Porci: a member of Piso’s staff, otherwise unknown. Catullus is
probably playing on how similar his name, Porcius, is to porcus,
“pig, swine.”

Socration: a Greek member of Piso’s staff; this diminutive may
have been his real name, but may have been made up to poke
fun at his philosophical pretentions.

Duae sinistrae: instead of a “right-hand” man, Piso has two left
hands to carry out his dirty work.

Pisonis: most likely L. Calpurnius Piso Caesoninus, the governor
of Macedonia from 58-55 B.C. and Caesar's father-in-law. He
was mentioned in less-than-flattering terms in poem 28 as
Veranius’ and Fabullus’ boss, and described scandalously in
Cicero’s speeches “De Provinciis Consularibus” and “In Pisonem.”

Scabies: an itching disease; longing, prurience.

Fames: famine; hunger, violent longing, greediness.

Mundi: of the world, of humanity

Vos: You?! Used twice and emphatic by position.

Veraniolo meo et Fabullo: close friends of Catullus, mentioned in
Carmen 9, 12, 13, & 28. He uses the diminutives of Veranius and
Fabius to show his affection for them.

Verpus: a vulgar word indicating perpetual arousal, suggesting
abusive treatment of others. “Verpa” was used in Carmen 28,
with reference to Veranius and Fabullus’ experience with Piso:
“nam nihilo minore verpa farti estis.”

Praeposuit: placed before, preferred; he favored them above the
others, thus giving them a chance to enrich themselves.

Priapus: the god of fertility and procreation; a lecherous person.
Here it refers to Piso’s sexual excesses.

Convivia: feasts, banquets

Lauta: elegant, splendid, luxurious.

Sumptuose: lavishly, extravagantly, expensively.

De die: from daytime on, beginning during working hours. Having
become rich serving under Piso, they no longer need to work for a living.

Sodales: friends, comrades.

Quaerunt: seek, search for.

In trivio: a place where three roads meet, a cross-road; the public street.

Vocationes: invitations to lunch or dinner.

Date: ca. 55 B.C.

Artwork:

Fayoum Portrait, Roman Egypt, 130-150 A.D., Metropolitan Museum
of Art, New York, photo by Mary Harrsch, public domain.

Bronze Statuette of Priapus, Roman, A.D. 1-200, The J. Paul Getty Museum.

Translation: DWA, Fez, February 6, 2022

Pronunciation:

poRc(ī) et socRatiōn, duae sinistRae
pīsōnis, scabiēs famēsque mundī,
vōs vērāniolō me(ō) et fabullō
veRpus pRaeposuit pRiāpus ille?
vōs convīvia lauta sūmptuōsē
dē diē facitis, meī sodālēs
quaerunt in triviō vocātiōnēs?

Meter: Hendecasyllables

Pōrci ēt Sōcrătĭōn, dŭaē sĭnīstraē
Pīsōnīs, scăbĭēs fămēsquĕ mūndī.
Vōs Vērānĭŏlō mĕo ēt Făbūllō
vērpūs praēpŏsŭīt Prĭāpŭs īllē?
Vōs cōnvīvĭă laūtă sūmptŭōsē
dē dĭē făcĭtīs, mĕī sŏdālēs
quaērūnt īn trĭvĭō vŏcātĭōnēs?

Porcius and little Socrates,
the two left hands of Piso,
itching prurience
and ravenous greed of the world,
You that ithyphallic Priapus
preferred over my dear
Veranius and Fabullus?!
You are hosting elegant banquets
extravagantly in the middle of the day?
My friends are begging
on the street corner
for dinner invitations?!

NB: This video has been made in conjunction with my colleague Matthaeus’ excellent Latin Poetry Lesson.
https://www.reddit.com/r/latin/comments/m30b4s/latin_poetry_lesson_ii_catullus_ci/?utm_source=share&utm_medium=ios_app&utm_name=iossmf

PRONUNCIATION :

multās peR gentēs et multa per aequora vectus
     adveni(ō)hās miserās, fRāter, ad īnferiās,

• R trilled in peR gentes (before a consonant), fRater (after a consonant), but not when R is between two vowels.

• Accent/stress: 1st syllable for words with 2 syllables. If 3 or more it’s on the 2nd to last syllable (penultimate) if it’s long by nature (long vowel or diphthong) or by position (followed by 2 consonants); otherwise it’s on the 3rd to last (antepenultimate) syllable. You should always mark the accent of any words you don’t know when first reading a poem. To check on long vowels the Macronizer is an amazing help: http://alatius.com/macronizer

• adveni(ō)hās: the ō can be pronounced softly as a “W” or can be completely elided. In Vox Latina Allen suggests that total elision occurred only when a short vowel was followed by another vowel or H plus a vowel.

ut tē postRēmō dōnāreM mūnere moRtis
     et mūtaN(m) nēquīqu(âm) alloquereR cinerê(m),

• postRēmō, moRtis, alloquereR: R trilled
• dōnāreM mūnere: EM followed by M, P or B = M
• mūtam nēquīqum: AM before N, T or D = N
• nēquīqu(âm) alloquerer: âm elided before vowel, or â blended with a of alloquerer
• cinerê(m): EM becomes nasalized E

quandōquidê(m) foRtūna mihi tēt(ē)abstulit ipsû(m),
     heu miser inding(g)nē fRāter adēmpte mihi.

• quandōquidêm: iambic shortening of the o
• quandōquidê(m): EM = nasalized E
• foRtūna, fRāter: trilled R
• tēt(ē)abstulit: ē blended with a or elided
• ipsû(m): -um = nasalized U
• indigne = indiNGnē

nung(n)c tamen intere(ā)haec, pRīscō quae mōre parentuN(m)
     tRādita sunt tRīstī mūner(e)ad īnferiās,

• nunc = nuNGc
• intere(ā) haec: ā elided or blended; h silent or very soft
• pRīscō, tRādita, tRīstī: trilled R
• parentum tRādita: UM = UN before T, D or N
• mūner(e)ad: short e is elided

accipe fRāteRnō multuM mānantia flētū,
     atqu(e) iM(n) peRpetuû(m), fRāter, av(ē)atque valē.

• fRāteRnō, peRpetuû(m), fRāter: trilled R
• multuM mānantia: M pronounced M before M, P or B
• atqu(e) in: e is elided
• iM(n) peRpetuûm: N before P, or M = M
• peRpetuû(m): UM = nasalized Û
• av(ē) atque: Ē blended with A or elided

WORD ORDER:

Multas per gentes et multa per aequora (preposition in the middle)

has miseras ad inferias

mutam nequiquam alloquerer cinerem (ABBA)

fortuna mihi tete abstulit ipsum (ABAB)

miser indigne frater adempte (ABAB)

fraterno multum manantia fletu (ABBA)

REPETITION OF SOUND/ALLITERATION:

MultAS PER gentes et Multa PER aequora vectus
     advenio hAS MiserAS, FRATER, ad inferiAS,
ut te postreMo donareM MUnere Mortis
     et MUtam nequiquam alloquerer cinerem,
quandoquidem fortuna mihi tete abstulit ipsum,
     heu MISER indigne FRATER adempte mihi.
nunc tamen interea haec, PRISco quae more Parentum
     TRadita sunt TRISti munere AD INFERIAS,
accipe FRATERno Multum Manantia fletu,
     ATQUE in perpetuum, FRATER, AVe Atque VAle.

METER:

The Elegiac Couplet is a Greek metrical form later used by many Roman poets. Catullus uses this meter in poems 65-116.

Each couplet consists of a dactylic (– uu) hexameter (6 feet) verse followed by a pentameter verse (2 halves of two and a half feet each):

– uu | – uu | – uu | – uu | – uu | – x
– uu | – uu | – || – uu | – uu | –

– is a long syllable, u a short syllable, uu is either one long syllable or two short syllables, and x can be long or short.

Some of the dactyls can be replaced with a spondee (– –), which gives a more sombre tone to the line.

The double bars (||) indicate a pause between the two halves of the line. This pause is called a caesura.

mūltās pēr gēntēs ēt mūltă pĕr aēquŏră uēctŭs
āduĕnĭo hās mĭsĕrās frātĕr ăd īnfĕrĭās.

ARTWORK: Faiyum Portrait of Two Brothers, Roman Egypt, 2nd century A.D.

Multas per gentes et multa per aequora vectus
     advenio has miseras, frater, ad inferias,
ut te postremo donarem munere mortis
     et mutam nequiquam alloquerer cinerem,
quandoquidem fortuna mihi tete abstulit ipsum,
     heu miser indigne frater adempte mihi.
nunc tamen interea haec, prisco quae more parentum
     tradita sunt tristi munere ad inferias,
accipe fraterno multum manantia fletu,
     atque in perpetuum, frater, ave atque vale.

Mellitos: of honey, honey-sweet

Iuventi: Juventius is a young man whom Catullus had a crush on. The “Juventius Cycle” consists of poems 15, 21, 23, 24, 48, 81, 99, and probaby 16 and 40.

Si quis: quis after si = aliquis, someone, anyone; here it’s probably an indirect way of saying “if you yourself would…”

Sinat: would let, permit, allow; present subjunctive. Is Catullus concerned that Juventius would not allow him to kiss him, or is he concerned about what others might think?

Usque: continually, constantly

Usque ad: even to, as far as, up to

Milia trecenta: 300,000 (kisses)! He uses the same number in poem 9: “Verani, omnibus e meis amicis antistans mihi milibus trecentis.”

Basiem: I would kiss, present subjunctive

Nec numquam: not never!

Videar: would I seem, present passive subjunctive

Satur: sated, full, satisfied

Futurus: future active participle of SUM = futurus esse

Densior: denser, more numerous

Aridis aristis: than dry/mature beards/ears of wheat; ARISTA is the bristlelike top of the ear of wheat, the beard or awn. But it can also refer to the ear itself. It’s “ablative of comparison” after densior. Note that the same language is used by Vergil, “densae...aristae” (Aen. 7.720), Ovid, “seges arida” (M. 2.213), and St. Augustine, “seges ab initiis herbidis usque ad aridas aristas” (Civ. Dei 4.8). I like to think that St. Augustine might have read Catullus in his rowdy student days!

Sit: would be, should be, were; present subjunctive of SUM.

Seges: a wheatfield, grain field; crop

Osculationis: of kissing (kisses); compare basiationes in poem 7.

Artwork:

The Elgin Germanicus, Roman, circa 37-45 AD. Germanicus, here 19 years old, was the adopted son of Tiberius and father of Caligula. I took this photo at the Ashmolean Museum in Oxford, but recently it has been bought by the Getty for 8 million dollars!

Translation:
David Amster, Fez, March 26, 2022

Pronunciation:

meLLītōs oculōs tuōs, iuventī,
sī quis mē sinat usque bāsiāre,
usqu(e) ad mīlia bāsie(m)N tRecenta
nec nu(m)NGqua(m) videaR satuR futūrus,
nōñ sī dēñsior āridīs aristīs
sit nostRae seges ōsculātiōnis.

ñ = nasalized N before S.
R = trilled R

Repetition of Sound:

melliTOS OCULOS TuOS, iuventi,
SI quiS me SInat USQUE baSIare,
USQUE ad milia basiem trecenta
Nec Numquam videaR saTUR fuTURus,
NON SI denSIor ARIdIS ARISTIS
SIT NOStrae SegeS OSCULationIS.

Note especially:
OCULOS…OSCULationis
ARIdIS ARISTIS SIT
All the S sounds in the last two lines; does he mean to suggest the sound of the wind rushing through the dry grain?

