{"id":11437,"date":"2020-07-17T15:45:24","date_gmt":"2020-07-17T14:45:24","guid":{"rendered":"http:\/\/www.themanchesterreview.co.uk\/?p=11437"},"modified":"2020-07-29T11:52:32","modified_gmt":"2020-07-29T10:52:32","slug":"naming-names-ideas-of-address-in-catullus-and-others","status":"publish","type":"post","link":"https:\/\/www.themanchesterreview.co.uk\/?p=11437","title":{"rendered":"Naming Names: Ideas of Address in Catullus and Others"},"content":{"rendered":"

\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 We are poor passing facts
\n<\/span>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 warned by that to give
\n<\/span>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 each figure in the photograph
\n<\/span><\/span><\/span><\/span><\/span>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 his living name.
\n<\/span>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0Robert Lowell, ‘Epilogue,’\u00a0<\/span><\/span>Day by Day<\/i><\/span><\/span><\/span><\/span><\/span><\/p>\n

\u00a0 \u00a0Catullus\u2019s 116 mainly short poems abound in names. Often enough there\u2019s a name in the first line, or the first sentence, or as the first word. At school we were taught about a part of speech called Proper Nouns: names of persons, names of places, names of seas, names of winds. Although Catullus\u2019s poems may be cooled by the odd Zephyr and chilled by Boreas and travel to far flung places, it\u2019s the names of persons that stand out. Many of his poems are addressesd to a particular named person, usually, we assume, a friend, and often referring to one or more named (or unnamed) person known to both. It\u2019s a good ruse to generate both a casual speaking voice and shared experience, and seems effortlessly to establish a tone that can be jokey, bitchy, mocking, acerbic, mock-acerbic, affectionate, tender, even loving. Hard as it is in another language, especially a dead language, to hear a speaking voice \u2013 and Robert Frost asserts the impossibility of doing so \u2013 Catullus seems instantly identifiable by his tone, or rather by his mercurial range of tones.
\n<\/span><\/span><\/span><\/span>\u00a0 \u00a0It\u2019s not only Catullus\u2019s voice, though, that we hear in his poems. Other voices interrupt, arraign or arrest him \u2013 a phenomenon we might associate more with drama or epic than with the lyric, especially the short lyric. A typical example is 10 where Varus\u2019s mistress, presumes to take him at his word and asks to borrow the sedan-chair bearers he lyingly boasted were his. Curiously, it was having to parse this poem in a Latin class at thirteen, that I had my first inkling of what a poem is, till then a topic which had never prompted in me the remotest interest. However removed the situation and the language, I heard a voice I recognised, I saw the whole scene in my head. The poet \u2013 I had no ideas then that he could have just been making the whole thing up \u2013 was reliving an acute social embarrassment, and was getting his belated revenge.
\n<\/span><\/span><\/span><\/span>\u00a0 \u00a0The first poem in Catullus\u2019s book, written, it\u2019s likely, in the last year of his brief life, is a witty ten-line dedicatory poem addressed to his friend, the historian Cornelius Nepos, presenting him with this \u2018new elegant little book\u2019, his \u2018lepidum novum libellum\u2019, a poem which in passing also swears by Jupiter and invokes an unnamed \u2018virgin\u2019 who may be either Minerva or one of the Muses, The vocative mode of this opening poem is maintained in the next that is addressed not to a person but to Lesbia\u2019s sparrow, although in this case the person is only referred to as \u2018my girl\u2019, \u2018meae puellae\u2019. The small scale \u2013 from the little book to the sparrow \u2013 is already asserted in neoteric fashion, perhaps in deference to the saying attributed to Callimachus \u2018<\/span>mega biblion, mega kakon<\/i><\/span>\u2019 \u2013 big book, big evil. Cornelius Nepos, however, is acknowledged in the poem as the author of an ambitious three-volume historical work, so the <\/span>libellum<\/i><\/span>, buffed with dry pumice, is offered in arch contrast.<\/span><\/span><\/span><\/span><\/p>\n

