APOLLONIUS

OF RHODES
ARGON A UTICA
BOOK III
EDITED BY

R. L. HUNTER
Fellow of Pembroke College, Cambridge

UCAMBRIDGE
V UNIVERSITY PRESS
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CONTENTS
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Preface page vii

©Cambridge University Press 1989
References and abbreviations ix
First published 1989
Reprinted 1995, 1998 Introduction

Printed in Great Britain by Athenaeum Press Ltd, 1 The poet

Gateshead, Tyne & Wear 2 The myth before Apollonius 12

British Librar;• catahguing in publicatWn data 3 The poem 22

Apollonius, Rhodius Sigla 45

Argonautica. - (Cambridge Greek and Latin classics).
Bk. 3
I. Title II. Hunter, R. L. (Richard ARGONAUTICA Book III 47
Lawrence), 1953-
883'.01 Commentary
Libra9• ef Congress catdoguing in publication data Bibliography
Apollonius, Rhodius. Indexes
Argonautica, book III.
1 Subjects
(Cambridge Greek and Latin classics) 2 Greek words
I. Argonauts (Greek mythology)- Poetry. 2.Jason
(Greek mythology) - Poetry. 3. Medea (Greek mythology) - 3 Passages discussed
Poetry. I. Hunter, R. L. (Richard L.)
PA3872.Al3 1989 883' .OI 88-34048

ISBN o 521 32031 3 hard covers

ISBN o 521 31236 1 paperback

CP

v
 PREFACE

The format of Cambridge Greek and Latin Classics - to say nothing

of the firm hands of the editors - imposes tight constraints on a
commentator's freedom to indulge himself with so rich a text as
Argonautica 3. Three particular areas where I have held back
deserve special notice. One is Nachleben and reception, except
where a later reworking sheds important light on a passage of
the Argonautica; considerations of space are entirely responsible
for this omission, as the subject ought not to be left - as it has
been too often in the past - to those whose primary interest is
not in the Argonautica itself; there is still much work to be done,
even in such well-ploughed fields as Virgil and Ovid. Secondly,
I have resisted the temptation to discuss the nature and sources
of Apollonius' linguistic usage in the very full manner of
Livrea's edition of Book 4. The subject is of fundamental
importance, but this did not seem to be the proper place for it.
Thirdly, this edition does little for the doxography of scholar-
ship, and I have only rarely cited the names and detailed
arguments of scholars from whom I have learned, borrowed
and differed. To some readers of this commentary the extent of
my debt to my predecessors - especially Ardizzoni, Campbell,
Frankel, Gillies, Livrea, Mooney and Vian - will be of no
interest, to others it will be obvious; I hope that the latter will
not think me ungrateful.
In preparing this edition I have been lucky enough to have
friends (and editors) who were willing to be exploited and
whose assistance it is a pleasure to acknowledge here. Prof.
P. E. Easterling, Dr D. C. Feeney, Dr N. Hopkinson and Prof.
E. J. Kenney read all or most of the work in earlier draft and
improved it in many places. Prof. H. D. Jocelyn and Mr P. J.
Parsons kindly checked papyri for me, Virginia Knight
cheerfully helped with the proofs, and Susan Moore guided the
book through the press with exemplary skill.
October 1988 Pembroke College, Cambridge
 REFERENCES AND ABBREVIATIONS

1. The three volumes of F. Vian's Bude edition of Arg. (Paris

1974-81) are cited as Vian 1, 11and111, and his separate edition
of Book 3 (Paris 1961) as Vian ed. 'Mooney 37' means p. 37 of
the edition of Arg. by G. W. Mooney (Dublin 1912).
2. Unless otherwise specified, references to Callimachus are
to the edition of R. Pfeiffer (Oxford 1953-9).
3. Lyric poets are cited in the continuous numeration of
D. L. Page (ed.), Poetae melici Graeci (Oxford 1962), and the
fragments of Hesiod in the numeration of R. Merkelbach and
M. L. West, Fragmenta Hesiodea (Oxford 1967).
+ Abbreviations for periodicals usually follow the system of
L' Annie Philologique.
5. In the spelling of Greek names, ease of recognition rather
than consistency has been the principal aim. Thus, familiar
names are usually latinised, whereas less familiar ones may
simply be transliterated.
6. Modern works cited by author and date only are listed in
the Bibliography.
7. Collections of texts and works of reference are abbreviated
as follows:
ARFVP 2 D. Beazley, Attic red:figure vase-painters (ed.
].

2, Oxford 1963)
CA J. U. Powell (ed.), Collectanea Alexandrina
(Oxford 1925)
Chantraine P. Chantraine, Grammaire homirique (Paris
1948-53)
Chantraine, DE P. Chantraine, Dictionnaire itymologique de la
/angue grecque. Histoire des mots (Paris 1968-80)
Denniston J. D. Denniston, The Greek particles (ed. 2,
Oxford 1954)
DK H. Diels and W. Kranz (eds.), Die Fragmente
der Vorsokratiker (ed. 6, Berlin 1952)
ix
 x REFERENCES AND ABBREVIATIONS REFERENCES AND ABBREVIATIONS xi

D-S C. Daremberg and E. Saglio, Dictionnaire des RE Paulys Real-Encyclopiidie der classischen Alter-
antiquitis grecques et romaines (Paris 1873- I 9 r g) tumswissenschaft (Stuttgart 1893- )
Ebeling H. Ebeling (ed.), Lexicon homericum (Leipzig Rosch er W. H. Roscher (ed.), Ausfiihrliches Lexikon der
1880-5) griechischen und riimischen Mytho/ogie (Leipzig
FGrHist F. Jacoby (ed.), Die Fragmente der griechischen 1884-1937)
Historiker (Berlin 1923- ) SH H. Lloyd-Jones and P. Parsons (eds.), Sup-
GP A. S. F. Gow and D. L. Page (eds.), The plementum he/lenisticum (Berlin/New York
Garland ef Philip and some contemporary epigrams 1983)
(Cambridge 1968) SVF J. von Arnim (ed.), Stoicorum ueterumfragmenta
HE A. S. F. Gow and D. L. Page (eds.), The (Stuttgart 1905--24)
Greek anthology: hellenistic epigrams (Cam- Thes. H. Stephanus, Thesaurus graecae linguae (ed.
bridge 1965) 3, Paris 1831-65)
K-B R. Kuhner and F. Blass, Ausfuhrliche Gram- TrGF B. Snell, R. Kannicht and S. Radt (eds.),
matik der griechischen Sprache. Erster Tei!: Tragicorum Graecorum fragmenta (GOttingen
Elementar- und Formenlehre (ed. 3, Hanover 1971- )
1890-2)
K-G R. Kuhner and B. Gerth, Ausfuhrliche Gram-
rnatik der griechischen Sprache. <:,weiter Tei!:
Satz/ehre (ed. 3, Hanover/Leipzig 1898-
1904)
KRS G. S. Kirk, J. Raven and M. Schofield, The
Presocratic philosophers (ed. 2, Cambridge
1983)
LSJ A Greek-English lexicon, eds. H. G. Liddell,
R. Scott, H. Stuart Jones, R. Mackenzie
(ed. 9, Oxford 1968)
LfgrE Lexikon des friihgriechischen Epos, eds. B. Snell
et al. (Gottingen 1979- )
LJMC Lexicon iconographicum mythologiae classicae
(Zurich/Munich 1981- )
MT' W. W. Goodwin, Syntax ef the moods and tenses
ef the Greek verb (ed. 2, London 1889)
PGM K. Preisendanz (ed.), Papyri Graecae magicae
(ed. 2, Stuttgart 1973-4)
PMG D. L. Page (ed.), Poetae me/ici Graeci (Oxford
1962)
 INTRODUCTION

!. THE POET

i. Life
Our main sources for A.'s life are (i) a fragment.iry papyrus listing the
librarians of the royal. library at Alexandria, (ii) and (iii) two
biographical notices transmitted with our manuscripts of the text, and
(iv) an entry in the Byzantine lexicon known as the Suda.
(i) P. Oxy. 1241 (2nd century A.D., a miscellaneous handbook).
Col. ii:
'Apollo]nius, son of Silleus, of Alexandria, the one called
Rhodian, the follower (yvWp1µos) of Callimachus. He was also
teacher to the first 1 king. His successor was Eratosthenes, then
came Aristophanes of Byzantium, son of Apelles, [and Arist-
archus]. Then came Apollonius of Alexandria, the one called
u the eidograph" [i.e. "classifier"]; after him came Aristarchus
son of Aristarchus, of Alexandria, but originally from Samo~
thrace.'
(ii) Life A (probably an epitome deriving from the work ofTheon,
a critic of the late first century B.c.) :2
'Apollonius, the poet of the Argonautica, was by race an
Alexandrian, of the Ptolemais tribe, the son of Silleus or, as some
say, Illeus. He lived in the time of the third Ptolemy [i.e.
Euergetes, who reigned 246-222], 3 and was a pupil of
Callimachus. He was at first associated with 4 his own teacher,
Callimachus; late in life he turned to poetic composition. It is

1
Almost certainly an error for 'third', cf. below, p. 4.
2 Cf. C. Wendel, Die Oberlieferung der Scholien zu Apollonios von Rhodos (Abh.
Gottingen 3,1, 1932) 113.
3
Most MSS read 'he lived in the time of the Ptolemies', which is too obvious
to need saying. Wendel's text, adopted here, produces the likely sense of
what was intended, if not the actual words.
4
avvWv; this verb may suggest a close working partnership, cf. LSJ s.v.
1t.3.
2 INTRODUCTION I. THE POET 3

said that while he was still an ephebe he gave a reading (iv) Suda a 3419
(Ent5ei~o:cr60:1) of the Argonautica with no success at all; being
'Apollonius, an Alexandrian, epic poet, spent time in Rhodes,
unable to bear disgrace from the citizens and the reproaches and
son of Silleus, pupil of Callimachus, contemporary of Era~
abuse of the other poets, he left his homeland and went off to
tosthenes and Euphorion and Timarchus, 9 flourished in the time
Rhodes, where he polished and corrected the poem and won
of Ptolemy Euergetes, and was successor to Eratosthenes in the
great critical acclaim after a reading, For this reason he calls
headship of the Library at Alexandria.'
himself Rhodian in his poems.~ In Rhodes he taught successfully
and was rewarded with Rhodian citizenship and honours.' l'he briefest glance will confirm that these reports, even where
the text seems secure, present 'a labyrinth of self~contradictory state~
(iii) Life B {probably the work of Sophocles, a commentator under
men ts', 10 but a fitful light seems to appear around some of the
the Empire, whose sources will have included Theon) :6
corners. 11
'1'he poet Apollonius was by race an Alexandrian; his father The only reasons for rejecting the almost unanimous 12 biographical
was Silleus or Illeus, his mother Rhode. He was a pupil of tradition that A. came from Alexandria are a belief that the label
Callimachus who was a scholar (ypaµµa:TtK6S) in Alexandria, 'Rhodian ' would not have stuck if he were not really a Rhodian, and
and he composed poetry which he read publicly. As he was very the observation that the major poetic figures of third~century
unsuccessful and felt ashamed, he moved to Rhodes where he Alexandria tended to come from outside the city. 13 '!'his does not
took part in public life and taught rhetoric as a sophist; 7 for this amount to very much. There is similarly no good reason to doubt the
reason people even wish to call him a Rhodian. There he lived assertion of texts (i) and (iv) that A. served as Librarian in the library
and polished his poems and won such acclaim after reading his which was attached to the famous centre of scholarship and poetry
poetry that he was thought worthy of the libraries of the
Museum,11 and he was buried together with Callimachus in the royal collection is unhistorical; the Ptolemies aimed at completeness.
himself.' Nevertheless, the text is uncertain, and the biographer may have wished to
imply that A. became head of the Library, c( below p. 4.
~ This is usually taken to mean merely that ancient copies of Arg. were entitled " Presumably the 1'imarchus who was involved in a revolt against Euergetes
'by Apollonius the Rhodian'; if so, the heading need have no authority and was briefly tyrant of Mi!etos in 259/8, cf. RE VIA 1236-7.
behind it. Nevertheless, poets freely name themselves and their cities, and 10 Pfeiffer (1968) 141.

we can hardly discount the possibility that A. somewhere (for some reason) 11 This brief account may be amplified from Herter ( 1944/ 55) 221-36 and an.
referred to himself as 'Rhodian ', since 'in his poems' need not refer only to cit. (n. 6);.Eichgriin (1961) passim; P. Handel, 'Die zwei Versionen der
Arg. Relevant parallels include Theognis 22-3, Timotheus 791.22g-36, Viten des Apollonios Rhodios', Hermes go (1962) 429-43; Fraser (1972) I
Call. Epigr. 21 and Eratosthenes fr. 35. 18 Powell. So too, no firm conclusions 330-3; Blum (1977) 177~1; M. R. Letkowitz, The lives of the Greek poets
may be drawn from the verbO:vaypO:<pel, cf., e.g., Porphyry, LifeefPythagoras 2 (London 1981) 117-20 and 128-35.
'ATI0/\/\Wv1os 8' Ev ;ois Tiepi nveay6pov i<o:i µil;Epo: O:vaypO:qia nveo:i8o:. 12 Simple references in lexica etc. to 'Apollonius the Rhodian' are discounted.
8
Cf. Wendel loc. cit. (n. 2); H. Herter, Rk.M. 91 (1942) 310-26. In introducing the same story from A.'s Foundation of Naucratis (below,
7
There ;nay well be confusion here with either Apollonius of Alabanda in pp. 10-11), Athenaeus and Aelian describe A. as 'from Rhodes or
Caria, a rhetorician who taught in Rhodes in the late second century B.C. Naucratis'. This may simply be a specialised variant of the standard
and who, in at least one source, is called Apollonius the Rhodian (Theon division of his life into Egyptian and Rhodian periods, and we should not
2.61.29 Spengel), or with the slightly later Apollonius 'Molon', also a conjure with the notion that he was given citizenship in return tOr his poem
Carian who worked in Rhodes. It may also be relevant that Philostratus (Herter (1944/55) 222).
traced the beginning of' the second sophistic' to Aeschines' period of exile 13 Thus, Praxiphanes of Mytilene is sometimes called 'Rhodian ', presumably

in Caria and Rhodes (Vit. Soph. 1.481). because he taught there, cf. K. 0. Brink, C.Q, 40 (1946) 22. Callimachus
8 This should mean no more than that his poems were included in the Library, and Eratosthenes came from Cyrene, Asclepiades from Samas, Philitas from
cf. Pfeiffer (1968) 142. The idea that literary quality determined inclusion Cos, Zenodotus from Ephesus, Lycophron from Chalcis etc.
 4 INTRODUCTION I. THE POET 5

which the Ptolemies created in Alexandria, the 'Museum' (lit. 'shrine allow us to treat the account i~ the two lives with anything but the
of the Muses'). 14 The date of his· period as Librarian has been the greatest suspicion. Nevertheless, some connection with Rhodes can
subject of intense debate, as the Suda seems to offer two quite different hardly be denied: perhaps A.'s family came originally from Rhodes,
possibilities. The list on the papyrus, however, now allows us to be or perhaps he did retire there when replaced in the library by
reasonably confident that Apollonius preceded Eratosthenes ofCyrene, Eratosthenes. The 'foun<fation poems' of which we know (below, pp.
who was summoned from Athens to the position by Ptolemy III 1 0-12) seem to fit neatly into Egyptian (Alexandria, Naucratis) and
Euergetes whose reign, together with that of his Cyrenean wife Rhodian (Kaunos, Knidos, Rhodes) periods, but Ptolemaic interest in
Berenice, began in 247/6. If A. did indeed serve as Jutor to a future Rhodes and Caria was far too strong to make-~omposition of poems
king, as the papyrus suggests, then this must have been Euergetes celebrating these areas an unlikely undertaking in Alexandria itself. 18
himself, as the reign of Ptolemy II Philadelphus lasted from 283 until With the story of initial failure and ultimate success scholars have
24 7/6. Euergetes will have been of an age to require a tutor in the 26os, regularly linked the fact that, at six places in Book 1, the scholia cite
and so it is a plausible hypothesis that A .. held both the royal tutorship textual variants which they attribute to the 1TpoE1<Soa1s, the 'pre-
and the royal librarianship - posts which often went together - by that liminary edition' . 19 These variants range from one to five verses and
decade. If this reconstruction is correct, it leaves unanswered the are, on the whole, more radical changes than_ the variants which we
question whether A. succeeded the great Homeric scholar Zenodotus of find transmitted by our manuscripts and the papyri. 20 Thus the
Ephesus, who seems to have been the first to hold the post of Librarian, scholars whose work underlies our scholia knew of a particular text
or whether there was another figure between them. If there was, the which was thought to be earlier and preliminary to the vulgate. It is
obvious candidate is Callimachus of Cyrene, who compiled catalogues entirely plausible that different texts, perhaps of different parts of the
of both extant and lost literature, the Pinakes, a work which brings him poem, circulated during A. '.s lifetime, as poets regularly gave readings
very cl?se !~modern notions of~h': functions of the librarian ofa major of' work in progress' or sent it to their friends for criticism. Whether or
collection. Nevertheless, the silence of our sources 16 about his not the proekdosis was in fact such an i unauthorised' early version we
Librarianship is at least as striking as would be the fact of Callimachus cannot say, 21 but there is nothing in the character of the six preserved
not having been Librarian, and, given our total ignorance of the passages to suggest that the qualitative difference between the two
criteria governing royal appointments, it is best not to rely upon
18 For Rhodes in the third century cf. the brief account by H. Heinen in The
appeals to what might seem 'natural'. 17 We may thus tentatively Cambridge .Ancient History vn 2 1 (Cambridge 1984) 432-3, and, more fully,
conclude that A. held the position of Royal Librarian in the period R. M. BerthOld, Rhodes in the hellenistic age (Ithaca/London 1984). The
c. 270--45. If so, the chronological confusion in the Suda, and possibly Rhodian republic remained neutral and on good terms with the Ptolemies
also the story in Life B of the return from Rhodes, is neatly explained through most of the third century, bound to them by important commercial
ties; nevertheless, Rhodes does seem to have joined the alliance against
as the result of confusion with a later 'Apollonius of Alexandria' the Philadelphus in the Second Syrian War (Berthold 8g-92). Kaunos was a
'eidograph' who was also Librarian. ' member of the Ptolemaic alliance in the third century, and was then
Stories of the eXile of poets are too common in ancient biography to purchased by Rhodes early in the second century; Knidos was acquired by
Rhodes through the Peace of Apamea (188).
14
On the organisation of the Museum and Library cf. Pfeiffer (1968) 96-104; 19 1.285-6, 516-23, 543, 726-7 (a very doubtful case), 788-g, 801-3.

Fraser (1972) 1 312-35; Blum (1977) 140-70. 20 So rightly Haslam (1978) 65. The most recent study, M. Fantuzzi, 'Varian ti
u The Pinakes were not actually catalogues of the Library's holdings, but must, d'autore nelle Argonautiche di Apollonio Rodio ',A. & A. 29 ( 198.3). 146-61,
to some extent, have been based upon them, and may well have been used sees the major difference as the greater tragic pathos of the surviving (and
l6 rath~r like a c~talogue, cf: Pfeiffer (1968) 127-32, Blum (1977) 224-44. presumably later) version, a result of A.'s increasing distance from the
Calhmachus might, of course, have been named before A. in the lost portion 'Homeric' voice.
of P. Oxy. 1241. 21 For some speculations cf. Frankel (1964) 7-tt. The 'parallel' of Ovid's
11
Such an appeal seems.to lie behind the discussion in Blum (1977) 177-g1, Metamorphoses should not be pushed too hard: we can hardly take Tristia
however healthy his scepticism is. t.7.23-30 at face value, cf. S. Hinds, P.C.P.S. n.s. 31 (1985) 21-7.
 6 INTRODUCTION
I. THE POET 7
versions was very great or that the 'later' version was likely to meet a
presently (below, pp. 34-8), but it may b: ~~served here th~t. the, fact
quite different critical reception. 22 Nevertheless, the undisputed fact
h t Callimachus claims to have been cnttc1sed for not writing one
that at some date scholars had access to a text which seems ·to have
:o:tinuous poem ... in many thousands of verses' (fr. r.3-4) tells us
differed significantly from the vulgate may suggest an origin for the
nothing of what he would actually have thought of A.'s poem. T?~re
stories of youthful disgrace and mature success. This would not be the
may, of course ' be fire behind the ancient and modern smoke. • I he
only known case where colourful invention has given life to dry facts of 21 •
Museum was an argumentative place, and even 1n more recent times
textual history.
holars have been known to feud irrationally. The pattern of mutual
That Callimachus was literally A. 's 'teacher' is not impossible, if SC , • f; t
abuse is certainly suggestive: the 'Apoll.onian ep1gra:n. re ers o
there is any truth in the tradition 23 that the former was a schoolteacher
Callimachus as 'filth' or 'refuse' (TO Ka6apµa)i the .1~1s was an
in Eleusis, a suburb of Alexandria, before moving to the royal court.
E ptian bird which was notoriously unclean and w1lhng to eat
Ancient biographers, however, habitually express poetic influence or
gythi· ng, 2s and the Callimachean Apollo rejects the 'much· filth Iand
any
similarity in terms of a pupil-teacher relationship, a family tie or the
refuse' carried by the Assyrian river (h. 2.108-9). What is unc ear)
like, and so we can have little confidence in this story. We also hear
however, is whether real progress in understanding A. 's life or his poem
that later relations between the two men were less than cordial.
can be derived from these scraps.
Callimachus is said 24 to have written a riddling and abusive poem
Parallels between the works of Callimachus and Arg. are numerous
called Ibis against an opponent whom later scholarship identified as A.,
and striking. 29 Of particular relevance are very clear parallels between
and a brief epigram attacking Callimachus is very tenuously ascribed
passages in Arg. 4 and fragments of Aitia 1 dealing with the Argonauts'
to A. 2 & This information) together with the stories in the Lives and the
return to Greece; Callimachus also seems to have treated at least. ~ne
fact that certain Callimachean passages, most notably the conclusion
ep1·sode from the Argonauts' outward journey in Aitia 4. . ~l'hat Aitia
30
of the Hymn to Apollo, can (with some effort) be imagined as attacks . . I
31
is earlier than Arg. seems all but certain, and Callimachean pnonty
upon A., has led in the recent past to a . romantic vision of scholarly
is also likely in the case of the parallels between Arg. and the Hymns an~
warfare in which A. was finally driver.t out of Alexandria by a
Hecate but the chronology is too uncertain to allow us to assume this
triumphant Callimachus. The rediscovery of the prologue to the Aitia
(below) p. 37) did nothing to dampen these speculations, but an
witho~t further ado. 32 In any case, the fluidity of ancient 'publication'
and the nature of intellectual life in Alexandria suggest that we need
ancient commentary on the Aitia, in which A. does not seem to be listed
among those whom one later scholar at least identified as Callimachus' 21 Cf. Callimachus, Iambus 1 and, most famously, Tim?n, SH 7_86 'In teeming
literary opponents, brought both disappointment and consternation to Egypt are fed many fenced-in pedants (f31f31\1cn<o1 xapcn<1Ta1), endlessly
modern critics. 26 quarrelling in the Muses' birdcage.'
2 a Cf. Pfeiffer on Call. fr. 382.
Very little of value can be salvaged from these bits and pieces. Where
211 For possible echoes of Callimachus in Arg. 3 cf. nn. on 221-7, 276-7, 869-86,
Arg. fits in relation to Callimachean poetic principles will be considered
932-3, t306-25. ' . .. .
22
That Book 1 only is involved need not be significant, given the process of 30 For discussion cf. Pfeiffer, Callimachus n xh-xlu; Herter ~ 1944/ 55) 232-5,
selection by which the extant scholia have survived. On the other hand, A. Eichgriln (1961) 119-39; Fraser (1972) I 6~7-40; y1an_ Ill 34-5. For
may have originally circulated only the first book; here, however, we enter Argonautic material in Aitia 4 cf. frr. 108--9 with the dugesis.
even deeper into pure speculation. 31 Call. fr. 12.6 is reworked at Arg. 4.1216 and repeated at Arg. 1.1309, cf.
23
Suda K 227 s.v. KaAl\lµc:xxos:. Pfeiffer on CalL fr. 18.9ff. It would be nice if Callimachus was one of the
2
1 Ibid.; for other references cf. Pfeiffer on Call. fr. 382. 1TpCrrepo1 appealed to at Arg. 4.985; Vian 111 35, however, sees there a
25 distinction between archaic and modern writers.
A.P. I 1.275 ( = Apollonius fr. 13 Powell, Call. testimonium 25 Pfeiffer).
26
PSI 1219, cf. Pfeiffer, Callimachus 13. The desire to find A.'s name somewhere 32 Cf. nn. on 86g-86, 927-31, 932-3; Hunter (1986) 57-60. A. W. Bulloch,
in the text persists, cf. H. Herter, RE Suppl. xn1 197. A.J.P. 98 (1977) 97-123, argues for the priority of Arg. 2.444-5 over Call.
h. 5.103.
8 INTRODUCTION !. THE POET 9

not envisage in every case a reworking by one poet of a finished and Phil3.delphus' reign. 37 Finally, it must be stressed that imitation and
'published' poem by the other. Poets constantly fed off each other's reworki'ng of the poetry of a contemporary is normally a mark, not of
ideas in ways which defy simple analysis into original and imitation. If, hostility, but of homage and affiliation.as Compelling reasons have yet
however, it is true that Arg. owes a considerable debt to the Aitia, we to be found why this is not the case also with Callimachus, Theocritus
may hope to establish a rough chronology for A.'s epic; unfortunately, and Apollonius.
the composition of Callimachus' great poem is one of the thorniest
problems of Hellenistic poetic chronology,
ii. Works other than Argonauticil 39
The extant proem to the Aitia dates from late in Callimachus' career
(fr. 1.6, 37-8), and two passages of Books 3 and 4 in honour of About A. 's considerable output in both poetry and prose we are very
Euergetes' wife Berenice must be later than 247/6. 33 There are also poorly informed, but even scraps of information can help to place Arg.
tempting, if not strictly compelling, reasons for placing the Hymn to in its literary and intellectual context.
Apollo, which has striking correspondences with Arg., in this late One late source40 refers to A.'s epigrams, but none survive, if the
period.a4 The CaJlimachean parallels do not, however, necessarily fix problematic distich about Callimachus is excluded (above, p. 6). l'he
a date for the 'final' version of Arg. in the 24os, as it is very likely that citation is for a story of metamorphosis of a ·kind familiar both in
either individual elegies or a collected 'first edition' of the Aitia Arg.41 and A.'s 'foundation poems' (below, pp. 10-12). l'he popularity
circulated in Alexandria well before this date, although there is no of the epigram form with Alexandrian poets requires no illustration. 42
certain argument for the hypothesis.as A rather earlier date for Arg. is Three choliambic43 verses survive from a poem called Kanobos (frr.
perhaps also suggested by the obvious correspondences between the r-2 Powell), which must have been concerned with the Ptolemaic
Apollonian and Theocritean versions of the stories of Hylas and temple of Sarapis at Kanobos (modern Abukir) on the coast east of
Amycus (Theocr. 13 and 22) ;36 what little evidence there is for Alexandria. Both subject and metre 44 place this poem in the
Theocritus' date points to the earlier, rather than the later, period of mainstream of Ptolemaic 'court poetry'. It is likely that the poem
included the story of the eponymous Kanobos, Menelaus' steersman,
33
These are the so·caUed Victoria Berenices (SH 254-69) and the Coma Bercnices who was killed by a snake as he slept on the Egyptian beach and gave
(fr. 110, Catullus 66). For a possible echo of Aitia fr. 1 in Arg. cf. 874-5n., his name to the place where he was buried. In some versions of this
and an elaborate network of echoes between Callimachus, A., Catullus and story he was loved with an unrequited passion by the Egyptian princess
Virgil perhaps suggests a connection between Arg. 4.101g-22 and the Coma,
cf. Hunter (1987) 138-9. 31 Cf. Gow's edition I xv-xviii, and the remarks of M. Campbell, Hermes 102
34
For the sceptical view cf. F. Williams, Callimachus, Hymn to Apollo (Oxford (1974) 41.
1978) 2. 38 For the general principles involved cf. D. A. Russell, 'De imitatione' in D.
35
Fr. 1.37-8 only suggests that Call. wrote poetry as a young man, and Schol. West and A. Woodman, eds., Creative imitation and Latin literature (Cambridge
Flor. 17-18 (Pfeiffer I 11) - Call. was &pT1ySve1os when he met the Mu_ses - 1979) 1-16.
is a literary fancy which cannot be pressed very hard. It seems natural to 39
The standard collection of poetic fragments is J. U. Powell, Co!!ectanea
assume that the Tekhines must have had poems to complain about in order Alexandrina (Oxford 1925) 4-8; cf. also J. Michaelis, De Apollonii Rhodii
to prompt the extant reply; here too, however, we should not draw too fragmentis (diss. Halle 1875).
many biographical conclusions from what may in part be a programmatic 40
Antoninus Liberalis 23 (superscription, on the authority of Pamphilus).
strategy familiar from poets as different as Pindar, for whom cf. Hopkinson 41 Cf. r.1063-g (Cleite), 4.596-611 (the Heliades).
(1988) 88-9, and Terence. For discussion of the composition of the Aitia cf. 42
For a general survey cf. Fraser (1972) I 553-6,17, Hopkinson (1988)
P.J. Parsons, .Z.P.E. 25 (1977) 1-50; Bulloch (1985) 553-7; P. E. Knox, 243-71.
G.R.B.S. 26 (1985) 5s-65; A. S. Holli., C.Q, n.s. 36 (1986) 467-71. ~ 3 The 'choliamb' differs from the iambic trimeter in that the penultimate
36
For possible echoes ofTheocritus in Arg. 3 cf. nn. on 220-1, 347-8 and 640; syllable of the verse is long.
for {Theocr.] 25 cf, 242-6n., 1306-25n. 44
Cf. Herondas and Callimachus, Iambi.
 10 INTRODUCTION I. THE POET II