Meter: Hendecasyllables

⏓ ⏓ – ⏑ ⏑ – ⏑ – ⏑ – ⏓

(where ⏓ ⏓ is one of – ⏑ or – – or ⏑ –) but note that in this poem the first feet are all spondees ( – –)

mēllītōs ŏcŭlōs tŭōs Iŭvēntī
sī quīs mē sĭnăt ūsquĕ bāsĭārĕ
ūsque ād mīlĭă bāsĭēm trĕcēntă,
nēc nūmquām uĭdĕār sătūr fŭtūrŭs,
nōn sī dēnsĭŏr ārĭdīs ărīstīs
sīt nōstraē sĕgĕs ōscŭlātĭōnĭs.

Your honey-sweet eyes, Juventius,
if anyone would allow me to kiss continually,
I would kiss them even three-hundred thousand times,
nor would I seem to be sated, not ever,
not if the crop of our kisses were
denser than dry ears of wheat.

NB: This video has been made in conjunction with my colleague Matthaeus’ excellent Latin Poetry Lesson on Catullus 51:

https://www.reddit.com/r/latin/comments/mydjzg/poetry_lesson_iv_catullus_li/?utm_source=share&utm_medium=ios_app&utm_name=iossmf

Pronunciation

ILLe mī pār eSSe deō vidētuR,
iLLe, sī fās est, superāre dīvōs,
quī sedê(N)s adveRsus identidemN tē
     spectat et audit
dulce rīdenteM, miserō quod omnīs
ēripit sē(N)sūs mihi: nâ(m) simul tē,
LeSbi(a), aspexī, nihil est supeR mī
[vōcis in ōre],
liNGgua sed toRpet, tenuīs sub aRtūs
flaMMa dēmānat, sonitū suōpte
tintinant aurēs, geminā teguntuR
     lūmina nocte.
ōtiumNG, CatuLLe, tibi molest(ûm) est:
ōti(ō) exsultās nimiumNGque gestīs:
ōti(ûm) et Rēgēs pRius et beātās
     peRdidit uRbēs.

To Pause or not to Pause?

No pause at end of line: 8 times
Pause: 4 times, the first 2 lines of stanza 1 and 4
Note that there’s not much of a pause at the end of the 1st stanza.

Accents

Ille mī pār esse deō vidĒtur,
ille, sī fās est, superĀre dīvōs,
quī sedēns adVERsus iDENtidem tē
     spectat et audit
dulce rīDENtem, MIserō quod omnīs
Ēripit sēnsūs mihi: nam simul tē,
LESbia, aSPExī, nihil est super mī
[vōcis in ōre],
lingua sed torpet, TEnuīs sub artūs
flamma dēMĀnat, SOnitū suŌPte
TINtinant aurēs, GEminā teGUNtur
     LŪmina nocte.
Ōtium, CaTULle, tibi moLEStum est:
Ōtiō exSULtās nimiUMque gestīs:
Ōtium et rēgēs prius et beĀtās
     PERdidit urbēs.

Meter

The Sapphic stanza (or strophe), named after Sappho of Lesbos, is used in Catullus 11 and 51. There are three hendecasyllablic lines (Sapphic hendecasyllable), followed by a shorter final line, called an Adonic.

– ∪ – x – ∪ ∪ – ∪ – –
– ∪ – x – ∪ ∪ – ∪ – –
– ∪ – x – ∪ ∪ – ∪ – –
– ∪ ∪ – –

– ∪ (trochee) – x (spondee/tr) – ∪ ∪ (dactyl) – ∪ (tr) – – (sp)
– ∪ ∪ (dactyl) – – (spondee)

īllĕ mī pār ēssĕ dĕō uĭdētūr,
īllĕ sī fās ēst sŭpĕrārĕ dīuōs,
quī sĕdēns āduērsŭs ĭdēntĭdēm tē
spēctăt ĕt aūdīt

– ∪ – – – ∪ ∪ – ∪ – – : 11 times
– ∪ – ∪ – ∪ ∪ – ∪ – – : Only once, ōtĭūm Cătūllĕ tĭbī mŏlēstūm est

Caesura

A caesura is a break in the middle of a metrical foot, usually indicating a pause in the middle of a line. In a Sapphic stanza a pause after the 5th syllable, splitting the dactyl, is very common...8 times in this poem.

īllĕ sī fās ēst || sŭpĕrārĕ dīuōs,
dūlcĕ rīdēntēm, || mĭsĕrō quŏd ōmnīs
Lēsbĭa āspēxī || nĭhĭl ēst sŭpēr mī
līnguă sēd tōrpēt. || tĕnŭīs sŭb ārtūs
flāmmă dēmānāt. || sŏnĭtū sŭōptē
tīntĭnānt aūrēs. || gĕmĭnā tĕgūntūr
ōtĭūm Cătūllĕ || tĭbī mŏlēstūm est.
ōtĭo ēxsūltās || nĭmĭūmquĕ gēstīs.

Please note that the 4th line of the second stanza is missing in the manuscripts. Based on Sappho’s poem “vocis in ore” was suggested by Ritter in 1828.

Artwork

Sappho of Eresos, Roman copy of 5th century BC Greek original, Capitoline Museum, Rome, photo Marie-Lan Nguyen, public domain.

Sappho and Alcaeus, Lawrence Alma-Tadema, 1881, Walters Art Museum, public domain.

“Sappho”, fresco from Pompeii, ca. 50 AD, Museo Archeologico Nationale, Naples, photo Wolfgang Rieger, public domain.

Sappho 31, translation and background:

https://en.wikipedia.org/wiki/Sappho_31?wprov=sfti1

Two beautiful musical recitations of Sappho 31:

https://youtu.be/F195sQoy1Bo

https://youtu.be/mOlIqozu3Fg

That man to me seems to be equal to a god,
that man, if it is possible, to surpass the gods,
who sitting across from you again and again
looks at you and listens to you

sweetly laughing, which siezes
all senses from me, miserable.
For as soon as I have gazed upon you,
Lesbia, no voice is left in my mouth,

but my tongue lies paralyzed,
a subtle flame spreads throughout my limbs,
my ears are ringing with their own sound,
my eyes enshrouded in a double night.

Idleness, Catullus, for you is treacherous.
You exult in idleness and enjoy far too much.
Idleness has in former times devastated
both kings and prosperous cities.

Translation DWA, April 18, 2021
Fez

Meter: Hendecasyllables
⏓ ⏓ – ⏑ ⏑ – ⏑ – ⏑ – ⏓

Note how Catullus chose in this poem to have ALL the lines begin with 3 long syllables, a sponee and a dactyl, perhaps for emphasis.

Iam: now, repeated four times for emphasis.

Egelidos: not cold, no longer cold

Tepores: a gentle warmth, moderate temperatures; plural perhaps to suggest warm days.

Caeli: of the sky, the heavens

Aequinoctialis: pertaining to the equinox, the time of equal day and night; the spring equinox was notorious for stormy weather.

Zephyri: of Zephyrus (Zephyr), god of the west wind, husband of Flora.
Note how the PH sounds and all the Ss suggest gusts of wind.

Iucundis: pleasant, agreeable

Silescit: becomes still, silent

Linquantur: let them be left behind, “jussive” subjunctive.

Phrygii: Phrygian, in the western part of Bithynia, where Catullus was stationed.

Nicaeae: Nicaea, the capital of Bithynia and where the Christian Nicene Creed originated.

Uber: rich in something, fruitful, fertile, copious, productive

Aestuosae: very hot, full of heat.

Ad claras urbes: Pergamon, Smyrna, Sardis, and Ephesus, famous
cities Catullus hopes to visit on his way home.

Asiae: of Asia Minor

Volemus: let us fly; subjunctive

Praetrepidans: trembling greatly in anticipation; the sound of the word suggests trembling!

Avet: desires, longs for

Vagari: to ramble, wander, roam; a deponent verb.

Vigescunt: become lively or vigorous; to thrive, to begin to flourish or bloom…it fits well with all the spring imagery.

Comitum: of comrades, companions, who served with him as staff of the governor Memmius.

Coetūs: meetings, gatherings; vocative pl. of coetus, -ūs

Profectos: having gone forward, advanced, set out.

Diversae variae viae reportant: they came together, but now they will take different paths going home. I’ve chosen E.T. Merrill’s ‘variae’ instead of ‘varie’.

Sound Effects and Repetition:

IAM VER egelidos REfeRt tePORes,
IAM cAEli furor AEquinoctialIS
iucundIS zePHYRi SileScit aurIS.
linquantur PHRYgii, CAtulle, CAmpi
nicAEAEque agER ubER AEstuosAE:
ad clarAS ASiae volemuS urbeS.
IAM meNS pRaetRepidaNS aVet Vagari,
IAM laeti studio pedES vigEScunt.
o dulCeS COmitum valete COetuS,
longe quOS simul a domo PROfectOS
diVERsAE VaRiAE ViAE REPORtant. (cf. w/ line 1)

iām uēr ēgĕlĭdōs rĕfērt tĕpōrēs.
iām caēlī fŭrŏr aēquĭnōctĭālĭs
iūcūndīs Zĕphÿrī sĭlēscĭt aūrīs.
līnquāntūr Phrÿgĭī Cătūllĕ cāmpī
Nīcaēaēque ăgĕr ūbĕr aēstŭōsaē.
ād clārās Ăsĭaē vŏlēmŭs ūrbēs.
iām mēns praētrĕpĭdāns ăuēt uăgārī.
iām laētī stŭdĭō pĕdēs uĭgēscūnt.
ō dūlcēs cŏmĭtūm uălētĕ coētūs,
lōngē quōs sĭmŭl ā dŏmō prŏfēctōs
dīvērsaē uărĭaē uĭaē rĕpōrtānt.

Pronunciation:

Ia(m) vēR ēgelidōs refeRt tepōrēs,
iamNG caelī furor aequinoctiālis
iūcundīs Zephyrī silescit aurīs.
linquantuR Phrygiī, Catulle, campī
Nīcaeaequ(e) ager ūber aestuōsae:
ad clārās Asiae volēmus uRbēs.
iam mēñs pRaetrepidāñs avet vagārī,
ia(m) laetī studiō pedēs vigēscunt.
ō dulcēs comitu(m) valēte coetūs,
longē quōs simul ā domō profectōs
dīveRsae variae viae repoRtant.

Now Spring brings back her gentle warmth, cold no longer,
now the equinoctial raging of the heavens
becomes calm with the pleasant breezes of Zephyrus.
Let the Phrygian plains, Catullus, be left behind,
and the fertile land of sweltering Nicaea,
let us fly to the illustrious cities of Asia.
Now my mind, trembling with anticipation, longs to ramble,
now my feet, rejoicing in eagerness, grow strong.
O sweet gatherings of comrades, farewell,
whom, having journeyed far from home all together,
various roads in different directions are bringing back.

Artwork:

Flora (or allegory of Spring), fresco from Pompeii, 20–10 BC, Museo
Archeologico Nationale, Naples, public domain.

Zephyrus and Flora from “The Birth of Venus,” Sandro Botticelli,
1485–1486, The Uffizi Gallery, Florence, public domain.

Flora and Zephyr, William-Adolphe Bouguereau, 1875,
Musée des Beaux-Arts de Mulhouse, France, public domain.

Translation: DWA, Fez, 1/23/22

Acmen: Greek accusative of Acme; she is probably an independent Greek freedwoman. Her name suggests perfect beauty.

Septimius: a young Roman, perhaps one of Catullus’ friends.

Pote = potest, is able

Caesio leoni: cutting, piercing, sharp, and hence grey-eyed; I think here it can convey the idea of a savage lion that could cut him to pieces, as well as its piercing grey eyes.

Veniam: may I come, subjunctive

Amor: Cupid, Eros

Sternuit approbationem: sneezed his approval; sneezing was considered a good omen.

Sinistra ut ante dextra: on the left, on the right; perhaps Amor sneezed once after Septimius declared his love, and again after Acme. Catullus may be describing a wall painting (as those in Pompeii) he had seen of two lovers with one Cupid on the left and another on the right.

