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Epigrammi (I classici della BUR)
Italian, Latin (translation)
Original Latin
Original Latin
1216 pages, Hardcover
First published January 1, 80
56 people are currently reading
1759 people want to read
About the author
Marcus Valerius Martialis
599 books64 followersBorn: March 1, 40 AD, in Augusta Bilbilis (now Calatayud, Spain); Died: ca. 102 AD--Marcus Valerius Martialis, known in English as Martial, was a Latin poet from Hispania (the Iberian Peninsula) best known for his twelve books of Epigrams, published in Rome between AD 86 and 103, during the reigns of the emperors Domitian, Nerva and Trajan. In these short, witty poems he cheerfully satirises city life and the scandalous activities of his acquaintances, and romanticises his provincial upbringing. Considered the creator of the modern epigram, Martial wrote a total of 1,561 - 1,235 of which are in elegiac couplets.
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Displaying 1 - 30 of 78 reviews
October 7, 2022
See especially Book 11…xxx rated. As Byron says his Mom forbid him, "the nauseous epigrams of Martial" Don Juan. My Loeb edition I purchased at Princeton during an NEH summer seminar on Poet-Critics with Larry Lipking. Here, my own translations, from my Westport Soundings (GoodRds), p 50.
From bk XI.lxvi.
" You're a stoolie, you fraud, you backbiter,
You pimp, ass-kisser, cock-sucker,
Yes you--you damn politician.
You know, you've got every qualification
For-- for a-- for a promotion."
Judge if I may have improved Martial a bit, from:
"Et delator es et calumniator,
et fraudator es et negotiator,
et fellator es et lanista, miror
quare non habeas, Vacerra, nummos."
(Loeb Classical Library, Martial Epigrams II, ed Ker, 1968)
Bk V.xliii "Gramp's got no teeth; Grama's got
The better dentist: hers just rot."
"Thais habet nigros, niveos Laecania dentes.
quae ratio est? emptos haec habet, illa suos."
Or, "Gramp's got white teeth, Grama not.
What's the reason? His are bought."
Bk V.xlvii "Ben says he always dines as guest. That's good!
He never dines at home, he's out of food."
"Numquam se cenasse domi Philo iurat, et hoc est:
non cenat, quotiens nemo vocavit eum."
Bk III.liii. Palinode or Farewell
"If to part from you I must,
I could spare your petal cheeks,
Your neck and arms, those flower stalks,
Perhaps your legs, the windblown branch,
Your buds of breasts, your round rose hips,
But for the rest (a longer list)?--
Yes, I could spare the whole damn bush."
"Et voltu poteram tuo carere
et collo manibusque cruribusque,
et mammis natibusque clunibusque,
et, ne singula persequi laborem,
tota te poteram, Chloe, carere."
Martial cites gay lovers as well, such as the epigram before the Philo dining one, where the speaker says he values kisses he ravished from reluctant Diadumenus (later a grand Roman statue, an athelete). The speaker likes D's anger and resistance, so he beats him, which adds to his attraction, "placet ira mihi plus tua facies/ ut te saepe rogem, caedo Diadumene, saepe."
From bk XI.lxvi.
" You're a stoolie, you fraud, you backbiter,
You pimp, ass-kisser, cock-sucker,
Yes you--you damn politician.
You know, you've got every qualification
For-- for a-- for a promotion."
Judge if I may have improved Martial a bit, from:
"Et delator es et calumniator,
et fraudator es et negotiator,
et fellator es et lanista, miror
quare non habeas, Vacerra, nummos."
(Loeb Classical Library, Martial Epigrams II, ed Ker, 1968)
Bk V.xliii "Gramp's got no teeth; Grama's got
The better dentist: hers just rot."
"Thais habet nigros, niveos Laecania dentes.
quae ratio est? emptos haec habet, illa suos."
Or, "Gramp's got white teeth, Grama not.
What's the reason? His are bought."
Bk V.xlvii "Ben says he always dines as guest. That's good!
He never dines at home, he's out of food."
"Numquam se cenasse domi Philo iurat, et hoc est:
non cenat, quotiens nemo vocavit eum."
Bk III.liii. Palinode or Farewell
"If to part from you I must,
I could spare your petal cheeks,
Your neck and arms, those flower stalks,
Perhaps your legs, the windblown branch,
Your buds of breasts, your round rose hips,
But for the rest (a longer list)?--
Yes, I could spare the whole damn bush."
"Et voltu poteram tuo carere
et collo manibusque cruribusque,
et mammis natibusque clunibusque,
et, ne singula persequi laborem,
tota te poteram, Chloe, carere."
Martial cites gay lovers as well, such as the epigram before the Philo dining one, where the speaker says he values kisses he ravished from reluctant Diadumenus (later a grand Roman statue, an athelete). The speaker likes D's anger and resistance, so he beats him, which adds to his attraction, "placet ira mihi plus tua facies/ ut te saepe rogem, caedo Diadumene, saepe."
October 21, 2013
“And then what proper person can be partial
To all those nauseous epigrams of Martial?”
- Lord Byron, Don Juan
Despite the haterade from Byron and others, many people have enjoyed Martial’s Epigrams since their publication from 86-103 AD. Martial effectively invented the modern epigram (per Wikipedia, “a brief, interesting, memorable, and sometimes surprising or satirical statement”). He wrote over 1,500 of them throughout his career, and his work continues to be read over 1,900 years after his death. Martial’s popularity can be attributed to two factors: his sense of humor and the window he provides into daily life under the Flavian emperors.
The Comedy
First off, I should say that I think Martial is more witty than funny. His epigrams are more likely to draw out a wry smile than a belly laugh, at least for me. But Martial can often be very clever. Some of his observations are timeless:
“There is nothing more contemptible than a bald man who pretends to have hair.” X.LXXXIII
Others are more personal and biting:
“Bassa, you tell us that you’re young
And Beautiful. Is it the truth?
That old refrain is often sung
By those who’ve lost both looks and youth.” V.XLV
Many are more specific to Martial’s day: the constant problem of legacy-hunters, the haplessness of 1st century surgeons, etc. But I am burying the lede here. Martial is most famous (or infamous) for being very, very dirty. Only about 10% of his epigrams fit this description – some are not even satirical at all, and are meant to be moving memorials to dead contemporaries or praises for Emperor Domitian’s rule. But the more salacious stuff is what Martial is most famous for. There is pederasty, which is not unique to Martial among Greco-Roman authors (although he is more graphic about it than most). But really nothing is out of bounds. For example:
“If from the baths you hear a round of applause,
Maron’s great prick is bound to be the cause.” IX.XXXIII
Many are much, much more NC-17 than this. Among Martial’s courser offerings include Again, these are the exception rather than the rule…but be warned.
A Window Into History
The second great appeal of Martial is the view he provides of daily life in the Roman empire. There are a number of Roman writers who do a good job of this – Pliny the Younger, Statius, etc. But Martial may be the most entertaining of them to read. His poems provide a window into a huge spectrum of Roman life. For history buffs, this is really good stuff. A number of the epigrams feature famous figures from Martial’s age: Domitian, Pliny the Younger and other authors, etc. I really appreciated this aspect of Martial’s writings, and this has been a big part of Martial’s enduring popularity.
Conclusion
Not everything about the Epigrams is perfect. As I mentioned, I didn’t find Martial as laugh-out-loud hilarious as Petronius or Aristophanes when they’re on their game. Some of the sucking up to the sitting emperor is a little tedious (if unavoidable). And there is a fair amount of repitition among the epigrams in their entirety. But on the whole this was a very enjoyable read – probably the most entertaining extant piece of literature from the Flavian era. Martial conciously rejected the epic, grandiose style that dominated his age:
“Let such (i.e., epic) poems be written by those who are most grave and singularly severe, whose wretched toilings the lamp witnesses at midnight. But do you season books for the Romans with racy salt; in you let human nature read and recognise its own manners. Although you may seem to be playing on but a slender reed, that reed will be better heard than the trumpets of many.” VIII.III
The result was a racy, enjoyable set of poems that have endured while his peers have faded into the shadows. 4 stars, recommended.
Note on the Translation: There is no complete translation of the Epigrams available in English. The comprehensive ones all date from the 19th century, when Victorian sensibilities bowlderized Martial almost beyond recognition (when they deigned to translate him at all). But the James Michie translation is excellent: it only covers about 10% of Martial’s work, but it is literal while still being entertaining, and doesn’t shy away from the rough stuff. As there is a lot of repetition in the Epigrams, and there are a fair amount of forgettable poems among the diamonds, I would highly recommend Michie for readers interested in Martial’s work.
To all those nauseous epigrams of Martial?”
- Lord Byron, Don Juan
Despite the haterade from Byron and others, many people have enjoyed Martial’s Epigrams since their publication from 86-103 AD. Martial effectively invented the modern epigram (per Wikipedia, “a brief, interesting, memorable, and sometimes surprising or satirical statement”). He wrote over 1,500 of them throughout his career, and his work continues to be read over 1,900 years after his death. Martial’s popularity can be attributed to two factors: his sense of humor and the window he provides into daily life under the Flavian emperors.
The Comedy
First off, I should say that I think Martial is more witty than funny. His epigrams are more likely to draw out a wry smile than a belly laugh, at least for me. But Martial can often be very clever. Some of his observations are timeless:
“There is nothing more contemptible than a bald man who pretends to have hair.” X.LXXXIII
Others are more personal and biting:
“Bassa, you tell us that you’re young
And Beautiful. Is it the truth?
That old refrain is often sung
By those who’ve lost both looks and youth.” V.XLV
Many are more specific to Martial’s day: the constant problem of legacy-hunters, the haplessness of 1st century surgeons, etc. But I am burying the lede here. Martial is most famous (or infamous) for being very, very dirty. Only about 10% of his epigrams fit this description – some are not even satirical at all, and are meant to be moving memorials to dead contemporaries or praises for Emperor Domitian’s rule. But the more salacious stuff is what Martial is most famous for. There is pederasty, which is not unique to Martial among Greco-Roman authors (although he is more graphic about it than most). But really nothing is out of bounds. For example:
“If from the baths you hear a round of applause,
Maron’s great prick is bound to be the cause.” IX.XXXIII
Many are much, much more NC-17 than this. Among Martial’s courser offerings include Again, these are the exception rather than the rule…but be warned.