Theonoe, a lady of magical powers; such a scenario brings us was turned into a fish by Apollo because he tried to save a Samian
tantalisingly close to the story of Jason and Medea. 45 nymph from the god's attentions (frr. 7-9 Powell). 49 Naucratis was still
1'he other poems of which we know all concern the mythical an important commercial centre in Ptolemaic times, and the Ptolemies
foundations of cities. This subject for poetry was a very old one, but built or restored temples there ;50 the city had a very old Greek
was much favoured by Alexandrian poets, in keeping with their deep settlement, including temples built by the Samians and the ~1ilesians
interest in all aspects of Greek cult and history. Callimachus treated the {Hdt. 2.178), 51 and it is presumably in this context that A. used the
found~tion of the Sicilian cities in Aitia 2 and also wrote a prose work story of Pompilus.
on 'Foundations'. To what extent poems of this kind might reflect The only certain fragment ( 1 o Powell) of the Foundation of Rhodes, a
Ptolemaic political concerns it is impossible to say, but it is not difficult reference to the' Dotian plain' in 1'hessaly, suggests that this poem told
to see a place for such poetry under royal patronage. 46 - the story of 'fhessalian settlement in Rhodes and Caria. 52 One story
The fOundation ef Kaunos (a city on the Carian coast opposite connected with this migration was of the humble but generous
Rhodes) seems to have included the stories ofCaunus, who left Miletus hospitality offered to. a shipwrecked couple on Rhodes which led to the
to escape the incestuous passion of his sister Byblis, and ofLyrcus, a tale establishment of a particular funeral rite :53 this story is so like
of passion and recognition. 47 In many extant versions of the former tale Callimachus' tales of humble people such as Hecale and Molorchus
Byblis is metamorphosed into a fountain after she has killed hersCif, a (SH 254-69) that it is hard to believe that it was not used in a
myth which resembles that of the tragic Cleite in the first book of Arg. Hellenistic poem. There was, however, a large body of writing on
It is noteworthy that Ovid's portrayal ofByblis (Met. 9.454-665) seems Rhodian affairs from which A. could choose his material. 54 The same
clearly indebted to A.'s Medea. 48 Of the Foundation of Alexandria we Thessalian migration may have formed the basis of the Foundation ef
know only that it gave the same origin for Egyptian snakes as is found Knidos, which probably treated the story of Triopas, father of
at Arg. 4.1513-17, but the poem clearly dealt primarily with the-city's Erysichthon, who fled to Caria after incurring Demeter's anger. 55
mythical origins, rather than its foundation by Alexander, although it
may well have looked forward to contemporary history. The F'oundation 49 Fr. 8 (nymph to Pompilus) 'you who know the swift depths of the grim-
of Naucratis included the story of Pompilus, a Milesian boatman who sounding sea' is presumably ominously prophetic: as a fish, his knowledge
will be even greater. 5 n Cf. RE XVI 1958.
51 On the early history of the Greek settlement cf: M. M. Austin, Greece and
45
The basic discussion is E. Maass, Aratea (Berlin 1892) 359-69, rejected on J;,'gypt in the archaic age (P.C.P.S. Suppl. 2, 1970) 22-33.
insufficient grounds by Wilamowitz (1924) 11 255-6; cf. also D. A. van 52
Cf. Diod. Sic. 5.58, Ath. 6.262e--3a {= FGrHist 485 t-' 7 from Dieuchidas, an
Krcvelen, Rh.M. 104 (1961) 128-31. For A.'s interest in snakebite cf. Arg. important Megarian historian of the late fourth century, and just the sort of
4.1502ff. (Mopsus) and fr. 4 Powell. It may be worth suggesting that 4.1516 source A. might have used); Schmid op. cit. 7-8, 73-8.
0000:1 Kuo:vEou O"T6:ye5 o:iµa-ro5 0U!50:5 iKoVTo, of the blood dripping from the 53
Ath. 6.262f-3a.
Gorgon's head from which snakes were created, contains an alternative 54
Cf. FGrHist 507-28. To be noted also is the story from Polyzelos (Ath.
etymology for o:iµoppois, the name of the snake which bit Kanobos; for the 8.361 c, FGrHist 521 F 6) of how the Greeks gained lalysos through the love.
usual etymology, 'whose bite makes your blood flow', cf. Nie. Titer. of the local princess for the opposing commander: here is obvious material
282-319, Lucan 9.806-14. for poetry, cf. R. 0. A. M. Lyne, Ciris, a poem attributed to Vergil (Cambridge
46
On this genre cf. B. Schmid, Studien zu griechischen Ktisissagen (diss. Freiburg 1978) 7. The motif, in fact, is found in an anonymous Foundation of Lesbos,
i.d. Schweiz 1947); Cairns (1979) 68-70; T.J. Cornell, 'Grunder', from which 21 hexameters survive ( = Apollonius fr. 12 Powell), which told
Reallexikonfiir Antike und Christen/um xn 1107-45. how a princess of Methymna betrayed her city to Achilles, who rewarded
47
Parthenius, Erot. Path. 1 and 11. her by having her stoned to death. The style of the preserved verses is not
48
Arg. 3.636 ,.,,, Met. 9.474, Arg. 3.645-55 ,.., Met. 9.522-7 (Ovid transfers obviously Apollonian; for discussion cf. Wilamowitz (1924) 150 n. 3, D. N.
Medea's hesitation on the threshold to Byblis' hesitations while writing). Levin, T.A.P.A. 93 (1962) 154-9, Frankel (1968) 48 n. 59b.
Clausen ( 1987) 8 discusses the apparent reworking of Arg. I. 1064-6 (Cleite) 55
Cf. Call. h. 6.24, 30; Diod. Sic. 5.61.2; Wyss on Antimachus fr. 72. In his
by Parthenius himself in verses on Byblis quoted in Erot. Path. 11; the encomium of Philadelphus, Theocritus mentions the shrine of Apollo in
Foundation <if Kaunas, however, can hardly be left out of consideration. Caria which Triopas founded (17.68).
!
12 INTRODUCTION 2. THE MYTH BEFORE APOLLONIUS 13

Ptolemaic interest in Caria during the third century makes the loss of he reluctantly prepared to do, but both Phrixus and Helle were
these poems particularly regrettable. saved through the intervention of Hermes (and Zeus): they were
A.'s other poetic work is thus seen to have been concerned with rare given a magical ram with a golden fleece on whose back they
myths, love, metamorphosis, and the origins of cities and cults, all flew away to the east. Helle fell off over the stretch of water later
themes which we recognise as common to the main poets of the called "Hellespont", but Phrixus reached the city of Aia in
Alexandrian avant~garde and their successors. Colchis on the extreme east of the Black Sea. There he was
Like Callimachus, A. was a scholar as well as a poet, and a poet who received by King Aietes, a son of Helios and brother of Circe,
used his scholarship in his poetry (cf. below, p. 36). 1'he fragments of his and he married Aietcs' daughter, Chalciope, by whom he later
many lost prose works show us the scholar at work on poetry and thus had four sons. The ram he sacrificed to Zeus and the golden
deserve a special mention here. 56 A. dealt with Homeric problems by fleece was placed in a grove of Ares where it was guarded by an
taking issue with his predecessor Zenodotus in a work entitled TlpOs ever~watchful dragon.
Zriv6SoTov; he wrote a work on Archilochus 57 and also one in at least Another son of Aeolus was Salmoneus, whose daughter ~ryro
three books on Hesiodic problems. Extant citations show him discussing was tricked by Poseidon into sleeping with him; she bore twin
major questions such as the authenticity of the Shield of Heracles and sons, Pelias and Neleus, whom she exposed -but who survived.
the ending of the Works and Days. Here we can see that A., like When they grew up, they traced their mother and killed her
Callimachus, was not merely engaged with earlier poetry as all poets stepmother Sidero at an altar of Hera where she had taken
had to be, but also sought to impose order on it as scholarship refuge; after this, Pelias always acted insultingly towards Hera.
demands. After her liaison with Poseidon, Tyro had married Cretheus,
another son of Aeolus and king of Iolcus in Thessaly, and by him
2. THE MYTH BEFORE APOLLONIUS she had three sons, including Jason's father, Aison. On Cretheus'
death the throne passed not to Aison but to Pelias, either because
The story of the voyage of the Argonauts is transmitted to us through he usurped it by force or simply because the priority of his claim
a wide variety of literary and artistic sources covering several centuries. was acknowledged. In the former case, the baby Jason was
The broad outlines of the myth, however, remained fairly constant smuggled away to be brought up in the wild by the centaur
throughout antiquity and may be summarised as follows. 58 Cheiron; in the latter, Jason grew up with his parents in Iolcus
under Pelias' rule. Pelias had received an oracle that he should
'Athamas, king of Boeotia, was a son of Aeolus (the eponymous
beware of a man wearing only one sandal, and one day Jason
ancestor of the Aeolians). His wife Nephele had two children,
appeared just after he had lost a sandal when crossing a raging
Phrixus and his sister Helle, but Athamas then married lno, who
stream. To avert the threat, Pelias tricked Jason into an
also bore him two children. Ino, the very model of a cruel
expedition to recover the golden fleece from Colchis; in some
stepmother, plotted against her stepchildren by persuading the
versions, Pelias tells Jason that he has been warned in a dream
women of the country to sow burnt seed which would produce
no crop, and by bribing the men whom Athamas sent to the that he should recover the fleece in order to assuage Zeus's anger
at the attempted sacrifice on his altars.
Delphic oracle to ask about the crop~failure to report that the
Jason collected together the greatest heroes of the generation
oracle commanded that Athamas sacrifice Phrixus to Zeus. This
before the Trojan War, and in a ship partly built by Athena and
66
For more detailed discussion cf. Pfeiffer (1968) 144-8. called Argo they reached Colchis after a long series of adventures.
61
For possible echoes of Archilochus cf. 296-8n., 583n. There Aietes offered them the fleece, but only if Jason could
58
This summary is based on that of [Apollod.] Bib!. t.9. perform certain extraordinary feats, such as ploughing with fire-
 14 INTRODUCTION 2. THE MYTH BEFORE APOLLONIUS 15
breathing bulls of bronze and killing the armed warriors who
sprung up from dragon's teeth sown into the ploughed earth. 'By the will of the immortal gods the son of Aison lcd 63 away
Jason accomplished these tasks with the help of the king's from Aietes the daughter of Aietes, the divinely nurtured king,
younger daughter Medea, who had fa!Jen in love with him and when he had completed the m\ny grievous labours which the
who was an expert in magic and drugs. Also with her help he great king, the overbearing, violent and outrageous Pelias, doer
acquired the fleece, and they escaped together back to Greece. of savage deeds, had imposed upon him. When he had finished
In order to delay their pursuers they murdered Medea's younger them, the son of Aison came to Iolcus after many labours,
brother Apsyrtus and threw his body into the sea. 59 On their bringing the lovely~eyed girl with him on the swift ship, and he
return to Colchis, ~they punished Pelias by persuading his made her his wedded wife. ToJason~the shepherd oft~c people,
daughters lo chop him up so that Medea could magically she bore a son, Medeios, whom Ctieiron the son of Philyra
rejuvenate him by boiling him in a cauldron.' reared in the mountains, and the intent of great Zeus was
'fhis story was very likely the subject of much early epic poetry fulfilled.'
which is now lost to us. The Iliad k_nows of a son of Jason and Another passage of the same poem, although one which is usually
the Lemnian queen Hypsipyle (7.468-9, 21.40-1, cf. Arg. 1.897-8), regarded as post-Hesiodic, places Circe on the west coast of Italy rather
Odysseus sees Tyro in the Underworld (Od. r r.235-59), and a lost than in the extreme east of the world (Theog. 1011-16): A. made good
'cyclic' epic, the Nostoi, knew of Medea's rejuvenation of Aison (fr. vi use of this tradition. 64
Allen). Homer's Circe tells Odysseus of the Argo in her account to him Two archaic epics which deServe separate mention here are the
of the Wandering Rocks: ~the only sea-voyaging ship to have sailed by Corinthiaca of Eumelus and the anonymous Na'upactia. Eumelus of
there is Argo, a matter of concern to all (11acr1µEi\ovcra), on her voyage Corinth (c. 700) 65 wrote an epic poem on Corinthian 'history' which
from Aietes. She too would have shattered on the great rocks, but Hera linked the city with the Argonauts by making Aietes king first of
escorted her through, since Jason was dear to her' (Od. 12.69-72). Corinth and then of Colchis. How extensive Eumelus' treatment of
Circe, 'sister of savage-minded Aietes ', lives in the extreme east where Argonautic matters was is unclear, but A. does seem to have known
the sun rises on an island called Aiairi, i.e. 'associated with' the land and used this poem, in Book 3 at least. 66 Eumelus is also the earliest
of Aia. 60 That the voyages ofJason and Odysseus were in some respects witness to the localisation of Aia, the fabulous eastern kingdom of the
very similar was well known to scholars of the Hellenistic and Roman sun, in Colchis beside the River Phasis (the modern Rioni), which
periods, and many modern scholars have accepted that Homer traditionally marked the eastern boundary of the known world. 67 This
'borrowed' extensively from the Argonautic saga - that, for example, identification points to the period of increasing exploration and
the Homeric Circe is modelled on an Argonautic Medea. 61 colonisation, when a new world was fitted to old perceptions. The
Many Argonautic stories are first attested in the fragments of Naupactia 68 seems to have been a catalogue poem, part of which at least
Hesiod, 62 and the Theogony has the following summary of the story
(g92--1002): ea For the possible significance of this verb cf. 997-1004n.
64
9 Cf. 311-13n.
" A., however, makes Apsyrtus older than Medea, and he is killed far from 65
Cf. Huxley (1969) 60-79. 66
Cf. 1354--6n.
Cokhis while attempting to bring back his sister (4.445-81). e7 Cf. 678-Son., RE XIX 1887. For the Colchian civilisation of classical and
60
Od. ro.135-7, 12.1-4; Lesky (1966) 26-62. Hellenistic times cf. the surveys by 0. Lordkipanidze in Revue arcliiolcgique
61
Cf. K. Meuli, Oc[yssee u.nd Argonau.tika (Berlin 1921); A. Lesky, RE Suppl. XI 1971. 259-88 and B.C.H. 98 (1974) 897-;148.
795-9; Vian I xxvii--iii. 68
Cf. Huxley ( 1969) 68-73. Wilamowitz ( 1924) n 230 was inclined to the view
62
Cf. fr. 40 (Cheiron), 68 (magic ram), 150-7 (Phineus and the Harpies); that A.'s knowledge of this poem can1e entirely through the intermediary of
Vian I xxix. Herodorus (cf. below, p. 20).
16 INTRODUCTION 2. THE MYTH BEFORE APOLLONIUS 17

dealt at length with the Argonauts. Extant fragments refer to the

Harpies, Apsyrtus, the yoking of the bulls, the rOle of the prophet 'The Cyprian lady, mistress of the sharpest arrows, then brought
Idmon, 69 and the successful escape of the heroes: Aietes seems to have down from Olympus to men for the first time the coloured
invited them to dinner, planning to set fire to their ship, 70 but wryneck, 72 the bird of madness, binding it stretched out on an
Aphrodite filled him with desire to sleep with his wife and, while he was unbreakable wheel, and she taught the supplications which
asleep, the heroes escaped and were joined by Medea, who brought the enchant to the wise son of Aison, so that he might remove
fleece along with her (frr. 7-9 Kinkel). A. clearly has his eye on these Medea's shame before her parents and longingJor Greece should
epics, as well presumably as on others now lost, throughout his torment her burning heart with the whip of Persuasion. And
poem. 71 soon she revealed how to accomplish the tasks her father had set.
With the fifth century we meet at last a poetic treatment of the myth With oil she made a magic salve and gave it to him as antidote
which is still extant and of which A. made extensive use. This is to the bitter pains, and they agreed to unite themselves in the
Pindar's Fourth Pythian Ode, composed in honour of the chariot cominon bond of sweet marriage'. (Pyth. 4.213-23)
victory in 462 of Arcesilas of Cyrene; the influence of this ode is seen After Jason's successful ploughing - Pindar does not introduce the
also in Callimachus' poem celebrating the Nemean chariot victory of 'earthborn warriors' he kills the dragon which guards the fleece and
a later member of the Cyrenean ruling house, Queen Berenice II, wife escapes with Medea.
of Ptolemy III Euergetes (SH 254-69). The foundation of Cyrene by An extensive debt to Pindar's poetry is something which A. shares
the hero Battus is said by Pindar to have fulfilled a prophecy made by with both Callimachus and Theocritus; for these poets Pindar was far
Medea after the Libyan wanderings of the Argonauts on their return more than merely a model of successful poetry written under the eye
from Colchis. From this, Pindar introduces an extensive retelling of of a wealthy patron. The linguistic and mythopoeic boldness of the
aspects of the Argonautic story. Pelias had an oracl~ that he would die Theban poet appealed strongly to the Alexandrian love of experi~
'by the hands or unbending counsels of the sons of Aeolus' (vv. 71-2) mentation (cf. below, pp. 34-5), and the strongly personal voice of lyric
and had been further advised by Delphi to be on his guard against 'the poetry showed the way towards the handling of familiar tales in an
one-sandalled one'. Jason returns from his upbringing with Cheiron to intellectual and empathetic manner which could endow them with
reclaim the throne from the usurper Pelias, who agrees to yield it new life. Thus A.'s debt to Pindar is not. merely the chance of shared
provided that Jason appeases ' the wrath of the nether gods' by subject-matter, but is itself a declaration of poetic stance.
bringing the fleece back to lolcus. Jason agrees and, with Hera's help, The story of Jason and Medea was treated in some detail in the
the greatest heroes assemble for the expedition. Once in Colchis, the elegiac narrative poem called Lyde by Antimachus of Colophon (c.
Argonauts 'joined battle with the dark-faced Colchians ', but then 400). 73 This poem recounted various unhappy love-stories, as parallels
Medea's love is given a central r6le: for the poet's own love of the dead Lyde, and Medea's story was told
in Book I. The surviving fragments cover the whole expedition from
69
71
Cr. 540-40., 914-15n. 7
° Cf. 581-:-2n. the making of the Argo to the return through Libya, 74 and the nature
P. Oxy. 369f:l is a fragment of a probably archaic epic on the Argonautic
72
theme. The scholia refer three times to Epimenides of Crete(? c. 600), and For the use of this bird in love-magic cf. Gow on Theocr. 2.17, Hopkinson
Diog. Laert. I.I 11 ascribes to him a poem of6,500 hexameters improbably (1988) 158.
73
entitled 'The building of the Argo and Jason's voyage to Colchis'. Nothing Cf. B. Wyss, Antimachi Colophonii reliquiae (Berlin 1936); D. Del Corno, Acme
else is known of this poem, a·nd it is most unlikely that Epimenides wrote it, 15 (1962) 57-95; Pfeiffer (1968) 93-4; Cairns (1979) 21g--20; Hopkinson
cf. Huxley (1969) 80-4, M. L. West, The Orphic poems (Oxford 1983) 45-53. (1988) s.,i.
14
The title does, however, recall A.'s praeteritio at 1.18-19. Cf. frr. 56-65 Wyss; fr. 82 perhaps points to the earthborn warriors.
18 INTRODUCTION 2. THE MYTH BEFORE APOLLONIUS 19

of the poem as a whole suggests that the erotic element was at least not Medea's infanticide80 is the constant interplay between the arguments
neglected. 7 & Antimachus' importance may, however, go beyond this, as and gestures of the two texts; 81 A. models his Jason and his Medea with
the merits or otherwise of the Lyde seem to have been a weapon in an eye to their 'subsequent' history in Euripides' tragedy. The two
Alexandrian literary debate, 76 and so for his contemporaries A. 's debt texts become mutually explicative: Arg. shows us how the origins of the
to this obviously innovative poet, as with his use of Pindar, probably tragedy lay far back, and the tragedy lends deep resonance and
carried programmatic resonance. The details, however, remain for us 'tragic' irony to the events of the epic.
obscure. Bot~ Aeschylus and Sophocles wrote plays c;lealing with various
It has long been apparent that A.'s debt to fifthMcentury Athenian aspects· of the Argonautic legend, 82 but a particular loss for the
tragedy went far beyond the enriching of the epic language by appreciation of Arg. 3 is Sophocles' Colchian Women which concerned,
vocabulary drawn from drama (below, p. 38). Particularly in Books 3 at least in part, Medea's help to Jason against the earthborn warriors,
and 4, it is clear that A. is heir to the tradition of debate and perhaps in return for a promise of marriage. 83 The central scene of
monologue familiar most of all from Sophocles and Euripides; more Book 3 between Medea and Chalciope is also strongly reminiscent of
than once in Book 3, A. explicitly reminds us of tragedy in constructing the confrontations between the heroines and their sisters in Sophocles'
the progress of Medea's love. 77 Many things are involved here: an Antigone and E'lectra, and here too A. may have adapted a tragic
acknowledgement of literary debt and of the fact that Medea had situation to his epic. 84
become above all a character of the stage; an innovative mixing of the A. is clearly also indebted to many, both much earlier and nearly
genres of epic and tragedy; the' tragic' nature of A. 'sown presentation, contemporary, prose treatises on history, geography, ethnography and
and the fact that the events of the epic eventually led to a great 'tragic' cult. This debt, which is often specifically noted by our scholia, 85 is part
action. of the bookish side of A.'s poetry, and is also seen, for example, in
Euripides' Medea tells of events long after the Argonautic Callimachus' aetiological poetry. 8.6 Almost any account of the
expedition, but A. assumes in his readers an intimate knowledge of this Argonautic expedition is bound to recall the 'classics of Greek travel~
famous 78 play, and its action hangs over Arg. even when it is not writing', riot only the Odyssey, but also Herodotus and early Ionian
specifically recalled. More significant than the actual foreshadowing of
Jason's abandonment of Medea through the figure of Ariadne 79 and of eo Cf. 747-8n., 4.460, t 108-9, Hunter (1987) 130-1.
81 Cf., e.g., 1105n., Hunter (1988) 440 on 4.190-205.
16 82 Aesch. Argo, Lemnians, Hypsipyle, Cabeiroi (a tetralogy?, cf: Radt's edition p.
L 4.1153 (=fr. 64 Wyss) reports that in the Lyde Jason and Medea made
love (µryfjvo:1) beside the River Phasis in Colchis (presumably before 118); Soph. Athamas I and II, Phrixus, Lemnian Women, Aqycus, Phineus I and
escaping). It is unlikely that the scholiast wishes to draw a firm distinction II, Scythians (the death of Apsyrtus ?), Rhizotomoi (cf. nn. on 845, 858-9, 865,
between marriage-(y&µo1) in some sources and love~making in Antimachus, i214-15). This last play may, like Euripides' Peliades, have concerned the
but we may be reminded of the stress in Arg. 4 on Medea's sexual status (cf. death of Pelias.
4.1164 T6T' o:U xps.00 fiye µ1yi;vo:1) and of the importance in Aeneid 4 of the sa Cf. frr. 339, 341 Radt; :2: Arg. 3.104oc 'in Co!chian Women Sophocles brings
different views of Dido's status with respect to Aeneas {cf. vv. 170-2, 192, on Medea giving Jason instructions about the contest in a stichomythic
316, 337-9). The union of Dido and Aeneas in the cave (Aen. 4.160-72) owes exchange (Si' &µ0113o:iwv)'.
84 Cf. Campbell ( 1983) 41-2 with 111 n. 27; for other possible echoes of this
much, of course, to the wedding of Jason and Medea at Arg. 4.1128-69. Cf.
85
also Vian Ill 8. play cf. 115-18n., 845n. Cf. 200-9n.
76
Cf. P. Knox, H.S.C.P. 89 (1985) 112-16 (with bibliography). aG Cf. Aitia fr. 75.54~5 citing Xenomedes ofCeos. The context of the famous
77
Cf. nn. on 676-8, 766-9, 891-2, 903-4. assertion CxµO:p1upov oUSSv Cxe\Soo (Call. fr. 612) is unknown, and ~here is no
78
Cf. D. L. Page's edition pp. lvii-lxviii; L. Sechan, Etudes sur la tragidie reason to assume that it was a general statement of programmatic
grecque dans ses rapports auec la ciramique (Paris 1926) 396-422. significance. Callim.achus himself wrote a prose work On barbarian customs (fr.
79
Cf. 997-1004n. r 405). .
20 INTRODUCTION 2. THE MYTH BEFORE APOLLONIUS 21

logography, as well as Xenophon's Anabasis. Of pre~Hellenistic

87
from these and many other predecessors A. fashioned his tale. As
chroniclers, two deserve special mention here. Pherecydes of Athens art of the 'learned' approach to myth, A. makes visible the process of
(first half of the fifth century) is frequently cited in the Apollonian ;election between variants, either by referring to a rejected version in
scholia and elsewhere both for the Theban parallel for Jason's contest the course of telling the selected one or by combining previously
and for episodes in the Argonautic story. 88 A. also clearly knew the rich competing versions. 93 Thus, for example, th~ opening of .Book 1
ethnographical and mythographical work of Hellanicus of Lesbos suggests that Jason has lived at Iolcus for some time before Peh~s pl~ts
(? late fifth century) which included a History of the family of Deucalion against him, but he also has a close, though undefi~ed, relationship
(cf. to85-95) and works on 'foundations' and 'barbarian customs•.s9 with Cheiron (I .32-4, 553-8). !he proem says nothing of the excuse
No surviving fragment actually deals with the voyage of the Argo, which Pelias uses to despatch Jason, but we may supply it - the need
although several concern events leading up to it. 90 to appeaSe Zeus's anger - from what Jason tells Argos at 2. t 192-~.
Finally, two works which shared a rationalising approach to the Argos, however, tells Aietes that Peli as is seeking to dep'.ive Jason of his.
myth deserve particular mention. The Argonautica of Herodorus (c. patrimony (3-.333-4), and Jason himself allows Hyps1pyle to under~
400), from Heraclea on the Pontic coast, seems to have followed the stand this at i.902-3. So too, A. explains why Phrixus and the
Naupactia, and was an important source for the outward voyage of Argonautic legend were associated both with Iolcus in T_hessaly and
Books 1-2. 'fhe second work is the remarkable Argonauts of Dionysius 'Minyan Orchomenos' in Boeotia, 94 and why some wnters placed
'Scytobrachion' (also called Dionysius of Mytilene or Dionysius of Circe in the east and some put her in the west. 9s The geography of ~he
Miletus); the date of this work is uncertain, but it may well have been return voyage in Book 4 is so constructed as to reconcile different and
roughly contemporary with Arg. 91 An outline of this work is preserved contradictory routes proposed by earlier writers, 96 and examples of
for us in the later compendious history·ofDiodorus Siculus (4.40-55). these phenomena could be multiplied many times. 97 No single
In Dionysius' strongly rationalistic account, Jason undertook the explanation will account for every case: some may be put down to
expedition merely in order to emulate the great heroes of the past, sheer academic fun, 98 others (such as the geography of Book 4) to a
Heracles was chosen leader because of his supreme andreia, Medea was desire to use as many poetically interesting situations as possible i many
a beneficent worker in drugs who saved strangers from· her father's have a vital r6le to play in the poem. l'he lack of clarity about the
cruelty, the fire~breathing bulls (-rcxOpol) were really Taurian guards, reasons for the voyage, for example, isolates the expedition as a fearful
Ap6:Kwv was the name of a guard, not a designation of the guarding undertaking for uncertain reward; successful completion of the task
serpent, the golden fleece was really the skin of a man called 'Ram', which has been imposed leaves the future no more certain than it was
and so on. Nothing in what we know of this work demands a debt to before the heroes set out.
A. or vice versa, but the possibility that one influenced the other can
hardly be excluded. 92 led the expedition. So too, Jason's offer to Medea of the pleasures ?fGr:c~
civilisation (1086n.) plays with the same ge~cral theme a~ D1onys1us
87
Cf. L. Pearson, 'Apollonius of Rhodes and the old geographers', A.J.P. 59 presentation of her as an oasis of civilised values in a savage society (Rusten
(1938) 443-59. For the Herodotean tradition in Hellenistic literature cf. (1982) 20-f, 99).
93
0. Murray, 'Herodotus and Hellenistic culture', C.Q n.s. 22 (1972) Cf. Fusillo (1985) passim.
200-13. 94 Cf. 265-7n., 1093-5, Vian 1 10-12.
9
ss Cf. /<"GrHist 3 F 22, 25a, 31-2, 9g-100, 105-13a. s Cf. 311-13n. . .
89
For Hellanicus cf. L. Pearson, Early Ionian historians (Oxford 1939) 152-235. 96 Cf. Vian 1u 16-20. The whole ofVian's introducuon to Book 4 is a masterly
9
°
91
Cf. FGrHist 4 F 126-33.
91
survey of A.'s use of prose sources.
Cf. Rusten (1982) 86-90; P. Hibeh 2.186 forbids a date much after c. 200. Cf. nn. on 34o-6, 375-6, 107i-4.
92 98 For some mythological conundrums cf. 134n., 29g--438n.
Thus, for example, the Apollonian scene of Jason's election as leader
(I.331-62) dearly draws our attention to other versions in which Heracles
22 INTRODUCTION 3. THE POEM 23

3. THE POEM 6i6-824. After great suffering, Medea decides to help Jason.
325-947. Jason and Medea travel to their meeting at the temple of
i. A summary Hecate.
948-1162. Meeting of Jason and Medea.
Book I
1-22. Proem. Jason and Pelias. 1163-1277. Preparations for the contest.
1278-1407. Jason's contest.
23-233. Catalogue of Argonauts.
234-518. The eve of departure. Election of Jason as leader.
519-608. Voyage to Lcmnos. Book 4
609-909. Stay on Lemnos. Jason and Hypsipyle. Description of figures 1-5. Invocation of the Muse.
on Jason's cloak. 6- 21 0. !i.1edea flees to the Argo and helps Jason to get the Fleece.
910-1 r52. Stay on Cyzicus. Battle with six-handed giants. Jason 211 -302. Esc~pe through central Europe. [A. imagines the Danube to
mistakenly kills Prince Cyzicus, and his young bride hangs herself. link the Black Sea to the Adriatic.]
1153~-1362. In Mysia, Heracles, Hylas and Polyphemus leave the 303-502. Cut off by a Colchian force under. Apsyrtus, Jason and
expedition. The sea-god Glaucus calms the fierce quarrel which Medea lure him to a meeting where Jason kills him.
breaks out on board. 07-658. Voyage in Adriatic, and then back through rivers (the Po
5
and the RhOne) which are imagined to link northweast Italy with the
western Mediterranean.
Book 2 659-752. Jason and Medea are purified by Circe.
1-163. Polydeuces beats Amycus, king of the Bebrycians, in a boxing 753-981. Voyage to Drepane (Corfu) via the Sirens and the Wandering
match. ~I'he Argonauts rout the other Bebrycians. Rocks.
164-530. Prophecies of Phineus. The sons of Boreas chase the Harpies 982-1222. Stay on Drepane. Marriage of Jason and Medea.
away. 1223-1619. Driven to Libya by storms, the Argonauts are saved by
531-647. Voyage through the Clashing Rocks. nymphs who make them carry the Argo across the desert to Lake
648-719. Voyage along Black Sea coast. Epiphany of Apollo at island Triton. Deaths of Canthus and Mopsus.
of Thynias. 1620-88. Voyage to Crete. Medea destroys the bronze giant Talos.
720-898. Stay among Mariandynoi. Deaths of ldmon and 'l'iphys. 168g-1772. Return voyage. Apollo saves them from a thick, enveloping
899-1029. Voyage continues towards Colchis. darkness.
1030-1230. The island of Ares. Meeting with sons of Phrixus. 1773-81. Arrival and poet's farewell,
1231-85. Voyage and arrival in Colchis.
ii. The third book

