By Robinson Ellis
This 1876 paintings is the magisterial observation via the Oxford student Robinson Ellis (1834-1913) at the lifestyles and oeuvre of the Roman poet Catullus, whose paintings illuminates the last years of the Roman Republic. Our wisdom of Catullus' lifestyles derives nearly fullyyt from his personal writings. 3 manuscripts continue to exist which include a suite of poems which are ascribed to him, and all 3 date from the fourteenth century. Ellis considers the examine that has already been undertaken at the poet and his surroundings yet in general attracts on his personal paintings in assessing the price of the Renaissance Italian commentators who tested the widely accredited poetic canon. He lines the Greek affects that Catullus was once uncovered to and discusses his use of alternative metres, whereas additionally speculating at the identification of his cherished Lesbia, a debatable query nonetheless unresolved within the twenty-first century.
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Extra resources for A Commentary on Catullus
9-14, and even the eight slaves which in a weak moment he ventures to say he bought there, turn out to be his friend Helvius Cinna's (X. ), cf. XXVIII. 6-9. Similarly he expostulates with Aufilena for taking money from him improperly (CX), with Amiana and Silo for the sums they claim, in each case 10,000 sesterces ; both Ammiana (XLI XLII XLIII) and Aufilena (CXI) seem to have provoked his bitter attack by their demands upon his purse; and the joke which is put in the mouth of Lesbius that he may sell, if he pleases, Catullus and all his gens, no doubt alludes to his general impecuniosity.
47, 52, tetulissei LXVI. 3 5 ; recepso XLIV. 19. To what extent the spelling was archaic, our MSS are too modern to let us judge: nor are their indications consistent. The voc. Furi occurs five times, twice in the same poem XXIII. 1, 24, yet it is only once written, as it probably was always written by Catullus Furei XXIII. 1 : our MSS have also bonei coniuges vocative LXI. 225, the genitives Romulei XXVIII. 15, Africei LXI. 199, Dindymei LXIII. 91, Pelei LXIV. 278, Itylei LXV. 14: the dative mei LXXII.
X. 50 Euphorion elegiarum scriplor Chalcidensis fiat, cuius in scribendo colorem secutus nidetiir Cornelius Gallus. Similarly Diomedes Art. Gram. iii. p. 484 Keil, mentions Euphorion with Callimachus as the Roman model of xxviii PROLEGOMENA. artifices of the later Greek ritual, its altars lighted up by ingenious mechanism, its doors opening to the sound of imitation-trumpets: the earlier poets preserve a freedom and ideality even where most artificial. It-would be much truer to say that the Alexandrian writers aimed not at form, but at precision of form; they were not content to be graceful, they insisted on an absolute and defined symmetry.
A Commentary on Catullus by Robinson Ellis