These works were all written before 1876, when I published my Com- PREFACE. Similarly in XLVI after con- gratulating himself in the vocative on the return of spring which allows him to leave Bithynia, he makes a sudden apostrophe lo his companions (g-ra). When they attempted epic poetry, they aimed at condensation ; Apollonius gives the whole voyage of the Argonauts in four books. xiit 4^-44: *^^ cv MJwievnui^xf stx'.c^ixic endincrs occur in Callim. This peculiarity of the school reaches its climas in Ljcopbron's Alexandra : which in the darkness of its language and the Kcondite character of its allusions is unsurpassed in antiquity. It pursued the receding ; it flew past the common and ordinary'. xi wakry on Cahi Uus^ seventeen years from the time ivhen it was first pi QJected. So XXVIII in the compass of fifteen lines changes the vocative five times ; Pr'smii comi'lrs — Memmi^pari fuislis Casu—pele nobiks amicos — At nobis: from Veranius and Fabullus to Memmius, then to Veranius and Fabullus again, then to an unnamed individual representing the world at large — finally, to Piso and Memmius together. Their didactic poems had the same merit : Aratus describes the heavenly bodies in the ^ Heph. Alex- xndrianism was indeed the triumph of erudite poetry, and paraded its learning in every possible form ; it selected by choice the least-known myths, the most uncommon words, the least familiar genders and in- flexions, ihe most untried combinations of metre. the former imitated by Ovid in his difficult /hi, the luier quite a text-book of recondite allusion, as we can see from Pro- pertms (ii. 4, 1 2), collected the obscurer Greek fables and presented them in a shape which called out all the resources of grammatical and exegelical ingenuity (Ciena. At this late ejioch of Greek literature, when the founts of tragedy had run dry and the heroic myths were no longer available for grand exhibitions of passion, poetry turned for relief as to the more obscure legends, so to the less obvious veins of emotion. And, as my SB was to produce a book which in its citations and parallels should iqnsent the philological epoch in which we live, I was careful to eaks of gram- ■ff or metre, his remarks have the gravity which belongs in all ages to fe greatest masters in their respective lines ; England has produced but Bcntley, and (though in a somewhat more restricted sphere) but one It may seem strange, therefore, that I so often dissent from his Qiidosio QS, even on points of syntax, where he might be expected to ipcak with absolute authority. in the interpretation of certain disputed passages or, occasionally, cif t Dim poems (notably LXVIII), it must be palpable to my readers littt oor \-iews are divergent, if not irreconcileable. Virgilias illuslralus, if M, de Nolhac is right in ■ ' ' " ■ i now in ihe Ang^ca lil 1 grcu pari has ibtit illu) PREFACE. Nepos as representing the literary epoch which preceded the rise of Vergil (Att. Caesar considered: his attack upon himself (probably XXIX) to have branded him for all time (Suet. 73); and his general popularity is attested not only by th C; undisguised imitations of the greatest poets who followed him, Vergil, Horace, Propertius *, Statins, Juvenal, above all Martial, or the various . Augustan poets to Catu Uus ; they belonged to an epoch which, greatly . %i^qui elegasttem, ut arbitror, tij If Mt urbanu M, XXXII. No reader of Catullus can fail to notice his tendency to speak of himself; yet this is not felt to be egotistical ; doubtless because the direct /is so constantly replaced by fuus Calullus XIII. Even more characteristic of the ' C£ F«nst, Part ii.
Yet only the Ibk of Akaeus and Sappho in Greek literature could compare with the bi of the lyrics of Catullus ; and we may estimate the barbarism which Ubved the decline of the Roman empire by nothing more signally *■ the absence of even one copy of the two Greek poets, and the casual preservation of the Veronese in a single mutilated MS, the of all our extant MSS. No fewer than twelve scholars are named who hi ti seem* to have dest^ed a Catu Utu illtistratus on the model of U ■ ^ .. Nothing at all comparable with the amount of indisputably ! fht corrections produced in this interval will be found at any sub- period in the history of the poems. • It is not often that so great a poet as Catullus has risked extinction, aadbcen preserved almost by miracle. Maintain attribution Tht Goog Xt "watermark" you see on each file is essential for in forming people about this project and helping them find additional materials through Google Book Search. Keep it legal Whatever your use, remember that you are responsible for ensuring that what you are doing is legal. Callimachus in his Epigrams uses the Anacreontic iambic dimeter catalectic (Heph. 98), the pherecratean ^ (ib.), all welk articulated and defined metres*. Do not assume that just because we believe a book is in the public domain for users in the United States, that the work is also in the public domain for users in other countries. 32 Westphal), the Phalaecian heodecasy Dable, and the Archilochius maior ^, a favorite metre with the school generally ; elsewhere the scazon, the choriambic pentameter ', the choriambic sixteen-syllable', the Euripideanr* fourteen-syllable (iambic * Heph. rovro *apd fikr ro Tt v Mwripoti wo Kh r6 iiirpov iariv. 1 14 Schneider 'A Mvt A rd t»&vo¥ ^iyfot ifu¥ rb y Xvab ras (pas mi Twr *Epiirmtf ^a06/upf' fori xd^po Mriy. A similar aim was steadily pursued in the treatment of the hexameter. Public domain books are our gateways to the past, representing a wealth of history, culture and knowledge that's often difficult to discover. It is sometimes said that ll Alexandrians were the great masters of form in poetry : as if form wa not the natural gift of the Greek race from the first ; as if Sappho « Alcaeus, Archilochus and Simonides, Sophocles and Euripides were n as absolute in this as in every other quality of the highest art. The early poets, Ennius and his followers, had shown how badly it was possible tt) imitate : they had copied great models, but with a rudeness propor- tioned to the colossal scale of those models. In LV a spondee in the second foot is allowed to alternate, more or less regularly, with the usual dactyl. Tnd DDt Sapphicon esse nomiimndani Namqae et iugiter usa sm dedil l Ubiode pluies Inter eannini disparis fignrae." nir Ilf Aaa Tiiroi' 'Apyos Jfcflo T(t! The epigram in Phalaecian headecaiyllables ascribed to Fhalaec three trochees in the fint foot.