Slippage
History, as one betrayal after another
Anna Jackson translates from the Latin. Original by Gaius Valerius Catullus.
History, as one betrayal after another
Translated from Latin by Anna Jackson
It all began when trees first took – or were taken –
to the seas, or, we could say, first crested
the waves of Neptune, coming to rest
exactly where the story of the Argonauts
was to commence, those heroes
ready and waiting to send
across the vast depths of the ocean this
framework of pine woven together
by, we could say, the future.
And so new a thing this was
to plough the ocean that it raised, churned
up, we could say, the sea’s own spirits,
sea-nymphs whose breasts were as new a sight
to the men as the ship was to these sea-spirits.
And inevitably one of those men fell in love,
Peleus, instantly, with one of those sea-spirits, Thetis -
and when Thetis herself did not turn away
from his love, what could a father do,
even were he a god, Nereus, a god of the sea, but allow
a wedding between the two.
For this was the time of heroes, the legendary age when
heroes were born of gods
(and mothers),
And this is what epic poetry is made for, to tell,
as this poem will tell, the story of Peleus,
and his marriage,
blazing with torches
circled round by the whole sea
and lit up by the attention of the gods.
And so, the marriage day came about
and all of Thessaly filled the palace
to overflowing, a whirling crowd
swept up into the celebrations,
everyone dressed up,
everyone carrying gifts,
so that a whole country
was emptied out of its people,
every town deserted,
every farm left behind,
every house closed,
every field untilled,
soft, the necks of the oxen
who would have pulled the ploughs,
uncleared, the vineyard grounds,
unpruned, the trees,
and the tools rusting where they were left to lie.
All the wealth of the world now
could be found in the palace of Peleus,
extending hall to hall
further and further
inwards and inwards,
extension after extension
accommodating the hoards of gold,
the hoards of silver,
ivory thrones shining,
tables set with every glittering thing -
and who wouldn’t take pleasure in all this?
And the true altar at the heart of it all –
the marriage bed, a bed of ivory,
and on the bed, a coverlet,
and on the coverlet, embroidered
scenes from the heroic times
gone by.
Theseus, sailing swiftly away, here
can be seen, watched by Ariadne in a frenzy,
unable to believe she is seeing what she sees
when she sees herself, waking up from
what were her dreams, alone
and abandoned on an empty shore,
as he, Theseus, vanishes
into his future, the promises
he made dissolving like
Words written on water in
the middle of a storm.
And there Ariadne stands
like a marble statue, a marble statue
dropping its headband, hair
flying free, a statue unravelling, drapery
falling open, breasts uncovered, and
the sea at her feet carrying
the fallen garments away
with the tide,
as if she could possibly care
about her clothing when all she has ever, ever
cared about is you!
Love is nothing but pain
and pain is all that loving Theseus
ever could have led to,
Theseus with his mind fixed
on the Minotaur, with his ambitious
dreams to save a people, a people who
surely needed saving whatever the cost to Ariadne
who loved Theseus from the moment
she saw him, her innocence at
that instant lost forever, fire running
fiercely through her body, her ears
resounding with their own sound, eyes
lit up with dazzling darkness,
love’s pleasures stirred up
along with love’s torment, but who
could want to feel this way?
Her heart would almost fail her,
she would grow paler than gold
when Theseus braved death
for glory, in the labyrinth
of the Minotaur, from which
his safe return, the Minotaur having fallen
to Theseus like a forest to a storm,
was possible only because of the thread
of Ariadne, unrolled behind him
as she had told him to unroll it
on his way in, there still
where he had left it, a faithful guide
back to the sunlight outside.
But as if lost in a maze I find myself
taking a turning, all this a digression from
the story I was telling, and there is
more yet to tell, of how a girl, flying
from home, leaving the love of
a father, a sibling, a mother
all for the sweetness
of passion, all to dream
for a time of love, found herself waking
and for Theseus already to have forgotten her
disappearing into nothing but sea-foam in the wind...
And now she can only despair and rail and cry out
into the wind-sore skies, high on a mountain
looking out across the nothing seas
at nothing, or wading out
at low tide through sands and sands
as only the wavering water
lifts itself about a raised knee.
Shivering, she cries, “And so, after I abandon
my father, sibling, mother, make enemies
of my friends, you, faithless, leave me,
all promises forgotten, alone, on
an empty shore, as if you think
the gods of old no longer
rule, as if you think it nothing
to cast away all your promises, as if
to unclasp a hand, to leave a knee
bare where once a hand
rested, was nothing, your implacable
heart incapable of pity.
And yet...how sweet you sounded
when you used to let me hope
you wished only to be married to me
and promised me promises
now blown away in the wind.