Book 3 The action of Book 3 covers three and a half days: i-824, 828-1172)
1-5. Invocation of Erato. 1172-1224, 1225 to the end where night falls; dawn rises again at
6-166. Hera and Athena ask Aphrodite to persuade Eros to make 4.183. 99 The long first day falls easily into three parts: events on
Medea fall in love with Jason.
167-438. Embassy to Aietes. Eros shoots at Medea. 119 At 823, 1172 and 1223 dawn arrives in mid~verse and with quite different
439-615. Aietes' anger, Medea's anguish, the Argonauts decide to ask language on each occasion; this is part of A. 's avoidance of the formulaic
Chalciope to secure Medea's help. style (below, p. 39).
24 INTRODUCTION 3. THE POEM 25
100 107
Olympus (6-166), the confrontation of Aietes and the Argonauts of the gods is so often cited as quintessentially 'Hellenistic ', shows
and its aftermath (167-615), a section framed by the Greek and that the 'Hellenistic voice' in fact concentrates and accentuates
Cokhian assemblies, and finally Medea's suffering and decision phenomena already clearly present in archaic and classical poetry.
(616-827). 101 The second and shorter half of the book may be divided Despite its obvious Homeric ancestry, the opening scene on Olympus
into the meeting ofJason and Medea (828-1172) and the preparations has been criticised as an inorganic, though delightfUI, episode, out of
for the contest and the contest itself ( 1172-1407); the history of the keeping not only with the general tone, but specifically with the
dragon's teeth at r I 76-87 acts as a transition between the last two theology of the main body of the poem. Whether.or not A ..is concerned
sections. Whereas the main organising principle of Books 1-2 and most with 'organic unity' will be considered presently (below, p. 33), but it
of Book 4 is the alternation between travelling and the action at stops is in fact completely in keeping with A.'s regular technique to offer only
along the way, the events of 3.167-4.21 I take place within.a relatively one example of a common Homeric scene-type; just as, for example,
small area, and narrative pace and rhythm derive from switching there is only one extended example of a sacrifice followed by feasting,
between characters and settings, rather than from the progressive linear perhaps the most common dfall Homeric scenes, 108 so there is only one
movement of a voyage. In Book 3 A. describes simultaneous actions in full Olympian intrigue, although the setting itself recurs in Book 4
a complex, non-Homeric web, 102 and he takes pains to keep track of all (4.753ff.). Here, as elSewhere, the starting-point for discussion of Arg.
his characters in a way that seems to foreshadow the concerns of some must be A. 's conscious attempt both to recall and avoid the Homeric,
modern novelists. 103 formulaic style. Elsewhere in the third book, divine intervention is
The opening invocation of Erato marks off Books 1-2 as a group and either briefly related by the poet (250, 443-4, 540-54, 818, 91g-23,
sets a new direction for the poem, as also does the opening scene on 93 I) or suggested by the echo of divine sentiments in the mouth
Olympus. This is the first such divine scene in the. poem) and the only of a mortal character109 or by significant juxtaposition or literary
one which seeks to capture the distinctly Homeric pattern of divine reminiscence_ no
frivolity set against human suffering. The whole miserable set of events l'he reduced prominence of scenes on Olympus means that events
which will culminate in the killing of Medea's children can take place confront us as they confront the characters themselves, and the virtual
only because Aphrodite succeeds in bribing her awful son with the elimination of the easy Homeric contact between men and gods makes
promise of a pretty ball. If, however, such a terrible irony - let alone the human characters much less able to recognise the forces which
the allegorical significance of the ball 104 and the game ofknucklebones control them. 111 To this extent they are more like the characters of a
between Eros and Ganymede - seems rather un-Homerici the Iliad and tragedy than the heroes of Homer. Nevertheless, the theology of Arg.
the Odyssf!Y do provide much of the Olympian geography which A. remains basically Homeric, even if the r6le of the gods is less
adopts, 105 many parallels for the deceit and suspicion which mark the emphasised than in Homer. 1 Never' 1 says the poet when Jason and
behaviour of the goddesses, and, of course, the actual scenes which A.
here reworks. 106 This o~ening scene, where the apparent 1 humanising' io 7 Even normally sober critics are fond of claiming that A. has turned the
goddesses into 'middle-class Alexandrian housewives' (cf. Theocr. 15),
'ladies of the court' Or something in between; this may perhaps hold for
° Cf.
10
102
167-274n. 101
Cf. 616-824n., 823-4n. Aphrodite's coiffure, though even here the Homeric echo is crucial
Cf. nn. on 167-274, 47t-2, 576, 825-7, 1246-67. (43-7n.), but in fact we know almost nothing about how any of these
103
Cf. Beye (1982) 124. This tendency is most noticeable at 825-7 which both categories of women behaved in each other's company.
mark a crucial transition and break up a description of the coming of 108
1.402-59, cf. Frankel (i968) 70-1.
dawn. 9
H1 Cf. 476n., 697n. ·For another indication of divine forces at work cf.
10
104
Cf. t35n. ~ Cf. nn. on 36-110, 159. 443-5n.
ws Cf. 36-11on. uo Cf. 616-32n. 111
Cf. 388-gon.
lI
26 INTRODUCTION 3. THE POEM 27

Medea finally marry, 'do the tribes of wretched mortals step along the Homer, but there is no sign in archaic epic of the extended treatment
path of happiness with a full foot, but always some bitter grief walks f the psychopathology of female love,u 7 such as we find in Arg. 3,
along with their happiness' (4. I 165-7). 'fhe thought is much the same ?fheocritus 2, 118 the 'Fragmentum Grenfellianum' and elsewhere in
as Achilles' account to Priam in Iliad 24 of the jars of Zeus, from which Hellenistic poetry. Closer in time to A., the Hermes of Philitas of Cos
(apparently) mortals never get an unmixed selection of blessings, even (late fourth century) told of Odysseus' st.ay with Aeolus, th~ rule: of the
though the bitter irony of the setting in Arg. seems to strike a non- w1•nds , and his account to the king of hts adventures. Dunng his stay, .
Homeric note of resignation. What is different is the secular language Odysseus secretly slept with one of Aeolus' daughters who had fallen in
in which the later poem expresses itself; divine control of events is less love with him; when t~is was discovered after Odysseus' departure,
prominent, but no less certain. Thus, for example, Hera intervenes to Aeolus' anger was only appeased by one of his sons, who hims~lf loved
prevent Medea's suicide (818), although the emphasis of the scene is on the girl and eventually married her. This presumabl~ ~ho:t epic poem
Medea's very human fear of grim death. 'fhere is no contradiction, nor focused a Homeric scene in a way that becomes fam1har in the poetry
is Hera merely a perfunctory afterthought; 112 gods work through ~fthe third century, and the love ofa king's daughter for the trave 11·ing
common human patterns of action and emotion, of which love and fear 0
Greek hero obviously suggests the events of Arg. 3. 1111 Un1ortunate
r Iy,
are Important examples. There are, of course, differences between the however, no fragments from the relevant part ·of the poem survive.
divine order in Homer and that in A. Most noticeable perhaps is A.'s By the third century, eros had long had an important rOle in lyric
Zeus, who is a shadowy, wrathful force, working at a distance not only poetry, drama (both tragedy and comedy) a~d ep~gram. Th~re was,
from men but also from the other gods. 113 His plan to punish the sons moreover, an extensive prose literature on erotic subjects, ranging from
of Aeolus for polluting his altar is left as uncertain and ambivalent to the pornographic to the seriously philosophical; surviving examples
us as it is to the characters themselves. 114 'fhis again increases the °
include the Symposium and- Phaedrus of Plato. 12 For subsequent poets,
feeling of human helplessness in face of the unknown. Sappho was established as the erotic poet p~r excellence, . and her
'rhe invocation of Erato signifies the importance of eros in Books 3 influence is as clear in Arg. 3 as elsewhere In Alexandrian love~
and 4, and the portrayal of the lovestruck Medea is certainly the most poetry .121 The vocabulary in which A. describes Medea's mental and
widely read and admired part of Arg. Quite how innovative A. was in physical suffering can almost all be paralleled from the fragments of
devoting so much space within the epic framework to this theme we Aleman, Ibycus, Anacreon, Archilochus and Sappho, as well as from
cannot be sure. The scenes between Odysseus and Nausicaa are an Alexandrian epigram. These shorter poetic forms, however, lacked the
obviously crucial model for A., although there is nothing in the Odyssey scope that epic narrative offered for exploring the development of a
which corresponds to the lengthy descriptions .of Medea's private passion through action, gesture, simile and speech; it was here that A.
suffering; once Nausicaa has seen Odysseus safely on his way to the
city, she disappears from the poem but for a brief scene of farewell (Od. 11 1Thus, for example, Hesiod tells of the mutual love and metamorphosis .of
8.457-68). Odysseus stays and sleeps with both Circe and Calypso, and Ceyx and Alcyone (P. Turner 1, fr. 3 col. iii; fr. t6), but the verses are bnef
the latter's bitterness when she is forced to give him up (Od. 5.118-44) and 'factual' by comparison with the Alexandrian style. .
us Echoes of Theocr. 2 in Arg. 3 or vice versa cannot be conclusively
certainly looks forward to Medea's suffering. 11 " There is, moreover, demonstrated, although the poems have many points in common {cf.
evidence that romantic themes had greater prominence in the lost 964-5n., 976n.).
poems of the epic cycle 116 and in the Hesiodic poems than they do in 9
11 Cf. Bulloch (1985) 546.
uo Cf. further W. Kroll, Studien zum Verstiindnis der riimisclun Literatur (Stuttgart
112
For these various views cf., e.g., Klein (1931) 223-5, Faerber (1932) 84. 1924) 315-16; R. L. Hunter, Eubulus: the fragments (Cambridge 1983)
us Cf. 4.576-7. u 4 Cf. 336-gn. 115
Cf. 464-6n. 132.
11 Cf. J. Griffin, 'The epic cycle and the uniqueness of Homer', J.H.S. 97
6 121 Cf. 28 n., 296-8n. For Sappho's reputation cf. Dioscorides, AP 7.407
4
(1977).43-5. (~HE 1565-74).
 28 INTRODUCTION 3. THE POEM 29

created a portrait which. profoundly influenced the Greek and Roman The order (or disorder) in which things are said is as expressive as the
poets who came after him. sentiments themselves.
A. explores with great subtlety the simple truth that pity may be a A.'s Medea reflects many aspects of Greek views of the female. 124 She
part of love (462, 761) or may be a trigger for love (1077-8). In is a young, freeborn virgin, like the traditional devotees of the virgin
1077-8, Jason is affected by love at the sight of Medea's tears; this huntress Artemis; 125 as priestess of Hecate, she also knows Artemis'
development in his feelings has been prepared for by the simile of the other side - a dangerous and malevolent force whose power is as
rustling trees at 967-72 and by the mutual gesture of coy affection at destructive and irrational as eros itself Moreov~r, just as the central
I 022-4 1 but there is an effective contrast between the single decisive scenes of her suffering - the arrow~shot, the dream, the sleeplessness,
shot with which Eros wounds Medea and the more gradual stirring the ride to the temple - are modelled on Homeric scenes, so too the
within Jason. This contrast is the more strikiag as 'love atJirst sight' choice she faces, imposed upon her by the forces of shame and desire,
is a familiar convention of ancient imaginative literature. 122 A. avoids is expressed by the polarity between a 'Penelope model' and a 'Helen
this conventional phenomenon even in Medea's case, although her model' .126 Helen betrayed her family for a non-Greek ~Eves, caused a
scream at the first sight of her nephews and the Argonauts ( 253) is a great war between Europe ·and Asia, and brought horrible sufferin? to
clear signal of what is to come. A second characteristic of love to which her adopted land. Medea is a barbarian .princess whose arrival
A. gives.prominence is the loss of reason and judgement. Medea loses eventually brought great grief to her 'Paris', but the battle betw'een
control of her v6os, her power to make considered judgements. rfhis is Greece and Colchis, though foreshadowed a number of times, never
manifested not only in authorial statements, 123 but also in the style of arrives, 127 This partial reflection and reversal of the mythic and poetic
her speeches. Sudden switches of mood or direction, as powerful in model is not merely a game with the tradition. Penelope and Helen are
their way as her hesitations on the threshold of her bedroom (648-55), not the two poles of a stric't dichotomy: Homer shows us Helen living
reveal the powerful unclarity of her desires. 'fhe high point of this in 'married bliss' in Sparta, and Penelope's behaviour towards the
technique is reached as she ponders whether or not to kill herself: suitors is at least in places ambiguous. Moreover, Penelope's
faithfulness to her home and family involves as well a painful longing
'Let him perish in the contest, if it is his destiny to die in the for an absent partner for her bed. She cannot, therefore, function as a
ploughed field! For how could I devise drugs for him without my simple model of virginal innocence. 1~hese ambiguities are reflected in
parents knowing? What could I say? What trick, what device to A.'s transference of language used about Penelope to Medea's erotic
conceal my aid could there be? Shall I go to see him alone and
suffering. 'Being Penelope' or 'being Helen' is not a simple, or even
speak to him apart from his comrades? Alas, even when he is
possible, choice: Medea's position inevitably involves elements of both.
dead, I do not think that I shall find relief from my suffering.
When she does finally choose to meet Jason and thus to betray her
Then, when he is no longer alive, would he be a cause of
family, it is in the hope that she will preserve the joys of innocent
misfortune to me. Away with shame, away with honour! Let him
girlhood ;128 the irony is very characteristic of A.
go away unscathed wherever his heart desires, saved by my
Book 3 contains a large~scale reworking of the Phaeacian scenes of
help.' (178-87)

122 Some critics write as though A. was the 1TpC:nos eVpi;Tfis of the literary 124 Cf. in general Hunter (1987). 125
Cf. 876-86n.
portrait of a slowly developing love. Common sense would suggest that this 126 For Penelope cf. nn, to 451-2, 616-32, 771, 804-5, 828-35; for Helen cf. nn.
was unlikely, even if we did not have texts such as Xen. Cyr. 5. r.16-18 where to 641-2 and 803, and Hunter (1987) 138.
Araspas falls for Panthea after observing her kindness and nobility over a 121
Cf. 1225-45n., 4.190-211, 338-40, 1101-3.
123 na Cf. 811-16n.
peri.od of time. Cf. 286-9on., 298, 446-7.
 30 INTRODUCTION 3. THE POEM 31

the 04Jssey, with Medea substituted for Nausicaa, Jason for Odysseus a character who, perhaps more than any other, reveals A.'s concern for
and Aietes for Alcinous. 'I'hus, for example, the description of Aietcs' constant experiment with the possibilities of epic.
palace at 215-4 r is largely modelled on the description of Alcinous' The pessimism and apparent despair which are prominent in the
palace in Odyssey 7. The echo of these Homeric scenes draws our Jason of Books 1 and 2 are less strongly marked in Book 3. 135 Jason is
attention particularly to what is different. Just as the hospitable and overwhelmed at the task which Aietes commands him to perform
generous Alcinous is replaced by the deceitful and tyrannical Aietes, so (422-3), but this is hardly surprising, and the group as a whole reacts
Nausicaa's brief flirtation with life outside a young girl's world goes just as Jason does (502-4); no Homeric hero w~s ever called upon to
horribly wrong for Medea. The meeting ofJason and Medea, like that do such a fantastic thing. Some other aspects of A.'s Jason are found
of Odysseus and Nausicaa, adapts the structures of an Iliadic martial already in earlier tradition. Jason's respect for (188-90) and skill in
duel to a scene of subtle, erotic testing,1 29 but Medea's Gre_ek stranger t..6yo1, for example, are a feature of Pindar's portrait (Pyth. 4.136-8).
comes to her, not unexpected, naked and filthy like Nausicaa's, but by He sensibly rejects the pointless use of verbal or physical f3ll) (382-5),
deliberate arrangement, 'gleaming with grace and beauty', like a but in the accorri.plishment of his tasks we see the successful linking of
bright star; but this is a star which presages burning heat and ultimate j3il) and µfiT1S, a pair whose interplay forms a major motif of the
death. 130 Jason has no Penelope to go home to, and so Medea will book. 136 1-Iis willingness to exploit Medea's help in the tasks he is called
accompany him to wreak vengeance, as Odysseus had done, on the upon to perform does not devalue his achievements. Just as Homeric
usurpers of his throne (1133-6). l'he paradigm of the abandoned heroes were helped by protecting gods, so Jason, protected by Medea's
Ariadne, however, makes clear what Medea's ultimate fate will be. 13 1 magic, reveals courage and strength in the yoking and ploughing, and
So too do echoes of Jason's relationship with Hypsipyle in Book 1,132 thus establishes his 'heroic status' which may naturally be questioned
and four similes at crucial stages of Medea's story look forward to a before the test (cf. 420-1, 464-5). The essential aim of A.'s heroes is
woman alone, bereft of n1ale support: 291-5 (a poor spinning-woman), success and the glory which will follow from success; for the heroes of
656-64 (the nymphe whose man has been killed), 4.35-40 (a slave-girl the Iliad it is honour, if possible coupled with success. 137 Neither poet
far from home), 1062-5 (a poor spinning-woman). We are thus places the greatest stress upon adherence to a particular code of
presented in Books 3 and 4 with, quite literally, a tragedy 'waiting to behaviour. The style of Iliadic fighting forges a link between such a
happen'. code and the primary aim of the heroes, but in other circumstances, as
Jason also is young. 133 just as in the course of the poem Medea already in the presentation of Odysseus in the Odyssry, the link may be
finally crosses one of life's major thresholds, so too the expedition is for broken or, at least, made problematic. This is particularly true in a
Jason akin to a rite de passage. 1'he securing of the fleece and the setting as exotic and menacing as the court of Aietes, who combines the
securing of Medea are bound together in an elaborate image of change brutishness of the Cyclops 138 with a cruel despotism; clear parallels
from one period of life to another. Jason is one of a number of young between Aietes and Pelias point to the apparent hopelessness ofJason's
heroes in Greek myth whose stories reflect generational passage by task.13&
means of tasks imposed and successfully accomplished: Bellerophon, The nature of' heroism', as a particular form of behaviour, is not
Orestes and 'I'heseus are parallel cases to which A. directs our
attention. 134 'fhis pattern is, however, only one element in A.'s Jason, 13
~
Cf. 422-3, 487-8, where the emphasis is on their desperate plight, rather
than on the shame involved in accepting help from women.
129 136
The simile of 956-6 1 corresponds to the lion simile of Od. 6.130-6; cf. Cf. e.g. 7g-86, 507, and the r6le of Idas.
956-61n. 137 For the relation between these aims in Homer cf. M. Schofield, C.Q. n.s. 36
°
13
Cf. 956-61n. 131
Cf'. 997-1004n.
133 For what follows cf. Hunter (1988).
132
Cf. 975n., 1069n. ( 1986) 15-16. Given the differences in plot, it is not surprising that' honour'
is much less prominent in Arg. than in the Iliad.
134 Cf. 230-4n., 997-too4n. 138 139 CC 405-6n., 594n.
Cf. 176-81n.
 32 INTRODUCTION 3. THE POEM 33

A. 's central concern. Actions such as the murder of Apsyrtus are (below, p. 37). 'fhc loss of other epic means-that wc cannot place Arg.
dictated by 'evil necessity' (430) and are not to be examined in a fine · a literary context by direct comparison) but are rather forced ... to rely
ethical calculus. Moreover, the Homeric poems themselves offered m
what we know of the major directions of contemporary cnt1c1sm
~nd poetic theory. "fhe two most important figures in this regard are
0
examples of widely different 'heroic' responses; Agamemnon's despair)
for example, can be just as deep as Jason's. In Homer A. found not a Aristotle and Callimachus. .
fixed) unquestioned pattern of heroism, but a set of complex incidents It is uncertain whether or not A. would have had access in
revealing just how uncertain was the status and nature of' the hero). Alexandria to a copy of the Poetics) but the pqssibility seems likely
One central difference, however, between Arg. and the Iliad in this enough.tu In any event, A. was obviously familiar with Peripatetic
respect lies not in how men behave, but in the social context in which literary criticism as practised by Aristotle's followers and spiritual
they do so and the reasons why they act. A. leaves rather unclear the heirs. "[he chief tenet of the Poetics concerning epic is that poets shou~d
reward that lies in store for the Argonauts, and even obfuscates the follow Homer in writing about a single action (praxis)) complete in
very reasons for the expedition. The result (particularly in Book 4) is itself with beginning, middle and end, rather than about the
a series of actions without context, sometimes apparently without multifarious life of a single hero or all the events of a single period,
purpose) and varying greatly in tone and manner; the formal .
faults for which Anstotle censures t he poets .ofth e 'epic
' eye 1•142 e .
certainties which rule the process of battle in the Iliad have given way Despite the fact that Arg. begins with the departure of .the heroes to
to a stream of encounters with the unknown like those faced by recover the fleece and ends with their successful return, It seems .clear
Odysseus, but not told with Odysseus' confidence, which is the that the very episodic nature of the poem would not have satisfied
confidence of a survivor. Aristotle's requirement of TO eUcrVvoTTTOV ('that which can be seen
readily as a whole') and his demand for a 'single and complete ac.tion '.
iii. The Argonautica and Hellenistic poetry We cannot, however, necessarily conclude that A. was consciously
reacting against the Aristotelian position, as Arg. might represent an
Although Arg. is the only extant large-scale narrative poem in Greek unsuccessful attempt to fulfil Aristotle's ideas. 143 Moreover, Ar.£?., which
from the centuries between Homer and the later Roman empire, we is some 5,835 verses in length) does apparently come close to Aristotle's
know that epic poetry was continually being written throughout rather obscure suggestion that the TTAfi0os of an epic should be like that
classical antiquity, and Arg. was not the lonely phenomenon that it 'of tragedies performed at one hearing'. 144 The many features of the
appears to us. 140 'fhe post-classical period saw the production of epics epic which strike u~ as quite contrar~ to Aristotelian .ideal~,. mo~t
on traditional mythological themes (like the Argonautic saga), as well notably the succession of ethnographic and mythological digres-
as on the history of a period, city or region. When the latter kind dealt sions') 14& are all matters for judgement, and A. 's judgement may
with contemporary history> epic became encomium; we know of such
poems about Alexander the Great and the epigoni, although the 141 It appears in the list of Aristotle's works (Diog. L~ert. 5:24) which .many
Ptolemies do not seem to have favoured this genre. Theocritus' scholars believe goes back to an inventory of Anstotehan books in the
encomiastic Idyll 17 is rather in the shorter style in vogue in Alexandria Ptolemaic library, cf. I. During, Aristoteles (Heidelberg 1966) 36-7, Blum
(1977) 121-32. . .
° Cf. SH 'Conspectus ca'rminum' s.v. epica; Wilamowitz (1924) I 104--8; K.
14
u2 Cf. Poetics 1451a16-35, 1459a17-59b16; S. Koster, Antike Epostlteorien
Ziegler, Das hellenistische Epol· (Leipzig 1966); B. Otis, Virgil, a study in (Wiesbaden 1970) 42-80; S. Halliwell, Aristotle's Poetics (London 1986)
civilized poetry (Oxford 1964) 16-19, 396-8. Otis felt able to condemn lost 254-66.
Hellenistic epic as not 'intrinsically worthwhile'; others may feel that the 143
So, e.g., R. Heinze, Virgils epische Teclmik 3 (Leipzig 1915) 436.
state of the evidence hardly allows such confidence. In the context of Arg., 144 Poetics 1459b21-2. For the various interpretations of this demand see the
particularly regrettable losses are the Thehaid of Antimachus (above, p. 17), notes of Else and Lucas ad lac.
and two poems by contemporaries of A., the Heraclea of Rhianus of Crete 145 Cf. Eichgrtin (1961) 84-93; for the relevance ofwhat Aristotle says about
and the Thehaid of Antagoras of Rhodes. dramatic character to Arg. cf. Hunter (1988) 437-8.
34 INTRODUCTION 3. THE POEM 35

have differed from ours. More important is his refusal to tell his p. g). Moreover, phenomena such as Aietes' unparalleled address in
tale from the very beginning, ab ouo, because other poets have been oratio obliqua plainly reveal A. as an experimenter with structure and
there before ( 1. 18-· 19) ; this may be a conscious effort to distance his technique. 149 Callimachus' linguistic and metrical practice is bolder
technique from that of the cyclic epics. and more innovative than is A.'s (below, pp. 40-2), but the difference is
Certain aspects of A. 's epic may therefore reflect Peripatetic literary one of degree; both poets are moving in the same direction, but
theory. If so, this does not of course make Arg. an 'Aristotelian epic'; Callimachus' move is a more radical one. Similar observations may be
a work of art, particularly one on the scale of Arg., is likely to reflect made with regard to the material of poetry. Callimachus' Hymns have
more than one stream of current criticism, even if it is expressly created been described as 'a new, unpredictable sort of poetry, which eschews
to illustrate a particular school or artistic view. Nevertheless, much in alike structural proportion and consistency of" emotion"' .150 With the
the epic points away from Aristotle towards the greatest figure of adjustments necessary for a long poem on a single subject, much the
Alexandrian poetry and poetics. same could be said of Arg. Callimachus refocuses old stories by
Callimachus was acknowledged by later ages as the leader and concentrating on their less usual aspects: humble characters such as
guiding spirit of the avant-garde Alexandrian style in poetry. Our fullest Hecale and Molorchus replace Theseus and Heracles as the centre of
source for the explicit principles of Callimachean poetry is, however, intere~t The important r6le of eros in Arg., the domesticity of Aphrodite
not even in Greek. This is the poetry of the Roman neoterics and and Eros, and the pillow-talk of Arete and Alcinous (4.1068-1110)
Augustans who took up 'Callimachean' ideas and adapted them to seem to place Arg. in the same general tradition. Together with this
their new situation ;146 precisely for this reason, however, their evidence new slant on old stories go the striking tone of irony and familiarity
is double-edged and has been left out of account in the present brief with which Callimachus tells his myths and a narrative technique
survey. Nowhere, however, in this body of Roman poetry is there a hint which avoids the expected both in logic and chronology; it is a
that Arg. is a 'non-Callimachean' poem or even of a biographical technique in many ways closer to that of lyric narrative, notably
tradition which opposed Callimachus and A.; Arg. was translated into Pindar, than it is to Homer. 1f>l Here too we find something similar,
Latin by the neoteric Varro of Atax, 147 and is an important model in though less obvious, in A., whose shifting relationship with his Muse or
Catullus 64. and Virgil's Aeneid, facts which do not prove that these Muses 152 and occasional personal engagement with the myths he tells
poets regarded it as 'ideologically sound', but which are certainly (cf. 4.1673-5) recall Callimachean techniques. So too, the mixture of
suggestive for its reputation. 148 hymnic and epic style with which Arg. opens and the allusive brevity
The two most striking features of Callimachus' poetry are his with which the background is sketched are more in keeping with the
constant experiments with both form and language, and his use of technique of short narrative familiar from Callimachus and 'fheocritus
'learning'. The metrical variety of the Hymns and Iambi is not, of than with a leisured 'cyclic' style.
course, replicated in A. 's narrative epic, although the fragments of Callimachean 'learning' is manifested in a dense texture of allusion
other poems show that he did not limit himself to hexameters (above, to earlier literature, particularly Homer, a preference for unusual or
recondite myths, often derived from local histories and prose chronicles,
146
For a brief survey cf. Hopkinson (1988) 98-ro1. an interest in the origins of cities, cults and rituals, allusions to
141
For his neoteric credentials cf. esp. Prop." 2.34.85-6 and, in general, H. contemporary science and medicine, an interest in the nature of
Bardon, La littirature la1ine inconnue (Paris 1952) I 368-70. language, particularly as revealed in etymology, and reflections of
148 'fhe view taken by 'Longinus', that A. was a 'faultless' (furrr..rro~) but
uninspired poet (De subl. 33.4), may also point towards this as a 149
Cf. 57g-605n.
'Callimachean' work; the Ovidian bon mot about Callimachus, quamuis 100
N. Hopkinson, C.Q. n.s. 34 (1984) 147.
ingenio non ualet, arle ualet (Am. 1.15.14), which presumably echoes standard 151 Cf. Cairns (1979) t 17-20 on Acontius and Cydippe, Newman (1986) 96-101.
's(;hool' judgements, is along the same Jines. H>
2
Cf. Hunter (1987) 134.
 36 INTRODUCTION 3. THE POEM 37

