martial

—martialism, n. —martialist, n. —martially, adv. —martialness, n.

/mahr"sheuhl/, adj.

1. inclined or disposed to war; warlike: The ancient Romans were a martial people.

2. of, suitable for, or associated with war or the armed forces: martial music.

3. characteristic of or befitting a warrior: a martial stride.

[1325-75; ME < L Martialis of, belonging to Mars, equiv. to Marti- (s. of Mars) + -alis -AL¹]

Syn. 2. military, soldierly.

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I

Latin Marcus Valerius Martialis

born с AD 38/41, Bilbilis, Hispania

died с 103

Roman poet.

Born in a Roman colony in what is now Spain, Martial went to Rome as a young man. There he associated with such figures as Seneca, Lucan, and Juvenal and enjoyed the patronage of the emperors Titus and Domitian. His early poetry, some marred by gross adulation of Titus, was undistinguished. He is renowned for his 12 books of epigrams (86–102?), a form he virtually created. Pointed and often obscene, they provide a picture of Roman society during the early empire that is remarkable both for its completeness and for its accurate portrayal of human foibles.

II

(as used in expressions)

court martial

martial art

martial law

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▪ Roman poet

Introduction

Latin in full  Marcus Valerius Martialis  

born Mar. 1, AD 38–41, Bilbilis, Hispania [Spain]

died c. 103

      Roman poet who brought the Latin epigram to perfection and provided in it a picture of Roman society during the early empire that is remarkable both for its completeness and for its accurate portrayal of human foibles.

Life and career

      Martial was born in a Roman colony in Spain along the Salo River. Proudly claiming descent from Celts and Iberians, he was, nevertheless, a freeborn Roman citizen, the son of parents who, though not wealthy, possessed sufficient means to ensure that he received the traditional literary education from a grammarian and rhetorician. In his early 20s, possibly not before AD 64, since he makes no reference to the burning of Rome that occurred in that year, Martial made his way to the capital of the empire and attached himself as client (a traditional relationship between powerful patron and humbler man with his way to make) to the powerful and talented family of the Senecas (Seneca, Lucius Annaeus), who were Spaniards like himself. To their circle belonged Lucan, the epic poet, and Calpurnius Piso, chief conspirator in the unsuccessful plot against the emperor Nero in AD 65. After the latter incident and its consequences, Martial had to look around for other patrons. Presumably the Senecas had introduced him to other influential families, whose patronage would enable him to make a living as a poet. Yet precisely how Martial lived between AD 65 and 80, the year in which he published Liber Spectaculorum (On the Spectacles), a small volume of poems to celebrate the consecration of the Colosseum, is not known. It is possible that he turned his hand to law, although it is unlikely that he practiced in the courts either successfully or for long.

      When he first came to Rome, Martial lived in rather humble circumstances in a garret on the Quirinal Hill (one of the seven hills on which Rome stands). He gradually earned recognition, however, and was able to acquire, in addition to a town house on the Quirinal, a small country estate near Nomentum (about 12 miles [19 km] northeast of Rome), which may have been given to him by Polla, the widow of Lucan. In time Martial gained the notice of the court and received from emperors Titus and Domitian the ius trium liberorum, which entailed certain privileges and was customarily granted to fathers of three children in Rome. These privileges included exemption from various charges, such as that of guardianship, and a prior claim to magistracies. They were therefore financially profitable and accelerated a political career. Martial was almost certainly unmarried, yet he received this marital distinction. Moreover, as an additional mark of imperial favour, he was awarded a military tribuneship, which he was permitted to resign after six months' service but which entitled him to the privileges of an eques (knight) throughout his life, even though he lacked the required property qualification of an eques.

      From each of the patrons whom Martial, as client, attended at the morning levee (a reception held when arising from bed), he would regularly receive the “dole” of “100 wretched farthings.” Wealthy Romans, who either hoped to gain favourable mention or feared to receive unfavourable, albeit oblique, mention in his epigrams, would supplement the minimum dole by dinner invitations or by gifts. The poverty so often pleaded by the poet is undoubtedly exaggerated; apparently his genius for spending kept pace with his capacity for earning.

