a proposal for re-evaluation of ciceronian...

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Rev. Cientfica Eletrnica UNISEB, Ribeiro Preto, v.6, n.6, p.11-27, jul/dez.2015

A proposal for re-evaluation of Ciceronian poetry

Pedro Colombaroli Zoppi Bachelor of Language and Literature (Latin-Portuguese) fom

Unesp (Araraquara), Law student at UNISEB University Center (Ribeiro Preto).

Abstract

This paper aims at problematyzing poetic fragments left by Cicero, comprehending all of the

most recent fortunatam natam criticism, as well as at drawing new inquiry guidelines for

scholars on this rich and still notably fertile Ciceronian soil. To achieve this purpose, practically

all of the bibliography about the subject was listed and diligently studied, allowing the author

an attempt to make incursions into such a polemic and unexploited area, imbedded in the very

heart of the late republican Roman poetry.

Keywords: Cicero, Republican Poetry, Hexameter, Latin, Fortunatam Natam, De Consulatu

Suo.

Introduction

"To be thus commemorated is to risk sharing the unhappy doom of the

bad poet - not monumental permanence but dispersal and oblivion"

Ellen Oliensis

Marcus Tullius Cicero is one of the most important and polemic figures in Roman

history, known not only as orator and author of treatises on rhetoric, but also as an important

senator. He was an important political actor in his attempt to keep Julius Caesar from bringing

the Roman republic to an end, as well as a staunch opponent of the political ambitions of Marc

Antony, who, with the advent of the second triumvirate, made personally for his banishment

and later had his hands, tongue and head cut off and exposed in public places.

The great Roman senator also brilliantly translated the criticism of the Greek

philosophy and, upholder of the stoic philosophy, wrote philosophical treatises of huge value

for the Latin culture and excelled in epistolography, as well.

Yet, one of his facets, one he attached great importance to, has been assailed since

antiquity and eventually been consigned into oblivion: he was also a poet; and just one of his

verses - O fortunate Rome born since I am consul (O fortunatam natam me consule Romam) -

has blotted out all of his work, which, when remembered, is regarded with contempt and scorn

by scholars and critics.

It is, then, legitimate to ask: what road the Ciceronian poetic art trod on? Who were

his major detractors? Is there, currently, enough reasons to explain why the overwhelming

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majority of scholars not even remember that Cicero did write poetry? How has contemporary

literary criticism approached this subject?

1 Contextualization of Ancient Criticism

Clear and infamous, the hexameter that has come to us as the seventh excerpt of De

consulatu suo O fortunatam natam me consule Romam - has practically, since antiquity,

consigned all of the Ciceronian poetic works into complete oblivion. Constant target for

enemies, detractors and envious critics, the three most explicit references to Cicero's poetic

works which has survived the action of time point in a negative way towards the echo of

fortunatam natam, considering it as representative of the quality of the work at large.

The first of them is Saluste, married to an ex-consort of the supressor of the

Catilinarian conspiracy. He wrote in his mordant Invectiva in Ciceronem:

On the contrary, he is a very trivial man, beseeching enemies, haughty towards

friends,without critical bearing, faithful to no one, inconsequent senator and

mercenary lawyer - in whom no part of the body lacks torpitude: vain tongue,

rapacious hands, extreme gluttony and light feet - attributes one can hardly call honest;

they are extremely dishonest. It is he, however, who dared to say: o fortunate was

Rome born since I was consul. Objection: since I was consul, was Rome fortunate,

Cicero? Rather the opposite. Unfortunate and miserable, plagued by cruel

banishments, all in all, you sank the republic in fear, causing all honest men, after

demoralizing them, to suffer from your cruelty, in a time in which all decisions, all

the laws were in your hands. Overthrowing the Porcia act, you usurped the freedom

of our fellow citzens, condemning them to live or to die, concentrating all power in

your person. (V, I) 1

It is important to reproduce this quotation in its entirety since it sheds light on the

seriousness and level of the personal attacks directed at the ex-consul. Salust was, evidently,

intent on demoralizing, destroying and corrupting all layers of the life, work and person of his

antagonist.

The second comment comes from Quintilian, Cicero's admirer, who, however,

made a pertinent admonishion about the imperative need to avoid what he understands as

schoolchildren's vices:

One must pay attention to the facr that the last syllable of a word can not be repeated

in the first syllable of the following one. No wonder I make this recommandation

because Cicero himself said in his letters: Subjects that were invisible to me have

1 http://www.thelatinlibrary .com/sall.invectiva.html. Access: 07/01/2016. Immo vero homo levissimus, supplex inimicis, amicis contumeliosus, modo harum, modo illarum partium, fidus nemini, levissimus senator, mercennarius patronus, cuius nulla pars corporis a turpitudine vacat, lingua vana, manus rapacissimae, gula immensa, pedes fugaces: quae honeste nominari non possunt, inhonestissima. atque is cum eius modi sit, tamen audet dicere: laquo;o fortunatam natam me consule Romam! raquo; te consule fortunatam, Cicero? immo vero infelicem et miseram, quae crudelissimam proscriptionem eam perpessa est, cum tu perturbata re publica metu perculsos omnes bonos parere crudelitati tuae cogebas, cum omnia iudicia, omnes leges in tua libidine erant, cum tu sublata lege Porcia, erepta libertate omnium nostrum vitae necisque potestatem ad te unum revocaveras.

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become visible, Brutus. And, in his verses: O fortunate was Rome born since I was

consul. (Institutio Oratoria, IX, LVI) 2

The generalist content of the above-mentioned quotation is, however, conspicuous,

there is no further explanation or development as to permit the construction of a conceptual

structure aiming at exploiting the poetic work of the renowned orator. In other words, there is

no critical depth as to the Ciceronian poetic enunciate, necessary to support a judgement on the

poetic work the author had atempted to erect.