contemporary literary debate and scholarship, particularly concerning or like, the non.Homeric epic cycle' but also 'inferior to Homer' and
the text of Homer. All of these features, except perhaps the last, are 'common, vulgar•.ia7 The epigram ends with a piece of deflating self·
obvious to any reader of Arg., and to this extent it may be labelled a mockery which throws an ironical light on its deliberately pompous
'Callimachean poem' . 11>3 The question of Homeric scholarship (and banal?) opening; we can thus get very little serious literary
requires, however, separate consideration. criticism from this particular source. Would Callimachus have
The considerable differences in available Homeric texts, ranging regarded Arg. as 'cyclic'? A long hexameter poem on a single subject
from the inclusion or omission of whole passages to morphological and with a constant group of characters might well have seemed so,
differences in single words, were well known to Alexandrian scholars however carefully A. sought to avoid repeating. scene-types or verses
and A.'s interest in these matters is revealed by his work npO~ (below, p. 39). Unfortunately, the main supporting text, the prologue
Znv6SoTov (above, p. 12). A scholarly poet could add to the learned to the Aitia published late in Callimachus' life, 158 raises as many
sophistication of his poem by echoing Homer in such a way as to allude questions as answers.
to problems of text or interpretation. Such an allusion need not mean 1'he Aitia prologue (or, perhaps more accurately, 'The reply to the
that the poet qua scholar accepted as correct for Homer the text or 'felchines ') seems to have been prefixed to a collected edition of
interpretation to which his own poem pointed; echoes of what was Callimachus' poetry, and thus has a wid~r function than just
thought to be false or spurious, for example, might be just as welcome. introducing the lengthy collection (? 4,000--6,000 verses) of elegiac
Our detailed knowledge of Homeric scholarship in the mid·third aitia. Nevertheless, it is anything but a straightforward statement of a
century is, however, so scanty that very often we can merely note the poetics. In it Callimachus asserts that he has been accused of not
possibility that A. 's text reflects a dispute found in the extant scholia writing 'one continuous poem in many thousands of verses on kings or
and lexica which were compiled long after Arg. was written; in many heroes', not that such a poem would per se be a bad thing. He appeals
cases there is considerable room for subjective disagreement. 154 That to the criterion of techne over that of length, and describes a personal
A. does reflect contemporary discussion of the Homeric text seems all commission from Apollo to write 'fine' or 'lean' (i\ETITai\Eos) poetry
but certain, but the relevant notes in the commentary must be read which does not follow the common herd but strikes out on its own
with these general remarks in mind.1ss paths. If we were to expand this into a general poetic programme,
Callimachus' literary criticism seems to have been fundamentally partly with the help of other contemporary poetic texts, 159 we would
anti·Aristotelian, 156 although he apparently shared the philosopher's find a preference for short, artful poems which were original in subject~
dislike of 'cyclic' poetry. 'I hate the cyclic poem' begins one of his matter and style and lacked internal unity or sameness. Because,
epigrams ( 28). By KUKi\tK6v he probably meant not only 'belonging to, however, Callimachus was being teasingly tendentious, the 'Cal~
limachean' criteria for poetry turn out very largely to depend upon .
153
For etymological interests in Arg. cf. Index s.v. 'etymology'; Hunter subjective judgement. 'Sh9rt ', 'artful', 'cyci'ic \ 6tf)Va<Es, i\ETITai\Eo~
(1986). Ka0o:p6v are all words for which there can be no precise definition. If,
154
Cf. Erbse ( 1953) who rejects any large-scale use of Homeric scholarship in as is likely, the general sense is dense, ostentatiously learned poetry in
Arg.; Erbse also concluded that A. used a 'commentary' on Homer which which every word counts, where nothing is there simply to fill up the
was an early forerunner of the extant D-scholia. The use of poetry to express
opinions about Homer certainly pre-dates Callimachus; Antimachus is
here, as elsewhere, a key figure. Cf. the remarks of P. J. Parsons, G. & R. n.s. is 7 Cf. Hor. AP 132 circa uilem patulumque ... orbem; Pfeiffer (1968) 230. The
29 (1982) 184-5. interpretation of this epigram is hotly disputed; for a guide to the dispute
ur. Cf. Index s.v. 'Homer, scholarship on'. see the discussions ofR. F. Thomas and A. Henrichs in H.S.C.P. 83 (1979)
156
Cf. K. 0. Brink, 'Callimachus and Aristotle: an inquiry into Callimachus' 180-7 and 207-12.
158 Cf. above, p. 8. For Call. fr. I cf. now Hopkinson (1988) 85-g8.
nPOI nPA:::l<t>ANHN ', C.Q, 40 (1946) 11-26, and (contra) Koster (above, 1511
n. 142) t20-2 and Newman (1986) 44-7. Theocr. 7 (esp. vv.· 45-8) is the most famous.
38 INTRODUCTION 3. THE POEM 39
verse, where surprises of both language and subject lurk around every continues and extends trends fOund in the fragments of earlier post·
page, then Arg. seems to fit most of the criteria admirably. What Homeric epic. Here, as elsewhere, the almost 'rococo' verbal style of
Callimachus actually did think of this mythological epic of many Antimachus is a particularly important precedent. 167
thousands of verses on a traditional subject of mythology and poetry A. 's style represents a self-conscious attempt to rework Homer in
we shall probably never know. That A.'s poem reflects the same tastes such a way as to make as clear as possible his difference from Homer.
and trends in literature as does Callimachus' poetry, however, seems This is most striking with regard to the most obvious feature of
beyond question. 160 Homeric style, namely repetition. A. does not repeat scene-types, such
as feasting or arming: one example of each suffices. HIS Where such
iv. Language and metre scenes do occur, the Homeric pattern is usually either abbreviated or
broke~ up. 169 Homeric phrasing is constantly altered by grammatical
A.'s language 161 is based on that of Homer; this is true of morphology, variation or the use of synonyms. 110 There are no 'stock' epithets, and
vocabulary, dialect, syntax and prosody. A.'s phrasing constantly repetition or near repetition of verses is very limited. 171 When the
echoes that of the Iliad and the Odyssey, even where there is no literary same thing has to be said twice - a situation which A. is at pains to
point to the echo. 162 For A., however, the 'language of Homer' was not avoid - 172 variety of expression is the guiding principle. 173 A good
an immutably fixed body of material limited solely to those words instance is 2 7-9 and 86-9 :
which happened to appear in the· Homeric poems, ··but rather the
archaic, artificial language of most early Greek poetry, a language 1<0Vp11v AifiTew TioAvcp&pµm:ov 0Icr1 j3EAecrcr1
which was quite remote from the spoken Greek of third~century eer..~al 61crTeVcras ETI' 'lficrovt. T6v B' &v blw
Alexandria. It was a language which could readily be extended by Keivns Evvecrl111crtv Es 'EAAO:Ba K&as 6:v6:~e1v.
analogy 163 and by words from other, equally poetic, genres, notably
lyric and tragedy. In many features - for example, the use of Homeric ... TiapeEvov AifjTeVJ esr..~al TI66w1 AicrovlBao.
words in non-Homeric ways, 164 of dialect glosses, 165 and of thirdMperson el y6:p oi Kelvn crvµcpp6:crcreTa1 sVµevSovcra,
pronouns and adjectives for the first and second person 166 -- A. PntBiws µ1v EA6VTa BSpos xpVcretov Oiw
vocrTfjcretv Es 'lwAK6v, ETiei OoA6ecrcra TSTVKTat.
16
U SH 339A is a second-century A.D. papyrus text concerning an unknown
poem on the Argonautic story; both A. and Dionysius Scytobrachion In the second passage, Tiap6Evov replaces KoVpnv, 5oA6ecrcra replaces
(above, p. 20) are cited for comparison. Some of the terminology is very TioAvcp6:pµm:ov (both are Homeric epithets of Circe), the construction
reminiscent of the Aitia prologue (l.17 cruvi;:xScr1 Kai TI0AvcrTixo1s), but it is after eer..~at is varied, the whole of v. 87 replaces Keivns Evvecrl111crtv,
unfortunately unclear how the author categorises Arg. For discussion cf. 'Iolcus' replaces the more general 'Grcc~e '; Sipos xpVcre1ov is
Rusten (1982) 53-63.
161
Cf. G. Boesch, De Apollonii Rhodii elocutione (diss. Berlin 1908); Marxer
substituted for KWo:s, and EA6VTo: vocrTt)cretv for O:v&~s1v. On a larger
(1935); H. Frankel, Gnomon 12 (1936) 470--6; Herter (1944/55) 3r4-24; 167
G. Giangrande, 'Aspects of Apollonius Rhodius' language', P.L.L.S. l Cf. above, pp. 1 7-18. For Antimachus' language cf. Wyss, op. cit. xxxi-xxxiv
(1976) 271-91 (= Scripta minora Alexandrina 1 289-·309); Fraser (1972) I and, for probable borrowings by A., xlviii-xlix.
168
635-7. Cf. above, p. 25.
169
162
Cf. M. Campbell, J!.'clwes and imitations qf carry epic in Apollonius Rhodius Cf. nn. on 270-4, 1225-45, 1327-9. For a fairly dose reproduction of a
(Leiden 1981), and Livrea's commentary on Book 4passim. Homeric pattern cf. 492-539n.
7
163 t u A good example in 36--7n.
A. is particularly rich in new noun·formations based on Homeric precedent, 111
e.g. Kf]SocnJvri (462), m<ap6µ6s (1260). Cf. G. W. Elderkin, A.J.P. 34 (1913) 198-201; Herter (1944/55) 325;
1114
Cf., e.g. 34o--6n., 1147n. on Bi€Tµayev. M. G. Ciani, B.l.F.G. 2 (1975) 191-208.
172
165
Cf. 1322-40. 166
Cf. 98-9n., 1860. Cf. 477-8n.
173
Cf. Index s.v. 'repetition, avoidance of'.
40 INTRODUCTION 3. THE POEM 41

scale, the description of Jason's summoning of Hecate (1191-1224) is 'fhe hexameter unit plays a much smaller rOle in the organisation of
carefully differentiated from Medea's instructions as to how to do it ideas in Arg. than it does in Homer. '!'here are in Arg. complex,
(102g--41), whereas the Homeric model - Circe's instructions to subordinated sentences in a style quite foreign to Homer; in Homeric
Odysseus for consulting Teiresias and the subsequent ritual - relies on oral epic 'a fundamental rule ... is that thought together with ex·
repetition. pression is always or for the most part linear and progressive; it does not
Book 3 contains a rare and instructive instance of 'Homeric' turn back on itself or delay, or artificially rearrange) important
repetition. The description of the terrible bulls in Jason's report of elements of meaning' .178 A very rough) but revealing, measure of the
Aietes' challenge (495-6) is largely repeated from Aietes' own speech difference between Homer and A, is the comparative frequency of
(409-10), although the following verses differ substantially from the 'necessary enjambment', that is when syntax forbids any strong pause
earlier ones (412-16 ,..., 497-500). This unusual repetition is introduced or punctuation at the end of the verse. 119 Various scholars have
by a remark which calls attention to the difference from Homeric assessed Arg. at between 45 °/0 and 50 °!oi whereas the Homeric poems
techni_que: are put somewhat below 30 °lo· 180 Enjambment can itself have a
Ei<:o:crTa yc.Xp oV vV Tl TEt<µwp literary purpose - at 253-9, for example, it serves to indicate universal
oVT' E:µoi oVTe KEV Vµµ1 S1e1poµEvo1cr1 rrEA01To. rush and excitement) and the concentrated enjambment of Aietes'
speech at 576-605 reinforces the experimental nature of the protracted
The partial 'Homeric' repetition in a reported speech 174 reinforces the oratio obliqua. un As a persistent stylistic feature, however) it distinguishes
programmatic force of these verses by playfully suggesting what the the written epic from the oral poem, in which neither poet nor
poem would look like if it were written in Homeric style. audience can stop to go back and consider things again. A. also uses
It is relevant to the consideration of Arg.'s place in the literary world unusual word.order to emphasise or reflect the sense of the verse, 182
of third-century Alexandria to note that A.'s avoidance of too Homeric and here enjambment plays a part. In this, however, as also with such
a language is less radical than that of Callimachus. 175 Whereas stylistic features as alliteration 183 and ring-composition (which is very
Callimachus strives at every turn to produce a strikingly novel common in Arg.),1 84 A. is following techniques which Homer had
linguistic effect, A. avoids radical 'Callimachean' experiments with bequeathed to all subsequent poets.
the poetic lexicon, and quite lengthy passages of the epic could, if taken As with language, so with metre. The Apollonian hexameter 185
out of context, be readily mistaken for an attempt to write in the shows much the same kind of development from Homeric verse as do
Homeric mannCr. Particularly interesting in this regard is the final
178 G. S. Kirk, The Iliad: a commentary r (Cambridge 1985) 3I.
section of Book 3 describing Jason's battle with the earthborn warriors.
119 An element of subjectivity cannot, of course, be eliminated from any such
A succession of similes, each Homeric in origin and stylei creates a total
investigation. For discussion and bibliography cf. Kirk op. cit. 31-4; R.
effect which is quite unlike Homer in its rapid intensity/ 76 but which Jankoi Homer, Hesiod and the Hymns (Cambridge 1982) 30-3; H. C.R. Vella,
approximates to the Homeric style in a manner which it is difficult to EnJambement and some metrical technicalities in Apollonius of Rhodes (diss.
imagine in Callimachus. Generic differences 117 between what survives University of Zimbabwe, Harare, 1982).
18° Cf.Janka op. cit. 32. My own (possibly rather conservative) count for Arg. 3
of the two poets cannot entirely account for the dissimilarity.
is 43.2 ~10 .
174 181
This is also the context of the other principal examples of repetition, Cf. above, p. 35. For an effective use of a different kind of enjambment cf.
1. 705-7 ,...., 1. 714-16 (with an amusing variation in 716), 4. I 107 ..... 4.11 rg, 649-53n.
182
4.1325-9 ,...., 4.1353-6 (with varied order of verses). Cf. Index s.v. 'word·order'. 183 Cf. 71n.
175 18
Cf. esp. A. W. Bulloch's edition of Call. h. 5, pp. 2g-31. 4 Cf. Index s.v. 'ring·composition '.
176 185
Cf. nn. on 1278-1407, i374-6. What follows is derived from Mooney 41 1 -28; Faerber (1932) 66-8; Herter
117
An interesting passage to compare with Jason's battle is the 'Homeric' {1944/55) 311-14; West (1982) 35-9, 152-7. See also N. Hopkinson's
fighting at Theocr. 22.181-204. edition of Call. h. 6, pp. 52-5.
42 INTRODUCTION 3. THE POEM 43

the hexameters of Callimachus and 'l'heocritus, but it has not moved the fullest body of scholia and a rich selection of variant
quite as far as they have from the oral poet. Arg. is in general more readings and interlinear glosses, and A (early fifteenth
dactylic than Homcr, 186 and both the 'feminine' caesura, i.e. word- century).
break after the first short of a third-foot dactyl, and the 'bucolic (ii) Group w: S, written in A.D. 1280 for Maximus Planudes, and
diaeresis', i.e. word-break after a fourth-foot dactyl, arc more promin- G (early fourteenth century).
ent than in Homer (67~-~ v. 57~1;1 and 57~-~ 1 v. 47~{i). Verses, and (iii) Group /c The chief manuscript of this so-called 'Cretan'
particularly a successive pair of verses, with fifth-foot spondees are a group, is E (late fifteenth century). This group, notably P,
favoured Hellenistic mannerism. Some 8 °;0 of Arg. shows this feature, also carries a very valuable collection of scholia. One class of
as against 5 °{) for Homer; in the majority of cases the last two feet are E.'s descendants (CDQR) is the work of Demetrius Moschus
occupied by a single word-unit, and in all cases the fourth foot is and sometimes preserves good readings which have been lost
dactylic. 187 As with word~or<ler, powerful poetic effects can be created elsewhere, perhaps more because of Moschus' eclectic
by unusual metrical sequences 188 or by using the natural breaks of the consultation of manuscripts than his gift for conjecture.
verse to emphasise what is important. 189 In recognising the literariness The apparatus which accompanies the text is extremely selective.
of Arg., we must not forget that this was poetry designed to be read Silence should never be interpreted as a sign that the tradition is
aloud. unanimous, although it is hoped that all places where there is real
doubt about what A. wrote have been clearly signalled.
v. The text 190

The total of known medieval and Renaissance manuscripts of Arg. is

52. Their evidence is supplemented by more than 30 papyri of the ADDENDA (1998)
Roman period and many citations in preserved works of Byzantine
scholarship, notably the so~called Etymologicum Genuinum and the The opportunity offered by a reprinting has been taken to make a few
Etymologicum Magnum. Both this 'indirect' tradition and the papyri bibliographical addenda. Considerations of space mean that it has not
preserve many good readings where some or all of the manuscripts been possible to do justice to the explosion of critical writing about Arg.
have been corrupted, and they attest to the large number of variants during the past decade.
already in texts of the poem in antiquity.
The most important manuscripts fall into three groups: (i) The first volume (w. 1-471) of Malcolm Campbell's large-scale com-
(i) Group m: 'fhe two principal members of this group are L, the mentary on Arg. 3 was published by Brill in 1994. Two annotated English
oldest manuscript of Arg. (A.D. 960-80), which also contains translations of the whole poem have appeared:
186
R. Hunler, Apo!kmius ef Rhodes. Jason and Ute Golden Fleece (Tite Argonau#ca)
2I.97o of A.'s verses are purely dactylic, as against 19.1 7 0 for the Iliad, (Oxford 1993, paperback 1995)
18.670 for the 04Jssry and 22.3°/o for Callimachus. The figures are more
striking for verses with not more than one spondee: frt..3 70 fl., 58.9 °;0 Od.,
P. Green, The Argonautika by Apollonios Rlwdios (Berkeley 1997).
67.4 'lo Arg., 73.1 'lo Call. I derive these figures from B. A. van Groningen, (ii) Many of the issues raised in this book may be pursued further in R.
La Poisie verbale grecque (Amsterdam 1953) 202. The percentages for
Callimachus will require adjustment to take account of recent discoveries. Hunter, The Argonautica ef Apolwnius. literary Smdies (Cambridge 1993).
187
For the meaningful use of this metrical effect cf. 67on. (iii) Miscellaneous
188
C[ nn. on 3-4, 146-8, 284, 700, 746, 750.
l& 9 0[ 253n. pp. 1-9 On the Lives c[ A. Rengakos, Wiener Smdien 105 (1992) 39-£7.
19
° Cf. Friinkel (1964), Vian I xl-lxvii, nix-xi, Haslam (1978). All information pp. 12-21 On the myth cf. P. Drager, Argo PasimeWusa: der Argonautenmythos
about MSS readings is taken from Vian's edition. in der griechischen und riimischen li.teratur (Stuttgart 1993).
44 INTRODUCTION

p. 14 On the Odyssey and the Argonautic myth cf. G. Crane, Classical

SIG LA
Antiqui!)' 6 (1987) "-:37·
p. 29 On Medea cf. S.A. Natzel, KA.Ea yuv<xLKWV. Frauen in den
)l.rgonautika' des ApollonWs Rlwdios (Bochum I992).
p. 30 On Apollonius' use of Homer c£ V. Knight, The Renewal ef Epic 1. Papyri
(Leiden 1995). n' P. Oxy. 2699 (saec. m)
p. 36 On Apollonius and the interpretation of Homer cf. A. Rengakos, nz P. Argentorat. 173 (saec. VIII-IX)
Apollonios Rlwdios um! die antike Homererkliirung (Munich 1994). n' P. Oxy. 874 (saec. n-m)
n• P. Oxy. 690 (saec. m)
n• P. Oxy. 691 (saec. n)
n• P. Oxy. 2693 (saec. II in.)
n' P. Oxy. 1243 (saec. n)
ns P. Bero/. 17020 (saec. VU-VIII)
n11 P. Mil. 121 (saec. IV)
n" P. Bero!. 13248 (saec. v)

2. Manuscripts
(i) codd. consensus codicum omnium
Q consensus codicum plurimorum
I scholiasta, scholia
(ii) L Laurentianus gr. 32, 9 (A.D. 960-80)
A Ambrosianus gr. 120 (saec. xv in.)
s Laurentianus gr. 32, 16 (A.O. 1280)
G Guelferbytanus Aug. 4° 10.2 (saec. xiv)
E Scorialensis gr. ! in 3 (saec. xv ex.)
m codex deperditus e quo LA descripti sunt
w codex dcpcrditus c quo SG dcscripti sunt
(iii) I Matritensis gr. 4691 (A.D. 1465), ex cod. S descriptus
v Vaticanus Pal. gr. 186 (saec. xv), ex cod. L descriptus
y Vaticanus gr. 36 (saec. xv)
(iv) B Bruxellensis 18170-73 (A.O. 1489)
H Parisinus gr. 2728 (saec. xv ex.)
J Estensis gr. 112 (saec. xv ex.)
0 Parisinus gr. 2845 (sacc. xv ex. - xvi)

45
46 SIG LA
(v) c Casanatensis gr. 408 {saec. xv ex. - xvr in.)
APrONAYTIKQN r
D Parisinus gr. 2729 (saec. xv ex. - XVI in.)
Q Vaticanus gr. 37 (saec. xv ex. - XVI in.)
R Vaticanus gr. 1358 (saec. XVI in.)
d consensus codicum CDQR
(vi) F Parisinus gr. 2846 (saec. xv ex.)
N Ambrosianus gr. 477 (saec. xv ex.)
w Vratislavensis Reh<ligeranus 35 (A.D. 1488)
z Parisinus gr. 2844 (saec. xv ex.)
(vii) Flor. editio princeps of Arg. by J. Lascaris 1 Florence 1496

3. Abbreviations
L 81 L supra lineam
L mi L in margine
Lac L ante correctionem
LPc L post correctionem
L v.i. uaria lectio in L
L 2 man us secunda in L
L 111 glossema in L
Ilem lemma schoHastae
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 94 Af!O/\/\QNIOY PO.t.!OY

µcxpµapvyi11crK0Tio1061' rispos 6:i{;aVTa, COMMENTARY

,ofos &p' Afoovos vios hrfocrv,o YT1YEVEEO"O"l,
yvµvov 6' EKKOAEOIO (jl€pEV ~(qios.OVTa6s µ(y6riv
6:µwwv, TrOAEaS µsv h' ESVT]OVV ;\ay6vas TE x-5 bwocatior1of Erato. The tripartite structure of the story, outward
( ..................................................................... ) journey - Colchis -· return journey, is marked by invocations at the
riµicreas 6' 6:vexoVTo:5 es riepo:, .-ovsck Ko:i&xp1s head of Books 1, 3 and 4. The start of Book 3 also marks, however, a
twµwvt TEA.Aoµevovs, ,ovs 8i: vfov SO'TT)W,O:S, central division of the poem into two halves. Just as 1. 1-4 introduces
TOVS8' DOT]Kai rrocrcrivsm1yoµevovs ES~Aprio:. Books 1-2 (as well as the poem as a whole), so 3. 1-5 introduces Books
WS 8' OTrOT',ayxovpOIO'lVe.ye1poµfoovTrOAEµOlO, 3-4; Virgil borrowed both the language and the structural function of
5sicro:sys10µ6pos µ1701 rrpo,o:µwv.-a1 6:povpcxs, 3. 1 for the invocation which opens the second, 'Iliadic ', half of the
&prrT)V!:VKo:µrrf) vi:0677yfoxepcrl µsµaprrws Aeneid(Aen. 7.37). The unnamed Muse invoked in Book 4 is certainly
wµov smcrmvowv KsipElCJTO:XVV, aves !30;\fi1cr1 Erato, and this binds the last two books together. The two openings are
µ(µvi:1ss wpaiTJvTspcr17µsva1 T)EA.1010, also similarly structured: Muse - explanation for invocation - nar-
rative (with µev ... 6e). The invocation of a single Muse at the start of
ws ,6,s YTJYSVEwv Ksipeva.6:xvv· ~1µcm 6' oAKoi
the central book is a sell:.conscious marker of A.'s difference from
T)V,EKpfjvaio:is6:µapal rr111760VT0 ()01)10'1. Homer; in the Iliad and Odysseyonly the first book begins with an
7TiTTTOV 6'' oi µsv ooa{; TE<PTJXOTO: f3wt.ov 68ovcr1 invocation.
11a(6µevo17TpT]VE1S, oi 6' sµ7TCl'AIV, oi 6' s1r' 6:yocr,&1 Erato appears in Hesiod's list of the Muses ( Theog. 76-9) and
Kai 7TAEVpoTs, Kl77EO'O'l 6oµ~v 0:70:ACTVTOI i6scr0o:i· 1 395 Callimachus addresses questions to her in the Aitia (SH 238a.8, cf.
1TOAAO! 6', OVTaµevo1rrpiv V1TO xOovos'ixvos 6:sTpat, Ovid, Fasti 4,195-6). Here she is addressed as the Muse of-Ta €pu:md
oeraov &vw npoV,Vl.flOVESfiepa, TOO'O'OV spal;e (cf. 3-5, Pl. Phdr. 259d), but A. also exploits a traditional connection
l3p166µwo11rt\aoapofo1 Kap17amv11p17pe1vTo. between eros and poetic creation, cf. Eur. fr. 663 N2 '!TOIT'JTfJV o' &pa I
SpVEO: TrOV'TOIWS, fl.105O:O'TrS'TOV 0µ!3pl70'C(VWS, "Epws 616&01<1;1 Ko:v&µovoos fi1TOrrpiv, Pl. Symp. 196e. The 1m6w of
q>V,OAlTjl vs60pmTa KCT71)µVOVO'IV spal;E Eros and the rm6ooof poetry had always been closely associated, and
KA.aCT0EVTa pl(TJ0EV, O:t\Wl7WV TrOVOS 0:VOpWV, the invocation thus points to the poetic quality, as well as the subject,
which the Muse is to bring to the poet. In Hesiod Erato seems to be
Tov 61:Ka.-T]<pElTJ ,e Kai ovt\oov o:11yosiKo:vs1
connected with the 'loveliness' of the Muses' song (cf. Theog.65, 67,
KA17povCTT]µaVTrjpa tpVTO,pO<pov· WS ,o,' O:VOKTOS
70), Aleman (PMG 27) asks Calliope for 'lovely words' and for 'desire'
Ai17,o:ol3apeia1vrro tppEvas~ieov 6:via1. (iµspos) and 'grace• (xap1s) in his poetry, Archilochus speaks of the
D'iE6' i:s 7TTOAJE0pov VTroTp07TOS aµµ1ya K6ixo1s, 'lovely (£po:r6v)gift of the Muses' (fr. 1.2 West), and Callimachus asks
rropqivpwv ~I KEcrqH0oWTEpovO:VTIOWITO. the Graces' to wipe their bands, rich with oil, upon [his] elegies, so that
~µo:p EOV,Kai ,WI TETSAEcrµevos ~EV&e07'os. they will last for many years' (fr. 7.13-14).
l 'EpetTw: nominative for vocative ('EpaToi), as often in poetry of
1382 post hunc uersum lacunam statuit Frankel 1384 6e Q: 6' av z all periods, cf. vocative 'lvw at Pind. Pyth. 1 J.2, KAw8coPMG l0l8(b) 1,
I 386 aµq,' ovpo1cnm r391 TOTeCodd. : &yeKoehly r392 Kptjvaia1, Campbell ( I 983) 2-3.
Frankel: -vaia1 Q 1393 6600cr1 codd.: 6:povpris Hermann 1396 6:-rro n:ap6.6' foT«Go: the poet allots an 'equal' role to his Muse, in
RQC: ,:.mepFrankel 1397 1TpOVKV<jlav12 1399 TOIWSn10E: Toiws
6eQ r4or KAtvfleVTa E contrast to the prooemia of Books r and 4, cf. Hunter ( 1987) 134. Both
the poet and his Muse are envisaged as rhapsodes, who performed
95
 96 COMMENTARY: 2-5
COMMENTARY: 6-10 97
standing, cf. Juvenal 4.34-5, incipe, Calliope.licet et considere:non est I
cantandum,res uera agitur. In view of the importance of Pindar's Fourth 'cares caused by lovesickness ', cf. 471, 752, Lat. curae.
µ.£>.,E:6"i)µ.cxGl
PJ'th'ian for A rg. 3, A. may here be echomg . and varying the opening of 61\l.yEL<;:very common of the power of eros (Barrett on Eur. Hipp.
that poern, 'Today, Muse, you must stand beside a dear man ... ' 1274), but here particularly appropriate as the story of Medea is the
2 ev6Ev: the primary sense is '[brought] frorn there' (i.e. Colchis), story of' the bewitcher bewitched', cf. 28, 86, 143, 4.147-50.
bu.t ' [tell me] from that point' is also felt; for the former cf. -rw1e11iTOl: probably' and therefore to you ... ' (with postponed Kai)
M1mnermus, fr. 11 West ou6k KOT'&v µsya K&as aviiyayEV alJTOS rather than 'to you also [as well as to Cypris], therefore ... ', cf. 1. 113,
:111crw.v 1.e~ K:"·,
~i'ri~ and for the latter Od. 8.500 (Demodocus sang) 2.15 etc. TW is an old instrumental form from 6, ·~, TO.
ouvoµ.': the echo of'EpaTw in I closes a ring around the
i1t"i)p11-rov
E'.16e.vEA:°vcos ot µi,v KTA.The former interpretation is supported by the
similar evecxin 2. 1, and links the start of Book 3 closely with the end of · invocation, and the etymology of the Muse's name reinforces her fitness
Book 2 (the arrival in Colchis). An echo of Mimnermus at the start of for the job she has been summoned to do, cf. Ovid, Ars am. 2. 15- 16 nunc
an. Alexandrian erotic narrative has programmatic significance: this mihi, si quando,puer et Cytherea,fauete: I nunc Erato, nam tu nomenAmoris
epic ?ook will have an 'elegiac' flavour, cf. Call. fr. 1.1 1 (with habes. ·
Hopkinson (1988) 93-4), Prop. 1.9.11 (with Fedeli's note). avij1tT(U'attached to' (a:v6:1nw). A. uses this verb with a variety of
3-4 MYJ6Ei'.l)c; : three long syllables, following two purely dactylic abstract objects - gratitude (2.214), troubles (2:245), fear (2.642-3).
ver~es, and the triplet K&o:s'lrjcrwv Mri6eiris announce the entry of a 6--35The conversation of two gods has many Homeric precedents
maJor character and the story which is to follow. (cf. especially Athena and Apollo at /l. 7.17-43), and Hera and Athena
GUy«p 1e11iKu1tpl6oc;11fGl1V ! eµ.µ.opEc;' [I invoke you] because you . are a familiar pair of plotters in the Iliad (cf., e.g., 2. 156-65, 8.350--80) ;
h~ve_a share also in Cypris' field of influence'; for this 'anticipatory' here, however, A.'s portrayal of Hera's mastery of the situation and
yap m prayers cf. 1. 1-5 'I begin with Apollo ... because Pelias heard Athena's coy reticence about sex is remarkably vivid. Iliad 4, 8, 15 and
[Apollo's] .ora:le', Dennisto~ 69, and for the position ofKai cf. 4.1199. · 20 and OcfysseyI and 5 begin with divine consultations; this, however,
The meanmg 1s that Erato 1s both a Muse and knowledgeable about · is the first such Olympian scene in Arg. and marks a new direction, and
love; the phrasin_g s_eems,however, slightly awkward, and crv yap 6rj, a new tone, for the story: the gods must now intervene directly, in the
found elsewhere m mvocatory opening verses (Men. Mis. A1, Eur. fr. Homeric fashion, to secure the heroes' success, cf. above, pp. 24-5.
67~a Snell) may be worth suggesting. o:foa and l.lO'ipa (the noun 6-7 A continuation from the conclusion of Book 2, ~ws B' ov µeTcx
l-lEtpoj.ta1)are synonymous, as A.'s phrase makes clear, cf. 208, D. J. N. 6f]pOveeA60!.lfoo1cr1 in imitation of a Homeric structure, cf. JL
cpcxa:v&rj,
Le~, Glotta 39 ( 1961) 195-7. The apportionment of different spheres g. 1, 20. I, M. Campbell, Mnem.4 36 ( 1983) 154-5. In particular, the
of tnfluence to different gods is a standard feature of polytheistic sys- pattern of the conclusion of Od. 4 (µevov Aoxowv.es) and the start of
tems, cf. Aesch. Suppl. 1041 6s60Ta1 6' 'Apj.tovia1µoTp'·'Aqipo61Ta5and · Od.5 (~ws 6' SKAexewvKTA.)is reversed. In Od. 5 Hermes is despatched
Burkert ( 1985) 248. to Calypso (cf. 43-7n.) to secure Odysseus' release and return home;
4-5 To Erato are ascribed powers more usually associated with here Eros is to be sent to provide the means for Jason's successful
Aphrodite. · return.
a6µ.ijT11~'not broken-in' i.e. virgin. Ancient poetry regularly applies 1tu1e~voi'r.uv'thick', of the reeds, but also suggestive of cunning and
to young girls words properly used of fillies or heifers, cf. Anacreon 41 7, deception; hence lrVK1vosMxosat 4,464 (the murder of Apsyrtus). The
Hor. C..3. I 1.9-12,J. G~uld, J.H.S. 1?0 (1980) 53. Nausicaa is the only . -'·<•··• ••..
heroes, as well as the goddesses, are laying plans.
Hom enc. character _designated 1rap8evos a:6µrjs (Od. 6. 109, 228), avwtG~wi; 'out of sight', with a suggestion that no one was expecting
she funcuons as an important model for Medea throughout the book, their arrival, cf. Boo; as this word was thought to be connected with
cf. above, p. 30. vo£iv(Livrea on 4.255), evorio-o:vhas special point: gods see everything.
8-10 A realistic touch typical of A.; at 4.352-3 Medea calls Jason
98 COMMENTARY: 11-15 COMMENTARY: 17-23 99

