\documentclass[10pt]{article}

\usepackage{fullpage}
\usepackage{setspace}
\usepackage{parskip}
\usepackage{titlesec}
\usepackage[section]{placeins}
\usepackage{xcolor}
\usepackage{breakcites}
\usepackage{lineno}
\usepackage{hyphenat}





\PassOptionsToPackage{hyphens}{url}
\usepackage[colorlinks = true,
            linkcolor = blue,
            urlcolor  = blue,
            citecolor = blue,
            anchorcolor = blue]{hyperref}
\usepackage{etoolbox}
\makeatletter
\patchcmd\@combinedblfloats{\box\@outputbox}{\unvbox\@outputbox}{}{%
  \errmessage{\noexpand\@combinedblfloats could not be patched}%
}%
\makeatother


\usepackage{natbib}




\renewenvironment{abstract}
  {{\bfseries\noindent{\abstractname}\par\nobreak}\footnotesize}
  {\bigskip}

\titlespacing{\section}{0pt}{*3}{*1}
\titlespacing{\subsection}{0pt}{*2}{*0.5}
\titlespacing{\subsubsection}{0pt}{*1.5}{0pt}


\usepackage{authblk}


\usepackage{graphicx}
\usepackage[space]{grffile}
\usepackage{latexsym}
\usepackage{textcomp}
\usepackage{longtable}
\usepackage{tabulary}
\usepackage{booktabs,array,multirow}
\usepackage{amsfonts,amsmath,amssymb}
\providecommand\citet{\cite}
\providecommand\citep{\cite}
\providecommand\citealt{\cite}
% You can conditionalize code for latexml or normal latex using this.
\newif\iflatexml\latexmlfalse
\providecommand{\tightlist}{\setlength{\itemsep}{0pt}\setlength{\parskip}{0pt}}%

\AtBeginDocument{\DeclareGraphicsExtensions{.pdf,.PDF,.eps,.EPS,.png,.PNG,.tif,.TIF,.jpg,.JPG,.jpeg,.JPEG}}

\usepackage[utf8]{inputenc}
\usepackage[greek,english]{babel}



\usepackage{float}








\begin{document}

\title{An Analysis~ of Youth, Innocence, and Sexual Maturity in Horace's Odes
1.23 and 2.5}



\author[1]{SARA VARADHARAJULU}%
\affil[1]{UCLA}%


\vspace{-1em}



  
  \date{May 15, 2024}


\begingroup
\let\center\flushleft
\let\endcenter\endflushleft
\maketitle
\endgroup








\sloppy


The discussion of innocence and sexual maturity in Horace's Odes 1.23
and 2.5 is quite complex. This paper aims to understand Horace's
perspective on these topics through the analysis of the figurative
portrayals of~\emph{Lalage} and~\emph{Chloe}. By illustrating the
maturation of the two girls over the course of numerous poems, Horace
shows how this process, while always stepwise, manifests differently
depending on the person. His discussion of what exactly makes a person
``youthful'' suggests that the innocence of a girl is tied to her
defining character trait. Ultimately, only the change of seasons brings
the arrival of sexual maturity, which is defined by a girl's attachment
to her dominating husband.~

Both Odes 1.23 and 2.5 utilize repeated Greek pseudonyms to show the
character development of these women over the course of the Odes. The
Greek names could either be interpreted as pseudonyms for free-born
Roman women (which is typical of Augustan authors) or a Greek
freedwomen. Both the names are mentioned in multiple Odes, but it is
unclear whether these refer to the same or different women in each
circumstance. By deconstructing their various depictions, it can be
extrapolated that Chloe gains agency and dominance as she ages while
Lalage loses her freedom and sense of self.