Let no woman ever listen ever
to the promises a man makes
in the heat of passion,
when anything will be promised,
any oath sworn, and every
promise forgotten like steam
evaporating into nothing.
And I, I would abandon a brother
to be with you when you swore
you would die without me,
for which I should be given up
to wild birds and animals
to tear me apart and leave what’s left
strewn about unmourned, no
funeral rites for me, not
a handful of dirt over my remains
if any remains there may be.
What lioness gave birth to you on
a mountain, what sea spat you forth,
what metal-hearted Scylla, that
you could respond to love,
like this?
Marriage! I’d have settled for
slavery, washing your white
feet, or wasting my life
away embroidering
you some intricate coverlet
for your bed...
But why am I lamenting wildly like this
into the winds which will never
hear me or reply,
when he is tossing and turning
somewhere in the middle of the ocean
and all that seaweed at my feet
is empty of all humanity.
It seems to be my fate
to call out to those who cannot
hear me or respond –
but nothing that happened should
ever have happened! Better
for that journey from the provinces
never to have been made, father
never left, story of the
Minotaur never told,
and no lies listened to
from a faithless lover.
Because where can I escape to,
wherever I should go?
Roiling seas divide me from
the mountains of my homeland,
my father will never receive me after
I abandoned my brother for
a lover, drenched
in my brother’s blood, and
I have no marriage to take refuge
in, when he, the one I loved,
disappears like the wind,
rowing against the current in
full flight.
There is nothing for me
on these empty shores, this empty
island is no home, and yet
there is nowhere to go
and no way out, surrounded
by sea on all sides,
on all sides trapped, with
no escape and no hope
of escape, every thing
I see speaks of nothing but death.
But before death closes down the last
of my vision and takes away all of
my will, ruined as I am, I will
demand at least to be heard
by the gods if not by anyone else
and secure for myself a promise
that my words will be remembered,
that it is Theseus who will suffer from
the anguish I suffer from now, and the
forgetfulness with which he abandoned me
will shadow everything he tries to do
from now and for forever.
And when she spoke the whole world
juddered into a new alignment, the surf-topped
seas trembling and the stars shaking in the skies above.
And Theseus let slip from his mind, as
the storm clouded over it, the last promises
he had held fast until then, and so gave no sign
of his safety to his sorrowing father
as he sailed, mind adrift, into port, the story
being that his father, when Theseus
was to set sail, would not send him away
with his blessing but in full grieving
with ash rubbed through his hair, and the ship
fitted out with a dirty sail stained red with
rusted iron. But if Theseus should miraculously
succeed and his life be spared, then he was to
remember these commands of his father,
stored in his memory, locked
in his heart, and held safe against the erosure
of time, that as soon as the ship
should be in sight of shore, the rust red sails
must be taken down, and in their place, the white sail
be raised that will signal preparations
should begin for a lifetime of celebration.
This promise Theseus had remembered steadily
until it blew out of his mind the way
clouds will drift off in the wind, so that
his father, gazing out to sea already
exhausted with grief, on seeing
the rust red sails, threw himself from his high
look-out to his death on the rocks below.
And Theseus returned to a home wracked with grief
to feel himself torn apart with the same agonies
of guilt and anguish that he himself
had delivered to Ariadne and which she felt
still as she stood, gazing into the empty
sea, at his always disappearing ship,
while on another part of the coverlet Bacchus
can be seen, seeking Ariadne, aflame
with love, and over here are all the followers
of Bacchus, ranting and wailing and tossing
their heads, beating their tambourines,
singing in galliambic rhythms, blowing
raucous blasts from their horns, a terrible
cacophony, though not worse than
the piping flute...
...And this is what was embroidered
on the coverlet, gazed at by all the Thessalian youth
on their way to the drinks table and onwards
each to their own delicious oblivion,
as the palace emptied out and was filled
by the presence of the gods.
Down they came, Chiron from Mt Pelion
with all the flowers of the levelled valleys,
Peneus came from the valleys of Tempe
bringing bay trees, plane trees and poplar,
Prometheus the prophet with fading scars,
and, finally, the father of all the gods
with all his sons, except for those
gods who chose not to honour such
a wedding. Except for those gods, all
were present and shining and at ease
in the splendour of the palace.
And then arrived the Fates, with shaking bodies
but prophetic words and their hands
never at rest but working always
at their weaving, the left hand holding
the distaff of wool, the right hand
drawing the wool out, and their teeth
breaking off threads to make the work even.
With little bits of wool caught
between their teeth, and drifts of wool
at their feet, they sang:
Hear now this prophesy, given to you on this day of all days:
Strong as your leadership is, in time it shall be not you but
such a son that his name will resound through the far halls of time -
so the weaving runs on,
and the threads draw together.
