64. _Epithalamium Pelei et Thetidis_.—This is the longest and most elaborate of the productions of Catullus. It displays much accurate description, as well as pathetic and impassioned incident. Catullus was a Greek scholar, and all his commentators seem determined that his best poems should be considered as of Greek invention. I do not believe, however, that the whole of this epithalamium was taken from any one poet of Greece, as the _Coma Berenices_ was from Callimachus; but the author undoubtedly borrowed a great deal from various writers of that country. Hesiod wrote an Epithalamium, Ἐις Πηλεα και Θετιν(502), some fragments of which have been cited by Tzetzes, in his _prolegomena_ to Lycophron’s _Cassandra_; and judging from these, it appears to have suggested several lines of the epithalamium of Catullus. The adornment, however, and propriety of its language, and the usual practice of Catullus in other productions, render it probable, that he has chiefly selected his beauties from the Alexandrian poets. Valckenar, in his edition of Theocritus, (1779,) has shown, that the Idyls of Theocritus, particularly the _Adoniazusi_, have been of much service to our Latin poet; and a late German commentator has pointed out more than twenty passages, in which he has not merely imitated, but actually translated, Apollonius Rhodius(503). The proper subject of this epithalamium is the festivals held in Thessaly in honour of the nuptials of Peleus and Thetis; but it is chiefly occupied with a long episode, containing the story of Ariadne. It commences with the sailing of the ship Argo on the celebrated expedition to which that vessel has given name. The Nereids were so much struck with the unusual spectacle, that they all emerged from the deep; and Thetis, one of their number, fell in love with Peleus, who had accompanied the expedition, and who was instantly seized with a reciprocal passion. Little is said as to the manner in which the courtship was conducted, and the poet hastens to the preparations for the nuptials. On this joyful occasion, all the inhabitants of Thessaly flock to its capital, Pharsalia. Every thing in the royal palace is on a magnificent scale; but the poet chiefly describes the _stragula_, or coverlet, of the nuptial couch, on which was depicted the concluding part of the story of Theseus and Ariadne. Ariadne is represented as standing on the beach, where she had been abandoned, while asleep, by Theseus, and gazing in fixed despair at the departing sail of her false lover. Never was there a finer picture drawn of complete mental desolation. She was incapable of exhibiting violent signs of grief: She neither beats her bosom, nor bursts into tears; but the diadem which had compressed her locks—the light mantle which had floated around her form—the veil which had covered her bosom—all neglected, and fallen at her feet, were the sport of the waves which dashed the strand, while she