From her appearance in Book 1 to her last appearance in Book 3, Chloe
grows from a young, inexperienced lover to a dominant mistress that
controls her love affairs. It has been argued by some scholars that
Chloe is a consistent character throughout the Odes and that the order
in which she appears in the Odes is representative of her character
changes.\protect\hyperlink{_ftn1}{\textsuperscript{\textsuperscript{{[}1{]}}}}
In 1.23, Chloe is a young girl, newly matured, finally ready for a
relationship with a man. She is extremely scared of this unknown
territory: everything from the lions and tigers (1.23.9-10) to the
harmless breeze (1.23.4) and lizards (1.23.6) frighten this
inexperienced girl. Chloe appears next in 3.7 as the unsuccessful
temptress of Gyges, a married man. She is described to \emph{ignibus
uri} (3.7.11) for Gyges and that she \emph{temptat mile\ldots{}modis}
(3.7.12). The outwardness of her fiery passion and her knowledge of
seduction (she knows a million ways to seduce a man) indicate that Chloe
has matured sexually. However, she is still not skilled enough to
successfully capture Gyges; the poem implies that Chloe is \emph{misera}
(3.7.10) because of her
failure.\protect\hyperlink{_ftn2}{\textsuperscript{\textsuperscript{{[}2{]}}}}
In Ode 3.9, a conversation between Horace and Lydia, Chloe is described
as \emph{docta} (3.9.10) as she has finally learned the
\emph{dulcis\ldots{}modos} (3.9.10) necessary to steal a man, in this
case, Horace. The fact that she \emph{regit} (3.9.9) Horace indicates
that Chloe is now in control of the love affair and of her actions,
rather than being a passive recipient of nature's whims. The epithet
\emph{Thressa} (3.9.9) indicates that unlike her quiet demeanor in Ode
1.23, Chloe now has a ``wild and passionate
temperament.''\protect\hyperlink{_ftn3}{\textsuperscript{\textsuperscript{{[}3{]}}}}
The placement of \emph{Thressa} before \emph{Chloe} further emphasizes
this fact. Although she is more experienced and exerts more agency,
Chloe is still somewhat powerless: she is still \emph{executitur}
(3.7.19) by Horace, the agent of Venus, as he controls the relationship.
Finally, in 3.26, Chloe has reached the height of sexual maturity. She
is the \emph{regina} (3.26.11) of her erotic world, now rejecting
Horace. Horace mentions \emph{Sithonia nive} (3.26.10) to suggest that
Chloe, who was once gentle like spring, is now reminiscent of the cold,
unforgiving
winter.\protect\hyperlink{_ftn4}{\textsuperscript{\textsuperscript{{[}4{]}}}}
The use of \emph{arrogantem} to describe Chloe solidifies her completed
transition: she changes from a \emph{pavidem} (1.23.2) deer to a
\emph{misera} (3.7.10) temptress to a \emph{docta} (3.9.10) lover, and
finally, to a headstrong \emph{regina} (3.26.11).

\protect\hyperlink{_ftnref1}{\textsuperscript{\textsuperscript{{[}1{]}}}}
McCune 2016, 573.

\protect\hyperlink{_ftnref2}{\textsuperscript{\textsuperscript{{[}2{]}}}}
Ibid, 577.

\protect\hyperlink{_ftnref3}{\textsuperscript{\textsuperscript{{[}3{]}}}}
Nisbet and Rudd 2004, 137.

\protect\hyperlink{_ftnref4}{\textsuperscript{\textsuperscript{{[}4{]}}}}
Wickham, E.C. 1877, 222.

