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Convivium, Contrast, and Persona in Catullus 12 and 13

Bibliographic Data

ID9372413
AuthorsChristopher Nappa (0000-0002-7239-6468, corresponding author)
Year1998
Volume119
Issue3
Pages385-397
Publication date1998-09-01
Open AccessNo
TypeARTICLE
VenueThe American Journal of Philology (JOURNAL)
Journal identifiersISSN: 0002-9475 • E-ISSN: 1086-3168
PublisherJohns Hopkins University Press (PUBLISHER • US)
DOI10.1353/ajp.1998.0041
OpenAlexW2073872304
LanguageEN
Citations received3
References cited16

Place Settings: Convivium, Contrast, and Persona in Catullus 12 and 13 Christopher Nappa Though apparently nugatory both in their dramatic situation and in their characterization of the speaker and his world, poems 12 and 13 of Catullus actually contain a great deal of information about the values of the poet's persona and the milieu which the author was attempting to create in his work. By examining these parallels and then the crucial differences between the two texts, we can see that poems 12 and 13 exploit their superficially nugatory stance in order to scrutinize the values and social protocols which make that stance seem appropriate. 1 Thus these poems, social in that they reflect a world of dinner parties and dinner-party gossip, are social also in that they play a role in the poet's project of social criticism and analysis. 2 Poems 12 and 13 form a pair not only because of their position in the corpus as we have it or the mention of Fabullus in both poems, but also because of structural and thematic parallels. 3 Scholars have spent a greater amount of time on the more accessible poem 13, but 12 deserves equal attention as an example of how Catullus deals with his chosen themes and how he characterizes himself. 4 Poem 12 is addressed to Asinius Marrucinus the napkin thief. [End Page 385] Marrucine Asini, manu sinistra non belle uteris: in ioco atque uino tollis lintea neglegentiorum. hoc salsum esse putas? fugit te, inepte: 5 quamuis sordida res et inuenusta est. non credis mihi? crede Pollioni fratri, qui tua furta uel talento mutari uelit: est enim leporum differtus puer ac facetiarum. 10 quare aut hendecasyllabos trecentos exspecta, aut mihi linteum remitte, quod me non mouet aestimatione, uerum est mnemosynum mei sodalis. nam sudaria Saetaba ex Hiberis 15 miserunt mihi muneri Fabullus et Veranius: haec amem necesse est ut Veraniolum meum et Fabullum. We may be tempted to see this poem as a light-hearted joke, but it has deeper resonances. Catullus begins by criticizing Asinius, who steals napkins at dinner parties, but finishes by invoking the sentimental attachment to his friends, Fabullus and Veranius. The structure of the poem is simple but effective: opening attack, contrast with brother, warning that more blame-poetry will follow, mention of the stolen item, and its description: the napkin is important not because of its monetary value but because it is a gift from friends; to devalue it would be to devalue that friendship. The conuiuium becomes the point of departure for a brief statement of affection for distant friends, and also for a comment on the nature of friends and friendship. 5 Catullus might simply have written a few lines saying that he was fond of Fabullus and Veranius, but he did not. Instead he chose a circuitous route, one which leads briefly through the conuiuium. The napkin thief has not merely committed an act which was insulsum ; he has interfered in Catullus' personal life by removing an object with sentimental associations. The poem implies a dramatic situation, albeit not an obviously serious one: at a conuiuium Asinius stole Catullus' napkin. This implied narrative forces us to envision Catullus as one of the neglegentiores amid "laughter and wine." He then becomes the annoyed poet, protesting [End Page 386] this petty theft and threatening to abuse the perpetrator with iambic invective should he not return it. So far, this is not a serious poem; the whole affair seems trivial, and the self-presentation of Catullus is not particularly flattering. In the end, however, Catullus reveals that his concern is not with the loss of the napkin, but with the role of that napkin in the maintenance of his friendship (see Martin 1992, 130–31). The sympotic background disappears, and finally Catullus emerges as one whose real concern is with proper regard for and maintenance of his personal relationships. Catullus paints himself as the Roman sophisticate who travels in high circles. We can see this from his choice of victim, and by his invocation of Pollio in line 6, since these brothers came from an important Roman family. That this worldly persona takes up time writing verses about

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