away from his companions to deliver her rebuke. At Jl. 14. 188-9 Hera n:a:p«u.paµ,EvoL:this verb may imply deceit (4.442, Od. 16.286-7
calls Aphrodite away from possible witnesses in order to deceive her µaJ,.o:Koisbrfo.rcr,I 1rapcpaoikn), but need be no more than 'calm', 'win
and Zeus, but here there arc no gods who would seek to block Hera's over'.
plans. f1-EL).LX101,; 'soothing', cf. Ii. 9. r 13 of the approach to the angry
8a).a:µ.ov6E: in the Iliad, Hera has a special Oai\aµos built by Achilles. In 31 it indicates Athena's willingness to go along with Hera's
Hephaestus to which she retires to prepare herself to deceive Zeus plan.
( 14.166-8); here, too, Hera is to plot deception through erotic 17 n:a:piicraov'next', i.e. 'straightaway ', cf. 125, 967-72n. For the
power. form cf: TIO:pO!.VTlKO:, lTO!.paxpfiµo:,
,ro:po:o-xe66v.
n:eipa~E: here with the accusative, rather than the Homeric genitive, 18-19 'While I myself, no less than you, am turning these things
on the analogy of TIEtpo:Tii'.;eivwith the accusative at Ji. 1 ,1.47. Tiap&v over in my mind, Hera, you ask me openly about them.' Athena's
frequently has a sexual sense, and here TIEtpal;eivis amusingly used of stress on how hard she has been thinking (d: 20) underlines her
an 'attempt' on a virgin goddess. The notions of' trial' and 'testing' helplessness. mrrii\eyeoosis used of speech which does not 'beat about
are recurrent throughout this book, which is to conclude with Jason's the bush' cf. 439, 501, Livrea on 4.689. KO:!6E (cf. 66, Denniston I 99)
great Tie1po:,cf. 16, 68, to5, t 79 etc, stresses that both goddesses are engaged on the problem.
11-12 8uyanp A10,;: an honorific address which is double-edged in 20-l OV'qGEL [ 8u11-ovaplG'njWV 'will benefit the heroes'. For this
the mouth of Zeus's wife, who had no part in Athena's birth, cf. 32n. epic circumlocution cf. II. 1.395, 7.173.
The irony is reinforced both by µ110-eat(see below) and by the tone of n;o).fo.,; l)' in:E6o{a.aa:l3ovM.; 'I have weighed up [ and rejected]
invocation in 11: Hera begins, not like Athena's 'superior', but like a many plans', which is no more than we would expect from Athena
mortal making a request of a god, cf: 4. 1-2 au,~ viiv Kaµcrr6v ye ;roAvl3ovi\os(cf. 11.5.260, Od. 16.!282). l3ovi\as at the end of Athena's
eea ... evvem MoOo-o:,Atos TEKOS, Od. 1. 10 ,wv &µ60evye 0€6,:,evyaTep answer picks up l3ovi\fis ( 1 1) at the end of the first verse of Hera's
li.16s,siTISK0:1 1)µ1V. question; A. is very fond of such ring-composition over a relatively
Ti xpfo,; ; 'What must we do?' short space. em6016:~E,vis found only here (the simple verb at 819 and
~e: introducing a question not involving an alternative, cf 129, 306; Bacchyl. 11.87); in Homer ev 6o1fi1means 'in uncertainty'. In 770
1.464 etc. 606:0-acrromeans 'was in doubt' and must have been connected by A.
: Athena was the goddess par excellenceof 66i\os
6o).ov nv;:,. µ,~crea:1 with 60(1)0:~Etv.
and µfiTtS(cf. Od. 13.298-9), and in Hesiod she is the daughter ofMetis ~oi\ea,; : Hellenistic poetry extends apparent Homeric examples of
(Theog. 886-900); cf. M. Detienne and J.-P. Vernant, Cunning intel• masculine TIOAVS with a feminine noun, cf. ll. 5.776, 10.27, Call. h.
ligencein Greekcultureand sociery(Hassocks 1978) 175ff. Here, however, 3.42, 4.28, Chantraine I 255-6. Here and in the two Callimachean
she is out of her depth, and the µfiTtS will come from Hera (cf. 30). examples this usage allows the poet the preferred dactylic rhythm
14-15 At 2. 1279-80 Ancaeus had raised the question of whether the (above, p. 42).
Argonauts should approach Aietes µeti\1xiri1or in some other way; 22 This gesture here conveys deep thought, cf. 422-3, Eur. Ion
Hera now provides the answer. The echo again links this scene closely 582-3; elsewhere it conveys other forms of preoccupation - sorrow (cf.
to the end of the preceding book, Lines 14-16 amusingly suggest that 1063, Richardson on h, Dem. 194) or various shades of amatory
Hera is afraid of Aietes. We are also reminded in 64-5 that Hera has emotion (cf. 1008, 1022-3, 1.790, h. Aphr. 156, Kost on Musaeus 160).
more than just Jason's fate in mind, and it is primarily her plans for For a survey of this gesture in A. cf. F. Muecke, B.l.C.S. 31 (1984)
}?elias which dictate Medea's role in the book. !08-9.
ouK lip : A follows Homer in using the potential optative without o:v, 23 &v61xa n:opq1upovaa:l 'each separately contemplating'.
cf. Chantraine II 217. The corrupt ~ KO!.L probably arose from a.u';'{Ka. 'presently', cf. 521, Buhler (1960) 202, Campbell (1983) 97
misunderstanding of~€ in 12. n. r3.
 COMMENTARY: 33-37 IOI
100 COMMENTARY: 25-32
1:£K€ : epic uses Tt\CTetv
regularly of the father's r6le in conception (cf.
25 An amusing variation of /l. 14.128 (Diomedesjust before the liios 103 7), but the verb has a special significance for Athena who was
O:TICITTJ) 6e{h' foµev 1r6Ji.eµ6v6e KO:tOVTO:µEVOl TIEP6:vccyKT]l;so too , born' from Zeus's head; for the conceit cf. h. Ap. 314, 323-4, Ibycus
l3i?.ea0"1 at Il. 14.130. Martial combat has given
in 27 picks up EKj3eJ\€WV 298 .3-4, Call. h. 5.1 34-5. _
way to the warfare of the boudoir, as so often in Hellenistic and Roman 33 'I do not know anything whi,ch can ind,uce ?es1re by ?e-
poetry, cf. A. Spies, Militat omnis amans (Tubingen 1930). foµev and witchment ', cf. Eur. Hipp. 5og---rn qi1ATpo6e11KTTJp10: epwTOS which
cnpvvoµev are subjunctives with a short thematic vowel, cf. Chantraine exploits the ambiguity of0sAKT~pios, both 'indu~ing b)'. bewitch~ent'
I 454-5. and 'bewitching away'. In 738 and 4. !080 8eAK,TJp!o: q,apµo:Ka,o:vpwv
e1tmAoµ.evcu'approaching'; the word suggests that they will make are 'drugs which act as charms against the bulls'.
a concerted 'attack' upon Aphrodite. 35 For KEVwith the optative in a polite request or exhortation cf.
26-8 6s11~a1is governed by 1rt&rjTo:t'in the hope that he can be MT 2 §237.

_ persuaded to bewitch ... ', cf. Od. 22.316, M. Campbell, C.Q, n,s. 21 6;v-rLOWa!it 'when you make your request', a sense of rorr1&v found
( 1971) 403-4- a:'/ KE 1r19-rjTo:1may alternatively be taken as an first in the Hellenistic period (Livrea on 4.405); classical Greek uses
independent parenthesis, but ei-rreivseems too weak a word to govern avnccl;EIV. .
8e11~o:i,cf 535-6. TT1 may have had a different text from that of the 36-1 rn This famous scene has a rich literary background, The
MSS, but Jivm[ may really be ]tKerr[or the scribe may have changed primary model is Thetis' visit to Hephaestus to acquire n~w a:ms for
one to the other (information from P.J.Parsons). Cf. further J. D. Achilles in /l. 18, a scene whose influence on the Alexandnans 1s clear
Thomas, C.R. n.s. 20 (1970) 393· from Theocritus 15 and Herondas 1, but A. has borrowed also from
bi:' 'I-.jaovl '[to bewitch Medea with love] for Jason'; for eiri c[ Demodocus' song of the love of Ares and Aphrodite in Od. 8 and Hera's
1,612-13 exov 6' /ml ATjlo:6£0"0"! I ,prixvv epov, fr. 12.6 Powell, D. L. deception of both Aphrodite and Zeus in ll. r 4. Hephaestus' story of
Page, Sapphoand Alcaeus (Oxford 1955) 276. how he was removed from heaven and saved by Thetis and her sisters
1t0Aurpa.pµ.cu-.ov : a Homeric epithet of Medea's aunt Circe ( Od. (It. 18.394-405) becomes Hera's tale of Jason's kindness to her (67,
10.276); at Pind. Pyth. 4.233 Medea is the 1ro:µqiccpµ<XKOS ~sivo:.Cf. 71 ~ //. 18.402-3), and the god's ablutions(//. 18,414-16) become his
L. Belloni, 'Medea 1r0Auq,6:pµ<XKOS ', Civil/a classicae cristiana2 ( 198 1 ) wife's morning toilet. The object of the visit is not armour but sexual
I 17-33, power, a shift signalled already in the first book in the substitution of
~iAEO-al: the theme occurs already in Euripides' tragedy, cf. Med. a description of Jason's beautiful cloak for Homer's description of
530-1 (Jason) "Epws a' ,ivo:yi<0:0"6V I TO~OlSO:<j)VK"TOISTOVµovE(Q"c.}Q"C(l Achilles' shield (r.721-67). For further discussion of this scene cf.
6eµo:s. Lennox (1980) and Campbell (1983) 10-18. On the standard motifs of
29 An echo of 2-3 suggests that the goddesses have now reached the 'epic visiting' cf. Richardson ( 1974) 205.
conclusion which the poet stated in those verses. 36--7A reworking of ll. 18.369-71, 'Hq,o:io-,ov 6' ti<o:ve66µov 6h1s
evveat'l)lo-tv 'with the help of', 'through the counsels of', a noun 6:pyvpoirel;o: I o:q,61TOV CXO"TepOeVTO:,µe.o:Tipme' 6:eo:vcnotm I xo:i\KWV,
glossed in antiquity as l3ouAo:torewo1o:t (LfgrE s.v.), cf. 478. The word ov o:v,os
p' 1r01~ao:--roKvi\Aoiro6iwv. For iKo:ve66µov is substituted erri
seems to be connected with svirw1 (cf. W. F. Wyatt, Metricallengthening µeyo: 6&µo: vfovro, 6siµsv replaces TI0!~0-0:TO,aµq,iyv~ElS replaces
in Homer (Rome 1969) 94), and in 8,i8 "Hpris swccririto-iv may be KVAA01ro6iwv,and there is no equivalent for v. 370.
translated' through thoughts implanted in her mind by Hera'. 6;vi,;i;ttattL: the goddesses have been sitting down to talk to each
30 t,tilj·n~: cf. 11-12n. other (cf. Theocr. 15.2-3). It is characteristic of A. that he has not
32 v~t811t'ignorant of', a word common in amatory contexts, cf. given us this information earlier; for another such example cf. 155n.
Bacchyl. 5.174, Call. fr. 75.49. For Athena's rejection of eros cf. aµ.<pLyu-.jE1~ 'lame in both feet' (as the gloss at Hesychius a: 3969
especially h. Aphr. 8-15.
102 COMMENTARY: 38-47 COMMENTARY: 49-54 103

explains), cf. 1.204 where this disability afflicts Hephaestus' son tmELfJ.iEVYj 'having let down', a perfect middle participle of icpiiiµt;in
Palaemonius. Homer eiµ&vosis from i!vvvµ1(cf. 83on.), and A. here seems to exploit
38-42 Echoes of Od. 8 arouse expectations that Aphrodite will be JI. 15.308 (Apollo} eiµsvos C:,µouv veqieAT]v, Cf. further Ardizzoni on
found in an embarrassing position; far from it, as neither Hephacstus 1 .939 and Livrea on 4. 1 79. The verse is framed by 'white ... shoulders'
nor Ares is in sight. Line 38 recalls Od. 8.318-20 (Zeus giving to suggest the hair balancing evenly on the shoulders; for this stylistic
Aphrodite to Hephaestus), 39-40 pick up Od. 8.269-70 r.ixos6' device cf. McLennan on Call. k. 1.60.
~IOXVVE Kcd E\JVT)V and 277 Oar.o:µovoOi
! 'Hqio:icrro10CXVC(KTOS ol qiir.o: ... SLa: the separation reflects what Aphrodite is doing to her
icoo-fJ.EL
6eµv1';Keno, and 41 echoes Od. 8.273-4 ~11 p'1µevESXMKEWVC( ... µ~y® · hair, cf. PT II. 14.176 m~aµivt]. 61o:KptVO:O'(X 1(0:1 6icxxwpiao:crq;
aKµovo:. &M' at the start of 41 plays on the suspicion excited by the formally, 6!6: may be thought of as adverbial or as in 'anastrophic
previous verse. A. places Hephaestus' workshop not, as in Homer, in tmesis' with Koo-µe1(K-B 1 334-5).
heaven, but on one of the Planktai (' Wandering Islands'), the modern KEp1dSL'comb', properly 'shuttle'; the phrase echoes Od. 5.62
Aeolian (or Lipari) islands off the north-east coast of Sicily; A. where Hermes finds Calypso working at the loom xpva~iT}tKEp1<i61. For
probably has in mind Hiera (modern Vulcano), the southernmost the importance of Od. 5 for this scene cf. 6-7n. Golden combs were in
the chai!J, cf. 4. 761-2, Virg. Aen. 8.416-22, Pfeiffer on Call. fr. fact dedicated in the temples of goddesses (cf. D-S s.v. peclen),and at
115.11-12, Vian m 43-4. Call. k. 5.31 Athena's attendants are exhorted to bring her' a comb all
i.a\lTGl I 8at8«All: cf. ll. 18.400 XCTAK8UOV6q[oq;?.q TICA.AC(
[TICTVTO: . of gold'.
Zenodotus, Ar. Byz.J in Hephaestus' account of his exile from xlE\!;aa&111xAoKctfJ.OU~:an echo of Hera's preparations to seduce
heaven. Zeus, cf. ll. 14.176.
43-'7 The image of Aphrodite doing her hair may be indebted to 49 KALO"fJ.oi'o-1\1 : often synonymous with 6p6vo1, although 1<r.1oµoi are
art, as well as to the Homeric Hera (ll. I 4. 176-7) ; the theme of said to have had shoulder-rests(~ Od. 1.145).
'Aphrodite at her toilet' is common in art from the late fourth century 50 Instead of making plaits, Aphrodite ties up .her hair in a knot as
on, cf. LJMC 11 1.59-62. In his account of the Judgement of Paris (k. a temporary measure.
5.18-22), Ca!limachus contrasts Aphrodite's excessive concern with atJ,~K-tou~: as 4'~xe1v is normally used of currying horses, the
prettying herself(' often she twice rearranged the same lock') with the adjective is somewhat piquant when applied to Aphrodite's hair.
rejection of cosmetic aids by Hera and Athena. An interest in the poetic 51 <1LfJ.UA{oLo-1v: the word may denote cunning flattery (Hes. WD
description of ordinary activities is one of the many features which 374, Cratinus, fr. 407 K-A) in which the speaker is after something,
Hellenistic poetry shares with Euripides; for brushing the hair cf. cf. !!41, 1.792 (Hypsipyle to Jason). Here Aphrodite is on her guard
Hecuba923-6. Ovid has this scene in mind at Mel. 4-453 where Hera and gently mocks her visitors; her habitual smile (cf. the epithet
visits the Underworld to ask for the Furies' assistance and finds them q,1;?.oµµet6~s) points to the insincere deference of her greeting.
brushing the snakes which they have for hair. 52 -lj&Ei«t : in Homer this form of address is used to an older or more
a.va with the accusative in the sense 'upon' is without true parallel · senior person and, although later poetry extended the range of the
and seems to be an example oflinguistic experiment. 6ivwT&1... 6p6vw1 word (cf. Antimachus, fr. 52 Wyss), there is more than a tinge of
is an obvious emendation, but would introduce a double correption sarcasm in Aphrodite's choice of greeting.
unique in A. (M. Campbell, R.Pk.3 47 (1973) 86) and is unattractive 53-4 A standard question (e.g. Jl. 18.385-7, 424-5, Od. 4.312-14,
after Soµw1. Theocr. 15. 1-2) with a barb in its tail, as Hera recognises (56).
Sww-t6v 'embossed', cf. Od. 1 9.55-6 KA10-iriv... 61vWTT}VEAf(jlO:VTJ
Kcxi Aphrodite's ironic politeness is coloured by her victory over Hera and
&pyvpwt. A. may have in mind Sappho's description of Aphrodite as Athena in the Judgement of Paris. Chronologically, of course, the
rro1K1r.66povos(fr. 1.1 LP-V), a word which many modern scholars Judgement is an event later in 'history' than the Argonautic
connect rather with Op6vcx,'flowers'. expedition, but A. uses his readers' knowledge of subsequent
104 COMMENTARY: 56-65
COMMENTARY: 66-67
mythology, just as he uses their knowledge of Homeric poetry.
Moreover, at ll. 21.416-33 Aphrodite had been mocked and humiliated 66-75 Hera explains her special affection for Jason, who becomes an

b\~e::P:::i1,~:~:~ ~:~:;!:~:
!:
,eµvs1v, cf. ::EI .486, :£A It. 1.539.
aa~h:~yc:!~;g;v;::· Keap and t example of how the gods reward kindness, just as Ixion illustrates the
grim fate of those who abuse divine kindness. Hera's story is very like
a legend (Roscher m 2272-4) concerning Aphrodite and a boatman
5g-60 n:€ptis placed with the second of the two genitives which it <ij: called Phaon. Aphrodite disguised herself as an old woman and Phaon
.:_::_·J
governs (cf. 560, 757-8); this device allows a suggestion of mpt = ferried her across from Lesbos to the mainland;' in return, he was
'chiefly', 'above all', reinforcing µa;\1a,a. Cf. further Clausen ( 1987) ( J rewarded with superhuman beauty and (like Jason) great sexual

:r
attractiveness. Here too then, as in 65, Hera appeals to Aphrodite from

:~2~1l~~i~::e:::e: ;;!::l f;:~n:::~~~~~

~:~-
~:::i~e c::c~iv:~I~
passion for Hera; Zeus fooled him by making a cloud in the shape of .··•· [
the latter's own experience.
In the Ot!JssryHera aided the Argonauts because Jason was q>tAOS
her (Od. 12,72), but no reason is given; she is behind the expedition in
to

Hera~ and afterwards he was bound for eternity to a fiery wheel. Hera's ....·>t ,::
· both Pindar (Pyt!t. 4,184) and Pherecydes (FGrHist3 F w5, cf. 1135n.),

;.:~:·~=:~:;;~;Jt:~:!:t:,}i;!~
but this passage is our earliest source for this story, which may suggest

Ef;!~1Zi·~~;f i.~t·
Adesp. 68oa.9 K-S (probably post-classical), Fedeli on Prop. 1.9.20. >.{
that it has been shaped, at least in part, to fit the Aphrodite-Phaon
pattern. Nevertheless, the story is strikingly like the story of how Jason
lost his sandal in the Anauros (above, p. 13), and echoes of the proem
6€0-µwv: Pindar calls the wheel ,e-rp(Xl(vo:µos 6so-µ6s(Pyth. 2.40), cf. . ,, to Book I direct our attention to that story (67 ~ 1. II, 68 ~ 1. r 2,
_Eur. HF 1298 'l{;iov' ev 6£aµoicr1veKµ1µfiaoµo:t,Prop. r.9.20 injemae t 71 ~ 1.9). Later versions combine the two crossings into one, but A.

.uin;ti~;;::~: for the vivid future in the apodosis cf. MT2 §453-4.
o-ln'llo,;: Hera's physical language misleads Aphrodite as to the kind
)ll seems to have thought of them as separate incidents: here Jason is
returning from a hunt, not answering Pelias' invitation to a sacrifice.
The juxtaposition, however, of the stories of Pelias and Jason and the
of assistance required, cf. 81-2, .+. echoes of Book I stress the interconnection of their fates and force us to
64-5 The repetition of this information from the proem to Book 1·. l ask about the relation between the stories. Does just anybody meet a
disguised god, or only someone whom the god has decided to put to the
(1.12-14) helps to mark the start of Book 3 as a new direction for the •.·•.•·•.•·•.•.•.•··•.•.•.··1.:.•
........
.

