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{{good article}}
{{short description|Collection of poems by Horace}}
{{Italic title}} 
{{Infobox poem
|name                = ''Epodes''
|image               = Horace's_Odes_and_Epodes_by_C._L._Smith.png
|image_size          = <!-- custom size for image (defaults to 220px)   -->
|caption             = A 1901 edition of the ''Epodes'' by C. L. Smith
|subtitle            = <!-- Subtitle or descriptor                      -->
|author              = [[Horace]]
|original_title      = ''Epodi''<br />''Epodon liber''<br />''Iambi''
|original_title_lang = lat

|translator          = <!-- Translator(s), if original not in English   -->
|written             = {{Circa}} 42–30 BC
|first               = 
|illustrator         = <!-- Illustrator used consistently throughout
                            (where illustrations are a major feature)   -->
|cover_artist        = <!-- Cover Artist                                -->
|country             = <!-- Country of original publication             -->
|language            = [[Latin]]
|series              = <!-- Series (if any)                             -->
|subject             = <!-- Subject(/s)                                 -->
|genre               = [[Iambus (genre)|iambus]], [[invective]]
|form                = <!-- Form (i.e. Sonnet, Quatrain, Ode...etc)     -->
|metre = various [[Iamb (poetry)|iambic]] metres
|rhyme               = <!-- Rhyme scheme: (i.e. ABBA CDDC EFFE GG)      -->
|publisher           = <!-- Publisher of main publication
                            (prefer 1st edition)                        -->
|publication_date    = {{Start date|30 BC}}
|publication_date_en = <!-- Published in English (1st English edition)  -->
|media_type          = <!-- MMedia type (paperback, hardback)           -->
|lines               = <!-- Number of lines in the poem 
                            (prefer 1st edition)                        -->
|pages               = <!-- Pages (prefer 1st edition)                  -->
|size_weight         = <!-- Size and Weight                             -->
|isbn                = <!-- [[International Standard Book Number|ISBN]] -->
|oclc                = <!-- [[OCLC]]                                    -->
|preceded_by         = <!-- Preceded By
                            Title of prior poem in series               -->
|followed_by         = <!-- Followed By
                            Title of subsequent poem in series          -->
|wikisource          = <!-- Title of work if in the public domain and hosted at English Wikisource -->
}}

The '''''Epodes''''' ({{lang-la|Epodi}} or ''Epodon liber''; also called '''''Iambi''''') are a collection of [[Iambus (genre)|iambic]] poems written by the Roman poet [[Horace]]. They were published in 30 BC and form part of his early work alongside the ''[[Satires (Horace)|Satires]]''. Following the model of the Greek poets [[Archilochus]] and [[Hipponax]], the ''Epodes'' largely fall into the genre of blame poetry, which seeks to discredit and humiliate its targets. 

The 17 poems of the ''Epodes'' cover a variety of topics, including [[politics]], [[Magic (supernatural)|magic]], [[eroticism]] and [[food]]. A product of the [[Last war of the Roman Republic|turbulent final years]] of the [[Roman Republic]], the collection is known for its striking depiction of Rome's socio-political ills in a time of great upheaval. Due to their recurring coarseness and explicit treatment of sexuality, the ''Epodes'' have traditionally been Horace's least regarded work. However, the last quarter of the 20th century saw a resurgence in scholarly interest in the collection.

==Names==
The modern standard name for the collection is ''Epodes''. Deriving from the Greek ''epodos stichos'' ('verse in reply'), the term refers to a poetic verse following on from a slightly longer one.{{sfn|Watson|2007|p=94}} Since all poems except ''Epode'' 17 are composed in such an [[Epode|epodic]] form, the term is used with some justification. This naming convention, however, is not attested before the commentary of [[Pomponius Porphyrion]] in the second century AD.{{sfn|Mankin|1995|p=12}} Horace himself referred to his poems as ''iambi'' on several occasions,<ref>E.g. ''Epod.'' 14.7 and ''Carm.'' 1.16.24.</ref> but it is uncertain if this was intended as a title or only as a generic descriptor, referring to the dominant metre used in the collection: the [[Iamb (poetry)|iamb]]. In the ancient tradition of associating metrical form with content, the term had by Horace's time become a [[Metonymy|metonym]] for the genre of blame poetry which was habitually written in iambic metre. Both terms, ''Epodes'' and ''Iambi'', have become common names for the collection.{{sfn|Watson|2007|p=94}}

==Date==
[[File:1944.15 - The Battle of Actium from The Story of Caesar and.jpg|thumb| The dramatic date of the ''Epodes'' is around the Battle of Actium, here imagined by [[Justus van Egmont]].]]