A Window Into History
The second great appeal of Martial is the view he provides of daily life in the Roman empire. There are a number of Roman writers who do a good job of this – Pliny the Younger, Statius, etc. But Martial may be the most entertaining of them to read. His poems provide a window into a huge spectrum of Roman life. For history buffs, this is really good stuff. A number of the epigrams feature famous figures from Martial’s age: Domitian, Pliny the Younger and other authors, etc. I really appreciated this aspect of Martial’s writings, and this has been a big part of Martial’s enduring popularity.
Conclusion
Not everything about the Epigrams is perfect. As I mentioned, I didn’t find Martial as laugh-out-loud hilarious as Petronius or Aristophanes when they’re on their game. Some of the sucking up to the sitting emperor is a little tedious (if unavoidable). And there is a fair amount of repitition among the epigrams in their entirety. But on the whole this was a very enjoyable read – probably the most entertaining extant piece of literature from the Flavian era. Martial conciously rejected the epic, grandiose style that dominated his age:
“Let such (i.e., epic) poems be written by those who are most grave and singularly severe, whose wretched toilings the lamp witnesses at midnight. But do you season books for the Romans with racy salt; in you let human nature read and recognise its own manners. Although you may seem to be playing on but a slender reed, that reed will be better heard than the trumpets of many.” VIII.III
The result was a racy, enjoyable set of poems that have endured while his peers have faded into the shadows. 4 stars, recommended.
Note on the Translation: There is no complete translation of the Epigrams available in English. The comprehensive ones all date from the 19th century, when Victorian sensibilities bowlderized Martial almost beyond recognition (when they deigned to translate him at all). But the James Michie translation is excellent: it only covers about 10% of Martial’s work, but it is literal while still being entertaining, and doesn’t shy away from the rough stuff. As there is a lot of repetition in the Epigrams, and there are a fair amount of forgettable poems among the diamonds, I would highly recommend Michie for readers interested in Martial’s work.
May 6, 2022
Marcijal treba da se pripiše kao lek svim dušebrižnicima, moralizatorima, jezičkim čistuncima i pojedincima koji su uvereni da trenutno živimo u svetu najgoreg razvrata. Priča o „zlatnim vremenima” i prošlosti u kojoj se znalo šta je čast i red uvek se više tiče savremenosti nego doba na koje tobože upućuje. Koliko sam samo puta čuo kako u književnosti ne treba da bude mesta za psovke! Opscena leksika je, čini se, za većinu ljudi vezana isključivo za masne viceve ili želju da se ostavi jak pečat savremenosti, šta god to nekome značilo. Razmišljanje o tome da opscenosti imaju dugu istoriju mnogima bi delovalo sasvim šašavo.
Ipak, Marcijal (rođen u prvom veku nove ere) je svojom golicavom i razgolićujućom imaginacijom nadmašio i naše najdarovitije psovače, čineći Rim neverovatno živopisnim i poznatim. Epigrami poseduju nesvakidašnji opseg svih mogućih seksualnih situacija, uključujući kako uvrede, tako i pornografiju. Da, upravo pornografiju, jer Marcijala seks, dosetka i iznenađenje zanimaju daleko više od erotike i satire, iako se i o tim elementima može govoriti. Uz počesto prisutnu zajedljivost, pa i poriv za ruganjem, razbija današnje tabue kao mače muškatlu. Tako je ovo, u velini, jedna, čak i u najvulgarnijim oblicima, zanimljiva, pa i potrebna afirmacija tela, koja pesničkim talentom osvaja prostor otmene prostote. A uz to stotinama godina izmamljuje (post)pubertetlijske smejuljke napaćenih studenata klasične filologije.
Uz nužno pojednostavljivanje, epigram bi se verovatno najlakše mogao opisati kao sažet, dovitljiv zapis sa poentom, koji može, a i ne mora da bude pisan u stihu. S tim u vezi, za svaku je pohvalu jezička inventivnost prevodilaca Gordana Maričića i Vojina Nedeljkovića, koji su se, siguran sam već po odabiru reči, ludo zabavljali radeći na ovom tekstu. Njihov prevod svakako nije dosledan, ali utoliko bolje – jer je ključno preneti duh, a ne pojedinosti. Gde god su mogli, ubacivali su ekvivalente na savremenom srpskom, uključujući imena*, pa i nazive naroda. A ko baš želi da istražuje i poredi, svaki odabrani epigram ima i na latinskom.
*(Saleian je iz nekog razloga prevedn kao Vasojević. Ne znam da li bi mi se više svidelo stručno objašnjenje ili to da je u pitanju samo interna fora.)
E sad, ko baš želi, evo i selekcije epigrama. Nisam birao najpikantnije.
XII 86
Ti poseduješ trideset dečkića
i imaš isto toliko pičića
Al’ šta ćeš, kad s kitom imaš problema?
Em je jedna, em erekciju nema.
III 83
Pesma slatka mora biti kratka?
Skini gaće. Nisam mogô kraće.
I 118
Kome zezanja nije dosta ni kad pređe stotka,
za njega nisu epigrami – tu pomaže samo motka.
XI 77
On u svaki javni klozet seda,
al’ ne zato što ga proliv muči.
Taj čovek naime čeka nekog
da ga na ručak pozove kući.
I za kraj, moj omiljen, koji je uistinu lep i koji potpuno odudara od svih ostalih epigrama.
VI 15
U senci topole lutô je mrav, buba mala,
kad ga zarobi kap ambre što je na nj pala.
I eto tako – on, za života preziran,
svojom smrću posta dragocen u ovaj dan.
Ipak, Marcijal (rođen u prvom veku nove ere) je svojom golicavom i razgolićujućom imaginacijom nadmašio i naše najdarovitije psovače, čineći Rim neverovatno živopisnim i poznatim. Epigrami poseduju nesvakidašnji opseg svih mogućih seksualnih situacija, uključujući kako uvrede, tako i pornografiju. Da, upravo pornografiju, jer Marcijala seks, dosetka i iznenađenje zanimaju daleko više od erotike i satire, iako se i o tim elementima može govoriti. Uz počesto prisutnu zajedljivost, pa i poriv za ruganjem, razbija današnje tabue kao mače muškatlu. Tako je ovo, u velini, jedna, čak i u najvulgarnijim oblicima, zanimljiva, pa i potrebna afirmacija tela, koja pesničkim talentom osvaja prostor otmene prostote. A uz to stotinama godina izmamljuje (post)pubertetlijske smejuljke napaćenih studenata klasične filologije.
Uz nužno pojednostavljivanje, epigram bi se verovatno najlakše mogao opisati kao sažet, dovitljiv zapis sa poentom, koji može, a i ne mora da bude pisan u stihu. S tim u vezi, za svaku je pohvalu jezička inventivnost prevodilaca Gordana Maričića i Vojina Nedeljkovića, koji su se, siguran sam već po odabiru reči, ludo zabavljali radeći na ovom tekstu. Njihov prevod svakako nije dosledan, ali utoliko bolje – jer je ključno preneti duh, a ne pojedinosti. Gde god su mogli, ubacivali su ekvivalente na savremenom srpskom, uključujući imena*, pa i nazive naroda. A ko baš želi da istražuje i poredi, svaki odabrani epigram ima i na latinskom.
*(Saleian je iz nekog razloga prevedn kao Vasojević. Ne znam da li bi mi se više svidelo stručno objašnjenje ili to da je u pitanju samo interna fora.)
E sad, ko baš želi, evo i selekcije epigrama. Nisam birao najpikantnije.
XII 86
Ti poseduješ trideset dečkića
i imaš isto toliko pičića
Al’ šta ćeš, kad s kitom imaš problema?
Em je jedna, em erekciju nema.
III 83
Pesma slatka mora biti kratka?
Skini gaće. Nisam mogô kraće.
I 118
Kome zezanja nije dosta ni kad pređe stotka,
za njega nisu epigrami – tu pomaže samo motka.
XI 77
On u svaki javni klozet seda,
al’ ne zato što ga proliv muči.
Taj čovek naime čeka nekog
da ga na ručak pozove kući.
I za kraj, moj omiljen, koji je uistinu lep i koji potpuno odudara od svih ostalih epigrama.
VI 15
U senci topole lutô je mrav, buba mala,
kad ga zarobi kap ambre što je na nj pala.
I eto tako – on, za života preziran,
svojom smrću posta dragocen u ovaj dan.
May 8, 2016
My toilet mischief growing stale
I needed epigrams beyond the pale
Martial's verse would fit the bill
Transforming Sharpie into my quill
My only real issue with this book ...
the nine-tenths of Martial they forsook.
or...
Only Partial Martial (Leave the Latin prick uncut).
I needed epigrams beyond the pale
Martial's verse would fit the bill
Transforming Sharpie into my quill
My only real issue with this book ...
the nine-tenths of Martial they forsook.
or...
Only Partial Martial (Leave the Latin prick uncut).
August 9, 2021
Martial's imaginary universe is borne from the society in wich he lived (how similar even today); we are introduced to the daily life of Rome with its hectic life, with its pleasures and miseries, on the street, in temples, at baths, at feasts. The most abstract ideas are converted into concrete images, into small, powerful sketches, made almost in a naturalistic, even shocking, sometimes obscene manner. Reflecting in a very comic and authentic way at the vices and virtues of that era, Martial also makes frequent remarks about his own art (imagining all his writings displayed in big stores and sent into the empire to his admiring readers), creating ironicaly verses for those who do not appreciates his works, mocking his poetic rivals.
If fame is to come only after death, I am in no hurry for it.
If fame is to come only after death, I am in no hurry for it.
March 21, 2023
Рецензія на Марціала. Амбітно, але я спробую.
Припускаю, що серед читачів Марка Валерія Марціала мало знайдеться тих, хто взявся за читання імпульсивно, не знаючи нічого про Античну літературу, не цікавлячись історією Древнього Риму, або не будучи спеціалістом.
В моєму випадку до Марціала мене привело моє, в чомусь раптове, захоплення Грецькою філософією, яке переросло в інтерес до Античної історії загалом, а там від Греції до Риму. Марціал, конкретно, був другом Сенеки, якого я дуже люблю і поважаю. Тож в епіграмах Марціала для мене об’ємнішим стає Рим «Листів до Люцилія» і Рим після Нерона.
Читаючи Марціала час від часу ловив себе не запитанні: як ти, Марк Валерій, дожив до старості? Як ніхто не проломив тобі голову за твої епіграми, але ще й навпаки - вони принесли тобі славу і омріяний дім під Більбао? Але ж дивись…
По-суті геній Марціала в тому, що докопуючись до конкретних персонажів (в тому числі і по собі Марк Валерій умів пройтись, відверто зізнаючись в тому, що живе в борг і на подачки багатих друзів) але він все ж таки висміює загальнолюдські пороки і слабкості. Тому і великий.
