partholon, he alone survived the plague, or the Flood, that killed the rest of his people. Through a series of animal transformations he survived into Christian times, and, in conversation with St. Finnian of Moville told a brief history of himself and of Ireland from his people onward to the coming of St. Patrick.

Summary
Tuan who was a hermit or recluse, told St. Finnan that he was born 2000 years earlier and witnessed many of the waves of invaders who came to ancient Ireland - the Nemedians, Fir Bolg and the Tuatha De Dannan.

As the lone human guarding the land, he grew hairy, clawed and gray. And he witnessed the invasion of Nemed (who he says was his father's brother), and woke up one day to find himself reborn as a vigorous young stag. The ancient stag watched the Nemedians perish, and was again reborn into a young wild boar, and became the king of the boar-herds, witnessing the taking of Ireland by Semion, leader of the Fir Bolg. Then he became a great hawk (or eagle) and saw Ireland seized by the Tuatha Dé Danann and the Milesians. Later reincarnated into a salmon, he was caught by a fisherman serving a chieftain called Cairill, and was eaten whole by the Cairill's wife, and passed into her womb to be reborn as Tuan mac (son of) Cairill. He was eventually converted to Christianity, and conversed with St. Patrick and Colum Cille.

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Tuan mac Cairill


text:
Talk:Jock Stein

Message to user
I've put a message on the talk page of the user in question, which is usually worth doing in cases like this. Let's see what happens. DJ Clayworth 19:17, 11 Feb 2005 (UTC)

Famous Quotes
(Please note that I am not sure of the accuracy of such quotes, and any updates and other quotes are welcomed)

 * "Celtic Jerseys are not for second best, They don't shrink to fit inferior players" Jock Stein
 * "I don't believe everything Bill tells me about his players. Had they been that good, they'd not only have won the European Cup but the Ryder Cup, the Boat Race and even the Grand National!" Celtic Football Club manager Jock Stein on Bill Shankly -- [[Image:Flag_of_Ireland.svg|20px]] Paddy -) 17:55, 25 November 2005 (UTC)

 * I think that this is a good idea, Paddy. Just verify the quotes first, so that you can prove that he really said them, then put them back in the article. Oh and we only sign stuff that we add to this discussion page -- not stuff that we put in the main article. Cheers -- Derek Ross | Talk 07:05, 28 November 2005 (UTC)

 * I do apologise I am new to this and this is the first thing I have updated, I admit I should have read some Frequently asked questions and some rules or guidelines first, I sincerely apologise.
 * I will find it difficult to produce hard evidence, however I am 110% sure he did say them, but I will try anyway.
 * First quote "Celtic Jerseys are not for second best, They don't shrink to fit inferior players" Jock Stein is mentioned in a lot of Celtic supporters' websites, and is a quote I have heard various times. The fact that shirts with this quote are being sold does mean that this quote has a historic significance. Not The View (Celtic Fanzine).
 * Other websites which feature this quote include the Jock Stein's Celtic Supporters Club in Melbourne (Australia)
 * On the second quote, the fact that even the Liverpool's official website (Bill Shankly, who the quote talks about was arguably the best manager in Liverpool's history) has that quote, in my opinion and interpretation means that this quote is historically recognised by both sets of supporters (Celtic and Liverpool) therefore making it believable and somehow showing it has been said.
 * Other websites where this quote can be found include This one Another Liverpool Supporters website
 * I will post all evidence I keep on finding here, and hopefully soon it will be enough for this quotes to be featured on this website.
 * I think the idea of resources being provided and facts needed to be proved is brilliant, as it makes this website really accurate.
 * Finally I would like to congratulate everyone for making this website an excellent one, I think it is brilliant and I use it to clear any doubt I may have.
 * I am still confused, should I signed this here? I will do it just in case.
 * [[Image:Flag_of_Ireland.svg|20px]] Paddy -) 01:21, 29 November 2005 (UTC)

 * Another quote which I would like to add.
 * "We did it by playing football. Pure, beautiful, inventive football". - Jock Stein, Lisbon, 1967 (After wining the European Cup)
 * Celtic's "Year of Triumph" - the Lisbon Lions & 1967 Website, by Mike Garrett.