poem. Hera's vindictiveness was already a subject for comment by ; test and perhaps use in the future? Such considerations seem to lie
Zeus at If. 4.31-6; her husband's sarcastic suggestion there that she /J behind the version of Hyginus (fa/J. 13) in which the two crossings are
would only be satisfied when she had eaten anthe rrrojans alive is not . ·:.·· :l- one, and the loss of the sandal a deliberate part of Hera's campaign
so far from what she is actually planning for Pelias - butchery followed .···.•.· j against Pelias. Hera's hi Kai -rrpiv seems designed to settle any
by boiling. A. never explains why Pelias slighted Hera, who was
the greatest of all Thessalian gods, but he expects us to remember the •.\
stories ofTyro and Sidero (above, p. 13). This myth was very likely the · ··.··
l chronological doubts we (and Aphrodite) may have, but in fact the
phrase calls our attention to the problematic connection between the
stories and thus to the difficulty of sorting out one divine motive from
another. A.'s tendency towards mythological completeness (above,
subject of at least one of Sophocles' two plays called Tyro (frr. 648- ·•·.· ....••.•...
:.····~.••.··•:
...
•
69 R). It is significant that Aphrodite had punished the Lemnians ; p. 21) has here a clear poetic function.
for a similar slight to her ( 1. 6 14- 1 5), as this ·reinforces the j usticc of ! . 66 <pti-.a-r': aorist middle with passive force; the initial iota is
lengthened to compensate for the loss of the sigma. This form is
:~~:~~~~~i~;.~:~~~)~escribes Pelias as µ!yas ~o:o-1Aevsvmpfivwp I
.·.·_::
Ji
:"f:_/.
transitive in I 002 and 4.990; for discussion cf. Chantraine 1 1 73,
Bulloch on Call. h. 5.58.
·t,:· 67 En:i.n:poxojj,aw'beside the course of' rather than 'by the mouth
 COMMENTARY; 68-82 COMMENTARY: 83-99 107
106
of', cf. Buhler (1960) 7g-81, Livrea on 4.132, West on Hes. WD 757. 81 as an accusative of respect. Others understand 81 as object of
The Anauros flowed into the Gulf of Pagasae not far from Iolcus; the a&:pil;;oo(cf.4.1101), with o-eioi\17'.as a genitive absolute, or even 81 as
strength of its winter torrent is cited as early as (Hes.] Sc. 477-8. object of ;\1i\o:1oµEVTJ5, a construction which LSJ do not otherwise
68 That gods wander the earth in disguise testing men is a common record before No.nnus (fifth cent. A.D.).
idea in ancient poetry. A. has in mind especially Od. 17.485-7 (the xap,,; : perhaps an amusing echo of It. 14.267-79 where Hera
warning to Antinous) 8eoi ~e1vo10-1v eo1K6,es a.r.i\06arrofo1, I nc.n1Toio1 promises to give one of the Graces in marriage to Sleep in return for his
,ei\i6ov,es, /Jma,pooq,wo-1TT0ATJas, I &vep&moovvf3p1v,e Kai evvoµITJV assistance in deceiving Zeus.
e,popwv.es; the suitors however, like Pelias, are \JTTEPTJVopeov.es ( Od. 83 en:uppulifo>,;:Hera has her wits about her. If she already knows
17.482). about Aphrodite's troubles with her son {cf o:i i<e ni8ri,o:1 in 26),
71 For the alliteration expressive of a crashing torrent cf. 2.566-70, hncppo:SEoos foreshadows the irony of85: Aphrodite is in no position to
4.214-15, Il. 11,492-5, Theocr. 22.4g-50. For other alliterative effects approach her son cni,wsCll<eovo-o:.
in Arg, cf. 410 (matched in 496 and 1303), 792-3, 953, 1328, 2.552, 86-g The careful variation of the language of 27-9 illustrates A. 's
942-3, I 189, 4.1109, 1661-2. C£ also 852n. concern to differentiate his style from the Homeric 'formulaic' style, cf.
72 The verse begins like It. 3.386 where Aphrodite disguises herself above, p. 39·
as an old woman to lure Helen into Paris' bed; here again Hera draws p11t1Hw,;: an answer to Argos' pessimism at 2.1207-8, ov µav ov6'
on Aphrodite's experience. For the motif in general cf. Richardson on o:rravsu&v ei\eivSeposAifi,o:oI prii61ov.
h. Dem. wi. 6oA0£aa11: an echo of Phineus' advice to the Argonauts, a;\i\o: ,pfl,,01
73 1tpo«AE'(i : once in Homer of sloping ground over which water ,ppo:~e 8ei.xs!5ot.6£aao:vapooyriv 1Kvnp1605 (2.423-4).
rushes (Il. 21.262); A. transfers it to the water itself. &Atsin 67 perhaps !yjlp.oi: a combination of'you most of all' and
91-2 i;µ.(.l.t1£«A&G't'Cl
points to an etymology for this word (' moving forward in great. 'you more than me', perhaps under the influence of such Homeric
quantity'), cf. ~b Il. 21.262 (land) KC({!' ov TOv6oop epxn-0:1&t.15. idioms as wKVµop6m:rros a;\;\oov and no:vva.o:,-os o:i\;\0011 (Ii. 1.505,
74 -rw : cf. 5n. 23.532). At Od. I 1.482-3 most MSS offer O'Eio ... µca<ap,o:.os. Other
75 An echo of Odysseus' plea to Achilles, ev 6o1fi1Se ao:ooaeµevi\ ·• examples of this construction are either very late (P, Oxy.1015.21) or
crrroi\ea&o:1 I vfio:seOo-aei\µovs,tl µTjavye 6vaea1 aAKfjV(Il. 9.230-1 ), doubtful (Hdt. 2.35.1, Eur. Andr. 7, Philemon fr. 2d3 K).
76 EvEoa-r11a£11 'speechlessness', a form based on /Jve6s;Hesychius ex 93 ev iµ.P4a&v: for shame associated with the eyes cf. I068, 2.407,
4908, however, preserves the form aveoo-rao-11') glossed as 0aµf3os. The Theocr. 27.70, Call. SH 2:39.7, Richardson on h. Dem. 214-15.
ending -crro:oiTJ,'the state of not moving', has particular point as 94 ip,6(.1.flivwv: once in Homer, ofboys irritating w1t5ps(It. 16.260);
speech was often described as 'flowing' (peiv). eveocno:aiTJMf3e µvaoov it perhaps hints at a link between epoos and ep1s, c£ 4.445-6 axhi\t'
reworks the Homeric phrase aµcpo:aiTJrneoov Mf3e. "Epws... EK0'£6evovMµevai ,.· Ep16£S1<1'A., Eur. IA 585-7.
78 iiy«voi'at 'pleasing', conveying a sense of submission {cf. 396) 95 1t£plcrxoµ.iv11'beset on all sides by', an intensification of the
and so in keeping with &;no and ,roTVo: 8ecx; Aphrodite is almost. Homeric exea&o:1KaKOTilTI(Od. 8.182, 17.318).
reduced to mortal status before Zeus's wife. g6 «u-rota,v -ro~o,a, 'bow and all', cf. 373, K-G 1 433-4.
7!r82 A reworking of Aphrodite's reply to Hera's request for sexual &uGl)XEa.,; : either • which make an evil sound' or 'whose sound
power at Il. 14. 194-6. Here Aphrodite is not yet sure what sort of help· signifies evil '.
Hera wants: she may even want Aphrodite's notoriously feeble (It.·. !J8-9Aphrodite's angry frustration is reflected in the intertwined
5.331-2, 428-30) martial prowess. clauses of her utterance. Eros is presumably threatening her with a
"l'Ol 'to you', 'in your eyes'.
disgraceful passion; cf. her chagrin at her love-making with Anchises
a£io ALA«LO(.I.EV'tj'(i: probably object of &eep,,oo(cf. 1.123, 2.477), with (h. Aphr. 244-55).
 108 COMMENTARY: !00-·l 12
COMMENTARY; l ! 3-I !8 109
y': emphatic in the apodosis, cf. 355, Denniston 126. Unless
Madvig's K' is correct, A. follows Homeric precedent in the omission of description of Heracles, who ·i~ carrying a tree as well as his usual
&v, cf ll. 23.151. equipment.
J 13-14 Cf. ll. 4.88--g (Athena looking for Pandarus to make him
eotautjt 'myself'. A., in common with all later epic poets, is very
free in using pronouns in non-Homeric genders and persons, cf. 186n., shoot his bow) 6i~riµi:vri, er1TOV £(j)EUpo1. I eup€ AVKO'.OVOS viov KTA,,
Marxer (1935) 61-4, Erbse (1953) 165-6. 5· 167-9 ~f\ 6' iµev... ei 1TOV eqievpot·I eupe AVKCXOVOSviov KT/\,In 4.88--g
100-1 Cf. 106--7n. Zenodotus adopted a text with si 1TOV e-q,svpotfor aipe 6e Tov6eand the
a.AAYJAau;: the dative is echoed by Quintus Smyrnaeus (4.300) and omission of 89, cf. S. West (1967) 68 n. 44, Pfeiffe; (1968) r 14, above,
may have arisen from such constructions as It. 9.372-3 ov6' &v ~µoiye [ sr
p. 36. The conditional force of µiv Eq>evpo1 should here be given its full
,-e,-i\o:iri... eis wno: i6fo60:1;6:i\i\t\ti.asis, however, a very easy correction, weight, as it is appropriate that a mother should only have an
and the error could have arisen from i.i:i\i\015 immediately below. uncertain chance of finding her naughty son when he is out playing.
rn3 a},1,;K-rA.'It is enough that I myselfknow about them'; for the a.Awijl: an echo of Od. 24.226 where Odysseus finds his father
construction cf. Soph. OT !061 0:AlSvocroOcr' eyw, Trag. Adesp. *76 ·. E01n1µi\v111EV6:Awf\1;here it is a mother looking for her son. Zeus's
K-S. flourishing orchard is a natural place to find Eros.: in Plato's Symposium,
106-7 p116w"ij,; emphasises Hera's control, as does her smile in 107 Diotima says that Eros was conceived in 'Zeus's garden' (203b) and
(cf. 2.61); normally, it is Aphrodite who does the smiling (51n.). Hera's Agathon notes that the god spends his life among flowers (196a-b), as
gesture here marks friendly reconciliation (cf. 1.1330-1), cf. Grajew he indeed does in many vase paintings, cf. A. Greifenhagen, Griechische
(1934) 44-5. Eroten (Berlin 1957) 7-33, L/MC m 1.864-5. His presence helps to
mip«f¼AYJ6't]": the meaning may be simply 'in reply', c( Campbell explain why the orchard is flourishing; in Longus' Daphnis & Chloe,
(1983) 16--17.no:po:-, however, often implies deceit (cf. 14,15n.), and Eros tells an old gardener 'I come into your garden and play amidst
Z:l>T show that some critics interpreted napa!3At\611vat Il. 4.6 as the flowers and the plants and I wash in these streams. That is why the
1;,
'deceitfully'; this may well be the sense also at 1078 (where seen.) and flowers and the plants are beautiful, watered by my bath' (2.5.4).
2.621 (cf. Hunter (1988) 446--7). Hera's promise may be not quite n5-18 Aphrodite finds Eros and Ganymede playing knucklebones.
what it seems; at /!. 14.222-3 she smiles after deceiving Aphrodite. According to Homer (ll. 20.232-5), Ganymede was the most beautiful
Moreover, the idea of an Eros who will grow up and cease from his of mortals (cf. 117) and for this reason the gods took him to heaven to
tricks is, at least, improbable. Hera thus deceives Aphrodite, as be Zeus's wine-pourer. In Homer the relationship between Zeus and
Aphrodite is to deceive Eros. Cf. 152n. Ganymede is not explicitly sexual, cf. K. J Dover, Greek homosexuali!J
Jog-10 Hera tells Aphrodite not herself to act like a spoiled child, (London 1978) 196-7, but from the archaic period on it was generally
cf. XO:/\Eq>0eis (97), ep16µ0:1vwv (94). assumed to be so: Ganymede's presence here is a reminder of Eros'
11-£-raAAY)l;E:l 'he will cease' (from his present behaviour), a blunt power which is to be so crucial in Book 3. In Sophocles' ColchianWomen
statement which is just what Aphrodite wanted to hear. For the (above, p. 19) Ganymede'.s sexual attractiveness for Zeus was also
absolute use of the verb cf 951. Z: glosses as µe,-acrTpSlj!El 'he will mentioned, presumably as an example of the universal power of Eros
change' and Madvig proposed µrn:xi\ti.6:~€1 (a verb not found in Arg,); (fr. 345 R). In Anacreon 398 µo:vio:11"£ l<aiKV601µoiare said to be the
the gloss does not, however, necessarily point to a reading other than knucklebones of Eros; that striking metaphor is here given concrete
that of the MSS. expression. For other instances of Eros' knucklebones cf. Asclepiades,
112 naAlOO'IJ-ro1 : from crevw and properly indicative of quick AP 12.46 {= HE 876-9), Meleager, AP 12.47 (= HE 4076--7). In
movement (cf. 306, 373, 4.24}, but that nuance is felt only w·eaklyhere Herondas '3 a mother has to deal with a naughty child who has
and at 4.879. At 1. 1206 no:AicrcrVTOS wpTo vieo-0o:tis an amusing graduated from knucklebones to more serious gambling. in art, the
subject was a popular one, and a preserved Roman gem (presumably
 110 COMMENTARY: ll9-124 COMMENTARY: 125-132 111
deriving from a Hellenistic original) shows two Erotes (or Eros and and, to contrast with Eros who is 'standing up straight', the lowering
Ganymede) in almost precisely the same attitudes as A.'s children in of the head which accompanies it; Kcmicpe1a was etymologised as that
J 19-24, cf. B. Neutsch, 'Spiel mit dem Astragal', in R. Herbig, ed., which makes us turn our eyes (cpo:ri)down (Plut. Mor. 528e, Erbse on
Garrymed(Heidelberg 1949) and R. Hampe, Die Stele aus Pharsalosim I /l. 17.556).
Louvre (Berlin 1951). Whether or not A. had any . particular Sou;, K-r>.. : either 'he had two left which he kept throwing one after
representation in mind, the carefully envisaged detail of a scene on another ... ' or 'he had two left, as he was continually throwing away
Olympus offers an excellent example of pictorial vividness; cf. 'G, one after the other ... ' The present tense of rnmpoi"eissuits the former
Zanker, Realismin Alexandrianpoetry(London 1987). better, and this too seems to fit both with the scene on the Roman gem
K«i.r«vu11-~6c.11: it is very unusual for a proclitic such as Kai to come (115-18n.) and a second-century A.D. paraphrase of this passage
immediately before the central caesura of the verse, cf. 2.1203, Bulloch (Philostratus 'the younger', Imag. 8). Decision would be easier ifwe
on Call. h. 5. rn3. The strong breaks in the second foot and at the knew which game was being played: in the game called 1rt.etO'"To-
bucolic diaeresis (cf. above, p. 42), however, mitigate the break between J3o;\(v60:the sides of the bones were each given a value, and only
Kai and ravvµ~6ea. one throw would have been sufficient to lose each bone, cf. Hampe
eyK«dvo:aaEV: A. seems to have borrowed from Moero, a poetess of · op. cit. (115-18n.), S. Laser, Sport 11.nd Spiel (AichaeologiaHomericaT,
the late fourth or early third century, who wrote of the eagle which had Gottingen 1987) 118-21.
brought nectar to the young Zeus £vpuo,ra Zeus- I 6:66:vcrrov,roiTjO'E
Kai i-r' «in-wt; 'continually to no good effect', cf. LSJ s.v. CXVTOOS 1.2,
ovpav&1 eyKcrrevaaaev (fr. 1.7-8 Powell). A. transfers these words to 129n. In Homer (Il. 23.268) this phrase means 'still in the same
Ganymede, who was brought to heaven by another eagle. way'.
cia-rp«yiii.oun: an echo of It. 23.85-8, where Patroclus' ghost
ci11-<p' KEXo>.wTo tc-r>..: Eros' cackling laughter is expressed alliteratively
recalls how he killed the son of Amphidamas 6:µcp'.O:O'"Tpayo:;\0101 (7rn.), cf. Jl. 3.4-3 111TOU KO:YXaA.0000'1
K<XpTjKOµ0c.:>VTeS 'Axaioi. This
xo;\006ei5.The echo, reinforced by J<EX0hc.JTo in 124, amusingly suggests verb is applied to Eros also in 286 and Anacreonlea33.29 West.
that the present game might have dire consequences. This Iliadic story 125 mxpcio-o-ov : cf. 17n.
was the subject of the Astragalistaiof the Alexandrian poet Alexander 126 ci11-~x«vo~'depressed' and hence oblivious to the happenings
Aetolus, a poem or play which probably pre-dated Arg. For lrµcplhere_ around him, cf. 1157.
cf. 623-4, and for the verb G. Caggia, R.F.I.C. 100 (1972) 25-!l and 128 In touching her son's jaw, in itself a natural motherly gesture,
Hopkinson on Call. h. 6.38. Aphrodite places herself in the position of a suppliant, as Virgil makes
xpuadott, : as befits immortals, cf. 46, 878n. explicit in the parallel scene at Aen. 1.666 ad le confugioet s11.pplex tua
119-20 'And greedy Eros was already holding the palm of his left numinaposco.
hand, quite full [of knucklebones] up against his chest.' KCl"MOJ(.O!f-EV'fl: an intensified form of exol,ll!\ITj
'holding on to,.
!f-«pyot,:cf. Aleman 58 'AcppoSi-ro: µev OVKEO'"Tl, µ6:pyos s· "Epoosoia - 129 tt<p«-rov'unspeakable', cf. Bulloch on Call. k. 5. 77.
(,rais) TTaia6e1KTA.For A.'s use of lyric poetry cf. above, p. 27. «uTwt,: usually taken as 'in the same way [sc. as you usually do]',
ciyoa.. ov 'palm', cf. 1394n. but I glosses as µcrro:ioos(cf.123) and this would give good sense,' [you
uu-2 'a sweet flush of complexion bloomed on his cheeks'. Eros in have deceived him] to no real purpose, i.e. what you have done is no
his delight resembles the triumphant Jason after he has got hold of the great achievement', a sentiment which suits vfl111 eo\l'Ta.
fleece, cf. 4. 172-3. The text here must be regarded as uncertain; most 131-44 Aphrodite resorts to bribery, like so many other parents
MSS have xpotflt, and Frankel suggested some word such as xapµcrrt faced with a difficult child. In Il. 14 Hera bribed Sleep with a lucky
'with joy'. marriage (cf. 79-82n.) and a golden throne made by Hephaestus
123-4 K«'n)<ptowv: the word suggests both emotional depression ( 14.238-41); Aphrodite goes one better by offering a gift that not even
 COMMENTARY: 135-140 113
112 COMMENTARY: 133-134
1 , 4-6), and A. here acknowledges the problem of the homonymous
Hephaestus could surpass. It is unfortunate that we do not know the mountains, without attempting to solve it, cf. above, p. ~ 1. For the
context of CalL fr. 676 where someone offers to give a young boy five special sanctity of eaves in the Greek world cf. Burkert ( 1985) 24-6.
knucklebones; it is an attractive speculation that that fragment is 'babbling', This verb is used of baby Zeus also at Call. Ii.
Koup1t;o-..-rL
somehow connected with our passage. The poet does not tell us how 1 .54; in 666 it refers to a young girl before marriage.
Aphrodite acquired (or hoped to acquire) the marvellous ball with 135 a<pa:i'pa.-..
: as with knucklebones, Eros' ball has a parallel in
which the baby Zeus played - through Hera? - and it is perhaps better Anacreon who describes the god as playing aqiaiprp ... rropqivpST)t
not to enquire (cf. 152n.). The fact that Medea's bitter tragedy is to be (358); for the later period cf. l'vfeleager, AP 5.214 ( = HE 4268-71 ).
for Eros merely a matter of a new toy emphasises the gulf which Eros and Cupid are also represented in art playing with a ball, cf.
separates mortals from the divine (cf. Fusillo ( 1985) 297-8); here A.'s LJMC 111 1.914, 987. Here, however, the ball symbolises Eros' universal
theology is essentially the same as Homer's, cf. above, pp. 25-6. power (cL 164-6, Eur. Hipp. 1268-81 etc.). Parmenides compared
The precise description of imaginary works of art is common in reality to 'the bulk of a ball well-rounded on every side (m:1VToflsv
Hellenistic and Roman poetry, cf. Theocr. 1.27-56, Moschus, Europa ,vKvKAovaqio:1pris)' (fr. 8.43, trans. KRS 252), and Empedocles, whose
37-62 etc. The Homeric origin of the briefer examples should probably influence on A. is dear (Livrea on 4.672, Campbell (1983) 129), held
be sought not in the shield ofll. 18, despite an echo ofll. 18.375 in 137, that the cosmos assumed spherical shape when ordered by qi1Aio:rather
but rather in a passage such as the description of Agamemnon's than vdKOS(frr. 27-3 I, cf. KRS 294-6). The notion that the world was
breastplate at it. 11.24-8, 'now. there were ten circles of deep cobalt a sphere was familiar in learned circles well before A., and both
(Kvavos,cf. 140) upon it, and twelve of gold [cf. 137] and twenty of tin. Eudoxus and. Aristotle envisaged a universe composed of concentric
And toward the opening at the throat there were rearing up. three spheres, cf. Thomson ( 1948) 1 t 0-22. In a poem called Hermes,
serpents of cobalt on either side, like rainbows [cf. ! 41 ], which the son Eratosthenes (fr. 16 Powell) represented Hermes gazing upon the
of Kronos has marked upon the clouds, to be a portent to mortals' spheres of the cosmos and the five zones (KvKAa)of the world. From the
(trans. R. Lattimore), or the description of Hera's marvellous chariot Roman period survive representations of Cupid with a symbolic globe,
at ll. 5.722-32. A has in mind also Od. 8.372-6 where two sons of cf. R. Stuveras, le puuo dans !'art romain (Brussels 1969) 109.
Alcinous put on a display with 'a lovely, purple ball which wise 'toy,' picking up µs1Ai~oµo:1
!-LELALIW from 105.
Polybus had made'. 136 Hephaestus and Aphrodite are married (38), but the poet
133 Adrasteia also appears at Call. h. 1.47 as one of the attendants leaves vague the relationship between Hephaestus and Eros. The
of the baby Zeus in Crete. Adrasteia, also called Nemesis, was an Asian parentage of Eros was a notorious conundrum for which poets devised
mother-goddess who became connec~ed at an early date with the many various solutions (cf. Antagoras, fr. 1 Powell, I Theocr, 13.2,
legend of the birth of Zeus. Typically, Hellenistic poets turned her into F. Lasserre, la Figure d'Eros dans la poisie grecque(Lausanne 1946)
the great god's nurse and later scholars sought to distinguish two 130-49) ), and A. refuses to supply an answer for us, cf. 134n.
characters of this name. 137-40 'Golden arc its zones (KvKAo:),and ___ two circular joins
134 The Cretan version of the birth of Zeus identified the place as (64'1'6es) curve around each; the seams [between the zones] are
either Mt Dicte or Mt Ida (cf. Frazer on Apollod. 1.1.6), but poets did concealed, as a twisting dark-blue pattern plays over all of them.' This
not necessarily distinguish the two, or exploited the uncertainty (cf. is a tentative translation of a very difficult passage. The boundaries of
Call. h. 1.4-6, Arat. Phaen. 30-5). In 1.509 A. places the birth of Zeus the zones are concealed by surface ornamentation. SE in 137 is
.6.tKTo:iovvrroo,rfos, and the first half of 134 is a linguistic and continuative ('and'), the first 6i in 139 picks up µev of 137 and the
mythological variation on this,just as the second halfofthe verse varies second is explanatory ('for'). To the commentators add 0. Lendle,
1.508, Zeus€TIKoupos,hi cppeo-1 vrpno: dSws.Mt Ida in the Troad also Hermes107 (1979) 493-5 and Livrea (1982) 19-20.
had a claim to be the site of the god's birth (cf. McLennan on Call. h.
114 COMMENTARY: 141-l52 COMMENTARY: l54-l62 115
(LEV is scanned long in imitation of Homer where the digamma of*f'01 . 154-:5 t.pa.uvwL'bright', 'clean'; the knucklebones come straight
had metrical value. from the ground and Eros' action, like his careful counting, reveals the
dl.lcraov'Ca.lends a hexameter at Arat. Phaen.401, an echo
r.t:pl'l)YEE'i playful malice of the naughty child.
which confirms the 'cosmic' significance of the ball. 1t6l.1uait'lap'. Aphrodite has naturally squatted down to caress her
Kua.vi'I): for a full study of this and related words cf. E. Irwin, Colour young son ( 14g-50) ; for representations of similar scenes cf. LJMC 11
termsin Greekpaetry(Toronto 1974) 7g-110. 1. 1 20. Others interpret 1<6A:rrw1 as 'pocket', actually a fold in the
141 Stars were thought to be spherical, cf. Arist. De caelo2 passim. It chiton made by pulling the robe up through the, belt (4.24, Gow on
may also be relevant that the game in which a ball was thrown into the Theocr. 16. I 6), but this does not suit the forceful verb Ka6 ... !3aAE.
air was called ovpavicx (Hesychius o 1830). 156 i,:ep11<0.rief0: the quiver hangs downwhile supported by a band
bl.itov: for the image cf. 1378, 4.296, Arat. Phaen.749 (oyµo~), Virg. aroundthe body, cf. D-S s.v. pharetra.
Aen. 2.697. 158 Cf. 114. Ring-composition marks the conclusion ofth~cene in
146--8 The speed of the boy's reaction is marked by pure dactyls the garden: 8Eou replaces .6.165and 1tay1<ap1tov is a synonym of
which are broken by the first syllable of the emphatic cxCrroaxe66v.EXEV 6cx;\epf\1. The text of the MSS has been badly corrupted: the gloss .6.16s
governs both Xl"TOOVOS and eeav, 'he held on to the goddess by has ousted 8EOv,and µsy6:po10 is a memory of the common Homeric
tunic ... grasping her on both sides'; as EV6ais an anagram of&av, the SJEK µey6:po10,cf. D. N. Levin, C.P.58 (1963) 107-9.
verse may represent verbally the jolting which Aphrodite receives. IL••P 158 ( = I 114-17b Wendel) reports that 'in these [which?]
the transmitted eeasis retained, it may depend upon xnwvos or verses A. reworks (1tapcxypa<pe1)Ibycus' account of the rape of
either verb or participle, but some change seems necessary; Ganymede (PMG 289) ', We do not know whether Ibycus' panorama
proposed exe-r', which would naturally govern a genitive, and was part of the eagle's descent or Ganymede's ascent, but cf. Bacchyl.
x1Trovcx(Gnomon35 (1963) 27). Virgil adapts 147 in his description of 5.24-6 (Zeus's eagle) ov v1v1<opvqxxi µey6:t.as icrx_ova1ycxias, I ov6' 6:t.os
Venus wheedling her husband at Aen. 8.387-8, niueishinc atque hinc aKcxµa-rasI 6va1tai1tCXAai<vµCX"Tcx K"TA:A. also uses a panorama at
diua lacertisI cunclantemamplexumollifouet. 1.1112-16 (the view from Mt Dindymum), and the extent of his debt
VWA€(J.£'i 'vigorously', 'firmly', cf. Vian 1 274. to Ibycus is quite unclear; for discussion cf. Richardson ( 1974) 279-81,
148-50 Three participial phrases in asyndetoi:i point to different acts J.P.Barron, B.I.C.S. 31 (1984) 16-19.
of affection by· Aphrodite; the 'soft words' are not 151-3 but 159 The accusative after e~apxoµai may be paralleled (LSJ s.v. 1.
unreported blandishments which preceded the oath. 1-b, K-G 1 300), but the meaning here may be 'came out [of the
Kuaa€: more erotic is Apuleius' description ofa similar scene, osculis_ orchard] ta the gates of Olympus'. ev8ev'from there' well suits such an
hiantibusfilium diu ac pressulesauiata [sc. Venus],Met. 4.31. interpretation. For the gates of Olympus cf. ll. 5.749-51, 8.393--6.
152 The model for this oath is Apollo's promise to the 161-2 'Two peaks oflofty mountains hold up the sky, heights of the
Hermes at h. Herm. 462 Sooaoo -r' <X)'ACXO: SoopcxKCXi ES'WI.OS earth, where the ~isen sun blushes red with its first rays.' Platt (J.P. 33
l:mCXTf)aw. A. does not describe the fulfilment of Aphrodite's promise,_ (1914) 26--7) suggested that A. was thinking of two great eastern
and as she is notoriously 6oAoTTAOKOS and dangerous when smiling {cf.· mountains (Arist. Meteor. 1.350a 18-33) holding up the sky, as Atlas
Sappho, fr. 1 LP-V), we may suspect that the mother has for once did in the west (cf. Virg. Aen. 4.246-7 which may be indebted to this
tricked the naughty son. Oaths from the goddess of love may be passage).
regarded as sceptically as those oflovers traditionally were (Gow-Page 1t0>..«w: the second syllable is scanned long 'in ictus', cf. 1.289,
on HE 1093-4). It would be a terrible irony that Eros should cause Mooney 424. The transmitted 1t6t.01 can hardly be right, even if
much suffering for no reward at all. In Iliad 4 (cf. 113-14n.) 1<opv<pcxi is changed to Kopv<pcxs, as the two poles of the cosmic axis
tricks Pandarus by promising xap1v Kai KVOOS and ayt.aa. Soopa (vv. 95, cannot be said to support the mountains. As an alternative to -rr6i,.ov,
97). Frankel's 1to;\ov6' deserves consideration, 'two peaks rise up [cf. 217,
 116 COMMENTARY: 164-172
COMMENTARY: 173-181 l 17
851, 1.501] to the sky'; for further discussion cf. Campbel! (1983)
20--1, oe
1t0Aewv ,E µf\,1s apeirov (4.1336); in this he differs from both Zeus
~A1f3ch·wv: here etymologiscd as OlTOV -rrpw,ov 6 ~Aw5 {3atvE1or and the Homeric Odysseus, cf. Hunter (1988) 441-2.
something similar, cf. Hesychius ri 352, I-' If. 15.273, 619. Ancient 173-5 Cf , .336-7 (Jason, immediately before the leader of the
grammarians who connected the word with ~;\105thought it should be expedition is chosen) ctAAo:,qiiXot, !;vvos yap es 'EAM5a v6cr-ros
aspirated. " ss
0,ricrow, I !;wo:\ 5' &µµ1'lTSAovi-0:1 Aifi,cxoKEAev601. The echo shows
164-6 The panorama, like the marvellous ball, stresses Eros' that, having completed the outward voyage, the Argonauts now stand
universal control, cf. Eur. Hipp. 447-50 (Eros in the air, the sea and as before new dangers. For other echoes of the early part of Book I cf.
giver of li!e, i.e. qiapfo-[3105),1272-8 L 64-5n.
lEpoi marks divine control of the rivers, and is far from being' purely XPELW: probably 'need' rather than 'undertaking', cf. 12.
ornamental' (Fedeli on Prop. l. 18.27); further examples at 1203-4, o;n:Epuicwv'holding back'. The &no- compounds which conclude
1.1208 (Hylas), 2.515 (Aristaeus), 4.r417 (a prayer), Nisbet-Hubbard r 74-5 and the juxtaposition of cr-r6;\ov and dos stress the opposition
on Hor. C. 1.1,22. between the collective good and an individual's action.
11:ov~o~ hints at IT6v,os, cf. Barrett on Eur. Hipp.3-6. et11:oupa~'depriving', a Homeric aorist of uncertain etymology. The
. 167-274 A., unlike Homer, depicts different actions ~s happening construction with the accusative of the person deprived and the
s1multaneously, and here he returns to the Argonauts (~ptD€Semphatic genitive of the thing taken away is very rare (4.1433-4, cf. LSJ s.v.
in 167) as Eros flies down to earth. 167-8 rework 6-7 (ap1cr-rfi€S ~ &qimpew II.!). The three other examples of OTTOVpO:S or 6:rrrivprov
~ptDES,6ovo:K€O-cr1 ~ eAos,A€Aoxriµevo1),thus marking events in heaven ( 1.1212, 4.344, 9 ! 6) arc followed by three different constructions; such
as a separate episode. Cf. further 576n. The Argonauts' meeting takes variety well illustrates the richness of A.'s language.
place early on the morning following their arrival in Cole his (cf. i76-81 A reworking of Odysseus' words to his men at the start of the
2. r 285). adventure with the Cyclops, a;\i\01 µev vOv µiµvn', eµoi epiripes
168 i)yopowvw 'held an assembly', as at Jl. 4.1 oi U eeo\ -rro:pZrivl ho:1po1. I av,o:p syw crvv vrii ,' l,µfii Ka\ eµois ho:polmV I eMwv ,wv6'
Ka&rjµ1:vo1 riyop6wvro. avSp&v ,re1pricroµo:1,Ol ,tves EIO'IV, I ~ p' o'f y' vf3p1cr-ro:i 1'E KO:!&yp101
169-70 An echo of the divine assembly (also held at dawn) which ov6E 6LK0:10l, I ~E qi1M!;e1vo1,KO:IO'(jllV v6os S0'1'1 aeov6ris ( Od. g. l 72--6).
opens ll. 8 stresses Jason's authority, cf. Il. 8.4 av,os [sc. Zevs]oii crqi' The suggestion that Aietes is like the terrible Cyclops is not without a
ay6pwe, eEoi o' 0-rro 1TOV1'ES&i<ovov.Whereas, however, Zeus demands certain humour; Aietes will lose both a fleece and a daughter through
obedience (Il. 8. 7-9), Jason submits the matter to the decision of the the me/is of the heroes. For further such echoes of Od. g cf. 192-3n.,
group. A. here avoids the' formulaic' Homeric speech-introductions in 316n., 592-3n. A. also uses echoes of the Cyclops in his descriptions
which a verb of speaking is regularly placed before the speech, cf. of Amycus (2.79-82 ~ Od. 9.384-6) and Talos (4.1638-40 ~ Od.
M. Fantuzzi, Materiali e Discussionir3 (1984) 67-105. 9.481-6).
171-2 'Friends, I shall tell you the plan I myself favour, but it is for ufo:~: Cytisorus, Phrontis, Melas and Argos (2.!!55-6) who were
you to give it your assent.' ,eXo, here is 'ratification' and Kprifivm returning to Orchomenos to claim their heritage when shipwrecked
(from Kpcdvro)is 'to make valid', cf. Fraenkel on Aesch. Ag. 369. In the and then saved by the Argonauts (2.1093-1225).
ltiad a distinction between a speech or plan and the ,EAOSor ,eAev,~ em\eaa1 : we already know from Hera that only 66Aos will work, cf.
('carrying-out') is common (9.100-1, 625-6, 19.ro7); A. borrows the 14-r5n.
language of that motif but alters the sense. At Il. 8.9 (cf. 169-7011.) &11~tl30AlJO"ac;'going to meet him'; at 482 the meaning 'supplicate',
Zeus asserts that he himself'will bring [his] intention to completion'. 'make a request' is probable, but in the other ten cases in Arg. only' go
Jason, on the other hand, acts by consensus and under the watchword to meet' is possible.
'will show no honour to' (a-rf~etv). The future, as opposed
<t'flO'O'Et
 I 18 COMMENTARY: 182~·191 COMMENTARY: l92-200 I !9
to the optative 6mi:o-o-o:i, might indicate that Jason actually knows that · µ~-rpu1ij,;: stepmothers, like !no, were proverbially malicious to
mere words will not succeed (cf. 185n., K-G 11538), but it may simply their stepchildren.
be the less palatable of two alternatives expressed in vividly graphie 192-:3 For the emphatic repetition cf Arat. Phaen. 4 TTO:VTT)t 6£ b.16s
terms. !<EXP~ µE60:TTO:VT€S,
182 6aiv-ret; 'learning' (from *66:w). 6180:0"Kw is a causative form of 'most shameless'; the connection with Kvwv, a shameless
1<v11-ra-ro,;
this verb, cf. 5:29 66:e 'taught'. animal (cf. 641-2n.), was still strongly felt.
183 "Ap~i· o-uvoto-oµe8': a variation on the Homeric (/l. 11.736) :Se1vfou... Z1j11ot; : we are again (cf. 176-81 n.) reminded of Odysseus
o-vµq,Ep!!0-8o:t µ6:XT)l.For the scansion of "Ap11'i (- - v) cf. 2.991, and the Cyclops, cf. Od. 9.269-71 'Show respect (o:iSli'o), good sir, to
McLennan on CalL h. 1.77. che gods, for we are your suppliants. Zeus exacts punishment on behalf
l84 eepyoµivoto-tv &unjt; 'refraining from battle'. of suppliants and guests, Zeus the god of guests, who walks together
185 aihwt; 'straight off', 'without further ado'. M. Campbell, Studi with respectful (ai6oio10-1v)guests.' Jason's words also recall the plea of
in onoredi AnthosArdizzoni (Rome 1978) 1 124, suggests that the end of the shipwrecked sons of Phrixus to the Argonauts themselves
this verse is an improvement on erreeo-o-1v rre1p118ijvcn at the end of Od. (2.1131-3). The singular verbs of 193 are influenced by the intervening
24,240 which breaches 'Wernicke's Law' (cf. 5t5-2on., 1084n.). In 6 ·ns clause, cf. 949-50, Chantraine u 21.
any event, ye shows that Jason is not entirely sanguine about the 195 1tcto-o-u6L'ljt: here both parts (rr&v, o-Evoo)of the compound are
prospects. felt, 'quickly - all together', but elsewhere one of the two halves may
186 o-<pi'l'epov'his'. Post-Homeric epic is very free with the number provide the primary sense. Cf. no:11io-o-vT01 in 112,
and person of pronominal adjectives; at 4. r 353 µ1)Tep1o-q,eTep111 'to our napil; ... ai.i.o 'something different'; contrast 1051.
mother' is a variation of 4. l 327 a<pSTEp1)1 µ1)Tsp1'to your mother'. Cf. 196-g Jason and Telamon quarrelled after the loss of Heracles, but
98-9n., Livrea on 4-1327, Marxer (1935) 61-4. then made their peace with each other ( 1.1 329-43) and fought side by
187 Behind Jason's words lies Nestor's rebuke to Agamemnon at It. side against the Bebrycians ( 2.121-2). Augeias is chosen because he,
9.109-1 3 as the Greeks consider how best to approach Achilles. There like Aietes, is a child of Helios (362-3, 1. 172-5). Jason himself acts as
Achilles' prize had already been taken away; here the Argonauts are. herald in place of Hermes' son Aithalides who normally performs this
hoping for a voluntary surrender. function (1175n., 1.51-6, 640-51),
188--90 Praise of muthosmarks Jason as a leader with some Odyssean «<pctp6' &pa.VljO',: &:po: strengthens the preceding adverb, cf. LSJ s.v.
characteristics. His rhetorical skill is already part of the Pindaric A 1. The text is, however, uncertain. Most MSS have 6:vo:vri6s,which
portrayal (Pyth. 4.136-8, above, p. 31). Cf. Polydamas' praise ofv6os occurs in Homer in connection with boarding, rather than leaving,
at ll. 1 3, 722-4. ships (cf. S. West on Od. 2.416), but v116sk~cmo[,o:ivs1vrequires no
TOI introduces a general statement, cf. Denniston 542-3. further preposition, cf. 326-7, 1280.
KaTll xpfot; 'as was necessary', cf. 4,889, h, Herm. 138. 8pwo-µou 'a rising', always of land near water.
ij1 1t£p iwtKEL'in a proper way'. 20<>-9 The Plain of Circe was a famous Colchian landmark (cf.
190-1 For the myth cf. above, p. 13. 1i.400, Timaeus, FGrHist 566 F 84) which here marks the Argonauts'
o Sol: i.e. Aietes, the µ1v of 187. The intervening sentence is an entry to the strange kingdom of Aietes, as it later (4.51) marks Medea's
explanatory parenthesis. abandonment of that kingdom. A. writes in the Herodotean tradition
o:µuµovo: : only here in A., who probably understood it as of ethnography which examines foreign practices in terms of their
'blameless', 'morally good' (cf. LfgrE s.v.). The point is that the difference from Greek customs; i:r,Pgives A.'s source here (and in three
Argonauts too are a:µvµoV€S,and just as Aietes seemed to have shown other places) as 'Nymphodorus', probably Nymphodorus of Am-
goodwill in marrying his daughter to Phrixus (cf. 304-5n., 584-Bn.), so phipolis who seems to have been roughly contemporary with A. and
they too may hope for a friendly reception. wrote a work On barbariancustoms,cf. RE xvu 1623-5, Fusillo ( 1985)
 COMMENTARY: 210-215 121
120 COMMENTARY: 201-208
custom is a typically Greek attempt at balance between opposing
180 n.18. The collection of such material was a feature also
forces.
Peripatetic research and was conducted avidly by Alexandrian
6(1C'ljGiaµ.010 'the manner of their custom', cf. 2. 1018 6:AAOiTJ 61!6iKTJ
scholars, cf. above, p. 19; Callimachus also wrote a prose work on
J(OO 8scrµ10:,oicr1 mu1<,a1. Te is an emendation for the meaningless 1<e of
'Barbarian customs' (fr. 405}. The burial practice here described has
the MSS; yap,e has generalising force, cf. Denniston 528, Ruijgh
many parallels in ancient and modern societies; it illustrates the fact
(1971) 720-4.
that each of the four sacred elements - earth, air, fire, water - may
210-14 As at 4..6~, Hera protects the Argonauts with a covering
receive a corpse and protect the living from the danger posed by it. The.
mist. The Homeric model is Od. 7.14-15 where Athena conceals
distinction between the treatment of male and female corpses may
Odysseus in mist as he approaches Alcinous' palace. Lines 213-14 most
reflect a belief (cf. 715-16) that the sky was male (cf. Ouranos} and the
naturally suggest that the mist was operative only while Jason and his
earth female (cf. Ge). For discussion and comparative material cf.
men were in the plain, but EcpfjKe 61' ®TEOS is then very awkward. To
Teufel (1939) 236-53, M. Marconi, R.I.L. 76 (1942/3} 309-20, Fusillo
construe 61' o:crnas with v1croµevo1s is barely possible and leaves 213
(1985) 166-7.
unexplained. Either, therefore, 211 is corrupt (M. Campbell, Hermes
npoµa:AoL: this tree cannot be securely identified, and it is
102 (1974) 42-4, proposed 61' 6:pyeos 'through-the plain'), or 213 is,
improbable that different poets assigned different me~nings to the
or the passage is incoherent. The Homeric mist was debated in
name. iTeo:1 are willows which, together with poplars (mye1po1),grew
antiquity (cf. t Od. 7.15, 41), and A. may be making a scholarly point
in the Underworld (Od. rn.5rn) and are thus appropriately mr1P.r,f',i1,.·,,.
which is now lost on us.
for the present setting. A. may have intended ,rp6µCXho1 to be 'elms':
"Hp"I)... ljEpf&: A. has in mind an etymological link between the two
Theophrastus cites elms (rr,eAea1)and willows as two examples of trees
words which is made playfully by Plato (Grat. 404c), was ascribed to
which seem to have no fruit but in fact reproduce (HP 3.1.2-3), and.
both Homer ("E'Ii. 21.6-7) and Empedocles (DK, Registers.v. 'Hera'),
elms are elsewhere found in connection with death and the Underworld
and is common in the rationalising interpretations of Homer (RE vm
(Il. 6.419 with Eustathius' note, Virg. Aim. 6.283). Hesychius glosses
rrpoµCXl\osas 1-1vp11<1') (' tamarisk ') ~ ayvos (' withy '); cf. Il. 21.350 398). .
-ro-re8': the 6e is' apodotic ', i.e. it emphasises the connecuon (causal,
1T1'EAEO:I1'E Kai heatriseµvpiKCXt.
temporal etc.) between two clauses, cf. 552, 76o, Denniston I 78.
&yo; 'a sacrilegious act'; ayos may be used both for the act and
ru5-41 The description of Aietes' palace is modelled largely on
pollution arising from it, cf. Parker ( 1983) 5-12.
Odysseus' inspectiop of Alcinous' palace at Od. 7.81-135, though A.
: Homer uses rrep10,eAAEIV
O"l."ELl.a:\t't"CI~ as 'bury' or 'prepare for
draws also upon Hermes' visit to Calypso at Od. 5.43-1 ~; there is also
burial', and A. extends this sense to the simple verb.
an amusing suggestion of the description of Eumaeus' hut and pigsty
: dual for plural in imitation of apparent examples in
1Ca:'t"el).uaa:1rtE
at Od. 14.5-20. Odysseus sees both the inside and the outside of
Homer, cf. 1.384, Arat. Phaen.968, 1023, Chantraine 11 28-g, West on
Alcinous' palace complex from outside the main gate (Od. 7.133-5); A.
Hes. WD 186. The immediate model is h. Ap. ~7 ia-ria µev 1rpoo,ov
offers a realistic correction of this by describing the outside of the
JCa8crovMcravre [3oeias.Zenodotus allowed this usage in Homer, but
palace while the men are outside (215-18) and the inside after they
others did not (cf. P Il. 3.459, 6.112).
have entered (219-41). The lengthy description creates tension by
i:Ka; ii«n-eo; : cf. Od. 3.260 JCElµEVOV EVm6ioo1 EKO:S o:O"Teos,of
delaying the confrontation between Jason and Aietes and emphasises
the treatment which Menelaus would have given to Aegisthus'
that the Argonauts have now reached the object of their voyage.
corpse.
215 -rED"/)11:0'tE~: stronger than Homer's 8TJnaa,o (Od. 5. 76, 7.134),
a:ioa:v: 'the earth has a share equal to the air' is an illogical but ,·><,.i'£i:O·.:,,
cf. Virg. Aen. 1."495(Aeneas at the temple doors) dwn stupet obtutuque
perfectly natural expression, cf. Il. 1. 163 ov µev croi iro,e iaov EXC.>
kaeretdefixusin uno.
yepas, K-G II 310-11. The implied explanation for the Colchian burial
 122 COMMENTARY: 216-227 COMMENTARY: 228-231 123

