Note 75 — Chapter XV

The four longer elegiac pieces which follow add little to our impression of the art of Catullus. In the 'Epistle to Manlius'—perhaps owing to the trouble by which his mind was darkened at the time of its composition—he does not use the elegiac metre, as a vehicle of his personal feelings, with much force or clearness. There is much more than in his phalaecians and iambics the appearance of effort, and there is much greater uncertainty as to his meaning. The 67th poem keeps alive with some vivacity a scandalous story of his native province which might well have been allowed to sink into oblivion. In the 'Coma Berenices,' and the poem addressed to Allius, he again writes under the influence of his Alexandrian masters. He seems to have regarded the 'Carmina Battiadae' with the admiration which youthful genius, not yet sure of its own powers, entertains for culture and established reputation,—the kind of admiration which led Burns to imagine that his own early inspiration might be of less value to the world than 'Shenstone's art.' Like Burns, too, Catullus is least happy when he gives up his own language, which he wields easily and powerfully, and the forms of art which came naturally to him, in deference to the standard of poetic taste recognised in his day. His selection of the 'Coma Berenices' as a task in translation, illustrates the attraction which the union of beauty and passion with truth and constancy of affection had for his imagination. The poem to Allius is the most artificially constructed of all his pieces. He endeavours to unite in it three distinct threads of interest,—that of his passion for Lesbia, that of the romance of Laodamia and Protesilaus, and that of his brother's death in the Troad. Although this triple combination is accomplished with much mechanical ingenuity75, yet the effect of the poem as a whole is disappointing, and its motive,—gratitude for a service which no honourable man, according to our modern ideas of honour, would have rendered,—does not make amends for the want of simplicity in its structure. Yet as written in the heyday of his passion for Lesbia, and largely inspired by that passion, it has, along with an Alexandrian superfluity of ornament and illustration, many beauties of expression and feeling. The passionate devotion of Laodamia for Protesilaus is conceived with sympathetic power,—