Although Lalage's character does not go through all the phases of
maturity that Chloe does, she does make the passage from an innocent
girl to a sexually-crazed adolescent; however, her maturity decreases
her power. \emph{Lagale} is the subject of the poem and the current love
interest of the narrator in Ode 2.5. In Greek, \emph{Lagale} means
``chatterer'', which fits the too-chatty young girl
stereotype.\protect\hyperlink{_ftn5}{\textsuperscript{\textsuperscript{{[}5{]}}}}
Her name also appears in Ode 1.22 where she is the sweet lover of
Horace. She is once again described as \emph{dulce\ldots{}
loquentem\ldots{}Lagalen} (1.22.23-24) to express her chattiness.
However, the description of her to smile and speak \emph{dulce} suggests
that Horace finds her verboseness to be endearing. It is suggested that
Lalage frees Horace from all his \emph{curis} (1.22.11), as he is
peaceful in the Sabine woods when he thinks of her - this hints at the
innocent nature of their love and of Lalage herself. The extent of
Horace's love for her and the power of her love is suggested when she,
to some degree, metaphorically protects him from a
wolf.\protect\hyperlink{_ftn6}{\textsuperscript{\textsuperscript{{[}6{]}}}}
It is interesting that in the last stanza, \emph{amabo} (1.22.35) is
used rather than the present form of the word. Perhaps Horace is
conveying that his love for Lalage will continue into the future, even
as she morphs into another version of herself such as in 2.5.
Nevertheless, the romanticized depiction of her in 1.22 is in stark
contrast to her sexualized heifer character in 2.5.

\protect\hyperlink{_ftnref5}{\textsuperscript{\textsuperscript{{[}5{]}}}}
Harrison, Stephen 2017, 90.{}

\protect\hyperlink{_ftnref6}{\textsuperscript{\textsuperscript{{[}6{]}}}}
Zumwalt, N. K. 1975, 421.

The ambiguity of subject and the depiction of Lalage as a heifer are
used to distance her from her agency and free-will; she is merely the
object of affection. In 2.5, the subject remains ambiguous in the first
half of the poem; the \emph{tuae} (2.5.5) in line five is the first
indication of a subject. From the first two stanzas, through
\emph{tuae\ldots{} iuvencae} (2.5.5-6) all that can be inferred about
the female heifer/girl is that she is unprepared for sexual relations
and marriage. The adjective \emph{tuae} is particularly important to
notice -- not only is she a cow, a domesticated animal, but also the
narrator's property. The subject's name is finally revealed in stanza 4,
line 16, as \emph{Lalage}. This incredibly late reveal suggests that her
personhood is not particularly important - rather, her identity as a
sex-crazed young girl is. Unlike in 1.22, where Lalage is portrayed as
an almost all powerful lover, now she is merely an animal, directed by
the will of nature and the narrator.

In addition to using Greek pseudonyms, both Odes also incorporate animal
imagery to characterize the innocence of the two girls. In Ode 1.22, the
first stanza pays homage to Anacreon 408, which describes a fearful,
newborn fawn abandoned in the woods by its mother. The word
\emph{inuleus} is formed from a rarely used Greek word, \selectlanguage{greek}ἔνελος, \selectlanguage{english}which
has only been found in the work of Hesychius. \emph{Inuleus} has been
characterized as a ``flamboyantly Greek''
word.\protect\hyperlink{_ftn7}{\textsuperscript{\textsuperscript{{[}7{]}}}}
This incorporation of Greek is thematically fitting with the addressee
and his love interest, Chloe. Chloe, a Greek name which frequently
appears in Horace's Odes, can be interpreted as a pseudonym for a
recurring woman in Horace's life. In addition, \emph{inuleus} is only
used once more in Latin verse by Propertius. Its limited appearance in
prose is most likely due to its three consecutive short syllables, which
make it incompatible with most meters. The word's Greek derivation,
syllable structure, and rarity in literature immediately draw attention
to \emph{inuleus} and the extended simile around it that
follows.\protect\hyperlink{_ftn8}{\textsuperscript{\textsuperscript{{[}8{]}}}}

\protect\hyperlink{_ftnref7}{\textsuperscript{\textsuperscript{{[}7{]}}}}
Wasdin, Katherine 2018, 132.{}

\protect\hyperlink{_ftnref8}{\textsuperscript{\textsuperscript{{[}8{]}}}}
Roche, Paul 2013, 346.