 <\/p>\n

\u00a0 \u00a0How do names function within a poem? On one level they\u2019re words like any other. They can be metrically scanned or subsumed in the rhythm of the line, and in Latin, obviously, they decline like every other noun. (Jupiter has a particularly irregular and eccentric set of cases.) Although they can be avoided by pronoun, epithet or periphrasis, names stand unambiguously for one thing, one person, unsubstitutable by another. But a name is already a substitution for the presence of an actual (or imagined) person. A friend who has a stutter explained to me that he had the most difficulty with names and numbers, for which there was no evasive manouvre possible. In other cases, his large vocabulary and speed of mind could often seize on another word, but names remained obdurately non-interchangeable. More on numbers later, but names cast a solid, unambiguous shadow. <\/span>L\u2019ombra di un nome<\/i><\/span><\/span>, the poet Giovanni Pascoli wrote, turning a name into a gravestone. <\/span><\/span>They say everything and nothing, being arbitrary, fated and immutable. Even a nickname shares with poetry an element of invention and characterisation. Could names then be thought of as antithetical to a poem\u2019s freedom to play with sound and image, to use suggestion rather than statement? A stumbling-block, an obstacle, an obstruction to a poem\u2019s flow?
\n<\/span><\/span><\/span><\/span>\u00a0 \u00a0For Catullus it seems not. His use of names is excessive by any standard. Not name-dropping so much as name-sowing and name-planting, a field and a forest of names. Instead of weighing down the verse, as it easily might, his use of names is sociable and frivolous, and helps just as the everyday situations he describes do, to make these terse poems conversational, so the tight metres he employs constantly play against the idiomatic, gossipy, often obscene language. Surely there\u2019s no better example of what Frost calls \u2018sentence sounds\u2019.
\n<\/span>\u00a0 \u00a0The <\/span>fons et origo<\/i><\/span> of poetic name-calling, at least for the Western tradition, is the catalogue of ships and men in Homer\u2019s <\/span>The Iliad<\/i><\/span> (ll.584-989), a portion\u00a0of which, in Robert Fagles\u2019s translation reads:<\/span><\/p>\n

\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 Then Schedius and Epistrophus led the men of Phocis \u2013
\n<\/span><\/span><\/span><\/span>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0two sons of Ephitus, that great heart, Naobolus\u2019 son \u2013
\n<\/span>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0the men who held Cyparissus and Pytho\u2019s high crags.
\n<\/span>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0the hallowed earth of Crisa, Daulis and Panopeus,
\n<\/span>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0men who dwelled round Anemoria, round Hyampolis,
\n<\/span>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0men who lived along the Cephisus\u2019 glinting waters,
\n<\/span>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0men who held Lilaea close to the river\u2019s wellsprings.
\n<\/span>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0Laden with all their ranks came forty long black ships
\n<\/span>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0and Phocian captains ranged them column by column,
\n<\/span>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0manning stations along the Boeotians\u2019 left flank.<\/span><\/p>\n

Sixteen place-names and men\u2019s names in ten lines; five hundred and five lines which maintain this resounding, heroic roll-call. Each ‘strophe’ packed, and organised by the anaphora \u2018men who…\u2019 and ending with the number (and type) of ships they brought. Beside this martial catalogue, Catullus\u2019s naming is decidedly informal and unheroic.<\/span><\/span><\/span><\/span><\/p>\n

 <\/p>\n

\u00a0 \u00a0Many of Milton\u2019s sonnets, to take one, more local example, begin with the name of the addressee as the subject of the poem \u2013 Vane, Fairfax, Cromwell, Cyriak Skinner, H. Lawes etc. It\u2019s a habit he may have picked up from the Roman poets, most likely Horace, another great namer of names, and gives further weight to the cumbersome mighty movement of the verse. But in his case, the names for the most part are already in the public zone, already presences occupying the historical stage on which Milton was at home: <\/span><\/span><\/span><\/span><\/p>\n

\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 Vane, young in yeares, but in sage counsell old,
\n<\/span><\/span><\/span><\/span>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 Then whome a better Senatour nere held
\n<\/span>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 The helme of Rome, when gownes not armes repelld
\n<\/span>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 The feirce Epeirot & the African bold<\/span><\/p>\n

and the poems are squarely centred on the figure addressed. By contrast Catullus\u2019s names proliferate and are only sometimes those of known public figures \u2013 one resounding exception being 93, his curt dismissal of Caesar \u2013 and tend to find street encounters with, say, the the ill-mannered mistress of the bankrupt Formian merchant more engaging than public affairs. In fact, a fair number of public figures do crop up in his poems \u2013 Pompey, Cicero, and so on \u2013 and many others would have been known to his contemporaries. It\u2019s rather that Catullus, despite being very much of the senatorial class, is insistently informal and irreverent, and any heirarchy has to do with personal affection rather than social status.
\n<\/span><\/span><\/span><\/span>\u00a0 \u00a0But it is surely George Gordon Byron, who is our closest poet to Catullus, in his speed of reflex, swift passage of mood and his delight in naming. The \u2018dedication\u2019 to Southey of <\/span>Don Juan<\/i><\/span> begins, as many a Catullus poem, with the name about to be flayed:<\/span><\/p>\n