216-17 Kfovcx;: these are imagined either set into the fa,;:ade of the heat at midnight. By recalling this famous natural wonder, A. can keep
building or as forming an external colonnade. Throughout this . description within the bounds of traditional geography and
his F . .fi
description there is an exotic blending of Homeric and Hellenistic ethnography, as he had in describing the Plain of Circe. ~r sc1enu c
architecture. interest in hot springs and related phenomena cf. Anst. Met~or.
livc;xov 'rose up', intransitive. 1 _34sb3-9a 12, Cic. ND 2 .25, Sen. NQ,4. 2 .26, 6. I 3.2-4. The connec:1on
217-18 'Above the house a stone entablature rested on bronze between 'the palace of the sun' and Hephaestus the god of fire is a
capitals.' OptyKOSis not a technical term of architecture, but was used natural one, and parallels Hephaestus' role in producing the marvels
in poetry to describe anything in the decoration of a building above the of Akinous' palace (Od. 7.92); in Na,mo, a poem clearly known to'.'·•
capitals. y7'.v,pi6ESprobably refers to elaborately wrought Corinthian Mimnermus made Hephaestus the creator of Helios' golden bed which
capitals such as would have been very familiar to A.'s audience. The transports him at night from the west back to the east (fr. 12 West, cf.
use of bronze looks back to Akinous' palace (Od. 7.83-6, West on Hes.
2n.). .. , . . . ..
WD 150), but perhaps associates the dread Aietes with the arrogant u6wp :ri;popic;aK€ 'flowed forth water , _a var~auon on~ rntrans1t1~e
violence of the Hesiodic bronze age ( WD 143-55), like the bronze giant rrpopfo at /l. 22. 151. The sequence avo:j37'.v:_crKL .. ~aev .. : rrpope•
Talos (cf. 4.1641-2); the Argonauts, like Homer's heroes, belong to the ecrKE... 6:veKf]KIE
would be spoiled by reading TTpo1ecrKe with Vian and
following race oft'iµi6w1 (WD 156-73, cf. Arg. 1.548). Frankel.
219 E:UK't)AOl:probably 'without hindrance'; no one iried to ,,,.,.,,,..n,·< :ri;o61 'it is said', more commonly expressed by TTOV, cf. 926n. TO µkv
them from entering. Alcinous' orchard was 'near the doors, rroOt occurs in this position in the verse at Call. h. 1.38 in a context
court' (Od. 7.112), but Aietes has a pleasure garden inside concerned with flowing water.
enclosure. Ili\ljltx6Eaatv: the rising of the Pleiades (roughly late May) marked
220-l Cf. Theocr. 7.8-9 ai'yttpo11TT€ASCTI
TESIJCTKlOV aii.005 v,paivov I the beginning of summer and their setting the start of the cold season
xii.wpofow rrETaA01mKaT1JpE(j)EfS Koµ6wcra1. It is likely that one (roughly mid-November), c[ RE v1 -2427-8, West on Hes. WD 383-4
has his eye on the other. The vine derives from Od. 5.69 with Excursus 11.
i)j3wwcra, ,e6fi7'.~IOEcrTa<pv7'.tj
ICJI. 1<:pua-rc:tAAWl : :PT on ll. 22 .15 1-2, ' the other stream flowed in
"Ji
221-7 Streams of milk and wine are among the traditional Bacchic summer like hail or cold snow 01· ice (1<pvcrTai\.i\.w1) from water',
miracles (Eur. Ba.704-11, Nisbet-Hubbard on Hor. C. 2.19.10) observes that· that passage is in ascending order of coldness: A. has
together with rivers of perfume, are commonplace in the chosen the coldest. ..
landscapes of Lucian's True histories; for a Theocritean 22 8-g Cyta was thought to be a town in Colchis (cf. n;odern _Ku~alSI
however, rivers of milk, wine and honey are simple impossibilities in Georgia), and poets used ' Cytaean' as a synonym for Colch1an , cf.
(5.124-7). The fourth stream has a more complex history. Delage (1930) 186-7. The verses have an air of finality (cf. 1.7~8, Od.
cave had four streams of clear water, Alcinous' palace had two streams, 7. 132) but A. moves to the fields outside the palace before resummg the
one for the orchard and one for the palace, and at ll. 22.147-52 (a narrative.
passage whose meaning was disputed in antiquity) the Scamander is 230-4 er. Pind. Pyth. 4.224-6 a"Ai\.'en'Aiii.as 6:60:µC!VTIVOV
EV~fo-
said to have two springs, of which one is hot in winter and the lcro1sapoTpov crKiµ4'ai'OI Kai j36as, oi q,i\6y' cmo~av-16iiv yevvwv
icy in summer. Aietes, however, has a single stream of water which rrvfov KatOµEVOIO rrvp6s, I xai\KSCTIS
6' cmAaTs6:pacrCJECFKOV x06v' aµEl-
changes temperature according to season. Given Aietes' ancestry, it is j36µevot. Antimachus (above, pp. 17-18) too made Hephaestus the
likely that A. has in mind 'the spring of Helios' in North maker of the bulls (fr. 62 Wyss), and there may be echoes of that poet
described by Herodotus at 4.181 (cf. Luer. 6.848-78). This vo11~dun; in 228-31,
spring was said to move between icy coldness at midday and 231 echoes Homer's description of the Chimaera, oe1vov arro-
 COMMENTARY: 235-246 125
124 COMMENTARY: 231-235
the account of Priam's palace at ll. 6.242~50 which introduces the
rrveiovo-arrvpos µevoscd80µ!\vo10(It. 6. l 82). In the myth ofBellerophon reunion of Hector and his mother; here too we are to witness such a
as told in Il. 6, Proetus sent the very handsome Bellerophon, who, like
meeting.
Jason, was a descendant of Aeolus, to his father-in-law, the king of 235 µ.ia11ctu:\o,;: sc. 8vpa, 'a central door' between the courtyard
Lycia, together with letters which would ensure the young man's and the main building, cf. E. Gardner, J.H.S. 21 (1901) 300-2. In
destruction. Proetus' motive, like Pelias' with Jason, was to remove a Homer this word designates an inner court where cattle were stalled.
better man from the kingdom, as well as to punish him for an 236 EU70JYEi,; : the smaller doors were made of wood, whereas the
outrage against his wife. The father-in-law received Bellerophon central door was metal (eAT)AaTo).
hospitably (cf. Aietes), but after reading the letters sent him against the 237 n;«pk~h«1:-Ep6E'along the length of both sides (of the court) '.
Chimaera, assuming that this would be the end of him, as Aietes. 238 «hru1:-epol: a detail from contemporary rather than legendary
assumes that the bulls will finish offJason. When, however, Bdlerophon architecture. South-facing buildings would catch the sun if tall, north-
successfully completed the task, he received half the kingdom and one facing ones avoid cold winds if low, er:Xen. Mem. 3.8.9.
of the king's daughters in marriage. Jason will also acquire the king's 242-6 Asterodeia, 'Star Lady', is a suitable name for the mother of
daughter, but not by consent. Cf. further 35t-3 n,, Hunter (1988) Phaethon, 'Shining One'. It may be relevant that· P66s1a (for which
448. 'Aa-rsp66sto:may be a by-form or learned variant} and 'ISvio: (a variant
EK: adverbial, '[breathed] forth'. ofEi6v1a) appear in the same position in consecutive verses in a list of
«u1:-oyuov: the shaft (yvris) of the plough was fashioned from the the daughters of Ocean and Tethys in Hesiod (Theog. 351-2).
same piece of wood (or, in A.'s poetic vision, metal) as the stock or Elsewhere Apsyrtus is usually thought of as the son of a Nereid and
blade (EAvµa), cf. A. S. F. Gow, J.H.S 34 (1914) 267, West on Hes. younger than Medea; A. has chosen (or moulded?} the genealogy most
WD 427, Such a plough would be particularly strong, as there would suited to Apsyrtus' later role in the poem, cf. Pearson on Soph. fr. 546.
be no artificial join at a point of very great stress. The opposite Eiduia, 'Knowing One', has a suitable name as the mother of Medea,
c«'.rr6yvovis TIT]KTOV. 'the Lady of Wiles' (825-711.), cf. Nosloi fr. 6 Allen (Medea rejuvenated
a6tiµ.«vTo,;: poets used 'adamant' to refer to a wondrously hard. Aison} i6viri1o-i-rrparri6eo-o-1.
Aietes married a half-sister, as he himself
metal like steel; implements of gods, in particular, are made from it, cf. is the son of an Oceanid (Od. 10.135-9, Hes. Tkeog- 956--60); Ocean
H. Troxler, Sprackeund Wortschat,?; Hesiods(Zurich 1964) 19-21, figures in Aietes' family because poets placed Helios' kingdom in the
on Hes. Tlu:og.161. extreme east beside Ocean (cf. above, p. 15, 859n., Od. 12.3-4). For
l)A«aev 'forged '. other 'meaningful' na~es in Arg. cf. 1133-6n., 1. 133-8, 2.955-6,
WAEyp«l'l}l: Phlegra, the site of the battle of the gods and the giants, 2.u56 (the sons of Phrixus, Melas ('black') and Argos ('white')).
was usual! y placed near Pallene in Thrace, cf. Hdt. 7.123. r, F. Vian, In Homer <pas6wvis an epithet of the sun, and later the name of a
la Guerredesgiants (Paris 1952) 189-91. In the representation of this son, not as here grandson, of Helios, who drove and crashed his father's
battle on the Parthenon metope Helios and Hephaestus were beside flaming chariot, cf. 4.598, J. Diggle, Euripides.-Phaetkon(Cambridge
each other, and it is not unlikely that A. has a work of art in mind 1970) 4~9; Phaethon is also the name of one of the horses ofDawn (Od.
here. 23.246) and Phaethousa is Helios' youngest daughter and the
KEKf1-1JOT« 'wearied'. The echo ofKo:µE(230) not only closes a ring shepherdess of his flocks (4.971, Od. 12.132). The application of the
around 230-4 but also stresses the reciprocity: Hephaestus 'fashioned' name 'Phaethon' to Apsyrtus is not original to A. (cf. Timonax,
because he had been 'wearied'. Although Helios is often called CXKaµas, FGrHist 842 F 3), but in 1235-6 and 4.224-5 Apsyrtus acts as his
it is difficult not to associate (as does 2LP) Hephaestus' weariness with father's charioteer in contexts where Aietes' links with Helios are
his lameness (3&---7n.). important. The Homeric model is Hector's son Scamandros-Astyanax
235-48 Behind the description of Aietes' domestic arrangements lies
 126 COMMENTARY: 248~-261 COMMENTARY: 262-274 127

who is likened to a bright star at ll. 6.401; 245-6 echo ll. 22.506 a.K1)6El'IJL'through indifference', rather than' [leaving me] to lack of
'Acr-rv6:vo:~,ov Tp&es ~TilKATJcrlV 1<0:i\fovcr1v.Lines 245-6 are also . care', cf. 1L219-20.
curiously like a passage about a bull called Phaethon at [Theocr.] · 262 liK1to6ev: a lengthened and indefinite form of €K,here chosen to
ov
25. l 39-4 l ctlo:s0v)Vµi\yo:s, po: f30TfipesI acrT€pt TIO:VTES flCTKOV, produce a scornful jingle with rr60ov and to express Chalciope's
sv
6eovvm:,: rroi\Mv 0:/\J\OtSI f3ovcriviwvi\aµTIEcrKEV, api~17i\oss·ETETVKTO, bewilderment, 'from some grievous folly or other'. The form is not
Ei'.6u1«v: the accent is that advised by John Phi!oponos (sixth cent. found before A.
A.D.), cf. M. Petschenig, WS. 3 (1881) 295. 263 i8-.a0E 'you conceived', cf. Jl. 8.449 KOTOV o:tvoveemee, LSJ s.v.
£1twvuµiriv 'by name', 'as a title', an 'adverbial accusative', cf. /l. A n.6. The text is, however, very uncertain. e?-ecree, as a reversal of the
22.506 (cited above), Hdt. 5.92.e'. more usual 1T60oseii\e, is an attractive alternative. sveo-ee(aorist middle
248-g A lacuna seems almost certain:' the men (met) Medea (Tfit) offviTJµt), the probable reading of the papyrus, would be very strained
as she was going from her room to her sister's room looking for her ... ' even in the mouth of the emotional Chalciope.
It is tempting to read TT)Vor µeT1ovcrT)t,but it would be unwise as we 264 1tci,:po,; is emphatically placed to contrast with µ17Tkp'in 267:
do not know what was in the missing verse. E's text is a deliberate the boys cared more for him than for her. Chalciope's overwrought
attempt to mend the broken syntax. state .is reflected in the forced expression, 'he ordered grievous pain to
250 Hera has said nothing about this earlier in the book, whereas my heart'.
Athena at the opening of Od. 6 makes elaborate preparations to ensure 265--'] Orchomenos was usually thought to have been the son of
that Nausicaa meets Odysseus. Nevertheless, the technique is not un- Minyas and eponymous founder ofOrchomenos in Boeotia (RE xvm
Homeric, cf. ll. 1.55-·6, 194-6, I 7.544-6. The lack of preparation does, 905-6); some versions, however, made him Minyas' father (Roscher
however, increase tension and make the meeting of Jason and Medea ·. s.v. 'Orchomenos' 940) and Chalciope's 'whoever this 0. is' clearly
very dramatic, cf. Klein (1931) 227-8. Whereas Nausicaa had to be alludes to a mythographical puzzle, cf. above, p. 21, Virg. Aen. 5.83.
sent out in order to meet Odysseus, Mcdea has to be kept at home for Moreover, A. uses a version (578n., .093-5n.) which explains how the
Jason's arrival. title 'l'vfinyan' comes to be associated with both Boeotia and Thessaly.
8aµt1:;1ov'spend much time'. In so doing, he makes Minyas the founder of the Boeotian city, and
252 &p~Te1pci'priestess', cf. Hopkinson on Call. /i. 6.42. For the rites Orchomenos becomes a shadowy individual ( 2. 1093, 1 186) of no stated
ofHecate in Colchis cf. [Plut.] Dejluviis 5.2. parentage; we may thus see also in Chalciope's remark an observation
253 &.vtci::(Ev:framed by the central caesura and the 'bucolic · by the poet on his own mythological choices.
diaeresis', this word marks the suddenness and sharpness of Medea's e~v'your', cf. 18611.
reaction. At one level she is surprised to see her nephews again, at 269 ClVTJ) : the emergence of the queen marks the occasion as
another her passion for Jason is foreshadowed. particularly special. There is no significant difference between wpTo
254--6 When Andromache heard the lamentation for Hector 'her. and Kiev: the queen is merely an appendage to her husband and his
limbs quaked and the shuttle fell from her to the ground' (ll. • entry is the last (rro:vvcrTo:Tos)of any important character.
22.447-8); here, in contrast, W3 are to have a family reunion. 270-4 A. 's version of the standard scene ofreception and banqueting
KAwa,:ijpm;: probably 'spindles', as also at 4.1062 (where 'distaffs', in Homer (W. Arend, Die typischenScenenbei Homer (Berlin 1933) 71).
the translation proposed by Gow on Theocr. 24. 70, is impossible) and As in Homer, the meal precedes the questioning of new arrivals, but A.
in various ancient glosses (LL~r4.1062, Suda K 1837). The usual sense, elides the usual instructions from the host and breaks up the scene of
'threads', is ruled out here by vfiµcna. banqueting by 275-99, thus emphasising how his use of time differs
h:-ro8l for EKToo-e or EKTOS is typical of the freedom of later epic. from Homer's (cf: 167-274n.); for another such example cf. 1246n.
260-1 ouK a.p' EIJ.EAAe,:' 'You were not then, as it has turned out, The lack of verbal elaboration marks the busy concentration of the
destined ... ', cf. Denniston 36. household.
 128 COMMENTARY: 275--277
COMMENTARY; 278-290 129
: as in Homer, the pluperfect signifies that the rapid
en:£n:i,.11&e1
action of a verb has already taken place, cf. i. r 329, Chantraine 11 specifically the name used in Egypt), although later technical sources,
199-200, MT 2 §52. taking their cue from Aristotle, did, cf. M. Wellmann, Hermes26 (1891)
'wood for a fire [on which dinner may be prepared]•.
;ui..a 1ea.y1e11va 344-6, Pfeiffer on Call. fr. 301. That fragment of Callimachus,
The etymology of the adjective is uncertain. probably from Hecale,l3ovcr6ovDVTE µuwTia l3owv KO:I\EOVO"!V aµopj3ot,

~fov : the transitive use of the uncompounded verb is first found is very like 277, and many have seen here a borrowing by A.; cf. also
here. · Virg. Georg.3.147-9 (a fly) cui nomenasilo I Romanum est, oestrumGrai
275-98 Eros shootsMedea. Eros' stealthy attack suggests the view uertereuocantes,I asper, acerhasonans, with R. F. Thomas, H.S.C.P. 86
Love which Plato puts into Agathon's mouth in the Symposium:'If Eros (1982) 81-5, and note on Georg.3.147-8.
were not a supple being, he would be unable completely to enfold one's 278-84 The model is Pandarus' shot at Menelaus (ll. 4.116-26),
whole soul and both to enter and leave one without being noticed• thus picking up the pattern of 1 12-14, cf. Lennox ( I 980) 66-8.
( 196a). For an interesting discussion of this passage, cf. W. R. Johnson 278 1>1to q>Al1JV'at the foot of the door-post'; the accusative depends
Darknessvisible (Berkeley 1976) 41-5. ' upon the idea of Eros' movement to this position. ·
275 -.ocpp11:cf. 167-274n. 279 :n:oAua-.ovov: A. substitutes another Homeric epithet of an
n:oi..1ofo'clear', 'bright', cf. West on Hes. WD 477. In later arrow (II. 15.451) for the difficult µE71.mviwv epµ' 66vva.wv of ll.4.117
the word may describe concealing mist, but here the divine Eros can (where see 2AbT);1roi'\ucrTovovmay be intended to gloss that phrase.
move unseen in conditions of excellent visibility. 280 l;i,;:6' 'and from there', a rare adverbial use, cf. Campbell
276-7 n-.p"lxw~ 'aroused', from To:pacrcrw,cf. LSJ s.v. m, Erbse ( 1983) 103 n.16; possibly, however, it is temporal 'and then', like £1<ok
( 1953) 173-4, Livrea on 4.4-47. The word indicates the busy speed of TOVin 302 and perhaps EK61\in 869.
th~ gad~y. Elsew?ere (cf. 1_39?)this word is used in ways which suggest. 28i 0);£116Ev6{i,.i..w'II'casting sharp glances around', like a hunter
a lmk with TPtlXVS,and Virgil may be thinking of the present passage looking for his prey, cf. [Theocr.] 25.214-15.
when he describes the asilus or oestrusas asper (Ga;rg. 3.1 49, quoted i:>..ua8d;'crouching', cf. 296n.
below). 282 yi..ucp1611~'notch'; the plural, found also in Homer, may
oia-.po~ 'gadfly'. A. gives concrete form to the metaphorical 'frenzy• indicate two notches at right angles to each other on the arrow, cf.
of love found. in earlier_li:erature, cf. P MG 541. 1o, Pl. Phdr. 240d, LSJ W. McLeod, C.R. n.s. 14-(1964-) 140-1.
s.v. 11.2; behmd the s1m1le may lie//. 4.130-1 where Athene keeps 284 The monosyllabic verb after a lengthy preparation (278-83)
Pandarus' arrow away from Menelaus 'as a mother keeps a fly off her and the central punctuation 'dividing' two references to Medea mark
child_'. F~: ec~oes of that scene cf. 113-14n., 278-84n. On the identity the speed and stunning effect of the shot.
of this bttmg msect which attacks cattle cf. L. G. Pocock, C.R. n.s. 8 &µcp«a1Yj'speechlessness' (cf. Sappho, fr. 31. 7-8 LP-V, Theocr.
( 1958) w9-11, M. Davies andj. Kathirithamby, Greekinsects(London. 2.108-9 in similar situations), but also 'numbness', affecting not only
1986! 159:-?4· !he simile is tied closely to the main narrative by the Medea's tongue; 6:µipo:criri is used by A. as a synonym of aµrixaviri, cf.
easy 1dentlficat1on of Medea with a young heifer (4n.), cf. the story of 81 !.
lo, Hor. C. 2.5.5-6 circauirentisest a11imustuae I camposiuuencae.So too 285 :n:aAtfL:n:£-.i;'flying back', as at 2. 1250; elsewhere connected
Heracles, in a lover's frenzy, is compared to a bull bitten by the gadfly. with TIE1TTe1v (4.1315, 2"T ll. 16.395).
I. 1265-9. 286 i,;:ay:xai,.ow": cf. 123-4n.
in:L .. -.£i..i..e-cat'attacks', cf. Campbell ( 1983) 102 n. 8. . 286---90 Cf. Cat. 64.91-3 (Ariadne's first sight of Theseus) nonprius
~ µuw:n:11 : cla~sical and Hellenistic poets did not distinguish between ex illo fiagrantia declinauitI lumina, quam cunctoconcepitcorporejlammam I
ounpos and µvw41 ( 1. 1265-9, Aesch. Suppl. 307--8, where ofoTpos is funditus atque imis exarsit to/a medullis.In /l. 4 Menelaus receives only a
flesh wound, but Jv{edea's 'wound' is incurable. The l3si'\oscame from
130 COMMENTARY: 291-293 COMMENTARY: 293-299 131

