After a brief contest
on the merits and demerits of the evening star,
whose rising marked the hour of their meeting, the
maidens chant the praises of maidenhood, and the
rival youths the worth and dignity of married life.
on the merits and demerits of the evening star,
whose rising marked the hour of their meeting, the
maidens chant the praises of maidenhood, and the
rival youths the worth and dignity of married life.
Catullus - Hubbard - Poems
hathitrust.
org/access_use#pd-google
? NOTES. J17
CARMEN XXXIX.
An Epithalamium on the Nuptials of Julia and
Manlius.
The poem opens with an invocation to Hymen to
aid the nuptial song, vs. 1--35, with various persua-
sives to induce his favoring presence, the grace and
beauty of the bride, vs. 16--25, his power to enchain
her affection, vs. 31--35. The poet then summons
a choir of virgins to join his invocation, vs. 35? 45,
and returns to celebrate the praises of Hymen, in
various virtues, and the love and veneration, and
gratitude of men, vs. 46--75. He now turns to hail
the approaching bride, and soothes her reluctant
bashfulness, with praises of her beauty, and the
honor and faithful love of her intended husband, vs.
76--110, alludes to various ceremonies and custom-
ary rites, the nuptial procession, the Fescemim
verses, the scattering of nuts, the threshold that
might not be touched, the separate banqueting of
the bridegroom with his fellows; and having
witnessed the entrance of the bride into her new
house, after addressing the husband in a strain of
high congratulation and compliment, he concludes
in lines of exceeding beauty, with wishes for their
highest bliss, and the consummation of their hopes
and happiness, in a young Torquatus, who shall
perpetuate his father's fame, and by his likeness
attest his mother's virtues.
10*
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? 118 NOTES.
2. Urania genus] Hymen, son of the muse Urania
and Bacchus. Seneca Medea, v. 110.
With the sketch of Hymen in this and the follow-
ing verses, compare Ovid, Heroides, 21. vs. 157--
168.
18, 19. Phrygiam Judicem] Paris. A twofold
resemblance is suggested, to the beauty of Venus
and her success.
22. Asia] i. q. Asiatica. So Virgil jEn. 7. vs.
701-2, Asia Palus, a marshy tract on the banks of
the Cayster. Homer, 11. ? . 461.
24. Imdicrum] "locus lusui aptum, lavacrum seu
nympharium. " Voss.
26. aditumferens] v. 43. and Carm. 62. v. 79.
43. bonce Veneris] 'Chaste Venus. '
44-5. boni amoris] 'honorable love. '
51. tremulus] 'trembling' with age, and there-
fore anxious to see his daughters married.
54. timens] 'in suspense,' fearing lest his hopes
may be disappointed.
55. captat aure] 'catches with the ear,' i. e. listens
attentively. Virgil jEn. 3. v. 514. Palinurus
auribus aera captat.
61. ] Claudian has a similar idea,
"JVidlum junxisse cubile
Sine hoc, nee primasfas est altollere taedas. '"
JVupt. Pallad. et Celer. vs. 32-33.
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? NOTES. 119
65. Comparier] the ancient form of the infini-
tive.
68. stirpe jungier] Scaliger interprets this phrase
not to be able to transmit an inheritance to ones chil-
dren, which could not be done if they were illegit-
imate. For an heir when he enters upon an inheri-
tance, perpetuates rather than succeeds to the rights
of his father, who is thus said stirpe jungier.
72. prasides] 'Magistrates. ' The poet means to
express the dependence of well obeyed laws, and
permanent magistracies on the sacredness of the
marriage union.
76. ] The bridal procession approaches.
87. Jlurunculeia] 'Julia Aurunculeia. ' Aurun-
culeius was a surname in the family of the Cottae.
96. sis] by syncope for si vis. Voss reads st
'hush,' and encloses st with jam videtur, in the pa-
renthesis. 'Jam videtur, and also vidin ? faces a. q.
c. may be an interrupting exclamation of some of
the spectators, or rather of the poet addressed to
the spectators.