The introduction of the \emph{inuleus} simile revolves around the
perceived innocence of the fawn; to Horace, her innocence is
inextricably tied to her fear. The verb \emph{vitas} (1.23.1) as the
first word in the poem stresses her cautionary attitude towards the
narrator. Rather than mocking her fearfulness, Horace acknowledges this
trait as a symbol of her charming femininity and a facet of her
attraction. He admits that her concerns are grounded in reality by
admitting she is not reacting with \emph{vano\ldots{}metu} (1.23.3-4).
The extent of her youth is summarized in the line where she is depicted
to tremble in her \emph{corde et genibus} (1.23.8) as fear dominates her
internal self (heart) and her external self (knees). These anatomical
terms are often used in situations where lovers are overcome by passion;
instead, Horace twists this common association to portray how she is
overcome by fear. The terrified attitude and reactions of the
\emph{inuleus} show that she is desperately trying to protect her
innocence amidst the seasonal changes.

While fear represents Chloe's innocence, Lalage's innocence is wrapped
up in her playful, somewhat flirtatious, spirit. Her \emph{animus}
(2.5.5) is focused on the \emph{virentis\ldots{}campos} (2.5.5-6) and
she is eager to \emph{ludere cum vitulis} (2.5.8). The description of
the fields as a lively green reflects the girl herself: she is youthful
and immature. Her desire to play, more specifically, play with young
calves, once again emphasizes her innocence. The anaphora observed in
\emph{nunc\ldots{}nunc} (2.5.6-7) brings attention to how she, as an
adolescent, lives in the moment and is focused on her present rather
than dwelling on her impending marriage. This parallels the anaphora
seen in \emph{nondum\ldots{}nondum} (2.5.1-2) to contrast the future
with the present. Rather than mature feelings of love, Lalage feels
\emph{gravem aestum} (2.5.6-7) -- like the heifer, she is simply in
heavy heat, crazed by lust. The placement of \emph{solantis} (2.5.7)
next to \emph{gravem aestum} might be to evoke images of the \emph{sol}
and emphasize the wildness of her
character.\protect\hyperlink{_ftn9}{\textsuperscript{\textsuperscript{{[}9{]}}}}
Although Lalage is possessed by an apparent sexual craze, it resembles
the fantasies of pre-pubescence more than mature sexual desire.

\protect\hyperlink{_ftnref9}{\textsuperscript{\textsuperscript{{[}9{]}}}}
Harrison, Stephen 2017, 87.

Horace directly addresses Lalage's sexuality in the first stanza to
convey that she is not ready to perform the sexual or emotional duties
required in a mature relationship. The entire poem begins
with~\emph{nondum} (2.5.1) to highlight that the girl is not yet a
woman; the~\emph{nondum} is again repeated in the following to once
again draw attention to her immaturity. Lalage, although not directly
labeled a heifer in the first four lines, is assumed to be a heifer
unable to bear the~\emph{iugum~}(2.5.1). In this case, the~\emph{iugum}
represents the metaphorical yoke of marital
duties.\protect\hyperlink{_ftn10}{\textsuperscript{\textsuperscript{{[}10{]}}}}
Even with her~\emph{subacta\ldots{}cervice~}(2.5.1-2), which suggests
that she has been tamed by her husband-owner, she is still too young to
be a good mate. The girl's inability to~\emph{tolerare pondus~}(2.5.4)
once again references the burden of the yoke - it is heavy and cannot be
lifted by anyone but the sexually mature. There is also a more graphic
interpretation of the phrase; the cow must quite literally bear the
bull's weight in
intercourse.\protect\hyperlink{_ftn11}{\textsuperscript{\textsuperscript{{[}11{]}}}}
The word~\emph{compar} is chosen in particular because it refers to a
yokemate and a sexual partner, further playing on the bovine
metaphor.\protect\hyperlink{_ftn12}{\textsuperscript{\textsuperscript{{[}12{]}}}}
It is also interesting to note that the verbs Horace employs suggest
female passivity during sex: she is portrayed to simply
to~\emph{ferre~}(2.5.1),~\emph{aequare~}(3), or~\emph{tolerare~}(4). She
is not indepdently directing her sexaul decisions but bearing or
matching that of her possible husband's. From this stanza and the
mention of her lively spirit in the following stanza, it can be
concluded that Lalage's immaturity might derive from her~\emph{animus}
(2.5.5) and inability to remain submissive to her husband.