Horace began writing his ''Epodes'' after the [[Battle of Philippi]] in 42 BC. He had fought as a [[military tribune]] in the losing army of [[Assassination of Julius Caesar|Caesar's assassins]] and his fatherly estate was confiscated in the aftermath of the battle. Having been pardoned by [[Augustus|Octavian]], Horace began to write poetry in this period.{{sfn|Bather|Stocks|2016|p=2}} His budding relationship with the wealthy [[Gaius Maecenas]] features in several poems, which locates most of the work on the ''Epodes'' in the 30s BC.{{sfn|Albrecht|1994|p=565}} The finished collection was published in 30 BC.{{sfn|Rudd|2004|p=9}}

The dramatic date of the collection is less certain. Two poems (''Epodes'' 1 and 9) are explicitly and respectively set before and after the [[Battle of Actium]] (31 BC). The remaining poems cannot be placed with any certainty. However, it emerges that they are all set in the tumultuous decade between the death of [[Julius Caesar|Caesar]] and Octavian's final victory. As such, the ''Epodes'' are considered a crucial witness to Rome's violent transition from a [[Roman Republic|republic]] to an [[Roman Empire#Transition from Republic to Empire|autocratic monarchy]].{{sfn|Watson|2007|p=93}}

==The iambic genre==
{{Main|Iambus (genre)}}
[[File:Hipponax of Ephesus.jpg|thumb|The archaic poet Hipponax was a major influence on Horace's ''Epodes''. The image shows him as imagined by the 16th-century [[humanist]] [[Guillaume Rouillé]].]]

The ''Epodes'' situate themselves in the tradition of [[Iambus (genre)|iambic]] poetry going back to the lyric poets of [[archaic Greece]]. In the following quotation from his ''[[Epistles (Horace)|Epistles]]'', Horace identifies the poet [[Archilochus|Archilochus of Paros]] as his most important influence:

{{Quote frame
|text=I was the first to show to [[Latium]] the iambics of [[Paros]], following the rhythms and spirit of Archilochus<br>not the themes or the words that hounded [[Archilochus#Scholarship and the biographical tradition|Lycambes]].|align=center
|source=''Epistles'' 1.19.23–5<ref>Trans. Fairclough (1926).</ref>
}}

Dating to the seventh century BC, the poems of Archilochus contain attacks, often highly sexualised and [[Scatology|scatological]], on other members of society. Two groups in particular are targets of his abuse: personal enemies and [[Promiscuity|promiscuous]] women. The above-mentioned Lycambes features in many of Archilochus' poems<ref>E.g. fr. 172–81 W. </ref> and was thought to have killed himself after being viciously slandered by the poet.{{sfn|West|1993|p=x}} Horace, as is indicated in the above passage, largely followed the model of Archilochus with regards to metre and spirit, but, on the whole, the ''Epodes'' are much more restrained in their verbal violence. While Horace does not borrow extensively from him, Archilochian influence can be felt in some of his themes (e.g. ''Epod.'' 8 and 12 as a variation on the ''[[Cologne Epodes]]'') and poetic stances (e.g. addressing fellow citizens or hated enemies).{{sfn|Mankin|2010|p=97}}

