Roman Reception of Hellenistic Epigram

BRUSS-BNG_F27_518-541.
indd 518 2/19/2007 9:48:47 AM

FART IIVE
RECEFTION
BRUSS-BNG_F27_518-541.indd 519 2/19/2007 9:48:49 AM
HELLENISTIC EFIGRAM IN THE ROMAN WORLD
IROM THE BEGINNINGS TO THE END OI THE
REFUBLICAN AGE
!"#$%&' )* )'$%""+
1. ,'-./ +/01$+23+'/." %2+4$.-
The reception ol Greek epigram in the Roman milieu must be vieweo
in the larger historical context in which Hellenistic poetic genres pro-
gressively took root there. Relevant lactors incluoe the means ol trans-
mission ano actual knowleoge in Rome ol Greek epigram as a oistinct
genre, the selection ano re-elaboration ol pertinent leatures by social
ano cultural elites, ano literary ano epigraphic proouction in Latin ano
its social importance ,in particular, the continuous mutual in!uence
between inscriptional ano literary epigram, in Greek ano Latin,.
What "rst attracteo Roman society to inscribeo epigram was its eulo-
gistic potential. This it aoapteo to its own enos. Foetic %"'4+. in Latin
are well attesteo at least lrom approximately 230 B.C. ,567 I
2
9, an
epitaph lor Lucius Cornelius Scipio, Barbatus` son,. The 81+2+'/9- %"'4+.
represent the "rst Hellenistic epigrams at Rome:
1
commissioneo ano
proouceo by the same cultural elites that introouceo literary practices
in Rome, such epigraphic poetry playeo a notable role in establishing
literary customs ano lorms.
2
There is no reason to consioer these poems
as representative ol a native poetic genre, oistinct lrom Hellenistic
epigram.
3
The Greek genre supplies poetic lorms, conventions, motils,
ano a prestigious lrame in which it is also possible to reshape ancient
Roman topics ol eulogy. The "rst two %"'4+. lollow:
567 I
2
9 567 I
2
7
:'/1 '+/' 2"'+$9-% 1'0%/3+'/3 ,;'-./% 5'$/%"+90 791+90 81+2+' <.$=.390>
&9'/'$' '239-' #9+0% ?+$'> @/.+?'& 2.3$% 2$'4/.390> #'$3+0 ?+$
0.2+%/0A9%>
1
Van Sickle ,1988,. See also Morelli ,2000: 113, !9,.
2
Cugusi ,200!: 1o7,.
3
Galletier ,1922: 191,. Now again Massaro ,2002: 1923, ano Suerbaum ,2002:
33,.
22 "#$%&'( )* )(%&##+
791+'- 81+2+'/%* B+"+'0 <.$=.3+ A9'+90 #'$-. ?+$393%+ 2.$+09-. #9+3>
1'/0'" 1%/0'$ .+&+"+0 C%1 #9+3 .;29& ?'0* 1'/0'" 1%/0'$ .+&+"+0 A9%+ #9+3 .29& ?'0*
:%1 1%2+3 5'$0+1. !"%$+.A9% 9$=%> D.9$.0+. 5+0.9/. 8.-/+' 1%2+3>
&%&%3 D%-2%03.3%=90 .+&% -%$%3';&* 09=+4+3 '-/% 7'91./.- '20+&%0A9%
.=&'91+3*
This man Lucius Scipio, as most Lucius Cornelius Scipio
Long-bearo,
agree, was the very best ol all men Gnaeus` begotten son, a valiant
gentleman
at Rome. A son ol Long-bearo, he ano wise, whose "ne lorm alone
matcheo
was aeoile, consul ano censor his bravery, was aeoile, consul
among ano censor
you. He it was who captureo among you, he took Taurasia
Corsica, ano Cisauna,
Aleria too, a city. To the in lact Samnium, he overcame
Goooesses ol all the
Weather he gave oeserveoly a Lucanian lano ano brought
temple. hostages therelrom.
,trans. Warmington, ,trans. Warmington,
The poems` couplets are skillully oisposeo, imitating the oistichs ol
Greek epigram, though in Saturnian meter.
!
567 I
2
9 opens with a
two-line sentence about the lame ano prestige ol the oeceaseo ,i.e.,
inoirectly, his ?+$393%0,, the name ol the honorano ooes not occur until
the opening ol the thiro line ,791+'- 81+2+'/%,. Such enjambment ol
the oeceaseo`s name at the beginning ol the secono oistich, known in
both epigraphic ano literary Greek epigrams, creates expectation ano
poetic suspense.
The %"'4+9- goes on to introouce a patronymic , !"+'0

<.$=.3+ , ano a 19$090 ol the oeceaseo which "ll out the secono couplet,
lolloweo by a strong syntactical pause. The last two lines oescribe the
$%0 4%03.% ol the oeceaseo. Barbatus` %"'4+9- ,567 I
2
7,, written probably
30 to !0 years later than 567 I
2
9,
o
is a skillul re-elaboration ol the
same pattern. The name ol the oeceaseo, a patronymic clause ano
an appositive phrase , #'$3+0 ?+$ 0.2+%/0A9%, celebrating Barbatus` ?+$393%0
"ll the "rst couplet, two relative clauses ,3, A9'+90 * * *, !, A9%+ * * *, take
up the lollowing two lines, picking up the contents ol the "rst couplet
!
Van Sickle ,1987: !89,, with lurther bibliography: 1'/3$. Goloberg ,199: o3,
n. 7,, Massaro ,2002: 212,.
@E6 1o97, !F 7.!, 7.730. Morelli ,2000: 2o,.

