By MARILYN B. SKINNER
Gaius Valerius Catullus is one in all Rome's maximum surviving poets and in addition probably the most renowned Latin authors. complete remedies of his paintings were hindered, even though, via the issues posed via the Catutllan assortment because it has come right down to us. even though many students now think that Catullus did put up his verse in a single or extra small volumes (libelli), the speculation that those books have been rearranged after his loss of life implies that person items remain learn and analyzed individually, irrespective of their placement in the assortment. Skinner demanding situations this concept of posthumous editorship by way of delivering a unified studying of Catullus' elegiac poetry (poems 65-116 in our assortment) and arguing that it constitutes what used to be a individually circulated libellus whose authorial association has been preserved intact. Purportedly issued from the poet's local urban, Verona, to his Roman readership, the quantity provides itself as a valedictory. This interpreting of the elegiac assortment represents a tremendous departure in Catullan experiences. The methodological competition that Catullus' elegiac poems are larger approached as a unmarried cohesive poetic assertion makes this ebook a priceless new contribution to Catullan scholarship.
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Additional info for Catullus in Verona: Reading of Elegiac Libellus, Poems 65-11
When we take up the elegiac epigrams, an examination of how far this Platonic distinction between speech and writing can be pressed will supply insights into Lesbia’s function as a scripta puella or symbol of the poetic product. Trained in rhetoric and comfortable with declamation, Roman authors were acutely conscious of the impact of their compositions on listeners. 37 Sunt qui audiant, sunt qui legant, the younger Pliny reminds a correspondent, nos modo dignum aliquid auribus dignum chartis elaboremus, “there are those who listen and those who read; let us then devise something fit for ears and fit for paper” (Ep.
Distress is compounded because the site of the grave is associated with so much earlier misfortune and suffering. In poem 101, then, Catullus portrays himself reversing the homeward voyage of the Greeks after the sack of Troy to visit Rhoeteum and finally discharge those necessary ancestral duties (prisco quae more parentum / tradita sunt tristi munere ad inferias, 7–8). Like Teucer at Ajax’ funeral, he carries them out as the single agnate able, under the circumstances, to perform them. When he first looks upon the dead body of his brother in the Ajax, Teucer blames himself for his absence at the crucial moment and foresees Telamon’s accusations of cowardice or deliberate treachery and ultimate sentence of banishment (Aj.
That the story of Ajax does serve as a paradigm of fraternal loss in poem 65 is, I think, a cogent and significant observation. However, the emotive reverberations of the corollary parallel between Teucer and Catullus may extend far beyond simple typology. Like the exemplum of Laodamia in 68b, I suggest, the experiences of Telamon’s illegitimate son may be a mythic channel for what Colin Macleod has called “the oblique or restrained expression of feeling” (1974: 93). In other words, the speaker’s postulated self-identification with Teucer would hint at the underlying complexity of his emotional state not only in 65 but, at least by implication, in the other elegies in which he voices his grief.
Catullus in Verona: Reading of Elegiac Libellus, Poems 65-11 by MARILYN B. SKINNER