 * Yep, sign here on the discussion page. Don't sign the articles. (And consider getting your own login. It doesn't hurt, honest!) -- Cheers, Derek Ross | Talk 06:07, 29 November 2005 (UTC)

 * How long will we have to wait with this quotes here before we can see them being added on the main article? [[Image:Flag_of_Ireland.svg|20px]] Paddy -) 20:26, 27 December 2005 (UTC)

Adding the Quotes to the Article
I have just read the Editing Policy and I am still not clear on how long do I have to wait for the quotes to be added to the main article, or who should add them.

There is something on the Introduction we are told...

"Don't be afraid to edit articles—anyone can edit, and we encourage you to be bold (but please don't vandalize)! Find something that can be improved, either in content, grammar or formatting, and fix it." "You can't break Wikipedia. Anything can be fixed or improved later. So go ahead, edit an article and help make Wikipedia the best information source on the Internet!"

So I figured out I might as well add the quotes to the main article.

I am leaving all these here just in case I am making a mistake, and If I am making a mistake, I do sincerely apologise in advance. Paddy -) 03:10, 29 December 2005 (UTC)

More Quotes
One more quote added. Paddy -) 20:46, 8 January 2006 (UTC)
 * "Football is nothing without Fans" Jock Stein 1

The "Big Jock Knew" Controversy
The Daily Record,John McLuskey former Celtic youth player and brother of former Celtic player George McLuskey in an interview with Anna Smith of the Daily Record 12/08/1996
 * "There was always talk around Celtic about Torbett and boys, but nothing seemed to be done until Jock Stein found out. He kicked Torbett out, but it was still kept quiet. All the directors and lots of others knew why Torbett got the boot, but it was swept under the carpet."
 * Who said the above? What date Daily Record? [[Image:Flag of Ireland.svg|20px]] Camillus [[Image:Flag of Scotland.svg|20px]] talk | contribs 21:50, 15 December 2005 (UTC)

 * As you've made it your life's work to get this quote into the JS article, you're obviously an authority on the subject. Did you find this interview in a library, and if so, which library (in Glasgow)? [[Image:Flag of Ireland.svg|20px]] Camillus [[Image:Flag of Scotland.svg|20px]] talk | contribs 00:37, 16 December 2005 (UTC)

All libraries in Scotland have back issues of newspapers. Phone the daily record and ask them to send you a copy. I have made it my lifes work? You seem to devote more time finding reasons to keep it out.Karatekid7 01:06, 16 December 2005 (UTC)

 * Update: The above article is available on-line via www.highbeam.com. See below "Proposals for a solution" for details. [[Image:Flag of Ireland.svg|20px]] Camillus [[Image:Flag of Scotland.svg|20px]] talk | contribs 00:34, 17 December 2005 (UTC)

 * Sorry, KK7, but checking your contributions, you've done nothing else but add vandalism and slander to pages related to Celtic and "Catholics" since May this year. Not a single positive contribution. How sad.
 * THIRTEEN times you've added this to the JS page. I have reverted it THREE times.
 * In your earlier edits, you included the phrase JS "covered up...for 20 years until his death" - which proves: you can't even count.
 * I stated to your "co-conspirator" B the B that I had no real objection to a mention of the Torbett affair in the article - but certainly not in the introduction - is this really one of the most important things to say about JS in a summary of his career?
 * However, what I will not accept is any attempt to smear Jock Stein with any of this "Big Jock Knew" garbage. The man is dead (dying taking OUR country to the World Cup), and we will never know what he did and did not know, as we can't ask him.
 * Answer this simple question please - what date Daily Record? [[Image:Flag of Ireland.svg|20px]] Camillus [[Image:Flag of Scotland.svg|20px]] talk | contribs 14:11, 16 December 2005 (UTC)

I can't count? It always seems strange to me that you make personal attacks. I may not be able to count(sigh) but you obviosly have serious problems reading as the date is mentioned.Karatekid7 15:46, 16 December 2005 (UTC)

 * Very clever KK7 - If you care to look at the original edit, when I asked the question initially, you hadn't added the exact date - only after, without signing the edit, so it was less likely to be noticed. I think it's a bit rich of you to complain about personal attacks.