The last of the references, the clearest and the most formal of them to the Ciceronian

poetic art (embodied in the lines fortunatam natam) comes from the second century AC, and

was written by the moralist Juvenal :

Every well-educated man seeks the eloquence and fame of Demostenes and Cicero.

Yet, both perished through their eloquence. Both found their demise in their genius.

One of them in virtue of his genius had his hands and head cut off. Never the stages

have been soiled by the blood of a weak-willed advocate. O fortunate was Rome born

since I was consul could keep the sword of Antony at bay, if it expressed all. However,

I prefer the ridiculous poem to you, Philipic idol of conspicuous fame. (Saturae, X,

114-128)3

One can easily notice the tainting intent contained in the excerpt. Juvenal, as well

as the other ancient critics, highlights fortunatam natam, closing the classic triad who left us

witnesses that not only come down to a series of detraction, but also clearly show how the

poetry in question was misunderstood, it was not read at all and that only its conjectural

imperfections, what Wilkson (EASTERLING at al, 1998, page 264) calls jingles were evoked

when it came to the poetic work in question.

The deprecating zeal of Cicero's conteporaries has worked: his poetry has been

completely relegated to ostracism and, in a prejudiced way, the fortunatam natam has become

the ephigy of all 80 hexameters that has come to us, in addition to Marius and poetic fragments

remaining from other works. The genial orator was portrayed as a mediocre poet, specially

insensitive to the intrinsic phonostilystic tessitura when he composed verses.

2 Videndum etiam ne syllaba verbi prioris ultima et prima sequentis -ide nec-: quod ne quis praecipi miretur, Ciceroni in epistulis excidit: res mihi invisae visae sunt, Brute, et in carmine: o fortunatam natam me consule Romam. 3 Eloquium ac famam Demosthenis aut Ciceronis / incipit optare et totis quinquatribus optat / quisquis adhuc uno parcam colit asse Mineruam, / quem sequitur custos angustae uernula capsae. / eloquio sed uterque perit orator, utrumque / largus et exundans leto dedit ingenii fons. / ingenio manus est et ceruix caesa, nec umquam / sanguine causidici maduerunt rostra pusilli. / 'o fortunatam natam me consule Romam:' / Antoni gladios potuit contemnere si sic / omnia dixisset. ridenda poemata malo / quam te, conspicuae diuina Philippica famae, / uolueris a prima quae proxima. saeuus et illum / exitus eripuit, quem mirabantur Athenae / torrentem et pleni moderantem frena theatri. http://thelatinlibrary.com/juvenal/10.shtml. Access: 07/01/2016

http://thelatinlibrary.com/juvenal/10.shtml

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2 Translating de Consulatu Suo

Before proceeding with the literary criticism, it is high time to set on the stage the

fragment in question, giving them vernacular expression and discussing its most important

intrinsic elements.

The Latin text is presented in a perfect scanned form and marked cesuras. The

fusions of syllables are reprented in underlined form. The meter of the vernacular version is

dodecasyllabic with steady stress on the sixth and twelfth syllables. As close as possible, the

translation will consider the musicality and rhythm given by Cicero to his verses. Lets see him

making verses in Portuguese and, right below, read the translation into English of the very same

verses by C. D. Yonge (1853).

I

Prncp|o_ thr| || flm|mts| Ipptr| gn

vrttr| t || t|tm || cn|lstrt| lmn| mndm

mntqu| dv|n || c|lm || tr|rsqu p|tsst,

qu pn|ts || sn|ss || h|mnm v|tsqu

r|tnt[n]t,

thrs| tr|n || sp|ta_ tque_ n|cls c|vrns.

t s |stll|rm || m|ts || cr|ssqu u|gnts

nss u|ls || qu |snt || sg|nrm n |sd l|ct,

qu ur|bo_ t || fl|ss || Gr|rm |ucbs |rrnt,

r u|r || cr|t || lp|s || spt|qu f|rntr,

mn |im || cr|ns || d|un |mnt n|tt.

Nm pr|mum_ str|rm || ul|crs || t |cnsl

|mts

cncr|ssqu gr|us || stl|lrum_ r|dr m|cnt [s]

t ququ, |cm tm|ls || l|bno_ n |mnt n|uls

lstrs|ti_ t || l|t || mc|tst |lct L|tns,

uds|ti_ t || cl|r || trm|ls || r|dr c|mts;

mltqu |msc|r || nc|trn |strg p|tst,

qud fr|m || d|rum_n || tm|ps || cc|dr L|tn

cm cl|rm || spc|m || cn|crt |lmn |ln

bddt |t || sb|t || stl|lnt |nct p|rmpt_est.

Qud u|r || Phe|b || fx, |trsts |nnt |bll,

qu mg|num_d || cl|mn || flm|mto_ r|dr

u|lbt,

prcp|ts || c|l || pr|ts || b|tsqu p|tssns?

ut cm| trrb|l || pr|clss| flmn| cus

lc s|rnn|t || u|tl| lmn| lqut?

ut cm| s || gru|d || trm|fct| crpr| tlls?

im u|r || ur| || nc|trn| tmpr| us

trrb|ls || fr|m || bl|lm || m|tsqu m|nbnt,

I

No princpio, inflamado por etrea chama,

a vastido do mundo, revolve-a Jpiter,

e em fulgurante lume lhe incute esplendor.

E o cu e as terras urde com sopro divino,

que ao sentido recndito e s vidas dos homens

enleio oculto, abscndito em meio s cavernas

do ter eterno. E, pois, se queres conhecer

a dinmica e os cursos vagantes de estrelas,

situadas em sede astral, que no idioma

e em equvocos dizeres gregos a esmo andam

(de fato atm-se a certa presteza e trajeto):

vislumbra o divo sopro que a tudo subjaz.

