Catullus

Britannica Concise Encyclopedia: Gaius Valerius Catullus

(born c. 84, Verona, Cisalpine Gaul — died c. 54 BC, Rome) Roman poet. Few facts about his life are certain. Of 116 extant poems, 25 portray an intense and unhappy affair with a married woman ("Lesbia"); others reflect an affair with the youth Juventius; still others are outbursts of contempt for Julius Caesar and other personages. He displayed remarkable versatility in assorted poetic forms, and his conversational rhythms carry an immediacy unrivaled by any other classical poet. His expressions of love and hatred represent perhaps the finest lyric poetry of ancient Rome.

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Biography: Gaius Valerius Catullus

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Gaius Valerius Catullus (ca. 84-ca. 54 B.C.) was a Roman lyric poet. He is best known for the intense poems which reflect various stages in his love affair with "Lesbia."

Catullus belonged to a circle of neoteroi, or "new poets," who used as their models the learned Greek poet-scholars at Alexandria in the Hellenistic period and wrote elegant, allusive, and highly finished poems on love, mythology, and other topics. They cherished the epithet docti, "learned." Catullus's friends were the poets C. Licinius Macer Calvus, Furius Bibaculus, and C. Helvius Cinna; the orator Q. Hortensius, Cicero's rival in the law courts; and the biographer Cornelius Nepos, to whom Catullus dedicated his book of poems.

Catullus was born in Verona. St. Jerome gives the year 87 B.C. and says that he died at age 30. Since events of 55 B.C. are referred to in several of Catullus's poems, however, and no poem can be said with certainty to be later than 54, scholars accept the dates 84-54. Catullus's family was prominent and well-to-do. They owned a villa at Sirmio, and his father entertained Caesar when the later was governor of Gaul.

When Catullus went to Rome in 61, he met and fell in love with Clodia, the "Lesbia" of the poems, who was a member of the old aristocratic Claudian family and the wife of Metellus Celer. For this upper-class sophisticate 10 years older than Catullus, the young poet from Verona was but another liaison in her constant search for diversion.

After a brief affair Clodia replaced Catullus with Caelius Rufus, who traveled in the same fast set as Catullus and was a protégée of Cicero. When Caelius threw her over (a new experience for her), Clodia brought charges against him in order to ruin him politically and socially. Cicero defended him in a masterpiece of character assassination (Pro Caelio) in which he repeated the rumors that Clodia had murdered her husband and slept with her brother and implied, among other things, that she was an insatiable prostitute. Before accepting as true Cicero's portrait of Clodia, one must remember that at one time the orator had thought of divorcing his wife in order to marry her. Whatever this woman was like, Catullus's experience with her was the source of some of the finest Latin lyric poems.

In 57 Catullus went to Bithynia on the staff of Memmius, who was to be governor of that Eastern province. While there Catullus traveled to the Troad to perform rites at the tomb of his brother, who had died in the East, recording this act of devotion in a moving poem. After a year in Bithynia he returned to Italy and probably lived in Rome the rest of his life. Despite complaints of poverty in his poems, he seems to have owned a villa near Tibur (modern Tivoli).

The collected 116 extant poems - 18 to 20 are spurious - while arranged neither by chronology nor by subject, can be divided into three categories: The first, poems 1 through 60, is a group of short poems in various meters, with the hendecasyllabic and "limping" iambic predominating, among which are love poems, erotic poems, lampoons, and poems on a variety of other topics. The poems 61 to 64, the second group, are longer poems, including two wedding hymns (61 and 62); the Attis poem (63), about a youth who emasculates himself in order to become a priest of Cybele, then regrets his act; and the "Marriage of Peleus and Thetis" (64), an epyllion, or little epic, of some 400 hexameters. The poems of the third category, 65 to 116, are all written in elegiac meter. A few of these poems are elegies (65-68,76), the rest short poems of epigram type, as in 1-60, on a variety of topics.

Poems about Lesbia

Catullus's most memorable poems are the ones about "Lesbia." It is highly tempting to arrange them in an order that chronicles the poet's affair with Clodia: intense joy at the beginning, a break, reconciliation, then Catullus's awareness of his mistress's congenital faithlessness. Next comes bitterness and despair. The poet nearly loses his sanity but manages, by a great effort of will, to gain control of himself and is then slowly healed of his passion. To read these poems as autobiographical documents is a mistake, however. Catullus did not record this experience factually but, rather, used it as a source for poetry. Art and life were not the same for him. Rather, life was the matrix out of which a highly wrought art was formed.

