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CATULLUS 68 - Scuola Normale Superiore

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INTRODUCTION<br />

<strong>CATULLUS</strong> <strong>68</strong>: HOW MANY POEMS?<br />

The origins of the controversy<br />

“I assume here what it seems outrageous to deny, that the Mallius of the first part<br />

(11) is the Allius and Mallius (66) of the second.”<br />

Robinson Ellis<br />

“... wenn zuletzt gesagt worden ist, dasz sich die einheit nie und nimmer erweisen<br />

lasse, w e n i g s t e n s n i c h t f ü r h o m i n e s e l e g a n t i o r e s, so kann<br />

dies nur in dem bekannten sinne gelten, in welchem elegantia dilettantismus<br />

bedeutet.”<br />

Fritz Schöll<br />

“There is in fact very strong evidence that we are dealing with two separate poems<br />

and attempts to show that the 160 lines constitute a single entity are as good an<br />

example as any of the perversity of which the human mind is capable.”<br />

Brian Arkins 9<br />

There are two strong stops within the transmitted text of carmen <strong>68</strong>, one after line 40 and one after line 148,<br />

at both of which the speaker abandons his previous run of thought and turns to a new addressee. These stops<br />

divide the text into three sections: lines 1-40, addressed to a friend; lines 41-148, addressed to the Muses;<br />

and lines 149-160, once more addressed to a friend. For over two centuries, scholars have been debating<br />

whether or not the first of these three sections is a separate poem; but it has also been proposed that three<br />

sections are poems in their own right. (If lines 1-40 and 41-160 are treated as separate poems, they are<br />

generally referred to as Catullus <strong>68</strong>a and <strong>68</strong>b; in the case of a division into three poems lines 41-148 become<br />

poem <strong>68</strong>b and lines 149-160 poem <strong>68</strong>c. For no other reason than convenience, I will speak of carmen <strong>68</strong> to<br />

indicate all of the text, but of poems <strong>68</strong>a and <strong>68</strong>b – and on occasion <strong>68</strong>c – to indicate its constituent parts.)<br />

9 Ellis 1867: 320; Schöll 1880: 472 „... if, as has been said lately, the unity [of the poem] can never be proven, a t a n y<br />

r a t e n o t f o r h o m i n e s e l e g a n t i o r e s, this can only be taken in the popular sense in which elegantia<br />

stands for dilettantism”; Arkins 1999: 81.<br />

10

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