114. ] The hiatus in the manuscripts of the three
preceding lines, by obscuring the connection and
the sense, renders the reading of the clause in
brackets, impossible to settle. The text is unques-
tionably corrupt.
127. fescennina locutio] Several specimens of
fescennine verses, may be found appended to Clau-
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? 120 NOTES.
(Han's poem, "in Nuptiis Honorii et Mariat. "
These, however, are mostly, no doubt, a departure
from the original idea of this species of composition.
The last only deserves the epithet procax, bestowed
by Catullus. For the origin of this kind of verses,
consult Horace Epist. Lib. 3. ep. 1. 145, and Dun-
lap's Roman Literature.
129. desertum] Scil. se, with which amorem in
the next line is in apposition.
131. iners] 'lazy,' an epithet of incitement.
133. Imsisti nucibw] 'indulged the follies and
levities of youth. ' The allusion is to the services
he had yielded to the passions of his master.
134. servire Thallassio] The origin of this phrase
is given by Livy, Lib. 1. Sec. 9.
136. villiili] Your fellows have till now been vile
in your eyes, who have been admitted to the pecu-
liar favors of your master. Some editions have
sordebam . . villice. Sillig villicae.
141. male] 'with difficulty. '
142. glabris] 'beardless boys,' whose intimacy he
had sought.
146-8. ] The allusion in these and the preceding
verses to the licentious pleasures of Julius, in his
former life, in a manner which evidently implies
they were of course, and involved no dishonor, and
merited no reproach, occurring too, as it does in a
complimentary poem to a noble friend, from which
? ? Generated for (University of Chicago) on 2015-01-02 09:08 GMT / http://hdl. handle. net/2027/hvd. 32044085188480 Public Domain, Google-digitized / http://www. hathitrust. org/access_use#pd-google
? NOTES. 121
all that could offend would have been carefully ex-
cluded, presents one of the darkest shades in the
picture of Roman manners. Yet, while the passage
is essential to the entireness of the poem, it is also
of much value as an illustration of the moral senti-
ments of that age.
162. anilitas] means specifically the old age of
women, as senectus of men.
181. mitte] 'let go,' dimitte.
182. pratextate] Addressed to the youth who had
led the bride in the nuptial procession.
183. adeant] some editions read adeat.
186. bona;] A common reading is unis, (unis sen-
ibus bonae) since the pronubae were usually selected
from the matrons who had been married only once.
206. pulvis] supposed to be contracted for pulve-
ris. This however is believed to be the only
place in which pulvis is found in the genitive.
"pulveris Africi. " Sillig.
208. subducat] 'Enumerate. '
216. Torquatus . parvulus] Sir William Jones
has written an eloquent imitation of this passage,
(in an epithalamium on the marriage of Lord Spen-
cer,) which he declared worthy of the pencil of
Domenichino.
"And soon to be completely blest,
Soon may a young Torquatus rise,
? ? Generated for (University of Chicago) on 2015-01-02 09:08 GMT / http://hdl. handle. net/2027/hvd. 32044085188480 Public Domain, Google-digitized / http://www. hathitrust. org/access_use#pd-google
? 122 NOTES.
Who, hanging on his mother's breast,
To his known sire shall turn his eyes,
Outstretch his infant arms a while,
Half ope his little lips and smile. "
CARMEN XL.
This poem consists of alternate. strains, sung by
choirs of youths and maidens.
After a brief contest
on the merits and demerits of the evening star,
whose rising marked the hour of their meeting, the
maidens chant the praises of maidenhood, and the
rival youths the worth and dignity of married life.
The poem closes with an address to the lady, on
whose nuptials it was composed, persuading her to
lay aside her girlish bashfulness, and commit her-
self cheerfully and confidently to the arms of her
husband. This is supposed to have been written
on the same occasion with the preceding poem,
having relation to a different portion of the cere-
mony, and in order of time preceding.
1. consurgite] A company of young men, the
companions of the bridegroom, on the afternoon of
his wedding day assembled at his house, at a ban-
quet prepared for the occasion. At the first appear-
ing of the evening star, they rose from the table
and went out to meet the procession which attended
the bride, and welcome her to her future home.
