Let us see what happens if we read 68a and b as paired in the way that 65 and 66 are. Like 68.1-40, c. 65 purports to reply to, and initially to reject, a plea from a friend requiring poetry. Catullus takes care to establish his faithfulness to Hortalus: he must not think that his words were ‘‘written on the winds’’ (an image used by Catullus elsewhere for the empty promises of a treacherous friend, Alfenus, in c. 30).7 The poem Hortalus will receive is a token of friendship, and a rejection of the very possibility of betrayal. Manlius asks for a similar token, and is keen to assert his status as Catullus’ amicus - although some readers feel that he may not have as much claim on this as he thinks (Wiseman 1974: 102-3). In c. 38 poetry and amicitia are bound up together in a similar way.8 Here, Catullus himself asks for poetry as consolation, and as proof of friendship. Unlike in 68, both correspondents’ names are mentioned in the first line, and the connection between them is established: malest, Cornifici, tuo Catullo, ‘‘Your Catullus is in a bad way, Cornificius.’’ Catullus feels neglected by Cornificius in his need for consolation, perhaps literally for a ‘‘talking to’’ (allocu-tione, 38.5). Their relationship must be closer than that between Manlius and Catullus, and it is subject to scrutiny in the poem: irascor tibi. sic meos amores? (‘‘I am cross with you. So much for our love!’’ 38.6). The brunt of the poem rests on that last exclamation: it is the love and friendship between the two friends which makes the gift of poetry possible and likely.
In c. 50, composing poems seems to be the very fabric of friendship. And a poem is sent to the longed-for friend whose presence was such a pleasure: hoc, iucunde, tibi poema feci (‘‘I made this poem for you, delightful one,’’ 50.16). There has been much discussion over the erotic connotations of all these poems, and of c. 50 and 68 especially. In c. 50, Catullus famously describes himself longing to see Calvus, tossing and turning on his bed. It is easy to see how this looks like a declaration of love. In 68a, Manlius is suffering similar troubles at the hands of Venus - and the old poets are no help at all. Some suspect that Manlius is pining for Catullus, as Catullus pined for Calvus; others believe he is suffering from unrequited love for a third person, and wishes Catullus to console him. There are those who believe that Manlius wants Catullus to provide him with a girlfriend, and those who believe that Manlius wants Catullus himself to share his bed. Suspicion of Manlius’ motives centers especially on his request for two things: the gifts of the Muses and of Venus: muneraque et Musarum hinc petis et Veneris (‘‘and you seek from me the gifts of the Muses and of Venus,’’ 68.10) The fact that there are two uses of et in the line, giving something like the sense of ‘‘the gifts of both the Muses and Venus,’’ seems to imply that these are two separate things: the gift of love and the gift of poetry. In line 39 it does seem that utriusque refers to two distinct requests, and both are rejected. If they are two separate requests, then it seems reasonably clear that Manlius has asked for poems, and for love or sex.9 The traditional alternatives to this envisage either a poem which is learned (gifts of the Muses) and has erotic subject matter (gifts of Venus), or two types of poetry - one learned, one erotic.
Looking back to the combination of erotic atmosphere with poetic innovation that governs c. 50, it seems to me that the convivial setting provides us with an important clue: reddens mutua per iocum atque uinum (‘‘answering each other, laughing and drinking,’’ 50.6). The majority of Catullus’ poems are produced with a view to performance amongst friends, and with a view to delighting friends with their wit, their charm, their salaciousness at times (Wiseman 1985: 127; Newman 1990: 140-3; Skinner 1993a; Gamel 1998; Fredrick 1999; Wray 2001: 55-63; Skinner 2003: xxx-xxxi). And the atmosphere at such a convivial gathering, as we can see from c. 50, can come close to being erotically charged: tuo lepore/incensus, Licini, facetiisque (‘‘set ablaze by your wit and fun, Licinius,’’ 50.7-8). Licinius is iucundus-someone who is charming, delightful to be around, who makes good jokes, and creates a lovely atmosphere. As recollections of Crassus’ entertaining in the De oratore demonstrate, such iucunditas is achieved by the ability to cast aside the serious business of the day: tantam in Crasso humanitatem fuisse, cum lauti accubuissent, tolleretur omnis illa superioris tristitia sermonis; eaque esset in homine iucunditas, et tantus in loquendi lepos, ‘‘such was Crassus’ culture, that when they were bathed and settled down at the table, the grave tone of the previous discussion was lifted entirely, and such was the man’s pleasantness and the charm of his speech’’ (De or. 1.27). It is credited to Crassus’ personality that such gatherings are so successful. Like Calvus, Crassus is iucundus, he has charm (lepos), he makes good jokes. Catullus gives another example of such convivial talent in c. 12: Asinius Pollio has behaved unfortunately at the convivium. His lack of uenustasis disparaged (12.5), his brother is a nicer dinner guest: est enim leporum/differtus puer etfacetiarum (‘‘for he is a boy full of charm and wittiness,’’ 12.8-9).10 What is required of the ideal dinner companion, then, is the ability to charm and entertain, to contribute to an atmosphere of levity and cheerfulness that is also quite seductive. The quality of uenustas has been identified as vital to this achievement, expressive as it is of the overlap between erotic and aesthetic (or rhetorical) attraction.11 So Lesbia, in c. 86, is truly and wholly beautiful because she, unlike her rival, has wit (sal) and charm (uenustas). And Catullus is explicit here that uenustas is given by Venus: tum omnibus una omnis surripuit Veneres (‘‘she alone has robbed them all of every gift that Venus gave them,’’ 86.6).12
In light of the established significance of convivial performance in Catullus’ social circle, it is possible now to argue that ‘‘the gifts of the Muses and the gifts of Venus’’ are precisely Catullus’ poetic talent and his uenustas: it is those two gifts which, combined, make him the most desirable of dinner companions, like his friend Caecilius, who has captivated his learned girlfriend, and Catullus himself, with poetry and with uenustas in c. 35.11-18. The compliment paid to Caecilius’ appeal, through commiseration with the learned girl’s suffering, demonstrates how aesthetic and erotic attractiveness come as part of a package. There is no need then to assume that Manlius’ request for the gifts of Venus is a request for Catullus to act as a go-between, or to share his girlfriend, or indeed to share Manlius’ bed himself. The Anacreon fragment (96 Diehl) that praises the good symposiast, who is able to bring together the gifts of the Muses and of Aphrodite in his performance, best captures the kind of thing that Manlius is looking for from Catullus:
I do not like him who, drinking wine by the full mixing bowl, tells of strife and tearful
War, but rather one who, mixing the splendid gifts of Aphrodite and the Muses, is
Mindful of lovely merriment.
The performer who creates this delightful atmosphere does not do so by offering sex as well as poetry to his companions. Instead, he chooses his subject matter (not war and battle) and his delivery with a mind to what is appropriate to the festivity and so creates the desired good cheer. The gifts of the Muses and Venus may be two distinct items in theory - but it is Catullus’ special gift, as his friends and acquaintances know, to be able to combine the two, just like Anacreon’s ideal sympotic poet.
World History
