Alexandrian poetry is notoriously preoccupied with the pedigree and reliability of its fictions." Who sees?"" Who speaks?" And with what authority? The poets both emphasize and question the certainty o their utterance by presenting it through multiple and sometimes contra-dictory voices and points of view. They use the voices of their charac ters, to be sure, but they also invoke other views and voices by citing or alluding to previous authorities and texts, by quoting the songs of re or imaginary singers, and by describing the scenes depicted on works o art.'

Like its Alexandrian forebears, Catullus 64 is also a poem of many views and voices-of the narrator, of the maker of the wedding coverlet, of Ariadne, Theseus, and Aegeus, of the Parcae, and of the previou texts cited in its numerous allusions. These are set in a complex structure-a narrative containing two framed songs (an ecphrasis and a reported song broken by a refrain) and complicated by digressions, reported speech, flashbacks, and flashforwards. In what follows I propose to examine the voices and points of view in the epyllion and to follow them through the structure Catullus has placed them in, even when (and especially when) they are confusing and contradictory. I will argue that the poem is a work of competing perspectives whose authority is repeatedly called into question and that within it Catullus has created a space separate from the logic and chronology of the external world where different stories come together to become the same story