Johnny José Mafra

Catulo, Tibulo e Marcial: três momentos da poesia lírica latina

Introduction

Catulo, tibulo e marcial: três momentos da poesia lírica latina. Explore a poesia lírica latina através de Catulo, Tibulo e Marcial. Entenda os *poetae noui*, suas influências alexandrinas e a recepção crítica de Cícero na literatura romana.

Abstract

Caio Valério Catulo é o principal poeta de um grupo de poetas da época de Cícero, conhecidos como poetae noui, os quais, fazendo verdadeira revolução na poesia, imitavam os alexandrinos, isto é, os poetas gregos que viveram nos séculos m e II a.C, nos reinos helenizados do Oriente, sobretudo em Alexandria. O mais célebre desses poetas foi Calímaco de Cirene, mas citam-se também Filetas, Licófron, Teócrito, Bion e Mosco. Aos latinos Cícero costumava chamar com desdém cantores Euphorionis, atribuindo-lhes as más qualidades do poeta alexandrino Euforião

Review

The article, titled "Catulo, Tibulo e Marcial: três momentos da poesia lírica latina," promises a comprehensive exploration of three significant figures in Latin lyric poetry across different periods. However, the provided abstract focuses exclusively on Catullus, positioning him within the context of the *poetae noui* movement. It details their Alexandrian influences, citing key Greek poets like Callimachus and Theocritus, and notes the often disdainful reception from Roman contemporaries such as Cicero. This initial presentation, while informative for Catullus, immediately raises questions about the scope and content of the full paper as implied by its title. The abstract's strength lies in its detailed contextualization of Catullus, demonstrating a solid grasp of his literary environment and intellectual lineage. It effectively outlines the revolutionary aspects of the *poetae noui* and their stylistic borrowings from Hellenistic models, providing a clear historical backdrop for understanding Catullus's work. Nevertheless, its most significant weakness is the complete omission of any mention of Tibullus and Martial. This creates a considerable disjunction between the article's stated ambition to analyze "three moments" of Latin lyric poetry and the summary provided, which only addresses one-third of that premise. Without any reference to the other two poets or how their "moments" relate to Catullus, the abstract fails to articulate the core argument or comparative approach of the intended study. To address these concerns, a substantial revision of the abstract is imperative. If the full article indeed covers all three poets, the abstract must be expanded to adequately summarize their individual contributions, the specific "moments" they represent, and, critically, the analytical framework or comparative methodology used to connect them. It should clearly articulate the central thesis of the paper—what new insights are offered by juxtaposing Catullus, Tibullus, and Martial within the broader trajectory of Latin lyric. Conversely, if the paper's actual content is confined solely to Catullus, the title must be adjusted to accurately reflect this narrower focus. Clarifying the scope and the overarching argument will significantly enhance the abstract's effectiveness and accurately guide potential readers to the paper's actual contribution.

Full Text

Comments

You need to be logged in to post a comment.