Wikipedia

Draft:Catullus 22

  • Comment: I'm declining this version of the draft because recent changes have removed what inline sources existed, leaving a lot of explanatory notes, but only one inline reference. This makes it impossible to verify the explanation and analysis of the poem. WikiDan61ChatMe!ReadMe!! 13:53, 12 January 2024 (UTC)
  • Comment: Sadly, I feel that there is not to be found a valid, reliable translation of this poem (at least, not online). This translation is credited to an 1894 self-published text by Leonard Smithers and Richard Francis Burton. Although Burton is acknowledged as having been a proficient Latin student in his day, there is no evidence he had any special expertise in the subject. This translation appears to be the work of a collection of hobbyists and, as a website with no obvious degree of editorial oversight, is no more a reliable source than Smithers/Burton. I'll leave the question to other reviewers whether to accept either translation for publication on Wikipedia. WikiDan61ChatMe!ReadMe!! 18:30, 9 January 2024 (UTC)
  • Comment: You have used Wikipedia as a source (citation #3), which is not allowed. And I'd prefer to see a better translation (one produced by a reputable Latin scholar, rather than the anonymous translation available from Wikisource). WikiDan61ChatMe!ReadMe!! 19:54, 4 January 2024 (UTC)

Introduction edit

Catullus 22 is a poem by Gaius Valerius Catullus (c.84 - c.54 BCE), written in the choliambic (12 syllable) meter. Catullus 22 is one of eight (8, 22, 31, 37, 39, 44, 59, 60) poems written by Catullus utilizing this meter to portray various messages (often regarding satire or mockery). In this piece specifically, Catullus emphasizes Suffenus' peculiar behavior of being stylish in all manners except his poetry writing. Through complementing Suffenus, Catullus delves into further detail regarding the exquisite materials Suffenus uses in crafting his physical sheets of poetry, not the intrinsic value his writing exhibits. This difference in modus operandi is accentuated by Catullus' regard for Suffenus' general demeanor.

Latin Text and Translations edit

Latin Text English Translation[1]
1 Suffēnus iste, Vāre, quem probē nōstī, That Suffenus, Varius, whom you know well,
2 homō est venustus et dicāx et urbānus, That man is charming, and witty, and sophisticated,
3 idemque longē plūrimōs facit versūs. And the same man makes the most by far very many verses of poetry.
4 Putō esse ego illī mīlia aut decem aut plūra I think that either 10,000 or more verses
5 perscrīpta, nec sīc, ut fit, in palimpsestō Have been written by that man, as is common in palimpsest
6 relāta: cartae rēgiae, novī librī, Having been jotted down there are: royal papers (expensive papyri), new books,
7 novī umbilīcī, lōra rubra, membrānae, New knobs, red straps, scroll covers,
8 dērēcta plumbō et pūmice omnia aequāta. All things having been ruled with lead and smoothed by pumice.
9 Haec cum legās tū, bellus ille et urbānus When you read this, that good and sophisticated
10 Suffēnus ūnus caprimulgus aut fossor Suffenus merely a goatherder or a ditchdigger
11 rūrsus vidētur: tantum abhorret ac mūtat. On the contrary seems: he differs and changes so much.
12 Hoc quid putēmus esse? Quī modo scurra What are we to think that this is? He who recently seemed a clever man
13 aut sī quid hāc rē scītius vidēbātur, Or if anything is more clever than this thing
14 īdem īnfacētō est īnfacētior rūre, That same man is more witless than the dull countryside,
15 simul poēmata attigit, neque īdem umquam As soon as he has undertaken a poem, nor is that same man
16 aequē est beātus ac poēma cum scrībit: Ever equally as happy as when he writes the poem:
17 tam gaudet in sē tamque sē ipse mīrātur. So much he rejoices in himself and so much he himself admires at himself
18 Nīmīrum idem omnēs fallimur, neque est quisquam Clearly we are all deceived in the same way, nor is there anyone
19 quem nōn in aliquā rē vidēre Suffēnum Whom you could see not to be Suffenus in some thing.
20 possīs. Suus cuique attribūtus est error; To each one of us one's own mistakes have been assigned;
21 sed nōn vidēmus manticae quod in tergo est. but we do not see the knapsack which is on our back.

