Catullus

Catullus’ poem mocking the Roman orator Arrius for the pretentious aspirations in his speech (chommoda instead of commoda) shows that changing small details of one’s speech to seem higher class is an enduring phenomenon, says Eli Goings. He makes an apt comparison with the tendency in English to add an extra h before words like “what” and “why,” and argues that its wit and linguistic playfulness is what sets Catullus 84 apart from most other Latin poems.

Chommoda dīcēbat, sī quandō commoda vellet

dīcere, et īnsidiās Arrius hīnsidiās,

et tum mīrificē spērābat sē esse locūtum,

cum quantum poterat dīxerat hīnsidiās.

Crēdō, sīc māter, sīc līber avunculus eius, 5

sīc māternus avus dīxerat atque avia.

Hōc missō in Syriam requiērant omnibus aurēs:

audībant eadem haec lēniter et leviter,

nec sibi postillā metuēbant tālia verba,

cum subitō affertur nūntius horribilis, 10

Īoniōs flūctūs, postquam illūc Arrius īsset,

iam nōn Īoniōs esse sed Hīoniōs.

Image source: Barbara McManus at vroma.org

[For mature audiences only.] There is more to Catullus 16 than hair-raising obscenity, argues Sam Eaton. While many scholars think the tone of this poem is good-natured and jocular, Sam points out that the use of the verb pedicare very rare, and combined with the fierce alliteration of p sounds throughout the poem, likely indicates that Catullus means business. In the context of Roman sexual mores and seen against the background of his other poems, Catullus’ discussion of his own potential homosexual acts is not emasculating, but the opposite: an assertion of masculinity, and a declaration that he will write about his own emotions frankly.

Pedicābo ego vōs et irrumābo,
Aurēlī pathice et cinaede Fūrī,
quī mē ex versiculis meīs putāstis,
quod sunt molliculī, parum pudicum.
Nam castum esse decet pium poētam 5
ipsum, versiculōs nihil necesse est;
quī tum denique habent salem ac lepōrem,
sī sunt molliculī ac parum pudicī,
et quod prūriat incitāre possunt,
non dīcō puerīs, sed hīs pilōsīs 10
quī durōs nequeunt movēre lumbōs.
Vōs, quod mīlia multa basiōrum
lēgistis, male mē marem putātis?
Pedicābo egō vōs et irrumābo.

Image: Bust of Emperor Caracalla, Bartolomeo Cavaceppi, Italian, Rome, about 1750–70. Marble, 28 in. high Source: http://goo.gl/Ghj0jy

The cleverest thing about Catullus 39, argues Zacharia Benalayat, is the way the poem is structured to build up to the insult. Catullus’ roasting of the toothy Spaniard Egnatius for his excessive smiling and dubious dental hygiene comes off as backhanded politeness, an expression of concern, and friendly advice.

Egnatius, quod candidōs habet dentēs,
renīdet usquequāque. Sī ad reī ventum est
subsellium, cum ōrātor excitat flētum,
renīdet ille; sī ad piī rogum filī
lūgētur, orba cum flet ūnicum māter, 5
renīdet ille. quidquid est, ubicumque est,
quodcumque agit, renīdet: hunc habet morbum,
neque ēlegantem, ut arbitror, neque urbānum.
Quārē monendum est tē mihi, bone Egnati.
Si urbānus essēs aut Sabīnus aut Tiburs 10
aut parcus Umber aut obēsus Etruscus
aut Lanuvinus ater atque dentatus
aut Transpādanus, ut meōs quoque attingam,
aut quīlubet, quī puriter lavit dentēs,
tamen renīdere usquequāque tē nollem: 15
nam risū ineptō res ineptior nulla est.
Nunc Celtiber es: Celtiberiā in terrā,
quod quisque minxit, hōc sibi solet mānē
dentem atque russam dēfricāre gingīvam,
ut, quō iste vester expolītior dēns est, 20
hōc tē amplius bibisse praedicet lōti.

Image: A fountain in front of the Pantheon in Rome. Source: http://goo.gl/n4GiCd

Like the recently dead, mourners also come to reside in a transitional state between life and death, argues Ali Becker. Her careful reading of Catullus’ poem on the death of his brother connects the text with Roman funeral customs and beliefs about the afterlife. Drawing especially on the work of Andrew Feldherr (“Non inter nota sepulcra: Catullus 101 and Roman Funerary Ritual,” Classical Antiquity 19.2 [2000], pp. 209-231)
she notes how by Catullus’ vivid but carefully restrained language takes us with him into that state of grief-stricken isolation.

A Roman mosaic showing offerings at a grave. Source: http://goo.gl/TMGsWU

Multās per gentēs et multa per aequora vectus

adveniō hās miserās, frāter, ad īnferiās,

ut tē postrēmō dōnārem mūnere mortis

et mūtam nēquīquam alloquerer cinerem,

quandoquidem fortūna mihī tētē abstulit ipsum,

heu miser indignē frāter adēmpte mihi.

Nunc tamen intereā haec, prīscō quae mōre parentum

trādita sunt trīstī mūnere ad īnferiās,

accipe frāternō multum mānantia flētū,

atque in perpetuum, frāter, avē atque valē.

Waldron_podcast_Latin112_2013

Catullus’ beloved fifth poem is an injunction to seize the day and love, but, argues Victoria Waldron, it needs to be seen in the context of Roman beliefs about the evil eye as well. The word Catullus uses for “to be jealous” (invidere) is also the word for casting aggressive magic spells. Catullus 5 discussed, translated, and read aloud by Victoria Waldron.