 * It is a bit rich of you making attacks when you clearly cannot read. Don't try to say I tricked you.

 * This is getting silly. If I can't read, how am I responding to you? As shown above, you added the date after I asked you. I didn't notice that you subsequently added the date. Anyone reading this would have no way of knowing it even was you that added the quote and the reference as you never signed it. Anyway, this is going nowhere. I'm starting a new topic (see below).

It is your responsibility to provide sources to justify claims. If you want the information in you get a copy of it with verifiable information as to date of publication, etc. All Camillus is doing is following Wikipedia rules on keeping unsourced information out of articles. FearÉIREANN \(caint) 01:13, 16 December 2005 (UTC)

I have quoted my source. Seems strange however that you banned me even when the sources were clearly indicated.Karatekid7 01:18, 16 December 2005 (UTC)

Proposals for a solution
As I have stated before, I have no real objection to the Torbett affair being referred to in the article, however, certainly not in the introduction, as it can't be claimed to be one of the most important features of Stein's life (unless you're completely biased, or one of those people who have nothing positive to add).

However, I will not accept speculation about how much Stein knew about the affair. All we know is that when he found out there was something wrong, he kicked Torbett out. The details only came out at the trial in 1996, 22 years after Torbett had been kicked out, and 11 years after Stein had died. For all we know, Stein may have acted on a suspicion only; often when children are abused, they are afraid to say anything, so it is possible that Stein had no real proof of the abuse. Whatever the truth is, we will never know, as the man is long dead. There is no place for speculation (let alone slander) in an encyclopedia.

The above quote, even if verified, is not acceptable in this article. It is pure speculation, many years after the event. It might be permissible in the Torbett article, as he was the one directly involved.

I will welcome comments and suggestions. Hopefully this won't degenerate into a slanging match between KK7 and me, but will actually arrive at some compromise, or concensus.

Camillus  talk | contribs 20:18, 16 December 2005 (UTC)

 * I found an excellent resource on line where you can look up newspapers from all over the world - it's www.highbeam.com.
 * You have to login to see the full text of articles, and enter your credit card details, but you can cancel it within 7 days.

 * So, I found the article cited above, by entering "Torbett Celtic" into the search engine.
 * McCluskey continues:
 * "It took me a long time to come to terms with what happened and understand it wasn't my fault."
 * "I didn't even tell my brother George about Torbett until last week."

 * Which underlines the point I made about the possibility that Stein acted on suspicion alone, as JMcC obviously didn't tell him, not even telling his own brother until 22 years later.

 * Interestingly, McCluskey still loves Celtic, despite what happened:
 * "I still love Celtic. I go to Parkhead every week and I'll be a Celtic man until I die.

Alan Brazil says in another article in the same issue: "It's taken me 23 years to tell what he did to me. All my life I've been too embarrassed to talk about it."

 * Again, even one of the three victims was too "embarassed" to talk about it at the time.

In another article in the same issue there are these quotations:

 * ...the victims were too ashamed to admit they had been violated by someone they believed in, so they suffered in silence.

 * Again, my point about how much was known at the time, other than "rumours".

continuing...

 * The Celtic board were aware of the rumours about Torbett, who was general manager of the boys' club.
 * But only one man took him on.
 * Jock Stein, who saw the youngsters as the lifeblood of the club, gave him his marching orders.

Later in 1991 (and this obviously has nothing to do with Stein, being dead by then), another man, Frank Cairney, who was general manager of the Boy's Club, quit:
 * "His resignation followed an alleged incident involving a young Celt. US police investigated, but the case never came to court because the boy wouldn't make a complaint."

In various articles, Alan Brazil and James McGrory, two of Torbett's victims, make the allegation that the Celtic board "covered-up" the scandal. So does Hugh Birt, who took over from Torbett. He says that when he started, Stein told him that the club's reputation "must be kept clean at all times." It is important to say that all three mentioned this only at the time of the trial, in 1996.