The comportment of Suffenus edit

As clearly portrayed throughout the poem, Catullus believes Suffenus has unseen shortcomings in his poetic abilities. Catullus continuously describes Suffenus' general ways of acting as venustus (lovely), dicax (well-spoken) and urbanus (urbane). Venustus is used throughout Catullus' poetry to denote an urban quality, though rarely refers to simply physical attractiveness, often being juxtaposed to urbanus by Catullus and others writers. Quintillius offers that venustus adds a sense of grace and charm to the object it is describing. Quintillius also adds that dicax is derived from dico[Note 1], therefore making it relevant to all forms of wit[Note 2], though also acknowledging its specific importance when used regarding banter. Though Dicax is one of Catullus' most highly regarded qualities, Suffenus is only viewed as embodying it when not writing poetry. Finally, Quintillius provides insight into better understanding the slightly unclear significance of urbanus: "the learning derived from associating with an intelligent man".[Note 3] While these descriptions of Suffenus' initial stylish-manner are supported by the poetae novi, Catullus writes not in full praise of Suffenus. For example, Venustus, is often utilized by Catullus to describe men (unlike Plautus' and Terence's uses of the word to describe love affairs and women), and it is believed that venustas was a catchword the poetae novi used to often describe themselves. Furthermore, Suffenus' venustus quality is seen as being superficial and pretentious[Note 4], in Catullus' view, further proving Suffenus' worthlessess as a poet. Regardless, this seeming praise of venustus is definitively offset by Catullus' analyzation of Suffenus' greatest vice: Haec cum legās tū, bellus ille et urbānus Suffēnus ūnus caprimulgus aut fossor rūrsus vidētur....[Note 5] Suffenus writes too many verses (one of Catullus most prevalent disapprovals), the verses are bad (pedem attulistis, saeclī incommoda, pessimī poetae.[Note 6]), and he insists on writing with only the finest materials available.

Additionally, Catullus repeatedly uses the Greek terms poëmata and poëma to display his belief that Suffenus' poems are ineffectual Greek imitations, further showing the extreme level of distaste he has for Suffenus' poetic abilities.

Poetae Novi & Catullus' criticisms edit

Catullus' initial criticism of Suffenus' work comes from the not unfamiliar source of disapproval Catullus displays towards what he considers excessively lengthy poetry; as, similar to his malign remarks regarding Suffenus' "mīlia aut decem aut plūra perscrīpta" (10,000 or more verses), Catullus has condemned "tumidō Antimachō" (swollen Antimachus) and "quīngenta Hortēnsius ūnō" (Hortenusius' 500,000 (lines)) for their extensive natures. The poeti novi's work was meticulously refined, elegant, and sophisticated, manifesting self-expression and entertainment. Given this aspect of refinement and sophistication their works demanded, the disinclination against long, extensively written poetry (like that of Suffenus, Aquinos and Caesius) that Catullus and these other "new poets" had, can be understood and expected.

Similar to the pretentiousness Suffenus' overall venustus quality adds to his poetry, the description given to the reader by Catullus of the materials Suffenus uses to craft his poetry is exceendingly misleading. Initially Suffenus' poetry's appearance seems to rival Catullus' own poetry he gifted to Cornelius in poem 1. Suffenus' libri and umbilici are novi, similar to Catullus' novum lepidum[Note 7], and Suffenus' poetry was pūmice omnia aequāta, similar to Catullus' being āridā modo pūmice expolītum. However, the issue with Suffenus' poetry is it lacks the primary descriptor of Catullus': lepos. While Lepidus can be utilized to solely signify physical appearance[Note 8], it often does not merely reflect the physical beauty of the object it is describing, instead reflecting the character of the creator; this use of the word is what separates Catullus' poetry from Suffenus', and gives explanation as to why Suffenus' poetry does not merit this description according to Catullus. Suffenus' work is simply physically pretty but does not contain the intrinsic charm nor striking qualities that Catullus' poetry yields.

