Catullus in the context of "Varro Atacinus"

The Argonautica (Greek: Ἀργοναυτικά, romanized: Argonautika) is a Greek epic poem written by Apollonius Rhodius in the 3rd century BC. The only entirely surviving Hellenistic epic (though Callimachus' Aetia is substantially extant through fragments), the Argonautica tells the myth of the voyage of Jason and the Argonauts to retrieve the Golden Fleece from remote Colchis. Their heroic adventures and Jason's relationship with the Colchian princess/sorceress Medea were already well known to Hellenistic audiences, which enabled Apollonius to go beyond a simple narrative, giving it a scholarly emphasis suitable to the times. It was the age of the great Library of Alexandria, and his epic incorporates his research in geography, ethnography, comparative religion, and Homeric literature. However, his main contribution to the epic tradition lies in his development of the love between hero and heroine – he seems to have been the first narrative poet to study "the pathology of love". His Argonautica had a profound impact on Latin poetry: it was translated by Varro Atacinus and imitated by Valerius Flaccus, it influenced Catullus and Ovid, and it provided Virgil with a model for his Roman epic, the Aeneid.

The elegiac couplet or elegiac distich is a poetic form used by Greek lyric poets for a variety of themes usually of smaller scale than the epic. Roman poets, particularly Catullus, Propertius, Tibullus, and Ovid, adopted the same form in Latin many years later. As with the English heroic couplet, each pair of lines usually makes sense on its own, while forming part of a larger work.

Each couplet consists of a dactylic hexameter verse followed by a dactylic pentameter verse. The following is a graphic representation of its scansion:

An idyll (/ˈaɪdɪl/, UK also /ˈɪdɪl/; from Greek εἰδύλλιον (eidullion) 'short poem'; occasionally spelled idyl in American English) is a short poem, descriptive of rustic life, written in the style of Theocritus's short pastoral poems, the Idylls (Εἰδύλλια).

Unlike Homer, Theocritus did not engage in heroes and warfare. His idylls are limited to a small intimate world, and describe scenes from everyday life. Later imitators include the Roman poets Virgil and Catullus, Italian poets Torquato Tasso, Sannazaro and Leopardi, the English poet Alfred, Lord Tennyson (Idylls of the King), and Nietzsche's Idylls from Messina. Goethe called his poem Hermann and Dorothea—which Schiller considered the very climax in Goethe's production—an idyll.

Latin prosody (from Middle French prosodie, from Latin prosōdia, from Ancient Greek προσῳδία prosōidía, 'song sung to music', 'pronunciation of syllable') is the study of Latin poetry and its laws of meter. The following article provides an overview of those laws as practised by Latin poets in the late Roman Republic and early Roman Empire, with verses by Catullus, Horace, Virgil and Ovid as models. Except for the early Saturnian poetry, which may have been accentual, Latin poets borrowed all their verse forms from the Greeks, despite significant differences between the two languages.

Gaius Memmius (c. 99 – c. 49 BC, incorrectly called Gemellus, "The Twin") was a Roman politician, orator and poet. He is most famous as the dedicatee of Lucretius' De Rerum Natura, and for his appearances in the poetry of Catullus.

Iambus or iambic poetry was a genre of ancient Greek poetry that included but was not restricted to the iambic meter and whose origins modern scholars have traced to the cults of Demeter and Dionysus. The genre featured insulting and obscene language and sometimes it is referred to as "blame poetry". For Alexandrian editors, however, iambus signified any poetry of an informal kind that was intended to entertain, and it seems to have been performed on similar occasions as elegy even though lacking elegy's decorum. The Archaic Greek poets Archilochus, Semonides and Hipponax were among the most famous of its early exponents. The Alexandrian poet Callimachus composed "iambic" poems against contemporary scholars, which were collected in an edition of about a thousand lines, of which fragments of thirteen poems survive. He in turn influenced Roman poets such as Catullus, who composed satirical epigrams that popularized Hipponax's choliamb. Horace's Epodes on the other hand were mainly imitations of Archilochus and, as with the Greek poet, his invectives took the forms both of private revenge and denunciation of social offenders.

In ancient Rome, freeborn women were citizens (cives), but could not vote or hold political office. Because of their limited public role, women are named less frequently than men by Roman historians. But while Roman women held no direct political power, those from wealthy or powerful families could and did exert influence through private negotiations. Exceptional women who left an undeniable mark on history include Lucretia and Claudia Quinta, whose stories took on mythic significance; fierce Republican-era women such as Cornelia, mother of the Gracchi, and Fulvia, who commanded an army and issued coins bearing her image; women of the Julio-Claudian dynasty, most prominently Livia (58 BC – AD 29) and Agrippina the Younger (15–59 AD), who contributed to the formation of Imperial mores; and the empress Helena (c.250–330 AD), a driving force in promoting Christianity.

As is the case with male members of society, elite women and their politically significant deeds eclipse those of lower status in the historical record. Inscriptions and especially epitaphs document the names of a wide range of women throughout the Roman Empire, but often tell little else about them. Some vivid snapshots of daily life are preserved in Latin literary genres such as comedy, satire, and poetry, particularly the poems of Catullus and Ovid, which offer glimpses of women in Roman dining rooms and boudoirs, at sporting and theatrical events, shopping, putting on makeup, practicing magic, worrying about pregnancy—all, however, through male eyes. The published letters of Cicero, for instance, reveal informally how the self-proclaimed great man interacted on the domestic front with his wife Terentia and daughter Tullia, as his speeches demonstrate through disparagement the various ways Roman women could enjoy a free-spirited sexual and social life.