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Martial’s play with the two dimensions of the book, dedicated and given, literary work and object, anchors the book more firmly in the material circumstances of circulation than does Catullus’s similar play, and in the process it alludes to the heterogeneous character of Martial’s readership. Quintus, a potential patron, is one kind of reader addressed in Martial’s books, but here he is mockingly assimilated to a quite different kind of reader whom Martial makes peculiarly his own, the anonymous lector.

If the Liber spectaculorum introduces us to an imperial author, the first book of Martial’s “Dodecalogue” is programmatic for this author in a different way, since one of its prominent themes is the issue of what a book of epigrams might be, a question that is 22 · c h a p t e r o n e raised explicitly and implicitly during the course of the book. Book 1 carries over from the Liber spectaculorum not only the theme of the arena, which has a significant presence in the book, but also the question of the relation between exemplary past, preserved in lapidary epigrams, and the present, on which the epigram as an occasional form depends.

33 Martial uses the discontinuity of the epigram form to exaggerate the instantaneous as a mode of the divine, but this exaltation is accompanied by a deflation that is also characteristically epigrammatic. ”34 Martial exalts the memory of an ephemeral instant by recalling the exaltation of the ephemeral. He also plays off the reality of these ephemeral events against the status of the myths they so often recall. ”36 Martial’s suppression of backstage mechanics, and his lack of interest in technological wonder, mean that it is hard to tell how much of a given show was scripted and how much happened spontaneously.

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