4. Hymenaus] 'nuptial song. '
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? NOTES. 123
6. consurgite contra] The group of maidens, mates
of the hride, who accompanied her in the procession,
seeing the young men approach, begin their song.
7. (Etceos ignes] From the summit of GEta the
sun and stars were visible two hours earlier and
later than from the vallies beneath. Heyne (ad
Virg. Eclog. 8. v. 30. ) supposes the general use
of the epithet CEtteus by the poets, to have been
derived from some Greek poet who lived in that
vicinity, or wrote a poem on some event (as the
nuptials of Peleus and Thetis) which occurred there.
JVoctifer] 'The harbinger of night. '
9. canent] 'intimate,' 'predict. ' quod visere par
est] 'visu digna. '
11. palma] The parties were engaged in a con-
test of poetical and musical skill. The whole Car-
men is a genuine specimen of the amcebean.
20. ] Thus far preparation. The choir of girls
now enter on their theme.
33. Namque] The reference indicated in hamque
is lost in the absence of the preceding line. Voss
however, rejects the notion of a hiatus, and for
namque reads nempe, giving the line an ironical
sense.
34. ] 'Thieves work undetected by night, whom
after, you the same Hesperus returning with changed
name, find the same. quos eosdem] 'the very same
persons. ' mutato nomine] as evening star, Hes-
perus; as morning star Phosporus.
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? 124 NOTES.
36-7. ] The youths reply with an insinuation that
their competitors feel less indignation than they
express.
The comparisons which follow, vs. 39--58, are
hardly surpassed in elegance of expression and
aptness of similitude, in any language.
45. dum . dum] "prius dum signified quoad,
sequens usque eo. "--Quint. Inst. Lib. 9. cap. 3.
CARMEN XLI.
Of Atys.
"Atys was a beautiful youth, probably of Greece,
who, forsaking his home and parents, sailed with a
few companions to Phrygia, and having landed,
hurried to the grove consecrated to the great god-
dess Cybele. There struck with superstitious
frenzy, he qualified himself for the service of that
divinity; and snatching the musical instruments
used in her worship, he exhorted his companions
who had followed his example, to ascend to the
temple of Cybele. At this part of the poem, we
follow the new votary of the Phrygian goddess
through all his wild traversing of woods and moun-
tains, till at length, having reached the temple,
Atys and his companions drop asleep, exhausted by
fatigue and mental distraction. Being tranquillized
in some measure by a night's repose, Atys becomes
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? NOTES.
125
sensible of the misery of his situation, and struck
with horror at his rash deed, he returns to the sea-
shore. There he casts his eyes bathed in tears
over the ocean homeward, and comparing his for-
mer happiness with his present wretched condition,
he pours forth a complaint unrivalled in energy and
pathos. The violent bursts of passion are admira-
bly aided by the irresistible torrent of words, and
by the cadence of a measure powerfully denoting
mental agony and remorse* It is the only speci-
men we have in Latin of the Galliambie measure,
so called because sung by the Galli, the effeminate
votaries of Cybele.
The story of Atys is one of the most mysterious
of the mythological emblems. The fable was ex-
plained by Porphyry; and the emperor Julian after-
wards invented and published an allegory of this
mystic tale. According to them, the voluntary
emasculation of Atys was typical of the revolution
of the sun between the tropics, or the separation
of the human soul from vice and error. " Dunlop.
Ovid (Fasti Lib. 4, vs. 223--244) gives a version
of the story of Atys, quite different from that of
Catullus.
The inscription of this poem is very various in
* Gibbon, however, in a spirit of juster criticism perhaps, speaks
(History, chapter 33) "of the transition of Atys from the wildest
enthusiasm to sober pathetic complaint for his irretrievable loss. "
f
11
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? 126
NOTES.
different editions. De AtHne in Sillig, Attis in Voss,
de Attine furore percito in others. Pansanias and
Lucian write the name Artr^. Some manuscripts
Atthys.