Perhaps best known is 5, Vivamus, mea Lesbia, atque amemus ("Let us live, my Lesbia, and let us love"). The English poets Marlowe, Campion, Jonson, and Crashaw, to name a few, wrote imitations of it. Nearly as well known are 7, Quaeris quot mihi basiationes ("You ask me how many kisses"); 8, Miser Catulle, desinas ineptire ("Poor Catullus, stop acting foolishly"); 85, Odi et amo … ("I hate and I love"); the poems on Lesbia's sparrow (2 and 3); and the two in Sapphic meters, one an adaptation of a poem by Sappho (11), and the other, one of his most affecting, an address to a friend to carry a message to Lesbia (51). These poems are appealing by their direct, apparently unreflective, outpouring of emotion. But they have been carefully composed with an art that conceals art. One critic speaks of their "controlled lyricism," which produces a fine tension between intellect and the emotions.

View of Love

Catullus's vision of love in his poems is far different from the casual, frequent, and merely sensual liasions represented in the elegant dilettantish poems of the "new poets." In his poems Catullus imagines a kind of relationship with a woman which may be called total involvement, intellectual as well as physical. This concept of love, taken for granted today, combines friendship with sensual pleasure. Catullus's affair with Clodia was itself probably not unique, but it did provide the poet with a starting point from which to develop his concept of an ideal love.

Catullus could be witty and charming, as in poem 13, an "invitation" to one Fabullus to dine with him - but he must bring his own dinner, for the poet's wallet is full of cobwebs. Nonetheless the host will provide a scented ointment, on smelling which Fabullus will pray to the gods to become all nose. Catullus could be witty and obscene, as in poem 39, on a certain Egnatius, who continually grins, whether appropriately or inappropriately, in order to show off his brilliant white teeth. The secret of his beautiful smile, however, is the urine with which he cleans them. Many of the poems are forthrightly obscene to a degree that may shock even modern readers (32, 33, 37, 80, 97). There are two lampoons of Caesar (29 and 57), which the great man conceded had hurt him. When Catullus apologized for them, however, Caesar promptly invited him to dinner.

Other Themes

The long poems exhibit another side of Catullus's talent. Poem 61, a wedding hymn written in honor of the marriage of a friend, has a grace and sensitivity which make it one of his most delightful poems. The same holds true of 62, another wedding hymn but without reference to a particular marriage. Poem 64, on the marriage of Peleus and Thetis, is highly finished and subtle and was written for, and best understood by, a learned elite. In addition there are 76, the poet's plea to the gods to allow him to gain an ultimate perspective on the love that has consumed him like a disease, and 101, commemorating a visit to his brother's tomb and ending with the simple but expressive atque in perpetuum, frater, ave atque vale ("But now for all time, my brother, good luck and farewell").

A critic called Catullus's little book of poems "maddeningly scrappy." The poems are indeed uneven in quality, and many are difficult to understand. Nevertheless he wrote a new kind of poetry which influenced poets for two generations after his death. His direct personal lyricism gives a quality to many of them which makes them similar to modern lyric poems.

Further Reading

A biography that considers the political and cultural milieu of Catullus's works is Tenney Frank, Catullus and Horace: Two Poets in Their Environment (1928). Two of the best studies of Catullus in English are E. A. Havelock, The Lyric Genius of Catullus (1939), and Arthur Leslie Wheeler, Catullus and the Traditions of Ancient Poetry (1934). Kenneth Quinn, The Catullan Revolution (1959), assesses the poet's importance in the development of Roman poetry. A later work is David O. Ross, Jr., Style and Tradition in Catullus (1969).

Additional Sources

Stoessl, Franz, C. Valerius Catullus: Mensch, Leben, Dichtung, Meisenheim am Glan: Hain, 1977.

