Carmina 1.9 is a dramatic monologue, one of H's favorite forms, consisting of one side of a dialogue- the reader is left to deduce the unstated details of the dramatic context. The ode begins and ends with two unforgettable images: but how and why does it move from the stillness of a frozen winter, through a violent storm, to conclude on a warm summer evening? The answer lies in the subtextual relationship between the author and the addressee (the boy-slave Thaliarchus- his name means 'ruler of the feast') and the exchange between them which must be inferred.

Meter: Alchaic Stanzas. H's most commonly used meter. I think this particular poem is a prime example of the artistry of word order, which Latin permits, which Horace exploits, but which English cannot hope to imitate.

VIDES UT ALTA STET NIVE CANDIDUM
SORACTE, NEC IAM SUSTINEAT ONUS
SILVAE LABORANTES, GELUQUE
FLUMINA CONSTITERINT ACUTO.

DISSOLVE FRIGUS LIGNA SUPER FOCO
LARGE REPONENS ATQUE BENIGNIUS
DEPROME QUADRIUMUM SABINA,
O THALIARCHE, MERUM DIOTA.

PERMITTE DIVIS CETERA, QUI SIMUL
STRAVERE VENTOS AEQUORE FERVIDO
DEPROELIANTIS, NEC CUPRESSI
NEC VETERES AGITANTUR ORNI.

QUID SIT FUTURUM CRAS FUGE QUERERE ET
QUEM FORS DIERUM CUMQUE DABIT LUCRO
APPONE. NEC DULCIS AMORES
SPERNE PURER NEQUE TU CHOREAS

DONEC VIRENTI CANITIES ABEST
MOROSA. NUNC ET CAMPUS ET AREAE
LENESQUE SUB NOCTEM SUSURRI
COMPOSITA REPETANTUR HORA.

NUNC ET LATENTIS PRODITOR INTIMO
GRATUS PUELLAE RISUS AB ANGULO
PIGNUSQUE DEREPTUM LACERTIS
AUT DIGITO MALE PERTINACI.

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