of Clodius's three sisters named Clodia, it is impossible to determine which of these she was. Accusations of Clodia's incest in Cicero and Catullus One major potential connection between Lesbia and Clodia is the similarity between implications of incest apparent in Catullus 79 and the Cicero's charges of incest in the Pro Caelio. However, the association is weakened somewhat by James L. Butrica's argument in "Clodius the Pulcher in Catullus and Cicero". He emphasises the prominence of the word pulcher in Catullus's poem and acknowledges that it identifies the character Lesbius with Clodius Pulcher and Lesbia with Clodia. However, he goes on to argue that there are no overtones of incest in the poem. Rather, Catullus's reference to the reluctance of Clodius's associates to exchange with him a common social kiss implies connotations of fellatio. Butrica goes on to cite the 4th-century commentator Maurus Servius Honoratus, who noted that the word pulcher was sometimes used as an ironic euphemism for the word exoletus, which were Roman males raised as sex slaves from boyhood. Exoleti were characterised by effeminacy, sexual passivity, immorality and an insatiable carnal appetite. Thus, Butrica argues that the twist in Catullus 79 is the pun on Clodius's cognomen with a synonym for exoletus, and he connects that characterisation with fragments of lost Cicero speeches that attribute similar qualities to Clodius Pulcher. Butrica admits that the accusations of incest in the Pro Caelio are explicitly clear, but he characterises them as an escalation in Cicero's rhetoric against Clodius that go from merely mocking his sexual passivity to making serious charges of illegal sexual conduct with his own sister. Cicero's use of tragedy A. S. Hollis points out in an article written in 1998 that Cicero uses subtle references to popular tragedies that circulated around Rome at the time that Pro Caelio was given. For instance, Hollis quotes Cicero's use of equus Troianus and muliebre bellum, both of which were titles of popular tragedies contemporary with Cicero's oration. In fact, Equus Troianus was the name of the tragedy performed at the opening of Pompey's Theater just a couple years after Pro Caelio was given, as Hollis points out. There are a number of much more overt tragic metaphors that Cicero inserts into his oration. The most obvious is, of course, during the course of his vociferous assaults on Clodia, Cicero often compares her to Medea and also Clytemnestra. Finally,