\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0Bob Southey! You\u2019re a poet \u2013 Poet-laureate,
\n<\/span><\/span><\/span><\/span>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0And representative of all the race.
\n<\/span>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 Although \u2018tis true that you turned a Tory at
\n<\/span>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0Last \u2013 yours has lately been a common case…<\/span><\/p>\n

before turning his tender attentions to Coleridge and Wordsworth. No doubt the multitude of poets\u2019 names in Pope\u2019s <\/span>Dunciad<\/i><\/span> \u2013 \u2018Dennis and dissonance, brangling and Brewall…\u2019 \u2013 gave Byron licence, but the cornucopia of names that follow in stanzas 2 and 3 of the poem proper, as he pretends to flounder about in search of an appropriate hero for his poem, are very much in the spirit of Catullus:<\/span><\/span><\/span><\/span><\/p>\n

\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 Vernon, the butcher Cumberland, Wolfe , Hawke,
\n<\/span><\/span><\/span><\/span>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0Prince Ferdinand, Granby, Burgoyne, Keppel, Howe…<\/span><\/p>\n

followed in the next stanza, as if this wasn\u2019t enough, by:<\/span><\/span><\/span><\/span><\/p>\n

\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0Barnave, Brissot, Condorcet, Mirabeau,
\n<\/span><\/span><\/span><\/span>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 Petion, Clootz, Danton, Marat, La Fayette
\n<\/span>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0were French, and famous people as we know;
\n<\/span>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 And there were others, not forgotten yet,
\n<\/span>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0Joubert Hoche, Marceau, Lannes, Desaix, Moreu,
\n<\/span><\/span><\/span><\/span>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 With many of the military set,
\n<\/span>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0Exceedingly remarkable at times,
\n<\/span>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0But not at all adapted to my rhymes.<\/span><\/p>\n

Here it\u2019s as though he\u2019s determined to out-Catullus Catullus, and his knowing, worldly tone owes much to the Latin forebear, whose sexual candour and obscenity he would also likely have found appealing.<\/span><\/span><\/span><\/span><\/p>\n

\u00a0 \u00a0As for numbers, that other stumbling block, which like names are unique and unsubstitutable, Catullus is also prolifically numerate<\/span>1<\/sup><\/a>. Not only do we know his poems by their number, but like our \u2018numbers\u2019, in Latin \u2018numerus\u2019 refers to metre, so 50 has the poet amusing himself with Licinius : \u2018ludebat numero modo hoc modo illuc\u2019 \u2013 (each of us) played at writing in this or that metre. At times, metre and number combine as in the threat to expose Asinius Marrucinius, who has stolen his napkin, with \u2018hendecasyllabos trecentos\u2019. Numbers occur often enough with relation to sums of money, and can be very specific, as in 26 where the debt incurred by his farm, worse than anything the climate can throw at him, is fifteen thousand two hundred (\u2018milia quindecem et ducentos\u2019). But mostly they occur as extravangance and exaggeration, as in 5 where he asks of Lesbia : \u2018da mi basia mille, deinde centum \/ dein mille altera, dein secunda centum\u2019 \u2013 and so on up to three thousand three hundred kisses, and then more to confuse the initially precise reckoning. Also 48 counts kisses to his friend Juventius (300,000) and ends with the inadequacy of the number, even if it were fuller than a harvest of ripe ears of corn. These multiplications are at once worldly and lyrical.<\/span><\/span><\/span><\/span><\/p>\n

\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 ***<\/span><\/span><\/span><\/span><\/p>\n