Розглядати Марціала як батю жанру я все таки залишу професіоналам, так само як і розмови за проблематику перекладу, бо факт: адекватний переклад практично неможливий. Щоб повністю насолодитися авторським задумом треба вчити латину, історію Риму, читати про персонажів яким присвячує поет свої дотепи. Коротше, як і все вічне ці 12 книжечок епіграм дуже багатовимірні і потребують роботи, і лише тоді розкривають всі свої секрети сповна.
Я поки пройшов по верхах, але і цим щасливий.
Припускаю, що серед читачів Марка Валерія Марціала мало знайдеться тих, хто взявся за читання імпульсивно, не знаючи нічого про Античну літературу, не цікавлячись історією Древнього Риму, або не будучи спеціалістом.
В моєму випадку до Марціала мене привело моє, в чомусь раптове, захоплення Грецькою філософією, яке переросло в інтерес до Античної історії загалом, а там від Греції до Риму. Марціал, конкретно, був другом Сенеки, якого я дуже люблю і поважаю. Тож в епіграмах Марціала для мене об’ємнішим стає Рим «Листів до Люцилія» і Рим після Нерона.
Читаючи Марціала час від часу ловив себе не запитанні: як ти, Марк Валерій, дожив до старості? Як ніхто не проломив тобі голову за твої епіграми, але ще й навпаки - вони принесли тобі славу і омріяний дім під Більбао? Але ж дивись…
По-суті геній Марціала в тому, що докопуючись до конкретних персонажів (в тому числі і по собі Марк Валерій умів пройтись, відверто зізнаючись в тому, що живе в борг і на подачки багатих друзів) але він все ж таки висміює загальнолюдські пороки і слабкості. Тому і великий.
Розглядати Марціала як батю жанру я все таки залишу професіоналам, так само як і розмови за проблематику перекладу, бо факт: адекватний переклад практично неможливий. Щоб повністю насолодитися авторським задумом треба вчити латину, історію Риму, читати про персонажів яким присвячує поет свої дотепи. Коротше, як і все вічне ці 12 книжечок епіграм дуже багатовимірні і потребують роботи, і лише тоді розкривають всі свої секрети сповна.
Я поки пройшов по верхах, але і цим щасливий.
September 12, 2022
Marcus Valerius Martialis, İ.S. 40 yılında, İspanya'da doğar. 24 yaşında Roma'ya gelir. O zamanki İmparator Neron’un yakınlığını kazanmak için övücü epigram'lar yazar. Bu diğer imparatorlar zamanında da devam eder. Neron’dan başka Galba, Vespasianus , Titus, Domitianus, Nerva ve Traianus’un İmparatorlukları devrinde de yazar. Her yıla bir tane düşmek üzere toplam 11 adet kitap yazar, 12. kitabını da sonuncudan 6 yıl sonra yazar. Sonradan bunlara daha önce yazmış olduğu farklı karakterdeki XIII. ve XIV. kitaplar halinde basılan Xenia ve Apophoreta adlı kitapları da eklenir. 98 yılında 34 yıl kaldığı Roma'dan ayrılarak doğduğu yer olan Bilbilis'e döner. 103’de burada ölür.
Epigram, bu türün doğduğu Yunan edebiyatında, kelime kelime (epi-gramma) yazıt demek. Bir anıtın, bir tapınağın, bir mezar taşının üstüne yazılmış küçük şiirlerdir. Martialis özellikle insan ruhunu tahlil ederek, günlük hayatın olaylarını, ölümden ev- lenmeğe kadar her türlü olayını, sevgiden nefrete kadar her türlü duygusunu, çok kere şaka, alay hatta bazen hakarete varan derecelerde yazar.
Ben okuduktan sonra Martialis için kafası “sakraldan” çalışıyor (beyni kuyruk sokumunda yani “sacrum”da yerleşmiş) dedim. Aklı fikri belden aşağı ve beklediğimden çok daha seviyesiz dizeler bulduğumu söylemeliyim. Montaigne “Denemeler”inde çok kibarca “Martialis'de her türlü epigram vardır,"demiş. Martialis’in ne yazdığını kendi satırlarından okuyalım, daha anlaşılır ne demek istediğim:
“Şiirlerinde kamışın mamışın geçmediği,
tertemiz sözcükler kullandığın için
tüm yergilerinde, beğenirim, överim.
Üstüne yoktur bir tek senin erdeminin;
bende ise gırla gider açık saçıklık.”
Martialis’in dizelerinde bir önceki okuduğum kitap olan “Eski Roma Yaşantısında Bir Gün” adlı kitapta bahsi geçen günlük yaşama ait çokca bilgi yer alıyor. Oynanan oyunlardan yapılan sporlara, kozmetik için kullanılan malzemelerden yemek tariflerine bir çok bilgi var. Bir de birşey beklediği kişilere (örneğin imparatorlar) yazdığı güzellemeler var. Geri kalan yergi ve alay, çoğu da cinsellik üzerine. Çeviri konusunda da eleştirim var, çünkü elimde 1975 tarihli “Martialis - Seçme Şiirler” kitabı var (Hür Yayınlar). Çevirmen Türkan Uzel Tunga. İki kitap arasında çeviri kalitesi açısından büyük fark var. Epigramlar’ın çevirmeni Güngör Vanlıoğlu, Türkan Uzel Tunga’nın öğrencisiymiş, ama hocasının oldukça gerisinde kalmış. İşte iki örnek, ilki Türkan Hoca’nın ikincisi öğrencisinin çevirisi;
I. Kitap 40. epigram
Hekimdi daha önce, ölüm töreni görevlisi Diaulus,
Ölüm töreninde yapıyor şimdi, hekimken yaptığını.
Cerrahtı Diaulus, ölü gömücüsü şimdi.
Başladığı işte sürdürüyor becerisini.
I. Kitap 83. epigram
Yüzünü, dudağını öper, Manneia, küçük köpeğin senin,
Şaşmam artık pislik yemesine itin!
Köpek eniğin yalar ağzını yüzünü, Manneia, senin:
Şaşmam, dışkı yemeyi sever köpek dediğin.
II. Kitap 13. epigram
Hem yargıç para ister, hem avukat para,
bana kalırsa, Sextus, borcunu öde!
Yargıç da para ister, savunman da para ister.
Bence borcunu öde gitsin alacaklıya, Sextus.
Kitabın sonunda çok yararlı olabilecek açıklamalı sözlük dizini var. Esasen Martialis-Seçme Şiirler kitabının başındaki çok geniş açıklamalar Epigramlar’ın da başına konabilirdi. Sonuçta Vergilius, Ovideus, Homeros okuyan biri olarak Martialis’ten keyif aldığımı söyleyemem.
Epigram, bu türün doğduğu Yunan edebiyatında, kelime kelime (epi-gramma) yazıt demek. Bir anıtın, bir tapınağın, bir mezar taşının üstüne yazılmış küçük şiirlerdir. Martialis özellikle insan ruhunu tahlil ederek, günlük hayatın olaylarını, ölümden ev- lenmeğe kadar her türlü olayını, sevgiden nefrete kadar her türlü duygusunu, çok kere şaka, alay hatta bazen hakarete varan derecelerde yazar.
Ben okuduktan sonra Martialis için kafası “sakraldan” çalışıyor (beyni kuyruk sokumunda yani “sacrum”da yerleşmiş) dedim. Aklı fikri belden aşağı ve beklediğimden çok daha seviyesiz dizeler bulduğumu söylemeliyim. Montaigne “Denemeler”inde çok kibarca “Martialis'de her türlü epigram vardır,"demiş. Martialis’in ne yazdığını kendi satırlarından okuyalım, daha anlaşılır ne demek istediğim:
“Şiirlerinde kamışın mamışın geçmediği,
tertemiz sözcükler kullandığın için
tüm yergilerinde, beğenirim, överim.
Üstüne yoktur bir tek senin erdeminin;
bende ise gırla gider açık saçıklık.”
Martialis’in dizelerinde bir önceki okuduğum kitap olan “Eski Roma Yaşantısında Bir Gün” adlı kitapta bahsi geçen günlük yaşama ait çokca bilgi yer alıyor. Oynanan oyunlardan yapılan sporlara, kozmetik için kullanılan malzemelerden yemek tariflerine bir çok bilgi var. Bir de birşey beklediği kişilere (örneğin imparatorlar) yazdığı güzellemeler var. Geri kalan yergi ve alay, çoğu da cinsellik üzerine. Çeviri konusunda da eleştirim var, çünkü elimde 1975 tarihli “Martialis - Seçme Şiirler” kitabı var (Hür Yayınlar). Çevirmen Türkan Uzel Tunga. İki kitap arasında çeviri kalitesi açısından büyük fark var. Epigramlar’ın çevirmeni Güngör Vanlıoğlu, Türkan Uzel Tunga’nın öğrencisiymiş, ama hocasının oldukça gerisinde kalmış. İşte iki örnek, ilki Türkan Hoca’nın ikincisi öğrencisinin çevirisi;
I. Kitap 40. epigram
Hekimdi daha önce, ölüm töreni görevlisi Diaulus,
Ölüm töreninde yapıyor şimdi, hekimken yaptığını.
Cerrahtı Diaulus, ölü gömücüsü şimdi.
Başladığı işte sürdürüyor becerisini.
I. Kitap 83. epigram
Yüzünü, dudağını öper, Manneia, küçük köpeğin senin,
Şaşmam artık pislik yemesine itin!
Köpek eniğin yalar ağzını yüzünü, Manneia, senin:
Şaşmam, dışkı yemeyi sever köpek dediğin.
II. Kitap 13. epigram
Hem yargıç para ister, hem avukat para,
bana kalırsa, Sextus, borcunu öde!
Yargıç da para ister, savunman da para ister.
Bence borcunu öde gitsin alacaklıya, Sextus.
Kitabın sonunda çok yararlı olabilecek açıklamalı sözlük dizini var. Esasen Martialis-Seçme Şiirler kitabının başındaki çok geniş açıklamalar Epigramlar’ın da başına konabilirdi. Sonuçta Vergilius, Ovideus, Homeros okuyan biri olarak Martialis’ten keyif aldığımı söyleyemem.
January 1, 2020
The rich know anger helps the cost of living:
Hating’s more economical than giving.
I needed these dark aphorisms, a ribald edge, but more an exasperated howl at the ass-kissing cesspool Mar-A-Lago, I mean Rome had become. Being served supermarket wine by millionaires and pondering a socialite who allegedly could weigh a man’s arousal by touch: he just wanted to read books and hang with his mates. I agree with other reviewers that the selective process is a disappointment: alas the partial Martial is better than none. That isn’t my witticism.