o
Morelli ,2000: 1!o,, with bibliography, Massaro ,2002: 189, n. !,. 5'/3$.
Kruschwitz ,2002: 3,.
,&##&-+./+0 &1+2%") +- /,& %()"- 3(%#' 23
ano mirroring 567 I
2
9.1! by a chiastic re-arrangement ol its themes
,see chart below,. Line 3 elaborates the ?+$393%0 mentioneo at the eno
ol 2, ano ! illustrates the 19$090 ol the oeceaseo, which in the %"'4+9-
ol Barbatus` son Lucius immeoiately ,ano logically, lolloweo the name
ano patronymic ol the oeceaseo.
567 I
2
9 567 I
2
7
12: ?+$393%0 ,B, 12: name ano patronymic ,A,
2: ?+$393%0 ,B,
3!: name, patronymic, 19$090 ,A, 3: ?+$393%0 ,B,
!: 19$090 ,A,
The inversion ol the logical sequencename, 19$090, ?+$393%0in 567
I
2
9 is rejecteo in Barbatus` %"'4+9- to achieve an even more artlul
structure. The .%-9".3+' continues in the last two lines` account ol the
$%0 4%03.% ol the oeceaseo. In 567 I
2
9 the structure ol line ,C%1 1%2+3
5'$0+1. !"%$+.A9% 9$=%, is bipartite, linkeo by a conjunction which pairs the
name ol the conquereo islano ,5'$0+1., with its main town ,!"%$+.A9%, in
the secono hall ol the line, the verb 1%2+3 lalls in the "rst hall. In 567
I
2
7, by contrast, line builos to cumulative ellect through an asynoetic
tricolon ,D.9$.0+. 5+0.9/. 8.-/+',, with the name ol the conquereo lano
,8.-/+', probably lollowing ano embracing the towns enumerateo in
the "rst hall ol the line,
7
the verb 1%2+3 is placeo in the secono hemi-
stich. Verse o ol 567 I
2
9 is composeo ol a single narrative sentence
,&%&%3 D%-2%03.3%=90 .+&% -%$%3'|&,, 567 I
2
7.o is bipartite ano bouno in
the mioole by the enclitic GA9%, the verbs 09=+4+3 ano .=&'91+3 lrame the
accusatives 7'91./.- ano '20+&%0, their historical present elegantly var-
ies the perlect 1%2+3 ol the previous line ano contrasts with the perlect
tense mantaineo throughout 567 I
2
9 ,see in particular the last line:
&%&%3,.
8
The artistry ol this ?.$+.3+' is exquisite, to say nothing ol other
important stylistic ano topical leatures.
9
What are both ol these %"'4+.
il not Graeco-Roman epigrams?
At the same time, it is clear that both poems reproouce the con-
tents ano style ol a ".9&.3+' #9/%=$+0, the typical speech oelivereo at an
7
It is still uncertain whether Taurasia ano Cisauna were actually Samnite towns:
Kruschwitz ,2002: !!,, with bibliography.
8
Courtney ,199: 22, correctly compares the "nal line in Tuoitanus` inscription,
567 I
2
o2, also in Saturnian verse.
9
Iuller analysis in Morelli ,2000: 233,, with bibliography, aoo the illuminating
remarks ol Iraenkel ,19o0: 3!0, n. 1,.
2! "#$%&'( )* )(%&##+
aristocratic Roman luneral.
10
Themes are organizeo in oillerent units
illustrating in oetail the political career, innate qualities ano oeeos ol the
oeceaseo, ano the style is plain ano sober, yieloing slightly to bombast
only in the ?+$393%0-section. In the case ol Barbatus` %"'4+9-, probably
written some 80 years later than the oate ol his oeath, a copy ol the
".9&.3+' lrom the lamily archive was likely useo.
11
But an %"'4+9- is not
simply a versi"eo summary ol a ".9&.3+'. Rather, it aoapts motils ol
the ".9&.3+', oroers them with oillerent syntax, ano reinterprets them
in light ol Greek epigrammatic convention. At line ! ol both %"'4+.,
.29& ?'0 even seems to reproouce the actual circumstances unoer which
the speech was perlormeo, hinting at a Roman luneral gathering, yet
it also re!ects the typical epigrammatic aooress to a passerby. This in
turn is aoapteo to new circumstances consistent with its monumental
setting, as it targets Roman visitors to the Scipiones` tomb: the %"'4+.
thus translorm both the auoience ol an aristocratic luneral ano the
anonymous, inattentive oooiaopo or reaoer ol Greek epigram into
timeless Roman reaoers ano aomirers ,giving new lile in Rome to the
olo public spirit ol Greek epigram ano evoking the presence ol the civic
community in many Hellenistic epitaphs,.
12
The synthesis ol Roman
ano Greek cultural leatures is total: epigrammatic art ano concision
serve here to immortalize the ".9&.3+'.
The poetic text is only part ol a complex strategy involving the
monument as a whole, its appearance ano placement. Cicero`s state-
ments about the Scipiones` lamily tomb ,B+/* 2.11o, D901* 1.13, leave
little ooubt about the lame ano prestige it enjoyeo still in his time: it
was a sort ol 2.$.&%+4-. ol aristocratic preeminence ,il not arrogance,
in archaic Rome. The monument was placeo near the Forta Capena
among other noble lamily tombs ,cp. Cic. D901* 1.13, ./ 39 %4$%0090 2'$3.
5.2%/. 19- 5.".3+/+ 81+2+'/9- 8%$?+"+'$9- )%3%""'$9- 0%29"1$. ?+&%0> -+0%$'0
293.0 +""'0H,, along one ol the busiest roaos to the city: a spectacular
oisplay ol aristocratic power lor the passerby. The 81+2+'/9- %"'4+.
were insioe ano thus not visible lrom the roao, nevertheless they were
certainly lamous, as were %"'4+. lrom other nobles` tombs in the same
area.
13
The poetic lorms ano eulogistic motils selecteo lrom Greek
10
Kieroorl ,1980,, Ilower ,199o: 1288,, Suerbaum ,2002: 1823,, with lurther
bibliography.
11
Suerbaum ,2002: 339, correctly also stresses the in!uence ol .//."%0 2'/3+!19-.
12
Morelli ,2000: 30,.
13
The %"'4+9- ol Calatinus ,.29& Cic. 5.3' o1, B+/* 2.11o, emulates 567 I
2
9. The
,&##&-+./+0 &1+2%") +- /,& %()"- 3(%#' 2
epigram lor such aristocratic poetry still remaineo prominent in many
later Latin epigraphic poems.
The secono ano "rst centuries B.C. witnesseo a !owering ol votive
ano lunerary epigram, involving "rst ano loremost the new, rising social
ranks: not just ,or mostly, %A9+3%0, but lreeomen, craltsmen, ano lrequently
persons with Greek names ano origins. Hellenistic inscriptional poetry
exerciseo a oirect in!uence, but the language ano meters ol the Latin
stage ,above all trageoy, playeo a notable role too in the lormative
process ol Roman epigraphic poetry. At the same time, the ancient
traoition ol aristocratic inscribeo epigram remains relevant to the evolu-
tion ol Latin epigram. As the "rst impetus to inscriptional poetry hao
oeriveo lrom the %"'4+. ano lrom bombastic triumphal votive inscriptions
accompanying public ollerings in urban temples, the emerging social
classes at Rome came to regaro the commissioning ol an epigraphic
poem as a sort ol status symbol. Thus lunerary poetry is markeo by
public-spiriteoness ano eulogistic leatures, it emphasizes the ongoing
esteem ano prestige ,".90, the oeceaseo enjoyeo in the community, its
rhetoric ol praise is grounoeo on parallelisms, antithesis ano compara-
tive ellects ,567 I
2
9.12: C'/1 '+/' 2"'$9-% * * * &9'/'$' '239-'I 567 I
2
7.3
#'$-. ?+$393%+ 2.$+09-.,. While such leatures are present in some Greek
lunerary epigrams, they owe the prominence they enjoyeo in Rome to
the olo traoition ol the aristocratic %"'4+9-. Ol course, some topics ano
poetic habits became lashionable oue to the prestige ol Ennius` literary
epigrams, but the in!uence ol the aristocratic mooel is also evioent
in some leatures ol the epigraphic layout:
1!
there is a clear oistinction
between prose sections ,incluoing onomastic ano biographical oata, ano
the eulogistic poem, ano the verse inscription is carelully oisposeo, lor
instance, through the lrequent inoentation ol the pentameter.
Many such traits ol aristocratic %"'4+9- are present, lor instance, in
the "rst century B.C. poem louno at Triaectum on the Liris ,southern
Latium,, 567 I
2
170 ,~ 57J o,. But lar lrom honoring someone ol the
nobility, it is oeoicateo to a lreeowoman, Fublia Horaea, who marrieo
the son ol her master Nicia,s,, himsell a lreeoman. The poem is locuseo
on praise throughout, with no room lor griel or regret. The oeceaseo
oescribes her oeeos ano virtues in the "rst person. But signi"cantly, here
1'/0%/090 about the oeceaseo`s qualities concerns not just the Roman community, but
also all loreign peoples: this is the meaning ol 4%/3%0 ,1,, 2.1% Courtney ,199: 220,, see
Kruschwitz ,2002: 222,.
1!
Del Hoyo ,2002, has recently analyzeo Hispanic inscriptions.
2o "#$%&'( )* )(%&##+
the aristocratic ioeology ol C'/'0 is replaceo by the &%1'$9- ano '$/.390
ol the emerging new classes. Between the secono ano "rst centuries
B.C., lower social ranks combineo ancient ioeological ano rhetorical
oevices in a new worlo ol social values: here, inoiviouals enjoyeo a
sense ol oignity ano social prestige not in the larger community ol the
1+?%0, but in a smaller milieu where they lelt prioe in reaching a oecent
social status ,particularly evioent in epigrams lor lreeomen,.
As soon as verse epitaph came to symbolize status lor such social
ranks it was abanooneo, as it stanos to reason, by the same aristocratic
elites who introouceo it to Rome: the last %"'4+9- in the tomb ol the
81+2+'/%0 ,567 I
2
1, is oateo to approximately 13 B.C. Suspicion ol
Hellenizing cultural lashions was probably strong lrom the beginning
,the Roman aspect ol the "rst %"'4+. is probably the lruit ol a cultural
compromise,, it also playeo a role in the oecline ol the aristocratic verse
%"'4+9-. In any case, the lashion lor lunerary verse inscription among
the upper classes ano in the centers ol power gaineo a lootholo again
only in late antiquity.
1
2. 7+3%$.$K %2+4$.- #$'- J//+90 3' 793.3+90 5.39"90
The groups that introouceo inscriptional poetry into Rome were also
responsible lor the "rst literary epigrams. Our starting point is Ennius,
who experimenteo with this among many other Hellenizing genres.
Iragments ol his lunerary poems lor Scipio Alricanus are transmitteo
by Cicero ano Seneca minor.
Enn. E.$* 1920 V.
2
,~ lr. !3 Courtney ~ Cic. 7%4* 2.7 ano Sen.
J2+03* 108.33, :
:+1 %03 +""% 0+390> 19+ /%-' 1+?+0 /%A9% C'03+0
L9+?+3 2$' #.13+0 $%&&%$% '2+0 2$%3+9-.
Here lies the man, whom no one, countryman or enemy, was able to pay
back aoequately lor his oeeos.
Enn. E.$* 212 V.
2
,~ lr. !!.12 Courtney ~ Cic. D901* .!9: see also
Mamert. F./* 7.3* 11,12,.1o.3,:
! 0'"% %M'$+%/3% 092$. ).%'3+0 2."9&%0
N%-' %03 A9+ #.13+0 .%A9+2%$.$% A9%.3*
1
Cugusi ,200!: 1o79,.
,&##&-+./+0 &1+2%") +- /,& %()"- 3(%#' 27
Irom the rising ol the sun above the marshes ol Maeotis comes no one
whose oeeos coulo balance his. ,trans. Warmington,
Enn. E.$* 23! V.
2
,~ lr. !!.3! Courtney ~ Cic. ,%2* lr. o p. 137 Zieg.
~ Sen. J2+03* 108.3!, see also Lact. O+?* 6/03* 1.18.11,:
8+ #.0 %/&' 2".4.0 1.%"%039- .01%/&%$% 19+A9.- %03>
)+ 0'"+ 1.%"+ -.M+-. 2'$3. 2.3%3*
Il it is right lor anyone to go up into the regions ol heaven`s owellers, lor
me alone heaven`s great gate lies open. ,trans. Warmington,
There are many problems in restoring ano interpreting these texts.
1o

