That he possessed no ordinary share of 'piety,' in the Roman sense of the word, appears from the poems which express his grief for his brother's death. He died in the Troad; and we have seen how, some years after the event, Catullus turned aside from his pleasant voyage among the Isles of Greece and coasts of Asia, to visit his tomb and to offer upon it the customary funeral gifts. His words in reference to this great sorrow, in all the poems in which he speaks of it, are full of deep and simple human feeling. He does not venture to comfort himself with the hope which he suggests to Calvus, in the lines on the death of Quintilia, of a conscious existence after death; but he resolves that his love shall still endure even after the eternal separation from its object. Yet while yielding to the first shock of this affliction, so as to become for the time indifferent to the passion which had swayed his life, and to the delight which he had taken in the works of ancient poets and the exercise of his art, he does not allow himself to forget what was due to living friends. It is characteristic of his frank affectionate nature, that, while dead to his old interests in life and literature, he finds his chief comfort in unburthening his heart to his friends and in writing to them words of delicate consideration. He cannot bear that, even in a trifling matter, Hortalus should find him forgetful of a promise: and he longs to lighten the sorrow of his friend Manlius, who had written to him in some sudden affliction,—probably the loss of the bride in whose honour Catullus had, a short time previously, composed his great Nuptial Ode. Though all other feelings were dead, and neither love could distract nor poetry heal his grief, his heart was alive to the memory of former kindness[54], to the natural craving for sympathy, and to the duty of thinking of others.
Another, and less admirable, side of the nature of Catullus is reflected in his short satirical poems. These have nothing in common with the ethical and reflective satire of Lucilius and Horace: and although the objects of some of them are the most prominent personages in the State, yet their motive cannot, in any case, be called purely political. They are like the lampoons of Archilochus and the early Greek Iambic writers, purely personal in their object. They are either the virulent expression of his antipathies, jealousies, and rancours, or they are inspired by his lively sense of the ridiculous and by his extreme fastidiousness of taste. The most famous, most incisive, and least justifiable of these lampoons are the attacks on Julius Caesar, especially that contained in the 29th poem,—
Quis hoc potest videre, quis potest pati,
Nisi impudicus et vorax et alco, etc.—
and in the less vigorous but much more offensive 57th poem.
Catullus in these poems expresses the animosity which the 'boni' generally entertained towards the chiefs of the popular party: and his intimacy at this time with Calvus, who was a member of the Senatorian party, and who lampooned Caesar and Pompey in the same spirit, may have given some political edge to his Satire. He was moved also by a feeling of disgust towards the habits and manners of some of Caesar's instruments and creatures,—such as Vatinius, Libo, Mamurra, etc. But the chief motive both of the 29th and the 57th,—the two poems which Suetonius regarded as attaching an 'everlasting stigma' to the name of Caesar—is the jealousy of Mamurra,—the object also of many separate satires,—who, through the favour of the Proconsul and the fortune which he thereby acquired, was a successful rival of Catullus in his provincial love affairs. The indignation of Cicero was roused against the riches of Mamurra on political grounds[55]: that of Catullus on the ground that they gave their possessor an unfair advantage in the race of pleasure:—
Et ille nunc superbus et superfluens
Perambulabit omnium cubilia, etc.
Suetonius tells the story, confirmed by the lines in a later poem of Catullus—
Irascere iterum meis iambis