Martial's Catullus: The reception of an epigrammatic rival

This thesis examines Martial's insistence on naming Catullus as his primary model for writing epigrams, and traces the survival of Martial's assessment among poets and critics before the nineteenth century. Martial borrowed from a number of authors, and named several as models for writing epigrams, but his preference for Catullus is striking, especially in recent years, when Catullus is still regarded by many only as a poet of love, or one of the artistic expression of self.The first chapter differentiates the Rome of Catullus from that which Martial so vividly depicts in order to explain how Martial was able to see in Catullus a model for himself, despite each author's changing social and political circumstances. The second chapter reviews Martial's use of Catullus with special attention to what he says about Catullus the poet and his poetry. Several key terms and techniques which the authors share are noted, as well as Martial's views of Catullus and Lesbia. The remaining chapters follow Martial's evaluation among writers of the Renaissance and beyond in Italy, France and England. The comparison of Catullus and Martial as epigrammatists is regularly discussed among these authors, often in terms of matching or surpassing the Greek Anthology; the modem Catullus is little evident.The final chapter suggests possible explanations for the change in the position of Catullus, from the epigrammatist to the Romantic poet par excellence, or the self-expressive artist. Although the latter Catullus commonly predominates, the former is by far more traditional and has the insistent support of Martial as well.U of I OnlyETDs are only available to UIUC Users without author permissio