Hating’s more economical than giving.
I needed these dark aphorisms, a ribald edge, but more an exasperated howl at the ass-kissing cesspool Mar-A-Lago, I mean Rome had become. Being served supermarket wine by millionaires and pondering a socialite who allegedly could weigh a man’s arousal by touch: he just wanted to read books and hang with his mates. I agree with other reviewers that the selective process is a disappointment: alas the partial Martial is better than none. That isn’t my witticism.
February 26, 2012
In which I realize that my boredom with and occasional distaste for the classics is due to my own silly post-romantic desire for The Great Work rather than for the good one. Martial is hilarious, the translation adds in rhyme to give us some flavor and make the sting in the tail a little more obvious. Even better, it's dual-language. The later books are a little dull, and almost ruined by genuine, heartfelt sentiment and mourning, as well as, I feel, a general weakening of Martial's sneer. Is this Great Literature? No, thank god. Is it better than trawling through endless pages of bowel-churning love poetry? Substantially. Avoid, however, if you're distressed by performed bigotry.
March 28, 2021
The Pierian halls of the bard Theodorus-- fire has snatched them away. Does this please you, Muses? You, Apollo? What wickedness, what atrocity, what guilt may we charge against the gods, that the fire didn't take house and master both!
You're wondering what the yield is from my farm at Nomentum, Linus? Here's the yield from my farm: Linus, I dont have to look at you.
Racy and witty, Martial's epigrams cannot be beat. It was just such a joy to sit down and read a couple of poems and get a good laugh. As Martial says, If you're one of those terribly serious readers, now is a good time to leave. These epigrams can be sharply witty, but they are always a pleasure. I cannot recommend it highly enough
The tombs of seven husbands bear wicked Chloe's byline: HER COMMISSION. Could she be any more frank?
'There are thiry bad epigrams in this book.' If there are thirty good ones, Lausus, it's a good book.
You're wondering what the yield is from my farm at Nomentum, Linus? Here's the yield from my farm: Linus, I dont have to look at you.
Racy and witty, Martial's epigrams cannot be beat. It was just such a joy to sit down and read a couple of poems and get a good laugh. As Martial says, If you're one of those terribly serious readers, now is a good time to leave. These epigrams can be sharply witty, but they are always a pleasure. I cannot recommend it highly enough
The tombs of seven husbands bear wicked Chloe's byline: HER COMMISSION. Could she be any more frank?
'There are thiry bad epigrams in this book.' If there are thirty good ones, Lausus, it's a good book.
February 2, 2023
Here is he whom you read, whom you search for, Martial, known the whole world over for his witty books of epigrams. He to whom, while still alive, you have given, studious reader, a glory which poets obtain but seldom even after they are dead. 1.1
__________
Here you may read some good things, some indifferent, but more bad. Not otherwise, Avitus, is a book formed. 1.16
Yet if there be any man so prudishly critical that, to him, plain latin may not be spoken on any page, let him be satisfied with this Preface or, simply, with the Title. Epigrams are written for those accustomed to see the games of Flora. Let no Cato enter our theatre, or, if the does, let him look on only. 1.pref
__________
These things, dear Martial, are the elements of a happy life: wealth acquired by inheritance, without labour; welcome fields; an ever burning hearth; no lawsuits; seldom a toga; a tranquil mind; the strength of a freeman; a healthy body; unaffected simplicity; agreeable friends, pleasant guests; a simple table; nights without drunkenness and free from troubles; a bed both virtuous and voluptuous; sleep which shortens the darkness. Be satisfied as you are, and ask no change; neither fear, not hope for, your last day. 10.47
A good man broadens his life; he who can find pleasure in his past life, lives twice. 10.23
__________
While tolerant enough in most matters, martial shows clearly that the pretence and hypocrisy of the artifical age in which he lived were unnatural to him, for they seldom fail to arouse his scorn. (M.S.B., Introduction)
It is shameless to exercise ingenuity on another man’s book. 1.pref
You would pass, Cotta, for a pretty man and for a great man too. But, Cotta, he who is a pretty man is a little man. 1.9
To live tomorrow is too late: you must live today. 1.15
Diaulus, formerly a doctor, is now an undertaker. He still lays out his patients as effectively as ever. 1.30
I love you not, Sabidius; I cannot say why. I can say only this: I love you not. 1.32
When Gellia is alone, she does not weep for her lost father; if any one comes, the tears, at her command, spring forth. One who weeps to be praised, Gellia, is not afflicted; one who truly sorrows, sorrows alone. 1.33
It is a rule of sprightly poems to be unable to please unless they are prurient. 1.35
The book you declaim, Fidentius, is mine. But your wretched reading almost makes it yours. 1.38
When glory is past, life can, without blame, seek the repose which remains for it. 1.49
He wishes this: to cultivate a field, a small field, of his own: to live tranquilly in a small way. 1.55
When I dine so poorly, Flaccus, why should I bathe sumptuously? 1.59
Abandoning her husband, she followed a youth: arriving a Penelope, she departed a Helen. 1.62
Search for unknown verses which have never seen the light . . . 1.66
No one in the whole city was willing to touch your wife, Caecilianus, when this was allowed; but now the you have set up guards, the swimmers come in droves. You are an ingenious man! 1.73
Drink, then, copiously, and, with wine, destroy your sorrow. 1.106
You complain, Velox, that I write long epigrams; but you write none. Yours are the shorter. 1.110
Why are you not satisfied to be what you are? 2.4
You declaim prettily; you are a pretty advocate, Atticus; you compose pretty histories and pretty poems. You write mimes prettily, epigrams prettily; you are a pretty grammarian, a pretty astronomer; you sing prettily and dance prettily, Atticus. You are a pretty lyre player, a pretty ball player. Since you do nothing well, but everything prettily, would you have me to say what you are? You are pretty much of a trifler. 2.7
How is it that your kisses smell of myrrh and there is always some foreign perfume about you? Your being always so well scented, Postumus, makes me suspicious. Postumus, he who is always scented so well is not well scented. 2.12
Why do you defile the bath, Zulus, by impressing your buttocks? To make it fouler, Zulus, plunge in your head. 2.42
Cry for wine, crown yourselves with roses, perfume yourselfes with nard: but a god bids you remember death. 2.59
While you hesitate as to what you will be, you will be nothing. 2.64
You wish to know what Lyris is doing? What she does even when she is sober. She is fellating. 2.73
You love to drink through the night; I forgive you this, Gaurus: this vice was Cato’s. You write verses, unaided by Muse or Apollo; I can but praise you for this, for Cicero did likewise. Your vomiting was Antony’s vice; your luxury, Apicius’. But your fellating—tell me, whose vice was that? 2.89
“Quintus loves Thais.” “Which Thais?” “One-eyed Thais.” “Thais lacks one eye; he lacks both.” 3.8
Your lands are yours alone; your money is yours alone, Candidus; your gold plate is yours alone; your murine vases are yours alone; your Massic wines, your Opimius’ Caecuban, are yours alone; your talent is yours alone; your genius is yours alone. Everything yours is yours alone—who would expect me to deny it!—except your wife, Candidus, who belongs to everybody. 3.26
You wonder at the foul odour of Marius’ ear. It is your fault: you talk, Nestor, into his ear. 3.28
The imperfection which is hidden is imagined worse than it is. 3.42
Olus built a pantry but sold his lands: now Olus lives in a pantry. 3.48
You lend Veientan wine for me, while you drink Massic. I would rather smell your cup than drink mine. 3.49
You bought a house, Tongilianus, for two hundred thousand: an accident, common in the city, removed it. A million was subscribed. I ask you, Tongilianus, could you not be suspected of having, yourself, burned your house? 3.52
The fragrance of an apple bitten my a maid: the breath from corcyrian saffron: the perfume of a vine blooming with early grapes: the perfume of a meadow newly cropped by sheep: the scent of the myrtle of the Arabian perfumer, of powdered amber, of the pale fumes of Eastern frankincense, of the earth after a light summer rain, of a chaplet dripping with nard: with all these, Diadumenus, cruel boy, your kisses are fragrant. 3.65
Since the boy has a sore mentule and you, Naevolus, a sore anus. Although I am no diviner, I know what you have been up to. 3.71
Your mentule is so long, Papilus, and your nose so large that, at each erection, you can smell one with the other. 6.37
The foul odour of a dried marsh; of the thick vapours of Album’s springs; the putrid stench of a marine fish-pond; of a slothful he-goat mounting a she; of the boot of a worn-out soldier; of a stuff twice dumped in purple; of the breath of Sabbatarian Jews; of the breath of a condemned criminals; of the dying fumes of foul Leda’s lamp; of unguents from the dregs of Sabine oil; of a scurrying wolf; of a viper’s nest: all these I would rather endure than your stench, Bassa. 4.4
You sent me six thousand when I asked for twice six. To obtain twice six, I will ask for twice twelve. 4.76
Not one person, in the whole city, can show that he has swived Thais, although many desire and beg her favours. Is Thais then, so chaste? On the contrary: but she only fellates. 4.84
Thus we seek for the old shade of Pompey’s Portico and old men vaunt the ignoble temple of Cattulus. You, O Rome, read Ennius while Mary lived; and the age of Maeonides laughed at him. Menander honour of the theatre, was seldom applauded; only Corinna knew her Naso. Then be not too eager, my books; if glory comes only after death, there I no hurry. 5.10
Thus we are—you and I: you cannot be what I am; but anyone can be what you are. 5.13
A maid, sweeter voiced to me than ancient swans, softer than the lambs of Phlanthian Galaesus, more delicate than Lucrine’s pearly shells, preferable to Eastern-pearls, or the polished tooth of India’s beast, new-fallen snow, or the untouched lily; whose hair outshone Baetic wool, the knotted hair of Rhine women, the golden dormouse; whose breath was fragrant as Paestan roses, as new Attic honey-combs, as amber warmed by the hand; compared with whom, the peacock was dull, the squirrel odious, the Phoenix common. 5.37
You are always saying, Postumus, that you will live tomorrow. But, tell me, Postumus, when will this tomorrow of yours come? How far away is it? Where is it? Where should it be looked for? Is it hid among the Parthians and Armenians? That tomorrow is already as old as Priam or as Nestor. For how much could that tomorrow be bought? You will live tomorrow? You are already too late, Postumus, to live today. The wise man, Postumus, is he who lived yesterday. 5.58
Let my hair be wet with flowing perfumes and my temples covered with coronals of roses. 5.64