4. vagus animi] A Greek rather than a Latin
construction, by which a word definitely limiting a
general epithet, or proposition is put in the genitive.
--See Matthiae Gr. Gram. sec. 339.
8. citato] mark the change of gender, typanum]
i. q. tympanum in imitation of the rvnavov of the
Greek poets, as well as for the sake of the metre.
An instrument resembling very exactly our tambo-
rine. v. 20. compare Carm. 42. v. 262.
9. typanum) in apposition with tubam, or used
adjectively, the 'trumpet--typanum. ' This instru-
ment occupied the place of the tuba, which were
not used in the mysteries of Cybele. Cybelle]
metri causa. Bentley ad Lucan. Phars. I. 600.
writes Cybebe, and gives this rule, "ut ubique scri-
bendum est, quoties media syllaba protrahitur. "
16. truculenta pelagi] Truculenta has the force of
a substantive and governs the genitive, as is not
uncommonly the case with neuter adjectives as
well in the plural as in the singular.
18. herae] Atys.
21. cymbaMm] an instrument consisting of two
circular plates of brass or steel, or concave with
circular edges, which were held one in each hand,
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? NOTES. 127
and when struck together, produced a sharp ringing
sound.
22. Tibicen . . Phryx] the Phrygian measure is
celebrated for its exciting and maddening effects
vide Quinct. Lib. I. cap. 10. grave] in opposition to
acute.
43. eum] Referring to somnus v. 42. Pasithea]
the wife of Somnus, quasi TiagiSta 'omnibus benigna. '
71. colt/minibus] 'mountains. '
75. nuntia] 'tidings' neuter plural from nuntium.
78. hinc] Sillig has hunc, " hunc (bc, Attinem) face
ut redeat. "
CARMEN XLII.
The Nuptials of Peleus and Thetis.
This is the longest and most highly wrought of
the poems of Catullus, and may be ranked among
the finest productions of the Latin Muse. It
abounds in strikingly distinct descriptions, and
pathetic and eloquent expressions of passion. The
despairing anguish of the forsaken Ariadne, her
reproaches mingled with love for her betrayer, are
hardly any way inferior to the dying language of
Dido, (Virg. iEneid 4. ) and far superior to the
strained sentiments and tamer expressions of the
same Ariadne in Ovid. (Heroides, Ep. 10. ) The
picture of the sad daughter of Minus standing on
the extreme beach--her hair loosened to the winds,
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? 128 NOTES.
the veil which had hid her hosom, and her woven
girdle, fallen at her feet and tossed unheeded by
the waves, gazing after the vessel that bears away
her false lover, and forgetting all but the despair of
her own abandonment, is worthy of the highest
efforts of the sculptor or the painter. The con-
cluding verses (385 ad fin. ) are in a tone of sad re-
gret, and of severe morality, which the Poets of
Rome seldom attained.
The poem opens with a rapid sketch of the
Argonautic expedition, the surprise of the Pontic
sea nymphs, and the mutual attachment of Peleus
and Thetis. After a hasty congratulation, the Poet
passes to the scene of the nuptials, the thronging
of the Thessalian youth, who deserted the labors
of the field and of the vineyard--the palace and the
festal splendors of Peleus. Among the nuptial
ornaments is a curiously embroidered quilt, the
description of which and the narratives suggested
by it, comprise the longer part of the poem. On
one portion is represented Ariadne deserted by
Theseus on the shore of Naxos ; in connection with
which the Poet relates the causes which led The-
seus to Crete, the love and flight of Ariadne, and
the unhappy forgetfulness which proved the death
of jEgeus. On another part, is represented Bac-
chus enamored and pursuing Ariadne, and the
orgies of his attendants. Returning from this
episode, he introduces the Gods and Demi Gods
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? NOTES. 129
honoring the nuptials with their presence, and
bringing each his peculiar and appropriate gifts.
During the feast, the Parcae, whose persons and
labors are minutely described, sing a fit epithalami-
um, predicting the future glory of Achilles, the
promised offspring.