      Martial's first book, On the Spectacles (AD 80), contained 33 undistinguished epigrams celebrating the shows held in the Colosseum, an amphitheatre in the city begun by Vespasian and completed by Titus in 79; these poems are scarcely improved by their gross adulation of the latter emperor. In the year 84 or 85 appeared two undistinguished books (confusingly numbered XIII and XIV in the collection) with Greek titles Xenia and Apophoreta; these consist almost entirely of couplets describing presents given to guests at the December festival of the Saturnalia. In the next 15 or 16 years, however, appeared the 12 books of epigrams on which his renown deservedly rests. In AD 86 Books I and II of the Epigrams were published, and between 86 and 98, when Martial returned to Spain, new books of the Epigrams were issued at more or less yearly intervals. After 34 years in Rome, Martial returned to Spain, where his last book (numbered XII) was published, probably in AD 102. He died not much over a year later in his early 60s.

      The chief friends Martial made in Rome—Seneca, Piso, and Lucan—have already been mentioned. As his fame grew, he became acquainted with the literary circles of his day and met such figures as the literary critic Quintilian, the letter writer Pliny the Younger, the satirist Juvenal, and the epic poet Silius Italicus. Whether he knew the historian Tacitus and the poet Valerius Flaccus is not certain.

Poetry

      Martial is virtually the creator of the modern epigram, and his myriad admirers throughout the centuries, including many of the world's great poets, have paid him the homage of quotation, translation, and imitation. He wrote 1,561 epigrams in all. Of these, 1,235 are in elegiac couplets, each of which consists of a six-foot line followed by a five-foot line. The remainder are in hendecasyllables (consisting of lines 11 syllables long) and other metres. Though some of the epigrams are devoted to scenic descriptions, most are about people—emperors, public officials, writers, philosophers, lawyers, teachers, doctors, fops, gladiators, slaves, undertakers, gourmets, spongers, senile lovers, and revolting debauchees. Martial made frequent use of the mordant epigram bearing a “sting” in its tail—i.e., a single unexpected word at the poem's end that completes a pun, antithesis, or an ingenious ambiguity. Poems of this sort would later greatly influence the use of the epigram in the literature of England, France, Spain, and Italy. Martial's handling of this type of epigram is illustrated by I:28, where the apparent contradiction of an insult masks an insult far more subtle: “If you think Acerra reeks of yesterday's wine, you are mistaken. He invariably drinks till morning.” Puns, parodies, Greek quotations, and clever ambiguities often enliven Martial's epigrams.

      Martial has been charged with two gross faults: adulation and obscenity. He certainly indulged in a great deal of nauseating flattery of the emperor Domitian, involving, besides farfetched conceits dragging his epigrams well below their usual level, use of the official title “my Lord and my God.” Furthermore, Martial cringed before men of wealth and influence, unashamedly whining for gifts and favours. Yet, however much one despises servility, it is hard to see how a man of letters could have survived long in Rome without considerable compromise. As for the charge of obscenity, Martial introduced few themes not touched on by Catullus and Horace (two poets of the last century BC) before him. Those epigrams that are obscene constitute perhaps one-tenth of Martial's total output. His references to homosexuality, “oral stimulation,” and masturbation are couched in a rich setting of wit, charm, linguistic subtlety, superb literary craftsmanship, evocative description, and deep human sympathy. Martial's poetry is generally redeemed by his affection toward his friends and his freedom from both envy of others and hypocrisy over his own morals. In his emphasis on the simple joys of life—eating, drinking, and conversing with friends—and in his famous recipes for contentment and the happy life, one is reminded continually of the dominant themes of Horace's Satires, Epistles, and Second Epode.

      Numerous editions and English translations have been published; most are single volumes of selections. D.R. Shackleton Bailey edited the complete Latin text (M. Valerii Martialis Epigrammata [1990]) and also produced a 3-volume translation, Epigrams (1993).

Herbert Henry Huxley Ed.

Additional Reading

Commentaries on individual books include Peter Howell, A Commentary on Book One of the Epigrams of Martial (1980); Peter Howell (ed.), Epigrams V (1995); N.M. Kay, Martial Book XI (1984); and T.J. Leary, Martial, Book XIV, the Apophoreta (1996). Additional works of history and criticism are A.G. Carrington, Aspects of Martial's Epigrams (1960); and J.P. Sullivan, Martial: The Unexpected Classic (1991, reissued 2004).

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