Catulli Carmina LXIII
A marvelous translation by C.H. Sisson, The
Poetry of
Catullus, (New York: Orion, 1967)
In an age when other poets wrote of manly duty and
military prowess Catullus wrote sonnets of love. In our
opinion, if you want to step back in time, Sisson will transport
you to the feet of Catullus as he recites his works.
- Carried in a fast ship over profound seas
- Attis, eager and hurried, reached the Phrygian grove,
- The goddess's dark places, crowned with woodland.
- And there, exalted by amorous rage, his mind gone,
- He cut off his testicles with a sharp flint.
- While the ground was still spotted with fresh blood
- Quickly took in her snowy hands a tambourine
- Such as serves your initiates, Cybele, instead of a trumpet,
- And shaking the hollow calf-hide with delicate fingers,
- Quivering, she began to sing to the troop this:
- "Go together, votaresses, to the high groves of Cybele.
- Go together, wandering herd of the lady of Dindymus.
- Quick into exile, you looked for foreign places
- And, following me and the rule I had adopted,
- You bore with the salt tide and the violence of the high sea
- And emasculated your bodies from too much hatred of Venus:
- Delight the lady's mind with your errant haste.
- Overcome your reluctance: together
- Go to the Phrygian shrine of Cybele, to her groves
- Where the voice of cymbals sounds, the tambourines rattle,
- Where the Phrygian piper sings with the deep curved pipe,
- Where Maenads wearing ivy throw back their heads,
- Where they practice the sacred rites with sharp yells.
- Where they flutter around the goddess's cohort:
- It is there we must go with our rapid dances."
- As Attis, the counterfeit woman, sang this to her companions,
- The choir howled suddenly with tumultuous tongues.
- The tambourine bellows, the cymbals clash again;
- The swift troop moves off to Ida with hurrying feet.
- Crazy, panting, drifting, at her last gasp,
- Attis with her tambourine leads them through the opaque
groves
- Like an unbroken heifer refusing the yoke:
- The swift votaresses follow their swift-footed leader.
- When they reach Cybele's shrine, feeble and worn,
- From too much toil they take their rest without bread
(Ceres).
- Sleep covers their eyes with a heavy blanket;
- Their rabid madness subsides to a girlish quiet.
- But when the golden sun with his streaming eyes
- Purified the white sky, hard land, wild sea,
- And drove away the shadows of night with his thundering
horses,
- Attis was aroused and Sleep went quickly from her
- Back to the trembling arms of the goddess Pasithea.
- Then from her girlish quiet, with no hurrying madness,
- Attis remembered what she had done
- And saw in her lucid mind what was missing and where she was.
- Tempestuously she turned back to the shore.
- There, looking at the open sea with tearful eyes,
- With grief in her voice she addressed her native land:
- "Land which begot me, land which brought me forth,
- I am abject to abandon you like a runaway slave.
- My feet have carried me to the groves of Ida
- To be among snow in the cold lairs of wild beasts;
- I shall visit their violent haunts.
- Where, O my land, can I imagine you are?
- My eye desires you and narrows as it turns toward you
- In this short interval when my mind is unfrenzied.
- Shall I be carried to the forests, from my far-off home?
- Away from country, goods, friends, family?
- From the Forum, palaestra, racecourse, and gymnasium?
- There is nothing for me but misery.
- What shape is there that I have not had?
- A woman now, I have been man, youth, and boy;
- I was athlete, the wrestler.
- There were crowds round my door, my fans slept on the
doorstep;
- There were flowers all over the house
- When I left my bed at sunrise.
- Shall I be a waiting maid to the gods, the slave of Cybele?
- I a Maenad, I a part of myself, I impotent?
- Shall I live above the snow line on green Ida?
- Shall I pass my life under the rocky peaks of Phrygia
- Where the doe runs in the woods, where the boar mooches in
the glade?
- I regret now, now, what I have done, I repent of it, now!"
