American Journal of Philology

The present study aims to analyze the technique of verbal reminiscences and the structure of the frame of the song of the Parcae, one of the most important sections in poem 64 and the most controversial in meaning, together with the implications these verbal echoes have for the meaning of the text.

Catullus’ poem 64 was undoubtedly conceived by the author himself as his masterpiece and it appears as such in the very centre of the collection. We know from poem 95 that Cinna, Catullus’ poet friend and companion on his journey to the East, took nine years to write a similar poem, the epyllion entitled Zmyrna. Cinna’s work was famous for its obscurity, but also poem 35 mentions the time spent by another poet from Catullus’ circle of friends in writing a poem on the Magna Mater. Both references reveal the meticulousness (the labor limae) with which the neoteric poets composed their most important works.

This explains the reason for the compositional virtuosity that can frequently be discovered in poem 64. An example of this is the repeated use of verbal reminiscences throughout the poem. ¹ For the author this procedure serves various purposes: to provide a frame for the descriptive sections or direct speech; to link the different events by underlining the causal relations between them; to confer a symbolic nature on the text, and so forth. Before we turn to the introduction of the Parcae and their song, which is the main focus of this paper, it will be useful to illustrate Catullus’ technique of simultaneous ring composition and forward [End Page 75] cross-reference through verbal echoes from verses 112–15. This one case and its allusive network may serve as an example, among many, of this compositional virtuosity of Catullus. When he describes the hero Theseus emerging from the labyrinth after slaying the Minotaur, he does so in the following terms:

inde pedem sospes multa cum laude reflexit errabunda regens tenui vestigia filo, ne labyrintheis e flexibus egredientem tecti frustraretur inobservabilis error.

(64.112–15)

These verses are an echo, after the elaborated Homeric simile used by the author to refer to the death of the monster, of those in which Catullus previously described the fears of Ariadne enamoured by Theseus’ fortune:

cum saevum cupiens contra contendere monstrum aut mortem appeteret Theseus aut praemia laudis! non ingrata tamen frustra munuscula divis promittens tacito succepit vota labello.

² (64.101–4)

In both cases the narration centres on the favours granted Theseus by Ariadne: in the first with the supplications she directs to the gods; in the second with the gift of the ball of thread which enables the hero to escape from the labyrinth.

It is not difficult to discover a closer relation between the two passages. In the first, Theseus wishes to fight the monster: cum saevum cupiens contra contendere monstrum / . . . Theseus. The expectation thus raised with regard to possible narratives is answered in verse 110, which evokes the previous verse: sic domito saevum postravit corpore Theseus.

The hero wishes for death or glory: ³ aut mortem appeteret Theseus [End Page 76] aut praemia laudis This verse is taken up later in the following passage: inde pedem sospes multa cum laude reflexit (64.112). If Theseus wished for death or the reward of glory, Ariadne’s help enabled him to avoid one and achieve the other. The reappearance of the term frustra (102) in the verb frustraretur (115) stresses the heroine’s intervention. ⁴

In verses 112–15 we find, moreover, the stylistic recourse of etymologically related words that had been used by the poet in the previous simile (indomitus turbo, 107; exturbata, 108; domito, 110). Reflexit (112) and errabunda vestigia (113) are echoed again in labyrintheis flexibus (114) and inobservabilis error (115), such that the verses are ordered as follows: A (112), B (113), A′ (114), B′ (115).

The repetitions stress the difficulty in returning and the importance of Ariadne’s help. Theseus’ life depends on the tenuous thread that governs his steps. Reflexit and flexibus emphasize the tortuousness...