Ring-Composition in Catullus 64

Author(s): David A. Traill

Source: The Classical Journal , Feb. - Mar., 1981, Vol. 76, No. 3 (Feb. - Mar., 1981), pp.
232-241
Published by: The Classical Association of the Middle West and South, Inc. (CAMWS)

Stable URL: https://www.jstor.org/stable/3297325

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 RING-COMPOSITION IN CATULLUS 64

It is apparent to even the casual reader of Catullus 64 that a basic patt

ring-composition articulates the poem: prologue-guests-coverlet-A
and Theseus-coverlet-guests-epilogue.1 However, if the reader, en
aged by the elaborate example of Catullus 68, goes on to look for
composition in greater detail, he is soon confronted with awkward ques
What is there at the beginning to match the lengthy song of the Fates at th
What corresponds to Ariadne's lament, nearly one-fifth of the whole?
and similar difficulties have discouraged scholars from looking for an ela
scheme of ring-composition.2 Nevertheless, after a careful study of w
consider to be the natural divisions of the poem, I have come to the conc
that in 64 Catullus is experimenting with a form of ring-composition in
the related sections correspond in form and content, but may vary q
markedly in length. The structure is set out in diagrammatic form in T
and the verbal echoes which strengthen the links between correspond
sections are listed in Table 2. I shall first attempt to show how the re
sections correspond to one another and then address the question of ho
discovery of ring-composition affects our understanding of the poem.
Since the correspondences are most distinct in the inner story, we will b
with the two coverlet sections D (43-51) and d (265f). Here the links are
evident in subject matter and striking in language (see Table 2). In
description of the actual coverlet is preceded by lines which dwell on
luxuriousness of its setting, but since several sections contain some k
prefatory material, I shall discuss this aspect of Catullus' composi
technique later.
The correspondence between sections E (52-70) and e (249-264) a
clear-cut. It is in these sections, and these sections only, that the
11 would like to express my indebtedness to W. S. Anderson of the University of Calif
Berkeley, and to the anonymous reader of CJ for helpful criticism of earlier drafts of this ar
The following commentaries have proved most useful: W. Kroll (Leipzig 1929), C. J. F
(Oxford 1961), and K. Quinn (London 1970). Subsequent reference to these commentaries
the following article will be by author's name only: F. Klingner, "Catulls Peleus
SBBayerAkWiss (1956) Heft 6, pp. 1-92, which is reprinted in his Studien (Ziirich 1964) 156
2Klingner (supra n. 1) notes that the arrival and departure of the guests surrounds the A
Theseus inset in the form of ring-composition (p. 30f) and that the account of the wedd
interrupted "von der langen, in sich wieder vielfach durchbrochenen und in der Fo
Ringcomposition schliesslich zuriickgebogenen Einlage" (p. 80). Notable among the atte
see more detailed ring-composition are C. W. Mendell, "The Influence of the Epyllion
Aeneid, " YCS 12 (1951) 205-226 (he sees Ariadne's lament as the center and omits 1-
267-408 from his scheme) and D. Thomson, "Aspects of Unity in Catullus 64," CJ 57
49-57 (he also makes Ariadne's lament the center, and treats the song of the Fates as a kind of
A further scheme is proposed by C. Murley, "The Structure and Proportion of Catullus
TAPA 68 (1937) 305-317. None of these schemes has won much acceptance. For further bi
raphy on the poem see the useful lists by H. J. Leon in CW 53 (1960) 174f, D. Thompson i
(1971) 121f and J. Granarola in Lustrum 17 / 1973-74 (1976) 27-70.