Since the Julian Law was re-established, Faustinus, and Chastity returned to our dwellings, no more than thirty days, at the outside, have passed; and Telesilla already has her tenth husband. She who marries so often does not marry at all; she is but a lawful adulteress. An honest whore offends me less. 6.7
You bid me be always erect for you, Lesbia; but, believe me, one’s mentule cannot be rated like a finger. You may urge me with a toying hand and soft words, but your face is infallible to defeat you. 6.23
But superior merit is given but a short life and, seldom, an old age. Whatever you love, pray that it may not please you too much. 6.29
Your mentule is so long, Papilus, and your nose so large that, at each erection, you can smell one with the other. 6.36
Charinus’ rump has been split to the umbilicus and yet his prurience is just that much greater. What lust possess this wretch! He no longer has an anus and yet he wants to be predicated! 6.37
Once no woman could be preferred to you, Lycoris; now no woman can be preferred to Glycerol: she will be what you are, but you cannot be what she is. Such is the power of time; I desire her; you I desired. 6.40
Because you are always coated heavily with cassia and cinnamon and perfumes from the nest of the superb bird, and because you smell of the leaden jars of Niceros, Coracinus, you laugh at us who do not smell at all. I would rather not smell at all than smell too well. 6.55
A book, to live, must bear the imprint of genius. 6.61
Do you ask, Pannychus, why your Caelia possess only eunuchs? Caelia wants swiving only, not offspring. 6.67
Long years are not life: healthy years are life. 6.70
Even when dead, you should not be carried by six men. 6.77
You are sad amidst happiness. Be careful Fortune does not find this out, Lupus. She will call you an ingrate, if she knows. 6.79
. . . so bright with roses was every path he followed or saw. 6.80
“Are you”, he asked, “the Martial whose spicy jokes are known to everybody and who has, at least, no barabrous ear?” I smiled and, with a little gesture, did not deny that I was the person in question. “Then why,” he asked, “do you wear a bad cloak?” I responded: “because I am a bad poet.” That such a thing may not happen too frequently to a poet, send me, Rufus, a good cloak. 6.82
Although not even a woman could find fault with your face: although no blemish marks your body: do you wonder why you so seldom excite passion and new desires in a lover who hasn’t swiped you? You have a defect, Galla, and a great one. Every time anyone starts with you, and your enclosed bodies work, your coyote makes a great noise while you keep silent. How much better if you would speak and it remain silent! Better, rather than its scandalous prattle, to hear its neighbour which, at least, says Symmachus, amuses in easing itself. But who could laugh at the prattling of an impertinent coyote? When it resounds, what gallant’s mental and wishes would not fall? At least say something, and cry louder than your coynte; if you were really mute, its babble would teach you to talk. 7.18
May the gods, Philaenis, give you better sense, if you think it manly to lick women’s coyntes! 7.67
He who live everywhere, Maximus, lives nowhere. 7.78
You write a few quatrains brightly enough and turn a few distichs agreeably, Sabellus; I congratulate you, but I am not surprised. It is easy enough to write a pleasant epigram: to write a book is difficult. 7.85
You buy everything, Castor: you will end by selling everything. 7.118
Then hear what is truer than truth: you do not want to hear the truth, Gallicus. 8.86
Although Galla can be swiped for two gold pieces and more than sliced for twice that sum, why do you give her ten pieces, Aeschylus? Even Galla’s fellating is not so dear as that. What is, then? Her silence. 9.4
You wish to marry Priscus; I am not surprised: you are wise. Priscus does not wish to marry you: he is wise also. 9.5
A name born among violets and roses, after which the year’s fairest season is named, that respires of Hybla and Attic flowers, that is perfumed like the nest of the king of birds: a name sweeter than the divine nectar, envied by the beloved boy of Cybele and he who blends the thunderer’s draught; to which Venus and Cupid would answer, were it called in the Palatine Hall . . . 9.11
Although you go about, Christus, with bald-plucked testicles and a mental like a vulture’s neck and a head smoother than a restituted anus: although not one hair shows on your legs, and your lips are mercilessly plucked clear: you babble of the Curii, Camilii, Quinctii, Numas, Ancuses, and al the hairy philosophers we have ever heard of, and you declaim loudly against the theatres and the times. But if in the midst off your talk, you happen to meet, freed of his pedagogue, some young sodomite whose turbulent penus has been recently unbuckled, you would quickly sign to him; and I m ashamed to say, Christ’s, how your C atoms tongue would act then. 9.27
Ponticus, because you never swive, but use your hand as mistress to minister your pleasures, think you that nothing foul is done? Believe me, it is an abominable crime, too great for you to conceive its enormity. Horace, in a single copulation, generated three infants; and Mars, at one time, rendered chaste Ilia the mother of twins. All these had been lost if both has masturbated, demanding base pleasure of their hands. Believe that it is Nature herself who cries: “This which you waste with your fingers, O Ponticus, is a man!” 9.41
You talk of Democritus, Zeno, enigmatic Plato, and of every philosopher, barbarous and hairy, set up before us, as though you were successor and heir to Pythagoras, while a beard, no shorter than theirs, overgrows your chin. Yet, your pliant buttocks love the stiffness of that member so slow to rise with foul old goats and hairy men. You who know so well the origins and octrins of the different schools, tell me this: what dogma is it, Pannychus, to be a pathic? 9.47
Thus may I be read among ancient poets; may you prefer few to me, and may you place me above all but Catullus. 10.78
Are you surprised that Afer does not go to bed? Do you not see, Caedicianus, the woman with whom he is reclining? 10.84
I have written books that Cato’s wide and the stern Sabine women might read. But this book, from one end to the other, I give to laughter, to be the most rakish of all. It shall be soaked with wine and not ashamed to be stained with Cosmic essences, it shall play with the boys, love the girls, and speak in no circuitous way of that from which we come, the parent of all, which holy Numa called the Mental. But recall, Apollinaris, that these are Saturnalian verses; this little book does not show my own morals. 11.15
May she enjoy but a single husband and enjoy, always, her three sons. 11.53
Since the gods have given you everything: if you will not accept what you already have, what will you accept? 11.57
Why, Polla, do you send me fresh coronals? I would rather have roses you have shaken. [Note: With a second meaning: “roses” referring to charms and “veto” (to shake) meaning: to drive to and fro: to jostle up and down.] 11.89
I have noticed, Lesbia, whenever you rise from your chair, how you unfortunate tunic predicates you. With your right hand, with your left, you attempt to pull it away, wrenching it out with tears and groans, it is so constricted by your mighty Symplegadian buttocks, in the straight pass of your Cynanean anus. Would you remedy this unhappy defect? I will tell you how: neither get up, Lesbia, nor sit down. [Note: The Cyanian Rocks, or islands, at th entrance of the Bosphorus, were supposed to crash together and crush ships. “Symplegades” was another term for the same.] 11.99
I would not have, Flaccus, a skinny mistress, for whose arms my rings could serve as bracelets, who would spare me with her lanky thighs and stab me with her knees; from whose spine a saw would protrude and from whose anus a spear. But neither would I have a mistress weighing a thousand pounds. I like flesh but not fat. 11.100
Can you, Flaccus, see Thais, who is so thin? Then I think, Flaccus, you can se what does not exist. 11.101
The Phrygian slaves masturbated themselves behind the door when Hector’s wife rode her husband as a horse; and, when Ulysses was inclined to snore, even the chaste Penelope was accustomed to play a pleasure-giving hand. 11.104
I know I should in some way justify my three years’ idleness; yet no excuse could absolve me, even amidst the occupations of the city, which make us appear more troublesome than dutiful and still less so in this provincial solitude where, unless we continually study, there is neither consolation nor excuse for the retirement. 12.greeting
With as much frankness as though you lived with me, Callistratus, you have often told me you have been a passive. You are not, Callistratus, as frank as you would have me think: he who tells such things, conceals more. 12.35
Rather than praise the deserving, Callistratus praises everyone. Who can be good to one to whom no one is bad? 12.80
Never live unguents or wines to your heir; leave
˙ɟlǝsɹnoʎ oʇ ǝsǝɥʇ ǝʌᴉƃ ʇnq 'ʎǝuoɯ ɹnoʎ ɯᴉɥ 13.126
Some say I am no poet; but the book-seller who sells me says I am. 14.194
She quivers her thighs and excites such lasciviousness that she would have made Hippolytus himself a mastubrator. 14.203
May 9, 2015
Il piacere di leggere un grande classico, inficiato da una tronfia traduzione
Marco Valerio Marziale è uno dei grandi autori dell'antichità romana, che attraverso l'uso dell'epigramma ha saputo trasmetterci un vivido spaccato della società del suo tempo, permettendoci di approfondire la conoscenza della Roma del primo secolo dopo cristo, la Roma imperiale al massimo della sua potenza.
Per farlo utilizza l'occhio della satira, dell'implacabile osservazione dei vizi privati e pubbliche virtù dei potenti e dei ricchi, dell'ipocrisia e dell'istituzionalizzazione dell'adulazione che caratterizzava il sistema clientelare, ed utilizza una forma letteraria bassa, l'epigramma appunto, che gli permette sicuramente una maggiore libertà espressiva rispetto a forme poetiche più ufficiali.
Proprio per l'uso dell'epigramma e per le tematiche trattate, da una parte della critica Marziale è (o per meglio dire era) considerato un autore minore, non accostabile ai grandi poeti tragici ed epici dei primi secoli dell'impero romano. Al contrario, proprio la scelta espressiva e il carattere fortemente realistico della poesia di Marziale ne costituiscono la grande forza, capace di restituirci come pochi altri autori lo spirito di un'epoca cruciale per i destini di Roma e, direi, dell'intera civiltà occidentale come la concepiamo ancora oggi. La suddivisione in generi alti e generi bassi è a mio avviso un espediente utilizzato in passato, ma presente ancora oggi, per tentare di esorcizzare la capacità dissacrante e il potere liberatorio che in genere il comico e il volgare posseggono nei confronti dei paradigmi della società costituita.
Marziale scrive nel periodo della Roma dei Flavii, in particolare al tempo del potere di Domiziano; dopo la congiura patrizia che porta al suo assassinio nel 97 d.C., i nuovi equilibri politici instauratisi con l'ascesa di Nerva e quindi di Traiano lo vedono emarginato nella natale Bilbilis (odierna Spagna), dove poco prima di morire pubblicherà il XII e ultimo libro di epigrammi.