Another significant iambic predecessor of Horace was [[Hipponax]], a lyric poet who flourished during the sixth century BC in [[Ephesus]], [[Anatolia|Asia Minor]]. Writing in the same vein as Archilochus, his poems depict the vulgar aspects of contemporary society. In contrast to the previous iambic tradition, he has been described as striking a discernibly satirical pose: through the use of eccentric and foreign language, many of his poems come across as humorous takes on low-brow activities.{{sfn|West|1993|p=xvii–xviii}} His influence is acknowledged in ''Epode'' 6.11–4. The Hellenistic scholar and poet [[Callimachus]] (third century BC) also wrote a collection of iambi, which are thought to have left a mark on Horace's poems. In these poems, Callimachus presented a toned-down, less aggressive version of the archaic iambus. Horace avoids direct allusions to Callimachus, a fact which has sometimes been seen as a strategy in favour of the style of Archilochus and Hipponax.{{sfn|Barchiesi|2001|p=18–9}}

==Metre==
{{See also|Prosody (Latin)}}
The metrical pattern of ''Epodes'' 1–10 consists of an [[iambic trimeter]] (three sets of two iambs) followed by an iambic [[dimeter]] (two sets of two iambs). Possible [[caesura]]e are indicated by a vertical line. In the trimeter, all longs (—) before the caesura may be replaced by two shorts (∪ ∪) by [[resolution (meter)]]. In the dimeter, only the first long may be so replaced.{{sfn|Watson|2003|p=45–6}} Sometimes, for special effects (e.g. 2.35), even an {{lang|la|[[anceps]]}} element may be resolved into two short syllables.

   x — ∪ — x | — ∪ | — x — ∪ — 
   x — ∪ — x — ∪ —

Poems 11–17 deviate from this pattern and, with the exception of 14 and 15, each exhibit a different metre. Most of these metres combine iambic elements with [[Dactyl (poetry)|dactylic]] ones and include: the [[Prosody (Latin)#Second Archilochian|second]] and [[Prosody (Latin)#Third Archilochian|third Archilochian]], the [[Alcmanian verse#The Alcmanian (or Alcmanic) strophe|Alcmanian (or Alcmanic) strophe]],<ref>"Alcmanian strophe": J. B. Greenough et al (1903): ''Allen and Greenough's New Latin Grammar for Schools and Colleges'', [https://www.perseus.tufts.edu/hopper/text?doc=Perseus%3Atext%3A1999.04.0001%3Asmythp%3D617 §617a]; "Alcmanic strophe": N. Rudd (2004) ''Horace: Odes and Epodes'' (Google books). p. 14; P. A. Miller (2018). ''Horace'' (Google books).</ref> and the [[Prosody (Latin)#Pythiambics|first and second Pythiambic]].{{sfn|Rudd|2004|p=14–6}} ''Epode'' 17 presents an anomaly: it is the only poem in the collection with a stichic metre. The term 'stichic' denotes a succession of identical verses. In this case, the poem consists of eighty-one identical iambic trimeters. Therefore, 17 is the only ''Epode'' that may not technically be described as an epode.{{sfn|Watson|2003|p=46}}

==Contents==
'''''Epode'' 1''' is dedicated to Horace's patron, Maecenas, who is about to join Octavian on the Actium campaign.<ref>''Epod.'' 1.1–4.</ref> The poet announces that he is willing to share the dangers of his influential friend, even though he is unwarlike himself.<ref>''Epod.'' 1.11–16.</ref> This loyalty, the poem claims, is not motivated by greed but rather by genuine friendship for Maecenas.<ref>''Epod.'' 1.25–34.</ref>

'''''Epode'' 2''' is a poem of exceptional length (70 verses) and popularity among readers of Horace.{{sfn|Mankin|1995|p=64}} It envisions the tranquil life of a farmer as a desirable contrast to the hectic life of Rome's urban elite. Each season holds its own pleasures and life is dictated by the agricultural calendar.<ref>''Epod.'' 2.25–37.</ref> At the end of the poem, a money-lender named Alfius is revealed as the speaker of the epode, leaving the reader to ponder its sincerity.<ref>''Epod.'' 2.67–70.</ref>