No house has ever yet harboured a love that is greater than your love,
never the pact of fidelity that will be honoured as yours will,
Thetis and Peleus, now and forever bonded together –
and the weaving runs on,
and the threads draw together.
Fearless will be the son to be born to you, famous Achilles,
known to his enemies not by his back but face to face, always,
fearless and fast he will prove to be, striking like lightning in battle –
so the weaving runs on,
and the threads draw together.
No warrior will ever compare to him
driven by grief and by rage as the blood of the Trojans
will run in the fields in the last days of Troy’s proud history –
and the weaving runs on,
and the threads draw together.
After the acts of this fearless warrior
mothers will tear at their hair and beat at their breasts
grieving the children they see for the last time to bury them,
so the weaving runs on,
and the threads draw together.
As when a reaper should take too early the still forming wheat ears
never to ripen in full summer sunshine, so will the iron-red
Trojan battlefields after the fighting be strewn with young bodies -
and the weaving runs on,
and the threads draw together.
Testament to his heroics will be the wave of Scamander
pouring itself into swift-flowing Hellespont, choking its current
clogged up with corpses, the streams running warm from the bloodshed –
so the weaving runs on,
and the threads draw together.
Testament finally to his great valour will come after his death
when he will be honoured by a girl’s dead body, killed
to gild his burial mound with her golden young limbs –
and the weaving runs on,
and the threads draw together.
This was the way that the Greeks in their victory celebrated their fortune,
as, on the edge of a meadow, a passing plow might cut down a flower,
so was Polyxena, silently bowing her head, cut down –
so the weaving runs on,
and the threads draw together.
Why hesitate to bring about this marriage, that all are so in favour of?
Now let the husband receive his bride with entirely appropriate eagerness,
now let the bride be handed over to a husband still swept up in passion –
and the weaving runs on,
and the threads draw together.
When the girl’s nurse will return in the morning no longer will she
circle her neck with yesterday’s ribbon, nor yet will her mother
worry about her sleeping alone in a barren marriage –
so the weaving runs on,
and the threads draw together.
Such were the prophecies given by the Fates
to Peleus, in a time before our time
when the gods still visited the homes
of heroes, setting themselves before us in
dazzling display. Often the father of all gods
would light up his temple,
returning to look on at the sacrifices
made in his name, often from
the highest peak of Parnassus the roaring
Thyiades came following
Liber as everyone stoked the fires
of his altars all through the cities, often
in times of war one god or another
would intervene pulling
the strings of fate one way or
another. But how could they return
now when all of humanity
has become so unspeakably awful?
Entangled in such unspeakable
crimes as we are, how could
the gods do other than turn away
from the sight of us?
These are not days in which gods might appear to us,
these are days the gods hide from the light of.
Catullus 64
By Gaius Valerius Catullus
Peliaco quondam prognatae vertice pinus
dicuntur liquidas Neptuni nasse per undas
Phasidos ad fluctus et fines Aeetaeos,
cum lecti iuvenes, Argiuae robora pubis,
auratam optantes Colchis avertere pellem
ausi sunt vada salsa cita decurrere puppi,
caerula verrentes abiegnis aequora palmis.
diva quibus retinens in summis urbibus arces
ipsa levi fecit volitantem flamine currum,
pinea coniungens inflexae texta carinae.
illa rudem cursu prima imbuit Amphitriten;
quae simul ac rostro ventosum proscidit aequor
tortaque remigio spumis incanuit unda,
emersere freti candenti e gurgite vultus
aequoreae monstrum Nereides admirantes.
illa, atque alia, viderunt luce marinas
mortales oculis nudato corpore Nymphas
nutricum tenus exstantes e gurgite cano.
tum Thetidis Peleus incensus fertur amore,
tum Thetis humanos non despexit hymenaeos,
tum Thetidi pater ipse iugandum Pelea sensit.
o nimis optato saeclorum tempore nati
heroes, salvete, deum genus! o bona matrum
progenies, salvete iter...
vos ego saepe, meo vos carmine compellabo.
teque adeo eximie taedis felicibus aucte,
Thessaliae columen Peleu, cui Iuppiter ipse,
ipse suos divum genitor concessit amores;
tene Thetis tenuit pulcerrima Nereine?
tene suam Tethys concessit ducere neptem,
Oceanusque, mari totum qui amplectitur orbem?
quae simul optatae finito tempore luces
advenere, domum conventu tota frequentat
Thessalia, oppletur laetanti regia coetu:
dona ferunt prae se, declarant gaudia vultu.
