Ad Atticum 2.21
Ad Atticum 2.21
Headnote
Cicero to Atticus, written at Rome shortly after 25 July 59 BC. The letter dates itself: §3 records the contio of a. d. viii Kal. Sextilis (25 July) at which Pompey, then at the height of public unpopularity, had to defend himself against Bibulus’s edicts. The piece is Cicero’s most extended portrait of Pompey’s collapse from glory: “unaccustomed to ill repute, lifelong frequenter of praise, swimming in glory, now disfigured in body, broken in spirit, knows not whither to take himself.”
§1–2 set the political picture: the triumvirate’s domination has shifted from a thing pleasing to the multitude into a thing universally hated. Cicero’s hope had been that the wheel had turned silently and the storm would pass without men acting; instead, after long secret sighing, the city has begun to groan, then to speak, then to shout. §3–4 give the famous portrait of Pompey disfigured. The simile is the painter’s: as Apelles would grieve to see his Venus smeared with mud, or Protogenes his Ialysus, so Cicero grieves to see Pompey, whom (as the consul who had carried the Manilian law) Cicero had painted and polished with all the colours of his art, suddenly disfigured. Bibulus’s edicts are described as “Archilochian” — that is, of the savagery of Archilochus’s iambics — so pleasing to the public that the crowd in front of the posting boards prevents passers-by from getting through. §5 records Caesar’s failed contio against Bibulus (he could not extort a sound from the crowd) and the elections postponed into October. §6 closes on the personal threat: Clodius is hostile, Pompey gives reassurances Cicero dares not believe, Cicero is preparing to resist; the resources he counts on are Varro and Pompey, and he ends with the now constant refrain — come, Atticus, come.