E, sob teu consulado, viste-os tu tambm:

dinmica volante de astros e austeras

conjunes estelares em ardor refulgente,

(e, em ardor inequvoco, cometas trmulos)

quando, no Monte Albano, os tmulos nivais,

livraste-os tu do impuro, sacrificialmente;

e em ledo leite as Frias latinas libaste.

Pensaste estar imerso em noturno desastre

j que as Frias latinas tiveram seu ocaso

praticamente quando a lua separou-se

de seu mago brilhante em sensrio lume,

e feneceu de sbito, em estelante noite.

E inda a tocha de Febo, prenncio funesto

de guerra, que em voo ao cume do horizonte,

em ardor arrebatado cindiu-se em queda?

Ou o cidado abatido por terrvel raio,

ento liberto aos lustros vitais em luz lmpida?

Ou quando a terra e o frtil corpo tremularam?

Na calada da noite, vises veras, vrias,

aparies horrficas vaticinavam

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mltqu| pr || t|rrs || u|ts || |rcl f|rnt

pctr| fnd|bnt || trs|ts || mn|tnt| css;

tque_ | qu || lp|s || tn|dm || cc|dr u|tst,

hc fr| prpt|s || sg|ns || cl|rsqu fr|quntns

ps d|m || gn|tr || c|l || tr|rsqu c|nbt.

Nnc | Trqu|t || qu| qundam_ t| cnsl|

Ctt

Lds| dd|rt || Tr|rhn| gnts h|rspx,

mn| fx t|s || glm|rns || d|trmnt| nns.

Nm ptr| ltt|nns || stl|lnt| nxs |lmp

ps s|s || qun|dm || tm|ls || c| tmpl p|tut

t Cp|tl|ns || |nict| sdbs| gns.

Tm spc|s x| r u|ts || un|rtqu| Ntt

cncdt|, lp|squ u|tst| nmn| lgs,

t d|um || sm|lcr p|rmt| flmns| rdr.

Hc sl|ustrs |rt || R|mn| nmns| ltrx,

Mrt|, qu || pr|us || M|urts| smn| nts

br|bs || gru|ds || u|tl| rr r|gbt:

qu tm| cm || p|rs || flm|mt| flmns| ct

cncdt| tque_ |uls p|dm || us|tg| lqut.

Tm qus| nn, || r|ts || scrp|ta_ c mn|mnt

u|ltns,

ucs| trstf|cs || chr|ts || pr|mbt |trscs?

mns| cu|lm || gn|rs[m]| strp pr|fctm

*ur| ngn|tm || cl|dm || ps|tmqu

m|nbnt, *

[uol] tm l|gum_ xt|m || cns|tnt| uc f|rbnt,

tmpl d|mque_ d| || flm|ms || r|bmqu

i|bbnt

rp|re_ t || str|gem_ hrrb|lm || c|dmqu

u|rr;

tque_ hc| fx gr|u || f|to_ c || fn|dt t|nr,

n prs| xcl|sum_ d || cl|mn || fr|mt d|cr

snct i|us || spc|s || cl|rs || spc|trt n| rts:

tm fre_ t| ccl|ts || pp|ls || snc|tsqu s|nts

crnr| cn|ts || ps|st, || s| sls d| rtm

cnur|sa_ nd p|trm || s|ds || pp|lqu u|drt.

guerra e convulses; vates vagavam, errantes,

queimando ao peito o caos, disseminando orculos,

ameaa iminente de infortnios lgubres.

E estes indcios todos, que aps recorrncia

prolongada cessaram, o prprio genitor

dos deuses pressagiava, no cu e nas terras,

que haviam de eclodir, mostrando-os mais e mais,

em sinais inequvocos, claros, perptuos.

E, sendo Cotta cnsul, bem como Torquato,

de tirrena prospia provindo, um ldio harspice

profetiza o que os fados haviam fixado,

cuja confluncia advm definida em teu ano:

pois, no estrelado Olimpo, o altitonante pai

curvou-se e atacou seus prprios templos, montes;

e as chamas conflagrou em sede capitolina.

Ento, uma venerada e antiga efgie brnzea

de Nata ruiu; e esvaram-se as leis de vetusta

sacralidade; e o ardor de um raio fulminou

os divos simulacros. L, estava inda Mrcia,

da linhagem romana silvestre nutriz,

que os pequenos, semeados por Marte, irrigava,

dando-lhes vital seiva coas mamas salientes.

Quando, junto aos garotos, atingiu-a um raio,

ruiu-lhe a vida; e s as marcas dos ps restaram.

Quem, pois, examinando escritos, monumentos

da arte divinatria, no pressagiaria

ominoso futuro nos livros etruscos?

Todos prenunciavam civil destruio

E colossal catstrofe, que nobre estirpe

perfaria; e, unvocos, a derrocada

proclamavam das leis, ordenando assolar

em chamas divos templos e a urbe: que temessem

todos mortalha horrenda e aniquilao!

Estes sinais, fixados, fundados nos fados,

Inda perdurariam. Mas, rumando coluna

Excelsa, em decoroso esplendor, uma imagem

De Jove contemplou os claros do oriente:

De modo que o senado venerando e o povo

Pudessem discernir maquinaes ocultas

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Hc tr|dt d| || spc|s || ml|tmqu m|rt

cnsl| t || tn|dm || cl|s _est || n| sd l|ct,

tque_ |n || f|xa_ c || sg|nt| tmprs| hr

Ipptr| xcl|s || cl|rbt| scptr c|lmn,

t cl|ds || ptr| || flm|m || fr|rqu p|rt

ucbs| llbr|gm || ptr|bs || pp|lqu p|tbt.