I hope that KK7 and others will appreciate that I have no interest in "covering up" or "censoring" information about this affair, having spent this time researching it, and posting the issue here. However, I stand by what I said about the unacceptability of slander and speculation about Stein's role. I think that my research proves that the only thing we can be sure of is that Stein (literally, according to Birt) "kicked out" the beast, and that it is impossible to know how much Stein knew, as even the victims themselves were too embarassed or ashamed to tell anyone until 1996.

Finally, I would say that paedophiles can be found in all walks of life, and that everyone should be careful of just looking for them in the "enemy" camp. As a small point, and in no way to mitigate Torbetts crimes, I would say that he was accused of "fondling" and "kissing" the boys, so the old chant of "Who shagged all the boys" is an exaggeration.

Camillus  talk | contribs 00:34, 17 December 2005 (UTC)

Quite simply, there has to be a mention of it somewhere. It is a FACT that there are ALLEGATIONS that 'BJK' as they say.Archibald99 23:47, 7 August 2006 (UTC)

If it's a verifiable fact then it should be easy for you to find a verifiable source to that effect. Come back when you have done so. Until then, it stays out. --Guinnog 00:15, 8 August 2006 (UTC)

 * No, the only place you'll hear "BJK" allegations are on Follow Follow etc. ie. from fans of Stein's club's biggest rivals. If some Celtic fans posted allegations about Rangers, or Hibs fans posted allegations about Hearts, would these be acceptable as references? Of course not, and quite rightly so. Archibald99, you quoted my remark above that 10 years after Stein died, two of those involved are reported by newspapers as claiming that the Celtic Board covered-up the scandal. As I mentioned above, the only thing we do know is that Stein booted Torbett out. The players involved didn't speak about it till 10 years after Stein's death - one didn't even tell his brother - so we have no way of knowing what Stein knew. The only people who want to add these unverifiable claims are Rangers fans - I ask them, imagine some Celtic fans posted unverifiable allegations about say, Jock Wallace, and the only source was ETims.com or some such - you'd be up-in-arms, and I'd support you. Please give it up - these "allegations" are, and will always remain, completely unverifiable Camillus (talk) 23:46, 8 August 2006 (UTC)

 * Is there even a mentoin anywhere on Wikipedia of the Jimmy Torbett scandal? For a case which caused such controversy I'd say that it at least deserves a mention somewhere. Moustan 86.10.97.187 (talk) 15:00, 10 July 2008 (UTC)

 * See Jim Torbett --John (talk) 16:06, 10 July 2008 (UTC)

This is an encyclopaedia - not a forum for speculation. I think that an article about someone that is dead should only include verifiable information about their life. If, after they have died, a verifiable fact about something arises which is relevant to the article, then it should be included. But the only verifiable fact is that Torbett was kicked out, and taken on its own, is not really something that should be included here. It is possible that Stein was acting on an uncorroborated suspicion which, had he been challenged in the courts, he might have been unable to justify. It might be the case that he was the only person prepared to act in those circumstances, sticking his neck out and taking a big risk for what he believed to be right. That is my perception of what probably happened, but that is my opinion and not the basis of an encyclopaedia article.82.29.215.181 (talk) 11:49, 22 October 2008 (UTC)

Stein clearly had some information on the matter and the charge against him must be that he took unofficial action rather than taking his information (even if it was at that point uncorroborated) to the police, who could have then investigated. If the matter had been dealt with properly at that stage it might well have all come out much sooner. Torbett returned to Celtic Boys Club after being kicked out and that could well have been prevented if the police had been brought in at this much earlier stage. BBO (talk) 16:12, 26 April 2009

I'm aware this thread hasn't been touched for a while but regarding the above arguments, I do think that the whole BJK affair should be included for encyclopedic purposes. When it comes to sources for it, there are a few in archive websites that can be used and a few in the Big Jock Knew Wikipedia page. The C of E. God Save The Queen! (talk) 19:23, 11 February 2012 (UTC)

Stop adding in slander pages because of the football team you support. The man is dead, the page you created is weak at best and has nothing but rumours. This is not a rumour website for you to try and insult a dead man. Present actual evidence and put it in the page if you want it to be taken seriously and leave your bigoted views outside of this site. — Preceding unsigned comment added by 2A00:23C4:DB8B:D500:94FC:A55F:EAFF:A9CC (talk) 08:46, 2 February 2021 (UTC)