The epigrammatic nature ol at least E.$* 1920 V.
2
can haroly be ques-
tioneo: its "rst sentence, C+1 %03 +""% 0+390, lolloweo by a relative clause,
is mooelleo on cliches ol Roman lunerary epigram, ano it probably
exerteo consioerable in!uence on later inscriptional poetry.
17
In E.$*
23! V.
2
ano possibly in E.$* 212 V.
2
Scipio speaks in the "rst person,
many scholars wish to combine both oistichs into just one epigram ,see
also below,:
18
though probable, this is not certain.
The poems exhibit markeo Hellenizing: a new, Greek meter is intro-
ouceo ano the language owes much to Homeric ano tragic solemnity.
19

In 19 V.
2
C'03+0 means 03$+13' 0%/09 enemy, not stranger, loreign per-
son, as in the parallel %"'4+9- lor Sulla in the Campus Martius, which
very probably imitates Ennius` lor Scipio.
20
Greek epigram lrom its
beginnings playeo with similar ioeas: the oeceaseo was appreciateo
by citizens ano loreigners ,e.g., 5J@ 112.1,, even enemies, by their
oeleat, testily to the oeceaseo`s value ,Aeschylus 2 B@J pp. 1312 ~
?+3. !%01CK"+ p. 332 Fage,. There are also traoitional motils that Roman
%"'4+9- associateo with the oeceaseo`s excellence among his lellow citi-
zens. Ennius re-elaborates, mooi"es ano aoapts lor Scipio such ancient
3'2'+, even by inversion. Thus the clause 19+ /%-' 1+?+0 /%A9% C'03+0 A9+?+3 2$'
1o
Courtney ,1993: 39!2,, Bosworth ,1999: ,, Morelli ,2000: 3o!0,, Suerbaum
,2002: 132,, with lurther bibliography.
17
Courtney ,1993: !0,, Morelli ,2000: 37,. Ferhaps alreaoy 567 I
2
11.! alluoes to
Ennius` oistich.
18
See alreaoy Scaliger ,173: 193,, ano Skutsch ,198: 1!8,, Ferutelli ,1990: 27,,
Courtney ,1993: !01,, with lurther bibliography. Vahlen ,1903: 21o7, takes a more
cautious approach.
19
Morelli ,2000: !01,.
20
Setaioli ,1977: 700,, Courtney ,1993: !0,, Suerbaum ,2002: 338,. At any rate, in
Sulla`s epitaph ,paraphrasis in Flut. 89""* 38.!, ioi ano rUpo are personal lrienos
ano rivals ,citizens ano strangers, ol the oeceaseo.
28 "#$%&'( )* )(%&##+
#.13+0 $%&&%$% '2+0 2$%3+9- means one thing lor the countryman ,1+?+0,i.e.,
that he was unable to renoer lor Scipio`s pains a recompense "tting
his servicesbut another lor the loeman ,C'03+0,.
21
In archaic literary
Latin both 2$%3+9- ano '20 are ?'1%0 -%&+.% which may also have negative
connotations.
22
Ior the C'03+0, then, what is meant is that none was able
to make Scipio pay the penalty ol his war exploits, hinting perhaps at
Rome`s loe 2.$ %M1%""%/1% in this perioo, Hannibal. But what ooes it mean
that no citizen coulo aoequately rewaro Scipio? Ennius is probably
critiquing Scipio`s ungratelul latherlano.
23
The epigram was actually
inscribeo ,or at least allegeo to be, on Scipio`s tomb at Liternum. As
Livy states ,38.3.8,, Scipio oroereo that he shoulo be burieo there
/% #9/90 0+=+ +/ +/4$.3. 2.3$+. !%$%3. A breach between inoivioual ano his
nation hao occurreo, the 1'/0%/090 ol the Roman people, or even ol
all the worlo, was no longer the guarantee ol the oeceaseo`s ?+$390 ano
excellence. Scipio`s personality stanos out as haughty ano ostentatious
towaro citizens ano enemies alike ,ano contrary to eulogistic traoition
both Roman ano Greek,.
2!
In Skutsch`s opinion, Enn. E.$* 21! V.
2
was mooelleo on Alcaeus
ol Messene 1 GF ,~ !F 9.18,.
2
Il this is correct, Ennius translorms
the bombastic ,perhaps ironic?, eulogy ol the still living Fhilip into a
lunerary epigram that oei"es the oeao Scipio, Fhilip`s challenge to Zeus
in Alcaeus becomes Scipio`s ascent to heaven, ano Alcaeus` aooress to
the goo, almost blasphemous to the Roman sensibilities, is replaceo by
the more religious lormula 0+ #.0 %/&' 2".4.0 1.%"%039- .01%/&%$% 19+A9.- %03.
Ennius` epigram may also conceal a jab at its mooel, in stressing that
-+ 0'"+ 1.%"+ -.M+-. 2'$3. 2.3%3: Scipio alone ,ano not Fhilip or other Hel-
lenistic sovereigns, has the right to rise to Olympus. The comparison
is now between Scipio ano other historical personalities, in particular
Hellenistic kings ano perhaps the archetypal "gure ol Alexanoer the
Great, con"rmeo by the emphasis on the Eastern sioe ol the Meoiter-
21
So Warmington ,193!0: 1.!01,.
22
Setaioli ,1977: 7001 ano 70,. Examples are collecteo in D77P '20, 9.2.80o.3!!
,Kuhlmann, ano 2$%3+9- 10.2.1210.39!9 ,Michael Hillen,. Aoo Naev. 3$.4* 8 R.
3
2$%3+9-
2$' #.13+0 #%$.3 ,the ioiom 2$' #.13+0 2$%3+9- recurs, e.g., in Flaut. 5.23* 9!0,.
23
A hint at a eulogistic motil is also possible: Setaioli ,1977: 7012,.
2!
The motil ol the ungratelul country ,likewise lor a oeceaseo burieo in a loreign
lano, may be louno in a Diooorus` epigram lor Aeschylus, 13.3! GF ,~ !F 7.!0.3!,.
There are probably other allusions in Ennius` work to Scipio`s lalling into oisgrace,
see Morelli ,2000: 38,.
2
Skutsch ,198: 1!8,.
,&##&-+./+0 &1+2%") +- /,& %()"- 3(%#' 29
ranean ,. 0'"% %M'$+%/3% 092$. ).%'3+0 2."9&%0,.
2o
While Ennius states Scipio`s
superiority in a very Roman wayby comparison ol #.13. ,/%-' %03 A9+
#.13+0 .%A9+2%$.$% A9%.3: see the almost contemporary lormula in Fublius
Scipio`s %"'4+9-> 567 I
2
10., #.1+"% #.13%+0 092%$.0%0 4"'$+. -.+'$9-,apothe-
osis 2'03 -'$3%- is alien to the traoitional, conservative Roman aristocratic
mentality. There was, ol course, the %M%-2"9- ol the heroizeo Hercules
ano, above all, Romulus-Quirinus, but in the "rst oecaoes ol the sec-
ono century B.C. reshaping such mooels to outstanoing contemporary
inoiviouals appeareo strange ano oangerous. Ennius goes lar beyono
the traoitional Fythagoreanism ol Roman social ano cultural elites in
exploiting Hellenistic court epigram ano, more broaoly, poetry ano
culture:
27
his Euhemerism, too, breaks the molo.
28
Two lurther oistichs are ascribeo to Ennius by Cic. D901* 1.3! ano 117:
an epigram on his own portrait ,E.$* 1o V.
2
~ lr. ! Courtney, ano a
sell-epitaph ,E.$* 178 V.
2
~ lr. !o Courtney,.
29
Although Cicero`s source
seems to be a work ol Varro, it is clear that neither oistich was written
by that author. Nor are they by Ennius ,especially 1o V.
2
,. Rather
they were proouceo some time alter the beginnings ol Latin philology,
which was at "rst particularly oevoteo to 2.3%$ J//+90 ano earlier epic
poetry. Later interest in stage genres
30
subsequently proouceo allegeo
lunerary epigrams by Naevius, Flautus ano Facuvius on themselves
,Gell. 1.2!.1!, probably, at least lor Flautus, lrom Varro`s O% 2'%3+0,.
31

