O Katulu vemo zelo malo zanesljivega in celo večino tega je treba razbrati iz njegovega lastnega literarnega dela. To je vedno tvegan pristop, ki mu kritika danes večinoma nasprotuje (četudi je kritika vedno spremenljiva in znaki teh sprememb so že v zraku). Toda po drugi strani vemo kar precej o zadnjem stoletju rimske republike, o času torej, v katerem je Katul preživel svoje kratko, a intenzivno življenje, in o številnih javnih osebnostih, tako iz sveta književnosti kot politike, ki jih je (...) štel med svoje prijatelje ali sovražnike. Tako kot Byron, ki je bil Katulu v nekaterih pogledih podoben, se je gibal v krogih visoke družbe, imel je radikalna stališča, ne da bi se aktivno politično udejstvoval, ter je pisal poezijo, ki daje vtis, da je nastala kot odziv na družbeno dogajanje, literarne tokove ali zasebne škandale takratne aristokracije. (shrink)

Why cantoribus? The reference of the phrase cantores Euphorionis has been much discussed, by the author of this note among others. But what is the sense of cantores? The Thesaurus Linguae Latinae, Lewis and Short, and the Oxford Latin Dictionary variously classify Tusc. 3.45 as an instance of cantor in the special sense of ‘supporter’, ‘imitator’, or ‘eulogist’. Recently, however, W. Allen suggested that this may be to read too much into the word: ‘… cantor could well have the standard (...) meaning of personal and private recitation of poetry. Since sometime cantare and legere have a semantic identity, however, it may be possible that the word cantores in hi cantores Euphorionis has a meaning no more momentous than that of lector. ’. (shrink)

The anti-Catullan and anti-elegiac perspective characterizing Horace's erotic Odes builds on elements of the biography of his persona found in his juvenile collections, the Satires and the Epodes, where the construction of Horace's poetic autobiography as a lover brings together matters of didactics, ethics and literary criticism.

The Culex remains the most bewildering of poems. The consensus of modern opinion holds that it is a deliberate forgery, post-Ovidian in date, purporting to be a work of the youthful Virgil and thus serving to fill the large biographical vacuum in the career of the poet before the publication of the Eclogues. If this is the case, it must be asked why the forger chose to fill that gap with a poem thematically and stylistically so idiosyncratic which nevertheless managed (...) to gain ready acceptance as Virgilian by the end of the first century A.D. This is a very large question, but in postulating the close dependence of parts of the poem on Cornelius Gallus , particularly on his symbolism of poetic inspiration , I hope to go some of the way towards providing an answer . If this article is directed primarily at the problem of the Culex, I would like to think it makes a contribution also to the much more important study of Gallus, whose reputation has suffered somewhat since the publication of those wretched lines from Qasr Ibrîm. Yet, if not a single line of his work had survived, the one thing we could say of his poetry with confidence is that it inspired. Anyone trying to make an assessment of Gallus' poetic achievement should first make a close study of Virgil's Sixth and Tenth Eclogues and then ask whether fragments have ever formed a firm basis for the evaluation of an author's work. Rehabilitation should not be necessary. (shrink)