- As these words hurried away from her pink lips,
- Bringing a new message to the ears of the gods,
- Cybele, letting her lions off the leash
- And urging forward the beast on the left hand,
- Said,"Get on, be fierce, see that he's driven mad;
- Make him insane enough to return to the forest
- He has had the impertinence to want to be out of my power.
- Come on, lash around with your tail till you hurt yourself:
- Make the whole neighborhood ring with your bellowing roar.
- Be fierce, shake the red mane on your muscular neck."
- Thus the threatening Cybele, and she wound the leash round
her hand.
- The beast stirs up his courage and rouses himself to fury.
- He is off, he roars, he breaks up the undergrowth.
- When he came to the wet sand on the whitening shore
- And saw tender Attis by the waters of the sea,
- He charged: Attis, mad, flew into the wild woods:
- There, for the rest of her life, she lived as a slave.
- Great Goddess, Goddess Cybele, Goddess lady of Dindymus,
- May all your fury be far from my house.
- Incite the others, go. Drive other men mad.
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Julia's thoughts on Carmina LXIII:
In his lyrical reworking of the Attis myth to tell a new
story, Gaius Valerius Catullus displays his sense of awe, of
fear, at
the thought of a "man" unmanned, magically transformed into woman
with the stroke of a sharp flint.
Catullus is remarkable among Roman poets for his emphasis of
"softer" love themes over the stoic virtues. Can we not hear a
voice full of horror at the edge of the Abyss? He dares not
risk any closer approach to the sacred threshold of the Mother of
the Gods. Catullus, during his tour of duty in Asia Minor, knew
well the dark gift which Cybele has made manifest in the
inmost
essence of her chosen ones... a tenebrous mystery concealing the
brightest orb of ecstasy.
The poet does not mock. In the glory of the Latin tongue, he sang
to you, across twenty centuries, a strange hymn of the rite of
passage in my own life. It matters not if others consider
me a "counterfeit woman" (notha mulier). Likely they do
not know me and never shall, for in embracing my mystery,
I became the myth, reborn with Attis, crowned with starlight.
Laura's thoughts on Carmina LXIII:
In good company with Ovid, I perceive Catullus terrified of being
pulled into the mystery of transformation. At the end of the poem
he supplicates, ``Great Goddess, Goddess Cybele, Goddess lady of
Dindymus, May all your fury be far from my house. Incite others,
go. Drive other men mad.'' His respect for the Goddess is not
mockery, his fear is that he too might become her slave. Why
would he be so afraid if his own heart was not, in some fashion,
drawn to her service as well?
Catullus, in his love poems, writes of Clodia, his lover, although
probably married to another man. He refers to her as ``my
Lesbia.'' Sappho
had died some 600 years prior to Catullus, but her Isle of Lesbos
was well known. It would be fascinating to discover why Catullus
chose this nickname.
In this poem Attis is clearly referred to as a woman, the
servants of the Goddess are clearly referred to as priestesses,
Gallae. Although Gallus was probably not initially offensive to the Gallae,
designated after the river of that name. Later, however, I
believe, it became offensive to many. So much of Galla history
was destroyed by those with Christian intent that only hints and
pieces remain. We are forced, at times, to a calculated guess.
Except for Catullus! In my opinion the only reason this poem
survived was because the translation, to transphobic men, on a
superficial level appears mocking. Only on deeper examination
does the real spirit become evident.
We chose the name Gallae, in our practice, because it is a
feminine representation, certainly more fitting in our time.
Also, we chose it because it's not without precedent in ancient
times. Our meaning of the word includes anyone drawn to the
feminine principle, reverent to the feminine/masculine power made
manifest within. CDs, DQs, TVs. TGs, and TSs, if they are
drawn to a feminine spirituality, can unite under the name,
Gallae. We can join, as we believe we were in the
past, with new knowledge, new empowerment, and new purpose.
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