Blantyre Vics
Can someone please clarify something for me - re. Jock's early history - I have added a link to the Blantyre Vics page on Wikipedia, but as a boy from Blantyre I was always told that Jock played for Balntyre Celtic and NOT the Vics (in fact on the page I have done for Blantyre Celtic I have stated this as fact but stand to be corrected). So either way the info here or on the Blantyre Celtic page isn't correct. Celtic fans - feel free to add a shirt image on the Blantyre Celtic page - I don't know how to!! Ianguy 00:00, 5 April 2006 (UTC)

Semi-protection
I am inclined to seek semi-protection of this article in order to cut down the addition of the speculative child abuse material. That will at least prevent anons and new accounts from adding it. Comments ? -- Derek Ross | Talk 15:08, 16 June 2006 (UTC)

Knight him anyway
So what if he lost knighthood to the "Battle of the River Plate". I'm calling him Sir Jock Stein anyhow. 204.52.215.107 02:32, 3 July 2007 (UTC)

Courtesy blanking
I've undone this, not because I disagree with the sentiment but because its execution was amateurish and has led to a rather broken discussion history. If removal of policy-violating commentary is to be performed it should be taken to the appropriate parties and done properly. For now, I've restored what appears to be the most coherent version of this page's discussion history and tidied it a bit for readability. Chris Cunningham (not at work) - talk 16:59, 14 April 2008 (UTC)

Unprotection?
Can this article and talk page be unprotected now so that unregistered users can edit and make comments? We can quickly restore protection if necessary. --TS 19:58, 4 September 2009 (UTC)
 * Frankly, no. Jmorrison230582 (talk) 20:44, 4 September 2009 (UTC)

 * That's going a bit far. In principle we want all WP pages to be unprotected if possible. So I'll unprotect it for the moment. But at the first sign of trouble, I will protect it again. -- Derek Ross | Talk'' 22:45, 4 September 2009 (UTC)

 * Unprotecting this page is a mistake. It has been a constant source of attack from non-registered users. It was protected for a reason namely to provide protection of the reputation of Mr Stein.There is nothing to suggest it won't be attacked again. Paul210 (talk) 22:56, 4 September 2009 (UTC)

 * So I see. Since there has been so much vandalism of the article page since its protection expired in July, I have reprotected this page and the article page indefinitely. -- Derek Ross | Talk'' 17:56, 5 September 2009 (UTC)

 * Thank you,Derek. Paul210 (talk) 22:06, 5 September 2009 (UTC)

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Who?? Very, very wordy!
Most of us in the world have never heard of this person.

This is an EXTREMELY, extremely long entry. Please consider consolidating and editing it. 74.137.16.4 (talk) 21:22, 30 September 2022 (UTC)

 * What a weird complaint. 77k characters is not that long. Jmorrison230582 (talk) 06:55, 1 October 2022 (UTC)

He is one of the most successful managers of the most successful sport in the world, just because you haven't heard of him doesn't mean most haven't, this is pretty short for someone who achieved so much and made such an impact. — Preceding unsigned comment added by 185.124.126.195 (talk) 03:01, 6 August 2023 (UTC)

title: Talk:Jock Stein


text:
Water Island, U.S. Virgin Islands

Water Island (Vand ø) is a minor island in the United States Virgin Islands, an American territory located in the Caribbean Sea. The rest of the U.S. Virgin Islands were acquired by the Americans in 1917 from Denmark, however Water Island was excluded, thus the Danish East Asiatic Company, and by proxy the Danish kingdom, continued to own Water Island until several decades later. Water Island was bought by the American government in 1944, and in 1996 it was transferred to the U.S. Virgin Islands. The island is of volcanic origin and lies to the south of Saint Thomas in the Charlotte Amalie harbor. Ferry service runs regularly from Crown Bay, Saint Thomas to Phillips Landing, Water Island; the ferry ride is about 10 minutes.