Rte_ g|tr || ut|rs, || qu|rm || mn|mnt

t|nts,

qu pp|ls || r|bsqu m|do_ c || ur|tt r|gbnt,

rte_ t|m || us|tr, || qu|rm || p|tsqu f|dsq

prsttt| t || ln|g || u|ct || sp|nt| cncts,

prcp| || cl|r u|gnt| nmn| dus.

Hc d| || pn|ts || c|r || u|dr s|gc

t| qu || std|s || l|t || tn|r d|crs,

nque_ c|dm|a_ mbrf|r || nt|dqu L|c

fd|rnt || cl|rs || f|cnd| pctrs| rts.

qubs| rp|tm || pr|m || iam_ | flr i|unt

t ptr|a_ n md| || ur|ttm| ml l|cut.

T tmn| nxf|rs || c|rs || rqu|t r|lxns,

qud ptr| || uct|, d || std|s || n|bsqu s|crst.

III

tque_ |nm| pndns| nctu_ |unt t|mbt.

IV

Nm qus| us || sb| ddc|r || gn|r p|rnts.

V

Qurm| lxr|s || fr|tns|, cns p|rdt.

VI

Cdnt| rm t|g, || cn|cdt| lur| lud!

VII

fr|tn|tm || n|tm || m| cnsl| Rmm!

VIII

ntr| || cr|ss, || qus| prma_ | prt i|unt

Qusque_ d| || cn|sl || ur|tte_ n|mqu p|tst,

hs rt|ne_ tque_ u|g || f|mm || lu|dsqu

b|nrm.

Se a imagem se voltasse ao poente e examinasse

As moradas do povo e dos pais conscritos.

Esta efgie, por tanto adiada, delongada,

Foi somente erigida sob teu consulado,

em nobre local; e em uma hora, no momento

fixado pelos fados, Jpiter luzia

seu cetro pela excelsa coluna; e a runa

da ptria, preparada a ferro e a fogo,

surgia ao senado e ao povo em vozes alobrogas.

Em observncia aos costumes, pois, que os antigos,

de que temos registros, povos e cidades

governavam de modo sbrio e moderado.

Em observncia, tambm, aos costumes, os vossos,

Que excelem em fidcia e piedade e, em absoluto,

Sobrepujam os demais no que tange sapincia,

Poderio tamanho louvam das deidades.

Estes deveres foram a fundo perscrutados

Com diligencia e esmero pelos de virtude

Leda, que o tempo e a paz consagram aos estudos,

Que na Academia umbrosa e no Liceu brilhante

Infundiram sua ilustre Arte, de engenho prdigo;

Dos quais foste privado desde a prima flor

Da juventude e posto foste s provaes

Da virtude. Porm, amaina tua inquietao:

Quando lhe permitiu a ptria algum repouso,

Dedicaste-o aos estudos e, igualmente, a ns.

III

E, co o nimo em pesar, temia o que houve noite.

IV

Pois, conceber-vos foi aos pais certa desonra.

V

Cuja fortuna e bens consumiu a luxria.

VI

Ceda a arma toga e a lurea se conceda glria.

VII

afortunada nada Roma sendo eu cnsul.

VIII

Nesse nterim, as sendas, que desde a primeira

Juventude com nimo e virtude ideaste

At tornar-te cnsul, conserva-as retas,

E alcana a fama e a glria das pessoas de bem.

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Now lets take a look at Yonges work4 (on public domain), who let untranslated

excerpts III-VIII:

Prncp|o_ thr| || flm|mts| Ipptr| gn

vrttr| t || t|tm || cn|lstrt| lmn| mndm

mntqu| dv|n || c|lm || tr|rsqu p|tsst,

qu pn|ts || sn|ss || h|mnm v|tsqu r|tnt[n]t,

thrs| tr|n || sp|ta_ tque_ n|cls c|vrns.

t s |stll|rm || m|ts || cr|ssqu u|gnts

nss u|ls || qu |snt || sg|nrm n |sd l|ct,

qu ur|bo_ t || fl|ss || Gr|rm |ucbs |rrnt,

r u|r || cr|t || lp|s || spt|qu f|rntr,

mn |im || cr|ns || d|un |mnt n|tt.

Nm pr|mum_ str|rm || ul|crs || t |cnsl |mts

cncr|ssqu gr|us || stl|lrum_ r|dr m|cnt [s]

t ququ, |cm tm|ls || l|bno_ n |mnt n|uls

lstrs|ti_ t || l|t || mc|tst |lct L|tns,

uds|ti_ t || cl|r || trm|ls || r|dr c|mts;

mltqu |msc|r || nc|trn |strg p|tst,

qud fr|m || d|rum_n || tm|ps || cc|dr L|tn

cm cl|rm || spc|m || cn|crt |lmn |ln

bddt |t || sb|t || stl|lnt |nct p|rmpt_est.

Qud u|r || Phe|b || fx, |trsts |nnt |bll,

qu mg|num_d || cl|mn || flm|mto_ r|dr u|lbt,

prcp|ts || c|l || pr|ts || b|tsqu p|tssns?

ut cm| trrb|l || pr|clss| flmn| cus

lc s|rnn|t || u|tl| lmn| lqut?

ut cm| s || gru|d || trm|fct| crpr| tlls?

im u|r || ur| || nc|trn| tmpr| us

trrb|ls || fr|m || bl|lm || m|tsqu m|nbnt,

mltqu| pr || t|rrs || u|ts || |rcl f|rnt

pctr| fnd|bnt || trs|ts || mn|tnt| css;

tque_ | qu || lp|s || tn|dm || cc|dr u|tst,

hc fr| prpt|s || sg|ns || cl|rsqu fr|quntns

ps d|m || gn|tr || c|l || tr|rsqu c|nbt.