It\u2019s a singular and poignant feature of the three poems Catullus wrote about his brother\u2019s death (65, 68, and 101) that nowhere in them is his brother named. He is addressed only as \u2018frater\u2019. We know \u2013 and learn \u2013 nothing of his life. All we can suppose, because he tells us so, is that Catullus visited his grave in the Troad in Bythinia, modern day Anatolia, by land and sea, almost exactly a thousand miles from Rome, no mean journey. The poems supply no details about him other than his death. This name avoidance is reminiscent of the taboo still practiced by some indigenous Australian cultures, but sufficiently widespread in Africa, South America and Southern India to suggest some instinctive and universal dread of naming the dead, of calling them by name and so calling them up. Here at the very least, in the context of such a plethora of names, the omission of his brother\u2019s creates a dark invisible border exiling him from the vivid social world of so much of Catullus\u2019s work.
\n<\/span><\/span><\/span><\/span>\u00a0 \u00a065 is addressed to Hortalus, 68 to Manius, but 101 the last and most renouned of these elegiac poems speaks directly to his brother:<\/span><\/p>\n

\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0multas per gentes et multa per aequora vectus
\n<\/span><\/span><\/span><\/span><\/span>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0advenio has miseras frater ad inferias
\n<\/span>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0ut te postremo donarem munere mortis
\n<\/span>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0et mutam nequiquam alloquerer cinerem
\n<\/span>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0quandoquidem fortuna mihi tete abstulit ipsum
\n<\/span>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0heu miser indigne frater adempte mihi
\n<\/span>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0nunc tamen interea haec prisco quae more parentum
\n<\/span>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0tradita sunt tristi munere ad inferias
\n<\/span>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0accipe fraterno multum manantia fletu
\n<\/span>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0atque in perpetuum frater ave atque vale<\/span><\/p>\n

For which<\/span> a rough (and unready) translation of mine might serve:
\n<\/span><\/span><\/span><\/span><\/p>\n

\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 Crossing many lands and many seas,
\n<\/span>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 I have come, brother, for these wretched funeral rites
\n<\/span>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 to present you with the last tribute of death
\n<\/span>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 and to speak in vain to voiceless ash,
\n<\/span>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 since Fortune has cut you off from me,
\n<\/span>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 alas, poor brother, and cruelly bereft me of your very self,
\n<\/span>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 so now meanwhile, according to ancestral custom,
\n<\/span>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 in sad observance of the funeral rites, receive
\n<\/span>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 these things, drenched with fraternal tears:
\n<\/span>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 now and forever, brother, hail and farewell.<\/span><\/p>\n

Words echo each other throughout this brief ten-line poem, from the first line\u2019s pairing of \u2018multas\u2019 and \u2018multa\u2019 and the penultimate line\u2019s \u2018multum\u2019 (with \u2018mutam\u2019 between); with \u2018miseras\u2019 and \u2018miser\u2019; with the doubling of \u2018inferias\u2019, \u2018munere\u2019 and of \u2018atque\u2019 and the final almost anagrammatic \u2018ave\u2019 and \u2018vale\u2019. But the echo that we hear most resoundingly in the hollowed acoustics of the poem is \u2018frater, \u2018frater\u2019, \u2018fraterno\u2019. Even the emphatic personal pronoun \u2018tete\u2019 is a repetition built on an absence. Dead centre of the poem is the single mournful exclamation \u2018heu\u2019. That\u2019s a great many repetitions for a short poem, and the vocabulary is predictable and conventional \u2013 funeral rites, ashes, sadness, tears. It reprises almost verbatim the phrasing of 68B:<\/span><\/span><\/span><\/span><\/p>\n

\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0sed totum hoc studium luctu fraterna mihi mors
\n<\/span><\/span><\/span><\/span>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0abstulit. o misero frater adempte mihi.<\/span><\/p>\n

\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0(But all this interest [in poetry] has been wrested from me by
\n<\/span><\/span><\/span><\/span>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 my brother\u2019s death. O woe is me, with you, brother, taken from me.)<\/span><\/p>\n

However predictable the language of 101 sounds, the wonder is that it somehow embodies the numbness of grief and the depth of love. Arguably, its very namelessness gives it such force, as does the flat tone and conventional vocabulary, set against the sociable multitude of names and the dazzling play and tonal variety in so many of his other poems.<\/span><\/span><\/span><\/span><\/p>\n

\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0***<\/span><\/span><\/span><\/span><\/p>\n