At 491.5 acre in size, it is administratively part (with Hassel Island) of the subdistrict of Water Island, in Saint Thomas District. Water Island is a residential island, with a population of 182 (2010 census) and no significant commercial establishments. A number of homes on Water Island are available to accommodate visitors. The main attractions are beaches, including Honeymoon Beach, plantation ruins, Fort Segarra, an underground fort partially constructed by the U.S. during World War II, and scuba diving site Supermarket Reef in Limestone Bay.

The eastern third of the island is a gated community, Sprat Bay Estates. This includes Sprat Point, a 30-acre peninsula and nature preserve owned by the United States Department of the Interior, and private Sprat Bay Beach, located between Sprat Point and Carol Point. All beaches in the USVI are public when approached from the water.

History
The earliest settlers were Taíno in the 15th century. Water Island was named by Europeans for its natural ponds of freshwater. Many islands in the Lesser Antilles lack potable water, so Water Island was a frequent stop for pirates seeking to replenish their ships' stores of freshwater.

Danish claims to the island date to at least 1769. During the 18th century and early 19th century, the island was owned by several free black and mulatto people who had cotton plantations and raised livestock. In 1905, the island was sold to the Danish East Asiatic Company. The U.S. believed that the company acted as a front for Germany and sought to establish a German naval base and commercial presence on Saint Thomas.

While the rest of the Danish West Indies were purchased by the United States in 1917, Water Island was not purchased by the U.S. until June 19, 1944, when it was purchased for $10,000 to protect the submarine base on Saint Thomas during World War II.

From 1944 to 1950, the island was under the operation of the Department of Defense. Construction on Fort Segarra commenced in 1944 but the fort was abandoned incomplete in 1948. The United States Army's Chemical Warfare Division used sections of Water Island to test chemical warfare agents, including predecessors of Agent Orange, from 1948 until 1950. It was then turned over to the Department of the Interior and leased out, primarily to residential tenants.

Control of Water Island was transferred from the federal government to the territorial government on December 12, 1996, for the sum of $25,000,000 (the same amount the federal government paid for the entire U.S. Virgin Islands in 1917) making Water Island the "Last Virgin". In the late 1990s, the Department of the Interior began transferring Water Island land to the long-time residential leaseholders. In 2005, the U.S. Virgin Islands government announced plans to further develop Water Island, and to increase the amount of residential housing to deal with chronic shortages on Saint Thomas.

The Water Island Civic Association (WICA) was formed in 1971 to help improve the quality of life on Water Island. Today, the association has around 90 memberships and it interacts and cooperates with the U.S. Virgin Islands government to help protect the environment on Water Island. Water Island residents volunteer to help maintain the beauty of the beach and other clean-up efforts around the island.

Honeymoon Beach
One of the principal attractions of Water Island is Honeymoon Beach, in Druif Bay, on the west end of the island. Initially Honeymoon Beach could hardly be called a beach. It was an area about 50 feet long strewn with vegetation and rocks and only extended about 10 feet from the water line. The trees and brush were removed, 200 truck loads of rock and gravel were hauled off, and the beach stone was broken up with a bulldozer. The sand was sifted to remove any remaining debris and a dredge was used to remove the seaweed and to deposit sand on the shore. Rows of palm trees were planted back from the shoreline. This was all accomplished under the direction of Walter Phillips, the Master Leaseholder in the early 1950s.

In the 1970s Water Island was also home to a sizable hotel called the "Water Island Colony Club" which offered villas for rent as well as hotel rooms. The name was changed to "Sugar Bird" and later to "The Sea Cliff Hotel" and met its demise when Hurricane Hugo hit. The barracks for Fort Segarra were used as housing for the employees of the hotel.

Fort Segarra

Fort Segarra was built as part of the United States' defense strategies during World War II on Water Island in the U.S. Virgin Islands in the Caribbean. World War II seacoast batteries here were Battery 314 at Flamingo Point (1944, never completed) and an Anti Motor Torpedo Boat Batteries. In addition, some barracks, watch towers, ammunition bunkers were also created near Carolina Point as well as an infrastructure of docks, roads, water, sewage and power systems. It was to be an underground fort and its purpose was to protect the submarine base on Saint Thomas. The war ended before its completion and the project was subsequently abandoned. The uncompleted post was transferred to the Army's Chemical Warfare Division in 1948 for testing poison gas and chemical agents on goats and pigeons for several years. Following the conclusion of these tests, the Army transferred control of this area to the Interior Department in 1952.