\protect\hyperlink{_ftnref10}{\textsuperscript{\textsuperscript{{[}10{]}}}}
Harrison, Stephen 2017, 85.

\protect\hyperlink{_ftnref11}{\textsuperscript{\textsuperscript{{[}11{]}}}}
Ibid, 86.{}

\protect\hyperlink{_ftnref12}{\textsuperscript{\textsuperscript{{[}12{]}}}}
Ibid, 86.

It is important to recognize the different portrayals of youth and
innocence conveyed by Horace through these two characters. Chloe's
innocence stems from her all-consuming fear: she is threatened by the
breeze, lizards, and everything around her. Her fearfulness is a way for
her to cling onto the remains of her innocence and express that she is
not ready for sexual relations. On the other hand, in contrast to
Chloe's timid nature, Lalage is characterized as innocent because of her
free spirit. She is untamable and loves to capitalize on her sexual
independence by flirting with young boys. While she is more sexually
expressive than Chloe, she is still not ready for mature relations
because she has not learned how to commit and be submissive. Although
both these females are still innocent, through a discussion of nature
and the seasons, Horace suggests that their physical timelines will
eventually differ.~

The seasons are mentioned in these Odes to contrast the cyclical nature
of time with the linearity of human
erotociscm.\protect\hyperlink{_ftn13}{\textsuperscript{\textsuperscript{{[}13{]}}}}
While the seasons continually cycle, both Chloe and Lalage can only
mature; they cannot retreat back to their innocence, even if they wanted
to. By depicting the seasons to bring sexual maturity, Horace suggests
that the transition from youth to adult is organic and prompted by
natural events. One cannot rush an immature heifer to bear the marital
yoke or allow a matured fawn to remain under the supervision of her
mother. The use of natural settings in the Odes further emphasizes the
point that the loss of innocence is not an artificial event. Even though
both poems discuss this biological transition, Horace employs different
seasons to show how Chloe is ready for mature sexual relations while
Lalage is not.~

\protect\hyperlink{_ftnref13}{\textsuperscript{\textsuperscript{{[}13{]}}}}
Ancona, Ronnie. 1994, 56.

In Ode 1.23, the advent of spring can be thought of as a metaphorical
representation of the fawn's entrance into sexual maturity.
The~\emph{veris\ldots{}adventus~}(1.23.5-6) stresses the change that is
about to occur. Spring in particular is chosen to highlight Chloe's
fertility and ability to produce life, as the fawn is
now~\emph{tempestiva}, or ``ripe''
(1.23.12).\protect\hyperlink{_ftn14}{\textsuperscript{\textsuperscript{{[}14{]}}}}
The use of~\emph{virides~}(1.23.6) to describe the lizards is chosen to
remind us that although she is~\emph{tempestiva}~\emph{sequi
viro~}(1.23.12), she is still green and youthful. In addition, the
breeze of spring, which is often depicted as ``gentle'' is suggestive of
Chloe's compliant attitude - she will be a willing
lover.\protect\hyperlink{_ftn15}{\textsuperscript{\textsuperscript{{[}15{]}}}}
Throughout the poem, Horace also foreshadows the impending threat to her
youthful innocence through elaborate nature imagery. The woods and
breeze that would have once provided her comfort become associated
with~\emph{metu~}(1.23.4), which is strategically placed
beside~\emph{aurarum et silvae~}(1.23.4). In addition, the use
of~\emph{inhorruit~}(1.23.5), which could be translated as ``shudder''
or ``become erect'' has a double meaning: it suggests Chloe's
physiological reaction to fear while also showing her ``symptoms of
physical
arousal.''\protect\hyperlink{_ftn16}{\textsuperscript{\textsuperscript{{[}16{]}}}}
With the arrival of spring, although she clutches onto the remains of
her innocence, the young Chloe has finally reached sexual maturity.

