By David Wray
This literary learn of the first-century BCE Roman poet, Catullus makes use of units of comparative types to provide a brand new knowing of his poems. the 1st involves cultural anthropological debts of male social interplay within the premodern Mediterranean, and the second one, the postmodern poetics of such twentieth-century poets as Louis Zukofsky, that are characterised by way of simultaneous juxtaposition, a "collage" aesthetic, and self-allusive play. The booklet should be of curiosity to scholars of comparative literature and gender reports in addition to to classicists.
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Extra resources for Catullus and the Poetics of Roman Manhood
Chapter two ANTIQUITY’S ANTIQUITY Sander M. Goldberg When does a literature begin, and how do we account for its origin? When should a literature be said to have left its early days behind? C. 1 It is no easier to identify a literature’s birth—the biological metaphor comes all too easily to such discussions—than its death. The Romans’ own recurring taste for the past adds a further complication to the problem. Archaism, by which I mean an author’s willingness, often even desire, to sound old-fashioned, was a familiar stylistic mannerism.
L. ), Parthenius of Nicaea. S. ), The Epigrams of Philodemos (Oxford 1997) 3–24. 22 They are hardly unique. The Romans’ literary trajectory was never entirely of their own determination. Roman authors were always combining traditions and negotiating their sometimes conﬂicting demands, with results that even in the early days preﬁgure the complex intertextual relationships we eventually ﬁnd between pagan and Christian traditions. While Parthenius and Philodemus may have altered the course of Latin poetry, the model for their inﬂuence was assimilation rather than revolution.
C. Norden’s survey notes considerable variation in Cato’s prose style, though the contribution of formal (Greek) rhetoric to this variety remains controversial. , Orationis ratio (Amsterdam 1963) 45–49, Albrecht M. von, Masters of Roman Prose from Cato to Apuleius (Leeds 1989) 18–20. , The Participle in Cicero (Oxford 1964) 145. ’ The distance of archaic authors from us often combines with the problematic quality of their texts to distract from the merits of what, had history moved in a diﬀerent direction, might now be regarded not as clumsiness but as brilliant innovation.