[[File:Garlic.JPG|thumb|''Epode'' 3 comments on the digestive effects of [[garlic]].]]
[[File:Horace Epodes III (Harley MS 3534 f.39v British Library).jpg|thumb|''Epode'' 3 in a twelfth-century French manuscript of Horace's complete works in the [[British Library]]; ''[[allium]]'' or garlic is the penultimate word of the second line, written with a [[Scribal abbreviation#Abbreviation types|scribal abbreviation]]; the names [[Canidia (gens)#Horace's Canidia|Canidia]] and [[Medea]] may be read near the small hole, which must predate the use of this leaf, since the text itself is not [[Lacuna (manuscripts)|lacunose]]; the [[folio]] beneath is visible through the gap ([[Harleian Library|Harley]] [[Manuscript|MS]] 3534 [[Folio|f]].39[[Recto and verso|v]])<ref>{{cite web |url=http://www.bl.uk/manuscripts/FullDisplay.aspx?ref=Harley_MS_3534 |title=Harley MS 3534 |publisher=[[British Library]] |access-date=12 August 2020}}</ref>]]

In '''''Epode'' 3''', Horace reacts to an excessive amount of [[garlic]] he has consumed at one of Maecenas' dinner parties: its strong taste has set his stomach on fire. Comparing the ingredient to the poison used by witches such as [[Medea]], he playfully wishes that his host be stricken by bad breath when with his girlfriend.<ref>''Epod.'' 3.1–12.</ref>

'''''Epode'' 4''' criticises the pretentious behaviour of a [[parvenu|social climber]]. The main charge levelled at the man is that he used to be a [[Slavery in ancient Rome|slave]] and has now risen to be a military tribune, thereby offending those who traditionally occupied such positions. The poem also imagines the heckling of passers-by on the [[Via Sacra]].<ref>''Epod.'' 4.7.</ref> Critics have stated that the target of the epode resembles Horace's own biography.{{sfn|Watson|2003|p=150–1}}

'''''Epode'' 5''' details the encounter of a young boy with the witch (''[[Venefica sorceress|venefica]]'') [[Canidia (gens)#Horace's Canidia|Canidia]]. Together with a group of fellow witches, she plans to bury him alive up to his chin and to use his [[bone marrow]] and [[liver]] to concoct a love potion.<ref>''Epod.'' 5.35–7.</ref> Unable to escape from his entrapment, the boy utters a vow to haunt the witches in his afterlife. The poem is the longest in the collection and is particularly notable for its portrayal of [[witchcraft]].{{sfn|Oliensis|1991|p=109}}

In '''''Epode'' 6''', Horace envisions himself as the successor of the Greek iambographers Archilochus and Hipponax. Should someone be brave enough to provoke him, he will bite back with the fervour of his Greek models.<ref>''Epod.'' 6.15–6.</ref>

'''''Epode'' 7''' is addressed to the citizens of Rome. Set in the context of [[Last war of the Roman Republic|Octavian's civil war]], the poet scolds his fellow citizens for rushing to shed their own blood instead of fighting foreign enemies.<ref>''Epod.'' 7.3–10.</ref> The poem and its opening line ({{lang|la|Quo, quo scelesti ruitis?}} "Where, where are you rushing in your wickedness?") are famous for their desperate attempt to prevent renewed civil warfare.{{sfn|Fitzgerald|1988|p=1985–6}}

'''''Epode'' 8''' is the first of two 'sexual epodes'. In it, Horace lambasts a repulsive old woman for expecting sexual favours from him. Although she is wealthy and has a collection of sophisticated books, the poet rejects her ageing body.<ref>''Epod.'' 8.15–20.</ref>

'''''Epode'' 9''' extends an invitation to Maecenas to celebrate Octavian's victory in the [[Battle of Actium]] of 31 BC. Octavian is praised for having defeated [[Mark Antony]], who is portrayed as an unmanly leader because of his alliance with [[Cleopatra]].<ref>''Epod.'' 9.11–16.</ref>

'''''Epode'' 10''' strikes a more traditionally iambic note. In the style of Hipponax's ''Strasbourg Epode'', the poet curses his enemy Mevius. Horace wishes that the ship carrying Mevius will suffer shipwreck and that his enemy's corpse will be devoured by [[gull]]s.<ref>''Epod.'' 10.21–24.</ref>