\protect\hyperlink{_ftnref14}{\textsuperscript{\textsuperscript{{[}14{]}}}}
Nielsen, Rosemary M. 1970, 375.{}

\protect\hyperlink{_ftnref15}{\textsuperscript{\textsuperscript{{[}15{]}}}}
Ancona, Ronnie. 1994, 55.

\protect\hyperlink{_ftnref16}{\textsuperscript{\textsuperscript{{[}16{]}}}}
Nielsen, Rosemary M. 1970, 376.

Unlike Ode 1.23, it is not the arrival of spring that brings sexual
maturity - Lalage will only ripen when Autumn appears. In opposition to
\emph{tempestiva} (1.23.12) Chloe, Lalage is compared to an unripe grape
(2.5.10). The interpretation of \emph{immitis} (2.5.10) as ``unripe''
shows that Lalage is not ready to be consumed; soon she will grow to be
ready for marriage and sexual commitment. This metaphor is particularly
interesting because it contradicts the customary depiction of brides as
ripened
fruit.\protect\hyperlink{_ftn17}{\textsuperscript{\textsuperscript{{[}17{]}}}}
However, \emph{Autumnus\ldots{}varius} (2.5.11-12) will turn the
singular grape into \emph{racemos} (2.5.11) of grapes. Lalage's
portrayal changes from one to a bunch of grapes to allude to female body
development, especially with regards to
curves.\protect\hyperlink{_ftn18}{\textsuperscript{\textsuperscript{{[}18{]}}}}
The color of the grapes transitions from \emph{lividos} (2.5.10), which
refers to the blue-greyish color of growing grapes, to purple (2.5.12),
the natural color of the mature grape. It has been suggested that the
\emph{purpeo} (2.5.12) refers to the purple veins that can be observed
on developed breasts, once again, indicating sexual
maturity.\protect\hyperlink{_ftn19}{\textsuperscript{\textsuperscript{{[}19{]}}}}
The adjective \emph{varius} (2.5.12), or multicolored, which is commonly
used to describe grapes, is transferred to Autumn since he effects the
change. The personification of Autumn is commonly employed to hint at
arrival of sexual maturity, as in this
case.\protect\hyperlink{_ftn20}{\textsuperscript{\textsuperscript{{[}20{]}}}}
Horace uses this metaphor to convince his addressee that he must wait to
pursue the innocent Lalage since she is, to some extent, out of season.

\protect\hyperlink{_ftnref17}{\textsuperscript{\textsuperscript{{[}17{]}}}}
Stephen Harrison 2017, 87.

\protect\hyperlink{_ftnref18}{\textsuperscript{\textsuperscript{{[}18{]}}}}
Maltby, R. 1991, 69.

\protect\hyperlink{_ftnref19}{\textsuperscript{\textsuperscript{{[}19{]}}}}
Nisbet, R. G. M. 1995, 386.

\protect\hyperlink{_ftnref20}{\textsuperscript{\textsuperscript{{[}20{]}}}}
Harrison, Stephen 2017, 88.

To Horace, the deciding sign of a woman's sexual maturity is her choice
to abandon her current world and commit to a man. In the end, both women
end up relinquishing their innocence and following their male pursuers
(although at different points of time). Both these men are depicted as
assertive and, to some extent, predatory in nature. They both watch the
girls develop, waiting for the moment when they can \emph{ruentis in
veneram} (2.5.3-4) with them. The difference in age between the men and
the girls and the aggressive dispositions of the men suggest that the
abandonment of youth is a pressured process.

