Catullus - Poem 63

Laura Darlene Lansberry and Julia Cybele Lansberry

Unlike many translators who attempt to interpret the poem of Catullus from their own agenda, creating a piece mocking the Gallae, Sisson is more faithful to the literal Latin text. Thus permitting the reader to decide for (he)rself how to view the message of Catullus.

The poet was born in Verona in 84 B.C.E., served in the Roman Administration of Bithynia, (Asia Minor) homeland of the Gallae, and died in 54 B.C.E., at the young age of 33. Some consider him the Roman equivalent of Shakespeare.

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.

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 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.

Catulli Carmina LXIII

Super alta vectus Attis celere rate maria,
Phrygium ut nemis citato cupide pede tetigit,
adiitque opaca silvis redimita loca deae,
stimulatis ibi furente rabie, vagus animis,
devoluit ile acuto sibi pondere silicis.
Itaque ut relicta sensit sibi membra sine viro,
etiam recente terrae sola sanguine maculans,
niveis citata cepit manibus leve tympanum,
tympanum, tubam Cybelles, tua, mater, initia,
quatiensque terga taurei teneris cava digitis,
canere haec suis adorta est tremebunda comitibus.
Agite ite ad alta, Gallae, Cybeles nemora simul,
simul ite, Dindimenae dominae vaga pecora,
aliena quae petentes velut exules loca,
sectam meam exsecutae duce me mihi comites,
rapidum salum tulistis truculentaque pelagi,
et corpus evirastis Veneris nimio odio;
hilarate aere citatis erroribus animum.
Mora tarda mente cedat: simul ite, sequimini
Phrygiam ad domum Cybelles, Phrygia ad nemora deae,
ubi cymbalum sonat vox, ubi tympana reboant,
tibicen ubi canit Phryx curuo grave calamo,
ubi capita Maenades ui jaciunt hederigerae,
ubi sacra sancta acutis ululatibus agitant,
ubi suevit lilla divae volitare vaga cohors,
quo nos decet citatis celerare tripudiis.
Simul haec comitibus Attis ceceinit notha mulier,
thiasus repente linguis trepidantibus ululat,
leve tympanum remugit, cava cymbala recrepant,
viridem citus adit Idam properante pede chorus.
Furibunda simul anhelans vaga vadit animam agens
comitata tympano Attis per opaca nemora dux,
veluti juvenca vitans onus indomita jugi:
rapidae ducem secuntur Gallae properipedem.
Itaque, ut domum Cybelles tetigere lassulae,
nimio e labore somnum capiunt sine Cerere.
Piger his labante languore oculos sopor operit:
abit in quiete molle rabidus furor animi.
Sed ubi oris aurei Sol radiantibus oculis
lustravit aethera album, sola dura, mare ferum,
pepulitque noctis umbras vegetis sonipedibus,
ibi Somnus excitum Attin fugiens citus abiit:
trepidante eum recepit dea Pasithea sinu.
Ita de quiete molli rapida sine rabie
simul ipse pectore Attis sua facta recolvit,
liquidaque mente vidit sine queis ubique foret,
animo aestuante rusum reditum ad vada tetulit.
Ibi maria vasta visens lacrimantibus oculis,
patriam allocuta maestast ita voce miseriter.
"Patria o mei creatrix, patria o mea genetrix,
ego quam miser relinquens, dominos ut herifugae
famuli solent, ad Idae tetuli nemora pedem,
ut aput nivem et ferarum gelida stabula forem,
et earum omnia adirem furibunda latibula,
ubinam aut quibus locis te positam, patria, reor?
Cupit ipsa pupula ad te sibi dirigere aciem,
rabie fera carens dum breve tempus animus est.
Egone a mea remota haec ferar in nemora domo?
Patria, bonis, amicis, genitoribus abero?
Abero foro, palaestra, stadio et gymnasiis?
Miser a miser, querendum est etiam atque etiam, anime.
Quod enim genus figuraest, ego non quod obierim?
Ego mulier, ego adolescens, ego ephebus, ego puer,
ego gymnasei fui flos, ego eram decus olei:
mihi januae frequentes, mihi limina tepida,
mihi floridis corollis redimita domus erat,
linquendum ubi esset orto mihi Sole cubiculum.
Ego nunc deum ministra et Cybeles famula ferar?
Ego Maenas, ego mei pars, ego vir sterilis ero?
Ego viridis algida Idae nive amicta loca colam?
Ego vitam agam sub altis Phrygiae columinibus,
ubi cerva silvicultrix, ubi aper nemorivagus?
Iam iam dolet quod egi, iam iamque paenitet."
Roseis ut huic labellis sonitus citus abiit,
geminas deorum ad auris nova nuntia referens,
ibi juncta juga resoluens Cybele leonibus
laevumque pecoris hostem stimulans ita loquitur.
"Agedum" inquit "age ferox i, face ut hunc furor agitet,
face uti furoris ictu reditum in nemora ferat,
mea libere nimis qui fugere imperia cupit.
Age caede terga cauda, tua verbera patere,
face cuncta mugienti fremitu loca retonent,
rutilam ferox torosa cervice quate jubam."
Ait haec minax Cybelle religatque juga manu.
Ferus apse sese adhortans rapidum incitat animo,
vadit, fremit, refringit virgulta pede vago.
At ubi umida albicantis loca litoris adiit,
tenerumque vidit Attin prope marmora pelagei,
facit impetum: ille demens fugit in nemora fera:
ibi semper omne vitae spatium famula fuit.
Dea, Magna Dea, Cybelle, Dea, Domina Dindimei,
procul a mea tuos sit furor omnis, hera, domo:
alios age incitatos, alios age rabidos.

See Laura's Illustrated "Tale of Asushunamir"
Return to Julia's main index