Draft:Catullus 22

Introduction
Catullus 22 is a poem by Gaius Valerius Catullus (c.84 - c.54 BCE), written in the choliambic (12 syllable) meter. Catullus 22 is one of eight (8, 22, 31, 37, 39, 44, 59, 60) poems written by Catullus utilizing this meter to portray various messages (often regarding satire or mockery). In this piece specifically, Catullus emphasizes Suffenus' peculiar behavior of being stylish in all manners except his poetry writing. Through complementing Suffenus, Catullus delves into further detail regarding the exquisite materials Suffenus uses in crafting his physical sheets of poetry, not the intrinsic value his writing exhibits. This difference in modus operandi is accentuated by Catullus' regard for Suffenus' general demeanor.

The comportment of Suffenus
As clearly portrayed throughout the poem, Catullus believes Suffenus has unseen shortcomings in his poetic abilities. Catullus continuously describes Suffenus' general ways of acting as venustus (lovely), dicax (well-spoken) and urbanus (urbane). Venustus is used throughout Catullus' poetry to denote an urban quality, though rarely refers to simply physical attractiveness, often being juxtaposed to urbanus by Catullus and others writers. Quintillius offers that venustus adds a sense of grace and charm to the object it is describing. Quintillius also adds that dicax is derived from dico, therefore making it relevant to all forms of wit , though also acknowledging its specific importance when used regarding banter. Though Dicax is one of Catullus' most highly regarded qualities, Suffenus is only viewed as embodying it when not writing poetry. Finally, Quintillius provides insight into better understanding the slightly unclear significance of urbanus: "the learning derived from associating with an intelligent man". While these descriptions of Suffenus' initial stylish-manner are supported by the poetae novi, Catullus writes not in full praise of Suffenus. For example, Venustus, is often utilized by Catullus to describe men (unlike Plautus' and Terence's uses of the word to describe love affairs and women), and it is believed that venustas was a catchword the poetae novi used to often describe themselves. Furthermore, Suffenus' venustus quality is seen as being superficial and pretentious, in Catullus' view, further proving Suffenus' worthlessess as a poet. Regardless, this seeming praise of venustus is definitively offset by Catullus' analyzation of Suffenus' greatest vice: Haec cum legās tū, bellus ille et urbānus Suffēnus ūnus caprimulgus aut fossor rūrsus vidētur.... Suffenus writes too many verses (one of Catullus most prevalent disapprovals), the verses are bad (pedem attulistis, saeclī incommoda, pessimī poetae. ), and he insists on writing with only the finest materials available.

Additionally, Catullus repeatedly uses the Greek terms poëmata and poëma to display his belief that Suffenus' poems are ineffectual Greek imitations, further showing the extreme level of distaste he has for Suffenus' poetic abilities.

Poetae Novi & Catullus' criticisms
Catullus' initial criticism of Suffenus' work comes from the not unfamiliar source of disapproval Catullus displays towards what he considers excessively lengthy poetry; as, similar to his malign remarks regarding Suffenus' "mīlia aut decem aut plūra perscrīpta" (10,000 or more verses), Catullus has condemned "tumidō Antimachō" (swollen Antimachus) and "quīngenta Hortēnsius ūnō" (Hortenusius' 500,000 (lines)) for their extensive natures. The poeti novi's work was meticulously refined, elegant, and sophisticated, manifesting self-expression and entertainment. Given this aspect of refinement and sophistication their works demanded, the disinclination against long, extensively written poetry (like that of Suffenus, Aquinos and Caesius) that Catullus and these other "new poets" had, can be understood and expected.

Similar to the pretentiousness Suffenus' overall venustus quality adds to his poetry, the description given to the reader by Catullus of the materials Suffenus uses to craft his poetry is exceendingly misleading. Initially Suffenus' poetry's appearance seems to rival Catullus' own poetry he gifted to Cornelius in poem 1. Suffenus' libri and umbilici are novi, similar to Catullus' novum lepidum, and Suffenus' poetry was pūmice omnia aequāta, similar to Catullus' being āridā modo pūmice expolītum. However, the issue with Suffenus' poetry is it lacks the primary descriptor of Catullus': lepos. While Lepidus can be utilized to solely signify physical appearance, it often does not merely reflect the physical beauty of the object it is describing, instead reflecting the character of the creator; this use of the word is what separates Catullus' poetry from Suffenus', and gives explanation as to why Suffenus' poetry does not merit this description according to Catullus. Suffenus' work is simply physically pretty but does not contain the intrinsic charm nor striking qualities that Catullus' poetry yields.

Literary inspiration
After criticizing Suffenus' lack of self-criticism Catullus feels he suffers from, Catullus finishes the poem acknowledging that everyone carries an irremediable oversight of their own deficiencies as well. By including this, Catullus alludes to the popular fable of Aesop. The fable claims that "men are born with two bags; one in front carrying neighbor’s faults and one behind carrying their own faults". The idea that one's own faults are carried in a bag behind them while others' faults being carried in front of them, gives explanation to why people are often quicker to find fault with others than themselves. Catullus, in a certain sense however, transcends these boundaries agknowledged and articulated by the fable as he is able to acknowledge people's general inability to acknowledge their own flaws. Additionally, this idea of ancient idea of baggage (in the form of our faults) being attached to us holds many similarities to idea of emotional baggage today, grouping together the weight of our past, our mistakes, our struggles, and everything that makes us who we are today".

Catullus also makes clear his (along with fellow poetae novi) distaste for Greek poetry through his attack on Suffenus' poetry, calling his poems, poëmata and poëma. Catullus' involvement in the poetae novi or neoteric "group" is instilled by his Greek style and influence he received from Hellenistic poetry (ex. ). The goal of this group of select poets was to break away from the traditional, Annien-style of Latin poetry and instead consciously parallel Greek poetic models. Catullus' inclusion in this group renders his slander of Suffenus' poetry given their resemblance to Greek poetry confusing, proving the true intentions of this statement unclear.

Choliambic meter
Choliambic verse (Ancient Greek: χωλίαμβος), also known as "limping iambs" or scazons (greek for "limping"), is a form of meter in poetry. The "limping" effect is achieved by making the third syllable of the third matron long instead of short (as it is in the "standard" iambic senarius). This meter contains five iambs and a final trochee or spondee (which may also be utilized in the first and third feet). The choliambic meter was seemingly devised by the Greek poet Hipponax, often being associated with satire, mockery and occasionally expressions of joy. Catullus utilizes this meter for poetry based on all three of these themes.