Dulcis pueri: a “puer” can be a young man; it was used of the Emperor Octavian when he was 19.

Ebrios: love-drunk

Ocellos: diminutive of oculos, to express endearment.

Purpureo: dark red, perhaps suggesting wine??

‘Sic’ inquit: sic, thus, in this way, is emphatic here, referring back to her kiss. She prefers actions over Septimius’ words!

Septimille: diminutive of Septimius

Huic uni domino: this one master, Amor, Love.

Serviamus: let us serve, subjunctive

Mollibus in medullis: lit. “in the soft marrows”

Amant amantur: note the emphatic lack of a conjunction, a rhetorical device called “asyndeton.”

Misellus: diminutive of miser, “poor little”

Syrias Britanniasque: he prefers Acme over all he might gain and experience if he were to go as a soldier to places like Syria and Britain, where the Romans were campaiging in 55 and 54 B.C.

Venerem: Venus, mother of Amor; it can refer to the goddess herself or to love.

Artwork:

Venus, Mars, and Cupid, Roman fresco from Pompeii, 1st century AD, Museo Archeologico Nazionale, Naples, public domain.

Acme and Septimius, Frederic Leighton, 1868, oil on canvas, The Ashmolean Museum, Oxford, public domain.

Translation: DWA, Fez, January 9, 2022

Pronunciation

Acmēn Septimius suōs amōrēs
tenēñs iñ gremiō ‘me(a)’ inquit ‘Acmē,
nī tē peRdit(ē) am(ō) atqu(e) amāre poRRō
omnēs s(ûm) assidue parātus annōs,
quantuNG quī pote plūrimum perīre,
solus in Liby(ā) Indiāque tostā
caesiō veni(âm) obvius leōnī.’
hoc ut dīxit, AmoR sinistr(ā) ut ante
dextRā steRnuit approbātiōnê(m).
     at Acmē leviteR caput Reflectēñs
et dulcis puer(ī) ēbriōs ocellōs
illō puRpure(ō) ōre suāviāta,
‘sīc’ inquit ‘mea vīta Septimille,
“huic ūnī domin(ō) usque seRviāmus,
ut multō mihi maior ācrioRque
iñgnis mollibus āRdet iM medullīs.’
hoc ut dīxit, AmoR sinistr(ā) ut ante
dextRā steRnuit approbātiōnê(m).
     nunc ab auspiciō bonō profectī
mūtuīs animīs amant amantuR.
ūnâ(m) Septimius misellus Acmēn
māvult quâ(m) Syriās Britanniāsque:
ūn(ō) iñ Septimiō fidēlis Acmē
facit dēliciās libīdinesque.
quis ūllōs hominēs beātiōrēs
vīdit, quis Vener(em) auspicātiōrê(m)?

Septimius holding Acme, his beloved,
in his lap, “My Acme,” he says,
“if I do not love you desperately and am not prepared
to love continually for all the years to come,
as much as one who is ready to perish a thousand times,
alone in Libya or parched India,
may I come in the path of a savage, grey-eyed lion.”
As he said this, Amor on the left, as before
on the right, sneezed approval.
But Acme, gently bending back her head
and having kissed the sweet boy’s inebriated eyes
with that wine-red mouth of hers,
“In this way,” she says, “Septimillus, my life,
let us continually serve this one master,
as for me a far greater and fiercer fire
is burning in my delicate innermost marrow.”
As she said this, Amor on the left, as before
on the right, sneezed approval.
Now having begun with a good sign from the gods
with like minds they love, are loved.
Love-sick Septimius desires only Acme,
more than all the Syrias and Britannias.
Only in Septimius faithful Acme
finds her delight and pleasure.
Who has seen any mortals happier,
who Venus more auspicious?

Meter: Hendecasyllables

Ācmēn Sēptĭmĭūs sŭōs ămōrēs
tĕnēns īn grĕmĭō mĕa īnquĭt Ācmē,
nī tē pērdĭte ămo ātque ămārĕ pōrrō
ōmnēs sum āssĭdŭē părātŭs ānnōs
quāntūm quī pŏtĕ plūrĭmūm pĕrīrĕ
sōlŭs īn Lĭbÿa Īndĭāquĕ tōstā
caēsĭō uĕnĭam ōbuĭūs lĕōnī.
hōc ūt dīxĭt Ămōr sĭnīstra ŭt āntĕ
dēxtrā stērnŭĭt āpprŏbātĭōnĕm.
āt Ācmē lĕuĭtēr căpūt rĕflēctĕns
ēt dūlcīs pŭĕri ēbrĭōs ŏcēllōs
īllō pūrpŭrĕo ōrĕ suāuĭātă,
sīc īnquīt mĕă uītă. Sēptĭmīllĕ.
huĭc ūnī dŏmĭno ūsquĕ sēruĭāmŭs
ūt mūltō mĭhĭ māiŏr ācrĭōrquĕ
īgnīs mōllĭbŭs ārdĕt īn mĕdūllīs.
hōc ūt dīxĭt Ămōr sĭnīstra ŭt āntĕ
dēxtrā stērnŭĭt āpprŏbātĭōnĕm.
nūnc ăb aūspĭcĭō bŏnō prŏfēctī
mūtŭīs ănĭmīs ămānt ămāntŭr.
ūnām Sēptĭmĭūs mĭsēllŭs Ācmēn
māuūlt quām Sÿrĭās Brĭtānnĭāsquĕ.
ūno īn Sēptĭmĭō fĭdēlĭs Ācmē
făcīt dēlĭcĭās lĭbīdĭnēsquĕ.
quĭs ūllōs hŏmĭnēs bĕātĭōrēs
uīdīt, quīs Vĕnĕrem aūspĭcātĭōrĕm?

Funde: farm, estate; Catullus’ family had a farm or villa near Rome, as well as on Sirmio, near Verona.

Seu: sive = si-ve, whether, or

Sabine: known for frugal peasant life and therefore not especially esteemed. Catullus seems quite concerned about which side of the tracks people in Rome say he lives on!

Tiburs, tībūrtem: of Tibur, modern Tivoli, a particularly fashionable area for a summer home.

Autumant: say, assert; an old-fashioned word that fits with the prayerful tone.

Cordi est: it lies at one’s heart, is pleasing

Laedere: to hurt, offend, annoy.

Quovis pignore: with any wager/pledge you please

Contendunt: affirm, contend

Verius: more truly

Libenter: willingly, gladly, happily

Suburbana: near the city of Rome

Expuli: expelled, cast out

Tussim: a cough

Inmerenti: undeserving, innocent

Venter: belly

Dum: while, sometimes with the idea of causality

Sumptuosas: very expensive, lavish, wasteful

Appeto: grasp after, desire eagerly

Cenas: dinners

Sestianus: of Sestius

Conviva: a dinner companion, guest

In Antium: against Antius

Petitorem: a candidate for office

Veneni: of poison

Legi: I read

Hīc: here, at this time

Gravedo: feeling of heaviness, a bad cold

Frigida, frigus: Catullus is alluding to the notion that a dull piece of rhetoric was called frigid since it failed to warm up an audience.

Quassavit: shook violently, struck

Usque: all the way, without interruption, continuously

Sinum: lap, bosom

Fugi: I fled

Recuravi: I cured, restored

Otio: with rest, repose, leisure

Urtica: nettle, also an aphrodisiac, so perhaps has an erotic overtone.

Quare: for which reason, wherefore, therefore

Refectus: restored, renewed

Grates: thanks, used instead of “gratias” when giving thanks to the gods.

Es ulta: you punished, avenged (a deponent verb)

Peccatum: mistake, transgression, sin

Deprecor: to pray to avert an evil

Nefaria: abominable, impious

Recepso: old form of future perfect of recipio, I will have received.

Quin: but that, that not

Ferat: subjunctive, would bring

Pronunciation: lots of elision and lots of final M’s!!

Ō funde nosteR seu Sabīne seu TībuRs,
naN t(ē) esse TībuRt(em) autumant, quibus nōn est
coRdī Catullu(m) laeder(e); at quibus coRd(ī) est,
quōvīs Sabīnum pig(NG)nor(e) esse contendunt –
sed seu Sabīne sīve vērius TībuRs,
fuī libenter in tuā subuRbānā
villā, mālaNGque pector(e) expulī tussi(m),
nōn iMmerentī quam mihi meus venteR,
du(m) sūmptuōsās appetō, dēdit, cēnās.
na(m), Sēstiānus du(m) vol(ō) esse convīva,
ōrātiōn(em) in Antium petītōreM
plēna(m) venēn(ī) et pestilentiae lēgī.
hīc mē gravēdō fRīgida (e)t fRequēñs tussis
quassāvit usque, d(Um) in tuu(m) sinu(m) fūgī,
et mē recūrāv(ī) ōtiōque (e)t uRtīcā.
quārē refectus maximās tibi gRātēs
agō, meuNG quod nōn es ulta peccātu(m).
nec dēprecoR ia(m), sī nefāria scRīpta
Sēstī recepsō, quīn gravēdine(m e)t tussiN
nōM mi, sed ipsī Sēstiō ferat fRīgus,
quī tunc vocat mē, cum malu(m) libRu(m) lēgī.

O Farmstead of ours, whether Sabine or Tiburtine,
for they say you are Tiburtine,
for whom it not in their heart to offend Catullus,
but for those whose intention is the opposite,
they insist, by any wager necessary, that you are Sabine —
but whether Sabine, or more truly, Tiburtine,
I was most gladly in your suburban villa,
and cast out from my chest a terrible cough,
which, not undeservedly, my belly gave to me,
while I’m chasing after extravagant dinner parties.
For, since I’m eager to be a dinner guest of Sestius,
I read his oration against Antius, the candidate,
full of poison and pestilence.
At once a chilling feeling of heaviness
and incessant coughing shook me continually,
until I fled into your bosom,
and cured myself with rest and a diet of nettles.
Therefore restored, I offer to you the greatest thanks,
since you did not punish my transgression.
Nor do I now pray for anything, if I should again
receive the abominable writings of Sestius,
but that their chill would bring the heavy illness and cough
not to me, but to Sestius himself, who invites me to dine,
only when I have read his wretched book.

Artwork:

Roman Mosaic, 4th-5th century, depicting a dinner party, like the one Catullus was invited to.

View from an Italian villa, once owned by the poet Dante, and now the home of a dear friend of mine, who kindly allowed me to take refuge there for a week.

Translation:
DWA, Fez, 12/19/21

Salve: be well! Imperative of salvere, to be well; a common greeting. Perhaps an allusion to “non est sana puella” in Carmen 41?

Nec: used SIX times for emphasis or comic effect.

Nec minimo, nec bello, nec longis: extended use of “litotes,” a figure of speech where understatement, often a double negative, is used for emphasis or irony.

Bello pede: sigular used for plural; ablative of description: with pretty feet.

Nigris ocellis: dark (black) eyes were considered attractive.

Sicco: dry

Sane: indeed, certainly, to be sure.

Nimis: too much, excessively, very

Lingua: tongue can refer to her actual tongue, or more likely, her unrefined way of speaking.

Decoctoris amica Formiani: repeated from Carmen 41

Decoctoris: one who has squandered his own or another’s property, a ruined spendthrift, bankrupt

Formiani: Mamurra of Formiae, the wealthy, corrupt henchman and protégé of Caesar in Spain and Gaul. See Carmen 29 for a description of his vices.

Ten: te + interrogative -ne; at the start of the sentence for emphasis.

Provincia: i.e. Cisalpine Gaul, the province in Northern Italy Catullus and Ameana were from. He suggests she was beautiful, if at all, only by provincial standards.

Te…esse bellam: indirect statement

Narrat: relates, narrates, reports, says. We can imagine that Mamurra had been bragging that his girlfriend was as beautiful as the famous Roman beauty. Which would not sit well with Clodia/Lesbia!!