Chloe's initial rejection of men and sexual commitment is inspired by
her fearful mother. It is important to note that the adjective
\emph{pavidam} (1.23.2) is used to describe \emph{matrem} (1.23.3)
rather than Chloe herself. This contrasts the depiction of the fawn as
``frightened'' in Anacreon
408.\protect\hyperlink{_ftn21}{\textsuperscript{\textsuperscript{{[}21{]}}}}
The transfer of \emph{pavidam} to the mother could suggest that the
mother sensed a predator and fled, warning Chloe to be cautious. This
interpretation is consistent with the assumption that the narrator is
unreliable. Even though he protests that he is not like a
\emph{tigris\ldots{}aspera} or a \emph{Gaetulus leo} (1.23.9-10), his
intense description of violence suggests otherwise. For someone who
insists he is not a predator, the description \emph{frangere persequor}
(1.23.10) is oddly specific; in addition, the \emph{non} might be
separate from the rest of the phrase to emphasize that he is actually
violent. It can be assumed that Chloe's behavior was mirroring her
\emph{pavidam\ldots{}matrem} because of her seeking (1.23.2) and wanting
to follow (1.23.12) her mom. However, her pursuit of her mother is no
different than wandering on \emph{montibus aviis} (1.23.2) since she is
following a pathless trajectory that leads to nowhere. Ultimately,
nature compels Chloe to dissociate from her mother, thereby forfeiting
her innocence - she is \emph{tempestiva sequi viro} (1.23.12).
\emph{Viro} is emphatically placed at the end of the ode to show that in
the end, a woman's development is tied to a man.

\protect\hyperlink{_ftnref21}{\textsuperscript{\textsuperscript{{[}21{]}}}}
Roche, Paul 2013, 346.

Although Lalage does not reach sexual maturity in the poem, Horace
describes how she will attain it by following a man. In both poems, some
version of the verb \emph{sequor} is used. This suggests that a matured
woman follows; she does not fear like Chloe or flirt like Lalage.
\emph{Ferox aetas} (2.5.13) is mentioned to highlight that time (the
cycle of seasons) dictates human growth and is inescapable. Logical
pattern of nature is once again referenced through the use of accounting
terms. Horace employs \emph{adponet} (2.5.14) and \emph{dempserit}
(2.5.13) to show how years are economically ``transferred'' to the girl
from the
man.\protect\hyperlink{_ftn22}{\textsuperscript{\textsuperscript{{[}22{]}}}}
In this case, rather than being motivated by love or even sex, Lalage is
influenced by logical reason to seek (2.5.15) a \emph{maritum} (2.5.15).
\emph{Maritum} can stand for ``mate'' in addition to ``husband'', which
solidifies the animal imagery present in the previous
stanzas.\protect\hyperlink{_ftn23}{\textsuperscript{\textsuperscript{{[}23{]}}}}
All the verbs in the final stanza are in the future tense to matter of
factly suggest the events that will occur, almost like according to a
plan.

\protect\hyperlink{_ftnref22}{\textsuperscript{\textsuperscript{{[}22{]}}}}
Harrison, Stephen 2017, 89.{}

\protect\hyperlink{_ftnref23}{\textsuperscript{\textsuperscript{{[}23{]}}}}
Ibid, 89\emph{.}

From the analysis of these Odes, it can be interpreted that Horace views
the loss of innocence to be determined by natural order. Although he
conveys that youth cannot be defined by a certain set of
characteristics, the transition to sexual maturity is hallmarked by the
adoption of a man. Both women are likened to animals to stress the
motivating presence of survival instinct rather than of extraneous
emotions: to survive, it is imperative that they find a mate. He
incorporates the seasons to highlight that human eroticism is linear. It
follows a standard pattern of irreversible steps that cannot be rushed
or surpassed. By including both Lalage's and Chloe's names multiple
times throughout the Odes, Horace is alluding to the process of sexual
growth and the changes it has on one's character - both girls mature to
be entirely different people than who they were originally. Ultimately,
although it cannot definitively be concluded, the
longitudinal-study-like nature of observation in these odes implies that
Horace viewed maturation to be predominately a biological process.~