Nnc | Trqu|t || qu| qundam_ t| cnsl| Ctt

See how almighty Jove, inflamed and bright,

With heavenly fire fills the spacious world,

And lights up heaven and earth with wondrous rays

Of his divine intelligence and mind;

Which pierces all the inmost sense of men,

And vivifies their souls, held fast within

The boundless caverns of eternal air.

And would you know the high sublimest paths

And ever revolving orbits of the stars,

And in what constellations they abide,

Stars which the Greeks erratic falsely call,

For certain order and fixed laws direct

Their onward course; then shall you learn that all

Is by divinest wisdom fitly ruled.

For when you ruled the state, a consul wise,

You noted, and with victims due approach'd,

Propitiating the rapid stars, and strange

Concurrence of the fiery constellations.

Then, when you purified the Alban mount,

And celebrated the great Latin feast,

Bringing pure milk, meet offerings for the gods,

You saw fierce comets bright and quivering

With lights unheard of. In the sky you saw

Fierce wars and dread nocturnal massacre;

That Latin feast on mournful days did fall,

When the pale moon with dim and muffled light

Conceal'd her head, and fled, and in the midst

Of starry night became invisible.

Why should I say how Phoebus' fiery beam,

Sure herald of sad war, in mid-day set,

Hastening at undue season to its rest,

Or how a citizen struck with th' awful bolt,

Hurl'd by high Jove from our a cloudless sky,

Left the glad light of life; or how the earth

Quakes with affright and shook in every part?

Then dreadful forms, strange visions stalk'd abroad,

Scarce shrouded by the darkness of the night,

And warn'd the nations and the land of war.

Then many an oracle and augury,

Pregnant with evil fate, the soothsayers

Pour'd from their agitated breasts. And e'en

The Father of the Gods fill'd heaven and earth

4 https://archive.org/stream/treatisescicero00ciceuoft/treatisescicero00ciceuoft_djvu.txt Access: 08/19/2016

https://archive.org/stream/treatisescicero00ciceuoft/treatisescicero00ciceuoft_djvu.txt

18


Lds| dd|rt || Tr|rhn| gnts h|rspx,

mn| fx t|s || glm|rns || d|trmnt| nns.

Nm ptr| ltt|nns || stl|lnt| nxs |lmp

ps s|s || qun|dm || tm|ls || c| tmpl p|tut

t Cp|tl|ns || |nict| sdbs| gns.

Tm spc|s x| r u|ts || un|rtqu| Ntt

cncdt|, lp|squ u|tst| nmn| lgs,

t d|um || sm|lcr p|rmt| flmns| rdr.

Hc sl|ustrs |rt || R|mn| nmns| ltrx,

Mrt|, qu || pr|us || M|urts| smn| nts

br|bs || gru|ds || u|tl| rr r|gbt:

qu tm| cm || p|rs || flm|mt| flmns| ct

cncdt| tque_ |uls p|dm || us|tg| lqut.

Tm qus| nn, || r|ts || scrp|ta_ c mn|mnt u|ltns,

ucs| trstf|cs || chr|ts || pr|mbt |trscs?

mns| cu|lm || gn|rs[m]| strp pr|fctm

*ur| ngn|tm || cl|dm || ps|tmqu m|nbnt, *

[uol] tm l|gum_ xt|m || cns|tnt| uc f|rbnt,

tmpl d|mque_ d| || flm|ms || r|bmqu i|bbnt

rp|re_ t || str|gem_ hrrb|lm || c|dmqu u|rr;

tque_ hc| fx gr|u || f|to_ c || fn|dt t|nr,

n prs| xcl|sum_ d || cl|mn || fr|mt d|cr

snct i|us || spc|s || cl|rs || spc|trt n| rts:

tm fre_ t| ccl|ts || pp|ls || snc|tsqu s|nts

crnr| cn|ts || ps|st, || s| sls d| rtm

cnur|sa_ nd p|trm || s|ds || pp|lqu u|drt.

Hc tr|dt d| || spc|s || ml|tmqu m|rt

cnsl| t || tn|dm || cl|s _est || n| sd l|ct,

tque_ |n || f|xa_ c || sg|nt| tmprs| hr

Ipptr| xcl|s || cl|rbt| scptr c|lmn,

t cl|ds || ptr| || flm|m || fr|rqu p|rt

ucbs| llbr|gm || ptr|bs || pp|lqu p|tbt.

Rte_ g|tr || ut|rs, || qu|rm || mn|mnt t|nts,

With signs, and tokens, sand presages sure

Of all the things which have befallen us since.

So now the year when you are at the helm,

Collects upon itself each omen dire,

Which when Torquatus, with his colleague Cotta,

Sat in the curule chairs, the Lydian seer

Of Tuscan blood breathed to affrighted Rome.

For the great Father of the Gods, whose home

Is on Olympus' height, with glowing hand

Himself attack'd his sacred shrines and temples,

And hurl'd his darts against the Capitol.

Then fell the brazen statue, honour'd long,

Of noble Natta; then fell down the laws

Graved on the sacred tablets; while the bolts

Spared not the images o' the immortal gods.

Here was that noble nurse o' the Roman name,

The Wolf of Mars, who from her kindly breast

Fed the immortal children of her god

With the life-giving dew of sweetest milk.

E'en her the lightning spared not; down she fell.

Bearing the royal babes in her descent,

Leaving her footmarks on the pedestal.

And who, unfolding records of old time

Has found no words of sad prediction

In the dark pasges of Etruscan books?

All men, all writings, all events combined,

To warn the citizens of freeborn race

To dread impending wars of civil strife,

And wicked bloodshed; when the laws should fall

In one dark rain, trampled and o'erthrown:

Then men were warn'd to save their holy shrines,

The statues of the gods, their city and lands,

From slaughter and destruction, and preserve

Their ancient customs unimpair'd and free.

