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Poem 64
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Written in dactylic hexameter, as used by Virgil for his epic

Critics
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“story within a story”; great rhetoric, poor logic – Fordyce

Points
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Line 44
o “rēgĭă/fūlgēn/tī splēn/dēnt aū/r(o) ātque ār/gēntō
...
” → dactylic line, coupled with hard sounds,
emphasises Ariadne’s anger
Line 55
o “visit visere” → polyptoton reflects her disbelief
Line 56
o “ūtpŏtĕ/ fāllā/cī quaē/ tūnc prī/m(um) ēxcĭtă/sōmnō” → spondaic for slow realisation
o “fallaci […] somno” → personifies sleep
Line 57
o “dēsēr/t(am) īn sō/lā mĭsĕ/rām sē/cērnăt hăr/ēnā
...
p
...
” → dactylic for speed of his flight, also first
occurrence of ‘immemor’ for Theseus which is later repeated
Line 59
o “irrita ventosae […] promissa procellae” → neat symmetry of structure (adjective A, adjective
B, noun A, noun B)
Line 60
o “quēm prŏcŭl/ēx āl/gā maēs/tīs Mīn/ōĭs ŏc/ēllīs” → more spondees for sadness, coupled with
poignant m alliteration and diminutive ‘ocellis’

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Line 61
o “saxea ut effigies bacchantis” → frenzy of Maeneads/her emotions at odds with the static
statue
Line 62
o “prōspĭcĭt/ ēt māg/nīs cūr/ārūm/ flūctŭăt/ ūndīs”→ spondaic for sadness
o “magnis curarum fluctuat undis” → enclosing word order as waves surround her, also u
assonance for sadness
Lines 63-5
o “non […] non […] non” → anaphoric tricolon emphasises Ariadne’s desolation
o “ironically futile sexual signalling to departing lover, and part unconscious signifying to
Bacchus” – Godwin
Line 67
o “alludebant” → personifies sea, also note its playfulness vs
...
e
...
” → spondaic, creates sense of effort
involved in climbing the cliffs
Lines 128-9
o “tum tremuli […]/ mollia nudatae tollentem tegmina” → t alliteration, sound of Ariadne flailing
around in her frenzy, crashing through the waves
Line 131
o “frigidulos udo singultus ore cientem:” → aural image of u assonance, golden line arrangement
(adjective A, adjective B, verb, noun A, noun B)
Lines 132-3
o “perfide […] perfide” → repeated sense emphasises Ariadne’s feeling of betrayal
Line 134-5
o “discedens […] divum/[…] devota domum” → forceful ds create sound of her anger,

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Line 135
o “immemor a!” → overwrought with emotion, grammar is thrown into disorder
o “periuria portas?” → plosives add to angry sense of d sounds, also rhetorical question
Lines 136-7
o “nullane/nulla” → emphatic negativity
Lines 137-8
o “consilum?/pectus?” → rhetorical questions – rhetorical devices strengthen the power of her
speech
o “praesto/pectus” → more plosives
Line 139
o “at non haec quondam” → rhetorical sharpness to this transition, also emphatic contrast between
past/present (‘haec’/’quondam’)
Line 140
o “non haec” → anaphoric, rhetorical devices continue
o “miserae sperare” → poignant juxtaposition of hope/wretchedness
Line 141
̆
o “sēd cōn/ūbĭă/ laētă
...
” → spondaic metre coupled with ‘o’ assonance
suggests sarcastic tone
Line 184
o “nullo litus, sol(a) insula tecto” → repeated ‘l’ sounds suggest sadness, as does elision
Lines 185-6
o “nec […]/nulla […] nulla” → everything desolate, negative crescendo, confused grammar
Lines 186-7
o “omnia muta/omnia […] omnia” → everything desolate, negative crescendo
Lines 188-9
o “non […]/nec” → defiant, sharp shift
Line 190
o “quām iūs/t(am) ā dī/uīs ēx/pōscām/ prōdĭtă/mūltām

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