deseritur Cieros, linquunt Pthiotica Tempe
Crannonisque domos ac moenia Larisaea,
Pharsalum coeunt, Pharsalia tecta frequentant.
rura colit nemo, mollescunt colla iuvencis,
non humilis curvis purgatur vinea rastris,
non glebam prono convellit vomere taurus,
non falx attenuat frondatorum arboris umbram,
squalida desertis rubigo infertur aratris.
ipsius at sedes, quacumque opulenta recessit
regia, fulgenti splendent auro atque argento.
candet ebur soliis, collucent pocula mensae,
tota domus gaudet regali splendida gaza.
pulvinar vero divae geniale locatur
sedibus in mediis, Indo quod dente politum
tincta tegit roseo conchyli purpura fuco.
haec vestis priscis hominum variata figuris
heroum mira virtutes indicat arte.
namque fluentisono prospectans litore Diae,
Thesea cedentem celeri cum classe tuetur
indomitos in corde gerens Ariadna furores,
necdum etiam sese quae visit visere credit,
utpote fallaci quae tum primum excita somno
desertam in sola miseram se cernat harena.
immemor at iuvenis fugiens pellit vada remis,
irrita ventosae linquens promissa procellae.
quem procul ex alga maestis Minois ocellis,
saxea ut effigies bacchantis, prospicit, eheu,
prospicit et magnis curarum fluctuat undis,
non flavo retinens subtilem vertice mitram,
non contecta levi velatum pectus amictu,
non tereti strophio lactentis vincta papillas,
omnia quae toto delapsa e corpore passim
ipsius ante pedes fluctus salis alludebant.
sed neque tum mitrae neque tum fluitantis amictus
illa vicem curans toto ex te pectore, Theseu,
toto animo, tota pendebat perdita mente.
misera, assiduis quam luctibus externavit
spinosas Erycina serens in pectore curas,
illa tempestate, ferox quo ex tempore Theseus
egressus curvis e litoribus Piraei
attigit iniusti regis Gortynia templa.
nam perhibent olim crudeli peste coactam
Androgeoneae poenas exsolvere caedis
electos iuvenes simul et decus innuptarum
Cecropiam solitam esse dapem dare Minotauro.
quis angusta malis cum moenia vexarentur,
ipse suum Theseus pro caris corpus Athenis
proicere optavit potius quam talia Cretam
funera Cecropiae nec funera portarentur.
atque ita nave levi nitens ac lenibus auris
magnanimum ad Minoa venit sedesque superbas.
hunc simul ac cupido conspexit lumine virgo
regia, quam suavis exspirans castus odores
lectulus in molli complexu matris alebat,
quales Eurotae praecingunt flumina myrtus
aurave distinctos educit verna colores,
non prius ex illo flagrantia declinavit
lumina, quam cuncto concepit corpore flammam
funditus atque imis exarsit tota medullis.
heu misere exagitans immiti corde furores
sancte puer, curis hominum qui gaudia misces,
quaeque regis Golgos quaeque Idalium frondosum,
qualibus incensam iactastis mente puellam
fluctibus, in flavo saepe hospite suspirantem!
quantos illa tulit languenti corde timores!
quanto saepe magis fulgore expalluit auri,
cum saevum cupiens contra contendere monstrum
aut mortem appeteret Theseus aut praemia laudis!
non ingrata tamen frustra munuscula divis
promittens tacito succepit vota labello.
nam velut in summo quatientem brachia Tauro
quercum aut conigeram sudanti cortice pinum
indomitus turbo contorquens flamine robur,
eruit (illa procul radicitus exturbata
prona cadit, late quaevis cumque obuia frangens,)
sic domito saevum prostravit corpore Theseus
nequiquam vanis iactantem cornua ventis.
inde pedem sospes multa cum laude reflexit
errabunda regens tenui vestigia filo,
ne labyrintheis e flexibus egredientem
tecti frustraretur inobservabilis error.
sed quid ego a primo digressus carmine plura
commemorem, ut linquens genitoris filia vultum,
ut consanguineae complexum, ut denique matris,
quae misera in gnata deperdita laeta
omnibus his Thesei dulcem praeoptarit amorem:
aut ut vecta rati spumosa ad litora Diae
venerit aut ut eam devinctam lumina somno
liquerit immemori discedens pectore coniunx?
saepe illam perhibent ardenti corde furentem
clarisonas imo fudisse e pectore voces,
ac tum praeruptos tristem conscendere montes,
unde aciem in pelagi vastos protenderet aestus,
tum tremuli salis adversas procurrere in undas
mollia nudatae tollentem tegmina surae,
atque haec extremis maestam dixisse querellis,
frigidulos udo singultus ore cientem:
'sicine me patriis avectam, perfide, ab aris
perfide, deserto liquisti in litore, Theseu?
