Ovid’s fascination with Catullus’ Ariadne throughout his career has been the focus of considerable critical discussion and scholars have identified a plethora of Ovidian female figures imitating the speech of the Catullan heroine. This paper examines an overlooked incarnation of Catullus’ Ariadne in the episode of the Tyrrhenian sailors (Met. 3.577-700). Bacchus stages a reenactment of the tale of Theseus and Ariadne in Catullus 64.50-266 by impersonating the deserted princess and casting the Tyrrhenians in the role of the perfidious hero. The study suggests that the Ovidian god constitutes a unique instance of a male character appropriating the voice of Catullus’ female protagonist. Moreover, Bacchus’ epiphany inverts its Neoteric model: the Catullan ecphrastic account of the Dionysiac thiasos is represented as a vivid narrative teeming with motion and sound, while in the Metamorphoses the Bacchic miracles are figuratively depicted as a still and silent scene in an ecphrasis.

奥维德（Ovid）在其职业生涯中对卡图卢斯（Caullus）的阿里亚德（Ariadne）的痴迷一直是相当重要的讨论焦点，而且学者们已经发现了许多模仿卡图伦海洛因（Cathullan heroine）演讲的奥维德女性形象。本文探讨在伊特鲁里亚水手的事件（被忽视的卡图卢斯阿里阿德涅的化身满足。 3.577-700） 。酒神通过扮演空无一人的公主并扮演第勒尼安人扮演这个顽强英雄的角色，重演了卡图鲁斯64.50-266节中的These修斯和阿里亚德涅的故事。研究表明，奥维多神构成了男性的独特实例。角色适合Catullus女主角的声音。此外，巴克斯顿悟反转其近代模式：酒神的Catullan ecphrastic帐户thiasos被表示为生动的叙述与运动和声音浇铸，而在变形记的喧闹奇迹被象征性地描绘为在一个静止和无声情景ecphrasis。