In '''''Epode'' 11''', the poet complains to his friend Pettius that he longer enjoys writing verses as he is mad with love for a boy named Lyciscus. The poem is a variation on the idea that love may make the lover's life unbearable. It thus has much in common with [[Elegy|Roman love elegy]].{{sfn|Luck|1976|p=122–3}}

'''''Epode'' 12''' is the second of two 'sexual epodes'. In the first half the speaker is a youth who complains about an older woman who pesters him to have sex with her, but her unattractiveness makes it difficult for him to perform. In the second half he quotes the woman's complaint about him.{{sfn|Henderson|1999|p=6–7}}

'''''Epode'' 13''' is set at a [[symposium]], an all-male drinking party. Drinking with one's friends and listening to music is presented as an antidote to both bad weather and worries. The second half of the poem tells how the [[centaur]] [[Chiron]] gave the same piece of advice to his pupil [[Achilles]] before he set off for Troy.<ref>''Epod.'' 13.11–18.</ref>

'''''Epode'' 14''' returns to the theme of poem 11: the inhibiting effects of love. Horace apologises to Maecenas for not having completed as promised a set of iambics. The reason for this failure, he adds, is that he has fallen in love, this time with a courtesan called Phryne. He hints that Maecenas himself is also burning with love and he encourages him to enjoy the beauty of his beloved.

'''''Epode'' 15''' continues the motif of love by commenting on the infidelity of one Neaera. Having sworn an oath of loyalty to the poet, she has now run off to another wealthier rival. The poem contains a well-known pun on Horace's ''[[cognomen]]'' Flaccus ({{lang|la|nam si quid in Flacco viri est}} "... if there is anything manly in a man called floppy").{{sfn|Watson|2003|p=472}}

'''''Epode'' 16''' weaves together strands from ''Epodes'' 2 and 7. After lamenting the devastating effects of civil warfare on Rome and its citizens, Horace exhorts his countrymen to emigrate to a faraway place. This vision of a [[Rural area|rural]] lifestyle as an alternative to a depressed state of affairs shows characteristics of [[escapism]].{{sfn|Watson|2003|p=20}}

The final '''''Epode'' 17''' takes the shape of a [[palinode]], a type of poem which serves to retract a previously stated sentiment.{{Sfn|Cairns|1978}} Here, the poet declares he has suffered enough and takes back his defamations of Canidia in poem 5. He begs the witch for mercy. His request is shrugged off by Canidia who thus has the last word of the collection.<ref>''Epod.'' 17.53–81.</ref>

==Themes==
Victimhood is an import theme within the collection. Although Horace assumes the strident persona of the iambic poet for most of the ''Epodes'', critics have described that the roles of aggressor and victim are regularly reversed. In the two erotic poems (8 and 12), for example, the poet is forced to retaliate viciously because his sexual potency has been called into question.{{sfn|Fitzgerald|1988|p=187–8}} Similarly, his toothless tirade against the use of garlic comes after the poet has been poisoned by the same ingredient.{{sfn|Watson|2003|p=129}}

Central to discussions of victimhood in the ''Epodes'' is Horace's fascination with the witch Canidia and her coven. She features prominently in two poems (5 and 17) which together make up nearly a third of the collection.{{sfn|Watson|2007|p=101}} The Latinist Ellen Oliensis describes her as a "kind of anti-[[Muses|Muse]]":{{sfn|Oliensis|1991|p=119}} Horace finds himself forced to write poems in order to assuage her anger.{{sfn|Oliensis|1991|p=119-20}} In keeping with the overall depiction of women in the collection,{{sfn|Watson|2007|p=98}} the witch is reduced to her repulsive sexuality which the poet is nevertheless unable to resist.{{sfn|Oliensis|1991}} This weakness in the face of Canidia is illustrated by the fact that she speaks the last word of the ''Epodes''.{{sfn|Watson|2007|p=101}} Features such as these have made the ''Epodes'' a popular case study for the exploration of poetic impotence.{{sfn|Bather|Stocks|2016|p=11–12}}