Gun emplacements, tunnels and underground rooms which were created during the World War II building efforts are still visible. The site is now open for viewing, and tunnels and underground chambers are open for tours. The area is monitored by the United States Army Corps of Engineers and soil samples are monitored from the former chemical test sites to ensure "that no residual contamination remains from previous Department of Defense activities."

Visiting Water Island
The island can be reached by a people ferry from Crown Bay Marina or by other vessels. The ferry takes passengers to Phillips Landing where golf carts are available to rent for exploring the island. There are currently no hotels, although several homes are available to rent for visitors. Virgin Islands Campground also provides accommodations.

title: Water Island, U.S. Virgin Islands


text: User talk:65.212.147.194

title: User talk:65.212.147.194


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Ramsauer–Townsend effect

The Ramsauer–Townsend effect, also sometimes called the Ramsauer effect or the Townsend effect, is a physical phenomenon involving the scattering of low-energy electrons by atoms of a noble gas. This effect is a result of quantum mechanics. The effect is named for Carl Ramsauer and John Sealy Townsend, who each independently studied the collisions between atoms and low-energy electrons in 1921.

Definitions
When an electron moves through a gas, its interactions with the gas atoms cause scattering to occur. These interactions are classified as inelastic if they cause excitation or ionization of the atom to occur and elastic if they do not.

The probability of scattering in such a system is defined as the number of electrons scattered, per unit electron current, per unit path length, per unit pressure at 0 °C, per unit solid angle. The number of collisions equals the total number of electrons scattered elastically and inelastically in all angles, and the probability of collision is the total number of collisions, per unit electron current, per unit path length, per unit pressure at 0 °C.

Because noble gas atoms have a relatively high first ionization energy and the electrons do not carry enough energy to cause excited electronic states, ionization and excitation of the atom are unlikely, and the probability of elastic scattering over all angles is approximately equal to the probability of collision.

Description
If one tries to predict the probability of collision with a classical model that treats the electron and atom as hard spheres, one finds that the probability of collision should be independent of the incident electron energy. However, Ramsauer and Townsend, independently observed that for slow-moving electrons in argon, krypton, or xenon, the probability of collision between the electrons and gas atoms obtains a minimum value for electrons with a certain amount of kinetic energy (about 1 electron volts for xenon gas ).

No good explanation for the phenomenon existed until the introduction of quantum mechanics, which explains that the effect results from the wave-like properties of the electron. A simple model of the collision that makes use of wave theory can predict the existence of the Ramsauer–Townsend minimum. Niels Bohr presented a simple model for the phenomenon that considers the atom as a finite square potential well.

Predicting from theory the kinetic energy that will produce a Ramsauer–Townsend minimum is quite complicated since the problem involves understanding the wave nature of particles. However, the problem has been extensively investigated both experimentally and theoretically and is well understood.

title: Ramsauer–Townsend effect


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Conand (mythology)

In Irish mythology Conand (a.k.a. Conann and Conaing ) was a leader of the Fomorians who lived in a tower on Tory Island. He oppressed the followers of Nemed, demanding a huge tribute of their produce and children. Eventually Nemed's people rose up and killed him, destroying his tower. After his death, Morc, another Fomorian massacred Nemed's surviving followers.

Conand's Tower
According to the Lebor Gabála Érenn Conand mac Febair (son of Febar) and Morc mac Deled (son of Dela) imposed a heavy tax on the clan of Nemed, demanding two-thirds of their wheat, milk, and offspring, which were due every Samain at the plain called Mag Cetne. The oppressed attacked from the sea with a host of 30,000 headed by three champions, grandsons and great-grandsons of Nemed, and overcame Conand and his host of 30,000 at Conand's Tower (later called Torinis Cetne). Morc subsequently arrived with a fleet of sixty ships to retake the tower from the people of Nemed, and mutual annihilation ensued, forcing the Nemedian folk into diaspora out of Ireland.