Anne Carson\u2019s<\/span> Nox<\/i><\/span> makes an uncanny use of this famous poem, and appropriately turns it into a lament for her own brother\u2019s death. In this case, however, we do encounter the name of her brother, Michael, and in the slow and meandering course of <\/span>Nox<\/i><\/span> we receive fragmentary information about his life. The work is arranged in a concertina of attached pages, not as a book but rather as a gathering of scattered leaves, which when opened like a book, mainly uses the verso for a word-by-word parsing of Catullus\u2019s poem and the recto for a miscellany of texts and images. The verso columns mimic a Latin-English dictionary entry for every one of the poem\u2019s 63 words with repetitions referred back to the first instance. Most of the entries \u2013 even those of adverbs and pronouns \u2013 ingeniously contrive some reference to \u2018nox\u2019 so that the hidden theme is a perpetuum of night \u2013 \u2018nox est perpetua\u2019 (the phrase occurs first in Catullus 5, a poem on the death of Lesbia\u2019s sparrow). This is both a grim scholastic joke and a searing confrontation with the ineluctable fact of her brother\u2019s death and the incomplete knowledge she has gathered to piece together his life. (For readers whose Latin is wretched as mine, it also provides a helpful gloss to the poem and a crash course in vocabulary and grammar.)
\n<\/span><\/span><\/span><\/span>\u00a0 \u00a0Roughly midway through the work, the poet gives her own \u2018translation\u2019 of Catullus 101, which does little to accord with the ramifying meanings listed in the word-by-word verso entries, or rather it marks a minus sign, a shortfall, in deference to the complex unity of the original poem. By being more or less \u2018word-for-word\u2019, the translation deliberately does violence to the usual English word order, but still includes the odd striking condensation such as the interrogative \u2018Why?\u2019 to register the adverb \u2018nequiquam\u2019 (in vain, to no purpose).
\n<\/span>\u00a0 \u00a0Every sheet, verso and recto, is a collage, whether text, drawing, letter, or photograph, so the work is like a memorial album but, though reproduced in this grey box, the edges of each glued-in section still retain a jagged and puckered appearance, as well as faint signs of staplings, and so match the serrated edges of the Fifties photographs included, but also suggest the torn-off, fragmentary nature of the life and the poet\u2019s meditation on loss. For even the information about his life, sparse as it is, is interrupted by reflections on history, Herodotus \u2018the father of history\u2019, Plutarch and others. Most heartbreaking are details of their mother\u2019s thwarted love for her son and his widow\u2019s account which alludes to episodes from his life and funeral. It\u2019s a work of extraordinary restraint and, as often in Carson\u2019s writings, her narrative skill is witnessed by what she leaves out as much as by what she includes, though here what is omitted is poignantly due to a lack of knowledge and a lack of contact with the brother whose vagrant and disturbed life and loves are fragments that can only ever be incompletely fitted together.<\/span><\/p>\n

\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0*** <\/span><\/span><\/span><\/span><\/p>\n

\u00a0 \u00a0Of all the names that occur in his poems Catullus shows an inordinate fondness for his own \u2013 as anyone might if they were called Catullus; if they <\/span>were<\/i><\/span> Catullus. \u2018Catullus\u2019 occurs in every singular case of the first declension noun that he is (so in English translation it\u2019s as though his name is shorn of all the variant endings): in self-communing (46), as a reminder to friends (38 begins in ironically mournful style \u2018Your Catullus, Cornificius, is unwell…\u2019), as a person spoken to within his own poem: in 10, \u2018mi Catulle\u2019, he is addressed, as we\u2019ve seen, by Varus\u2019s mistress.
\n<\/span><\/span><\/span><\/span>\u00a0 \u00a0We see \u2018Catullus\u2019 surrounded by an extended, convivial and promiscuous social circle in Rome, his poems addressing his lover Lesbia, his friends Cornelius, Flavius, Veranius:<\/span><\/p>\n

\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 Verani, omnibus e meis amicis
\n<\/span><\/span><\/span><\/span><\/span>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 antistans mihi milibus trecentis…<\/span><\/p>\n

\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 (Veranius, my favourite among the three
\n<\/span><\/span><\/span><\/span>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 hundred thousand of my friends…)<\/span><\/p>\n

Here name and number combine. Then we have Fabullus, inseparably paired with Veranius, Varus, Furius, Aurelius, and Calvus, and that only covers the first fifteen poems, without listing the various named enemies. The so frequent presence of his own name amid this circle gives us the delightful illusion of knowing the \u2018actual\u2019 living Catullus, though of course this is an illusion that is artfully constructed by the poems. It reminds me of the poet Antonio Machado who created among his various apocryphals a figure called Antonio Machado who seems to have shared a great many biographical features with his namesake, only he died in Teruel several years earlier than his author.<\/span><\/span><\/span><\/span><\/p>\n