Literary inspiration edit

After criticizing Suffenus' lack of self-criticism Catullus feels he suffers from, Catullus finishes the poem acknowledging that everyone carries an irremediable oversight of their own deficiencies as well. By including this, Catullus alludes to the popular fable of Aesop. The fable claims that "men are born with two bags; one in front carrying neighbor’s faults and one behind carrying their own faults". The idea that one's own faults are carried in a bag behind them while others' faults being carried in front of them, gives explanation to why people are often quicker to find fault with others than themselves. Catullus, in a certain sense however, transcends these boundaries agknowledged and articulated by the fable as he is able to acknowledge people's general inability to acknowledge their own flaws. Additionally, this idea of ancient idea of baggage (in the form of our faults) being attached to us holds many similarities to idea of emotional baggage today, grouping together the weight of our past, our mistakes, our struggles, and everything that makes us who we are today".

Catullus also makes clear his (along with fellow poetae novi) distaste for Greek poetry through his attack on Suffenus' poetry, calling his poems, poëmata and poëma. Catullus' involvement in the poetae novi or neoteric "group" is instilled by his Greek style and influence he received from Hellenistic poetry (ex. ). The goal of this group of select poets was to break away from the traditional, Annien-style[Note 9] of Latin poetry and instead consciously parallel Greek poetic models. Catullus' inclusion in this group renders his slander of Suffenus' poetry given their resemblance to Greek poetry confusing, proving the true intentions of this statement unclear.[Note 10]

Choliambic meter edit

Choliambic verse (Ancient Greek: χωλίαμβος), also known as "limping iambs" or scazons (greek for "limping"), is a form of meter in poetry. The "limping" effect is achieved by making the third syllable of the third matron long instead of short (as it is in the "standard" iambic senarius). This meter contains five iambs and a final trochee or spondee (which may also be utilized in the first and third feet). The choliambic meter was seemingly devised by the Greek poet Hipponax, often being associated with satire, mockery and occasionally expressions of joy. Catullus utilizes this meter for poetry based on all three of these themes.

Notes edit

  1. ^ to state/articulate
  2. ^ Given the importance of articulation in all forms of wit
  3. ^ Though, in a literal sense, describes the quality opposite of rusticity. Quintillion's other comment (stated before this one) therefore shows his belief that the method of obtaining the quality opposite of rusticity is to associate oneself with an intelligent man, who according to this statement, seemingly come only from various city environments.
  4. ^ This is the most likely reason behind Catullus' disapproval of Suffenus' use of the most luxurious materials available: believing that the reason he uses these materials is to try to make his literary work look better than its intrinsic poetic quality.
  5. ^ "When you read this, that good and sophisticated Suffenus merely a goatherder or a ditchdigger on the contrary seems..."
  6. ^ Catullus insults Suffenus, Aquinos, and Caesius by noting they "carried a bad foot" (referring to feet of poetic meter), and calling them "the worst poets" and "the misfortunes of our age".
  7. ^ "Little booklet" containing his poetry that Catullus gifted to Cornelius in poem 1.
  8. ^ As is often believed to be its intended use in Catullus 1's description of Catullus poetry in his libellus.
  9. ^ Ennius was the first Latin poet to choose hexameter (the Greek epic meter) for a Latin epic poem, therefore being the "founder" of Latin epic poetry.
  10. ^ By insulting Suffenus' poetry for being ineffectual imitations of Greek poetry, was Catullus really insulting the poetry for having resemblance to Greek poetry or because of their inability to achieve the effect Catullus feels they were aiming for.

Bibliography edit

  1. ^ "English Catullus 22 Translation - Carmen 22 - Gaius Valerius Catullus (English)". rudy.negenborn.net. Retrieved 2024-01-08.

External Links edit

Category:Poetry by Catullus Category:Latin poetry

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