Classical Literature Companion: Gaius Valerius Catullus

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Catullus, Gaius Valerius, c.84–c.54 BC, Roman poet, born in Verona, son of a wealthy man whose acquaintances included Julius Caesar. As a young man he went to Rome and joined the fashionable literary circle (see NEOTERICS), addressing poems to Cicero, Cornelius Nepos, and Hortensius among others, and freely insulting Caesar and Mamurra. Very little is known of his life except what can be gleaned from his poems: that he spent a year (57 to 56) with his friend Cinna in Bithynia on the staff of the governor, Gaius Memmius; that he saw his brother's grave in the Troad; that he returned from abroad to a villa at Sirmio on Lake Garda. At Rome he fell in love with a married woman of some social standing whom he calls Lesbia, but whose real name was probably Clodia. Some poems suggest that she deserted Catullus for Cicero's young protégé Caelius. Catullus addressed twenty-five poems to Lesbia which chronicle his love affair from an idyllic beginning to final disillusionment.

His poems fall into three groups. 1–60 are short pieces, in hendecasyllables or other lyric metres (iambics, scazons, and in one case glyconics) or in elegiacs (see METRE). They are varied in subject and manner, embracing incidents of daily life, expressions of friendship, satires, political lampoons, love poems, even a hymn to Diana; poem 51 is a translation of an extant poem by the Greek poet Sappho. This collection was for the most part made by the author and shows traces of a careful arrangement. The second group, 61–64, are longer poems: 61 is an epithalamium for a friend, 62 another wedding song, 63 an extraordinary metrical feat, a poem in galliambics (see METRE, LATIN 3 (iii) d) on the legend of Attis, a young man who, in religious frenzy for the goddess Cybelē, emasculates himself and lives to regret it; 64 is an epyllion on the marriage of Peleus and Thetis, consisting mostly of a digression on the story of Ariadne. The first four poems of the third group, 65–68, are longer elegiac poems, 66 being a translation of Callimachus' poem, The Lock of Berenice; 69–116 form a sequence of epigrams in elegiacs on a wide range of subjects. The second and third groups of poems were perhaps collected and arranged by an editor. The first and third groups both contain love poems, expressing happiness and disillusionment, and witty and malicious occasional poems, but the poems of the third group are not perhaps so adventurous or experimental; they express the poet's feelings in more traditional Roman terms. Groups one and two were more obviously written under the influence of Hellenistic Greek poetry in racy, often erudite language (the blend of the fashionable colloquial and the obscure is peculiarly Catullus' own), sometimes ingeniously fitted to metres hitherto purely Greek. Catullus was the leading figure among the new poets of the day who were looking for inspiration not to past Romans but to the Greeks, both to the learned, polished poets of the Hellenistic age and to the more direct lyric poets of earlier centuries, such as Sappho. Part of his appeal lies in his versatility, but it is as a love poet that he is chiefly remembered. He was the first ancient poet to describe the progress of one deeply felt love affair, and in this he exerted a wide influence on his successors, on Tibullus, Propertius, and Ovid and others whose works are lost. We are fortunate to have his poems, for they nearly perished. The three manuscripts in which they are preserved are descended from the only text of the poems known to have survived into the fourteenth century. See TEXTS, TRANSMISSION OF ANCIENT 6.

Columbia Encyclopedia: Catullus

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Catullus (Caius Valerius Catullus) (kətŭl'əs), 84? B.C.-54? B.C., Roman poet, b. Verona. Of a well-to-do family, he went c.62 B.C. to Rome. He fell deeply in love, probably with Clodia, sister of Cicero's opponent Publius Clodius. She was suspected of murdering her husband. Catullus wrote to his beloved, addressed as Lesbia (to recall Sappho of Lesbos), a series of superb little poems that run from early passion and tenderness to the hatred and disillusionment that overwhelmed him after his mistress was faithless. Of the 116 extant poems attributed to him, three (18-20) are almost certainly spurious. They include, besides the Lesbia poems, poems to his young friend Juventius; epigrams, ranging from the genial to the obscenely derisive; elegies; a few long poems, notably "Attis" and a nuptial poem honoring Thetis and Peleus; and various short pieces. His satire is vigorous and flexible, his light poems joyful and full-bodied. He was influenced by the Alexandrians and drew much on the Greeks for form and meter, but his genius outran all models. Catullus is one of the greatest lyric poets of all time. Two of his most popular poems are the 10-line poem, touching and simple, which ends, "frater ave atque vale" [hail, brother, and farewell], and "On the Death of Lesbia's Sparrow."

