Commentaries on Catullus’ Poetry (Poems 72 & 42) Essay

There is great nuance and esthesia in numbers 72. We are t old precise early in the rime that it is intercommunicate to Lesbia, Catullus applaud to whom a moderate quash of poems in the collection are intercommunicate (or concern). Earlier Lesbia poems had come outn Catullus simple and insatiable sack out for my miss1 in in truth ro gentlemantic linguistic process for example, the lines describing the number of times he wished that they could kiss, in poem 5, which ca aimd Aurelius and Furius to eviscerate Catullus as a sissy poet2.However, in poem 70 we begin to hear Catullus feelings for Lesbia turn sour as he publishs us that a womans course to her bonkr are as trustworthy as those written on wind or water later presumably disbelieving her when she told him that there was no one she would rather marry than him, non even if asked by Jove himself3. If we assume that Lesbia was Clodia Metelli, we dwell that she was already married, so if her sound outs are non suggesting that she has expire available, she must be describing an unfulfillable wish and it is perhaps the fact that she says these words ba swear is unable to act on her marriage vow which causes Catullus to be so untrusting4. Compared to the outbursts of joy and fury in the poems of what has been draw as the number 1 book, poem 72 is much cooler and more(prenominal) analytic5 Catullus here counts to be theme from his head rather than this heart.He uses, in the poem, two striking, and contrasting, similes to try to understand his hit the hay for Lesbia. He loved her (note the past tense) as a common aptitude love his lady friendfriend (72.3), but in entree to that he loved her also as a father might his sons and sons-in-law (72.4). This is speck because it obviously implies that the latter relationship might be closer, with more of a connection, than the former, and, more or less(prenominal) importantly, that Lesbia was as dear to him as a son would have been, his own build and blood. Wray finds this comparison interesting because it is evidence against the long-standing assurance that Roman paternity was a controlling and grimly loveless exercise of maternal power6However, from here on in, the footmark of love and center darkens to one of cynicism. direct that he knows Lesbia he is has less affection for the woman. Catullus uses the language of obligation and Lesbia, as he imbibes it, has wronged him7. The poem ends with the enigmatic but correctly statement that, because of the hurt she has caused him, Catullus loves Lesbia more, but comparables her less. At first, this may seem like furbelow and a contradiction in terms. However, when Catullus uses the verb amare (to love) he is describing his attraction to her, a attractive of lust or natural allure, something that he plain has no control everywhere. As much, hencece, as he does not like Lesbia for what she has put him through (i.e. her adultery), his love for her stiff f rom the simpler time when he wished to kiss you dependable so many kisses (7.9) meter 85 is where Catullus perhaps comportes the ambiguity and seeming contradiction implicit in(p) in his feelings bestI hate and I love. maybe youre asking why I do that?I dont know, but I feel it happening, and am racked.We foundation again see here distinctly that Catullus is less a master than a subject8 of his emotions. The fact that he paints himself as being so emotionally powerless casts such(prenominal) poems as these a tragic quality it also, arguably, helps to make Catullus such a universal poet who notify free touch people through the ages. rime 73 also carries some of the loss that Catullus had expressed in 72 the labialize on a friend who is probably Rufus (though we do not realise that the poem is addressed to him until it becomes evident later in the collection) is because he has returned honest kindness with no more than ingratitude. We now realise why the lampoons on Ruf us alternated with Lesbia-poems at 69-72.9 This whole plane section of Catullus collection is a study of perfidy and adverse emotions.In the very first line of poem 72, Catullus talks nearly himself in the third-person, and this seems to be a literary device which emphasises the fact that he is not in control it is Lesbia (and her actions) who is the subject of the poem. By declaring that his passion is more intense (72.5) Catullus leads us to think that he is about to, also, tell us how much he whence loves Lesbia. However, by introducing the dichotomy in the destination line in the midst of his love and disfavor for Lesbia, our expectations are finally overthrown, which makes the contrast seem to be huge. It is by means of literary effects such as these that Catullus manages to express the al around inexpressible nuance of his emotion.This poem, ultimately, is most successful when read as discover of the collection, as one can then draw links between the perspicacious iss ues in the Lesbia poems and see the complex nett of emotions that Catullus paints for us. The development from a romantic, devoting relationship between Lesbia and Catullus to the trauma of that relationship breaking big bucks is fascinating, and may reflect the emotions of millions of people viable today in similar situations.Poem XLIIThis poem is perhaps most interesting because it in itself can be seen as an imitation of the Roman blueprint of flagitatio10, which was a form of popular nicety involving a crowd surrounding the man suspected of wrongdoing (or his house) whilst shouting roughly rhythmical phrases in unflattering language, demanding redress11. This was a very effective tactic because in a small community fearfulness of defamation was strong though it did, of course, rely on having friends willing to engage in the practice in order for what was seen as justice to be done. In this depicted object, Catullus tells us that the crime was the theft of a notebook co mputer and the subsequent refusal to return it12. We can scarcely speculate about the girl who take them (though it has been inferred from the fact that she is described as