And this kind hint of safety was subjoin'd,

That when a splendid statue of great Jove,

In godlike beauty, on its base was raised,

With eyes directed to Sol's eastern gate;

Then both the senate and the people's bands,

Duly forewarn'd, should see the secret plots

Of wicked men, and disappoint their spite.

This statue, slowly form'd and long delay'd,

At length by you, when consul, has been placed

Upon its holy pedestal;'tis now

That the great sceptred Jupiter has graced

His column, on a well-appointed hour:

And at the self-same moment faction's crimes

Were by the loyal Gauls reveal'd and shown

To the astonish'd multitude and senate.

Well then did ancient men, whose monuments

19


qu pp|ls || r|bsqu m|do_ c || ur|tt r|gbnt,

rte_ t|m || us|tr, || qu|rm || p|tsqu f|dsq

prsttt| t || ln|g || u|ct || sp|nt| cncts,

prcp| || cl|r u|gnt| nmn| dus.

Hc d| || pn|ts || c|r || u|dr s|gc

t| qu || std|s || l|t || tn|r d|crs,

nque_ c|dm|a_ mbrf|r || nt|dqu L|c

fd|rnt || cl|rs || f|cnd| pctrs| rts.

qubs| rp|tm || pr|m || iam_ | flr i|unt

t ptr|a_ n md| || ur|ttm| ml l|cut.

T tmn| nxf|rs || c|rs || rqu|t r|lxns,

qud ptr| || uct|, d || std|s || n|bsqu s|crst.

You keep among you,they who will maintain

Virtue and moderation; by these arts

Ruling the lands and people subject to them:

Well, too, your holy sires, whose spotless faith,

And piety, and deep sagacity

Have far surpass'd the men of other lands,

Worshipp'd in every age the mighty Gods.

They with sagacious care these things foresaw,

Spending in virtuous studies all their leisure,

And in the shady Academic groves,

And fair Lyuceum; where they well pour'd forth

The treasures of their pure and learned hearts.

And, like them, you have been by virtue placed,

To save your country, in the imminent breach;

Still with philosophy you soothe your cares,

With prudent care dividing all your hours

Between the muses and your country's claims.

3 Modern Criticism Contextualization

A short analysis of the poem de consulatu suo suffices to point in the opposite

direction from the one taken by ancient criticism. Investigating the details of the work,one

observes a splendid richness of alliterations,assonances and parallelisms in the phonic sphere,a

careful stylistic work with predominance of spondees, clear avoidance of sixth trochaic feet and

other resouces that are worth giving careful study to in a separate publication-the present paper

is just an invitaion to reflect on the hegemonic appreciation of the Ciceronian poerty.

In the verses, the alleged cacophony is not significative, clearly overshadowed by

the conspicous inspiration of a mature poet,what in itself,invites to a critical reevaluation of his

work since it allows to face the poet closer to the way he saw himself, i.e. ,as a representative

of the Ennian tradition. As evidence of that, there are his own words about Ennius, featuring

his adimmiration and deference5, in which he quotes an exerpt whose content-one can assert-

and poetic precepts had much influenced him:

Oh, illustrous poet! Much you are disdained by Euphorion singers (from today). He

had intuition that sudden and unexpected evils are particularly grivous. And so, having

represented excessive actual fortunes - it semed really they should be eternal -, he

added up: I saw all that wealth perish in the fire \ I saw when they deprived Priam of

his life \ and the altar of Jupiter soiled with blood. Oh, illustrous poem! A pungent

core underlies your subject, words and rythms. (Tusculanae Disputationes, III, 45-

46)6

5 Goldberg (1989, p.250). 6 http://www.thelatinlibrary.com\cicero\tusc3.htm. Access: 07/01/2016. O poetam egregium! quamquam ab his cantoribus Euphorionis contemnitur. Sentit omnia repentina et necopinata esse graviora. Exaggeratis igitur regiis opibus, quae videbantur sempiternae fore, quid adiungit? 'Haec omnia vidi inflammari, // Priamo vi vitam evitari, // Iovis aram sanguine turpari.' Praeclarum carmen! est enim et rebus et verbis et modis lugubre. (...).

http://www.thelatinlibrary.com/cicero/tusc3.htm

20


In that sense,one can consider as argument the metric possibility of reorganizing

the inglorious verse,putting in context theories that judge it as a conspicuous sample of

toughtlessness and ineptitude of the Ciceronian poetic Art:

1. R|mm || fr|tn|tm m| cnsl| ntm!

2. fr|tn|tm || R|mm || m| cnsl |ntm!

3. R|mm || m| frt|ntm| cnsl| ntm!

4. n|tm || m| frt|ntm| cnsl| Rmm!

Before such a range of possible palliatives, we have concluded that there are

esthetic purpose and awareness of composition, what leads us to the research of an, as a whole,

underlying ars poetica. Let him speak through his voice:

the great triumph of eloquence consists in adorning the speech, magnifying it: what is

true not only to exhalt something, elevating it with sublime words but also to reduce

and relegate it. (De Oratore, III, 104) 7.

In short, if the effect of the echo in question is just a poetic slip, a failed adornment,

it is, then, reasonable to read all of his poetic compositions to make it possible to any critic to

pass a conclusive judgement on the poetic work 8 . We have to evoke,in relation to this

particularity, his extreme perfectionism as for artistic matters involving the expressive

potentiality of the Latin language.