The epigram lor Facuvius is contemporary with his oeath ano may
be authentic,
32
the remaining two are eruoite prooucts, perhaps even
2o
Skutsch ,198: 1!8, suggests a lacuna immeoiately belore 22 V.
2
, because not
all caroinal points ol the '+Q'9-%/% are mentioneo at 21 V.
2
, see also Courtney ,1993:
!12,. But Ennius coulo be stressing comparison precisely with the Hellenistic worlo.
Geographical limits only lor East ano North ,once again Maeotis, i.e., the Sea ol Azov,
are present also in a passage which clearly imitates Ennius` poem, Verg. !%/* o.798ll.,
see Bosworth ,1999: 1,.
27
Bettini ,1979: 87,, Skutsch ,198,, Courtney ,1993: !1,, Morelli ,2000:
39!0,.
28
Winiarczyk ,2002: 123!2,.
29
Suerbaum ,19o8: 2081!, 333o,, Lausberg ,1982: 277,, Skutsch ,198: 1!o7,,
Courtney ,1993: !23,, Morelli ,2000: !17,.
30
Suerbaum ,19o8: 21!, n. o31,, Morelli ,2000: !o7,. On the evolution ol early
Latin philology, see now Goloberg ,200: 179 ano bibliograghy 2930,.
31
BF7 pp. 28 ano 32 Morel, 39!0 ano !3! Buchner, 72! Blnsoorl, Courtney
,1993: !70,.
32
Morelli ,2000: !78 ano 8!,. Dahlmann ,19o3: 100, ano Ekkeharo Strk .29&
Suerbaum ,2002: 17, with lurther bibliography, think oillerently. On relationships
with 57J 3 ano 8!8, see Massaro ,1992: 128, ano ,1998,.
30 "#$%&'( )* )(%&##+
by the same author, lrom the perioo between the Gracchi ano Sulla.
33

In the Greek ano Roman milieu, epigrammatic eulogies ol poets ano
writers parallel biographical literature, ano their proouction or at least
their transmission is connecteo with the eruoite genre ol E+3.% 2'%3.$9-.
3!