Comparatur: is compared

Saeclum: a generation, an age, the times

Insapiens: unwise, senseless, foolish

Infacetum: coarse, blunt, rude, not witty, stupid

Tēcu(m) Lesbia, bella(m), īñfacētu(m): the vowel is nasalized and M silent at the end of
a line and before L.

Saecl(Um) īñsapiēñs: the UM is elided for meter, but some believe the U was pronounced as a consonant: “saeclWīñsapiēñs”

Lesbia: the S is pronounced as an S, not a Z.

Īñsapiēñs et īñfacētu(m): the N was nasalized before S & F.

Pronunciation:

Salvē, nec minimō puella nāsō
nec bellō pede nec nigRīs ocellīs
nec longīs digitīs nec ōre siccō
nec sānē nimis ēlegante linguā,
dēcoctōris amīca foRmiānī.
tēn pRōvincia nāRRat esse bella(m)?
tēcu(m) Lesbia nostra comparātuR?
ō saecl(um) īñsapiēñs et īñfacētu(m)!

Meter: Phalaecean Hendecasyllables

⏓ ⏓ – ⏑ ⏑ – ⏑ – ⏑ – ⏓

Note how Catullus begins every line with three long syllables, a spondee and a dactyl, perhaps for emphasis or mock seriousness.

sāluē nēc mĭnĭmō pŭēllă nāsō
nēc bēllō pĕdĕ nēc nĭgrīs ŏcēllīs
nēc lōngīs dĭgĭtīs nĕc ōrĕ sīccō
nēc sānē nĭmĭs ēlĕgāntĕ līnguā.
dēcōctōrĭs ămīcă Fōrmĭānī.
tēn prōuīncĭă nārrăt ēssĕ bēllăm.
tēcūm Lēsbĭă nōstră cōmpărātŭr.
ō saēclum īnsăpĭēns ĕt īnfăcētŭm.

Artwork:

Marble Bust of a Woman
Roman, Late Imperial period, mid-3rd century A.D., Metropolitan Museum of Art, New York; I took both photos during my recent visit.

Terracotta Loutrophoros (ceremonial vase for water)
Greek, South Italian, Apulian, red-figure, 3rd quarter of the 4th century B.C., Metropolitan Museum of Art, New York

Translation: DWA, Fez, 11/30/21

Adeste: imperative of adsum; to be present with one’s aid or support; to come, to appear

Hendecasyllabi: verses of 11 syllables, often used for satire and abuse

Quot: as many as

Undique: from everywhere

Quotquot: how many soever, all

Jocum: a jest, joke, laughing-stock

Putat me esse: indirect statement, “She thinks I am, considers me to be”

Moecha: an adulteress, promiscuous woman. Some think this is Lesbia/Clodia, after she and Catullus have ended their relationship; others suggest Ameana of Carmen 41 and 43. What do you think?

Turpis: ugly, foul, filthy, shameful, disgraceful

Negat (eam) reddituram (esse): future infinitive in indirect statement, “She denies that she will…”

Pugillaria: things held in the hand, i. e. writing-tablets covered with wax

Nostra: “our” tablets, belonging to both Catullus and the hendecasyllables

Pati: deponent infinitive, bear, support, endure; allow, permit

Persequamur: Jussive or hortatory subjunctive, “Let us follow after/pursue”

Reflagitemus: hortatory subjunctive, “Let us demand (them) back”

Quae sit: subjunctive in indirect question

Turpe: shamefully, scandalously

Incedere: march along majestically, strut

Mimice: like a mime, farcically, perhaps mimicking Catullus?!

Moleste: in an offensive manner; affectedly

Catuli: a young dog (or other animal), a puppy. Is this a pun on Catullus’ name??

Gallicani: of or belonging to the Roman province Gallia (in Upper Italy), Gallic. Note that both Catullus and Ameana were from Gallia.

Ore: mouth or face

Circumsistite: stand around in a circle, surround

Putida: rotten, decaying, stinking; old, disgusting

Codicillos: diminutive of codex, wooden writing-tablets covered with wax

Assis facis: an AS is a small bronze coin, assis is genitive of value, “You don’t consider it worth even an AS? You don’t give a damn?” Catullus here is addressing the “tablet thief” directly.

Lutum: mud, filth

Lupanar: she is not just a prostitute, but an entire whorehouse!

Perditius: neuter comparative, more ruined, abandoned, corrupt, profligate

Quid = aliquid: anything

Putandum est: gerundive in passive periphrastic, “should be regarded/considered”

Ruborem: redness, a blush, shame, modesty

Ferreo: made of iron, hard, unfeeling, brazen. The “RR” suggests growling like a dog.

Exprimamus: hortatory subjunctive, “let us squeeze or wring out”

Conclamate: cry or shout out together

Proficimus: make progress, accomplish. The hendecasyllables are reporting back to Captain Catullus.

Nihil: used adverbially

Mutanda est: gerundive in passive periphrastic, “must be changed”

Ratio: course, conduct, manner, method, plan

Modus: melody, meter, mode, way, manner, method. A pun suggesting that a less aggressive meter than hendecasyllables are perhaps needed.

Vobis: Catullus is addressing the hendecasyllables

Siquid = si quid, if anything

Amplius: more, further

Pudica: bashful, modest, chaste, virtuous

Proba: upright, honorable, excellent, virtuous

Pronunciation:

Adest(e), hendecasyLLabī, quot estis
omnēs undique, quotquot estis omnēs.
iocum mē putat eSSe moecha tuRpis,
et negat mihi nostra reDDitūraM
pugiLLāria, sī patī potestis.
peRsequāmur eã(m e)t Reflāgitēmus.
quae sit, quaeritis? iLLa, qua(m) vidētis
tuRp(e) iñcēdere, mīmic(ē) ac molestē
rīdenteñ catul(ī) ōre gaLLicānī.
ciRcû(m)sistit(e) eâ(m, e)t Reflāgitāte,
‘moecha pūtida, ReDDe cōdiciLLōs,
ReDDe pūtida moecha, cōdiciLLōs!’
nōn aSSis facis? ō lutû(m), lupānaR,
aut sī peRditius potes quid eSSe.
sed nōn est tamen hoc satis putandû(m).
quod sī nōn aliud potest Rubōrê(m)
feRReō canis expRimāmus ōre.
conclāmāt(e)iter(ûm)altiōre vōce.
‘moecha pūtidaa, ReDDe cōdiciLLōs,
ReDDe, pūtida moecha, cōdiciLLōs!’
sed nīl pRōficimus, nihil movētuR.
mūtanda(e)st Ratiō modusque vōbīs,
sīquid pRōficer(e)amplius potestis:
‘pudīca(e)t pRoba, ReDDe cōdiciLLōs.’

Meter: Phalaecean ⏓ ⏓ – ⏑ ⏑ – ⏑ – ⏑ – ⏓

ădēste hēndĕcăsŷllăbī, quŏt ēstĭs
ōmnēs ūndĭquĕ, quōtquŏt ēstĭs ōmnēs.
iŏcūm mē pŭtăt ēssĕ moēchă tūrpĭs.
ēt nĕgāt mĭhĭ nōstră rēddĭtūrăm
pŭgīllārĭă, sī pătī pŏtēstĭs.
pērsĕquāmŭr ĕam ēt rĕflāgĭtēmŭs.
quaē sīt quaērĭtĭs? īllă quām uĭdētĭs
tūrpe īncēdĕrĕ mīmĭce āc mŏlēstē
rīdēntēm cătŭli ōrĕ Gāllĭcānī.
cīrcūmsīstĭte ĕam, ēt rĕflāgĭtātĕ,
moēchă pūtĭdă. rēddĕ cōdĭcīllōs.
rēddĕ pūtĭdă moēchă cōdĭcīllōs.
nōn āssīs făcĭs? ō lŭtūm. lŭpānăr.
aūt sī pērdĭtĭūs pŏtēst quĭd ēssĕ.
sēd nōn ēst tămĕn hōc sătīs pŭtāndŭm
quōd sī nōn ălĭūd pŏtēst rŭbōrĕm
fērrĕō cănĭs ēxprĭmāmŭs ōrĕ.
cōnclāmāte ĭtĕrum āltĭōrĕ uōcĕ,
moēchă pūtĭdă. rēddĕ cōdĭcīllōs.
rēddĕ pūtĭdă moēchă cōdĭcīllōs.
sēd nīl prōfĭcĭmūs. nĭhīl mŏuētŭr.
mūtāndā est rătĭō mŏdūsquĕ uōbīs
sīquīd prōfĭcĕre āmplĭūs pŏtēstĭs.
pŭdīca ēt prŏbă. rēddĕ cōdĭcīllōs.

Translation: DWA, Fez, 11/19/21

Puella: used emphatically four times in the poem. “Puella” and “amica” were sometimes used as a euphemism for a courtesan.

Defututa: exhausted by sensuality, from “futuo” (the F-word); Catullus uses almost the same word to refer to Mamurra in Carmen 29: “ista vestra diffututa mentula.”

Tota: can be understood with defututa or milia decem (a full 10,000) or both. I like “defututa tota” because of the sound.

Milia decem: sesterces was understood. 10,000 sestertes was a year's rent for a small apartment in Rome! The normal fee for a prostitute’s services in Pompeii was 2-16 “asses”. 1 sesterius = 4 asses (bronze coins). I wonder if she meant this as a joke/put down: “Well for you, it’ll be 10,000!”

Poposcit: asked for, demanded

Ista: “that,” often implies scorn or contempt

Turpiculo: diminutive of turpis, ugly, deformed, unsightly

Decoctoris: one who has squandered his own or another’s property, a ruined spendthrift

Formiani: of or belonging to Formiae, Formian; refers to Mamurra, a native of Formiae and Caesar’s notorius “praefectus fabrum” in Gaul.

Propinqui: neighbors, relatives

Quibus est puella curae: dative of reference + dative of “purpose”.

Convocate: call together, summon

Rogare: to ask

Qualis: of what sort, what kind

Qualis sit, subjunctive in indirect question

Solet: is accustomed to, is used to

Aes: bronze, brass; money, wages (neuter accusative)

Aes imaginosum: (polished) bronze, full of images, i.e., her mirror. May also allude to the unthinkable amount of money she has requested.

Here are some excellent articles that provide insight into the poem:

The Mirror of Catullus, Susan Shapiro

https://www.academia.edu/7376901/The_Mirror_of_Catullus_Poems_12_22_39_41_42_and_84

The Ameana Cycle of Catullus, Phyllis Young Forsyth

https://www.jstor.org/stable/4348714?read-now=1&seq=6#page_scan_tab_contents

Unveiling Roman Courtesans, Ria Berg, The Roman Courtesan

http://irfrome.org/wp/wp-content/uploads/2019/01/ActaIRF 46.pdf

Prostitution in Ancient Rome

https://imperiumromanum.pl/en/roman-society/marriage-and-love-life-in-ancient-rome/prostitution-in-ancient-rome/

Pronunciation:

Ameāna pueLLa dēfutūta
tōta mīlia mē decem poposcit,
ista tuRpiculō pueLLa nāsō,
dēcoctōris amīca foRmiānī.
pRopinquī, quibus est pueLLa cūrae,
amīcōs medicōsque convocāte:
nōn est sāna pueLLa, nec Rogāre
quālis sit solet aes imāginōsu(m).

Meter:

Phalaecean Hendecasyllables
⏓ ⏓ – ⏑ ⏑ – ⏑ – ⏑ – ⏓

Ămĕānă pŭēllă dēfŭtūtă
tōtă mīlĭă mē dĕcēm pŏpōscĭt,
īstă tūrpĭcŭlō pŭēllă nāsō,
dēcōctōrĭs ămīcă Fōrmĭānī.
prŏpīnquī quĭbŭs ēst pŭēllă cūraē,
ămīcōs mĕdĭcōsquĕ cōnvŏcātĕ.
nōn ēst sānă pŭēllă, nēc rŏgārĕ
quālīs sīt sŏlĕt aēs ĭmāgĭnōsŭm.