\n

1<\/a>\u0002<\/sup> In relation to my earlier claim that numbers are resistant to poetic inclusion, Clarence Brown in his discussion of Osip Mandelstam\u2019s great early poem \u2018Hagia Sophia\u2019, writes that the poet \u2018insists upon the precision of the numerals \u2013 107, 40, 4 [respectively, the marble columns, the windows and the archangels] \u2013 of all grammatical categories the most \u2018unpoetic\u2019…\u2019 Although the context of his argument is far removed from that of Catullus, the essential idea is similar, and the fact that the word \u2018unpoetic\u2019 is in inverted commas suggests his own contrary intuition. Clarence Brown, <\/span>Mandelstam<\/i><\/span>, Cambridge, 1973, p.187<\/span><\/span><\/div>\n","protected":false},"excerpt":{"rendered":"

\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 We are poor passing facts \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 […]<\/p>\n","protected":false},"author":340,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"jetpack_publicize_message":"","jetpack_is_tweetstorm":false,"jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":[]},"categories":[394,397],"tags":[398],"jetpack_publicize_connections":[],"yoast_head":"\nNaming Names: Ideas of Address in Catullus and Others - The Manchester Review<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"http:\/\/www.themanchesterreview.co.uk\/?p=11437\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Naming Names: Ideas of Address in Catullus and Others - The Manchester Review\" \/>\n<meta property=\"og:description\" content=\"\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 We are poor passing facts \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 […]\" \/>\n<meta property=\"og:url\" content=\"http:\/\/www.themanchesterreview.co.uk\/?p=11437\" \/>\n<meta property=\"og:site_name\" content=\"The Manchester Review\" \/>\n<meta property=\"article:published_time\" content=\"2020-07-17T14:45:24+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2020-07-29T10:52:32+00:00\" \/>\n<meta name=\"author\" content=\"Jamie McKendrick\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Jamie McKendrick\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"16 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"http:\/\/www.themanchesterreview.co.uk\/?p=11437\",\"url\":\"http:\/\/www.themanchesterreview.co.uk\/?p=11437\",\"name\":\"Naming Names: Ideas of Address in Catullus and Others - The Manchester Review\",\"isPartOf\":{\"@id\":\"http:\/\/www.themanchesterreview.co.uk\/#website\"},\"datePublished\":\"2020-07-17T14:45:24+00:00\",\"dateModified\":\"2020-07-29T10:52:32+00:00\",\"author\":{\"@id\":\"http:\/\/www.themanchesterreview.co.uk\/#\/schema\/person\/441674ef027e861858a175b267d3ce09\"},\"breadcrumb\":{\"@id\":\"http:\/\/www.themanchesterreview.co.uk\/?p=11437#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"http:\/\/www.themanchesterreview.co.uk\/?p=11437\"]}]},{\"@type\":\"BreadcrumbList\",\"@id\":\"http:\/\/www.themanchesterreview.co.uk\/?p=11437#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/www.themanchesterreview.co.uk\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Naming Names: Ideas of Address in Catullus and Others\"}]},{\"@type\":\"WebSite\",\"@id\":\"http:\/\/www.themanchesterreview.co.uk\/#website\",\"url\":\"http:\/\/www.themanchesterreview.co.uk\/\",\"name\":\"The Manchester Review\",\"description\":\"The Manchester Review\",\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"http:\/\/www.themanchesterreview.co.uk\/?s={search_term_string}\"},\"query-input\":\"required name=search_term_string\"}],\"inLanguage\":\"en-US\"},{\"@type\":\"Person\",\"@id\":\"http:\/\/www.themanchesterreview.co.uk\/#\/schema\/person\/441674ef027e861858a175b267d3ce09\",\"name\":\"Jamie McKendrick\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"http:\/\/www.themanchesterreview.co.uk\/#\/schema\/person\/image\/\",\"url\":\"https:\/\/www.themanchesterreview.co.uk\/wp-includes\/images\/blank.gif\",\"contentUrl\":\"https:\/\/www.themanchesterreview.co.uk\/wp-includes\/images\/blank.gif\",\"caption\":\"Jamie McKendrick\"},\"description\":\"Jamie McKendrick\u2019s most recent book of poems is Anomaly (Faber, 2018). The Foreign Connection, a book of essays on poetry, art and translation, which includes this article, is forthcoming from Legenda. In September, The Years, a chapbook with his poems and illustrations, is due to be published by Arc.