? NOTES. J17
CARMEN XXXIX.
An Epithalamium on the Nuptials of Julia and
Manlius.
The poem opens with an invocation to Hymen to
aid the nuptial song, vs. 1--35, with various persua-
sives to induce his favoring presence, the grace and
beauty of the bride, vs. 16--25, his power to enchain
her affection, vs. 31--35. The poet then summons
a choir of virgins to join his invocation, vs. 35? 45,
and returns to celebrate the praises of Hymen, in
various virtues, and the love and veneration, and
gratitude of men, vs. 46--75. He now turns to hail
the approaching bride, and soothes her reluctant
bashfulness, with praises of her beauty, and the
honor and faithful love of her intended husband, vs.
76--110, alludes to various ceremonies and custom-
ary rites, the nuptial procession, the Fescemim
verses, the scattering of nuts, the threshold that
might not be touched, the separate banqueting of
the bridegroom with his fellows; and having
witnessed the entrance of the bride into her new
house, after addressing the husband in a strain of
high congratulation and compliment, he concludes
in lines of exceeding beauty, with wishes for their
highest bliss, and the consummation of their hopes
and happiness, in a young Torquatus, who shall
perpetuate his father's fame, and by his likeness
attest his mother's virtues.
10*
? ? Generated for (University of Chicago) on 2015-01-02 09:08 GMT / http://hdl. handle. net/2027/hvd. 32044085188480 Public Domain, Google-digitized / http://www. hathitrust. org/access_use#pd-google
? 118 NOTES.
2. Urania genus] Hymen, son of the muse Urania
and Bacchus. Seneca Medea, v. 110.
With the sketch of Hymen in this and the follow-
ing verses, compare Ovid, Heroides, 21. vs. 157--
168.
18, 19. Phrygiam Judicem] Paris. A twofold
resemblance is suggested, to the beauty of Venus
and her success.
22. Asia] i. q. Asiatica. So Virgil jEn. 7. vs.
701-2, Asia Palus, a marshy tract on the banks of
the Cayster. Homer, 11. ? . 461.
24. Imdicrum] "locus lusui aptum, lavacrum seu
nympharium. " Voss.
26. aditumferens] v. 43. and Carm. 62. v. 79.
43. bonce Veneris] 'Chaste Venus. '
44-5. boni amoris] 'honorable love. '
51. tremulus] 'trembling' with age, and there-
fore anxious to see his daughters married.
54. timens] 'in suspense,' fearing lest his hopes
may be disappointed.
55. captat aure] 'catches with the ear,' i. e. listens
attentively. Virgil jEn. 3. v. 514. Palinurus
auribus aera captat.
61. ] Claudian has a similar idea,
"JVidlum junxisse cubile
Sine hoc, nee primasfas est altollere taedas. '"
JVupt. Pallad. et Celer. vs. 32-33.
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? NOTES. 119
65. Comparier] the ancient form of the infini-
tive.
68. stirpe jungier] Scaliger interprets this phrase
not to be able to transmit an inheritance to ones chil-
dren, which could not be done if they were illegit-
imate. For an heir when he enters upon an inheri-
tance, perpetuates rather than succeeds to the rights
of his father, who is thus said stirpe jungier.
72. prasides] 'Magistrates. ' The poet means to
express the dependence of well obeyed laws, and
permanent magistracies on the sacredness of the
marriage union.
76. ] The bridal procession approaches.
87. Jlurunculeia] 'Julia Aurunculeia. ' Aurun-
culeius was a surname in the family of the Cottae.
96. sis] by syncope for si vis. Voss reads st
'hush,' and encloses st with jam videtur, in the pa-
renthesis. 'Jam videtur, and also vidin ? faces a. q.
c. may be an interrupting exclamation of some of
the spectators, or rather of the poet addressed to
the spectators.
114. ] The hiatus in the manuscripts of the three
preceding lines, by obscuring the connection and
the sense, renders the reading of the clause in
brackets, impossible to settle. The text is unques-
tionably corrupt.