232

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 Table 1
STRUCTURE OF CATULLUS 64
A 1-21 (21) Prologue: launching of Argo; Peleus sees Thetis; Jupiter decides tha
B 22-30 (10) Makarismos of heroic age in general and of Peleus in particu
C 31-42 (12) Arrival of mortal guests bearing gifts; abandonment of cou
D 43-51 (9) Luxuriousness of palace; coverlet on Thetis' couch.
E 52-70 (19) Ariadne on beach of Dia, staring after departed Th
F 71-123 (53) Flashback: Theseus' expedition to Crete and aban
G 124-201 (78) Set speech addressed to Theseus. Ariadne'
H 202-211 (10) Jupiter intervenes. Curse fulfilled; Thes
g 212-37 (26) Set speech addressed to Theseus. Aegeus' qu
f 238-248 (11) Flashforward: Theseus returns to Athens ment
e 249-264 (16) Ariadne on beach. Approach of Dionysus and Ba
d 265-266 (2) Coverlet.
c 267-302 (36) Departure of mortal guests. Arrival of immortal guests be
b 303-381 (79) Makarismos of Peleus sung by the Fates.
a 382-408 (27) Epilogue: formerly the gods mingled with mortals, but man's si
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 Table 2
VERBAL ECHOES IN CORRESPONDING SECTIONS OF
A Prologue a E
1 quondam 382 quondam
5 avertere1 406 avertere'
11 imbuit2 397 est imbuta2
16f (haud) alia viderunt luce marinas / . . . Nymphas 408 nec se con
B Makarismos b M
25f teque adeo eximie2 taedis felicibus aucte, 323f o decus ex
Thessaliae columen Peleu, cui luppiter ipse . . . Emathiae
C Arrival of Guests c D
34 dona2 ferunt prae se 279 portans si
35 linquunt Phthiotica Tempe1 286f Tempel ...
D Coverlet d Co
47 pulvinarl 50 vestis . . . variata figuris 266 pulvinar1
E Ariadne on Beach e Ar
52f prospectans1 ... cedentem2 249 prospecta
61 ut effigies bacchantis' 255 bacchantes'
F Theseus f Th
71 assiduis2 . . . luctibus 242 in assiduos2
73f ferox2 . . . Theseus . . . egressus 246f ingressu
81f corpus . . . proicere 244 praecipite
86 simul ac . . . conspexit 243 cum prim
105ff wind / mountain-top simile; flamine 239f wind / m
123 immemori . . . pectore 248 mente imme
G Ariadne's Speech g A
130, 195 querellis,2 querellas2 223 querellas
181 respersum . . . caede 230 respergas
188 non . . . languescent lumina morte 219f languida
199 nostrum . . . luctum 226 nostros . . .
1word not found elsewhere in Catullus 2wor
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 RING-COMPOSITION IN CATULLUS 64 235
embroidered on the coverlet are described. The abandoned Ariadne with the
departing Theseus and/or the approaching Dionysus was a favorite subject for
Hellenistic and Roman artists, but whether we are to think of a tripartite
composition, as T. B. L. Webster suggests, with Ariadne in the center flanked
on either side by Theseus' departing ship and Dionysus and his entourage, or of
two discrete pictures is perhaps insoluble.3 The two sections are also very
similar in structure. In E after describing briefly the incredulous Ariadne and
the hastily departing Theseus Catullus concentrates on the details of Ariadne's
"Bacchic" disarray. In e after a brief reference to Ariadne gazing out to sea4
and to Iacchus quickly advancing towards her he concentrates on the activities
of the Bacchic thiasos. Anaphora of the first word in three successive lines (non
63-65 and pars 257-259) is used to catalogue the Bacchic features of each
section and to heighten the emotional tone. Both sections climax and close five
lines after the end of the catalogue. The closing lines are unusually highly-
wrought, brilliantly evoking in E the impassioned desperation of Ariadne:
illa vicem curans toto ex te pectore, Theseu,
toto animo, tota pendebat perdita mente. (69-70)
and in e the ominous cacophony of the approaching thiasos:5
multis raucisonos efflabant cornua bombos
barbaraque horribili stridebat tibia cantu. (263-264)
Sections F (71-123) and f (238-248) seem at first sight a disparate pair. F is
53 lines long and f a mere 11. However, both are narrative sections relating the
expedition of Theseus, and both are removed in time from the beach scene on
Dia, F being a flashback and f a flashforward. In both sections the central
incident is the fateful sighting of Theseus, Ariadne's first (simul ac . . .
conspexit 86), and Aegeus' last (cum primum . .. conspexit 243), and the tragic
effect this has on their lives-hopeless infatuation for Ariadne and suicide for
Aegeus. These sections are also particularly rich in verbal echoes. In Fferox
.... Theseus (73) sets out from Athens (egressus 74); in fferox Theseus (247)
returns (ingressus 246). Both end with a reference to Theseus' immemor
mens. In F he leaves Dia immemori pectore (123), and in f he returns to Athens
mente immemori (248). Finally, the striking use of proicere in the phrase
Catullus chooses to describe Theseus' willingness to sacrifice himself for his
city, ipse suum pro caris corpus Athenis / proicere optavit (81f), seems
intended to foreshadow Aegeus' suicide: praecipitem sese scopulorum e
vertice iecit (244).
Sections G (124-201) and g (212-237) have the obvious formal connection
that they are both set speeches. Moreover, they are both addressed to Theseus
as he departs by ship by speakers who are linked by their overmastering love for
him. In structure, both speeches are essentially bipartite, Ariadne's consisting