Bibliography

See translations by R. Myers and R. J. Ormsby (1970), C. Martin (1990), and P. Green (2005); studies by A. L. Wheeler (1934, repr. 1964), T. Frank (1928, repr. 1965), K. Quinn (1959, 1970, and 1972), R. Jenkyns (1982), T. P. Wiseman (1985), J. Ferguson (1988), and C. Martin (1992).

Quotes By: Catullus

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Quotes:

"It is difficult to lay aside a confirmed passion."

"What a woman says to her avid lover should be written in wind and running water."

Wikipedia: Catullus

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Fresco from Herculaneum, presumably showing a couple.

For persons with a cognomen "Catulus", see Lutatius

Gaius Valerius Catullus (ca. 84 BC – ca. 54 BC) was a Roman poet of the 1st century BC. His surviving works are still read widely, and continue to influence poetry and other forms of art. Catullus invented the "angry love poem."

1 Biography
2 Poetry
3 Catullus in modern high and popular culture
4 See also
5 Notes
6 Further reading
7 External links

Biography

Statue of the poet at Sirmione

Catullus came from a leading equestrian family of Verona, and according to St. Jerome he was born in the town. The family was prominent enough for his father to entertain Caesar, then governor of Gaul.^[1] In one of his poems Catullus describes his happy return to the family villa at Sirmio on Lake Garda near Verona. The poet also owned a villa near the fashionable resort of Tibur (modern Tivoli)^[1]; his complaints about his poverty must be taken with a pinch of salt.

The poet appears to have spent most of his years as a young adult in Rome. His friends there included the poets Licinius Calvus, and Helvius Cinna, Quintus Hortensius (son of the orator and rival of Cicero) and the biographer Cornelius Nepos, to whom Catullus dedicated the extant libellus which is the basis of his fame^[1]. He appears to have been acquainted with the poet Marcus Furius Bibaculus. A number of prominent contemporaries appear in his poetry, including Cicero, Caesar and Pompey. According to an anecdote preserved by Suetonius, Caesar did not deny that Catullus's lampoons left an indelible stain on his reputation, but when Catullus apologized, he invited the poet for dinner the very same day ^[2].

It was probably in Rome that Catullus fell deeply in love with the "Lesbia" of his poems, who is usually identified with Clodia Metelli, sister of the infamous Publius Clodius Pulcher, a sophisticated woman from the aristocratic house of patrician Claudii Pulchri. In his poems Catullus describes several stages of their relationship: initial euphoria, doubts, separation, and his wrenching feelings of loss. Many questions must remain unanswered - most importantly, it is not clear why the couple split up - but Catullus' poems about the relationship display striking depth and psychological insight. One such poem with insight to the reasons of his parting with "Lesbia" is poem 11, which is addressed to his friends Furius and Aurelius and requests them simply to pass a farewell insult to Lesbia. [3]

Bithynia

He spent the provincial command year summer 57 to summer 56 BC in Bithynia on the staff of the commander C. Memmius. While in the East, he traveled to the Troad to perform rites at his brother's tomb, an event recorded in a moving poem.^[1]

There survives no ancient biography of Catullus: his life has to be pieced together from scattered references to him in other ancient authors and from his poems. Thus it is uncertain when he was born and when he died. St. Jerome says that he died in his 30th year, and was born in 87 BC. But the poems include references to events of 55 and 54 BC. Since the Roman consular fasti make it somewhat easy to confuse 87 – 57 BC with 84 – 54 BC, many scholars accept the dates 84 BC – 54 BC^[1], supposing that his latest poems and the publication of his libellus coincided with the year of his death, a most unlikely proposition.

Catullus' poems were widely appreciated by other poets, but Cicero despised them for their supposed amorality. Catullus was never considered one of the canonical school authors. Nevertheless, he greatly influenced poets such as Ovid, Horace, and Virgil. After his rediscovery in the late Middle Ages, Catullus again found admirers. His explicit writing style has shocked many readers, both ancient and modern.

Poetry

Main article: Poetry of Catullus

Wikibooks has a book on the topic of

The Poetry of Gaius Valerius Catullus

Sources and organization

Catullus' poems have been preserved in an anthology of 116 carmina (three of which are now considered spurious — 18, 19 and 20 — although the numbering has been retained), which can be divided into three formal parts: sixty short poems in varying metres, called polymetra, eight longer poems, and forty-eight epigrams.