Artwork:

Portrait of Isidora, Fayum, Roman Egypt, ca. 100 AD, Getty Villa Museum, Malibu, photo by DWA.

Greek Bronze mirror, 5th century BC, Metropolitan Museum of Art, New York.

Fresco of woman looking in a mirror, 1st century AD, from the Villa of Arianna at Stabiae, Naples Archeological Museum, photo by Carole Raddato.

Translation: DWA, Fez, October 30, 2021

Please see the excellent article on Archilochus and Catullus by G. L. Hendrickson:

https://www.journals.uchicago.edu/doi/pdf/10.1086/360659

Who is “meos amores” in this poem, Clodia or Juventius? Because Catullus never refers to Clodia using this expression, but does use it for Juventius, I think he is probably talking here about the latter. Note too the similarity in vocabulary between this poem and Carmen 15 (about Juventius):

meos amores: meos amores
qualubet: qua lubet
mala mens: mala mens
vecordem: vecors
miselle: miserum

Quaenam: Quisnam is an emphatic interrogative; What, I ask? Who/what exactly?!

Miselle: diminutive of miser, used here to show contempt, or mock pity.

Ravide: pronounced with two syllables, so that there are only 11 syllables in the line.

Note the similarity in sound between Ravidus and “rabidus,” raving, mad, rabid, and how Catullus emphasizes this with mala mens and vecordem.

Meos iambos: iambic verses, iambics being a general term for all verses of personal satire.

Quis deus: “qui” is normally the interrogative adjective, but “quis” is very common as an adjective with words denoting a person.

Tibi: can be understood simultaneously with advocatus and excitare.

Non bene advocatus: invoked with an incorrect formula; any slight error of ritual could spoil a prayer and incur the god’s wrath. Catullus suggests that Ravidus has sought a god’s help in arranging this love affair.

Vecordem: senseless, foolish, mad, insane

Rixam: violent quarrel, dispute, contest, strife, battle

An: or, or rather, or indeed, or perhaps

Ut pervenias: ut is elliptical here: “are you doing this in order to…?” Pervenias (come to, reach, arrive) is subjunctive.

Quālubet: as you please, by any means whatsoever, at all costs.

Eris: it’s the future of “sum”, but since Catullus’ readers would be fluent in Greek, could the emphatic position of this word also allude to Eris, the Greek goddess of strife, discord, contention?

Quandōquidem: since, seeing that; note the O has become short for the sake of the meter.

Poena: punishment, penalty, vengeance.

Note possible puns: cum longa amare poena
Amare (to love) sounds like amara (bitter, harsh, rough).
Longa poena: several scholars suggest that to a Roman this would have sounded very much like “pene”!

Pronunciation:

quaenaN tē mala mēñs, miseLLē rāvide,
agit pRaecipit(em) iM meōs iambōs?
quis deus tibi nōM ben(e)advocātus
vēcoRdem parat excitāre rixa(m)?
an ut peRveniās in ōra vulgī?
quid vīs? quālubet eSSe nōtus optās?
eris, quandoquidem meōs amōrēs
cu(m) longā voluist(ī)amāre poenā.

quaenaN tē: M before T = N

mēñs: N before S is nasalized

iM meōs: N before M = M

vēcoRdem: R = trilled R

Meter: Phalaecean Hendecasyllables

⏓ ⏓ – ⏑ ⏑ – ⏑ – ⏑ – ⏓

quaēnām tē mălă mēns mĭsēllĕ Rāvĭde
ăgīt praēcĭpĭtem īn mĕōs ĭāmbōs?
quīs dĕūs tĭbĭ nōn bĕne ādvŏcātŭs
vēcōrdēm părăt ēxcĭtārĕ rīxăm?
ăn ūt pērvĕnĭās ĭn ōră vūlgī?
quīd vīs? quālŭbĕt ēssĕ nōtŭs ōptās?
ĕrīs quāndŏquĭdēm mĕōs ămōrēs
cūm lōngā vŏlŭīsti ămārĕ poēnā.

What sort of sick mind, poor little Ravidus,
hurls you headlong into my iambs?
What god, improperly invoked,
contrives to stir up for you an insane quarrel?
Or is it, perhaps, so you might reach
the mouths of the masses?
What do you want? Do you wish,
by any means whatsoever, to be well known?
You shall be, seeing that you attempted
to love my beloved,
with protracted punishment.

Artwork:

Fayoum portrait, 2nd century AD, Pushkin Museum, Moscow.

Eris, goddess of discord, Athenian black-figure kylix 6th century BC, Antikensammlung, Berlin.

Translation:

DWA, Fez 10/22/21

Vocabulary & Grammar:

renidet: repeated four times! He shines, glistens, smiles, grins…

ventum est, lugetur: impersonal passive verbs, “if someone has come,” “if there is mourning.”

rei subsellium: the defendant’s bench; if Egnatius was there to support his friend in court, he needed to be serious!

elegantem, urbanum: a fatal blow! In Catullus’ circle, being elegant, urbane, witty was of the utmost importance.

monendum est te mihi: impersonal passive periphrastic with a dative of agent, “it is obligatory for me to warn you.”

bone Egnati: ironic perhaps?!

urbanus: the Urbs is Rome, so here urbanus means a person from Rome, but also with the other connotations of urbanus.

si urbanus esses…nollem: imperfect subjunctive, “if you were…I wouldn’t…”

aut: (or) repeated 7 times for comic effect.

Lanuvinus ater: black, dark, gloomy

atque dentatus: they also had teeth to be proud of 😃

Transpadanus: Catullus was from Verona, beyond the Po; his people weren’t granted full Roman citizenship until 49 BC.

puriter: using clean water

risu inepto: ablative after ineptior, “more inept THAN inept laughing”

Celtiber, Celtiberia: a part of Spain settle by Celts.

russam gingivam: their gums were red from the harsh treatment.

quo…hoc: ablative of “degree of difference”.

iste vester dens: the plural form of “your” used to suggest both Egnatius and his people.

amplius loti: genitive, “more of urine”

bibisse: perfect infinitive, “to have drunk”

praedicet (short I, accent on 1st syllable): subjunctive of praedico, -are, make publically known, announce, proclaim; NOT praedīcet (long I) future indicative of praedīco, -ere, say beforehand, predict, fortell. In this case the meter helps us know which verb it is.

Pronunciation

eNGnātius, quod candidōs habet dentēs,
Renīdet usque quāque. s(ī)ad Reī ventu(m e)st
subseLLiuNG, c(um)ōrātor excitat flētu(m),
Renīdet iLLe; s(ī)ad piī rogu(m) fīlī
lūgētur, oRba cu(m) flet ūnicum māteR,
Renīdet iLLe. quidquid est, ubicūNGqu(e)est,
quodcūNGqu(e)agit, Renīdet: hunc habet morbuN,
nequ(e)ēlegant(em),ut aRbitroR, nequ(e)uRbānu(m).
quārē monendu(m e)st tē mihī, bon(e)eNGnātī.
s(ī)uRbānus eSSēs aut sabīnus aut tībuRs
aut paRcus umber aut obēsus etRūscus
aut lānuvīnus āter atque dentātus
aut tRāñspadānus, ut meōs quoqu(e)aTTinga(m),
aut quilubet, quī pūriteR lāvit dentēs,
tamen Renīdēr(e)usque quāque tē nōLLe(m):
na(m) Rīs(ū)ineptō rēs ineptioR nūLLa(e)st.
nunc celtibēr es: celtibēri(ā)in teRRā,
quod quisque mīnxit, hōc sibi solet manē
dent(em)atque ruSSaN dēfRicāre gingīva(m),
ut, qu(ō)iste vester expolītioR dēñs est,
hōc t(ē)amplius bibiSSe pRaedicet lōtī.

Meter:

Choliambic or limping iambs, same as Carmen 37

x — u — x — u — u — — —

Ēgnātĭūs quōd cāndĭdōs hăbēt dēntēs
rĕnīdĕt ūsquĕ quāquĕ. si ād rĕī vēntūm est
sūbsēllĭūm cum ōrātŏr ēxcĭtāt flētūm
rĕnīdĕt īllĕ. si ād pĭī rŏgūm fīlī
lūgētŭr ōrbă cūm flĕt ūnĭcūm mātēr
rĕnīdĕt īllĕ. quīdquĭd ēst, ŭbīcūmquē est,
quōdcūmque ăgīt, rĕnīdĕt. hūnc hăbēt mōrbūm
nĕque ēlĕgāntem ŭt ārbĭtrōr nĕque ūrbānūm.
quārē mŏnēndūm est tē mĭhī bŏne Ēgnātī.
si ūrbānŭs ēssĕs, aūt Săbīnŭs, aūt Tībūrs,
aūt pārcŭs Ūmbĕr, aūt ŏbēsŭs Ētrūscūs,
aūt Lānŭvīnŭs ātĕr ātquĕ dēntātūs,
aūt Trānspădānŭs, ūt mĕōs quŏque āttīngām,
aūt quīlŭbēt, quī pūrĭtēr lăvīt dēntēs,
tămēn rĕnīdēre ūsquĕ quāquĕ tē nōllēm.
nām rīsu ĭnēptō rēs ĭnēptĭōr nūllā est.
nūnc Cēltĭbēr ēs. Cēltĭbērĭā in tērrā
quōd quīsquĕ mīnxĭt hōc sĭbī sŏlēt mānē
dēntem ātquĕ rūssām dēfrĭcārĕ gīngīuām.
ūt, quō istĕ vēstĕr ēxpŏlītĭōr dēns ēst
hōc tē amplĭūs bĭbīssĕ praēdĭcēt lōtī.

Egnatius, since he has dazzling white teeth,
smiles always and everywhere.
If someone has come to the defendant’s bench,
when the orator is bringing everyone to tears,
that one is smiling.
If people are mourning
at the funeral pyre of a devoted son,
when the bereft mother is weeping for her only boy,
that one is smiling.
Whatever it is, wherever it is,
whatever he’s doing, he smiles.
He has this disease,
not elegant, as it seems to me, nor urbane.
For this reason I’m obliged
to advise you, my fine Egnatius.
If you were from the city of Rome,
or Sabine or Tiburtine,
or a frugal Umbrian or a well-fed Etruscan,
or a Lanuvian, swarthy and also with fine teeth,
or from beyond the River Po,
to touch upon my people as well,
or whoever you like,
who washes his teeth in a clean manner,
still I wouldn’t want you to smile
always and everywhere,
for there is nothing more tasteless
than inappropriate laughter.
Now you are a Celtiberian.
In the land of the Celtiberians
that which each person has peed,
with this they’re accustomed
in the morning to scrub their teeth and red gums,
so that the more polished those teeth of yours are,
the more piss they proclaim you’ve imbibed.

Marble portrait, Roman, 161-180 BC, Metropolitan Museum of Art, my photo, June 2021

Translation: DWA, 10/10/21, Fez

Male est: can refer to being physically unwell, but here it probably reflects Catullus’ emotional state.

Cornifici: Cornificius is probably Quintus Cornificius, a poet, orator, and military commander, and a friend of Catullus and Cicero.

https://en.wikipedia.org/wiki/Quintus_Cornificius?wprov=sfti1

me hercule: by Hercules! A very common colloquial oath or interjection, originally an expression like “me Hercules juvet”, May Hercules help me!