Vivamus mea Lesbia, atque amemus,

rumoresque senum severiorum

omnes unius aestimemus assis!

Soles occidere et redire possunt;

nobis cum semel occidit brevis lux,

nox est perpetua una dormienda.

Da mi basia mille, deinde centum;

dein mille altera, dein secunda centum;

deinde usque altera mille, deinde centum.

Dein, cum milia multa fecerimus,

conturbabimus illa, ne sciamus,

aut ne quis malus invidere possit,

cum tantum sciat esse basiorum.

Image: Wikimedia Commons

Schwartz_podcast_revised_Latin112_2013

Catullus’ lament on the death of his girlfriend’s pet sparrow is not serious, but playful, argues Alex Schwartz. The bird’s worth lies in its attractiveness and ability to provide pleasure, and the poem is an urbane assertion that these values are distinctly important in life. Catullus 3 discussed, translated, and read aloud by Alex Schwartz.

Lugete, o Veneres Cupidinesque,

et quantum est hominum venustiorum:

passer mortuus est meae puellae,

passer, deliciae meae puellae,

quem plus illa oculis suis amabat-

nam mellitus erat suamque norat

ipsam tam bene quam puella matrem,

nec sese a gremio illius movebat,

sed circumsiliens modo huc modo illuc

ad solam dominam usque pipiabat.

qui nunc it per iter tenebricosum

illuc, unde negant redire quemquam.

At vobis male sit, malae tenebrae

Orci, quae omnia bella devoratis:

tam bellum mihi passerem abstulistis.

O factum male! o miselle passer!

Tua nunc opera meae puellae

flendo turgiduli rubent ocelli.

Image:

Grave stele of a little girl, ca. 450–440 BC, Greek, Parian marble H. 31 1/2 in. (80 cm). Metropolitan Museum, New York. Photo: Jorge Elias, flickr.

Schultz_Cat5_Latin112_2013

Catullus’ 5th poem teaches us that life is too short not to love, argues Elizabeth Schultz. Catullus 5 discussed, translated, and read aloud by Elizabeth Schultz.

source: Wikimedia Commons

Vivamus mea Lesbia, atque amemus,

rumoresque senum severiorum

omnes unius aestimemus assis!

Soles occidere et redire possunt;

nobis cum semel occidit brevis lux,

nox est perpetua una dormienda.

Da mi basia mille, deinde centum;

dein mille altera, dein secunda centum;

deinde usque altera mille, deinde centum.

Dein, cum milia multa fecerimus,

conturbabimus illa, ne sciamus,

aut ne quis malus invidere possit,

cum tantum sciat esse basiorum.

Miller_Cat16_Latin112_2013

The obscenity of Catullus’ 16th poem is playful and satirical, argues Chloe Miller. Rather than literally threatening to sodomize Furius and Aurelius, he is exaggerating the performance of a Roman male. Catullus 16 discussed, translated, and read aloud by Chloe Miller.

Roman portrait bust, 1st century BC.

Pedicabo ego vos et irrumabo,

Aureli pathice et cinaede Furi,

qui me ex versiculis meis putastis,

quod sunt molliculi, parum pudicum.

Nam castum esse decet pium poetam

ipsum, versiculos nihil necesse est;

qui tum denique habent salem ac leporem,

si sunt molliculi ac parum pudici,

et quod pruriat incitare possunt,

non dico pueris, sed his pilosis

qui duros nequeunt movere lumbos.

Vos, quod milia multa basiorum

legistis, male me marem putatis?

Pedicabo ego vos et irrumabo.

Image: Marble Portrait bust of a man, 1st century BC, New York, Metropolitan Museum. Photo: Jorge Elias, flickr.

Lawrence_Cat46_Latin112_2013

Catullus on his way home from Bithynia is like a college student who feels homesick, argues Emily Lawrence. Catullus 46 discussed, translated, and read aloud by Emily Lawrence.

source: http://bit.ly/18yoyBx

Iam ver egelidos refert tepores,

iam caeli furor aequinoctialis

iucundis Zephyri silescit auris.

Linquantur Phrygii, Catulle, campi

Nicaeaeque ager uber aestuosae:

ad claras Asiae volemus urbes.

Iam mens praetrepidans avet vagari,

iam laeti studio pedes vigescunt.

O dulces comitum valete coetus,

longe quos simul a domo profectos

diversae varie viae reportant.

Korb_Cat34_Latin112_2013

Catullus’ hymn to Diana represents a welcome change of pace to his love poetry and invectives, argues Matthew Korb. Catullus 34 discussed and read aloud by Matthew Korb.

Orazio Gentileschi, Diane the Huntress, (ca. 1640) Musée des Beaux-Arts de Nantes. Photo: Henry Townsend, Wikimedia Commons.

Dianae sumus in fide

puellae et pueri integri:

Dianam pueri integri

puellaeque canamus.

O Latonia, maximi

magna progenies Iovis,

quam mater prope Deliam

deposivit olivam,

montium domina ut fores

silvarumque virentium

saltuumque reconditorum

amniumque sonantum:

tu Lucina dolentibus

Iuno dicta puerperis,

tu potens Trivia et notho es

dicta lumine Luna.

Tu cursu, dea, menstruo

metiens iter annuum,

rustica agricolae bonis

tecta frugibus exples.

Sis quocumque tibi placet

sancta nomine, Romulique,

antique ut solita es, bona

sospites ope gentem.