'Grows, lives, and dies in single blessedness;'
while the same vine, when wedded to the elm, is regarded as the symbol of the usefulness, dignity, and happiness which await the bride.
The absence of all personal allusion in this poem, and its resemblance in tone and rhythm to some fragments of the Lesbian poetess, might suggest the idea that it was translated, or at least imitated, from the Greek. But, on the other hand, from its harmony with the kind of subject and imagery in which Catullus most delights, and from the close observation of Italian Nature, shown in such lines as this—
Iam iam contingit summum radice flagellum,—
it seems more probable that it was an adaptation of the style of his great model to some occasion within his own experience, than that it was a mere exercise in translation, like his 'Coma Berenices.'
The 'Attis' is the most original of all his poems. As a work of pure imagination, it is the most remarkable poetical creation in the Latin language. In this poem Catullus throws himself, with marvellous power, into a character and situation utterly alien to common experience, and pours an intense flood of human feeling and passion into a legend of strange Oriental fanaticism. The effect of the piece is, in a great measure, produced by the startling vividness of its language and imagery, and by the impetuous rush of its metre. Though the poem may have been partly founded on Greek materials, yet Catullus has treated the subject in a thoroughly original manner. It is difficult to believe that any translation could produce that impression of genuine creative power, which is forced upon every reader of the Attis. There is nothing at all like the spirit of this poem in extant Greek literature. No other writer has presented so life-like an image of the frantic exultation and fierce self-sacrificing spirit of an inhuman fanaticism; and of the horror and sense of desolation which the natural man, more especially a Greek or Roman, would feel in the midst of the wild and strange scenes described in the poem, when first awaking to the consciousness of his voluntary bondage, and of the forfeiture of his country and parents, and the free social life of former days. A few touches in the poem—as, for instance, the expressions, 'niveis manibus,' 'roseis labellis,' and 'Ego gymnasii fui flos,'—all introduced incidentally,—force upon the mind the contrast between the tender youth and beauty of Attis and the fierce power of the passion that possesses him. The false excitement and noisy tumult of the evening deepen the sense of the terrible reality and blank despair of the morning.
The effect of the whole drama of human passion and agony is intensified by the vividness of all its pictorial environment;—by the vision of the wild surging seas, through which the swift ship and its mad crew were borne, and of the gloom and horror of the woods that hid the sounding rites of the goddess, and the tall columns of her temple. With what a powerful and rapid touch he paints the aspect of sky, earth, and sea in the early morning—
Sed ubi oris aurei Sol radiantibus oculis
Lustravit aethera album, sola dura, mare ferum,
Pepulitque noctis umbras vegetis sonipedibus.