There is no scholarly consensus on whether or not Catullus himself arranged the order of the poems. The longer poems differ from the polymetra and the epigrams not only in length but also in their subjects: There are seven hymns and one mini-epic, or epillion, the most highly-prized form for the "new poets".

The polymetra and the epigrams can be divided into four major thematic groups (ignoring a rather large number of poems eluding such categorization):

poems to and about his friends (e.g., an invitation like poem 13).
erotic poems: some of them indicate homosexual penchants (50 and 99), but most are about women, especially about one he calls "Lesbia" (in honour of the poetess Sappho of Lesbos, source and inspiration of many of his poems).
invectives: often rude and sometimes downright obscene poems targeted at friends-turned-traitors (e.g., poem 30), other lovers of Lesbia, well known poets, politicians (e.g., Julius Caesar) and rhetors, including Cicero.
condolences: some poems of Catullus are solemn in nature. 96 comforts a friend in the death of a loved one; several others, most famously 101, lament the death of his brother.

All these poems describe the Epicurean lifestyle of Catullus and his friends, who, despite Catullus' temporary political post in Bithynia, lived their lives withdrawn from politics. They were interested mainly in poetry and love. Above all other qualities, Catullus seems to have sought venustas, or charm, in his acquaintances, a theme which he explores in a number of his poems. The ancient Roman concept of virtus (i.e. of virtue that had to be proved by a political or military career), which Cicero suggested as the solution to the societal problems of the late Republic, meant little to them.

But it is not the traditional notions Catullus rejects, merely their monopolized application to the vita activa of politics and war. Indeed, he tries to reinvent these notions from a personal point of view and to introduce them into human relationships. For example, he applies the word fides, which traditionally meant faithfulness towards one's political allies, to his relationship with Lesbia and reinterprets it as unconditional faithfulness in love. So, despite seeming frivolity of his lifestyle, Catullus measured himself and his friends by quite ambitious standards.

Intellectual influences

Catullus' poetry was influenced by the innovative poetry of the Hellenistic Age, and especially by Callimachus and the Alexandrian school, which had propagated a new style of poetry that deliberately turned away from the classical epic poetry in the tradition of Homer. Cicero called these local innovators neoteroi (νεώτεροι) or 'moderns' (in Latin novi poetae or 'new poets'), in that they cast off the heroic model handed down from Ennius in order to strike new ground and ring a contemporary note. Catullus and Callimachus did not describe the feats of ancient heroes and gods (except perhaps in re-evaluating and predominantly artistic circumstances, e.g. poems 63 and 64), focusing instead on small-scale personal themes. Although these poems sometimes seem quite superficial and their subjects often are mere everyday concerns, they are accomplished works of art. Catullus described his work as expolitum, or polished, to show that the language he used was very carefully and artistically composed.

Catullus was also an admirer of Sappho, a female poet of the 7th century BC, and is the source for much of what we know or infer about her. Catullus 51 follows Sappho 31 so closely, that some believe the later poem to be, in part, a direct translation of the earlier poem, and 61 and 62 are certainly inspired by and perhaps translated directly from lost works of Sappho. Both of the latter are epithalamia, a form of laudatory or erotic wedding-poetry that Sappho had been famous for but that had gone out of fashion in the intervening centuries. Catullus sometimes used a meter that Sappho developed, called the Sapphic strophe. In fact, Catullus may have brought about a substantial revival of that form in Rome.

Style

Catullus wrote in many different meters including hendecasyllabic and elegiac couplets (common in love poetry). All of his poetry shows strong and occasionally wild emotions especially in regard to Lesbia. He also demonstrates a great sense of humour such as in Catullus 13.

Many of the literary techniques he used are still common today, including hyperbaton: “plenus saculus est aranearum” (Catullus 13), which translates as “[my] purse is all full – of cobwebs.” He also uses litotes e.g. “Salve, nec minimo puella naso nec bello pede nec…” (Catullus 43) (“hello, girl with a not so small nose and a not so pretty foot and...”) as well as tricolon and alliteration. He is also very fond of diminutives such as in Catullus 50: “Hestero, Licini, die otiose/multum lusimus in meis tabellis” – “Yesterday, Licinius, was a day of leisure/ playing many games in my little notebooks”.

