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Martial

Published online by Cambridge University Press:  04 July 2014

J. P. Sullivan*
Affiliation:
University of California, Santa Barbara
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Extract

Martial presents a critical problem. On the one hand, there was his undeniable popularity and literary influence on European literature from the Renaissance to at least the end of the seventeenth century. On the other hand, there is the obvious embarrassment he presents to modern literary historians.

The two viewpoints are easily contrasted. Pliny the Younger in the famous letter written about 102 had expressed doubts about Martial's literary survival, but gave him generous credit for his talent, sharp wit, candour, and mordancy. (Erat homo ingeniosus acutus acer, et qui plurimum inscribendo et satis haberet etfellis, nec candoris minus, Ep. 3.21.1.) Nevertheless Martial's work survived the wreck of late Antiquity and the Middle Ages handsomely, and with the Renaissance, he came into his own as a poet. Angelo Poliziano described him as ingeniosissimus, ‘very talented’, and argutissimus, ‘clever’ (Miscellan. 6); such judgements were echoed by Jovianus Pontanus (De sermone 3.18) and Julius Caesar Scaliger, who claimed that many of his epigrams were divina, praising their sermonis castitas, ‘purity of speech’ (Poet. 3.126). Festivissimus, ‘most witty’, and lepidissimus, ‘charming’, were the adjectives used by Adrianus Turnebus (Advers. 8.4; 13.19). Only a few critics, such as the censorious Andrea Navigero and Raffaele Maffei (Volaterranus), objected to him on moral grounds. His reception among English poets was equally enthusiastic. Sir John Harington stated firmly ‘that of all poems, the Epigram is the pleasantest, and of all that write epigram, Martial is counted the wittiest.’

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Type
Research Article
Copyright
Copyright © Aureal Publications 1987 

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