127. fescennina locutio] Several specimens of
fescennine verses, may be found appended to Clau-
? ? Generated for (University of Chicago) on 2015-01-02 09:08 GMT / http://hdl. handle. net/2027/hvd. 32044085188480 Public Domain, Google-digitized / http://www. hathitrust. org/access_use#pd-google
? 120 NOTES.
(Han's poem, "in Nuptiis Honorii et Mariat. "
These, however, are mostly, no doubt, a departure
from the original idea of this species of composition.
The last only deserves the epithet procax, bestowed
by Catullus. For the origin of this kind of verses,
consult Horace Epist. Lib. 3. ep. 1. 145, and Dun-
lap's Roman Literature.
129. desertum] Scil. se, with which amorem in
the next line is in apposition.
131. iners] 'lazy,' an epithet of incitement.
133. Imsisti nucibw] 'indulged the follies and
levities of youth. ' The allusion is to the services
he had yielded to the passions of his master.
134. servire Thallassio] The origin of this phrase
is given by Livy, Lib. 1. Sec. 9.
136. villiili] Your fellows have till now been vile
in your eyes, who have been admitted to the pecu-
liar favors of your master. Some editions have
sordebam . . villice. Sillig villicae.
141. male] 'with difficulty. '
142. glabris] 'beardless boys,' whose intimacy he
had sought.
146-8. ] The allusion in these and the preceding
verses to the licentious pleasures of Julius, in his
former life, in a manner which evidently implies
they were of course, and involved no dishonor, and
merited no reproach, occurring too, as it does in a
complimentary poem to a noble friend, from which
? ? Generated for (University of Chicago) on 2015-01-02 09:08 GMT / http://hdl. handle. net/2027/hvd. 32044085188480 Public Domain, Google-digitized / http://www. hathitrust. org/access_use#pd-google
? NOTES. 121
all that could offend would have been carefully ex-
cluded, presents one of the darkest shades in the
picture of Roman manners. Yet, while the passage
is essential to the entireness of the poem, it is also
of much value as an illustration of the moral senti-
ments of that age.
162. anilitas] means specifically the old age of
women, as senectus of men.
181. mitte] 'let go,' dimitte.
182. pratextate] Addressed to the youth who had
led the bride in the nuptial procession.
183. adeant] some editions read adeat.
186. bona;] A common reading is unis, (unis sen-
ibus bonae) since the pronubae were usually selected
from the matrons who had been married only once.
206. pulvis] supposed to be contracted for pulve-
ris. This however is believed to be the only
place in which pulvis is found in the genitive.
"pulveris Africi. " Sillig.
208. subducat] 'Enumerate. '
216. Torquatus . parvulus] Sir William Jones
has written an eloquent imitation of this passage,
(in an epithalamium on the marriage of Lord Spen-
cer,) which he declared worthy of the pencil of
Domenichino.
"And soon to be completely blest,
Soon may a young Torquatus rise,
? ? Generated for (University of Chicago) on 2015-01-02 09:08 GMT / http://hdl. handle. net/2027/hvd. 32044085188480 Public Domain, Google-digitized / http://www. hathitrust. org/access_use#pd-google
? 122 NOTES.
Who, hanging on his mother's breast,
To his known sire shall turn his eyes,
Outstretch his infant arms a while,
Half ope his little lips and smile. "
CARMEN XL.
This poem consists of alternate. strains, sung by
choirs of youths and maidens.
After a brief contest
on the merits and demerits of the evening star,
whose rising marked the hour of their meeting, the
maidens chant the praises of maidenhood, and the
rival youths the worth and dignity of married life.
The poem closes with an address to the lady, on
whose nuptials it was composed, persuading her to
lay aside her girlish bashfulness, and commit her-
self cheerfully and confidently to the arms of her
husband. This is supposed to have been written
on the same occasion with the preceding poem,
having relation to a different portion of the cere-
mony, and in order of time preceding.
1. consurgite] A company of young men, the
companions of the bridegroom, on the afternoon of
his wedding day assembled at his house, at a ban-
quet prepared for the occasion. At the first appear-
ing of the evening star, they rose from the table
and went out to meet the procession which attended
the bride, and welcome her to her future home.