3Webster, "The Myth of Ariadne from Homer to Catullus," G&R 13 (1966) 22-31. For
reproductions of these scenes see the plates appended to Webster's article and the useful collection
of drawings in S. Reinach, Repertoire de Peintures Grecques et Romaines (Paris 1922) 111-113.
4The repetition here of prospectans cedentem from lines 52f is a particularly striking verbal
echo.
5For the threatening nature of these lines see Curran (infra n. 14) 180. For Ariadne's terror at the
approach of the thiasos cf. Ovid AA 1.539f: excidit illa metu rupitque novissima verba; / nullus in
exanimi corpore sanguis erat.

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 236 DAVID A. TRAILL
of querellae (132-187) and an exsecrati
(215-227) and mandata (228-237). The exsec
the development of the plot. Their mutual
center of the poem by the intervention of J
structure are strengthened by several ver
specifically use the word querellae of their
also uses the word in the narrative introdu
the phrase that Aegeus chooses to refer,
over the Minotaur, ut tauri respergas sang
to recall Ariadne's respersum iuvenem
elements of the two sections, Ariadne'
decision to hoist black sails on Theseus'
motive, namely, that the speaker's grief sho
nostrum vanescere luctum (199) and nostr
mentis / carbasus obscurata dicet ferrugi
The central section H (202-211) describes
response to Ariadne's prayer for vengeance
on Theseus. Kinsey observes: "Jupiter's ass
(204-206) with great pomp:
annuit invicto caelestem numine rector
quo motu tellus atque horrida contremuerunt
aequora concussitque micantia sidera mundus.
The idea of these lines is not original but it does not appear to occur elsewhere at
such length nor in such exaggerated form.'"7 Kinsey goes on to suggest that the
grandiloquent tone may be ironic, but this is to underestimate the pivotal nature
of these lines. Jupiter's nod of assent in line 204 marks the turning-point in the
story of Theseus and Ariadne. Theseus' immemor mens, which has caused
Ariadne so much anguish, is now turned against himself and his family. It is
perhaps not a coincidence that line 204 is the exact midpoint of the poem.8
Jupiter's intervention is flanked by references to Ariadne's call for vengeance
(203) and Aegeus' mandata, which link the center to the adjacent speeches. In
much the same way in poem 68 the short sections on the Greek expedition to
Troy which flank the central section, Catullus' lament for his brother, link the
center to the Laodamia sections.'
If we now return to the coverlet sections and move towards the beginning and
end of the poem, we first encounter two sections on the wedding guests, C (31-
42) and c (267-302), then two sections addressed to Peleus, B (22-30) and b
(303-381), and finally the prologue, A (1-21), and epilogue, a (382-408).
There is a certain imbalance between section C (31-42) and section c (267-
302), for while C describes merely the arrival of the mortal guests, c describes
both the departure of the mortals and the arrival of the immortals. However, the
similarity in subject matter between the two sections makes their correspon-
dence self-evident. Moreover, lines 38-42 in C describing the abandoned

6Note also the use ot conquerar (164) and nostris questibus (170).
7T. E. Kinsev. "Irony and Structure in Catullus 64," Latomus 24 (1965) 921f.
"I include lines 23b and 378 in the reckoning.
"See Kroll's scheme (p. 219).