L'opera di Marziale infatti, che ci è pervenuta integra, consta di ben 12 libri di epigrammi che erano stati preceduti da tre libri a tema, dedicati rispettivamente agli spettacoli in occasione dell'inaugurazione del Colosseo, ai doni che si usava spedire agli amici in occasione dei Saturnali e ai doni offerti agli ospiti dei banchetti. Questa edizione Einaudi ha il pregio di offrirci tutta la produzione del poeta, con testo originale a fronte.
Cosa è l'epigramma? E' un componimento breve, a volte brevissimo, in genere composto di due parti: una prima in cui si introduce l'argomento ed una seconda nella quale la conclusione è spesso inaspettata, spiazzante o paradossale, il che genera quindi un effetto comico. Per capire meglio ecco un esempio (Epigr. X - 43, traduzione tratta dal sito www.marziale.com)
Filero, sotto terra la tua settima
sposa hai sepolto: terra redditizia
come la tua nessuno la possiede!
Di cosa trattano gli epigrammi del nostro? Marziale è un cliente, è cioè legato a nobili e potenti che deve in qualche modo servire per poter mangiare (letteralmente: il potente dava giornalmente al cliente la sportula, paniere di vivande o piccola somma per acquistarle). Questo lo porta a contatto diretto sia con il mondo dei patrizi e dei ricchi su cui si basava il potere imperiale, sia con quello dei clientes (oggi si chiamerebbero precari) e del popolino che cercava di sopravvivere raccogliendo (come nella cristiana parabola del ricco Epulone) le briciole che cadevano dalle tavole imbandite di tanta opulenza. Sono questi mondi che gli epigrammi ci raccontano, mondi espressione di quella che allora era una città unica, una metropoli di un milione di abitanti che costituiva un vero e proprio universo di umanità varia.
Marziale racconta questo mondo con realismo estremo, cogliendone, attraverso l'arma della satira, le infinite sfumature ed i paradossi. In un epigramma (X – 4) ci espone quello che può essere considerato il suo manifesto culturale: Qui non troverai né Centauri, né Gorgoni, né Arpie: la mia pagina sa di uomo. Non c'è mitologia, non ci sono dei negli epigrammi: ci sono il sangue, le membra, i pensieri degli uomini della Roma del primo secolo, delle diverse classi di uomini in cui la società era divisa, ci sono i rumori, gli odori, la corporeità pulsante della grande metropoli antica, con i suoi riti, le sue lotte, i suoi grandi spettacoli e le sue grandi crudeltà. Marziale osserva tutto questo spietatamente, ma non mette in discussione che debba essere così, non propone alternative: semplicemente constata, ma così facendo dissacra usi e costumi e mette alla berlina uomini e donne, e attraverso questi lo stesso ordine sociale; per sé aspira a poco, sostanzialmente ad un podere in campagna, in una prospettiva che oggi potremmo definire piccolo-borghese.
Se gli uomini e le donne concrete di Roma sono il suo bersaglio, il sesso, l'erotismo non possono che rivestire un ruolo centrale negli epigrammi. L'infedeltà coniugale, le impotenze nascoste, le abitudini segrete dei suoi concittadini forniscono a Marziale un materiale sterminato sul quale costruire molti degli epigrammi più memorabili, che per il loro essere espliciti rimando ad una lettura diretta. E' in questi epigrammi che emerge appieno la forza corrosiva della satira di Marziale, perché è qui, trattando questi temi che viene maggiormente esplicitata da un lato l'ipocrisia regnante nella società, dall'altro il carattere eversivo e liberatorio del sesso. Non mancano ovviamente epigrammi a contenuto scatologico, a riprova di una libertà espressiva che non si ferma neppure davanti agli aspetti più intimi del vivere, e che sa fare anche di questi spunti di critica sociale.
Nell'ambito di questo quadro complessivo vi sono anche epigrammi dotati di un intenso lirismo, come quelli funebri, dedicati ad amici o conoscenti di Marziale morti: su tutti quello famosissimo dedicato ad Erotion (V – 37) morta a sei anni, per la quale Marziale chiede alla terra che la ricopre di esserle così leggera come lo era stata la bimba alla stessa terra. Questi epigrammi colti dimostrano quanto la scurrilità, il realismo del complesso dell'opera di Marziale sia una precisa scelta espressiva, dettata dall'esigenze di raccontare ciò che lo circonda oltre che, presumibilmente, da precise esigenze editoriali.
Il piacere di poter leggere l'intera opera di Marziale è purtroppo fortemente attenuato, nell'edizione Einaudi che ho utilizzato, dalla traduzione di Guido Ceronetti. Credo che raramente si sia assistito, in un'opera di traduzione, ad una volontà così pervicace di sostituire alla resa della poetica dell'originale il proprio ego letterario. Ceronetti non esita a stravolgere ritmi, a introdurre termini moderni, a cambiare il senso di intere frasi pur di far emergere la sua personalità di traduttore. Il risultato è a mio avviso grottesco, tanto che molte volte per capire cosa effettivamente significasse un epigramma ho dovuto leggere il testo latino a fronte. Il tronfio Ceronetti (che a mio avviso sarebbe stato il perfetto soggetto di uno degli epigrammi dedicati da Marziale ai colleghi pseudoletterati) è perfettamente cosciente dell'operazione che compie, tanto da esortare il lettore, al termine della sua ovviamente prosopopeica introduzione, ad imparare il latino, così da leggere Marziale e non Ceronetti!. A mio avviso c'è un modo più semplice per gustare Marziale pur non conoscendo il latino: stare lontani da Ceronetti avvalendosi di una edizione curata da un traduttore degno di tale epiteto.
Marco Valerio Marziale è uno dei grandi autori dell'antichità romana, che attraverso l'uso dell'epigramma ha saputo trasmetterci un vivido spaccato della società del suo tempo, permettendoci di approfondire la conoscenza della Roma del primo secolo dopo cristo, la Roma imperiale al massimo della sua potenza.
Per farlo utilizza l'occhio della satira, dell'implacabile osservazione dei vizi privati e pubbliche virtù dei potenti e dei ricchi, dell'ipocrisia e dell'istituzionalizzazione dell'adulazione che caratterizzava il sistema clientelare, ed utilizza una forma letteraria bassa, l'epigramma appunto, che gli permette sicuramente una maggiore libertà espressiva rispetto a forme poetiche più ufficiali.
Proprio per l'uso dell'epigramma e per le tematiche trattate, da una parte della critica Marziale è (o per meglio dire era) considerato un autore minore, non accostabile ai grandi poeti tragici ed epici dei primi secoli dell'impero romano. Al contrario, proprio la scelta espressiva e il carattere fortemente realistico della poesia di Marziale ne costituiscono la grande forza, capace di restituirci come pochi altri autori lo spirito di un'epoca cruciale per i destini di Roma e, direi, dell'intera civiltà occidentale come la concepiamo ancora oggi. La suddivisione in generi alti e generi bassi è a mio avviso un espediente utilizzato in passato, ma presente ancora oggi, per tentare di esorcizzare la capacità dissacrante e il potere liberatorio che in genere il comico e il volgare posseggono nei confronti dei paradigmi della società costituita.
Marziale scrive nel periodo della Roma dei Flavii, in particolare al tempo del potere di Domiziano; dopo la congiura patrizia che porta al suo assassinio nel 97 d.C., i nuovi equilibri politici instauratisi con l'ascesa di Nerva e quindi di Traiano lo vedono emarginato nella natale Bilbilis (odierna Spagna), dove poco prima di morire pubblicherà il XII e ultimo libro di epigrammi.
L'opera di Marziale infatti, che ci è pervenuta integra, consta di ben 12 libri di epigrammi che erano stati preceduti da tre libri a tema, dedicati rispettivamente agli spettacoli in occasione dell'inaugurazione del Colosseo, ai doni che si usava spedire agli amici in occasione dei Saturnali e ai doni offerti agli ospiti dei banchetti. Questa edizione Einaudi ha il pregio di offrirci tutta la produzione del poeta, con testo originale a fronte.
Cosa è l'epigramma? E' un componimento breve, a volte brevissimo, in genere composto di due parti: una prima in cui si introduce l'argomento ed una seconda nella quale la conclusione è spesso inaspettata, spiazzante o paradossale, il che genera quindi un effetto comico. Per capire meglio ecco un esempio (Epigr. X - 43, traduzione tratta dal sito www.marziale.com)
Filero, sotto terra la tua settima
sposa hai sepolto: terra redditizia
come la tua nessuno la possiede!
Di cosa trattano gli epigrammi del nostro? Marziale è un cliente, è cioè legato a nobili e potenti che deve in qualche modo servire per poter mangiare (letteralmente: il potente dava giornalmente al cliente la sportula, paniere di vivande o piccola somma per acquistarle). Questo lo porta a contatto diretto sia con il mondo dei patrizi e dei ricchi su cui si basava il potere imperiale, sia con quello dei clientes (oggi si chiamerebbero precari) e del popolino che cercava di sopravvivere raccogliendo (come nella cristiana parabola del ricco Epulone) le briciole che cadevano dalle tavole imbandite di tanta opulenza. Sono questi mondi che gli epigrammi ci raccontano, mondi espressione di quella che allora era una città unica, una metropoli di un milione di abitanti che costituiva un vero e proprio universo di umanità varia.
Marziale racconta questo mondo con realismo estremo, cogliendone, attraverso l'arma della satira, le infinite sfumature ed i paradossi. In un epigramma (X – 4) ci espone quello che può essere considerato il suo manifesto culturale: Qui non troverai né Centauri, né Gorgoni, né Arpie: la mia pagina sa di uomo. Non c'è mitologia, non ci sono dei negli epigrammi: ci sono il sangue, le membra, i pensieri degli uomini della Roma del primo secolo, delle diverse classi di uomini in cui la società era divisa, ci sono i rumori, gli odori, la corporeità pulsante della grande metropoli antica, con i suoi riti, le sue lotte, i suoi grandi spettacoli e le sue grandi crudeltà. Marziale osserva tutto questo spietatamente, ma non mette in discussione che debba essere così, non propone alternative: semplicemente constata, ma così facendo dissacra usi e costumi e mette alla berlina uomini e donne, e attraverso questi lo stesso ordine sociale; per sé aspira a poco, sostanzialmente ad un podere in campagna, in una prospettiva che oggi potremmo definire piccolo-borghese.