4. Hymenaus] 'nuptial song. '
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? NOTES. 123
6. consurgite contra] The group of maidens, mates
of the hride, who accompanied her in the procession,
seeing the young men approach, begin their song.
7. (Etceos ignes] From the summit of GEta the
sun and stars were visible two hours earlier and
later than from the vallies beneath. Heyne (ad
Virg. Eclog. 8. v. 30. ) supposes the general use
of the epithet CEtteus by the poets, to have been
derived from some Greek poet who lived in that
vicinity, or wrote a poem on some event (as the
nuptials of Peleus and Thetis) which occurred there.
JVoctifer] 'The harbinger of night. '
9. canent] 'intimate,' 'predict. ' quod visere par
est] 'visu digna. '
11. palma] The parties were engaged in a con-
test of poetical and musical skill. The whole Car-
men is a genuine specimen of the amcebean.
20. ] Thus far preparation. The choir of girls
now enter on their theme.
33. Namque] The reference indicated in hamque
is lost in the absence of the preceding line. Voss
however, rejects the notion of a hiatus, and for
namque reads nempe, giving the line an ironical
sense.
34. ] 'Thieves work undetected by night, whom
after, you the same Hesperus returning with changed
name, find the same. quos eosdem] 'the very same
persons. ' mutato nomine] as evening star, Hes-
perus; as morning star Phosporus.
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? 124 NOTES.
36-7. ] The youths reply with an insinuation that
their competitors feel less indignation than they
express.
The comparisons which follow, vs. 39--58, are
hardly surpassed in elegance of expression and
aptness of similitude, in any language.
45. dum . dum] "prius dum signified quoad,
sequens usque eo. "--Quint. Inst. Lib. 9. cap. 3.
CARMEN XLI.
Of Atys.
"Atys was a beautiful youth, probably of Greece,
who, forsaking his home and parents, sailed with a
few companions to Phrygia, and having landed,
hurried to the grove consecrated to the great god-
dess Cybele. There struck with superstitious
frenzy, he qualified himself for the service of that
divinity; and snatching the musical instruments
used in her worship, he exhorted his companions
who had followed his example, to ascend to the
temple of Cybele. At this part of the poem, we
follow the new votary of the Phrygian goddess
through all his wild traversing of woods and moun-
tains, till at length, having reached the temple,
Atys and his companions drop asleep, exhausted by
fatigue and mental distraction. Being tranquillized
in some measure by a night's repose, Atys becomes
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? NOTES.
125
sensible of the misery of his situation, and struck
with horror at his rash deed, he returns to the sea-
shore. There he casts his eyes bathed in tears
over the ocean homeward, and comparing his for-
mer happiness with his present wretched condition,
he pours forth a complaint unrivalled in energy and
pathos. The violent bursts of passion are admira-
bly aided by the irresistible torrent of words, and
by the cadence of a measure powerfully denoting
mental agony and remorse* It is the only speci-
men we have in Latin of the Galliambie measure,
so called because sung by the Galli, the effeminate
votaries of Cybele.
The story of Atys is one of the most mysterious
of the mythological emblems. The fable was ex-
plained by Porphyry; and the emperor Julian after-
wards invented and published an allegory of this
mystic tale. According to them, the voluntary
emasculation of Atys was typical of the revolution
of the sun between the tropics, or the separation
of the human soul from vice and error. " Dunlop.
Ovid (Fasti Lib. 4, vs. 223--244) gives a version
of the story of Atys, quite different from that of
Catullus.
The inscription of this poem is very various in
* Gibbon, however, in a spirit of juster criticism perhaps, speaks
(History, chapter 33) "of the transition of Atys from the wildest
enthusiasm to sober pathetic complaint for his irretrievable loss. "
f
11
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? 126
NOTES.
different editions. De AtHne in Sillig, Attis in Voss,
de Attine furore percito in others. Pansanias and
Lucian write the name Artr^. Some manuscripts
Atthys.