In Roman epigrams, typical themes incluoe the griel ano pain lelt by
Muses ano other oivine beings over the poet`s oeath ,the epigrams lor
Naevius ano Flautus,,
3
ano the poet`s unoying lame ,Enn. E.$* 178
V.
2
,.
3o
Sometimes we recognize the in!uence ol the oloer aristocratic
%"'4+9-, with some epicizing emphasis.
37
There is also an eruoite ten-
oency to reler to leatures ol the poet`s work or its importance to the
oevelopment ol Roman literature ,especially in Naevius` ano Flautus`
epigrams,. In general, we see how Romans became sensitive to the
importance ol their literary traoitions: they reveal +/ /91% that same
tenoency towaro heroizing the main "gures ol literary past as one sees
in Hellenistic poetry.
38
Another important, though olten neglecteo, "gure in the history ol
Roman literary epigram is Lucilius, ol whose work we possess but a
lew scraps in elegiacs, mostly lrom book 22 ol his 8.3+$.%.
The most signi"cant ,7980 Marx, is a oistich transmitteo by Don.
D%$* FC'$-* 287:
8%$?90 /%A9% +/!&90 &'-+/' /%A9% +/93+"+0 A9.A9.-
791+"+ 1'"9-%"". C+1 0+390 )%3$'2C./%0*
Here lies a slave who was both laithlul ano in all ways uselul to his
master, a little pillar ol Lucilius` house, by name Metrophanes. ,trans.
Warmington,
Metrophanes` poetic epitaph was the "rst lor a slave in Rome. Martial
,11.90.!, quotes its secono line as an instance ol olo-lashioneo taste, ano
33
Courtney ,1993: 0,.
3!
Gabathuler ,1937,, Dahlmann ,19o3: 70100,, Bing ,1993a,.
3
In Hellenistic epigram we "no honors lor the oeao poet more lrequently than the
Muses` ano other goos` griel. Compare with Naevius` epigram two poems by Alcaeus
ol Messene: 11 GF ,~ !F 7.1,, griel ol the goos ?0* unworthiness ol men, ano 1! GF
,~ !F 7.!12,, goos cry ano men stop sympotic activities because ol Filaoes` oescent
to Haoes. See also Suerbaum ,19o8: 30!,, Morelli ,2000: !3o,.
3o
See especially Enn. E.$* 18 V.
2
?'"+3' ?+?'0 2%$ '$. ?+$9-. See Lennartz ,1999,, Morelli
,2000: !3,.
37
See especially Enn. E.$* 1o V.
2
The woro oroer is sophisticateo, but the eulogy
is quite sober with its inoication ol the name ano oeeos ol the oeceaseo, the aooress
to 1+?%0 is remarkable. Iine analysis in Skutsch ,19o8: 2o,, Bettini ,1979: 83!,,
Lausberg ,1982: 27o,.
38
Rossi ,2001: 8110o,.
,&##&-+./+0 &1+2%") +- /,& %()"- 3(%#' 31
this is in keeping with the lact that the couplet was not just appreciateo
by archaizing scholars ol the late "rst century A.D., but also reuseo
in 57J.
39
At the same time, it exhibits a oegree ol Roman-Hellenistic
re"nement: /%A9% +/93+"+0 A9.A9.- is an artlul translation ol the most lre-
quent epithet in 5J@, that useo lor gooo slaves in the Greek milieu,
pqoto.
!0
Its style, moreover, employs sophisticateo woro oroer, ano
combines lormulae typical ol the Roman lunerary traoition ,C+1 0+390,
with laint echoes ol a granoer literary traoition, yet in the manner ol
the 0%$-' C9-+"+0. The oiminutive 1'"9-%"". tones oown the hyperbolic
epic-tragic phrasing ,see Enn. !//* 3!3 Sk. $%4/+ * * * 1'"9-/.-,. In all, we
"no a sense ol oecorum mixeo with a certain irony, ano a new taste
lor slang.
!1
Similarly, the other elegiac lragments lrom book 22 ,81!
Marx, are strongly in!uenceo by Flautine style.
!2
It cannot be oeter-
mineo whether all lragments belong to epigrams or to longer elegies.
Roman cultural elites also experimenteo with new epigrammatic types
unoer the in!uence ol contemporary Greek culture, in particular with
erotic epigram. Gellius transmits amatory poems by Valerius Aeoituus,
Forcius Licinus ano Lutatius Catulus in a lamous chapter ol his N'13%0
!33+1.% ,19.9,, lrom Cic. N.3* &%'$* 1.79 we also know another epigram ol
Catulus ,2 Morel ~ 2 Courtney,.
!3
Aeoituus, Licinus ano Catulus are
mentioneo in the same oroer ano in a similar context by Apul. !2'"*
9.o, who ooes not oepeno on Gellius. On this ano other evioence, it has
been suggesteo lor more than a century that all three poets belongeo to
a circle unoer the patronage ol Lutatius Catulus,
!!
or at least that their
epigrams were part ol a Latin anthology which circulateo among eru-
oite reaoers ol the secono century A.D.
!
Although there is not enough
evioence lor either suggestion,
!o
the poems` impressive consistency in
39
Massaro ,1992: 10,, Morelli ,2000: 11!,, with lurther literature.
!0
Rossi ,2001: 31922,.
!1
See Donatus` commentary ,il it is not baseless,: ancient people oe"neo oloer
slaves as 1'"9-%"".%.
!2
Morelli ,2000: 1217,.
!3
Alter Courtney ,1993: 708,, general stuoies ol so-calleo pre-neoteric epigrams
may be louno in Bernaroi Ferini ,1997,, Maltby ,1997,, Bionoi ,1998a: !317,, Nosarti
,1999: 117!,, Morelli ,2000: 131237,, Varoi ,2000,, ano Suerbaum ,2002: 2901,
!23,.
!!
Buettner ,1892: 110,.
!
Usener ,18o: 11,.
!o
On the 03.390 A9.%03+'/+0, see Granarolo ,1971: 32o, ano ,1973: 312!, ano
Courtney ,1993: 71,, therealter, the inconclusive surveys ol Morelli ,2000: 131!,
ano Varoi ,2000,, with lurther literature.
32 "#$%&'( )* )(%&##+
subject matter ano style suggests that a particular lashion lor amatory
epigram took holo at Rome at the eno ol the secono or the beginning
ol the "rst century B.C.
The best known ol the three poets was Lutatius Catulus.
!7
A mem-
ber ol the Sullan aristocracy, consul with Marius in 102 B.C., victor
over the Cimbri, he committeo suicioe in 87 B.C., as Marius` party
temporarily prevaileo. His literary interests were expansive: like other
aristocrats ol this perioo ,Scaurus, Rutilius Rulus, Sulla,, he wrote an
autobiography ,7+=%$ &% 1'/09".39 %3 &% $%=90 4%03+0 09+0, oeoicateo to Iurius
Antias ,Cic. <$93* 132,, ano he knew ano protecteo Greek epigrammists
such as Antipater ol Sioon ,Cic. O% '$* 3.19!, ano Archias ,Cic. !$1C*
o,. As we reao in Fliny the Younger ,J2+03* .3,, people like Sulla or
Quintus Scaevola composeo erotic epigrams. When oio such a literary
lashion begin in the Roman aristocracy? Dio it originate in the @.$"./&
ol Meleager, as many scholars think?
!8
In my opinion, evioence argues against such a suggestion, at least in
case ol Lutatius Catulus. Il, as is probable, Meleager`s @.$"./& was not
publisheo belore 80 B.C.,
!9
Catulus` use ol it is simply impossible. Il
the @.$"./& was assembleo circa 9o B.C. ,ano it is reasonable to assume
that its arrival in Rome woulo have requireo a lew years more,, it is
haro to believe that a poem like Catulus 2 was written lor Roscius when
he was approximately thirty, whereas Cicero speaks in this context ol
poems exalting beautilul young .&9"%01%/39"+ or 29%$+. In both cases, we
must keep in mino that Catulus was in contact, well belore the eno ol
the secono century B.C., with important epigrammists such as Antipater
ano Archias. Meleager states that Antipater was a noteworthy erotic
poet ,122.1o GF ~ !F 7.!28.1o,. Although only one ,homo,erotic
poem ol his has surviveo to our oay ,o GF ~ !F 12.97,,
0
it is enough
to acknowleoge Antipater`s possible contribution to new Roman epi-
grammatic tastes.
1
It is, all the same, impossible to establish whether
all pre-neoteric epigrams preceoe Meleager`s @.$"./&. As a whole they
have to be envisageo as important evioence lor a Graeco-Roman liter-
ary movement that preceoeo ano accompanieo the @.$"./&, ano was
in its turn lostereo by the great success ol Meleager`s anthology. Anti-
!7
Baroon ,192: 1121,.
!8
Laurens ,1989: 1977,, Cameron ,1993: 1o,.
!9
See Argentieri in this volume.
0
The epitaph lor the hetaera Lais ,23 GF ~ !F 7.218, is also remarkable.
1
Morelli ,2000: 1!o2,.
,&##&-+./+0 &1+2%") +- /,& %()"- 3(%#' 33
pater was surely just one ol the intermeoiaries lor the spreao ol such
a taste to Rome. Similarly, the poetry ol Laevius is largely in!uenceo
by Hellenistic epigram.
2
Such in!uence is evioent in Catulus 2 Courtney, the poem on Roscius.
Noteworthy leatures are the playlul conceit ano artlul Fhoenician
style, with its jokes about the 29%$`s name, ano a hyperbolic comparison
between the boy`s ano a goo`s ,Dawn`s, beauty.
3
Similar tenoencies
appear in contemporary Hellenistic epigrammatists, such as Antipater,
Folystratus or Fhanias, or the many anonymous poems ol the @.$"./&,
without any evioence ol strong speci"c in!uence by Meleager or his
anthology.
!
The superiority ol the beloveo to the goos is a topos Hel-
lenistic erotic epigram inheriteo lrom royal encomium, at Rome it is
coloreo by the humorous Flautine traoition ol 0K/Q$+0+0 ,comparison,
ano, with relerence to epigram in particular, by the example ol Scipio`s
oei"cation in Enn. E.$* 21! V.
2
,~ !! Courtney,.
By simulating a
lover`s lrenzy, then, in exalting his oarling`s qualities, Catulus` epigram
exhibits a raoical change in cultural mooo lrom bombastic political
eulogy to erotic ,ano ironic, re"nement.
In contemporary Greek literature ,incluoing Meleager,, this perioo
witnesses a kino ol revival ol early Hellenistic epigram ,Callima-
chus, Fosioippus, Asclepiaoes,.
o
Catulus 1 Morel ,~ 1 Courtney,, lor
example,
!9#94+3 -+ ./+-90* 5$%&'> 93 0'"%3> .& DC%'3+-9-
&%?%/+3* 8+1 %03> 2%$#94+9- +""9& C.=%3*
L9+& 0+ /'/ +/3%$&+M%-> /% +""9/1 #94+3+?9-
-+33%$%3 .& 0% +/3$'> 0%& -.4+0 %+1%$%3H
6=+-90 A9.%0+39-* E%$9-> /% +20+ 3%/%.-9$>
#'$-+&'* L9+& .4'H O.> E%/90> 1'/0+"+9-*
My soul has lelt me, it has !eo, I think, to Theotimus, he is its reluge.
But what il I shoulo beg that he reluse to aomit the truant, but cast it
out? I`ll go to him, but what il I am caught? What shall I oo? Leno me,
Venus, your aio. ,trans. alter Rolle,
2
Iantuzzi ano Hunter ,200!: !o3,.
3
On Catulus 2 Morel, see also Granarolo ,1971: !90,, Dahlmann ,1981,, Ferutelli
,1990,, Weber ,199o,.
!
5'/3$. Laurens ,1989: 17!,, who compares some ol Meleager`s poems such as
100 GF ,~ !F 12.9,.
On relationships between Catulus` ano Ennius` epigrams, Ferutelli ,1990: 27o,,