Se gli uomini e le donne concrete di Roma sono il suo bersaglio, il sesso, l'erotismo non possono che rivestire un ruolo centrale negli epigrammi. L'infedeltà coniugale, le impotenze nascoste, le abitudini segrete dei suoi concittadini forniscono a Marziale un materiale sterminato sul quale costruire molti degli epigrammi più memorabili, che per il loro essere espliciti rimando ad una lettura diretta. E' in questi epigrammi che emerge appieno la forza corrosiva della satira di Marziale, perché è qui, trattando questi temi che viene maggiormente esplicitata da un lato l'ipocrisia regnante nella società, dall'altro il carattere eversivo e liberatorio del sesso. Non mancano ovviamente epigrammi a contenuto scatologico, a riprova di una libertà espressiva che non si ferma neppure davanti agli aspetti più intimi del vivere, e che sa fare anche di questi spunti di critica sociale.
Nell'ambito di questo quadro complessivo vi sono anche epigrammi dotati di un intenso lirismo, come quelli funebri, dedicati ad amici o conoscenti di Marziale morti: su tutti quello famosissimo dedicato ad Erotion (V – 37) morta a sei anni, per la quale Marziale chiede alla terra che la ricopre di esserle così leggera come lo era stata la bimba alla stessa terra. Questi epigrammi colti dimostrano quanto la scurrilità, il realismo del complesso dell'opera di Marziale sia una precisa scelta espressiva, dettata dall'esigenze di raccontare ciò che lo circonda oltre che, presumibilmente, da precise esigenze editoriali.
Il piacere di poter leggere l'intera opera di Marziale è purtroppo fortemente attenuato, nell'edizione Einaudi che ho utilizzato, dalla traduzione di Guido Ceronetti. Credo che raramente si sia assistito, in un'opera di traduzione, ad una volontà così pervicace di sostituire alla resa della poetica dell'originale il proprio ego letterario. Ceronetti non esita a stravolgere ritmi, a introdurre termini moderni, a cambiare il senso di intere frasi pur di far emergere la sua personalità di traduttore. Il risultato è a mio avviso grottesco, tanto che molte volte per capire cosa effettivamente significasse un epigramma ho dovuto leggere il testo latino a fronte. Il tronfio Ceronetti (che a mio avviso sarebbe stato il perfetto soggetto di uno degli epigrammi dedicati da Marziale ai colleghi pseudoletterati) è perfettamente cosciente dell'operazione che compie, tanto da esortare il lettore, al termine della sua ovviamente prosopopeica introduzione, ad imparare il latino, così da leggere Marziale e non Ceronetti!. A mio avviso c'è un modo più semplice per gustare Marziale pur non conoscendo il latino: stare lontani da Ceronetti avvalendosi di una edizione curata da un traduttore degno di tale epiteto.
June 10, 2025
Very swag, very cool.
November 23, 2019
Without a doubt Martial is one of those authors whose extant works lean on the lighter side of life, but that doesn't mean he isn't serious: He wrote 12 books (or libellus, “little books”) of epigrams denouncing —and trashingly mocking! Roman society and a number of its customs, plus 3 more (the Book of Shows, Party Favours, and Doggy-bags) focused more around certain other topics, including epigrams about ingredients of the traditional Roman cuisine, and gifts given during Saturnalia.
With Martial, the epigram reached uncharted territories and became a true literary genre to be handed down to future generations of Romans. One of the biggest advantages of this edition, is the parallel latin text so you can contrast the rendering of Martial's words with the translation by Gideon Nisbet. In most cases for the present anthology, this was a happy enterprise.
Nevertheless, some minor issues remain (Nisbet's version is too wordy at times) and keep in mind that, without demerit, this is only an anthology in which the selected poems don't seem of the same altogether quality to me. But, on the other hand, if this is your first approach to this cynically amazing poet or you just want to have a general idea of his work, this book is one of the best places to start.
With Martial, the epigram reached uncharted territories and became a true literary genre to be handed down to future generations of Romans. One of the biggest advantages of this edition, is the parallel latin text so you can contrast the rendering of Martial's words with the translation by Gideon Nisbet. In most cases for the present anthology, this was a happy enterprise.
Nevertheless, some minor issues remain (Nisbet's version is too wordy at times) and keep in mind that, without demerit, this is only an anthology in which the selected poems don't seem of the same altogether quality to me. But, on the other hand, if this is your first approach to this cynically amazing poet or you just want to have a general idea of his work, this book is one of the best places to start.
May 8, 2017
Sulla mia lapide voglio questo:
46 UN TIPO LUNATICO
D'umore ora insopportabile,
ora arrendevole tu sei,
ora lieto, ora aspro ad un tempo:
con te e senza te non posso vivere.
Con aggiunto sotto, scritto a mano:
Ma di questo
preoccuparmi
più non dovrò!
XD
Arguto, critico, irritante, a volte insopportabile, efficace, e assolutamente imperdibile. Una lettura che ho apprezzato immensamente, nonostante l'irritazione appunto di alcuni momenti!
Altro avrei da dire, ma, per ora, mi fermo qui e lascio che sia Marziale stesso a concludere questa mia breve nota, ché certo nessuno meglio di lui può parlare della sua opera!
XD
33 IN DIFESA DELLA SUA POESIA
...
Dirai che i libri miei
appresero a serbare questa norma:
smascherare i vizi apertamente,
risparmiare sempre le persone.
46 UN TIPO LUNATICO
D'umore ora insopportabile,
ora arrendevole tu sei,
ora lieto, ora aspro ad un tempo:
con te e senza te non posso vivere.
Con aggiunto sotto, scritto a mano:
Ma di questo
preoccuparmi
più non dovrò!
XD
Arguto, critico, irritante, a volte insopportabile, efficace, e assolutamente imperdibile. Una lettura che ho apprezzato immensamente, nonostante l'irritazione appunto di alcuni momenti!
Altro avrei da dire, ma, per ora, mi fermo qui e lascio che sia Marziale stesso a concludere questa mia breve nota, ché certo nessuno meglio di lui può parlare della sua opera!
XD
33 IN DIFESA DELLA SUA POESIA
...
Dirai che i libri miei
appresero a serbare questa norma:
smascherare i vizi apertamente,
risparmiare sempre le persone.
Want to read
August 16, 2018One of these days I will actually read this, because I LOVE Martial, he's one of my favorite poets. But until that day comes, I thought I would share the translation of my favorite Martial poem.
Epigram 5.58
"Tomorrow you will be alive, tomorrow you always say, Postumus:
I say, Postumus, when will that tomorrow come?
How long is that tomorrow? Where is it? From where should it be sought?
Surely it does not lie hidden among the Partian or the Armerian?
Now that tomorrow has the years of Priam and Nester.
How great is that tomorrow, I say, is it possible to buy it?
Tomorrow, you live? Today I live. Postumus, it is late.
The man who lived yesterday is wise, Postumus."
(P.S. that translation is SUPER rough, I translated it myself in Latin V if that tells you anything lol. I encourage you to look up a professional translation)
Epigram 5.58
"Tomorrow you will be alive, tomorrow you always say, Postumus:
I say, Postumus, when will that tomorrow come?
How long is that tomorrow? Where is it? From where should it be sought?
Surely it does not lie hidden among the Partian or the Armerian?
Now that tomorrow has the years of Priam and Nester.
How great is that tomorrow, I say, is it possible to buy it?
Tomorrow, you live? Today I live. Postumus, it is late.
The man who lived yesterday is wise, Postumus."
(P.S. that translation is SUPER rough, I translated it myself in Latin V if that tells you anything lol. I encourage you to look up a professional translation)
January 14, 2019
“Espia a gente no banho, Filomuso,
e fica perguntando por que meus escravos
tem caralhos tão grandiosos.
Vou te dar uma resposta simples:
Eles comem o cu dos curiosos”.
- Epigrama LXIII, de Marco Valério Marcial.
(Esses romanos...)
e fica perguntando por que meus escravos
tem caralhos tão grandiosos.
Vou te dar uma resposta simples:
Eles comem o cu dos curiosos”.
- Epigrama LXIII, de Marco Valério Marcial.
(Esses romanos...)
June 24, 2024
My Penguin paperback is older than the pictured Penguin paperback. Martial wasn't in our library before this and now I know why. But we're rebuilding Alexandria here so. . . Anyway, the editor seems to have UNselected the raunchiest of the bunch and for that I was grateful. Many of these were exquisite, many more exquisitely *mean.*
Here's one I loved:
Here's one I loved:
April 14, 2014
Did not read straight through, but skipped around. Some epigrams were obscure, some were incisive on their observation of certain people and Roman customs of Martial's time. These Victorian/Edwardian English translations were not impossible to read. For some, there were there more than one translation of the same epigram, which was interesting. I got the flavor of Martial. Some epigrams made me nod my head in agreement with the psychology Martial displayed and the foibles of human nature he exposes. Some are hilarious or sardonic. The more salacious were left in Latin with an Italian translation, which was fine with me. A complete index to subject was a great asset. I avoided the sycophantic epigrams on Domitian. I read a 1901 edition, not a choice on GR.
June 17, 2019
At this point I just have to assume that Penguin holds a translation contest before publishing each book, and then picks the worst one as the winner.
June 25, 2023
May I present myself--the man
You read, admire and long to meet,
Known the world over for his neat
And witty epigrams? The name
Is Martial. Thank you, earnest fan,
For having granted me the fame
Seldom enjoyed by a dead poet
While I'm alive and here to know it.
About a year ago I read Peter Green's translations of Catullus, and I find Martial's The Epigrams a worthy successor. Like Catullus, Martial's verse deals mainly with the dealings and characters within Roman society, their interactions and foibles. Martial possesses a wicked eye and is able to skewer quite a few characters. He provides glimpses of Roman society often missing in epics or major films: People smell, people have tantrums, people toady up to people they deem important, people have responsibilities they much rather ignore in favor of a good nap or cup of wine. It's fascinating and I appreciate Martial's perspective.
I am not thrilled, however, with James Michie's translations. Michie is obsessed with establishing galloping rhyme schemes. Given the original Latin on the left side of the page, I found many instances where Michie throws aside the original in order to nail a perfect couplet or rhyme. I would have preferred a more accurate translation which does not try so hard to look poetic. I believe a lot is lost in this attention to poetic craft rather than meaning. I will be looking for another translation to confirm my non-Latin speaking conviction.
You tell lies--I lend a credulous ear;
You recite bad poems--I raise a loyal cheer;
You sing--I join in; you drink--I drink with you; you fart--
I pretend not to hear;
You want to play draughts--I gracefully yield.
There's only one thing you do without my complicity, and
on that subject my lips remain sealed.
For all this I get absolutely nil.
"Ah, but in my will
I'll remember you," you say.
I want nothing. Still, roll on, that day.
