Poem 64 transforms Catullus from personal lyricist to epic narrator. This 408-line miniature epic (epyllion) recounts the wedding of Peleus and Thetis while embedding the tragedy of Ariadne within its structure. The elevated language, extended sentences, and sophisticated poetic techniques mark a dramatic departure from Catullus's shorter works.

The AP exam focuses on two sections: the opening (lines 1-24) describing the Argo's launch, and a later passage (lines 132-240) depicting Ariadne's abandonment on Naxos. These selections demonstrate both epic conventions in miniature and Catullus's psychological innovation within mythological narrative.

• Author and work: Catullus, Carmen 64: Wedding of Peleus and Thetis
• Context: Miniature epic (epyllion) in hexameters, Catullus's longest poem
• Why this passage matters: Demonstrates Catullus's range beyond personal lyric
• Major themes: Divine-mortal relationships, abandonment, heroic age vs. present
• Grammar patterns: Extended participle phrases, accusative exclamations, complex subordination
• Vocabulary focus: Epic vocabulary, nautical terms, emotional/psychological language

Vocabulary

Epic and Nautical Terms

pīnus, -ūs (f) - pine tree, ship (metonymy)

ratis, -is (f) - raft, ship

prōra, -ae (f) - prow, front of ship

puppis, -is (f) - stern, ship (synecdoche)

rēmus, -ī (m) - oar

velum, -ī (n) - sail, cloth

fretum, -ī (n) - strait, sea

fluctus, -ūs (m) - wave, billow

Catullus uses multiple words for "ship" because epic poetry loves variation. The Argo appears as "pinus" (the wood it's made from), "ratis" (emphasizing its primitive nature), and through its parts.

Mythological Landscape

vertex, -icis (m) - peak, summit

nemus, -oris (n) - grove, forest

antrum, -ī (n) - cave

saxum, -ī (n) - rock, cliff

harēna, -ae (f) - sand, beach

Pēlīon, -ī (n) - Mt. Pelion

Nāxos, -ī (f) - island of Naxos

Epic loves specific geography. These aren't just random locations but places loaded with mythological significance.

Emotional/Psychological Terms

dēserere - to abandon, forsake

maestus, -a, -um - sad, mournful

querēla, -ae (f) - complaint, lament

inmemor, -oris - forgetful, heedless

perfidus, -a, -um - faithless, treacherous

sollicitus, -a, -um - anxious, troubled

exspes, -edis - hopeless

The Ariadne section pioneers psychological vocabulary. These words track her mental state as she processes abandonment.

Divine and Heroic Vocabulary

dīvus, -a, -um - divine, godlike

hērōs, -ōis (m) - hero

nūmen, -inis (n) - divine power

Nērēis, -idis (f) - Nereid, sea nymph

mortālis, -e - mortal

caelestis, -e - heavenly

genus, -eris (n) - race, kind

The poem constantly reminds us we're in the age of heroes when gods and mortals could marry. This vocabulary creates distance between then and now.

Grammar and Syntax

Extended Participial Phrases

Epic style means long sentences with multiple participles. Look at lines 15-18: "ipsa levi fecit volitantem flamine currum, pinea coniungens inflexae texta carinae, cui Pallas... monstravit"

"Coniungens" (joining) is a present participle modifying the subject buried way back in line 12. You need to hold multiple elements in your head while reading.

Accusative Exclamations

Ariadne's lament uses accusatives for emotional outbursts: "sicine me patriis avectam, perfide, ab aris perfide, deserto liquisti in litore, Theseu?"

"Perfide" (traitor!) appears twice as an accusative exclamation. It's like she's too upset for complete sentences.

Correlative Structures

Epic loves balanced phrases: "non haec quondam blanda promissa dedisti voce mihi, non haec miserae sperare iubebas"

The repeated "non haec" creates rhetorical power. Ariadne lists what Theseus promised versus what happened.