Note that there is a pause (hiatus) after hercule. Normally “hercule” followed by “et” would result in an elided E, but if we do that, the meter isn’t right.

laboriose: probably an allusion to the labors of Hercules.

sic meos amores? The lack of a verb is very colloquial, and reflects Catullus’ emotional state. “Amores” often refers to a person, but here it’s Catullus’ love/affection for his friend.

paulum quid lubet: again, there’s no verb!

lacrimis Simonideis: Simonides of Ceos was a celebrated Greek lyric poet (6th century BC), known for writing sad poems. It seems that Catullus is hoping Cornificius will send him a poem to help him cope with his sadness.

https://en.wikipedia.org/wiki/Simonides_of_Ceos?wprov=sfti1

Pronunciation

male (e)st, coRnificī, tuō catuLLō,
male (e)st, m(e) heRcule, et labōriōsē,
et magis magis in diēs et hōrās.
queN tū, quod minimu(m) faciLLimuNGque (e)st,
quā sōlātus es aLLocūtiōne?
īrāscoR tibi. sīc meōs amōrēs?
pauluNG quid lubet aLLocūtiōnis,
maestius lacRimīs simōnidēīs.

Meter: Phalaecean Hendecasyllables

⏓ ⏓ – ⏑ ⏑ – ⏑ – ⏑ – ⏓

măle ēst Cōrnĭfĭcī tŭō Cătūllō.
măle ēst me hērcŭlĕ ēt lăbōrĭōsē.
ēt măgīs măgĭs īn dĭēs ĕt hōrās.
quēm tū quōd mĭnĭmūm făcīllĭmūmquē est
quā sōlātŭs ĕs āllŏcūtĭōnĕ?
īrāscōr tĭbĭ. sīc mĕōs ămōrēs?
paūlūm quīd lŭbĕt āllŏcūtĭōnĭs
maēstĭūs lăcrĭmīs Sĭmōnĭdēĭs.

It’s going badly, Cornificius, for your friend Catullus,
he’s unwell, by Hercules, and suffering badly,
more and more as the days and hours pass.
But you, with what consoling words have you comforted him,
which is the smallest and the easiest thing?
I am angry with you.
Is this how you repay my affection?
Just a little word of comfort, whatever you like,
sadder than the tears of Simonides.

Artwork

Orestes & Pylades, Roman fresco from Pompeii, 1st century AD, House of the Citharist

Female theater mask, Roman fresco from Pompeii, 1st century AD, Casa del Bracciale d’Oro

Translation: DWA

Fez, 9/25/21

Here’ a musical version of the poem…pulcherrimum est!
https://youtu.be/cOhhfEHMXUI

contubernales: tent mates, comrades-in-arms, but the root of the word is the same as taberna.

pilleatis fratribus: the felt-capped brothers, Castor and Pollux, whose temple was near the southeastern end of the Forum.

pila nona: the ninth pillar; there was a pillar at the door of each taberna or shop advertising its goods.

centum an ducenti: one or two hundred! Catullus liked to exaggerate.

irrumare: irrumate, one of Catullus’ favorite terms of sexual abuse, used as a figure of speech to express contempt.

amata tantum quantum amabitur nulla: compare “amata nobis quantum amabitur nulla” in Carmen 8; here it may be used ironically, alluding to Clodia’s promiscuity.

magna bella: great battles, perhaps referring to the challenges Catullus faced in order to have a love affair with the wife of a prominent senator.

sopionibus: probably a colloquial word for penis, found only here and in graffiti.

pusilli: “junior league,” pusillus is the diminutive of pusus (little boy).

cuniculosae: abounding in rabbits; Spain was known as the “Land of Rabbits,” called Ispania from the Carthaginian word “sphan” (rabbit). The reference is probably to Egnatius’ long hair, his softness, and perhaps other rabbity tendencies.

capillatis: long-haired; the traditional Roman custom was to have short hair, unlike Egnatius and his fashionable young friends.

Celtiberiae: Celtiberia, an area in Spain named from of its mixture of Celts and native Iberians.

urina: the Celtiberians did in fact polish their teeth with urine. Charming!

Pronunciation

Salāx tabeRna vōsque contubeRnālēs,
ā pilleātīs nōna fRātRibus pīla,
sōlīs putātis esse mentulās vōbīs,
sōlīs licēre, quidquid est puellārumNG
cōñfutuer(e)et putāre cēterōs hiRcōs?
an, continenteR quod sedētis īñsulsī
cent(um) an ducentī, nōnM putātis ausūrum
m(ē) ūnā ducentōs iRRumāre sessōrēs?
atquī putātē: nam(NG)que tōtius vōbīs
fRontemN tabeRnae sopiōnibus scRība(m).
puella nam mī, quae meō sinū fūgit,
amāta tantum(NG) quant(um)amābituR nūlla,
pRō quā mihī sunt ma(ñ)gna bella pu(ñ)gnāta,
cōñsēdit istīc. hañc bonī beātīque
omnēs amātis, et quidem(ñ), quod indi(ñ)gn(um)st,
omnēs pusill(ī)et sēmitāriī moechī;
tū pRaeter omnēs ūne dē capillātīs,
cunīculōsae Celtibēriae fīlī,
E(ñ)gnāt(ī), opāca quem bonu(m) facit baRba
et dēñs Hibērā defRīcātus ūrīnā.

Meter: Choliambic or limping iambs x — u — x — u — u — — —

sălāx tăbērnă, uōsquĕ cōntŭbērnālēs,
ā pīllĕātīs nōnă frātrĭbūs pīlā.
sōlīs pŭtātĭs ēssĕ mēntŭlās uōbīs.
sōlīs lĭcērĕ quīdquĭd ēst pŭēllārūm
cōnfŭtŭĕre ēt pŭtārĕ cētĕrōs hīrcōs?
ān cōntĭnēntēr quōd sĕdētĭs īnsūlsī
cēntum ān dŭcēntī nōn pŭtātĭs aūsūrūm
me ūnā dŭcēntōs īrrŭmārĕ sēssōrēs?
ātquī pŭtātē. nāmquĕ tōtĭūs uōbīs
frōntēm tăbērnaē sōpĭōnĭbūs scrībām.
pŭēllă nām mī quaē mĕō sĭnū fūgīt,
ămātă tāntūm quāntum ămābĭtūr nūllā,
prō quā mĭhī sūnt māgnă bēllă pūgnātā
cōnsēdĭt īstīc. hānc bŏnī bĕātīquē
ōmnēs ămātĭs. ēt quĭdēm quŏd īndīgnūm est
ōmnēs pŭsīlli ēt sēmĭtārĭī moēchī.
tū praētĕr ōmnēs ūnĕ dē căpīllātīs
cŭnīcŭlōsaē Cēltĭbērĭaē fīlī,
Ēgnāti, ŏpācă quēm bŏnūm făcīt bārbā
ēt dēns Hĭbērā dēfrĭcātŭs ūrīnā.

Salacious tavern and you its fellow tavern dwellers,
at the ninth pillar from the temple of the felt-capped Brothers,
do you think you are the only ones that have dicks,
that only you are allowed to screw whatever girls there are
and to think the rest of us are stinking goats?
Or perhaps, since you insipid idiots sit there all together,
a hundred, or even two hundred, do you not think
I would dare irrumate two hundred sedentarians all at once?
But indeed think about this: I swear I’m going to scrawl all
over the front of your tavern with phallic graffiti!
For my girl, who has fled from my lap,
loved as much as no woman will be loved,
for whom I have fought great battles,
she has taken her seat there with you.
This one all you fine and fortunate men now love,
and indeed, what is intolerable,
you’re all junior-league and back-alley adulterers;
you, ahead of them all, alone among the long-haired herd,
son of rabbit-infested Celtiberia,
Egnatius, whose dark beard makes you seem well-bred,
and your teeth, polished with Iberian piss.

Artwork:

Roman marble bust, possibly of Sauromates II, 2nd century AD, Acropolis Museum, Athens; I’ve used the image here to suggest a long-haired foreign lover of Clodia.

Fresco from Pompeii, 1st century AD, National Archeological Museum, Naples

Translation, DWA
Fez, September 12, 2021

Erratum: please note that I pronounced the E in omnes like an I! Mea culpa! (hanc boni beatique omnes amatis)

Annales Volusi: a historical poem by Volusius, whose work is mentioned in Carmen 95 as being best suited for wrapping fish. It seems that he was from Padua in northern Italy.

cacata carta: carta (charta) is a sheet of papyrus or parchment; cacata is a passive participle, so the image is that the sheet or document has been defecated or defecated upon.

mea puella: we assume Lesbia/Clodia

iambos: poems written in iambic meter were traditionally used to attack or mock someone, such as in Catullus 8 and 37.

pessimi poetae: the “worst poet”…probably Clodia had referred to Catullus in this way.

tardipedi deo: slow-footed god, Vulcan, the god of fire and husband of Venus. He became lame when his mother, Juno, hurled him from Mount Olympus because he was such an ugly baby. Nice mom!

infelicibus lignis: unproductive trees and branches were used to burn anything evil and were called “infelix.” We assume Clodia used this term as an indirect insult to Catullus’ work.

pessima puella: mimicking Clodia’s expression for Catullus, but perhaps also referring to her unfaithfulness.

divis: to the gods Venus and Cupid.

caeruleo creata ponto: Venus was created from the foam of the sea.

Idalium, Urios, Ancona, etc: a mock-formal prayer to Venus, with seven places sacred to her, in exaggerated style to make fun of Volusius.

quae, quaeque, etc: repeated for emphasis.

Durrachium Hadriae tabernam: an important port for sea traders between Italy and the East, and thus the “inn” of the Adriatic.

si non illepidum neque invenustum est: charm, style, and good taste were imperative for Catullus and his poetic circle of friends. Note the reference to Venus in “invenustum”.

ruris: of the countryside; Catullus valued sophisticated city ways. A bit of a snob!

Pronunciation Notes:

annālēs volusī, cacāta caRta,
vōtu(m) solvite pRō meā puellā.
na(m) sānctae venerī cupīdinīque
vōvit, sī sibi restitūtus esse(m)
dēsīsseNGque tRucēs vibRār(e) iambōs,
ēlēctissima pessimī poētae
scRīpta taRdipedī deō datūra(m)
ī(ñ)fēlīcibus ustulanda liNGnīs.
et hoc pessima sē puella vīdit
iocōsē lepidē vovēre dīvīs.
nunc ō caeruleō cReāta pontō,
quae sāNGct(um) Īdali(um) Ūriōsqu(e) apeRtōs
quaequ(e) aNGcōna cniduNGqu(e) harundinōsaNG
colis quaequ(e) amat(h)ūnta quaeque golgōs
quaeque duRRāchi(um) hadRiae tabeRna(m),
acceptu(m) face reddituNGque vōtu(m),
sī nōn illēpiduN nequ(e) invenustu(m e)st.
at vōs intereā venīt(e) in iNGne(m),
plēnī rūris et ī(ñ)ficētiāru(m)
annālēs volusī, cacāta caRta.

Meter: Phalaecean Hendecasyllables

⏓ ⏓ – ⏑ ⏑ – ⏑ – ⏑ – ⏓

ānnālēs Vŏlŭsī, căcātă cārtă,
uōtūm sōluĭtĕ prō mĕā pŭēllā.
nām sānctaē Vĕnĕrī Cŭpīdĭnīquĕ
uōuīt sī sĭbĭ rēstĭtūtŭs ēssĕm
dēsīssēmquĕ trŭcēs uĭbrāre ĭāmbōs
ēlēctīssĭmă pēssĭmī pŏētaē
scrīptă tārdĭpĕdī dĕō dătūrăm
īnfēlīcĭbŭs ūstŭlāndă līgnīs.
ēt hōc pēssĭmă sē pŭēllă uīdĭt
iŏcōsē lĕpĭdē uŏuērĕ dīuīs.
nūnc ō caērŭlĕō crĕātă pōntō,
quaē sānctum Īdălĭum Ūriōsque ăpērtōs,
quaēque Āncōnă Cnĭdūmque hărūndĭnōsăm
cōlīs quaēque Ămăthūntă, quaēquĕ Gōlgōs,
quaēquĕ Dūrrăchĭum Hādrĭaē tăbērnăm,
āccēptūm făcĕ rēddĭtūmquĕ uōtŭm
sī nōn īllĕpĭdūm nĕque īnuĕnūstŭm est.
āt uōs īntĕrĕā uĕnīte ĭn īgnĕm,
plēnī rūrĭs ĕt īnficētĭārŭm,
ānnālēs Vŏlŭsī, căcātă cārtă.