You read, admire and long to meet,
Known the world over for his neat
And witty epigrams? The name
Is Martial. Thank you, earnest fan,
For having granted me the fame
Seldom enjoyed by a dead poet
While I'm alive and here to know it.
About a year ago I read Peter Green's translations of Catullus, and I find Martial's The Epigrams a worthy successor. Like Catullus, Martial's verse deals mainly with the dealings and characters within Roman society, their interactions and foibles. Martial possesses a wicked eye and is able to skewer quite a few characters. He provides glimpses of Roman society often missing in epics or major films: People smell, people have tantrums, people toady up to people they deem important, people have responsibilities they much rather ignore in favor of a good nap or cup of wine. It's fascinating and I appreciate Martial's perspective.
I am not thrilled, however, with James Michie's translations. Michie is obsessed with establishing galloping rhyme schemes. Given the original Latin on the left side of the page, I found many instances where Michie throws aside the original in order to nail a perfect couplet or rhyme. I would have preferred a more accurate translation which does not try so hard to look poetic. I believe a lot is lost in this attention to poetic craft rather than meaning. I will be looking for another translation to confirm my non-Latin speaking conviction.
You tell lies--I lend a credulous ear;
You recite bad poems--I raise a loyal cheer;
You sing--I join in; you drink--I drink with you; you fart--
I pretend not to hear;
You want to play draughts--I gracefully yield.
There's only one thing you do without my complicity, and
on that subject my lips remain sealed.
For all this I get absolutely nil.
"Ah, but in my will
I'll remember you," you say.
I want nothing. Still, roll on, that day.
December 5, 2024
Los poemas soeces, sarcásticos, cotidianos y juguetones de Marcial contrastan con la pomposidad del resto de poetas latinos. No trata temas elaborados ni ambiciosos pero a cambio inmortalizó la verdadera vida de la antigua Roma.
January 7, 2021
damn, he spilled
February 28, 2023
Menuda turra leerlos todos... Aunque hay que entender que en su tiempo no estaban hechos para leerse del tirón y son un testimonio importante del humor de la época. La edición y traducción está muy bien.
October 3, 2023
Provides a good window into ancient Rome beyond the usual dates, events, and conquerors you would expect from Roman history books.
Currently reading
December 9, 2024Completed the first six books.
March 9, 2025
This was a hoot honestly lol just a good time and wonderful insight to what life looked like through the eyes of a poet in Ancient Rome! Definitely want to read more Roman poetry!
June 3, 2015
Wie kent zijn klassiekers nog?
Van de klassieke oudheid een beeld vormen, is moeilijk. Steeds weer roept men van weelde, pracht en praal, maar de overgeleverde ruïnes verkeren in verloederde toestand. Zelfs de meest fantastische ziel kan zich hier geen maatschappij bij voorstellen. Voor al wie deze vaagheid ervaart, zijn er de poëtische epigrammen van Martialis.
‘De waanzin van Rome’ is een integraal werk van Martialis uit de eerste eeuw na Christus. Daarom is het uniek en interessant. In het verleden zijn meerdere bloemlezingen samengesteld uit het oeuvre van Martialis, maar deze lieten de ‘minder interessante’ en ‘vunzige’ epigrammen graag achterwege.
Als zeer nederig dichter schrijft Martialis over zichzelf: 'Hier is hij dan - u leest hem, vraagt naar hem: de wereldwijd vermaarde Martialis met zijn spitse epigrammenboekjes!'. En reclame maken voor zichzelf, dat zou hij niet durven: 'Je wilt mijn boekjes bij je hebben, overal? Je zoekt gezelschap voor een lange reis? Dan koop ze!'. De klassieke oudheid als bakermat van onze Westerse kuisheidsmoraal: 'Met open deur en onbekommerd, Lesbia, bedrijf jij ontucht: alles is te zien. En kijkers heb je liever nog dan minnaars ... Pretjes die verborgen blijven vind jij niets. Maar hoertjes weren pottenkijkers met gordijn en grendel, in bordelen zit de boel potdicht. Dus leer dit minstens van die ‘meisjes’: schaam je!'
Martialis schrijft erg scherp en zijn humor is politiek incorrect, maar nooit zonder moraliserend kantje. Zo valt hij met zijn humor meerdere prominenten van zijn tijd rechtstreeks aan. Vergelijk het met W. F. Hermans’ ‘Mandarijnen op zwavelzuur’, maar dan tweeduizend jaar geleden geschreven. Daar zit net de moeilijkheid om van Martialis’ humor te genieten. En een grap uitleggen, maakt het monddood.
Deze publicatie van Damon verdient alle lof. Door integraal een werk uit de oudheid te publiceren, krijgt de lezer te zien hoe publicaties er in de oudheid uitzagen. Zo zien we hoe Martialis bewust omgaat met hoogwaardige puntdichten, afgewisseld met ‘opvulsel’, dat een grote dynamiek geeft die het lezen doet vlotten. Bloemlezingen houden de kwaliteit van gedichten vaak veel te hoog, waardoor het vermoeiend wordt.
Op de vertaling valt er kritiek te geven. Deze publicatie is gemaakt voor een breed publiek, wat op zich uitstekend is. Niettemin is het jammer dat de originele Latijnse tekst niet mee is afgedrukt. Latijn is op sterven na dood - akkoord - maar door de originele tekst niet mee af te drukken, wordt de dode taal in een vertaald keurslijf gewrongen en wordt het onmogelijk om nieuwe interpretaties van de tekst te vormen. Zo lijkt het alsof de vertalers zich verbergen achter een mistige sluier omtrent hun interpretatie van de oorspronkelijke tekst.
Niet enkel het ontbreken van de originele tekst is een hekelpunt, ook de progressieve vertaling is op zijn minst opmerkelijk. Zo worden bijvoorbeeld Latijnse namen zomaar vervangen door moderne Nederlandse namen of lijken Nederlandse spellingsregels omtrent ‘te veel’ en ‘teveel’ gestrand te zijn in de oudheid. En dat er in de oudheid überhaupt Frans en Engels werd gesproken, is wel erg frappant.
Wouter Etienne
© Cutting Edge - 1 juni 2015
Van de klassieke oudheid een beeld vormen, is moeilijk. Steeds weer roept men van weelde, pracht en praal, maar de overgeleverde ruïnes verkeren in verloederde toestand. Zelfs de meest fantastische ziel kan zich hier geen maatschappij bij voorstellen. Voor al wie deze vaagheid ervaart, zijn er de poëtische epigrammen van Martialis.
‘De waanzin van Rome’ is een integraal werk van Martialis uit de eerste eeuw na Christus. Daarom is het uniek en interessant. In het verleden zijn meerdere bloemlezingen samengesteld uit het oeuvre van Martialis, maar deze lieten de ‘minder interessante’ en ‘vunzige’ epigrammen graag achterwege.
Als zeer nederig dichter schrijft Martialis over zichzelf: 'Hier is hij dan - u leest hem, vraagt naar hem: de wereldwijd vermaarde Martialis met zijn spitse epigrammenboekjes!'. En reclame maken voor zichzelf, dat zou hij niet durven: 'Je wilt mijn boekjes bij je hebben, overal? Je zoekt gezelschap voor een lange reis? Dan koop ze!'. De klassieke oudheid als bakermat van onze Westerse kuisheidsmoraal: 'Met open deur en onbekommerd, Lesbia, bedrijf jij ontucht: alles is te zien. En kijkers heb je liever nog dan minnaars ... Pretjes die verborgen blijven vind jij niets. Maar hoertjes weren pottenkijkers met gordijn en grendel, in bordelen zit de boel potdicht. Dus leer dit minstens van die ‘meisjes’: schaam je!'
Martialis schrijft erg scherp en zijn humor is politiek incorrect, maar nooit zonder moraliserend kantje. Zo valt hij met zijn humor meerdere prominenten van zijn tijd rechtstreeks aan. Vergelijk het met W. F. Hermans’ ‘Mandarijnen op zwavelzuur’, maar dan tweeduizend jaar geleden geschreven. Daar zit net de moeilijkheid om van Martialis’ humor te genieten. En een grap uitleggen, maakt het monddood.
Deze publicatie van Damon verdient alle lof. Door integraal een werk uit de oudheid te publiceren, krijgt de lezer te zien hoe publicaties er in de oudheid uitzagen. Zo zien we hoe Martialis bewust omgaat met hoogwaardige puntdichten, afgewisseld met ‘opvulsel’, dat een grote dynamiek geeft die het lezen doet vlotten. Bloemlezingen houden de kwaliteit van gedichten vaak veel te hoog, waardoor het vermoeiend wordt.
Op de vertaling valt er kritiek te geven. Deze publicatie is gemaakt voor een breed publiek, wat op zich uitstekend is. Niettemin is het jammer dat de originele Latijnse tekst niet mee is afgedrukt. Latijn is op sterven na dood - akkoord - maar door de originele tekst niet mee af te drukken, wordt de dode taal in een vertaald keurslijf gewrongen en wordt het onmogelijk om nieuwe interpretaties van de tekst te vormen. Zo lijkt het alsof de vertalers zich verbergen achter een mistige sluier omtrent hun interpretatie van de oorspronkelijke tekst.
Niet enkel het ontbreken van de originele tekst is een hekelpunt, ook de progressieve vertaling is op zijn minst opmerkelijk. Zo worden bijvoorbeeld Latijnse namen zomaar vervangen door moderne Nederlandse namen of lijken Nederlandse spellingsregels omtrent ‘te veel’ en ‘teveel’ gestrand te zijn in de oudheid. En dat er in de oudheid überhaupt Frans en Engels werd gesproken, is wel erg frappant.
Wouter Etienne
© Cutting Edge - 1 juni 2015
Read
January 11, 2009Imagine 50 Cent as a particularly spoiled and vicious Neocon. Stick him in the patrician classes of imperial Rome, where he has no way to know any better. Imagine he pens volumes of (mercifully) short verse, which go through a Tom Green sort of vogue among scandalized upper-class Romans who also have no way to know any better. Imagine the overall quality of said verse ranks somewhere between the works of Peter Filkins and Prostetnic Vogon Jeltz.
Painfully American poetry, without the moral pretensions or PC varnish.
Painfully American poetry, without the moral pretensions or PC varnish.
August 1, 2015
These epigrams are clever, dirty, insightful, and very funny. Martial was essentially the first ever roaster, calling out his friends and certain public figures with jokes and observations that were sharp, but never really intended to be cruel. The fact that he came from Spain and loved leisure and food makes him all the more charming; his personality shines through his verse. The Penguin edition's introduction and endnotes provided interesting insight into the Roman world. I only wish I had read these when I took Latin in high school.
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