sicine discedens neglecto numine divum,
immemor a! devota domum periuria portas?
nullane res potuit crudelis flectere mentis
consilium? tibi nulla fuit clementia praesto,
immite ut nostri vellet miserescere pectus?
at non haec quondam blanda promissa dedisti
voce mihi, non haec miserae sperare iubebas,
sed conubia laeta, sed optatos hymenaeos,
quae cuncta aereii discerpunt irrita venti.
nunc iam nulla viro iuranti femina credat,
nulla viri speret sermones esse fideles;
quis dum aliquid cupiens animus praegestit apisci,
nil metuunt iurare, nihil promittere parcunt:
sed simul ac cupidae mentis satiata libido est,
dicta nihil metuere, nihil periuria curant.
certe ego te in medio versantem turbine leti
eripui, et potius germanum amittere crevi,
quam tibi fallaci supremo in tempore dessem.
pro quo dilaceranda feris dabor alitibusque
praeda, neque iniacta tumulabor mortua terra.
quaenam te genuit sola sub rupe leaena,
quod mare conceptum spumantibus exspuit undis,
quae Syrtis, quae Scylla rapax, quae vasta Carybdis,
talia qui reddis pro dulci praemia vita?
si tibi non cordi fuerant conubia nostra,
saeva quod horrebas prisci praecepta parentis,
attamen in vestras potuisti ducere sedes,
quae tibi iucundo famularer serva labore,
candida permulcens liquidis vestigia lymphis,
purpureave tuum consternens veste cubile.
sed quid ego ignaris nequiquam conquerar auris,
externata malo, quae nullis sensibus auctae
nec missas audire queunt nec reddere voces?
ille autem prope iam mediis versatur in undis,
nec quisquam apparet vacua mortalis in alga.
sic nimis insultans extremo tempore saeva
fors etiam nostris invidit questibus auris.
Iuppiter omnipotens, utinam ne tempore primo
Gnosia Cecropiae tetigissent litora puppes,
indomito nec dira ferens stipendia tauro
perfidus in Cretam religasset navita funem,
nec malus hic celans dulci crudelia forma
consilia in nostris requiesset sedibus hospes!
nam quo me referam? quali spe perdita nitor?
Idaeosne petam montes? at gurgite lato
discernens ponti truculentum dividit aequor.
an patris auxilium sperem? quemne ipsa reliqui
respersum iuvenem fraterna caede secuta?
coniugis an fido consoler memet amore?
quine fugit lentos incuruans gurgite remos?
praeterea nullo colitur sola insula tecto,
nec patet egressus pelagi cingentibus undis.
nulla fugae ratio, nulla spes: omnia muta,
omnia sunt deserta, ostentant omnia letum.
non tamen ante mihi languescent lumina morte,
nec prius a fesso secedent corpore sensus,
quam iustam a divis exposcam prodita multam
caelestumque fidem postrema comprecer hora.
quare facta virum multantes vindice poena
Eumenides, quibus anguino redimita capillo
frons exspirantis praeportat pectoris iras,
huc huc adventate, meas audite querellas,
quas ego, vae misera, extremis proferre medullis
cogor inops, ardens, amenti caeca furore.
quae quoniam verae nascuntur pectore ab imo,
vos nolite pati nostrum vanescere luctum,
sed quali solam Theseus me mente reliquit,
tali mente, deae, funestet seque suosque.'
has postquam maesto profudit pectore voces,
supplicium saevis ecens anxia factis,
annuit invicto caelestum numine rector;
quo motu tellus atque horrida contremuerunt
aequora concussitque micantia sidera mundus.
ipse autem caeca mentem caligine Theseus
consitus oblito dimisit pectore cuncta,
quae mandata prius constanti mente tenebat,
dulcia nec maesto sustollens signa parenti
sospitem Erechtheum se ostendit visere portum.
namque ferunt olim, classi cum moenia divae
linquentem gnatum ventis concrederet Aegeus,
talia complexum iuveni mandata dedisse:
'gnate mihi longa iucundior unice vita,
gnate, ego quem in dubios cogor dimittere casus,
reddite in extrema nuper mihi fine senectae,
quandoquidem fortuna mea ac tua feruida virtus
eripit invito mihi te, cui languida nondum
lumina sunt gnati cara saturata figura,
non ego te gaudens laetanti pectore mittam,
nec te ferre sinam fortunae signa secundae,
sed primum multas expromam mente querellas,
canitiem terra atque infuso puluere foedans,
inde infecta vago suspendam lintea malo,
nostros ut luctus nostraeque incendia mentis
carbasus obscurata decet ferrugine Hibera.