[[File:Maecenas Coole Park.JPG|thumb|Horace's friendship with the wealthy Maecenas is a recurring theme of the ''Epodes''. This bust of Maecenas located in [[Coole Park]], [[County Galway]] is possibly from the 17th or 18th century.{{sfn|Mountford|2019|p=5}}]]

The dramatic situation of the ''Epodes'' is set against the backdrop of Octavian's civil war against Mark Antony. Anxiety about the outcome of the conflict manifests itself in several poems: while ''Epodes'' 1 and 9 express support for the Octavian cause, 9 displays a frustration about the precarious political situation more generally. The wish to escape to a simpler, less hostile environment comes to the fore in two lengthy poems (2 and 16) and strikes a tone much like that of [[Virgil]]'s early work, the ''[[Eclogues]]'' and ''[[Georgics]]''. One result of decades of civil war is the increasing confusion of friend and foe, which can be seen in Horace's attacks on Maecenas (3) and the upstart military tribune (4).{{sfn|Bather|Stocks|2016|p=27}}

Palpable throughout much of the ''Epodes'' is a concern for the poet's standing in society already familiar to readers of the ''[[Satires (Horace)|Satires]]''. In this regard, Horace's friendship with the wealthy Maecenas is of particular interest.  Horace, the son of an ex-slave, seems to have felt some uncertainty about their cross-class relationship. A good example of this is ''Epode'' 3: in response to an overly garlicky dinner, Horace hopes that Maecenas will suffer from a similar garlic overdose. The humorous curse against his social superior has been interpreted as the poet standing his ground in a socially acceptable way.{{sfn|Watson|2003|p=129–30}} The opposite dynamic can be observed in ''Epode'' 4. Here, the poet, apparently oblivious of his low social status, joins a mob of citizens in ridiculing a former slave who has risen to become a [[Equites|Roman knight]].{{sfn|Schmitzer|1994|p=36}}

==Reception==
The ''Epodes'' have traditionally been Horace's least regarded work, due, in part, to the collection's recurring coarseness and its open treatment of sexuality. This has caused critics to strongly favour the political poems (1, 7, 9, and 16), while the remaining ones became marginalised.{{sfn|Watson|2007|p=93–4}} Leaving few traces in later ancient texts, the ''Epodes'' were often treated as a lesser appendix to the famous ''[[Odes (Horace)|Odes]]'' in the [[early modern period]]. Only the second ''Epode'', an idyllic vision of rural life, received regular attention by publishers and translators. Nevertheless, during the [[Victorian era]], a number of [[Public school (United Kingdom)| leading English boarding schools]] prescribed parts of the collection as set texts for their students.{{sfn|Oliensis|2016|p=224–6}}
The last quarter of the 20th century saw a resurgence of critical interest in the ''Epodes'', bringing with it the publication of several commentaries and scholarly articles.{{sfn|Watson|2007|p=93}} In the wake of this resurgence, the collection has become known for what the classicist [[Stephen Harrison (classicist)|Stephen Harrison]] describes as "hard-hitting analyses" of the socio-political issues of late-Republican Rome.{{sfn|Harrison|2019}}

One feature that has proved of enduring interest is the collection's eccentric portrayal of witchcraft. Examples of this include a hostile review of ''[[Uncle Tom's Cabin]]'' published in the ''[[Southern Literary Messenger]]'' in 1852. The anonymous reviewer criticised the book's educational message, describing it as "the song of Canidia."{{sfn|Oliensis|2016|p=229–30}}