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 RING-COMPOSITION IN CATULLUS 64 237
countryside create an expectation that the mortals will return to the co
hence can be regarded as anticipating, and to that extent balan
departure of the mortal guests. The refreshing simile that occupies m
space devoted to the departure of the mortals in c provides a welcom
to the jarring picture of the revelling bacchanals (254-264) and this m
least part of the reason for the inclusion of this passage. Both C and
where the different guests have come from and refer to the gifts th
Both sections use the rhetorical device of the list. In C the lists are of
and activities which the mortal guests have left behind. In c the gifts b
the immortals are listed.
The disparity in length between sections B (22-30) and b (303-381) is
enormous, but the links in subject matter, form, and language are compelling.
In both sections Peleus himself is addressed and his felicity extolled. Quinn
rightly uses the term makarismos of both sections.10 The first two lines of the
two addresses to Peleus are remarkably similar in vocabulary and phrasing:
teque adeo eximie taedis felicibus aucte,
Thessaliae columen Peleu, cui luppiter ipse . . . (25f)
and
o decus eximium magnis virtutibus augens,
Emathiae tutamen, Opis carissime nato . . . (323f)
The conclusion that the second address is intended to recall the first seems
inevitable. However, in view of the fact that the second makarismos is so much
more important than the first, it would perhaps be nearer the mark to say that the
first, which in any case presents a somewhat truncated appearance, is intended
to anticipate the second.
Sections A (1-21) and a (382-408) form the poem's prologue and epilogue.
In both sections Catullus dwells on divine participation in human affairs. He
emphasises the personal nature of that participation by what Kinsey refers to as
"the awed ipsa in 9 and ipse in 21"1' and by praesentes in 384 and praesens in
396. There is an antithesis in both sections between the past (quondam I and
382), when the gods mingled with mortals, and the present, when they shun
their company and sight:
quare nec talis dignantur visere coetus
nec se contingi patiuntur lumine claro. (407f)
This antithesis is the dominant theme of the epilogue, but is less conspicuous in
the prologue. Nevertheless, the antithesis is felt there too, for quondam points as
much to the cultural as to the temporal gap between the events described and the
present. In much the same way as our "once upon a time," it seems both
wistful and slightly condescending. It prepares the reader for an ethos far
removed from that of his own day. Dicuntur (2) is a further recognition of the
distance between the world of Greek mythology and the stark realities of
contemporary Rome. Also, the total withdrawal of the gods in the epilogue
(407f) is presaged in the prologue, where the Nereids emerge to gaze in

1oQuinn calls only lines 334-336 a makarismos, but the term can be applied to the whole song,
as the impending birth of Achilles is to be seen as the culmination of Peleus' felicitas. Catullus
practically labels the song a makarismos in line 382: talia praefantes quondam felicia Pelei.
"Kinsey (supra n. 7) 915.

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238 DAVID A. TRAILL
astonishment at the monstrum (15) in
mortal eyes for the first and last tim
The verbs avertere (5 and 406) and i
prologue and epilogue and nowhere els
occur elsewhere in Catullus, and imbu
used each time in a significant con
Argonauts, the launching of the Argo
alienation of the gods. In the prologu
flamboyance. Avertere (5) with the m
steal" is a strangely hostile word to us
as Curran notes,14 is an example of A
sea with her passage, but, in the literal
sea, that becomes imbuta. The recurren
sheer coincidence, but probability and
argue against such an assumption.
Catullus is perhaps suggesting that the
of man's sinfulness. Certainly, in
unmistakable traces of indebtednes
launching of the Argo in just those t
pauca tamen suberunt priscae v
quae temptare Thetin ratibus,
oppida, quae iubeant telluri inf
alter erit tum Tiphys et altera
delectos heroas. (31-35)
Similarly, the repetition of avertere in the epilog
that the quest of the Argonauts should be classe
have alienated the gods from participation in h
To conclude this examination of the correspon
would like to comment on certain passages
parallels in their related sections. These passages
age in general (22-24); the description of the pa