quod tibi si sancti concesserit incola Itoni,
quae nostrum genus ac sedes defendere Erecthei
annuit, ut tauri respergas sanguine dextram,
tum vero facito ut memori tibi condita corde
haec vigeant mandata, nec ulla oblitteret aetas;
ut simul ac nostros invisent lumina collis,
funestam antennae deponant undique vestem,
candidaque intorti sustollant vela rudentes,
quam primum cernens ut laeta gaudia mente
agnoscam, cum te reducem aetas prospera sistet.'
haec mandata prius constanti mente tenentem
Thesea ceu pulsae ventorum flamine nubes
aereum nivei montis liquere cacumen.
at pater, ut summa prospectum ex arce petebat,
anxia in assiduos absumens lumina fletus,
cum primum infecti conspexit lintea veli,
praecipitem sese scopulorum e vertice iecit,
amissum credens immiti Thesea fato.
sic funesta domus ingressus tecta paterna
morte ferox Theseus, qualem Minoidi luctum
obtulerat mente immemori, talem ipse recepit.
quae tum prospectans cedentem maesta carinam
multiplices animo voluebat saucia curas.
at parte ex alia florens volitabat Iacchus
cum thiaso Satyrorum et Nysigenis Silenis,
te quaerens, Ariadna, tuoque incensus amore.
* * * * * * * *
quae tum alacres passim lymphata mente furebant
euhoe bacchantes, euhoe capita inflectentes.
harum pars tecta quatiebant cuspide thyrsos,
pars e divolso iactabant membra iuvenco,
pars sese tortis serpentibus incingebant,
pars obscura cavis celebrabant orgia cistis,
orgia quae frustra cupiunt audire profani;
plangebant aliae proceris tympana palmis,
aut tereti tenuis tinnitus aere ciebant;
multis raucisonos efflabant cornua bombos
barbaraque horribili stridebat tibia cantu.
talibus amplifice vestis decorata figuris
pulvinar complexa suo velabat amictu.
quae postquam cupide spectando Thessala pubes
expleta est, sanctis coepit decedere divis.
hic, qualis flatu placidum mare matutino
horrificans Zephyrus procliuas incitat undas,
Aurora exoriente vagi sub limina Solis,
quae tarde primum clementi flamine pulsae
procedunt leviterque sonant plangore cachinni,
post vento crescente magis magis increbescunt,
purpureaque procul nantes ab luce refulgent:
sic tum vestibuli linquentes regia tecta
ad se quisque vago passim pede discedebant.
quorum post abitum princeps e vertice Pelei
advenit Chiron portans siluestria dona:
nam quoscumque ferunt campi, quos Thessala magnis
montibus ora creat, quos propter fluminis undas
aura parit flores tepidi fecunda Favoni,
hos indistinctis plexos tulit ipse corollis,
quo permulsa domus iucundo risit odore.
confestim Penios adest, viridantia Tempe,
Tempe, quae silvae cingunt super impendentes,
Minosim linquens doris celebranda choreis,
non vacuos: namque ille tulit radicitus altas
fagos ac recto proceras stipite laurus,
non sine nutanti platano lentaque sorore
flammati Phaethontis et aerea cupressu.
haec circum sedes late contexta locavit,
vestibulum ut molli velatum fronde vireret.
post hunc consequitur sollerti corde Prometheus,
extenuata gerens veteris vestigia poenae,
quam quondam silici restrictus membra catena
persolvit pendens e verticibus praeruptis.
inde pater divum sancta cum coniuge natisque
advenit caelo, te solum, Phoebe, relinquens
unigenamque simul cultricem montibus Idri:
Pelea nam tecum pariter soror aspernata est,
nec Thetidis taedas voluit celebrare iugales.
qui postquam niveis flexerunt sedibus artus
large multiplici constructae sunt dape mensae,
cum interea infirmo quatientes corpora motu
veridicos Parcae coeperunt edere cantus.
his corpus tremulum complectens undique vestis
candida purpurea talos incinxerat ora,
at roseae niveo residebant vertice vittae,
aeternumque manus carpebant rite laborem.
laeva colum molli lana retinebat amictum,
dextera tum leviter deducens fila supinis
formabat digitis, tum prono in pollice torquens
libratum tereti versabat turbine fusum,
atque ita decerpens aequabat semper opus dens,
laneaque aridulis haerebant morsa labellis,
quae prius in levi fuerant exstantia filo:
ante pedes autem candentis mollia lanae
vellera virgati custodibant calathisci.
