Table of Contents
Table of Contents
BLACKWELL INTRODUCTIONS TO THE CLASSICAL WORLD
This series will provide concise introductions to classical culture in the broadest sense. Written by the most distinguished scholars in the field, these books survey key authors, periods and topics for students and scholars alike.
Published
Greek Tragedy
Nancy Sorkin Rabinowitz
Roman Satire
Daniel Hooley
Ancient History
Charles W. Hedrick, Jr.
Homer, second edition
Barry B. Powell
Classical Literature
Richard Rutherford
Ancient Rhetoric and Oratory
Thomas Habinek
Ancient Epic
Katherine Callen King
Catullus
Julia Haig Gaisser
Virgil
R. Alden Smith
Ovid
Katharina Volk
Roman Historiography
Andreas Mehl, translated by Hans-Friedrich Mueller
This paperback edition first published 2012
© 2012 Julia Haig Gaisser
Edition history: Blackwell Publishing Ltd (hardback, 2009)
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Library of Congress Cataloging-in-Publication Data
Gaisser, Julia Haig.
Catullus / Julia Haig Gaisser.
p. cm. — (Blackwell introductions to the classical world)
Includes bibliographical references and index.
ISBN 978-1-4051-1889-7 (hardcover : alk. paper) ISBN 978-1-118-25535-3 (pbk. : alk. paper). Catullus, Gaius Valerius—Criticism and interpretation. 2. Elegiac poetry, Latin—History and criticism. 3. Love poetry, Latin—History and criticism. I. Title.
PA6276.G348 2009
8742.01–dc22
2008046987
A catalogue record for this book is available from the British Library.
ISBN 978-1-4443-1046-7 (epdf)
ISBN 978-1-118-29343-0 (epub)
ISBN 978-1-118-29337-9 (mobi)
For T.K.G.
Figures
1 Ariadne in Pompeian Wall Paintings
2 Bacchus in Pompeian Wall Paintings
3 Title Page of Les Amours de Catulle (1713)
4 Ave atque Vale by Aubrey Beardsley
5 Lesbia and a Satyr by Véra Willoughby
Preface
This book is for people who like poetry—in any language. It is for those who like thinking about words and what happens when they are put together, how they sound, how they resonate both inside a poem and with other poems they have read. I hope that there will be something new in it for those who already know Catullus well, but I am thinking mostly of readers whose acquaintance is not so deep, or perhaps not deep at all. That would include students at every level, but especially undergraduates and graduate students, as well as faculty members coming to Catullus from fields like English or comparative literature, or classicists not specializing in Roman poetry. I am also thinking of non-academics—perhaps people who read Catullus once and liked him, or those who never read a word of Latin, but would like to include him in their poetic universe.
For all these readers I have tried to situate Catullus in his times, which are among the most exciting and interesting eras in Roman history. I have tried to bring his poetry to life, looking at it in as many ways as possible. There are chapters on the arrangement of the poems, the character or persona that Catullus presents in his poetry, his language and poetic structure, the ways his poetry draws on and resonates with earlier poetry, and finally, on the interpretations of his readers from antiquity to the present. My concerns above all are always literary and poetic, and I try to show the ways in which looking at meter or the persona or intertextuality or the approaches of other readers can help us to enjoy and find meaning (often multiple meanings) in the poetry.
Catullus’ poetry presents two apparent barriers to the reader. Much (about a quarter) of it is obscene, and all of it is in Latin. I have confronted both of these facts head on and unapologetically in the belief that twenty-first century readers do not need to be protected from either. Catullus’ obscenity is not just a matter of “dirty words.” Unlike most of the obscenity we hear in the media and daily life, it is not empty or gratuitous, but purposeful in the context and construction of each poem where it appears. Sometimes it is shocking, sometimes funny; but it is always meaningful. I translate and discuss obscene poems frankly throughout.
Catullus’ Latin of course is fundamental. Poetry is a compound of thought and language. Its words matter, not only for their meanings, but also (and sometimes almost even more) for their sounds and rhythms and the patterns those sounds and rhythms make with other words. Each poem (or part of a poem) is presented first in Latin, then in translation, but I constantly refer to the Latin in discussion. In Chapter 4 (“What Makes It Poetry”) I encourage even Latinless readers to read the Latin aloud, presenting a simplified account of pronunciation, meters, and sound effects and how they create meaning in the poetry.
I have included both footnotes and a bibliography of secondary sources in English because I think it is important to let readers interested in a particular point know where they can find out more. But I have not used the footnotes for discussion or to cite every conceivable item of bibliography. My purpose is to get readers started, not to finish them off.
The poems are quoted from the text of D.F.S. Thomson’s Catullus (1997). All Latin is translated. Unless otherwise noted, the translations are my own.
I have greatly enjoyed working on this book. Catullus is a poet who amply repays reading, rereading, and rethinking, and I constantly found myself seeing things in his poetry I had not seen before, which I think is the greatest pleasure a poetry lover can have. The project has been aided and abetted by several good friends and colleagues. I am extremely grateful to Al Bertrand at Wiley-Blackwell for proposing it and to my editor Haze Humbert for patiently waiting for it to come to fruition. My thanks also go to Joseph Farrell, Susannah Brower, and Thomas Gaisser, each of whom read chapters and provided helpful comments. I owe a special debt of gratitude to David Ross, who generously read every chapter with an eagle eye and gave me the benefit of his learning and poetic insight.