One adorns the speech, at first, with its general character, what one can define as its

ink and sap.Therefore, to make it austere, pleasant, scholarly, admirable, to make it

refined, to give it meaning and pathos in all its lemgth; its qualities can not come from

isolated articulations, they must be viewed in their entirety and in relation to, so to

say, flowers of the words and of sentences;they can not be inserted everywhere in an

equal measure,but in such a distinct way so that in the adorning process, the elements

are distributed with wit and and emphasis. (De Oratore., III, 96)9

So, it is becoming to evoke here what Plutarch10, his most ancient biographer

reports about his interactioin with the Muses:

7 Summa autem laus eloquentiae est amplificare rem ornando, quod valet non solum ad augendum aliquid et tollendum altius dicendo, sed etiam ad extenuandum atque abiciendum. Disponvel em: http://www.thelatinlibrary.com\cicero\oratore3.html. Access: 07/01/2016. 8 Todd proposes: a reading of the fragments of the De Consulatu Suo will dispel any erroneous notion that one might have on Cicero's poetical inspiration. (1945, p.68) 9 Ornatur igitur oratio genere primum et quasi colore quodam et suco suo; nam ut gravis, ut suavis, ut erudita sit, ut liberalis, ut admirabilis, ut polita, ut sensus, ut doloris habeat quantum opus sit, non est singulorum

articulorum; in toto spectantur haec corpore. Vt porro conspersa sit quasi verborum sententiarumque floribus, id

non debet esse fusum aequabiliter per omnem orationem, sed ita distinctum, ut sint quasi in ornatu disposita

quaedam insignia et lumina." 10 , , (...) . , , . , , . , , , ,

http://www.thelatinlibrary.com/cicero/oratore3.html

21


Yet, even possibily as Plato endowed with affection for knowledge and philosophical

propensity ,he showed himself to be more fervent in the art of poetry. There is still a

remaining little poem he wrote in tetrametric verses when he was a child: Pontius

Glaucus. As time went by,dedicating himself in a more comprehensive way to the

Muses, he distinguished himself not only as the best orator, but also as the best poet

among the Romans. His fame, rested on oratory, has remained to this day (although

many innovatioins has emerged in the stylistic sphere). His poetry, however,

obfuscated by many talented poets, has fallen completely into oblivion and lost its

reputation. (Cicero, II, 3-4)

Bestowing thought to the amount of time spent with writing poetry as described by

his most ancient biographer, and taking into account Grimal's report about Cicero's dedication

(1996) to such art in all moments of his life, with variable intensity; adding them to the

observations made so far, it is legitimate to claim that the epic excerpts written in the mature

years, Marius, De Consulatu Suo and De Temporibus Suis, are worth a new and unbiased

analysis.

Few and scarce studies have been made so far about that subject by the modern and

contemporary literarry criticism. In the Middle Ages, Cicero was rediscovered and admired as

the Latin Demostenes and the more his rhetoric talent was appreciated,the more his poetic art

was forgotten. Petrarch's passion for his speechs is egregious (and his awe when he found the

Ciceronian correspondence, being able to grasp the human being hidden in the marble of the

speechs).

The first modern attempt to actually reevaluate his verses tool place only in the

nineteenth century in the also forgotten Faguet's study (1856), which was not even mentioned

in the bibliographic criticism of the journal Les Belles Lettres. On this line, the most substantial

contributions were made by Ewbank (1933) in The poems of Cicero; Taglia(1950) in La

lingua di Cicerone poeta(and, in a lesser degree, CASTORINA,1953).

In the XXth century scholars, in general, hardly occupied themselves with Ciceros

poetic fragments and when they did, the contributions were short and limited, following the

examples of Harrer (1928), Spaeth (1931), Morford (1967), Thompson (1967), Harrison (1990),

Hose (1996). Pierre Grimal (1996, p.42) heads the trend into the XXIth century towards

reevaluating and appreciating his poetic facet.

A clear evidence of the lack of interest on the part of scholars to carry out an in-

depth study of the questions discussed above is the way the Ciceronian production has been

described and exposed in historicist and textbooks studies of the Latin literature since late in

. http://pt.calameo.com/read/001132284f6c1463a1ca4. Access: 07/01/2016.

22


the XIXth century. Both quantitavely and qualitatively, the data attest to the truth and approve

of what we have exposed so far.

Cicero considered himself not only as orator, politician, jurist and philosopher, but

also as a poet, as shown by his correspondence with his close friend Aticus,his brother Quintus

and by his own witness, which in a relatively clear way shows that he occupied himself with

this activity. In one of his letters, he mentions De Temporibus Suis (ad Quintum Fratem, II.15):

How will, then, Caesar judge our verses, my brother? He wrote me saying he had read the first

book and conceded that he had never read a similar work even amidst the best Greek writings11

.

However,in the recent Fragments of Roman Poetry (HOLLIS, 2007), there is no

mention of him, although it makes room for mediocre poets like Emilius Macer, Cornificius,

who have no representativity at all, censoring the poetry that gave pattern and direction to Latin

hexameter.

Nonetheless, there are two small currents of scholars that make reference to Cicero's

poetry. One of them, headed by Plessis (1907, p.190-193), is just a continuation of the poet's

detraction:

Le grand orateur, lui aussi, voulut tre pote; on savait dj que, pour le devenir, il ne

soufit pas de faire des vers. Les siens jetrent sur lui beaucoup de ridicule. Ribbeck la

excut magistralement en quelques pages de son Histoire de la posie Latine, et il ne

serait pas gnreux dinsister sur lerreur dun grand esprit et sa msaventure puisque

tout le monde est daccord l-dessus et la toujours t, et quaprs tout il nest pas le

seul exemple dun prosateur de premier ordre incapable en posie de sortir des derniers

rangs. On peut mme trouver ( sa dcharge, si lon se place au point de vue de lart)

que le vice principal de ses vers est dans la purile et dplaisante infatuation dont

tmoignent ses pomes politiques, et quen ce qui concerne le style et la versification,

il atteint assez souvent, malgr des gaucheries et fautes de got, une honnte

mdiocrit. (...) Mais, sans doute, ce quoi il tenait le plus dans sa production potique

(je dis le plus , car il devait tenir tout), ctait ses grands pomes politico-

personnels dans le mttre pique, De Suo Consulatu [sic] et De Suis Temporibus [sic],

lun et lautre en trois livres.