==Selected editions==
* {{cite book|author=Mankin, David|title=Horace: Epodes|location=Cambridge|publisher=Cambridge University Press|year=1995|isbn=978-0521397742}} Latin text with a commentary and introduction. 
* {{cite book|author-link=Niall Rudd|author= Rudd, Niall|title=Odes and Epodes|location=Cambridge, MA|publisher=Harvard University Press|year=2004|isbn=978-0674996090}} Latin text with a facing English prose translation.
*{{cite book|author-link=D. R. Shackleton Bailey|author=Shackleton Bailey, D. R.|title=Horatius, Opera|language=la|location=Berlin and New York|publisher=De Gruyter|year=2001|isbn=978-3-11-020292-2}} Critical edition of Horace's collected works, in Latin with a critical apparatus.
*{{Cite book|title=The Complete Odes and Epodes|last=Shepherd|first=W. G.|year=1983|isbn=978-0-14-044422-3|location=London|publisher=Penguin Classics}} English verse translation. 
*{{cite book|author=Watson, Lindsay|title=A Commentary on Horace's Epodes|location=Oxford|publisher=Oxford University Press|year=2003|isbn=978-0199253241}} Latin text with a commentary and introduction.
*{{cite book|author=West, David|title=Horace: The Complete Odes and Epodes|location=Oxford|publisher=Oxford University Press|year=2008|isbn=9780192839428}} English prose translation.