Annals of Volusius, shat-upon sheet,
fulfill a vow on behalf of my girl.
For she vowed to sacred Venus and Cupid,
if I were given back to her and
would stop hurling savage iambics,
she would give the most carefully
chosen writings of the foulest poet
to the slow-footed god
to be burned with the unproductive branches.
And she, the foulest girl, considered that she
was vowing this to the gods jokingly, charmingly!
Now, o Goddess born from the cerulean sea,
who inhabit sacred Idalium and storm-beaten Urios,
Ancona and Cnidus, abounding in reeds,
Amathus, and Golgos,
and even Durrachium, the inn of the Adriatic,
consider her vow accepted and paid in full,
if it is not an impolite nor inelegant request.
But you, meanwhile, full of country ways
and boorish speech, go into the fire,
annals of Volusius, shat-upon sheet!

Artwork:

Birth of Venus, Roman fresco from Pompeii, House of Venus, 1st century AD, public domain.

The Birth of Venus, Sandro Botticelli, 1485–1486, Uffizi Gallery, Florence, public domain.

Translation: DWA, Detroit, 7/20/21

poetae tenero: to the young poet; tener, meaning tender or young, was also used to describe a writer of love poetry.

Caecilius: a love poet, otherwise unknown, from New Como, 250 km from Verona, where Catullus was originally from.

papyre: Catullus is addressing the papyrus his poem is written on, asking it to convey his message to Caecilius.

Larium litus: the Larian shore; Larius is a lake north of Milan, now called Lake Como.

amici sui meique: his friend and mine; probably he means just himself, but perhaps he had been discussing Caecilius’ poem with a common friend.

Dindymi Dominam: the Lady/Mistress of Dindymon; Dindymon is a mountain in Phrygia, in Asia Minor, sacred to the goddess Cybele, the mother of the gods, identified as Rhea in Greek mythology.
She was worshipped with orgiastic rites in which the male worshippers sometimes castrated themselves!

incohatam, incohata: started, unfinished; Catullus uses this word twice to emphasize his opinion that his friend’s poem needs more work.

Sapphica musa: his beloved is compared with the brilliant poet Sappho.

venuste: charmingly; the word is derived from Venus, goddess of love.

Magna Mater: the Great Mother, the title of Caecilius’ poem in honor of Cybele.

Artwork:

Portrait of the so-called Sappho, Pompeian fresco, 55-79 AD, National Archeological Museum, Naples

Cybele, Roman marble, ca. 50 AD, Getty Villa, Malibu

Translation: DWA, Fez, 6/20/21

Here’s an excellent article about the goddess Cybele:
https://www.theoi.com/Phrygios/Kybele.html

To the young poet, my friend Caecilius,
I would like you to say, papyrus, that he should
come to Verona, leaving behind
the ramparts of New Como and the Larian shore.
For I wish that he might receive
some reflections of his friend and mine.
Wherefore, if he is wise, he will devour the road,
however many thousand times his beautiful girl
should call him back as he is leaving, and casting
both arms around his neck, beg him to linger…
who now, if what I am told is true,
is dying for him with uncontrollable love.
For the time she read his unfinished
Mistress of Dindymon, from then on fires are
consuming the innermost marrow of her, miserable.
I forgive you, girl more learned than the Sapphic muse,
for indeed the “Magna Mater” of Caecilius
has been started charmingly.

The meter, Hendecasyllables, scanned and notes on Pronunciation:

pŏētaē tĕnĕrō mĕō sŏdālī
uĕlīm Caēcĭlĭō păpŷrĕ dīcās
Vērōnām uĕnĭāt Nŏuī rĕlīnquēns
Cōmī moēnĭă Lārĭūmquĕ lītŭs.
nām quāsdām uŏlŏ cōgĭtātĭōnēs
ămīci āccĭpĭāt sŭī mĕīquĕ.
quārē sī săpĭēt uĭām uŏrābĭt,
quāmuīs cāndĭdă mīlĭēs pŭēllă
ĕūntēm rĕuŏcēt, mănūsquĕ cōllō
āmbās īnĭcĭēns rŏgēt mŏrārī.
quaē nūnc sī mĭhĭ uēră nūntĭāntŭr
īllūm dēpĕrĭt īmpŏtēnte ămōrĕ.
nām quō tēmpŏrĕ lēgĭt īncŏhātăm
Dīndymī dŏmĭnam ēx ĕō mĭsēllaē
īgnēs īntĕrĭōrem ĕdūnt mĕdūllăm.
īgnōscō tĭbĭ sāpphĭcā pŭēllă
Mūsā dōctĭŏr. ēst ĕnīm uĕnūstē
Māgnă Caēcĭlĭo īncŏhātă Mātĕr.

poētae tenerō, meō sodālī,
velimÑ caeciliō, papȳre, dīcās
vērōna(m) veniat, novī reliñquēñs
cōmī moenia lāriumÑque lītus.
namÑ quāsda(m) volo cōgitātiōnēs
amīc(ī)accipiat suī meīque.
quārē, sī sapiet, via(m) vorābit,
quamvīs candida mīliēs puella
eunte(m) Revocet, manusque collō
ambās iniciēñs Roget morārī.
quae nunc, sī mihi vēra nūntiantuR,
illumN dēperit impotent(e)amōre.
namÑ quō tempore lēgit iñcohātamN
dindymī domin(am), ex eō misellae
iñgnēs interiōr(em) edunt medulla(m).
iñgnōscō tibi, sapphicā puella
mūsā doctioR; est eni(m) venustē
mañgna caecili(ō)iñcohāta māteR.

This video has been made in conjunction with my colleague Matthaeus’ excellent lesson on the poem: https://www.reddit.com/r/latin/comments/nsghts/poetry_lesson_v_catullus_xxxiv/?utm_source=share&utm_medium=ios_app&utm_name=iossmf

PRONUNCIATION NOTES

diānae sumus iÑ fide
pueLLae (e)t puer(ī)integRī:
diānaM puer(ī)integRī
pueLLaeque canāmus.

N before F is nasalized
R = trilled R

ō lātōnia, maximī
maÑGna prRōgeniēs Iovis,
quaM māteR pRope dēlia(m)N
dēposīvit olīvâ(m),

G before N = NG (please note that I didn’t get it quite right in my recording!)
M before M = M
M before D = N
Vowel + M at end of line = nasalized vowel

montiumN domin(a)ut forēs
silvārumÑque virentiû(m)
saltuumÑque reconditōr(um)
amniumÑque sonantû(m):

UM before Q = UÑ nasalized N
reconditōr(um)amniumÑque = “reconditōr-wamniumque” or “reconditōr-amniumque”

tū lūcīna dolentibus
iūnō dicta pueRperīs,
tū potēÑs tRiuia(e)t nothō(e)s
dicta lūmine lūna.

N before S = Ñ nasalized N
triuia(e)t = triuia-t (consonantal u)
nothō(e)s = “no-Twes” or “no-Tos“

tū cuRsū, deā, mēÑstRuō
mētiēÑs iter aNNuû(m),
Rūstic(a)agRicolae bonīs
tēcta fRūgibus explēs.

sīs quōcumÑque tibi placet
sāÑcta nōmine, Rōmulīqu(e)
antīqu(ē)ut solita(e)s, bonā
sospitēs ope gentê(m).

N before C = Ñ nasalized N
Rōmulīqu(e): e elided and combines with next line
antīqu(ē)ut = “antiqueut” with a very soft E blended with U, or “antiqu-ut”
solita(e)s = “solita-s”

METER

Glyconic and Pherecratean Stanzas

Glyconic: x x – u u – u – ( x x = – – , – u or u – )

Pherecratean: x x – u u – –

The last syllable may be short or long, but it always "counts" as long.

x x – u u – u –
x x – u u – u –
x x – u u – u –
x x – u u – –

Dĭānaē sŭmŭs īn fĭdē
pŭēllae ēt pŭĕri īntĕgrī.
Dĭānām pŭĕri īntĕgrī
pŭēllaēquĕ cănāmūs.

ō Lătōnĭă māxĭmī
māgnă prōgĕnĭēs Iŏuīs
quām mătēr prŏpĕ Dēlĭām
dēpŏsīuĭt ŏlīuām

Note that the first four lines begin with a short syllable ( u – ) and ALL the other lines begin with a long syllable! ( – u , – – )

Note also that two lines are “hypermetric,” where the final syllable elides with the beginning of the next line:

sāltŭūmquĕ rĕcōndĭtōr(um)
āmnĭūmquĕ sŏnāntūm.

sānctă nōmĭnĕ. Rōmŭlīqu(e)
āntīque ūt sŏlĭtā es bŏnā

REPETITION OF SOUND

DIANae suMUS IN fide
PUELLAE et PUERI INTEGRI
DIANam PUERI INTEGRI
PUELLAEque canaMUS.

O latOnia, MAximi
MAgna PROgenies IOvis,
quam mater PROpe DEliam
DEPOsiuit olivam,

montIUM domina Ut fores
silvarUMQUE virentIUM
saltuUMQUE reconditorUM
amnIUMQUE sonantUM

TU Lucina dolentibus
Iuno DICTA PUERperis,
TU poTens Trivia eT noTho es
DICTA LUmine LUna.

TU cursu, dea, MENStruo
MEtiENS iter annuum,
RUstica agricolae bonis
tecta fRUgibus exples.

SiS QUocumQUE tibi placet
Sancta nomine, RomuliQUE,
antiQUE ut SOlITa ES, bona
SOspITES ope gentem.

ARTWORK

Diana of Versailles, marble, Roman copy of Greek original, 2nd-century, Louvre Museum, Paris, photo by Eric Gaba, pubic domain

Diana, bronze, Paul Manship, 1925, Smithsonian American Art Museum, public domain

Artemis, Athenian red-figure vase, 500-450 BC, Hermitage Museum, St. Petersburg, public domain

CATULLI CARMEN XXXIV

Dianae sumus in fide
puellae et pueri integri,
Dianam pueri integri
puellaeque canamus.

O Latonia, maximi
magna progenies Iovis,
quam mater prope Deliam
deposiuit olivam,

montium domina ut fores
silvarumque virentium
saltuumque reconditorum
amniumque sonantum:

tu Lucina dolentibus
Iuno dicta puerperis,
tu potens Triuia et notho es
dicta lumine Luna.

tu cursu, dea, menstruo
metiens iter annuum,
rustica agricolae bonis
tecta frugibus exples.

sis quocumque tibi placet
sancta nomine, Romulique,
antique ut solita es, bona
sospites ope gentem.

We are in Diana’s care
girls and chaste boys,
chaste boys and girls,
let us sing to Diana!

O Daughter of Leto, great
offspring of almighty Jove,
whom your mother bore
beside the olive tree on Delos

that you might be mistress
of mountains and verdant forests
of hidden woodland meadows
and resounding streams.

You are called Lightbringing Juno
by those suffering in childbirth.
You are called powerful Trivia
and from your reflected light, Luna.

You, Goddess, in your monthly course
marking the path of the year
fill up the rustic huts of
the farmer with good crops.