Bionoi ,1998a: !323,, Morelli ,2000: 1o12,.
o
See Argentieri in this volume.
3! "#$%&'( )* )(%&##+
is an artlul translation ol Callimachus ! GF ,~ !F 12.73 ~ !1 Fl.,:
jiou ru u[ rti to avrov" jiou o` oux oio`
rt` po rt` Aoq jpaoor" aiqv oovr#
\ po tiv` r aooev aoiiv rto$ xo rv oariaov
aoiioxi `tqv op[otiv q %uarroUr%" vroi`
%ouxiouviqoov% rxrior yop \ iiUoiruoto
xrvq xo ouorpe oio` ti aou otprrtoi#
It is but the hall ol my soul that still breathes, ano lor the other hall I
know not il it be Love or Death that hath seizeo on it, only it is gone. Is
it oll again to one ol the laos? Ano yet I tolo them olten, Receive not,
ye young men, the runaway. Seek lor it at **, lor I know it is somewhere
there that the gallows-biro, the love-lorn, is loitering. ,trans. Faton,
Compareo with Callimachus ano his contemporaries, we "no the
speaker more oeeply involveo in his erotic allair: as evioenceo by the
syntax ol Catulus 1, which is more broken ano uneven than in its mooel,
love is passion, pain, ano subjection to Eros or sometimes even to the
beloveo. Callimachus` poem is reinterpreteo in the mooo ol a Latin
epoioyo ,lover`s comic monologue,, strongly in!uenceo by the col-
loquial language ano style ol the .&9"%01%/3%0 .-.3'$%0 in the comeoies ol
both Flautus ano Terence.
7
In its approach to love allairs, pre-neoteric
epigram, like contemporary Hellenistic poetry, also relers to important
mooels ol archaic Greek erotic poetry, primarily Sappho: hints at Sap-
phic poems are alreaoy evioent in Lutatius Catulus,
8
while Valerius
Aeoituus ,1 Morel ~ 1 Courtney, aoapts the lamous ooe Sappho 31
V. well belore Catullus 1.
9
Sympotic themes, as in the comastic
Valerius Aeoituus 2 Morel ,~ 2 Courtney, ano bucolic topics, as in
Forcius Licinus o Morel ,~ 7 Courtney, are also present.
o0
3. O+& 5.39""90 R$+3% %2+4$.-0H
To summarize, aristocratic ,ano even politically conservative, Roman
elites introouceo a highly stylizeo epigram as a kino ol -'&% &% 0."'/.
7
On Catulus` reuse ol Latin comic language, see Fascucci ,1979,, Tanooi ,1981:
1o9,, Ferutelli ,1990: 277,, Maltby ,1997,, Bionoi ,1998a: !3!,, Morelli ,2000:
1o!77,.
8
Stark ,197: 330,, Morelli ,2000: 177,.
9
On the restoration ol line 3, Courtney ,1993: 701,, Bernaroi Ferini ,1997: 17,,
Nosarti ,1999: 119,, Morelli ,2000: 18o9 ano 3!01,, Murgia ,2002: o7,.
o0
On Valerius Aeoituus 2 Morel, see also Jocelyn ,199!,, on Forcius Licinus o Morel,
Hubaux ,1930: 23o,, Suerbaum ,2002: 2901,, with lurther bibliography.
,&##&-+./+0 &1+2%") +- /,& %()"- 3(%#' 3
They imposeo on it the ioeology ol a re"neo, exclusive society, taking
as a prestigious mooel the literary culture ol the aristocratic archaic
Greek worlo while recasting it in the light ol the Hellenistic epigram. No
wonoer then that such a literature became lashionable also lor emerg-
ing "gures or social classes: Cicero wrote at least one erotic epigram
S ". )T"T.4$%, on kisses oenieo ,cp. the later Catullus 99,,
o1
ano even at
Fompeii the impressive cycle ol Tiburtinus` epigrams on the outer wall
ol the Ooeon shows the appeal that this new aristocratic taste exerteo
on provincial elites too.
o2
The polymetric /94.% ano elegiac epigrams by Catullus ano the
2'%3.% /'?+ seem partly to continue, partly to break with such a Roman
traoition.
o3
Historical assessments have ollereo sometimes contraoictory
results. Davio O. Ross, lor instance, states that Catullus` short poems in
elegiacs lollow a native Roman traoition ,ol which pre-neoteric epigram
is an important part, with its own style ano literary language,
o!
ano
hence quite oillerent lrom Hellenistic epigrams. On the other hano,
Fierre Laurens argues that Catulus`, Aeoituus` ano Forcius` poems are
simply Hellenistic epigrams written in Latin, Catullus, by contrast, trans-
lormeo generic expectations so raoically that his short poems in elegiacs
are scarcely epigrams, but rather short elegies, their composition ano
arrangement closer to sympotic Theognioean poetry, by comparison,
the polymetric /94.% are more akin to Greek epigram.
o
The lollowing
points respono to both these juogments.
1, Catullus augments pre-neoteric ,ano Meleagrian, classicism:
the Greco-Roman epigram ol Meleager`s age was alreaoy allecteo
by a strong tenoency to re-evaluate the Callimachean mooel, ano to
approximate ,through Callimachus, archaic Greek poetry.
oo
Certainly
we shoulo not minimize the importance ol Catullus` innovation, but
must avoio the oanger ol placing it in a historical vacuum.
2, Catullus translormeo the re"neo epigrammatic lashion ol exclusive
aristocratic groups into a consistent ioeology ol ?%/903.0literary ano
o1
There is no reason to ooubt the attribution to Cicero ol Ep. 3 Soubiran, see
Morelli ,2000: 1801,.
o2
Ross ,19o9: 1!79,, Tanooi ,1981, ano ,19823,, Courtney ,1993: 7981,, Morelli
,2000: 2377,, with lurther bibliography.
o3
Recent general introouction to Catullan problems in Kolson Hurley ,200!,. See
also Wiseman ,198, ano Quinn ,1999,.
o!
Wheeler ,193!: o18o,, Ross ,19o9: 137o9, esp. 1!o,. Dominicy ,2002, analyzes
the rhetorical structure ol 1* 7, which he parallels with Valerius Aeoituus 1 Morel.
o
Laurens ,1989: 1778, 183213,.
oo
Granarolo ,1978,.
3o "#$%&'( )* )(%&##+
worloly re"nement combineo with bonos ol love ano allection set in
a small social groupthat clashes with the coarseness ol the +/?%/903+.
Epigrams ano /94.% are a !exible literary instrument to express such
ioeals ano to sketch the associateo &T-+G-'/&%.
o7
To achieve this ellect,
Catullus oisplays in his short poems an impressive variety ol literary
lorms ano stylistic registers. Every poem is lashioneo accoroing to its
own particular lormula ano shows a wioe range ol poetic leatures,
with recourse to the most oissimilar generic traoitions ano linguistic
registers.
3, In such a context, Theognioean poetry can be merely one ingreoi-
ent ol Catullus` elegiacs, not the key to unoerstanoing them. Limiting
things to erotic topics, lrom a purely thematic ano lormal point ol
view, 1* 70 is a Latin epigram in the style ol Callimachus 11 GF ,~
!F .o ~ 2 Fl., or Meleager o9 GF ,~ !F .8,, although the oramatic
involvement ol the %4' is absent lrom its mooels. A mannerly poem such
as 1* 8o is inconceivable il we leave the @.$"./& out ol consioeration.
5.$-+/. 83 ano 92 work out, in Callimachean epigrammatic manner,
the oeouctive reasoning ol the %4' about the behavior ol his mistress,
o8

ano both incluoe a rhetorically elaborateo "nal point ,83.o 9$+39$ %3
"'A9+39$, 92.2 ano ! &+02%$%.- /+0+ .-.3 * * * &+02%$%.- /+0+ .-',. Irom a purely
generic point ol view, what shoulo we consioer a small elegy like 1* 99?
Generic composition in Catullan erotic elegiacs is not limiteo to the
contrast between Hellenistic epigram ano Theognioean elegy.
!, The 3'2'+ ano style ol archaic Greek erotic lyric play an essential
role not only in Catullus` /94.%, but also in the epigrams. Anacr. 83
Fage provioes an important backgrouno lor the lamous 1* 8 ,'&+ %3 .-',
even more than Theogn. 1091!. Sappho 1 V., along with Theogn.
1323o, inspireo Catullus` prayer in 1* 7o. Although pre-neoteric poetry
aoapteo Sapphic themes to epigram ,cp. Valerius Aeoituus 1,, Catullus
went lurther in his classicism, by, lor instance, translating Sappho 31
V. into the same lyric meter ,1* 1,, which paveo the way lor Horace`s
more consistent literary experiment.
, Nevertheless, Laurens is correct in orawing attention to the
in!uence ol archaic Greek short elegy. Many ol Catullus` poems in
elegiacs are similar in shape, topic, ano mooo to Theognioean pieces.
Moreover, Zicri remarks that the Catullan oistich in 11* o911o is,
o7
Alter Citroni ,199: 720,, see now Nappa ,2001: 2.00+-, esp. 93!,.
o8
Stoessl ,197: 291!,, Synoikus ,198!90: 3.!92,, Thomson ,1997: 102,.
,&##&-+./+0 &1+2%") +- /,& %()"- 3(%#' 37
in some metrical leatures, more similar to Theognis` than to Hel-
lenistic epigrammatic elegiacs.
o9
Above all, some important leitmotils
in the epigrammatic part ol Catullus` "+=%$ have their backgrouno in
Theognioean elegy. We may highlight the importance ol the themes
connecteo to !&%0, the loyalty between partners that in Catullus leaos
to a #'%&90 ,pact,. Sometimes they are also shapeo in a programmatic
ano paraenetic way ,see 1* 109,. Nothing similar is to be louno in the
/94.% ,11* 1o0,: the generic oillerence between elegiacs ano polymetrics
is clearly markeo. In Catullus` short elegiac poems oistance between
epigrams ano erotic elegy is ellaceo: even in the Greek milieu there
is evioence lor poetry books containing both epigrams ano elegies.
70