\",\"url\":\"https:\/\/www.themanchesterreview.co.uk\/?author=340\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"Naming Names: Ideas of Address in Catullus and Others - The Manchester Review","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"http:\/\/www.themanchesterreview.co.uk\/?p=11437","og_locale":"en_US","og_type":"article","og_title":"Naming Names: Ideas of Address in Catullus and Others - The Manchester Review","og_description":"\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 We are poor passing facts \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 […]","og_url":"http:\/\/www.themanchesterreview.co.uk\/?p=11437","og_site_name":"The Manchester Review","article_published_time":"2020-07-17T14:45:24+00:00","article_modified_time":"2020-07-29T10:52:32+00:00","author":"Jamie McKendrick","twitter_misc":{"Written by":"Jamie McKendrick","Est. reading time":"16 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"WebPage","@id":"http:\/\/www.themanchesterreview.co.uk\/?p=11437","url":"http:\/\/www.themanchesterreview.co.uk\/?p=11437","name":"Naming Names: Ideas of Address in Catullus and Others - The Manchester Review","isPartOf":{"@id":"http:\/\/www.themanchesterreview.co.uk\/#website"},"datePublished":"2020-07-17T14:45:24+00:00","dateModified":"2020-07-29T10:52:32+00:00","author":{"@id":"http:\/\/www.themanchesterreview.co.uk\/#\/schema\/person\/441674ef027e861858a175b267d3ce09"},"breadcrumb":{"@id":"http:\/\/www.themanchesterreview.co.uk\/?p=11437#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["http:\/\/www.themanchesterreview.co.uk\/?p=11437"]}]},{"@type":"BreadcrumbList","@id":"http:\/\/www.themanchesterreview.co.uk\/?p=11437#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/www.themanchesterreview.co.uk\/"},{"@type":"ListItem","position":2,"name":"Naming Names: Ideas of Address in Catullus and Others"}]},{"@type":"WebSite","@id":"http:\/\/www.themanchesterreview.co.uk\/#website","url":"http:\/\/www.themanchesterreview.co.uk\/","name":"The Manchester Review","description":"The Manchester Review","potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"http:\/\/www.themanchesterreview.co.uk\/?s={search_term_string}"},"query-input":"required name=search_term_string"}],"inLanguage":"en-US"},{"@type":"Person","@id":"http:\/\/www.themanchesterreview.co.uk\/#\/schema\/person\/441674ef027e861858a175b267d3ce09","name":"Jamie McKendrick","image":{"@type":"ImageObject","inLanguage":"en-US","@id":"http:\/\/www.themanchesterreview.co.uk\/#\/schema\/person\/image\/","url":"https:\/\/www.themanchesterreview.co.uk\/wp-includes\/images\/blank.gif","contentUrl":"https:\/\/www.themanchesterreview.co.uk\/wp-includes\/images\/blank.gif","caption":"Jamie McKendrick"},"description":"Jamie McKendrick\u2019s most recent book of poems is Anomaly (Faber, 2018). The Foreign Connection, a book of essays on poetry, art and translation, which includes this article, is forthcoming from Legenda. In September, The Years, a chapbook with his poems and illustrations, is due to be published by Arc.","url":"https:\/\/www.themanchesterreview.co.uk\/?author=340"}]}},"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p2PuXo-2Yt","_links":{"self":[{"href":"https:\/\/www.themanchesterreview.co.uk\/index.php?rest_route=\/wp\/v2\/posts\/11437"}],"collection":[{"href":"https:\/\/www.themanchesterreview.co.uk\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.themanchesterreview.co.uk\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.themanchesterreview.co.uk\/index.php?rest_route=\/wp\/v2\/users\/340"}],"replies":[{"embeddable":true,"href":"https:\/\/www.themanchesterreview.co.uk\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=11437"}],"version-history":[{"count":3,"href":"https:\/\/www.themanchesterreview.co.uk\/index.php?rest_route=\/wp\/v2\/posts\/11437\/revisions"}],"predecessor-version":[{"id":11609,"href":"https:\/\/www.themanchesterreview.co.uk\/index.php?rest_route=\/wp\/v2\/posts\/11437\/revisions\/11609"}],"wp:attachment":[{"href":"https:\/\/www.themanchesterreview.co.uk\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=11437"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.themanchesterreview.co.uk\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=11437"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.themanchesterreview.co.uk\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=11437"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}