In lieu of an abstract, here is a brief excerpt of the content:Attis at Large CATULLUS (Translated by Anna Jackson) And so Attis, seasick, heart sore, having left so terribly fast, with a pause, a leap, a landing, galliambically arrived in the shady regions, wood-clothed, in the goddessy depths of dark in a rage, a grief, a wild mood, having come so terribly far, and himself, still him, he tore off, with a flint, all his manly parts— so that she (...) (now she) when she saw she was all a a a a girl, even while still bleeding fresh blood, a new stain on that shagpile earth, in a flash, a leap, with no pause, she took up here a tambourine— tambourine of yours, your symbol, sign of Cybele’s syllables— with a clash, a strike, a ringing, her soft fingers on the stretched skin, she began to sing this whole song, in a tremble to, to the throng: All of us, not cis, but sisters—with a leap of nothing but faith let’s take off, let’s rush, let’s stampede, like a herd on the, the, the loose— you are lost, you’re all in exile, with a past you have left behind you have only me, your one hope, here to lead, if you’ll follow me, after all that we have been through, salty seas of masculinity we will sail no more, no, not we—let us now be all spiritual, that’s to say, let’s sing, and sing loud, with a clash of the tambourine and with tossing heads and wild leaps, we must throw ourselves into this, as if in to fire, with no fear—a religious sort of a pounce! And in need of no persuading, the stampede, if it was that, starts— all of them, not cis, but sisters, taking off with a lightness of heart like a sisterhood, a herd loosed, with a clash of the tambourine. And so Attis, no true woman, was swept along with the rest, in the lead, but led, herself led, the clash of the tambourine a resounding beat in her head, fa-la-LA, la la la la LA, like a heifer still unbroken, a disorder of flailing flight. And the sisterhood, a herd loose, kept the beat of the tambourine. And the sisters, having found peace, could all sleep when the ringing ceased, having come so far, so hard won, they were restless no more but at peace, after all that they had been through, having come so terribly far. arion 27.2 fall 2019 Yes but when the sun with eyes bright looked out at the whole airy sky, and the whole expanse of hard earth, and the whole wilderness of sea, yes and when the sunlight drove forth all the shadows of the long night, and when sleep itself was sent off, or took flight, as Attis awoke, well then sleep, not Attis, found rest; it was sleep that would rest at last. Not so Attis: sleep departed, and his madness departed too; not so Attis, who reviewed all he had done, and all in his heart, and could see the lie it had been, and see all that the lie had cost, and with surging mind and heart sore made return to shallowing shore. And there Attis, seasick, heart sore, with sore eyes salty as the sea now addressed her country, grief struck, with this song, or more of a speech: Oh my country, nation, homeland, oh my country where I was born! Like a truant out of bounds—bounds like a palace, a place of peace— in a rage, a grief, a wild mood, did I take myself off to here, here to live in lairs of wild beasts, here to live in shivering snow, to inhabit my own madness, my insanity the worst lair of them all. Oh where can I now understand my country to be? My sore eyes both long to be fixed in a gaze shiverless on you, for a pause, a space, to come clear, and to clear what’s left of my mind. Do I have to leave, to have left, my own home, and live in the wild? Do I have to... (shrink)

Considerable attention has been paid in recent years to Catullus 63. A number of salient features have been discussed: the psychological study of emotions; the use of animal imagery; the theme of marriage and love. There have also been some helpful studies on smaller, though important, aspects of the poem such as its use of ring composition or Catullus′ inventive treatment of the challenging Galliambic metre. But little work has been done on the literary background of poem 63 apart from (...) the question of whether or not Catullus was following an Alexandrian model. I shall suggest that the basic narrative of the poem, and the way in which Catullus has handled it, have literary antecedents which have influenced the poet. The final product, however, still remains a very original piece of work. (shrink)

Considerable attention has been paid in recent years to Catullus 63. A number of salient features have been discussed: the psychological study of emotions; the use of animal imagery; the theme of marriage and love. There have also been some helpful studies on smaller, though important, aspects of the poem such as its use of ring composition or Catullus′ inventive treatment of the challenging Galliambic metre. But little work has been done on the literary background of poem 63 apart from (...) the question of whether or not Catullus was following an Alexandrian model. I shall suggest that the basic narrative of the poem, and the way in which Catullus has handled it, have literary antecedents which have influenced the poet. The final product, however, still remains a very original piece of work. (shrink)

This article discusses textually problematic passages in Catullus 63, a particularly corrupt poem from a particularly corrupt manuscript tradition. It proposes new conjectures and revives several old ones. Throughout there are notes on punctuation, conjecture attribution and an analysis of the structure of Attis’ lament.