==References==
{{reflist}}

==Works cited==
* {{Cite book|title=Geschichte der römischen Literatur. Teil 1|language=de|last=Albrecht|first=Michael von|year=1994|location=Boston and Berlin|doi=10.1515/9783111563794|isbn=978-3-11-119254-3 }} {{Subscription required}}
* {{Cite book|title=Horace's Epodes: Contexts, Intertexts, and Reception|last1=Bather|first1=Philippa|year=2016|location=Oxford|pages=2–29|url=https://oxford.universitypressscholarship.com/view/10.1093/acprof:oso/9780198746058.001.0001/acprof-9780198746058-chapter-1|last2=Stocks|first2=Clare|editor-last=Bather|editor-first=Philippa|chapter=Horace’s Epodes|editor2-last=Stocks|editor2-first=Clare|doi=10.1093/acprof:oso/9780198746058.001.0001|isbn=978-0-19-874605-8 }} {{Subscription required}}
* {{Cite book|title=Iambic Ideas: Essays on a Poetic Tradition from Archaic Greece to the Late Roman Empire|chapter=Horace and Iambos: The Poet as Literary Historian|last=Barchiesi|first=Alessandro|year=2001|location=Lanham, MD|chapter-url=https://books.google.com/books?id=Hu5gxcuaCHoC&dq=barchiesi+horace+2001&pg=PA141|editor-last=Cavarzere|editor-first=Alberto|pages=141–64|isbn=9780742508170|author-link=Alessandro Barchiesi|editor2-last=Aloni|editor2-first=Antonio|editor3-last=Barchiesi|editor3-first=Alessandro}}
*{{Cite journal |title=The genre Palinode and Three Horatian Examples: ''Epode'' 17; ''Odes'' I, 16, ''Odes'' I, 34 |journal=L'Antiquité Classique |last=Cairns |first=Francis |issue=47 |pages=546-52 |year=1978 |issn=07702817 |jstor=41651332}}
* {{Cite book|title=Horace. Satires, Epistles, Art of Poetry|last=Fairclough|first=H. R.|year=1926|location=Cambridge, MA|isbn=9780674992146 |url=https://www.loebclassics.com/view/LCL194/1926/volume.xml}} {{Subscription required}}
* {{Cite journal|title=Power and Impotence in Horace's Epodes|journal=Ramus|url=https://www.cambridge.org/core/journals/ramus/article/power-and-impotence-in-horaces-epodes/4F9249832CA76662967ED9775F84939D|last=Fitzgerald|first=William|volume=17|pages=176–91|issue=2|year=1988|doi=10.1017/S0048671X00003143|s2cid=191884035 }} {{Subscription required}}
* {{Cite encyclopedia|title=Horace (Horatius Flaccus, Quintus), Roman poet, 65–8 BCE|date=2019|encyclopedia=Oxford Classical Dictionary Online|location=Oxford|url=https://oxfordre.com/classics/view/10.1093/acrefore/9780199381135.001.0001/acrefore-9780199381135-e-3150|last=Harrison|first=Stephen J.|doi=10.1093/acrefore/9780199381135.013.3150 |isbn=978-0-19-938113-5 |author-link=Stephen Harrison (classicist)|editor-last=Whitmarsh|editor-first=Timothy G.|editor-link=Tim Whitmarsh}} {{Subscription required}}
* {{Cite journal|title=Horace talks rough and dirty: no comment (Epodes 8 & 12)|journal=Scholia|url=https://journals.co.za/content/scholia/8/1/EJC100436|last=Henderson|first=John|volume=8|pages=3–16|issue=1|year=1999}} {{Subscription required}}
* {{Cite journal|title=An Interpretation of Horace's Eleventh Epode|journal=Illinois Classical Studies|url=https://www.jstor.org/stable/23061872|last=Luck|first=Georg|volume=1|pages=122–6|year=1976|jstor=23061872}} {{Registration required}}
*{{Cite book|title=Horace. Epodes|last=Mankin|first=David|year=1995|location=Cambridge}}
* {{Cite book|title=A Companion to Horace|last=Mankin|first=David|year=2010|location=Chichester|pages=91–104|editor-last=Davis|editor-first=Gregson|chapter=The Epodes: Genre, Themes, and Arrangement}}
* {{Cite book |last=Mountford |first=Peter |year=2019 |url=https://books.google.com/books?id=JwuWDwAAQBAJ&pg=PT11 |title=Maecenas |location=London and New York |publisher=Routledge |isbn=978-0-367-13747-2 }}
* {{Cite journal|title=Canidia, Canicula, and the Decorum of Horace's '' Epodes''|journal=[[Arethusa (journal)|Arethusa]]|url=https://www.jstor.org/stable/26309415|last=Oliensis|first=Ellen|volume=24|pages=107–38|issue=1|year=1991|jstor=26309415}} {{Registration required}}
* {{Cite book|title=Horace's Epodes: Contexts, Intertexts and Reception|last=Oliensis|first=Ellen|year=2016|location=Oxford|pages=220–41|editor-last=Bather|editor-first=Philippa|chapter=Scenes from the Afterlife of Horace's ''Epodes'' (c.1600–1900)|editor2-last=Stocks|editor2-first=Clare|doi=10.1093/acprof:oso/9780198746058.003.0010|isbn=978-0-19-874605-8 }} {{Subscription required}}
* {{Cite book|title=Horaz-Studien|language=de|chapter=Von Wölfen und Lämmern (Hor. ''Epod.'' 4)|last=Schmitzer|first=Ulrich|year=1994|location=Erlangen|pages=31–50|editor-last=Koster|editor-first=Severin}}
*{{Cite book|title=Horace. Odes and Epodes|last=Rudd|first=Niall|year=2004|location=Cambridge, MA|url=https://www.loebclassics.com/view/horace-epodes/2004/pb_LCL033.271.xml?rskey=botDlH&result=1|doi=10.4159/DLCL.horace-epodes.2004}} {{Subscription required}}
* {{Cite book|title=A Commentary on Horace's Epodes|last=Watson|first=Lindsay|editor1-first=Lindsay C |editor1-last=Watson |year=2003|location=Oxford|doi=10.1093/actrade/9780199253241.book.1|isbn=978-0-19-925324-1 }} {{Subscription required}}
* {{Cite book|title=The Cambridge Companion to Horace|last=Watson|first=Lindsay|year=2007|location=Cambridge|pages=93–104|editor-last=Harrison|editor-first=Stephen J.|chapter=The ''Epodes'': Horace’s Archilochus?|doi=10.1017/CCOL0521830028.008|isbn=9780521830027 }} {{Subscription required}}
* {{Cite book|title=Greek Lyric Poetry|last=West|first=Martin L.|year=1993|location=Oxford|author-link=Martin Litchfield West}}

==External links==
* {{Wikisourcelang-inline|la|Epodi|''Epodi''}}
* [http://www.bl.uk/manuscripts/FullDisplay.aspx?ref=Harley_MS_3534 Harley MS 3534 (British Library)] {{in lang|la}} – C12 manuscript of Horace's complete works; the ''Epodes'' begin at f.38r

{{Horace}}
{{Authority control}}

[[Category:Poems about sexuality]]
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[[Category:40s BC]]
[[Category:Anti-war books]]
[[Category:Poems about witches and witchcraft]]
[[Category:Utopian fiction]]
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