an slut13 that she may well be Lesbia) and we also have just as detailed knowledge about what Catullus stolen notebook may have contained (and why it seems to be so precious to him) we may conceive that it contained poetry, but that is no more than a guess.If that were true, the first two lines would contain a sweet irony Catullus deploys poetry himself, hendecasyllables, as his flagitatio mob. He orders the hendecasyllables to come from everywhere (42.2), to metaphorically surround her. The image is an fright one the lines of poetry have become men enclosing in on the suspect, shouting about her crime. When Catullus demands, Dirty adulteress, urinate back the notebook. Give back the notebook, soil adulteress (42.11-12), he is victimization a technique common to flagitatio the reversal of word order belo nged to a very old popular custom as a means of intensifying the demand14. Catullus readership, we can for sure assume, would have been aware of such devices and would at once have mum what Catullus was doing.Between the demands for the notebook, there is much sulfuric acid and abuse hurled at the girl. Catullus tells us that she has an sickening gait, a incline like a Gallican puppys (42.9) and is a lousy trollop (42.13) and a brazen bitch-face (42.17). Newman describes this as a fine example of genus Circus caricature included for primarily bantering effect15. However, it is not hard to see how these lines could be intended to have a pestiferous effect, excessively, shaming the thief into repentance.Catullus is also all too aware of his social superiority10 and may manifestly be arrogantly designateing his self-importance by fashioning such a fuss over the loss of his notebook. This idea can be seen in, for example, poem 84, in which Catullus mocks Arrius incorrect us e of aspirates which is surely caused by the politicians less privileged upbringing Catullus attack, in this case as could be argued is the case in poem 42, is really then a display of his own drear superiority. There is also a global link with poems such as 46, in which Catullus advertises his social emplacement by documenting his travels with a sense of entitlement to fara mode Roman lands.Perhaps the most pleasing feature of this poem is its conclusion. After all the fortissimo shouting, sulphuric acid and carmina (chanting typical of flagitatio16), Catullus decides that he needs to revision tone and tactics (42.22). He thus, seemingly sarcastically, ends the poem by asking for the notebook not by calling her a dirty adulteress but a virtuous lady (42.24), as we see that his vituperation has, somewhat comically, failed in its objective. On the other hand, the last line could more literally be interpreted as an acknowledgement of the flaws of this kind of public ashes of ob taining restitution. It does not seem unlikely that the girl would have responded more positively to praise than flagitatio Catullus could thus be making a wider point about the role of vituperation in society.The poem, in the collection, sits between invective poems on either side of it, with the foregoing three poems containing invective, some quite brutal and obscene in poem 43, for example, Mamurras mistress is described as being ugly from head to toe and, in poem 41, Ameana is called the female fuck-up. Perhaps, then, poem 42 is in the perfect location to show Catullus invective being tempered it is in that poem that he shows that such provoke does not always produce the desire effects. In poems 41 and 43, however, we are not shown any consequences of Catullus airing his opinions. We are simply told, in each, that there is an ugly girl in whom he is not elicit there is not intended to be the nuance and comedy appreciate that poem 42 contains.To conclude, Catullus adoptin g the form of flagitatio for this poem underscores the poets association with the traditional purposes and values inherent in Roman invective17 not only does he educe authority from the tradition of the technique, but it also allows him to attack her harshly and eloquently. However, ultimately, he couldnt force a blush from, in Catullus words, the brazen bitch-face. We, therefore, see the limitations of invective perhaps Catullus is admitting to us that we should see it as little more than entertainment.More importantly, though, the twist at the end of the poem is of stylistic and comedic value and can, perhaps, be said to show Catullus eloquence. Moreover, the fact that he feels no qualms at using such openly offensive language can be attributed to the fact that Romans would surely have sympathised with his demands for justice in face of a thief and may, also, be a reflection of his superior social status (not to mention the lower regard with which women were held generally) and incidental security in his right to show his anger in whatever way that he pleased. Ultimately, the poem makes character black lotion into an appealing and technically adept art.BibliographyDyson, J.T. (2007). The Lesbia Poems, in M.B. Skinner (ed.), A Companion to Catullus (Oxford) 254-275.Fitzgerald, W. (1999). Catullan Provocations words Poetry and the Drama of Position. London.Fraenkel, E. (1961). Catullus XLII, in J.H. Gaisser (ed.), Oxford Readings in innocent Studies Catullus (Oxford) 356-368.Newman, J.K. (1990). Roman Catullus. Bodenheim.Selden, D.L. (1992). Catullus and the rhetoric of Performance, in J.H. Gaisser (ed.), Oxford Readings in Classical Studies Catullus (Oxford) 490-559.Tatum, W.J. (2007). Social Commentary and Political invective, in M.B. Skinner, A Companion to Catullus (Oxford) 333-354.Wiseman, T.P. (1985). Catullus and his origination A Reappraisal. Cambridge.Wray, D. (2001). Catullus and the Poetics of Roman Manhood. Cambridge.1 Catullus 2.1.2 cf. Ca tullus 16.3 Catullus 70.2.4 Dyson (2007) 269.5 Wiseman (1985) 166.6 Wray (2001) 112.7 Fitzgerald (1999) 117.8 Selden (1992) 541.9 Wiseman (1985) 167.10 Fitzgerald (1999) 62.11 Fraenkel (1961) 364.12 Catullus 42.4 (refuses to give me our notebook back).13 Catullus 42.1214 Fraenkel (1961) 363.15 Newman (1990) 192.16 Fraenkel (1961) 364.17 Tatum (2007) 337.