Catullus 2


Catullus 2 is a poem by Roman poet Gaius Valerius Catullus that describes the affectionate relationship between an unnamed "puella", and her pet sparrow. As scholar and poet John Swinnerton Phillimore has noted, "The charm of this poem, blurred as it is by a corrupt manuscript tradition, has made it one of the most famous in Catullus' book." The meter of this poem is hendecasyllabic, a common form in Catullus' poetry.
This poem, together with Catullus' other poems, survived from antiquity in a single manuscript discovered c. 1300 CE in Verona, from which three copies survive. Fourteen centuries of copying from copies — the "corrupt manuscript tradition" mentioned above — left scholars in doubt as to the poem's original wording in a few places, although centuries of scholarship have led to a consensus critical version. Research on Catullus was the first application of the genealogical method of textual criticism.
Lines 1-10 represent the preserved core of the poem. Lines 11-13 are denoted as "Catullus 2b" and differ significantly in tone and subject from the first 10 lines. Hence, these latter three lines may belong to a different poem. In the original manuscripts, these thirteen lines were combined with Catullus 3, which describes the death of Lesbia's sparrow, but the two poems were separated by scholars in the 16th century.

Latin text

The following Latin text is taken from the 2003 critical edition of D. F. S. Thomson, with macrons added by Wikipedia.
LineLatin Text
1Passer, dēliciae meae puellae,
2quīcum lūdere, quem in sinū tenēre,
3cui prīmum digitum dare appetentī
4et ācrīs solet incitāre morsūs,
5cum dēsīderiō meō nitentī
6cārum nesciō̆ quid lubet iocārī,
7et sōlāciolum suī dolōris,
8crēdō, ut tum gravis acquiēscat ardor:
9tēcum lūdere sīcut ipsa possem
10et trīstīs animī levāre cūrās!

The following lines 11-13 refer to the Greek myth of Atalanta, a young princess who was remarkably swift of foot. To avoid marriage, she stipulated that she would marry only a man who could beat her in a footrace; suitors who failed to defeat her would be put to death. The hero Melanion wooed Atalanta, who fell in love with him. During the race, Melanion threw a golden apple to distract her; stooping to pick it up, Atalanta lost the race, possibly deliberately so that she could marry him. The final line refers to undressing on the wedding night.
LineLatin Text
11tam grātum est mihi quam ferunt puellae,
12pernīci aureolum fuisse mālum,
13quod zōnam soluit diū ligātam.

Poetic features

Catullus was renowned for his meticulous care in crafting poems, even those with seemingly trifling content. Various artful devices are woven into the text of this poem, composed in hendecasyllabic verse. Lines 2-4 represent a tricolon crescens, in which the three relative clauses become gradually longer in length: quem ludere, quem in sinu tenere, and cui primum digitum dare appetenti et acris solet incitare morsus. The repeated "eee" sounds evoke the songbird's peeping, e.g.,.
The "a" sounds may also convey images: the poet's sighs of longing; an "ouch!" at being bitten sharply ; and a comforting sound.

Influence on later poetry

This poem and the following Catullus 3 inspired a genre of poems about lovers' pets. One classical example include Ovid's elegy on the death of his mistress Corinna's parrot. Another is Martial's epigram on a lap dog, which refers to Catullus 2 specifically.
Following the printing of Catullus's works in 1472, Poems 2 and 3 gained new influence. From the earliest days after the re-discovery of Catullus' poems, some scholars have suggested that the bird was a phallic symbol, particularly if sinu in line 2 is translated as "lap" rather than "bosom". Other scholars, however, have rejected this suggestion.
Birds were common love-gifts in the Classical world, and several scholars have speculated that the narrator gave it to the woman; this might explain the poet's identification with the sparrow and his fond lament for the bird in Catullus 3. The biting it does in line 4 ties in with Catullus 8, line 18.

Manuscript tradition

A key question concerns the unity of this poem. In the copies derived from the original V manuscript, poems 2, 2b, and Catullus 3 appear as one poem under the title "Fletus passeris Lesbie". Shortly before 1500, Catullus 3 was separated from Catullus 2/2b by Marcantonio Sabellico, which has been supported by scholars ever since.
Scholars have argued over whether the last three lines belong to a different poem, and whether words are missing between poems 2 and 2b. Scholars suggest that missing words, or a variant reading/rearrangement of the received text, would smooth the presently abrupt transition between lines 10 and 11. As noted above, there is some manuscript evidence for missing words after line 10. However, scholar S.J. Harrison, who believes the 13 lines are unified, has argued that "there seems to be no vital gap in content which short lacuna would supply" and if the missing words are many, then it is impossible to guess what they were and the poem must be accepted as simply broken into fragments.
Catullus 2 and 2b differ significantly in their tone and subject. Catullus 2 is addressed directly to the bird and describes its loving, playful relationship with the poet's girlfriend. By contrast, Catullus 2b mentions neither bird nor girlfriend, introducing a simile to the story of Atalanta, and seems to be written in the third person, although some scholars have suggested that the text was corrupted from the second person. The disjunction between Catullus 2 and 2b was first noted by Aquiles Estaço in 1566; however, the first printed edition to show a lacuna between poems 2 and 2b appeared quite late, in 1829. Lachmann's separation of 2 and 2b has been followed by most subsequent editors.

Translations