haec tum clarisona pellentes vellera voce
talia divino fuderunt carmine fata,
carmine, perfidiae quod post nulla arguet aetas.
o decus eximium magnis virtutibus augens,
Emathiae tutamen, Opis carissime nato,
accipe, quod laeta tibi pandunt luce sorores,
veridicum oraclum: sed vos, quae fata sequuntur,
currite ducentes subtegmina, currite, fusi.
adveniet tibi iam portans optata maritis
Hesperus, adveniet fausto cum sidere coniunx,
quae tibi flexanimo mentem perfundat amore,
languidulosque paret tecum coniungere somnos,
levia substernens robusto bracchia collo.
currite ducentes subtegmina, currite, fusi.
nulla domus tales umquam contexit amores,
nullus amor tali coniunxit foedere amantes,
qualis adest Thetidi, qualis concordia Peleo.
currite ducentes subtegmina, currite, fusi.
nascetur vobis expers terroris Achilles,
hostibus haud tergo, sed forti pectore notus,
qui persaepe vago victor certamine cursus
flammea praevertet celeris vestigia cervae.
currite ducentes subtegmina, currite, fusi.
non illi quisquam bello se conferet heros,
cum Phrygii Teucro manabunt sanguine
Troicaque obsidens longinquo moenia bello,
periuri Pelopis vastabit tertius heres.
currite ducentes subtegmina, currite, fusi.
illius egregias virtutes claraque facta
saepe fatebuntur gnatorum in funere matres,
cum incultum cano solvent a vertice crinem,
putridaque infirmis variabunt pectora palmis.
currite ducentes subtegmina, currite, fusi.
namque velut densas praecerpens messor aristas
sole sub ardenti flaventia demetit arua,
Troiugenum infesto prosternet corpora ferro.
currite ducentes subtegmina, currite, fusi.
testis erit magnis virtutibus unda Scamandri,
quae passim rapido diffunditur Hellesponto,
cuius iter caesis angustans corporum acervis
alta tepefaciet permixta flumina caede.
currite ducentes subtegmina, currite, fusi.
denique testis erit morti quoque reddita praeda,
cum teres excelso coaceruatum aggere bustum
excipiet niveos perculsae virginis artus.
currite ducentes subtegmina, currite, fusi.
nam simul ac fessis dederit fors copiam Achivis
urbis Dardaniae Neptunia solvere vincla,
alta Polyxenia madefient caede sepulcra;
quae, velut ancipiti succumbens victima ferro,
proiciet truncum summisso poplite corpus.
currite ducentes subtegmina, currite, fusi.
quare agite optatos animi coniungite amores.
accipiat coniunx felici foedere divam,
dedatur cupido iam dudum nupta marito.
currite ducentes subtegmina, currite, fusi.
non illam nutrix orienti luce revisens
hesterno collum poterit circumdare filo,
anxia nec mater discordis maesta puellae
secubitu caros mittet sperare nepotes.
currite ducentes subtegmina, currite, fusi.
talia praefantes quondam felicia Pelei
carmina divino cecinerunt pectore Parcae.
praesentes namque ante domos invisere castas
heroum, et sese mortali ostendere coetu,
caelicolae nondum spreta pietate solebant.
saepe pater divum templo in fulgente revisens,
annua cum festis venissent sacra diebus,
conspexit terra centum procumbere tauros.
saepe vagus Liber Parnasi vertice summo
Thyiadas effusis euantis crinibus egit,
cum Delphi tota certatim ex urbe ruentes
acciperent laeti divum fumantibus aris.
saepe in letifero belli certamine Mavors
aut rapidi Tritonis era aut Amarunsia virgo
armatas hominum est praesens hortata catervas.
sed postquam tellus scelere est imbuta nefando
iustitiamque omnes cupida de mente fugarunt,
perfudere manus fraterno sanguine fratres,
destitit extinctos gnatus lugere parentes,
optavit genitor primaevi funera nati,
liber ut innuptae poteretur flore novercae,
ignaro mater substernens se impia nato
impia non verita est divos scelerare penates.
omnia fanda nefanda malo permixta furore
iustificam nobis mentem avertere deorum.
quare nec talis dignantur visere coetus,
nec se contingi patiuntur lumine claro.