Literary Features

Ekphrasis (Detailed Description)

Lines 50-264 describe the embroidered coverlet on the marriage bed. This is ekphrasis - a detailed description of an artwork within the poem.

The coverlet shows Ariadne's story, creating a narrative within a narrative. While the frame celebrates marriage, the inner story shows betrayal.

This technique appears throughout ancient literature. The AP loves testing whether you recognize the shift between narrative levels.

Epic Similes

Traditional epic similes compare heroic actions to nature: "quales... quales..." (just as... so...)

But Catullus makes them psychological. Ariadne's mental state gets compared to natural phenomena, not her physical appearance.

Temporal Contrasts

The poem constantly contrasts the heroic past with the degenerate present:

• Then: Gods attended mortal weddings
• Now: Impiety prevents divine appearances

This nostalgia for a lost golden age runs through the entire poem. Lines 384-408 (not in your passage) contain a full rant about modern corruption.

Translation Approach

Managing Epic Word Order

Epic poetry scrambles word order even more than regular Latin. Take line 4: "Peliaco quondam prognatae vertice pinus"

Normal order: "pinus quondam prognatae vertice Peliaco" (pines once born from Pelian peak)

The mountain name splits from its noun, and "quondam" (once) separates the participle from what it modifies. Your translation might need to reassemble: "Pine trees born long ago from Mount Pelion's peak."

Preserving Emotional Intensity

Ariadne's speech needs to sound genuinely distraught: "sicine me patriis avectam, perfide, ab aris"

Literal: "Thus me carried away from paternal altars, faithless one" Better: "So this is how you leave me, torn from my father's house, you bastard?"

The emotion matters more than literal accuracy.

Handling Proper Names

The poem is thick with geographical and mythological names. Keep a glossary handy:

• Pelion: Mountain where the pines grew
• Colchis: Where the Golden Fleece was
• Phasis: River in Colchis
• Dia: Another name for Naxos

Don't let unfamiliar names derail you. Focus on the narrative flow.

Historical and Cultural Context

The Epyllion Genre

Epyllion means "little epic." It's epic style compressed into hundreds rather than thousands of lines. These poems often:

• Focus on marginal characters
• Include digressions
• Emphasize psychology over action
• Question heroic values

Catullus 64 helped establish the genre. Later poets like Ovid perfected it.

Marriage Customs

The frame story is a wedding, and Roman readers would recognize customs:

• The elaborate bedspread (textile wealth)
• Divine attendance (religious sanction)
• Prophecies about offspring (family continuity)

But Catullus subverts expectations by embedding a story of betrayal within the marriage celebration.

Heroic Age Nostalgia

Romans believed in historical decline from golden to iron age. The poem evokes when:

• Heroes were truly heroic
• Gods walked among mortals
• Nature was unspoiled
• Oaths were sacred

This nostalgia appears throughout Latin literature. Understanding it helps you grasp the poem's melancholy tone.

Reading Strategy

First, read lines 1-24 to get the epic style. Notice how one sentence can run 7-8 lines. Track the main verb and subject, letting descriptive elements accumulate.

Then jump to the Ariadne section. The shift from narrative to direct speech changes everything. Her emotions break through epic conventions.

Read the passages separately first, then consider how they connect. Why does a poem about cosmic marriage include such a devastating betrayal story?

Common Pitfalls

Don't expect Catullan brevity. This is Catullus showing he can do epic style. Sentences will be longer and more complex.

Watch for narrative levels. The main story (wedding) contains the coverlet description, which contains Ariadne's story. The AP loves testing whether you know which level you're on.

Names have variants. Theseus can be "Theseus" or "Theseu" in vocative. Ariadne might be "Ariadna." Don't let spelling variations confuse you.

The emotional register varies wildly. The opening feels distant and mythological. Ariadne's lament feels immediate and personal. This contrast is intentional.

Remember that this poem influenced all later Roman epic. When you read Vergil or Ovid, you'll see techniques Catullus pioneered here.