\protect\hyperlink{_ftnref1}{\textsuperscript{\textsuperscript{}}}{}\protect\hyperlink{_ftnref5}{}\protect\hyperlink{_ftnref10}{\textsuperscript{\textsuperscript{}}}

{}\protect\hyperlink{_ftnref14}{\textsuperscript{\textsuperscript{}}}{}\protect\hyperlink{_ftnref17}{\textsuperscript{\textsuperscript{}}}{}\textbf{Bibliography}

Adams, J.N. (1990). \emph{The Latin Sexual Vocabulary}. JHU Press.
Ancona, Ronnie. (1994). \emph{Time and the Erotic in Horace's Odes}.
Duke University Press.

Fantham, E. (1979). ``The Mating of Lalage: Horace \emph{Odes} 2.5'',
\emph{Liverpool Classical Monthly} 4: 47-52.

Harrison, Stephen. (2017). \emph{Horace: Odes, Book II. Cambridge Greek
and Latin Classics.} Cambridge University Press.

Jocelyn, H.D. (1980). ``Horace, \emph{Odes} 2.5'', \emph{Liverpool
Classical Monthly} 5: 197-200.

Macleod, C.W. (1979). ``Horatian \emph{imitatio} Odes 2.5'' in West and
Woodman: 89-102.

Maltby, R. (1991). \emph{A lexicon of ancient Latin etymologies}, Leeds
: Cairnes.

McCune, Blanche Conger. (2016). ``CHLOE TEMPESTIVA, MISERA, DOCTA AND
ARROGANS (HORACE, ODES 1.23, 3.7, 3.9 AND 3.26).'' \emph{The Classical
Quarterly}, vol. 66, no. 2, pp. 573--579.

Nadaeu, Y. (2008). \emph{Erotica for Caeser Augustus}, Brussels.

Nielsen, Rosemary M. (1970). ``Horace Odes 1.23: Innocence.''
\emph{Arion: A Journal of Humanities and the Classics}, vol. 9, no. 4,
pp. 373--378. \emph{JSTOR}, www.jstor.org/stable/20163304. Accessed 7
Mar. 2020.

Nisbet, R. G. M. (1984). ``Horace's \emph{Epodes} and History.''
\emph{Poetry and Politics in the age of Augustus}, Cambridge University
Press.

Nisbet, R. G. M., Niall Rudd (2004). \emph{A Commentary on Horace: Odes,
Book III.} Oxford University Press.

Oliensis, E. (2002). ``Feminine endings, lyric seducations'' in Woodman
and Feeney: 93-106.

Roche, Paul. (2013). ``A Fawn in the Wood: \emph{Inuleus} in Horace
\emph{Carmen} 1.23.'' \emph{Classical Philology}, vol. 108, no. 4, pp.
346--351.
\emph{JSTOR},\href{http://www.jstor.org/stable/10.1086/671788.\%20Accessed\%207\%20Mar.\%202020}{www.jstor.org/stable/10.1086/671788.
Accessed 7 Mar. 2020}.

Sutherland, E.H. (1997). ``Vision and desire in Horace's \emph{Carm}.
2.5'', \emph{Helios} 24: 23-43.

Wasdin, Katherine. (2018). \emph{Eros at Dusk: Ancient Wedding and Love
Poetry.} Oxford University Press.

Wickham, E.C. (1877). \emph{The Works of Horace}: Vol.I. \emph{The Odes,
Carmen Saeculare and Epodes}, Oxford University Press.

Zumwalt, N. K. (1975). ``Horace, C. 1.22: Poetic and Political
Integrity.'' \emph{Transactions of the American Philological Association
(1974-)}, vol. 105, pp. 417--431. \emph{JSTOR},
www.jstor.org/stable/283953. Accessed 12 Mar. 2020.

\par\null

\selectlanguage{english}
\FloatBarrier
\end{document}