Translator’s Note
This is a poem that plays strange tricks with time, and strange tricks of perspective, with most of the poem taken up with the description of a scene embroidered on a coverlet, described as no piece of embroidery could possibly appear, as if in picturing the coverlet it had turned, in his imagination, into a cinema screen, on which he could follow the embroidered characters around corners and through time. What I love about translation is how it allows you to slow down your reading and enter a poem so that it comes to life around you, almost like the way Catullus describes the effect of gazing at a coverlet, so that you are no longer looking at a static image but an unfolding narrative – something that has never happened to me when looking at a coverlet but did happen to me when translating this strange, compelling poem. The poem is all the more compelling to me because I can’t help reading it in relation to the sequence of poems he wrote to Lesbia, and I responded to in my own sequence “I, Clodia.” Another story seems to be coming visible through the threads of the Theseus and Ariadne story, as he presents their story in such a way as to bring out the parallels between the story of his own love for Lesbia, his own loss and betrayal (Ariadne in lines 153-157 more or less repeating Catullus’s poem 60, for instance). As in so often of his poetry, he takes on here the woman’s part, giving Lesbia the part of the heroic, but heartless, Theseus.
However much I want to domesticate this poem, though, or to look for what is familiar to me in it, there is no getting away – and I wouldn’t want to – from its strangeness and from the vast distance in time that separates me from the time in which it was written. This, too, is of course part of what the poem is, itself, about – the gap in time from when Catullus is writing and the earlier times in which it might have still made sense to write an epic. “Dicunter” – “it is said” – and similar phrases allow for a gap between epic story-telling and reality, and the invitation to consider how to interpret the old stories is one Catullus I think makes over and over again. One of the difficulties translating the poem was how to translate the echoes of the religiously enchanted world view that Catullus himself saw as over, but drew on still. It is no longer possible now, as it was for Catullus, to read Neptune as being both a god and the sea itself. Nor is it easy to understand Thetis as being, all at once, part of the sea, a nymph (a word with far too many current connotations, immortal and divine but also someone who can fall in love, marry and enter human history. I wanted to balance a fidelity to the enchanted world view Catullus draws on with the provision of necessary information, while also retaining a sense of the distance Catullus himself has from this epic vision. I found phrases like “we could say” useful in allowing a bit of shuttling back and forth between a more
mythic phrasing, using proper names to personify – and divinify - places, elements and abstract qualities, and a more realist phrasing, referring to the things themselves. So, we might repeat the idea of trees “taking to the seas,” or we might see them as having been taken, and we might prefer to think of the sea as “the waves of Neptune.”
But if there is a shuttling back and forth, in the Catullus original as in my translation, there’s a propulsion too into the future, and this sense of propulsion is set up by Catullus from the very start. I went for the most contemporary, most simple translation possible of the line in which Catullus attributes the making of the world’s first boat, the boat that launched a thousand epics, to the ”diva quibus retinens in summis urbibus arces” (line 8). With this phrasing, Catullus emphasises Athena’s attribute as the goddess of the city, or of civilisation – this is what the earliest technology sails humanity towards. And so, I describe this first ship as having been “woven together / by, we could say, the future.” I wanted to hold on to this sense of modernity even when translating the refrain in the song the Fates sing (with wool in their teeth): “Currite ducentes subtegmina, currite, fusi.” We need the refrain – it is a song – and the effect is always going to be a little artificial, a little bit like a spell or a ritual. All to the good – I love a little spell-work, a little repetition, a song-like elevation, the use of repetition, in a poem (I think of Alice Oswald’s Memorial, or some of the longer poems by Chris Tse, New Zealand poet laureate 2022-2025)! Any translation with the word “spindle” in it, however, for me takes us into the world of fairy-tale, and while this association might play into the gap between story and reality Catullus is interested in, I felt like this one word could suck the whole poem into a register that I did not want to evoke. So I just focused on the weaving, and wrote a very matter-of-fact refrain – “and the weaving runs on, / and the threads draw together” – that still, I hope, gathers force in relation to the disturbing stanzas in between that show just what it means when individual lives are used to weave something beyond what anyone can imagine at the time. For an epic poem that is made, the poet tells us, to celebrate a heroic past, it takes a surprisingly sceptical approach to heroism and to historical progress. Better for everyone to stay in one place, better for ships never to have been invented, better to look after the fields and allow the wealth of the land to stay with the people, than to set in motion the technological progress which will only lead to the kind of unspeakable crimes we find ourselves witnessing today.
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Gaius Valerius Catullus (c.84 – c.54BCE), wrote witty, conversational poems to and about his friends and lovers, most famously to and about the woman he calls Lesbia. While most of his poems are brief lyrics, he wrote a number of longer poems – short for epic poetry, but longer than lyric – including the strange mini-epic I translate here, poem number 64.
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Anna Jackson is Professor of English Literatures and Creative Communication at Te Herenga Waka / Victoria University of Wellington, New Zealand. Her work includes eight collections of poetry, including Catullus for Children and I, Clodia (both published by Auckland University Press).