This posture is carried on by Bayet (1956, p.206) who chose to allude, en passant,

with his customary conviction:

On ne peut gure citer que pour mmoire les essais potiques de Cicron: il avait dans

sa jeunesse adapt du grec louvrage astronomique dAratos (IIIe s.), pour lequel

lengouement tait prodigieux; il composa des pomes historiques sur Marius, sur son

propre consulat (en 3 livres), sur son temps (en 3 livres) ... [sic] Les fragments quil

nous a conservs lui-mme de ces ouvrages sont en gnral fort mdiocres, bien que

certaines traductions du grec (des tragiques en particulier) soient assez vigoureuses et

prcises.

11 Quo modo nam, mi frater, de nostris versibus Caesar? Nam primum librum se legisse scripsit ad me ante, et prima

sic ut neget se ne Graeca quidem meliora legisse. http://www.thelatinlibrary.com/cicero/fratrem2.shtml, access

15/06/2016 Caesar makes a clear reference to De Consulatu Suo.

http://www.thelatinlibrary.com/cicero/fratrem2.shtml

23


Nonethless, there is a second current that tends to be milder and to review the

question before definitively judging and consigning it to oblivion, represented by Fredouille

and Zehnacker (1993, p.70):

Les talents de Cicron comme pote ont souvent t jugs avec svrit, peut-tre

simplement parce que sa prose est incomparable. Les vers dont on sest le plus moqu

proviennent de son De Consulatu Suo et brillent par leur prtentieuse navet. Mais

les Aratea, que lont peut mieux juger que le reste, sont dun bon pote, sans plus, il

est vrai.

In this select second current, there are scholars who still propose analysing Cicero's

poetry in just three or four pages in their studies like Conte (1999, p. 200-202) and resort to

acid words in their judgement,specially in relation to the author's composition itself,but who

make metric considerations,mention the standartization of cesuras initiated by Cicero and look

at the vigorous syntatic interpolations,which were not published earlier.

Noteworthy in this segment is the work The Fragmentary Latin poets by

Courtney (1993) wich includes Cicero's fragments and go philologically through them as it does

with other authors, indicating an initiative of review of his poetic exile.

Yet,quite likely,the latinist who the most accurately put such rooted prejudices in

context and made an interesting analysis of this literary corpus is Wilkinson (EASTERLING et

al., 2008, pp.263-265), in addition to adressing the question in a new way, he pioneered the

view adopted by this present work:

According to Plutarch (Cic. 2) Cicero was considered the best poet as well as the best

orator of his time, and his poetry was now neglected only because many superior poets

had since appeared. This statement is less surprising when we recollect that there was

a sag in Roman poetry before the emergence, roughly in the years 60-5 5 B.C., of

Catullus and the other ' Neoterics' and of Lucretius. He may well have surpassed

Hortensius in poetry as well as oratory, let alone such poetasters as Volusius, whose

Annals Catullus derided. Even schoolboys down the ages have been taught by

Quintilian and Juvenal to laugh at his line O fortunatam natam me consule Romam,

O Rome most blest, established in my consulship! By Quintilian's time the historical

context may have faded from memory; it was rather the jingles, one may suspect, that

offended ears refined by Virgil and the rhetoricians. Whether or not they should so

offend, is a matter of taste.

For all that has been said, it is pertinent to pose the question: what has contributed

to form such a negative opinion about the Ciceronian poetry, what Wilkinson refers to as ears

refined by Virgil? To reflect on it, it is befitting to select an excerpt of Horace's ars poetica :

A good and prudent man will censor inert verses,will repproach the unskilled,will

erase with another quill what is not gracious,will cut short pretentious parures,will

compel to shed light on obscure passages,will challange what is ambiguous and will

point at what should be changed.12 (445-449)

12Vir bonus et prudens uersus reprehendet inertis, / culpabit duros, incomptis adlinet atrum / transuorso calamo signum, ambitiosa recidet / ornamenta, parum claris lucem dare coget, / arguet ambigue dictum, mutanda notabit

24


It turns out clear what Wilkison calls matter of taste in the mentioned excerpt. In

verses 46-47, Horace is categoric: In uerbis (...) tenuis cautusque serendis // dixeris egregie

(...), that is: being careful and temperate in verbal composition,you express yourself in a

magnificent way. Still, it is fundamental to carry on Wilkinson's idea. If the lyre of creation is

to be handled with temperance and parcimony, what point should we consider? It all comes

down to appointing subjectivity as an essential evaluating element in all critic-literary

judgement.

In Guise of Conclusion

The proposed discussion in the course of this paper becomes now clear with some

conclusive indications: Cicero is a poet with strong archaic-Ennian undertones, and he erected

his monument under the aegis of such conceptions, which later were regarded with reserve,

prejudice and a certain double standard by Horace and his contemporaries.

Plutarch is right to claim, in relation to the mentioned excerpt, that many poets with

greater inspiration subsequently eclipsed Cicero; but the most reasonable hypothesis to help

understand his absolute banishment and the fact that he has only survived as poet for having

quoted himself in the letters, in De Dinuinatione and in Tusculanae Disputationes, is the fact

that our poet has been judged by the Virgilian paradigm, hurting therefore, as indicated by

Wilkinson, the anachronic ears refined by the Mantuan lyre. The anachronic judgement

generating misrepresentation when the eyes turn to the past, was a determining factor for his

ostracism.

Cicero was a vigorous poet and extremely sensitive to poetic musicality; with

syntatic interpolations, parallelisms and expressiveness befitting a true poet. Fundamental is his

lapidation of the Latin hexameter. One hopes that the present paper could instigate debate and

research among scholars, becoming a seed for an attempt to achieve an in-depth understanding

of such instigating and polyvalent historic figure.

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