Cat 72 vs. Hor 1.23

Catullus 75-A Short Poem

Huc est mens deducta tua mea, Lesbia, culpa

   atque ita se officio perdidit ipsa suo,

ut iam nec bene velle queat tibi, si optima fias,

   nec desistere amare, omnia si facias.

To this point my mind has been broken down by your fault, Lesbia,

And so it destroys its own self by its obligation,

And now it is not able to wish you well, if you are made perfect,

Nor is it able to stop loving, whatever you do.

Est-3rd person singular present active indicative of "esse" meaning "to be"

Perdidit-3rd person singular perfect active indicative of "perdere" meaning "to destroy"

Velle-present active infinitive meaning "to wish"

Queat-3rd person singular present active subjunctive of "quire" meaning "to be able"

Fias-2nd person singular present active subjunctive of "feri" meaning "to be made"

Desistere-present active infinitive meaning "to stop"

Amare-2nd person singular present active indicative of "amare" meaning "to love"

Facias-2nd person singular present active subjunctive of "facere" meaning "to make, do"

Why does Catullus choose those myths? (From Catullus 64, DRAFT)

Identifying with Ariadne and Peleus, Catullus draws connections between heroic tales and his own strained relationship with Lesbia. Catullus feels connected to Ariadne because of the heartbreak he suffers because of Theseus' (Lesbia's) departure. Catullus associates himself to Peleus for many reasons, including that because of Thetis' (Lesbia's) involvement with the gods, the Trojan War occurs. Also, because of their union (Peleus and Thetis), Achilles is born, and is one of the great mythical heroes, especially of those involved in the Trojan War. This shows Catullus' mixed feelings for Lesbia, because from their relationship, much good and bad occurs. She brings much turmoil to his life, but without her, much of his poetry would not exist, not only because she is the subject of 25 of his 116 extant poems, but also because she has been cited to be a poet herself who actually helped Catullus write many of his poems. Catullus draws connections between his life and those of Ariadne, Theseus, Peleus, and Thetis to show the course of his love with Lesbia, however bitter or sweet it is.

Catullus begins poem 64, his mock epic poem, by invoking the Muses, then transitions into the story of Peleus and Thetis, calling Peleus "the top man of Thessaly" (Cat 64.25-26). Catullus often praises Peleus in this poem, as he relates to Peleus. He tells of how many attended the opulent wedding, and then uses ekphrasis to seamlessly traverse into the story of Ariadne and Theseus with the line "Haec uestis priscis hominum uariata figuris heroum mira uirtutes indicat arte"[This garment changes with ancient figures of men/And points out the virtues of heroes with remarkable skill. (Cat 64.51-52)]. He then devotes a large portion of the poem to Theseus' desertion of Ariadne, and Ariadne's eventual discovery of Bacchus the wine god. Ariadne delivers her vituperations against Theseus and agonizes over his loss, as Catullus often agonizes over Lesbia.

Poem 64 uses two myths as a basis for its story. Lines 19-21 all start with "tum," showing the stream of consciousness about how Peleus and Thetis must be married. Lines 40-42 and 64-66 all begin with "non,” showing yet another stream of consciousness, this time in regards to the wedding and Ariadne's despair, respectively. This is to emphasize the passion, not only between Peleus and Thetis, but also of Ariadne towards Theseus. This also shows Catullus' emotional involvement in the poem, as the stream of consciousness originates from him.

Catullus uses very specific language, not only for his meter, but also to give his story an extra layer of meaning, and he does this through connotations. In line 59 "iuuenis" ["youth" (Cat 64)] not only states that Theseus was young, but also stands for the folly of youth, the inexperience, and the hedonism. It shows how Ariadne wishes that Theseus just chose to leave on a whim, but would reconsider and return for her. In line 55 "furores" ["rage" (Cat 64)] not only speaks of Ariadne's violent anger towards Theseus because of his departure, but also shows a hint of madness. This is even more intensified emotion about Theseus, as Catullus had for Lesbia when she left him.

Catullus leaves many symbols in this mock epic, including the "amictu" ["veil" (Cat 64.65+69)]. The veil represents Ariadne's ignorance, her bliss, which is blocking her from seeing the truth about Theseus. Ariadne then throws off the veil, when she discovers that Theseus has disembarked without her, and leaves behind that ignorance, and she begins to see the real Theseus. Catullus himself could also have believed this of Lesbia, that while in their relationship, his vision was clouded by his love for her, but when they were not together, he started to better see the real Lesbia. In line 51, the bedspread ["uestis" (Cat 64.51)] allows for ekphrasis to occur, for a new story to be told about Ariadne and Theseus. This bedspread, this new story is like Catullus' poems. Without the wedding of Peleus and Thetis, the bedspread would not be where it is, it would not hold significance, and so would be forgotten. This principle can be applied to Catullus' writing, that without Lesbia, his inspiration, his help for writing, his own poems wouldn't hold the same significance today, and wouldn't have lived on for generations, as he wished them to in Catullus 1, "plus uno maneat perrene saeclo!" ["May it remain everlasting, in more than one age!" (Cat 1.10)]. Achilles is like this bedspread, in that he would not have been born without the marriage of Peleus and Thetis, and so Catullus' poetry would not still exist today without his relationship with Lesbia.

