The six long poems are of unequal merit. The modern reader will not find much to interest him in the _Coma Berenices_, abounding as it does in mythological allusions. [126] The poem to Mallius or Allius, [127] written at Verona, is partly mythological, partly personal, and though somewhat desultory, contains many fine passages. Catullus pleads his want of books as an excuse for a poor poem, implying that a full library was his usual resort for composition. This poem was written shortly after his brother's death, which throws a vein of melancholy into the thought. In it, and still more happily in his two _Epithalamia_, [128] he paints with deep feeling the joys of wedded love. The former of these, which celebrates the marriage of Manlius Torquatus, is the loveliest product of his genius. It is marred by a few gross allusions, but they are not enough to interfere with its general effect. It rings throughout with joyous exultation, and on the whole is innocent as well as full of warm feeling. It is all movement; the scene opens before us; the marriage god wreathed with flowers and holding the _flammeum_, or nuptial veil, leads the dance; then the doors open, and amid waving torches the bride, blushing like the purple hyacinth, enters with downcast mien, her friends comforting her; the bridegroom stands by and throws nuts to the assembled guests; light railleries are banded to and fro; meanwhile the bride is lifted over the threshold, and sinks on the nuptial couch, _alba parthenice velut, luteumve papaver_. The different sketches of _Auruneuleia_ as the loving bride, the chaste matron, and the aged grandame nodding kindly to everybody, please from their unadorned simplicity as well as from their innate beauty.
The second of these _Epithalamia_ is, if not translated, certainly modelled from the Greek, and in its imagery reminds us of Sappho. It is less ardent and more studied than the first, and though its tone is far less elevated, it gains a special charm from its calm, almost statuesque language. [129] The _Nuptials of Peleus and Thetis_ is a miniature epic, [130] such as were often written by the Alexandrian poets. Short as it is, it contains two plots, one within the other. The story of Peleus's marriage is made the occasion for describing the scene embroidered on the coverlet or cushion of the marriage bed. This contains the loves of Theseus and Ariadne, the Minotaur, the Labyrinth, the return of Theseus, his desertion of Ariadne, and her reception into the stars by Iacchus. The poem is unequal in execution; the finest passages are the lament of Ariadne, which Virgil has imitated in that of Dido, and the song of the Fates, which gives the first instances of those refrains taken from the Greek pastoral, which please so much in the Eclogues, and in Tennyson's _May Queen._ The _Atys_ or _Attis_ stands alone among the poet's works. Its subject is the self-mutilation of a noble youth out of zeal for Cybele's worship, and is probably a study from the Greek, though of what period it would be hard to say. A theme so unnatural would have found little favour with the Attic poets; the subject is more likely to have been approached by the Alexandrian writers, whom Catullus often copies. But these tame and pedantic versifiers could have given no precedent for the wild inspiration of this strange poem, which clothes in the music of finished art bursts of savage emotion. The metre is galliambic, a rhythm proper to the hymns of Cybele, but of which no primitive Greek example remains. The poem cannot be perused with pleasure, but must excite astonishment at the power it displays. The language is tinged with archaisms, especially compounds like _hederigera, silvicultrix_. In general Catullus writes in the plain unaffected language of daily life. His effects are produced by the freshness rather than the choiceness of his terms, and by his truth to nature and good taste. His construction of sentences, like that of Lucretius, becomes at times prosaic, from the effort to avoid all ambiguity. If the first forty lines of his _Epistle to Mallius_ [131] be studied and compared with any of Ovid's _Epistles from Pontus_, the great difference in this respect will at once be seen. Later writers leave most of the particles of transition to be supplied by the reader's intelligence: Catullus, like Sophocles, indicates the sequence of thought. Nevertheless poetry lost more than it gained by the want of grammatical connection between successive passages, which, while it adds point, detracts from clearness, and makes the interpretation, for example, of Persius and Juvenal very much less satisfactory than that of Lucretius or Horace.