12At 4.17 it is also used of a ship's launching.

13In the overwhelming majority of the passages cited in T
military contexts, however, where the party robbed is the en
apparent imputation of wrongdoing. After all, stealing fro
However, at the outset of the Argonautic expedition the Co
Nor do the Argonauts intend to resort to the surreptitious
imply. The verb describes with reasonable accuracy the manne
the fleece, but when applied to their motives at the outset, it
light. In a poem celebrating the marriage of one of the Argon
verb, such as recipere, repetere or the like. There can be litt
translate Ennius' per dolum:
vecti petebant pellem inauratam arietis
Colchis imperio regis Peliae per dolum. (213f J
The Medea, however, is a tragedy, not an epic, and the sum
is given by Medea's very partial nurse. That Catullus ch
objective context of epic narrative the bias inherent in pe
hostile attitude to the Argonautic expedition on the part of
14L. C. Curran, "Catullus 64 and the Heroic Age," YC

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 RING-COMPOSITION IN CATULLUS 64 239

Ariadne that precedes her speech (124-131); the Fates at their wor
I have dealt with the departure of the mortal guests in the discussion
above. The remaining passages are all clearly prefatory in fu
address to the heroes and the description of the palace present the
from which the item on which the poet wishes to concentrate is sele
terminology made famous by Bundy's work on Pindar,15 they are
climactic topic. That is to say, they are not topics in themselves
means of introducing topics. They also serve to set the selected
suitable context. The address to the heroes enhances the dignity of
the description of its setting adds to the beauty and luxuriousne
coverlet. The prefatory passages on Ariadne and the Fates ar
different in that they do not present the larger whole from whi
selected. Their function is to introduce the extended passages of d
which constitute the two showpieces of the poem, Ariadne's lam
song of the Fates. Both speeches deserve and indeed require som
introduction to set them off. Besides fulfilling the function of
however, the two descriptive passages are linked organically to th
After the digression on the expedition of Theseus Catullus could h
into Ariadne's speech without attempting to recreate the emotiona
of lines 60-70. The baroque description of Ariadne's grief in line
effectively creates the mood which the highly-charged speech req
case of the Fates, the description of their work gives life to the r
punctuates their song, currite ducentes subtegmina, curritefusi, a
us of their preeminent qualifications for giving Peleus an accurat
his future.
How does recognition of the ringed structure affect our understan
poem? It brings us no nearer to a definitive answer to such difficu
as: What is the significance of the inner story to the wedding o
Thetis? What is Catullus' attitude to the heroic age? How did he
audience to react to the Fates' picture of Achilles? It does, howe
some puzzles. For instance, the convoluted chronology of the inn
clearly the result of Catullus' rearranging of the elements of the sto
ringed structure. Moreover, certain of the details and emphases
telling of the story are due to his attempts to create similaritie
corresponding sections. Thus in E we see Ariadne's young (iuven
lover rapidly departing (fugiens 58) cum classe (53) and in e her yo
251) immortal lover rapidly approaching (volitabat 251) cum
Again, as Ariadne in E yearns for one who has no thoughts for he
in e yearns for Ariadne, who has no thoughts for him. In bo
anaphora and apostrophe are used to heighten the emotion: toto e
Theseu, / toto animo, tota pendebat perdita mente (69f); te quaeren
tuoque incensus amore (253). Finally, when Catullus compares Ar
statue of a Bacchanal, he is clearly foreshadowing the Dionysiac
and her imminent destiny to become the bride of Bacchus.
The same tendencies, though less conspicuous, are discernible in
For instance, in F the disproportionate emphasis placed on Ariad