May you be venerated by whatever
name is pleasing to you, and may you,
as has been your wont of old,
preserve with your good help
the descendants of Romulus.

Translation DWA
Fez, June 2, 2021

Instead of translating the poem, I’m going to supply vocabulary and grammar notes so you can hopefully understand it without a translation. But first a few comments on pronunciation and meter...

Pronunciation Notes

Ō fūr(um)optime balneāriōru(m)
VibeNNī pater et cinaede fīlī,
na(m)N dextRā pater i(n)NGquinātiōre,
cūlō fīlius est vorāciōre,
cūR nōn exiliuM malāsqu(e)in ōrās
itis? quandoquideM patris rapīnae
nōtae sunt popul(ō)et natīs pilōsās,
fīlī, nōn potes aSSe vēnditāre.

Meter: Phalaecean Hendecasyllables

⏓ ⏓ – ⏑ ⏑ – ⏑ – ⏑ – ⏓

where ⏓ ⏓ is one of – ⏑ or – – or ⏑ –

ō fūrum ōptĭmĕ bālnĕārĭōrŭm
Vĭbēnnī pătĕr ēt cĭnaēdĕ fīlī.
nām dēxtrā pătĕr īnquĭnātĭōrĕ,
cūlō fīlĭŭs ēst uŏrācĭōrĕ.
cūr nōn ēxĭlĭūm mălāsque ĭn ōrās
ītīs. quāndŏquĭdēm pătrīs răpīnaē
nōtaē sūnt pŏpŭlo ēt nătīs pĭlōsās,
fīlī, nōn pŏtĕs āssĕ uēndĭtārĕ.

While there is normally flexibility with the first foot, note that Catullus uses a spondee (– –) in all except line 2.

The O in quandōquidem is normally long, but here it’s short to fit the meter.

Vocabulary & Grammar Notes

O furum optime balneariorum

optime: vocative singular, best, most excellent
furum balneariorum: genitive pl, bathhouse thieves

Vibenni pater et cinaede fili

Vibenni pater: vocative, Vibennius is otherwise unknown
cinaede fili: vocative, cinaedus = catamite, sodomite

nam dextrā pater inquinatiore

nam: for
dextrā: ablative of description with est, with his right hand
inquinatiore: ablative with dextra, comparative of inquinātus
more polluted, defiled, impure, filthy

culo filius est voraciore

culo: ablative of description, buttocks, anus
filius: nominative, son
voraciore: ablative with culo, comparative of vorax, more voracious, gluttonous

cur non exilium malasque in oras itis?

cur: why
itis: 2nd person pl, present of eo, go
exilium: accusative of place towards or after an understood in + acc., exile
in + accusative: into, to
oras: accusative pl, coast, region, country
malas: accusative pl, bad, evil, wicked
-que: and

quandoquidem patris rapinae

quandoquidem: since indeed, since, seeing that
patris: genitive singular of pater
rapinae: nominative pl, robbery, plundering, pillage

notae sunt populo, et natīs pilosas

notae sunt: perfect passive with rapinae, have been known, discovered, are known
populo: dative, the people, populace, citizens, everyone
natīs: accusative pl, rump, buttocks
pilosas: accusative pl, hairy, shaggy

fili, non potes asse venditare.

fili: vocative singular, son
potes: 2nd p sing present, can, are able
venditare: infinitive, to offer again and again for sale, to try to sell
asse: ablative singular of AS, for an as, a copper coin;
the average daily wage for a soldier or manual worker was 16 asses.

Repetition of Sound/Alliteration

O furum Optime balnearIORum
vibenni pater et cinaede fili,
nam dextra pater inquinatIORE,
Culo filius est voracIORE,
Cur non exilium malasque in ORas
iTIS? quandoquidem Patris rapinae
notae sunt Populo, et naTIS PilosaS,
fili, non PoteS aSSe venditare.

Artwork

Tepidarium at the Forum baths in Pompeii, Hansen, Joseph Theodor, 1884, public domain

Baths of Caracalla, Rome: interior of the Tepidarium, watercolor, C.R. Cockrell (1788-1863), Royal Academy of Arts, public domain

Amabo: please, I would love it if; there’s a play on the literal meaning (I will love/make love)

Ipsitilla: otherwise unknown, probably a high-class independent courtesan. It has been suggested that this may be a veiled attack on Julius Caesar’s mistress (Garrison in “The Students’ Catullus”).

veniam, obseret, lubeat, maneas, pares: all subjunctives!

meridiatum: the supine of meridio (to take a mid-day nap or siesta) to indicate purpose. From meridies, midday.

iusseris: future perfect tense. Note that iusserīs, with a long I, is perfect subjunctive. Confusing!!

adiuvato, iubeto: both future imperative

domi: locative case

fututiones: Catullus created this humorous, exaggerated word from the verb futuo (to have “carnal connection”). Compare basiationes in Carmen 7.

satur supinus: I think he’s playing with the similarly to satyrus/satyr and the p-word that sounds like supinus. A satyr is a lascivious forest deity, usually with goat’s feet.

tunicam, pallium: a tunic is the main garment/undergarment, a pallium is a cloak, mantle or toga

-que.... -que: = et, et, both...and; giving a comic mock-heroic effect.

Note the wonderful repetition of sound:

aMabo, Mea, Meae, Mei
meridiATÛ(m), adiuvATO
SI iuSSerIS quIS lImInIS
forAS, maneAS, continuAS
Nobis, Novem
PRaNsus, SatuR SuPiNus
PeRtundo tuNicaMQUE PalliuMQUE

Pronunciation:

Amābō, mea dulcis IpsitiLLa,
meae dēliciae, meī lepōrēs,
iubē(a)d tē veniaM merīdiātû(m).
et sī iuSSeris, iLLud adiuvātō,
nē quis līminis obseret tabeLLâ(m),
neu tibī lubeat forās abīre,
sed domī maneās parēsque nōbīs
noveNG continuās futūtiōnēs.
vērû(m) sī quid agēs, statî(m) iubētō:
naM prā(n)sus iaceō(e)t satuR supīnus
peRtundō tunicaNGque paLLiuNGque.

iubē(a)d: I try to blend the two vowels
iaceō(e)t: I blend the ōe by pronouncing the O as a soft W
R = trilled R

Meter: Phalaecean Hendecasyllables

⏓ ⏓ – ⏑ ⏑ – ⏑ – ⏑ – ⏓

where ⏓ ⏓ is either a trochee – ⏑ , spondee – – , or iamb ⏑ –

ămābō mĕă dūlcĭs Īpsĭtīllă.
mĕaē dēlĭcĭaē. mĕī lĕpōrēs.
iŭbe ād tē uĕnĭām mĕrīdĭātŭm.
ēt sī iūssĕrĭs īllŭd ādiŭvātō
nē quīs līmĭnĭs ōbsĕrēt tăbēllăm.
neū tĭbī lŭbĕāt fŏrās ăbīrĕ.
sēd dŏmī mănĕās. părēsquĕ nōbīs
nŏuēm cōntĭnŭās fŭtūtĭōnēs.
uērūm sī quĭd ăgēs stătīm iŭbētō.
nām prānsūs iăcĕo ēt sătūr sŭpīnŭs
pērtūndō tŭnĭcāmquĕ pāllĭūmquĕ.

Note how Catullus uses 3 long syllables to begin a line 5 times. Seems to be for emphasis.

Note too how with some words the meter corresponds with the natural stress (ămābō, dūlcĭs, lĕpōrēs) with others not (mĕaē dēlĭcĭaē, uĕnĭām, tĭbī lŭbĕāt fŏrās, dŏmī mănĕās). The latter seems to slow the reader down a bit and place more emphasis on these words.

Stress/Accent, in caps, only for words with 3 syllables or more:

amĀbō, mea dulcis ipsiTILla,
meae dēLIciae, meī lePŌrēs,
iubē (a)d tē VEniam merīdiĀtu(m).
et sī IUSseris, illud adiuVĀtō,
nē quis LĪminis OBseret taBELla(m),
neu tibī LUbeat forās aBĪre,
sed domī MAneās paRĒSque nōbīs
nove(m)ng conTInuās futūtiŌnēs.
vēru(m) sī quid agēs, stati(m) iuBĒtō:
nam prâ(n)sus IAceō (e)t satur suPĪnus
perTUNdō tuniCANG(m)que palliUNG(m)que.

Artwork

Satyr and Antiope, 3nd century Roman mosaic, Zeugma Museum, Gaziantep, photo Dick Osseman

Nymph and Satyr, terracotta, Claude Michel Clodion, 1764, Gulbekian Museum

Please, my sweet Ipsitilla,
my darling, my delight,
invite me to come to you
to share an afternoon siesta.
And if you invite me, help bring that about,
lest anyone should lock the front door,
nor should you be inclined to go out,
but stay at home and prepare for us
nine continual copulas.
Indeed if you are going to do something,
invite me forthwith,
for having dined I lie here sated and supine,
boring through both tunic and cloak.

Translation, David Amster, Fez, 4/29/21

Sirmio, a long peninsula in Lake Garda, near Verona, is the site of Catullus’ family villa. The existing Roman villa, called the Grottos of Catullus, was built in the 1st c. A.D. above an earlier one from 1st c. B.C.

Date: 56 B.C.

Meter: limping iambics or choliambic.

x ¯ ˘ ¯ | x ¯ ˘ ¯ | ˘ ¯ ¯ ¯

paēne īnsŭlārūm Sīrmĭo īnsŭlārūmquĕ
ŏcēllĕ quāscūmque īn lĭquēntĭbūs stāgnīs

Ocelle (little eye, jewel): a term of endearment

Uterque Neptunus (either Neptune): the god of lakes and the god of the sea

Thyniam/Bithynos: the Thyni and Bithyni were Thracian tribes in Asia Minor where Catullus served.

Larem: the guardian deity of the household

Desideratoqu-acquiescimus: due to the elision the two words are pronounced as 10 syllables and seem to suggest longing.

Lydiae lacus (Lydian lake): the Etruscans who settled in the area were thought to be originally from Lydia in Anatolia.

Ridete...cachinnorum (resounding laughter): compare “countless laughter of the ocean waves” in Aeschylus’ Prometheus Bound.

Roman mosaic: Neptune standing on a chariot pulled by two sea horses, 3rd century AD

Here’s a brilliant talk about Catullus 31 by novelist, playwright, and professor Carey Harrison. He reads two beautiful translations by poets Thomas Hardy and Thomas Moore:
https://youtu.be/NEAhIYcKPho

Catulli Carmen XXXI ad Sirmium insulam

Paene insularum, Sirmio, insularumque
ocelle, quascumque in liquentibus stagnis
marique vasto fert uterque Neptunus,
quam te libenter quamque laetus inviso,
vix mi ipse credens Thyniam atque Bithynos
liquisse campos et videre te in tuto.
o quid solutis est beatius curis,
cum mens onus reponit, ac peregrino
labore fessi venimus larem ad nostrum,
desideratoque acquiescimus lecto?
hoc est quod unum est pro laboribus tantis.
salve, o venusta Sirmio, atque ero gaude
gaudente, vosque, o Lydiae lacus undae,
ridete quidquid est domi cachinnorum.

Sirmio, jewel of peninsulas and islands,
as many as either Neptune bears
in clear lakes or on the vast sea,
how gladly, how full of joy I look upon you,
myself hardly believing I’ve left behind Thynia
and Bithynian plains and see you in safety.
O what is happier than cares having been set aside,
when the mind puts away its burden,
and exhausted from toil in foreign lands
we have come to our family hearth
and rest in our longed-for bed?
This is the one thing in return for such great labors.
Greetings, O beautiful Sirmio,
and rejoice with your master rejoicing,
and you, O waves of the Lydian lake,
laugh whatever there is at home
of resounding laughter.

Translation DWA
Fez, April 8, 2021