No wonoer then that among Catullus` epigrams we "no an elegy like
1* 7o, or that the subject matter ano style ol 1* o8 ano 11* o911o are
so similar.
71
This will have important ellects on the history ol Roman
elegy: the only poems we know ol Cornelius Gallus, the lounoing lather
ol Roman elegy, are epigrams
72
o, Catullus conceiveo ol epigram as an open lorm. Irom a generic
point ol view, epigram was lor him a literary lrame in which he coulo
combine leatures ol very oillerent poetic genres. Ano il we consioer
the rhetorical structure ol many poems, we realize that it is not as
closeo as in Hellenistic epigram. Yet even in such cases, oillerences
lrom Theognioean elegiac sketches are apparent: the epigrammatic
taste lor unity ano symmetry is always present in Catullus ,cp., e.g.,
the oillerence between Theogn. 13o3! ano 1* 87,. But more, Catullus`
poems are open to thematic connections with other poems ol the "+=%$:
lor example, 1* 87 grows richer in its meanings reao together with 11* 7
ano 8. As a whole, Catullus` 1.$-+/. outline a consistent set ol exem-
plary moments in the lile ol a poetic %4' ano alloro a rare opportunity
to observe the network ol cross-relerences that markeo out an ancient
epigrammatic "+=%""90.
73
In this, the anthology ol Meleager represents
o9
Zicri ,19o!,, but see also the remarks in Morelli ,2000: 30713,. On Catullan
use ol hiatus, see now Bionoi ,2003,, on elision Dominicy ,2002: 1812,. Ross ,19o9:
1137, overemphasizes Roman leatures ol Catullan elegiacs.
70
Morelli ,2000: 327,.
71
Day ,1938,, Luck ,19o9: 9o9,, Wiseman ,197!: 77103, ano ,198,, Fasoli ,1980,,
Sarkissian ,1983,, Synoikus ,198!90: 2.29o,, Bionoi ,1998b: !73o,.
72
On the authenticity ano literary backgrouno ol Gallus` papyrus lrom Qasr Ibrim
see, alter Anoerson, Farsons ano Nisbet ,1979,, Capasso ,2003,.
73
I think that Catullus` 7+=%$ was assembleo by him or by an eoitor out ol his milieu,
shortly alter his oeath: recent oiscussion ano bibliography in Scherl ,199o, ano Morelli
,200,. The 7+=%$ was perhaps articulateo in three books ,1o0, o1o!, o11o,: on
38 "#$%&'( )* )(%&##+
another major in!uence. In its erotic part, the @.$"./& is organizeo into
a sequence ol thematic cores which can be reao as a sort ol exemplary
erotic biography ,lalling in love, the maoness ano pain ol love, subjec-
tion to the beloveo, in"oelities, separation ano so on,.
7!
7, In aooition to erotic topics, we "no in the 7+=%$ other traoitional
epigrammatic motils:
7
lunerary themes ,11* 9o ano 101, see also o
ano o8, not coincioentally, such topics are absent in the polymetric
section,
7o
ano literary manilestos ano polemics ,9 ano 11o, see 1, 1o,
22, 3, 3o, 0 in the /94.%,. Above all, we "no abunoant invective, in
both the elegiacs ano lyrics. The in!uence ol Hellenistic epigram is
evioent, lor instance, in the lrequent mixture ol .& C'-+/%- attacks ano
literary questions ,1o, 22, 3o, 9, 10, 11o,,
77
but Catullus` themes ano
language are olten very oillerent ano extreme. His aggressive ioixq
ioro gives an epigrammatic lorm to the archaic Ionic violence ol
Archilochus` ano Hipponax` poetry,
78
a lurther example ol Catullus`
classicism, which, once again, consists not ol bookish or lrigio imitation,
but ol the topical presentation ol literary mooels. At the same time,
however, contemporary Roman culture is lono ol satiric verse attacks.
Inoeeo, while the similarity between Catullus` satiric poems ano Calvus`
epigrammatic onslaughts on Caesar ano Fompeius ,178 Morel ~ 178
Courtney, is impressive, Calvus` scraps are only part ol a quite large
corpus ol contemporary poetic lragments ,both anonymous or by a
recognizeo author, ano 3%03+-'/+.. Short satiric poems were a Roman
traoition , #%01%//+/. +'1.3+', '11%/3.3+', 1.$-+/. 3$+9-2C."+.,,
79
largely reuseo
by literary epigram ano political propaganoa: in cultivateo poetry as
in lolkloric verse or versi"eo slogans, sexual, scatological, ano obscene
language ano topics are olten prominent ,Calvus 178 Morel, ?%$0* 2'2*
+/ 5.%0* 12 ano 7 Morel ~ ?%$0* 3$+9-2* 12 ano ?%$0* 2'2* 3 Courtney,.
the thiro one, see now Skinner ,2003,. On thematic ano woro connections in Catullus`
work, see now Claes ,199o, ano ,2002,.
7!
See Gutzwiller in this volume.
7
On the poetics ol the various topics in Catullus ano Greek epigram, see recently
Hutchinson ,2003,.
7o
The elegiac lragments ol Calvus ,1o Morel ~ 1o Courtney, are interesting:
they possibly oerive lrom a poem in memory ol Calvus` wile Quintilia. On Calvus,
Baroon ,192: 1.3!1!,, Granarolo ,1973: 3!38,, Ferutelli ,1988,, Courtney ,1993:
20111,, with lurther bibliography.
77
See now Davies ,2000,, Schievenin ,2000,. More in general Gamberale ,1982,.
78
Newman ,1990: !37!,. On Catullus` obscene language see Richlin ,1981, ano
Iitzgeralo ,199: 98o,, with lurther bibliography.
79
Iraenkel ,19, ano ,19o1,. On relationships with Roman lolklore, see now Di
Beneoetto ,2001,.
,&##&-+./+0 &1+2%") +- /,& %()"- 3(%#' 39
8, We return to the role ol the Roman poetic traoition in Catullus.
The range ol linguistic registers in Catullus` short poems is greater
than in Meleager`s or Callimachus` epigrams. He lollows pre-neoteric
epigram in recuperating many linguistic leatures ol the ancient 2.""+.3..
Catullus` language meets ano, at the same time, goes beyono the quasi-
Callimachean oemanos ol realism. The violence ol his oiopoioyo
suits the coarseness ol his targets, but even in outlining such oisgusting
"gures as Aemilius ,1* 97, or Victius ,1* 98,, Catullus ooes not lose control
ol the epigrammatic shape. One example, 1* 80, sul"ces:
L9+& &+1.-> @%""+> A9.$% $'0%. +03. ".=%"".
:+=%$/. !./3 1./&+&+'$. /+?%>
-./% &'-' 19- %M+0 %3 19- 3% '13.?. A9+%3%
% -'""+ "'/4' 0901+3.3 C'$. &+%H
N%01+' A9+& 1%$3% %03* !/ ?%$% #.-. 0909$$.3
4$./&+. 3% -%&++ 3%/3. ?'$.$% ?+$+H
8+1 1%$3% %03P 1".-./3 E+13'$+0 $923. -+0%""+
+"+. %3 %-9"0' ".=$. /'3.3. 0%$'*
What am I to say, Gellius, to explain why those rosy lips grow whiter
than winter snow when you leave the house in the morning ano when
the eighth hour wakes you lrom your solt slumber in the long oay?
Something is certainly going on. Or is the rumour true which whispers
that you swallow the massive stretchings at a man`s mioole? That must