15E. Bundy, "Studia Pindarica I," UnivCalPubCIPhil 18 (1962) no. 1, p. 5 et

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 240 DAVID A. TRAILL

sighting of Theseus, to which everything

section is subordinated,16 is explained by C
at Knossos as similar as possible to the
Ariadne's sighting of Theseus ensured (thro
victory over the Minotaur,17 so Aegeus' si
the old man's suicide. Theseus' slaying of t
his father's instructions are the most glori
career. Catullus invites us to connect them
action of wind on a mountain-top-a violen
and g Catullus has contrived to emphasize t
sections by casting both speeches in the form
querellae, a traditional feature of the genre,1
violation of fides, as is usual in propempti
has Aegeus indulge in querellae based on his
newly-found son off on a dangerous m
Aeneas, which Cairns discusses,22 Ariadne
example of the inverse type. Hence a curs
wishes. Aegeus' propempticon is that of a
inclusion of the mandata which the story r
It is Ariadne's curse and Aegeus' mandata
and Aegeus through Theseus' immemor mens
forged by the intervention of Jupiter at t
Theseus' immemor mens on Ariadne is
(241-245).
While much of the material of the outer sto
of ring-composition, this is not true of th
have regarded the epithalamium as almost
logically, has placed it in the climactic
Understandably he did not want to weaken
widely separated segments. Besides, it would
epithalamium before the arrival of the gue
by casting the epithalamium in the for

16The preceding lines explain how the fateful meeti

Minotaur is seen as dependent on Ariadne's vows on
"7Nam (105) clearly introduces the slaying of the Min
prayers.
18See the useful description of the propempticon in F
Roman Poetry (Edinburgh 1971) 6: ". .. the primar
someone departing, another person bidding him farew
the two, plus an appropriate setting."
19Cairns (supra n. 18) believes that querellae is the La
12).
20See Cairns (supra n. 18) 12.
21These querellae are partly expressed in such phrases as "eripit invito mihi te" (219) and
"nondum / lumina sunt gnati cara saturata figura" (219f) and partly hinted at in "multas expromam
mente querellas" (223).
22Cairns (supra n. 18) 131-135.
23A superior bidding farewell to an inferior might normally include advice in his propempticon.
See Cairns (supra n. 18) 9

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 RING-COMPOSITION IN CATULLUS 64 241

incorporating a brief, anticipatory makarismos of Peleus after the p

this earlier makarismos he draws his praise of Peleus from to
betrothal. In this way Catullus provides a corresponding secti
epithalamium that is consistent with the orderly development of th
ceremonies.
In a forthcoming article it will be shown that the center of Catullus 63, whose
ringed structure has already been pointed out by E. Schiifer,24 is the short
passage on Sun and Sleep (38-42).25 When poems 63 and 64 are compared,
they are found to have remarkably similar centers. In both poems a
meteorological change of the megacosmos brings about a sympathetic reaction
in the microcosmos ot the hero's mens. Thus just as in 64 Jupiter's thundrous
nod that shakes the universe (204-206) clouds Theseus' mens (207f), so in 63
the Sun's beams that bring light to the universe (40) clear Attis' mens, enabling
him to see where he is and what he has lost (46). This change of mens is pivotal
to both the Attis and the Ariadne-Theseus stories. The use of ring-composition
in these two poems and the similarity of their centers raises a host of questions
about Catullus' religious and philosophical views, narrative technique, and
indebtedness to Hellenistic antecedents, which lie beyond the scope of this
paper.

DAVID A. TRAILL
University of California, Davis

24E. Schgfer, "Das Verhdiltnis vom Erlebnis und Kunstgestalt bei Catull," Hermes
18 (Wiesbaden 1966) 101.
25My article, "Catullus 63: Rings around the Sun," will appear in a forthcoming is

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