The tale was embellished by Mícheál Ó Cléirigh in the Annals of the Four Masters recension of the Lebor Gabála, whereby the Nemedian folk obtain assistance from Greece in the form of venomous beasts, and a woman spy named Relbeo. She infiltrates the tower and gains Conand's trust, obtaining crucial intelligence on how to tactically assault the tower. R. A. S. Macalister states Ó Cléirigh invented this seemingly out of thin air, and it would be a futile exercise to second guess what source he may have plagiarized.

Localization
It had almost become conventional wisdom to identify the location of this Conand's tower at Tory Island, ever since the publication of O'Flaherty's Ogygia, but this has been disputed by Henry Morris (Énrí Ó Muirgheasa). Morris argued that the plain where the taxes were collected (Mag Cetne) was properly to be located in County Sligo, south of the Duff River, and not in County Donegal between the Drowes River (Drobhais) and Erne River as Geoffrey Keating indicated. Morris consequently proposed a small island off the coast, called Derinish, corrupted from Tor-Inis. Macalister commends the effort, while noting that such a treatise can hardly hope to carry conclusive proof.

title: Conand (mythology)


text: User talk:168.102.16.178

title: User talk:168.102.16.178


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Densuș Church

The Densuș Church (also known as St Nicholas' Church) in the village of Densuș, Hunedoara County is the oldest orthodox stone church in Romania. Up to the 15th century it was part of a "court" of the local knezial family.

The building
The church has a stone tower above the naos. The altar, nave, and diaconicon were built in the same period while the side chapel is a later addition. Inside the church there are 15th century mural paintings that show Jesus wearing Romanian traditional clothes. These paintings were made by artist Ștefan. In the 18th century more paintings were added by Simion de Pitești and his apprentices.

From 1566 to the end of the 19th century the building functioned as a Calvinist church, too. Because of this, the paintings were lime-whited in the 16th century and its belltower has a Hungarian inscription from 1782.

The church nave is square with 1m thick walls and a perimeter of 7.40mx7.25m. In the middle of the naos there are 4 pillars delimiting another square area with 3 meters sides. The 3 meters long altar is semi-circular, the positioning of the altar table suggests the iconostasis initially had two entrances. The building itself is made from various Roman ruins materials: columns posts and pedestals, limestone blocks, marble blocks, tiles and terra cotta pipes, bound by raw stone and sometimes bricks, and on the roof were placed two lion statues. Such details like the lion statues or columns attached to the exterior wall do not seem to have any structural utility. The tower rises on four levels, with the first level being the roof of the naos' pillar square. The next 3 levels are not separated and the access to their interior is done from the outside of the church. On the top of the naos' there is a small hidden chamber connected to the tower, but not distinguishable from the outside.

The church was repaired at least several times from the 14th century onwards, and by the late 19th century was close to being demolished before the administration classed it as a historical monument. The original roof, mostly from stone tiles, collapsed during this time and was replaced with a shingle roof.

Hypothesis about Densuș
Archaeological work was done on the area outside the church, researchers unanimously pointing the building did not disturb any of the graves. Since the oldest finding was a coin from the time of Sigismund of Luxemburg (14th-15th century), these two facts led to the conclusion that the current church was built just earlier than that.

According to Daniela Marcu-Istrate, the analysis of the church indicates it was rebuilt around the pillar square in the naos between 1250-1400 CE. The plan of the old pillar church resembles the pillar church uncovered in 2011 in Alba Iulia, placing its earliest building date in the 10th or 11th century.

Analysing the modifications done to the plan of the church and the addition of some compartments, researcher Radu Popa considered the changes to be connected to the passing of the church from a "court chapel" of the local knezes to an edifice of collective use.

Other researchers have compared it to a stone church from Sântămăria-Orlea built at the end of the 13th century.

The church has generated a number of less adequate hypotheses about its foundation for example that it was once a Dacian temple dedicated to Zamolxis, upon which the conquering Romans built a temple dedicated to the god Mars.

title: Densuș Church