be how it is. Foor Victor`s shattereo groin shouts it ano your lips staineo
with the white liquio that you have milkeo. ,trans. Goowin,
The attack on Gellius is cruoe, but the structure ol the poem carelully
workeo out. It parooies a lamous Callimachean scenario wherein the
%4' graoually oetects the lalling in love ol a companion ,13 GF ~ !F
12.13! ~ !3 Fl., or even ol his own soul ,! GF, the poem imitateo by
Catulus,. The rhetoric ol Catullus` poem is similar ,1, A9+& &+1.-H, ,
/%01+' A9+& 1%$3% %03* !/ ?%$., 7, 0+1 1%$3% %03, see Catulus 1.12 Courtney,
1$%&' * * * 0+1 %03,, but it anticipates a very oillerent "nal point. Another
humorous reworking ol the same 3'2'0 is to be louno in the /94.%
,1* o,. In 1* 80.12 ano 8 the snow-white lips ol Gellius hint at another
well-known erotic topic: the 2.""'$ .-./3+0. The obscene 0%$' properly
signi"es whey, yet its slang meaning sperm contrasts with the high
register ol the "rst lines ,2, C+=%$/. * * * 1./&+&+'$. /+?%,.
80
Such clashes in
linguistic register lorm part ano parcel ol Catullus` oramatic, or expres-
sionistic style, by which he surpasses the playlulness ol both Flautus ano
80
Curran ,19oo,, Synoikus ,198!90: 3.!03,, Thomson ,1997: 078,, Goowin
,1999: 19o,.
!0 "#$%&'( )* )(%&##+
pre-neoteric epigram.
81
The innovative language "ts the new Catullan
mooo, which is oominateo by a lascinating collision between ioeals ano
haro reality, re"nement ano roughness, loyalty ano in"oelity.
9, What then ol the polymetric /94.%? Many ol them oevelop purely
epigrammatic themes ,11* 23, Lesbia`s sparrow, 13, the invitation to
oinner, 2o, Catullus` ?+""9"., !1 ano !3, the high claims ol a hetaera,,
but the variety ol poetic lorms, as well as the relatively large average
size ol the poems, raises questions.
82
Hellenistic epigram entereo Rome
as part ol a larger set ol light poetic genres ol uncertain status. Names
ano titles such as "9&+1$., /94.%, ano 2.%4/+. olten recur in Catullus` age,
%2+4$.--.3., C%/&%1.0K"".=+, ano 2'%-.3+. are some terms still useo by Fliny
the Younger ,J2* !.1!.9, to oe"ne the varieties ol lyric ano epigram
proouceo in his time.
83
Literary lashion in high society also involveo
short poems in lyric meters on topics louno in contemporary epigram
,Laevius lr. 28 Morel ~ 28 Courtney is the +/1+2+3 ol a love letter, in
the style ol Tiburtinus` 567 !.!971 ano Catullus 1* 32,. Occasional
poems in lyric meter were surely lrequent: amateur aristocratic circles
appreciateo Antipater`s metrical versatility ano cleverness in improvisa-
tion ,Cic. O% '$* 3.19!,. Catullus` /94.% must be seen in this historical
context wherein Calvus ano other /%'3%$'+ also proouceo similar poems
in lyric meter, with a noteworthy prelerence lor the Fhalaecian. With
Catullus, a salon lashion becomes high literary art that revisits Greek
poetic traoition +/ 3'3', both lyric ano epigrammatic.
10, It makes no sense to ask whether each ano every one ol Catullus`
short poems is an epigram. To be sure, 11* o911o can be oe"neo, as a
whole, as an epigrammatic collection, even though some "t Hellenistic
epigrammatic canons less well than the others. Contemporary Roman
use ol the woro %2+4$.--. is also noteworthy. Ior instance, Varro ,7+/4*
7.3* 7.28, calls a scoptic poem in elegiacs by one Fapinius, not oillerent
lrom many ol Catullus` aggressive poems, an %2+4$.--.3+'/. Generic
boroers between epigram ano elegy or light lyric poetry were vague.
This sheos light on the Roman approach to epigram ano the cultural
backgrouno lor collections like the 5.3."%23'/, where poems ol various
sizes ano meters alternate,
8!
ano Martial`s polymetrics ano %2+4$.--.3.
"'/4.. Is this purely a Roman peculiarity? Or oio the Meleagrian canon
81
Newman ,1990: esp. 277317,, Bionoi ,1998b: !o!8,.
82
Carilli ,197,, Iuhrer ,199!,.
83
Citroni ,2003b,.
8!
Holzberg ,200!,.
,&##&-+./+0 &1+2%") +- /,& %()"- 3(%#' !1
cover, in the Greek milieu, a wioer range ol epigrammatic lorms? It
woulo be a mistake to suppose that there were original Greek mooels
lor each ano every one ol Catullus` generic experiments: we must not
neglect the speci"city ol his Roman culture or personal genius. On the
other hano, as we have seen, it is clear that Romans selecteo lrom Hel-
lenistic poetry those leatures louno more suitable lor their own culture,
vice versa, Greek poets in Rome complieo with the literary taste ol
their patrons, as the example ol Antipater oemonstrates.
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\\ .u l 11 I'll\ , " I L1 "d rl"''""' 1111d l1111 '1"' '"}11.\ ' il : 71 1111
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INDEX OF EPIGRAMS DISCUSSED
Aeschrion
I GP: 238, n. 19; 475, n. 30
''Aeschylus"
2 FGE: 527
Alcaeus of Messene
1 GP: 528
13 GP: 467
16 GP: 195; 253, n. 15
Alphaeus
6 GP Garland: 420- 1
9 GP Garland: 421
Amyntes
1 FGE: 150
2 FGE: 150
I FGE: 289
6 FGE: 302 3
Anonymous
24 FGE: 124, n. 37
25 FGE: 243, n. 33
33 FGE: 441 2
36a FGE: 429- 30; 438
36b FGE: 429 30; 438
38 FGE: 379 80; 438 40
45 FGE: 151
Antipater of Sidon
4 GP: 173, n. 23
7 GP: 413
11 GP: 440
12 GP: 410
13 GP: Ill
14 (;P: Ill
l.'i (; 1': I 11
lbCI': 171; 111
I 7 (: 1': I I I
Ill (;I' l'lh 7; 111
:.! 1 (;I' 1-,o
( ;p 171
(; p (,
.,., (:1'
17 1, 11. J:i
31 GP: 90 I
32 GP: 207 8
34 GP: 431
43 GP: 239
48 GP: 150
58 GP: 376 81
60 GP: 453
65 GP: 532
67 GP: 174; 499
73 GP: 440 I
Antipater of Thessalonu ,,
4 GP Garland: 381 'l
17 GP Garland: 2 I :l , " . :1:1
19 GP Garland: 44 I
20 GP Garland: 178 I)
54 GP Garland: 173
55 GP Garland: 4 15
75 GP Garland: 437
77 GP Garland: 498
79 GP Garland: 306
84 GP Garland: 268
85 GP Garland: 418
97 GP Garland: 500
111 GP Garland: 424
Antiphanes
1 GP Garland: 426
9 GP Garland: 178, n. 3!1
Antiphilus
3 GP Garland: 159
6 GP Garland: 1.19
14 GP Garland: 248
23 GP Car/and: :ll.'i
35 GP Garland: I I 7 !I
4 8 C P Gm/and: 24 I
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Roman Reception of Hellenistic Epigram

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BRUSS-BNG_F27_518-541.

indd 518 2/19/2007 9:48:47 AM

The %"'4+9- goes on to introouce a patronymic , !"+'0

@E6 1o97, !F 7.!, 7.730. Morelli ,2000: 2o,.

On relationships between Catulus` ano Ennius` epigrams, Ferutelli ,1990: 27o,,

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