Poem 64 uses over 60 allusions, all to help better paint the picture that Catullus desires. Catullus opens up the poem with a reference to Mt. Pelion ["Peliaco" (Cat 64.1)]. This is important, as Achilles was raised here, and Achilles is to Peleus and Thetis what Catullus' poetry is to Catullus and Lesbia. Catullus begins the poem with this thought about his poetry. In line 62, Catullus then references a statue of "bacchantis" ["Bacchus" (Cat 64.62)], the Roman god of wine, who Ariadne eventually winds up with. This shows that Catullus does have a future beyond Lesbia, but it is not nearly the same, not as good, because his new relationships would be like stone to him, like a statue, not real.

Catullus employs dactylic hexameter (AKA heroic hexameter) in his poem, but uses it to mock epic poetry. Catullus is not a fan of this style of writing, the style of epics, as the subjects of his poetry are very different. This is also a very long poem relative to Catullus' other poems, to fit the epic style. He uses this style, though, to compare his story with those of Peleus, Thetis, Ariadne, and Theseus. Catullus begins with a reference to Mt. Pelion (Cat 64.1), but ends with the word "claro" ["clear, bright" (Cat 64.423)], hopefully by the end having enlightened the reader on his situation with Lesbia.

Catullus uses all aspects of his poetry to relate these two myths to his own life with Lesbia. Catullus chooses Ariadne and Peleus to represent himself, and Theseus and Thetis to represent Lesbia. Catullus' Ariadne aspect shows his immense sorrow caused by Lesbia. His Peleus aspect shows his happiness at having had this relationship, because it led to his poetry, and allowed for it to last so long into the future. This shows that even though Catullus was caused great pain by Lesbia, he is thankful for having had the chance to be with her. 

Catullus 64 Verbs-Lines 51-92

1. Indicat-3rd person singular present active indicative of "indicare" meaning "to point out"
2. Uisit-3rd person singular present active indicative of "visere" meaning "to visit"
3. Credit-3rd person singular present active indicative of "credere" meaning "to trust"
4. Cernat-3rd person singular present active subjunctive of "cernere" meaning "to sift"
5. Pellit-3rd person singular present active indicative of "pellere" meaning "to beat"
6. Prospicit-3rd person singular present active indicative of "prospicere" meaning "to foresee"
7. Fluctuat-3rd person singular present active indicative of "fluctuare" meaning "to surge"
8. Alludebant-3rd person plural imperfect active indicative of "alludere" meaning "to frolic"
9. Pendebat-3rd person singular imperfect active indicative of "pendere" meaning "to hang"
10. Externauit-3rd person singular perfect active indicative of "externare" meaning "to frighten"
11. Attigit-3rd person singular present active indicative of "attingere" meaning "to touch"
12. Perhibent-3rd person plural present active indicative of "perhibere" meaning "to present"
13. Optauit-3rd person singular present active indicative of "optare" meaning "to choose"
14. Portarentur-3rd person plural imperfect passive subjunctive of "portare" meaning "to carry"
15. Uenit-3rd person singular present active indicative of "venire" meaning "to come"
16. Conspexit-3rd person singular perfect active indicative of "conspicere" meaning "to observe"
17. Alebat-3rd person singular imperfect active indicative of "alere" meaning "to nourish"
18. Praecingunt-3rd person plural present active indicative of "praecingere" meaning "to surround"
19. Educit-3rd person singular present active indicative of "educere" meaning "to lead out"
20. Declinauit-3rd person singular present active indicative of "declinare" meaning "to decline"

Catullus 64 Proper Nouns

1. Mt. Pelion-Mountain in Greece southeast of Thessaly that was home to centaurs and the wood that crafted the Argo
2. Neptune-Roman god of the sea, identified with the Greek god Poseidon
3. Aegeus-An archaic figure in the founding of Athens
4. Athens-Largest city in Greece and current capital
5. Theseus-King and founder of Athens
6. Eumenides-Furies who were female goddesses of vengeance
7. Crete-Island in the Mediterranean Sea southeast of Italy
8. Jupiter-Roman king of the gods, ruler of the skies, identified with the Greek god Zeus
9. Charybdis-A monster who created whirlpools that lived opposite Scylla
10. Scylla-A monster who lived on a narrow channel of water opposite Charybdis
11. Syritis-One of two sandy gulfs on the coast of Libya
12. Argive-Name of a person coming from the east Peloponnesian region near the city Argos
13. Taurus-In this case, most likely a reference to the Cretan Bull
14. Cupid-The Roman god of desire, affection, and love
15. Eurota-Europe, referring in Catullus 64 to its rivers
16. Minotaur-A creature with the head of a bull and the body of a man that Theseus killed
17. Androgeos-The son of king Minos who was killed by the Athenians after winning many competitions
18. Bacchus-Roman god of wine, identified with the Greek god Dionysus
19. Peleus-Married to Thetis
20. Nereids-Goddesses of the sea that go to the aid of shipwrecked sailors
21. Cieros-City associated with the Myrmidons
22. Larisa-Said to have been founded by Acrisius, who was accidentally killed by Perseus
23. Oceanus-Husband of Tethys, titan god of freshwater and clouds
24. Tethys-Wife of Oceanus, titan goddess of freshwater
25. Muses-Goddesses of music, song, and dance