4. vagus animi] A Greek rather than a Latin
construction, by which a word definitely limiting a
general epithet, or proposition is put in the genitive.
--See Matthiae Gr. Gram. sec. 339.
8. citato] mark the change of gender, typanum]
i. q. tympanum in imitation of the rvnavov of the
Greek poets, as well as for the sake of the metre.
An instrument resembling very exactly our tambo-
rine. v. 20. compare Carm. 42. v. 262.
9. typanum) in apposition with tubam, or used
adjectively, the 'trumpet--typanum. ' This instru-
ment occupied the place of the tuba, which were
not used in the mysteries of Cybele. Cybelle]
metri causa. Bentley ad Lucan. Phars. I. 600.
writes Cybebe, and gives this rule, "ut ubique scri-
bendum est, quoties media syllaba protrahitur. "
16. truculenta pelagi] Truculenta has the force of
a substantive and governs the genitive, as is not
uncommonly the case with neuter adjectives as
well in the plural as in the singular.
18. herae] Atys.
21. cymbaMm] an instrument consisting of two
circular plates of brass or steel, or concave with
circular edges, which were held one in each hand,
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? NOTES. 127
and when struck together, produced a sharp ringing
sound.
22. Tibicen . . Phryx] the Phrygian measure is
celebrated for its exciting and maddening effects
vide Quinct. Lib. I. cap. 10. grave] in opposition to
acute.
43. eum] Referring to somnus v. 42. Pasithea]
the wife of Somnus, quasi TiagiSta 'omnibus benigna. '
71. colt/minibus] 'mountains. '
75. nuntia] 'tidings' neuter plural from nuntium.
78. hinc] Sillig has hunc, " hunc (bc, Attinem) face
ut redeat. "
CARMEN XLII.
The Nuptials of Peleus and Thetis.
This is the longest and most highly wrought of
the poems of Catullus, and may be ranked among
the finest productions of the Latin Muse. It
abounds in strikingly distinct descriptions, and
pathetic and eloquent expressions of passion. The
despairing anguish of the forsaken Ariadne, her
reproaches mingled with love for her betrayer, are
hardly any way inferior to the dying language of
Dido, (Virg. iEneid 4. ) and far superior to the
strained sentiments and tamer expressions of the
same Ariadne in Ovid. (Heroides, Ep. 10. ) The
picture of the sad daughter of Minus standing on
the extreme beach--her hair loosened to the winds,
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? 128 NOTES.
the veil which had hid her hosom, and her woven
girdle, fallen at her feet and tossed unheeded by
the waves, gazing after the vessel that bears away
her false lover, and forgetting all but the despair of
her own abandonment, is worthy of the highest
efforts of the sculptor or the painter. The con-
cluding verses (385 ad fin. ) are in a tone of sad re-
gret, and of severe morality, which the Poets of
Rome seldom attained.
The poem opens with a rapid sketch of the
Argonautic expedition, the surprise of the Pontic
sea nymphs, and the mutual attachment of Peleus
and Thetis. After a hasty congratulation, the Poet
passes to the scene of the nuptials, the thronging
of the Thessalian youth, who deserted the labors
of the field and of the vineyard--the palace and the
festal splendors of Peleus. Among the nuptial
ornaments is a curiously embroidered quilt, the
description of which and the narratives suggested
by it, comprise the longer part of the poem. On
one portion is represented Ariadne deserted by
Theseus on the shore of Naxos ; in connection with
which the Poet relates the causes which led The-
seus to Crete, the love and flight of Ariadne, and
the unhappy forgetfulness which proved the death
of jEgeus. On another part, is represented Bac-
chus enamored and pursuing Ariadne, and the
orgies of his attendants. Returning from this
episode, he introduces the Gods and Demi Gods
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? NOTES. 129
honoring the nuptials with their presence, and
bringing each his peculiar and appropriate gifts.
During the feast, the Parcae, whose persons and
labors are minutely described, sing a fit epithalami-
um, predicting the future glory of Achilles, the
promised offspring.