Catullus in modern high and popular culture

The epistolary novel Ides of March by Thornton Wilder centers on Julius Caesar, but prominently features Catullus, his poetry, his relationship (and correspondence) with Clodia, correspondence from his family and a description of his death. Catullus' poems and the closing section by Suetonius are the only documents in the novel which are not imagined.

Catulli Carmina is a cantata by Carl Orff to the texts of Catullus.

Catullus's character Aufilena has been used to denote an archetypal gold-digger^{[citation needed]}.

Icelandic musician and composer Jóhann Jóhannsson's 2002 album Englabörn (track listing) includes the track "Odi Et Amo", setting Catullus's Poem 85 to music.

The new musical TULLY (In No Particular Order), which appeared in the 2007 New York Musical Theatre Festival, loosely adapts the poems of Catullus while retaining the non-linear structure of the published edition, exploring his relationships with both Clodia and Juventius, renamed Julie, and the timeless nature of memory and love.

The 20th-century English poet Louis MacNeice references Catullus in his poem "Epitaph for Liberal Poets," where he mentions Catullus as amongst the first liberal poets - "Catullus/ went down young," mentioning him in the context of the death of the individual and recognising his and the universal plight.

Archibald MacLeish wrote a poem entitled "You Also, Gaius Valerius Catullus," where he addresses the poet.

Catullus is discussed in John Fowles's novel The French Lieutenant's Woman (1969) as being one of the foremost poets of love, sexuality and desire.

The 16th-century Spanish poet Cristóbal de Castillejo plagiarized Catullus in his well-known work "Dame amor, besos sin cuento" (Seen side-by-side in [4]).

Yeats references Catullus in his poem The Scholars.

Notes

^ ^a ^b ^c ^d ^e [1]Catullus Web page at Encyclopedia of World Biography Web site, accessed February 13, 2007
^ [2]Hope, Ken, "Introduction on Catullus" at the Catullus Translations Web site, accessed February 13, 2007

External links

Wikisource has original works written by or about: Catullus

Wikibooks has a book on the topic of

The Poetry of Gaius Valerius Catullus

Wikiquote has a collection of quotations related to: Catullus

Catullus translations: Catullus' work in Latin and multiple modern languages
Catullus in Latin and English
Catullus: Latin text, concordances and frequency list
Latinum podcast: includes Catullus' poems read in Latin
Catullus purified: a brief history of Carmen 16 by Thomas Nelson Winter
SORGLL: Catullus 5, read by Robert Sonkowsky

Poems (Carmina) of The Roman poet Catullus
Lesbia poems	2, 2b, 3, 5, 7, 8, 11, 36, 37, 51, 58, 68, 70, 72, 75, 76, 79, 83, 85, 86, 87, 91, 92, 104, 107, 109
Invective poems	10, 12, 14, 15, 16, 17, 21, 22, 23, 24, 25, 28, 29, 30, 33, 39, 40, 41, 42, 43, 44, 47, 49, 52, 53, 54, 57, 59, 60, 69, 71, 73, 74, 77, 78, 80, 84, 88, 89, 90, 93, 95, 97, 98, 103, 108, 110, 111, 112, 113, 116
Unusual poetic meters	4, 8, 11, 17, 22, 25, 29, 30, 31, 34, 37, 39, 44, 51, 52, 59, 60, 61, 62, 63, 64
Hendecasyllabic verse	1, 2, 2b, 3, 5, 6, 7, 9, 10, 12, 13, 14, 14b, 15, 16, 21, 23, 24, 26, 27, 28, 32, 33, 35, 36, 38, 40, 41, 42, 43, 45, 46, 47, 48, 49, 50, 53, 54, 55, 56, 57, 58, 58b
Elegiac couplets	65, 66, 67, 68, 69, 70, 71, 72, 73, 74, 75, 76, 77, 78, 79, 80, 81, 82, 83, 84, 85, 86, 87, 88, 89, 90, 91, 92, 93, 94, 95, 96, 97, 98, 99, 100, 101, 102, 103, 104, 105, 106, 107, 108, 109, 110, 111, 112, 113, 114, 115, 116
See also the list of poems by Catullus.

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