Eros who was crouching right beside Jason; Medea now fires back · vuK-rwp: this more naturally suggests that the woman is working late
(!36:i\i\ev)her own weapons. o:vTio:thus suggests 'opposite', 'in return', at night (cf. 4. 1063 evvvxh1) than that she has woken up early in order
as well as the primary sense 'open', 'direct'; the late placing of to work, but the latter is not impossible, even if ~~oµSVT) is read in 294.
6:µo:pvyµo:TO:assists this nuance. . . The darkness of early morning may be called vv~ (cf. the opening of
aµ.o:puy!-'-a:ro:'bright glances', cf. ro18, Sappho, fr. 16.17-18 LP-V E,ur. El.), the reference to a brand (6ai\o,) which has preserved the fire
'I would rather see her lovely step and the bright gleam (6:µ6:pvxµo: would suit this interpretation, and the 'dawn lamps' are a mark of very
MµTTpov) of her face ... ' · early morning in a famous passage of Call. Hecale (fr. 260.65).
«ljYTo 'fluttered', cf. 688, Sappho, fr.31.5-6 LP-V; in fr. 47 Sappho «YXl µa,: i~of.t£Vlj 'sitting very close'; the transmitted e.ypoµEVT)
compares love to a strong wind, cf. 967-72n. demands the apparently impossible sense for &yx1 µ6:i\a of' very early'
1t1,)1(l'Jo:t:
love takes away Medea's better judgement, as the word- and is awkward before &veyp6µevov (which was presumably the source
order - 1<6:µa-rw1,'love-sickness', coming between noun and adjective · of the error), cf. Campbell ( 1983) 28-9. One of the two Homeric
- makes clear, cf. 4.1018, Hes. Theog. 122 (love) 66:µvo:Tmsv crrft6mm examples of &yx1 µ0:110:in the sense 'very close' (ll. 23. 760) occurs
voov [cf. 298] 1<0:1 hriq,povo: !3ovi\ftv, It. 14.217, 294 (Zeus and Hera), immediately before a simile describing a woman at work.
h. Aphr. 38, above, p. 28. auv . .. aµo:Ouvel 'consumes everything together'; CJVV is more likely
1Ca-re1f3ETO 'was flooded'; love is often conceived as a liquid or its to be adverbial, or in tmesis with aµa6vve1, than to belong with TTO:vT',
effect as liquefying, cf. 1020 (Medea melts), Hes. Theog. g 1o 6:1ro but such analysis merely obscures the interaction of all parts of the
l3i\eq,6:pc.ivspos eipno oept<oµevac.ivI i\uatµei\fis, M. Davies, Hermes l I I phrase. On 6:µa6vve1v cf. D. A. Hester, L.C.M. 11 (1986) 53-4.
(1983) 496-7. 296-8 Cf. Hor. C. 1.13.5-8 (an attack of jealousy) tum nee mensmihi
291-5 The effect on Medea is compared to the sudden flaring-up of nee colorI cerla sede manet, umor et in genas lfurlim labitur, arguensI quam
a smouldering fire when new wood is thrown on top; the simile ienlispenitus macererignibus (with Nisbet-Hubbard on v. 5).
expresses the sense that in a young girl like Medea love is always £tA1.)µivo;: the echo of281 binds the simile to the narrative; "Epc.is
waiting to appear - all that is needed is the right 'fuel'. There is has become epc.is. Behind these verses lies Arehilochus, fr. 19r West
perhaps also a suggestion that both the fire and Medea's love will die TOIOS yo:p cplt10T1JTOS epws VTT0KOp6iT)Ve:r..va6eisI TTOflAT)VKaT' ay._11vv
away after a short, fierce blaze. The simile forms a pair with 4.106r-5 6µµ6:TWVexeuov, I KAE4'0:S SK OTT16EWV cmo:i\os q,pkvo:s (cf. M. s.Silk,
where the anguished Medea is compared to a grieving widow at work; biteraclionin poeticimagery(Cambridge 1974) 131-2).
neither suggests a happy outcome for her, cf. Hunter (1987) 133. The x:i..oov'paleness', a word with a medical flavour; A. has in mind
origin of both similes is the description of a working woman at It. Sappho's xXwpoTEpo: 6E TTOIO:S I eµµ1 (fr. 3I.14-15). For further
12.433-5, but an interest in the lives of humble people is a feature of examples cC Smith on Tib. 1.8.52.
Hellenistic and Roman poetry and painting (HE 2411--20, [Virg.J i.e. 'sometimes to paleness, sometimes to a blush', cf. Soph.
&:i..:i..o't'':
Moretum 8-15 etc.) and this is one of the charges which comic poetry Tr. r 1-12, LSJ s.v_
made against Euripides (Ar. Frogs 1346-51). The comparison of love aKlJtiEtYjlGl1Joo10 : i.e. her nous has lost control of her body's
to a smouldering fire is common in later poetry, cf. Call. Epigr. 44, behaviour. OKT)6to:was a medical term for 'weariness', 'torpor', and
Headlam on Herondas 1.38. so this strengthens the suggestion that the verse gives a 'clinical'
!J.O:A£pc.H: the word, an epithet of destructive fire in Homer, hints at description of Medea's symptoms; for A. and contemporary medicine
the powerful forces to be released, cf. 4.393, M. S. Silk, C.Q n.s. 33 · cf. 762-3n. The phrase as a whole seems to have been borrowed from
( 1983) 322. Empedocles, fr. 136.2 DK (KRS 319) where the sense is rather
u1twpoq>lov: pointed contrast with V'f'opoq,oto of 285; Medea lives in different, cf. • 35n., A. Ardizzoni, R.F.I.C. n.s. 34 ( 1956) 372-5.
a palace, the spinning-woman in an ordinary house. 299-438 The interview with Aietes. Behind this scene lies the
 COMMENTARY: 310-313 133
132 COMMENTARY: 301-307
cf. Od. 7.195 (Alcinous about Odysseus) µ116eTI µeo-cr11yvs
p.E.CFCJJ2'YUlo:
unexpected return of Odysseus and his men to the island of Aeolus in
ye 1<o:KOV1<0:l ;rfjµo: 1Ta6'1]1a1 (with .!).
Od. JO (cf. 304-8 ~ w.64-6, 372-4 ~ iO,T2), where they receive a less
than warm welcome. In this scene the descent of both Jason and Argos
µav
ou fl,i11irui'o: the is emphatic (Denniston 362), and for the
genitive cf. LSJ s.v. mi8oo B 1.3, Headla~ on Herondas 1,-66.
from another Aeolus is important (335, 339, 36o-1), and various
31 0 Helios took Aietes along for the ride. The Homenc model f?r
mythographic traditions had confused or combined the ruler of the
winds with his Thessalian namesake (cf. Roscher s.v.); A.'s technique
Aietes' knowledge of the world is Od. 7.321-4 (cf. 313 ~ Od. 7.321), m
which Alcinous shows off his (second-hand) knowledge ofEuboea 'the
here derives not from ignorance, but from a creative exploitation of the
most distant of lands'.
large and various mythological tradition, cf. above, p. 21.
311 -13 Although Homer placed Circe's island in the extreme east
301 A verbal and syntactical variation on the common Homeric
(Od. 12.3-4), where one would expect to find the kingdom of the sun,
verse cn'.mi:pi:rrel;r6ato5 Kai e61')TVOSe~ iipov EVTO.
a widespread and early tradition placed her and Odysseus' wanderings
tipt:aaotv: this form of the aorist of &pfoKeivis found only here, and
in the west, cf. Hes. Theog. 1011-16 {with West's note), Lesky (1966)
the sense 'satisfy' is post-Homeric. A. recalls the Homeric (Od. 5.95,
2 6-62. Circe's western home was identified as the modern Monte
14·11 1) fipaps 6vµov e6w6fjt where fipo:peis from &po:picrKW.
Circeo, roughly half-way between Rome and Naples (cf. Virg. Aen.
302 acperepl'Jt;'his', cf. 186n.
303 1totpl')yopiwv'encouraging them [ to speak] '. 7.10--24 with Fordyce's note on v. 10( A_-'s_ version is a witty
compromise between the two accounts: Circe IS mdeed from the east,
304-5 Aietes' opening words pick up the theme of hospitality
but she moved! Behind this passage lies the sort of scholarly argument
the end of Jason's speech to his crew (1go--3) and might, therefore,
about Homeric geography which Eratosthenes mocked when he
augur well. He did indeed honour Phrixus by giving Chalciope to him
remarked that the site of Odysseus' wanderings would be established
in marriage, but we learn later that his hospitality on that occasion was
when the cobbler who had made the bag of winds was found (Strabo
offered only on the prompting of a message from Zeus (584-8).
1.2. 15, Pfeiffer (1968) 167-8). Despite her kinship to Aietes, there is no
Moreover, he had been glad to be rid of Phrixus' sons as he feared a
certain evidence that Circe had a role in poetic versions of the
threat to his throne from them (597-602). There is, therefore,
Argonautic saga before A., but the Argo makes. its only Home~c
dissimulation in his speech, but not untruth; it is typical of A. that the
appearance in one of her speeches (Od. 12.70) and 11 would be ~w1s_e
information needed to interpret the speech is not supplied with it. We
to attribute too much to A.'s invention here, cf. above, p. 14. Circe 1s
hear the speech just as Jason and his comrades do; our uncertainty:
introduced here to impress Aietes' visitors, to foreshadow a central
mirrors theirs, cf. Hunter ( 1988) 443-4. The oracle of 597-602 is a
scene of Book 4, and to introduce the theme of departure from the
necessary precondition for interpreting Aietes' behaviour in this scene
Colchian land, a theme which will become very important to
and for appreciating the effect that the words of others (particularly_
Medea.
Argos) have on him.
A. chooses not to tell us why Circe lives so far away. According to
1tt:p1'above', 'more than', cf. LSJ s.v. Am.
Died. Sic. 4.45.4-5, she went into exile after poisoning her husband,
306 ~otlia<Ju-rol: cf. 112n. Aietes is surprised at the unexpectedly_
the king of the Sarmatians (351-3n.), and ruling cruelly over that
quick return.
people; that story seems hardly suitable here. Line 313 echoes a phrase
306-7 'Did some disaster frustrate you in mid-ocean as you were ·
from Od. 4.81 1 about Penelope's sister who moved away after
returning?'
marriage, and this would fit well with 309-10 which migh~ sug~est
<JWOJLl!vot,;: A. uses this verb with the meanings of crevoµo:1(2.296,
conveyance to a husband's home in a chariot, although there 1sno sign
10w) and crG01~0µ0:1 (2.6w, 4.197). The form is hard to explain, butcf.
in Book 4 that Circe is married. Nevertheless, legend knew of a number
croii, croiia6e, and some evidence suggests that aw- was considered a
of such marriages (West on Hes. Theog. JOI 1) - early epic even knew
Doric form, cf. Bulloch on Call. h. 5+
!34 COMMF,NTARY·. 314-·320 COMMENTARY: 321-334 135
a version in which Tclemachus married her (Nostoi fr. 9 Allen) - and susp1c10ns and fears, of which Argos knows nothing. For differing
A. could have some such $tory in mind here. The motif would make assessments of Argos' rhetorical skill cf. Faerber (1932) 97, Campbell
Circe an even stronger 'role model' for Medea who will also leave . (1983) 2g-3L
Cokhis for marriage with a foreigner. Roman poets tell the story of a . 321-3 Comparison with 2.1118-20, -rovs 6' &µv61s Kpa-rep&1ovv
husband (or beloved) of Circe called Picus, whom she eventually oovpCCT! !(\Jµcrros 6pµ11I vifias <l>pi~OIO µd t)IOvas j3o:i\eVl)O'OV I vvxe'
transformed into a bird (Virg. Aen. 7.189··-91, Roscher s.v. 'Kirke' vrro i\vyai11v, shows A. 's desire to avoid a 'formulaic' style, cf. above,
1202); there arc no Greek sources for the story, but we can hardly · P· 39·
assume that A. did not know it. uxolioupa--r1: i.e. only their heads showed above the water as they
A'tY);: the name of the city gives new point to a standard Homeric floated under the plank, cf Giangrande ( 1973) 22 ; others accept
verse-ending, arro w:rrpi6os afr1s; we should perhaps also understand·. emendation to ETTt,which is more naturally suggested by mmTTjWTas
that the western Circe lives far from her Homeric home of Atai11. 'huddled' (from rr-rt)o-000).That the brothers were saved on a single
314 a?.>.a --r(µ.u8wv ~So; : both 'but what is the point (lit. 'pleasure'] · plank (cf. 2. 1110-20) indicates divine help and protection.
ofa long speech' (cf. u294) and 'but why waste time with stories/ 'Evua?.foto : an old name for Ares, found also in 560 (in the mouth
fables'; the poet takes a detached attitude to mythography. There is of the brash Idas) and in 1366 (Jason's heroic achievements); the title
the same joke at Eur. He!. 143. contrasts with 'Ap11101in 325.
Evn:oaiv 'in your way', a variation ofe:µrro6wv. Otl'i'ers understand 8eo; ... --rt;: the uncertainty is a' natural' way to speak of being saved
the whole phrase as 'the present matter', 'what is relevant', cf. 836, from a shipwreck, cf. Od. 7.248 (6aiµoov).
LSJ s.v. rrovs 1-4-c. 324-J For this scene cf. 2. 1068-89.
316 As his visitors have arrived almost magically (2w-14), Aietes' acp' amipuKev 'detained them'; the compound has here the force of
question is a natural one. Nevertheless, an echo of Polyphemus' words the simple verb, cf. 250, Hesychius a 6029 cmepvKetv· l<CCTfX€1V,
to Odysseus, 'tell me where you have beached your well-built ship' !(WAVEIV.
(Od. 9.279), suggests Jason's peril (cf. 176-8rn.), and soon Aietes will 328 Zeus's role in events on the Island of Ares was repeatedly
have a plan to set fire to the boat (579-83). Neither Argos nor Jason stressed, both by the narrator (2. 1098, 1120) and by Jason (2. r 179-84).
chooses to answer this question, although Argos begins, like Odysseus -r1saTcrais 'some stroke of Fate' rather than 'pure chance'; it expresses
(Od. 9.283-6), with a narrative of escape from shipwreck. natural uncertainty, rather than scepticism, about the religious forces
y?.acpupij; : the Homeric epithet is polite and formal; Aietes is on his involved. Thus Odysseus reports that Calypso urged him to leave
guard. 'because of a message from Zeus or because she changed her mind'
317 11:pomipo18£vas a temporal preposition 'before' is very rare, (Od. 7.263).
although ancient grammarians acknowledged the use (cf. LbTll. 2.92);. 329 Cf. 2.1166-77.
the meaning here is more likely' on behalf of', like Trpo at Sop h. 0 TI o · 332 XP£1W'[the reason for] their expedition]'.
rrpo TWVOE ipwvei'vand cf. LSJ s.v. rrpo A t. 3. IT ll. 15.746 glosses 333-g A very brief and obscure account of the background to the
rrporr6:po10sVEWV as vrrsp VEWV. expedition, cf above, p. 13.
319 µ£1?.1:ic.lw;: like 385, an ironic echo of Hera's words at 14-15 333-4 This is the only explicit reference in the poem to Pelias' desire
'the Argonauts could not win Aietes over im!\socnµel711xio1s'. to rob Jason of his patrimony, although elsewhere this story may be
32o-66 Argos is under no illusions about the magnitude of his task thought to be presupposed (cf. 1.902-3); the theme plays a major role
(cf. 2. 1 200-8), and his embarrassment reveals itself more than once (cf. in Pindar (cf. Pyth. 4."104-68). Jason certainly did not tell Argos about
notes on 32 1-3, 333-4, 336-9, 340-6, 362-3). In trying to make the this in Book 2, but we can imagine, ifwe wish to, that he had done so
best of a bad job, he succeeds only in completely enraging Aietes~ during the subsequent voyage to Colchis.
Utterances such as 330 or 358 can only serve to inflame the king's --r1;... {:laa1)..£u;'a certain person ... a king'. Argos is reluctant to
136 COMMENTARY: 335-340
COMMENTARY: 341-346 137
reveal that Jason is a political outcast, perhaps in need of new land; .
rightly reluctant, as it turns out, cf. 375-6. ·· may also be a further point. Argos himself, the son of Phrixus, is often
said to have built the Argo (e.g. Pherecydes, FGrHist 3 F 106), and
335 G<flWL't'EpytL'his', cf. 395 ('your'), 600, 61!5('her'), 1227, 186n.,
Argos the son of Arestor is a much more shadowy figure whom some
Livrea on 4.274.
336 'sent him here on a hopeless quest'; aµfixavov (neuter) is an scholars believe to be an invention of A. himself (cf. 375-611.,
'internal' accusative, cf. 602. It might, however, be masculine, Wilamowitz (1924) 11 246). Argos' silence about his namesake is in
agreeing with -r6vSe (in which case the comma before it will go), 'sent part, therefore, a piece of mythographical discretion by the poet.
'A81)VlllYj ll!lAAClS : this order is not found elsewhere; for other
him here and he is in a hopeless position', cf. 4.1047-9 ouS' evl
Ovµw1I aiSefoOe ~siv11s µ' s-rri yovVO:O"lxe'i'pas ffilO'.O"O'!)S I SepK6µevoE. epithets of Athena in second position cf. 1.551, 4.1691. It may signify
'TEIVOVO-aV &µi\xavov. Argos' nervousness rather than his 'utter pretentiousness' (Campbell
336-g 'And he claims that the family of the sons of Aeolus will not (1983) 105 n. 4); cf., however, the rare (though Homeric) 'A-rroAAwv
escape from the bitter wrath of implacable Zeus, from his anger and (!)01~osat 1.759.
from the unendurable pollution and punishment [caused by what was.· 11ivo-rctTI1S:at 2. 1126 Argos called the broken ship amsMri, and both
d<;me)to Phrixus until the fleece comes to Greece.' This extraordinary words have a wide semantic range (Livrea on 4.1619). cdv6s here is
sentence, which ~LP felt obliged to paraphrase, is very expressive of prob~bl1'. a pejorative and emotional word of quite general meaning,
Argos' embarrassment; all the nouns refer to the attempt by Athamas 'ternble, rather than 'ill.fated' (Frankel). Despite 601-2, we are
to sacrifice Phrixus (above, pp. 12-13).Jason had been content to tell probably not to understand that Aietes had deliberately given the
Argos of (!)p/~010 OvT]M,... Z11vosXOAOV AtoMST]lD"IV (2.1194-5). In· •. brothers an unseaworthy vessel. Argos' denigration of Colchian ships
Pindar, Pelias pleads the 'wrath of the gods' in persuading Jason to which is a theme he has elaborated from Jason's own remarks a;
undertake the voyage (Pyth. 4. 159). Argos' use of indirect speech allows 11.1187-91, may not be very tactful, but it does mark the Colchians as
both the reader and Aietes to suspect that Pelias' motives may not be strikingly different from Homer's Phaeacians of whom there are so
quite as they are claimed to be, thus confirming Aietes' suspicion that many other reminders. It was Phaeacian seamanship that got Odysseus
what he is really witnessing is an attempt on his throne. The subject of home; that Colchian ships are not up to much suggests that Jason and
o-rsv-rcuis generally assumed to be 'TIS... ~o:mAsvs,and this is probably his men will enjoy a reception quite unlike that which the Phaeacians
correct: elsewhere the verb is only used of the arrogant Aietes (5 79, gave to Odysseus.
2,1204). Nevertheless, given Argos' awkward style, we can hardly rule ij).L811'completely', cf. Liv re a on 4.177.
out that Jason is intended as the subject: it is from Jason that Argos has liie-rµ11yEv'split it apart', active aorist of Sm-rµfiyw; the singular
heard the story. In either case, the effect of the indirect speech on shows that 'rain and wind' is thought of as a single concept (K-G 1
Aietes will be the same. 79).
&yo~: cf. 200-9n. YOfL<pot; : wooden bolts holding the planks together; for their crucial
340-0 A tradition which certainly preceded A. made Argo the very importance cf. 1.369, 2.613--14, Casson ( 1971) Glossarys.v. The yoµqio1
first ship, cf. Eur. Andr. 865, [Eratosth.] Catast. 35, Pease on Cic. ND of Odrsseu~', raft were not sufficient to withstand -rr6o-o:s ... 0£AAasI
2.89, H. Herter, Rh.M. 91 (1942) 244-9; A. cannot follow this 1ro:vT01wvaveµwv ( Od. 5.292-3), and this contrast prepares for the
tradition, though he does plainly allude to it at 1.547-52 (cf. Cat. specific suggestion in 348-9 that Jason is another Odysseus.
64.14-18) and 4-316-22. Here, instead, the divine powers of the ship ii; &.vip.0108~EL'runs with [i.e. through the agency of] the wind', an
are stressed. Argos chooses to ignore his namesake's role in its ·•· unusual extension of a common use (LSJ s.v. EKm.6); more regular is
construction (1.19, 111-14, 2.612-14, II87-9), about which he had 1.600 'ITVOtT)lOVSµo10 8EOV'T£$.
been told, in order to concentrate on the immortal craftsman. There , imon:~pxwo1~ iapE't'µa'urge on their oars', cf. 1.552 fipwas xeipsao-w
ETl'EKpo:oo:ov-ras epe-rµ6, Od. I 2.205 OVKh' spnµcx rrp01)K€a x1:po-iv
138 COMMENTARY: 347-357 COMMENTARY: 358-374 139

ermyov. The better attested epnµois perhaps arose from a memory of 358 Argos' formula does not imply any real doubt on his part as to
the end of Od. 13.22 cmepxoicrr' epewo'i's; if the dative is retained (cf. Jason's ancestry, but its effect on Aietes (together with the optative in
Soph. 4j. 22g-31 for the resulting double dative), vfio:must be supplied 359) may be quite other, cf. Val. FL 7.50-1 (Aietes charging the
as the object of the verb. Argonauts with being stateless pirates) uobisnedomos,uobisneparenlesI
347-8 'Gathering in it all the best heroes of the whole Achaean . esseputem... ?
land'; for the neuter cf. Theocr. 7.4-5 ei Ti rrep ec6i\bvI xo:&v KTA~ \ 3w3 'If you have heard of a son of Helios [called Augeias ], this is
(with Gow's note). The verses are rather like the description of the ...... Augeias you are looking at.' The construction is compressed but
Argonauts at Theocr. 13.17-18 oi 6' avT&1 o:p1cnfiESo-vvfoovToIi( regular; nevertheless, it may be thought a strange choice of expression
1T0:0-C(VSK1TOAIOOV Trpoi\w;yµevo1&v ocpeMsTI. . when addressing another son of Helios. Et T1v' 6:Kove1sconcludes a
348--g An echo of Homeric descriptions of Odysseus, cf.·Od. 15.176, · hexameter at Call. fr. 64.5.
49 2 , 19. 1 70. 365-6 Cf. 401-2 in.
: SC, TO Kroo:s.
l11taa<Jc:r.1c; . •. 367 -roic:i n:c:ipivven£v'sought to win Aietes over with such
350 c:iu'toot:i.e. o-oiavT&1, cf. 537, Chantraine u 157. \i words'.
351-3 Argos' offer of a quid pro quo is a good example of how A. < 368 ~£pE8ov'to: his heart 'rises' with anger; cf. 638 (fear), Aesch.
places his readers in the same position of ignorance as those to whom } Sept.214 (fear), Soph. OT 914-15 (grief). More common with anger is
a speech is addressed: is this a sudden rhetorical ploy or have Jason and .\ 'swelling', as in 383.
Argos really discussed the matter? A. refuses to offer the authoriai ) 369 q>ij': the separation of this verb from the speech it introduces is
certainty that often results from Homeric technique; in Homer we \ un-Homeric, cf. 169-7on.
might have seen the two men preparing what they were going to say } 370 ' ... for he thought that the Argonauts (o-cpe)had come because
to Aietes, then saying it. The Sauromatae were a Scythian tribe living ( of them [Toov,i.e. Chalciope's sons]'.
near Lake Maiotis (the Sea of Azov) on Aietes' northern border; ai 371 A standard epic accompaniment of strong and violent emotion,
story in Diod. Sic. 4.45.4-5 (cf. 311-13n.) presupposes relations } cf. 1.1297, 4.16-17, 1543-4, Faerber ( 1932) 3g-40, L. Graz, Le Feudans
between the two peoples, but other evidence is lacking. In some\) r Iliad£et l'Odyssie(Paris 1965) 240-7; here it is particularly appropriate
versions of the saga, Aietes himself may have imposed defeat of this) for a son of Helios (cf. 4. 727-g).
tribe as one of Jason's tasks; in Val. FI. 6 this tribe fights along with ) iEp.evo,o: the apparent agreement of a genitive participle and an
the other Scythians against the Greeks and Colchians. In the story of\ enditic personal pronoun in the dative is common, cf. 1009-10,
Bellerophon (cf. 230-4n.), the hero is required to defeat the Solymoi \ Frankel (1968) 354-5. Such pronouns were possibly considered to be
and the Amazons, and it is perhaps relevant that the Sauromatae were/:': archaic genitives as well as datives.
said to be descended from the Amazons and their women had the same 372 Cf. Od. I0.72 (Aeolus to Odysseus) epp' EKVTJO'OV 6&0'0-0V,
characteristics as Amazons (Hdt. 4.110-17, Hippocr. Aer. 17, Pl. Laws ei\eyx1cne'(l)0VTOOV.
7.804e-5a). On this tribe in general cl: RE IA 2542-50, 11A 1-12, J. > .. a general term of abuse, cf. Jl. 24.239 (Priam to the
)..w$il('tijp£c;:
Harmatta, Studies in the history and languageof the Sarmatians (Szeged ( . restraining Trojans) eppne, i\00!3-rrrfjpes si\eyxees.
1970). \ 373 Cf. 306; in his anger Aietes perverts the language of his opening
354 Argos uses much the same verse in his speech to Jason at 2. 1154; / speech of welcome.
he is fond of such mannerisms, cf. 332. • :\ 374 A common idiom of threat: the speaker picks up words or ideas
6lj8£v 'as you obviously do'. ){ from a preceding speech (Sepos Ko:i<Ppi~ov)and repeats them with a
356-61 Argos reworks Jason's account to him at 2. 1160-4, to stress)} menacing adjective (usually 111Kp6s) and a verb of seeing, cf. Od. 17.448
that Aietes has particular duties towards his visitors. Argos' father \ (Antinous to Odysseus) µii roxa Tl'IKp,ivAiyV1TTovK(llKv11poviSrjo:1,
Phrixus and Jason's father Aison were cousins, cf. above, p. 13. Ar. Thesm.853 1TlKpav'Ei\eVTJV 0\j)EITax_', d µ,i Koo-µioosKTA.,LSJ s.v.
140 COMMENTARY: 375-379
COMMENTARY: 380-390 141
m1<p6sm. 1. Aietes increases the menace by substituting T!S for 'you';
3ao-1 There are two possible interpretations. (i) 'To prevent you
for the use of the indefinite in threats c[ LSJ s.v. A n.3, K-G I
from making any subsequent attempt, and because you have told such
That Phrixus is dead does not affect the use of the idiom, and there
l·es about the blessed gods.' In an elaborate chiasmus, 380 gives the
no need to understand 'the fleece and the expiation for the murder I h.
reason for cutting off their hands and 381 explains why t e1r tongues
Phrixus' or (with hendiadys) 'Phrixus' fleece'.
would suffer; on this reading oia = &-n--rofo:,as often, cf. LSJ s.v. ofos
375-6 'Acting in concert [with these men Jstraight from Greece,
n.2-3, K-G n 370-1. (ii} Line 380 gives the re!lso~ for the viol:nt
for the fleece, but for my throne and royal position, do you come here.
ctions of 378-9, and 381 is an explanatory exclamatton (cf. 71 1), hke
The text is very uncertain, and Wilamowitz's lacuna after 374 may
correct. The infinitive of most MSS could be exclamatory (MT 2
:Ta fopyo:s at Il. :22.34 7; for exclamatory 6s cf. Denniston 1 72. With
either interpretation, Ko:i(38 r) is best taken as' even'. At 4.1090-2 two
K-G I! 23) 'to think that...', but grammar would then require
exclamatory clauses are introduced by oio: µev and oia 6e, but there
participle to be accusative; 'from Greece' could also be constI"ued
seems no reasQn to postulate a lacuna here. Interpretation (i) assumes
veocrBs,if the hyperbaton is ascribed to Aietes' anger. Befor -re in
the greater strain in Aietes' language, but seems on balance preferable.
seems inevitable, and ov1<for ov6' is attractive, although 'not
enelj./Eua«a&E• attributed falsely to'' probably referring both to
is possible sense. That the sons of Phrixus have not had time to
Argos' report of Jason's mission (336-46) and his assertion of the divine
to Greece and back hardly matters, when the speaker is in a fury
parentage of the Argonauts (362-6).
those with the young men certainly have come from Greece. In
382-4 Telamon's quick temper has been seen at 1.1289f[ after the
however, the sons did return successfully to Greece in versions
loss of Heracles, and the present scene was foreshadowed by 1.1340-3
the myth before A. (cf. Hdt. 7.197, Herodorus, FGrHisl 31 F 47),
wherejason expresses the hope that Telamon would fight on his behalf
the shipwreck and meeting with the Argonauts on the Island of
as he had fought for Heracles.
may be A.'s invention. It would be typical of a Hellenistic poet to
0).oov ... En-o~: both 'a speech threatening destruction [ to Aietes]',
Aietes' false suspicions reflect a version of the myth which the poet
(cf. 4.41 o), and 'a speech which would have brought about the
rejected. Cf. further 775-6n., above, p. 21.
destruction [of the Argonauts]'.
377 This seems to be addressed to both the Argonauts and the
385 Cf. 319n. Jason's' gentle speech' is in character, cf. above, p. 3 r
of Phrixus. Those who have eaten at your table are under
and Eur. Med. 455-6 (Jason claims to have tried to soothe 'angry
protection of Zeus Hikesios (e.g. I!. 21.75-9) or Xenios (e.g. Xen. nmw. ·.,.·, ,
kings').
3.2 .4}; Aietes shows his respect for the latter - in this, at least, he
386 f.LOl: 'ethic' dative, 'for my sake, please'. .
from the Cyclops, cf. 176-81n., 304-5n., 4orn.
yap : relatively, but not. impossibly, late in its clause, cf. Soph. Phil.
378 &v in the apodosis with Ke in the protasis of an unreal conam<m·,, !>:.:
1450-1, HE 1238, Denniston 96-7. The traditional punctuation after
is justified by 1<e ... 1<Eat it. 23.526-7, cf. R. H. Howarth, C.Q,
c:r-r6Aw1 (' calm yourself as far as this expedition is concerned') places a
( 1955) 87-8.
great strain upon a simple dative, cf. A. Svensson, Der Gebrauchdes
Keaaaci~ : normally of splitting wood, and hence a very vivid term
beslimmlmArtikels in der nachklassiscken gr. Epik (Lund 1937) 6-10.
'cutting off' hands; &rr6 colours both participles. Aietes' threat
ciu-rw,;'for that reason', looking forward to (OS in 387.
him as a tyrant who treats other people as though they
388 ou6i p.ev te:f.LEVOL 'nor yet out of desire', i.e. 'not of our own
or ofno account, cf. it. 21.453-5 (Laomedon's threats), Od.
volition', cf. Denniston 362; the phrase is explained by SKWV in 389.
(Irus), 22.475-7 (Melanthius) and, more generally, Headlam
Herondas 6.41. 388-go Cf. Od. 5.100-1 (Hermes to Calypso) TIS 8' av s1<CilV
-rocro-ov6e610:Spo:µ01 aj\µvp6v v6wp I 0:0"1TETOV;
379 emn-poil')K« 'I would have sent you out'; if frm-has
6tttf.LWV : 'the ordinary man sees only what happens to him,
force, it may be that Aietes would dismiss them 'back
comrades to serve as a warning. unpredictable and not of his own enacting, and he calls the driving
power daimon,something like fate, but without any person who plans
142 COMMENTARY: 392-400 COl,ii\lENTARY: 401-409 [43

and ordains being visible' Burkert ( 1985) 180-1, cf. G. Fran~ois, Le This is the only example in Arg., and it marks Aietcs as a grim
Polythiisme et l'emploi au singulier des mots GE02'., ti.AIMON dans la 'warrior' figure. The variation between present and aorist optatives,
littiraluregrecqued'HomereaPlaton (Paris 1957); this indefinite daimonor for the deliberative subjunctives of direct speech (MT 2 § 1 £6, 124), is
theosis found both in Homer, especially in Odysseus' narrative of his characteristic of A.'s rich style.
adventures, (Od. 7.248, ll. 15.468, cf. E. R. Dodds, The Greeksand the 't'O'the latter course'.
irrational(Berkeley 1951) 12-13), and elsewhere in Arg. (2.249, 42 r). In {ncol3A~67Jv:cf. 1119, 1.699. The meaning is quite uncertain: an
a similar context at 430 Jason refors to the 'evil necessity' which is ancient interpretation as 'interrupting' (Z:"Tll. 1.~92 etc.) might just
upon him. Less probably, Jason may mean his own 'personal destiny', suit here and r 1 ! 9., but not 1.699. Poets may have used the word
as the idea of a personal daimonwho accompanies one through life was simply for 'in answer', cf. rrapal311~6riv (106-7n.). For discussion cf.
long established before the Hellenistic age, cf. Pl. Phaedo107d, Men. fr. G. Hermann, Opuscu/av (Leipzig 1834) 300---11,L. Bdloni, Ae,1um43
714. 1-3 K-T, K. J. Dover, Greekpopularmoralityin the time of Pla/o (1979) 66--8.
Aristolle (Oxford 1974) 138-41. 401-21 In a common mythic pattern, Aietes imposes a test on the
: cf. 2.21 o. Kpvepos has a wide semantic range
Kpu€pl)... eq>£'t'fJ.~ heroes, cC Bacchylides 17 where another descend_ant of Helios, Minos,
(Hesychius K 4248), but there seems to be no earlier example of' sets Theseus a test of divinity: for Theseus andJason cf. 997-ioo+n, It
command'. is an irony of Jason's position that, unlike his colleagues (cf. 365-6), he
392 8£Grc£at'l]V:as a suppliant (6:vTOµevo1cr1),Jason offers to reward is not of divine parentage, and so comes under Aietes' second condition
Aietes as though the latter were a god, cf. the promise to Medea (&7171ws 402-3).
1124. It seems a natural idea that a great benefactor should be so 401 !;£tVl,: Aietes respects Zeus Xenios (cf. 377n.), but after his own
honoured, cf. Od. 8.467-8 (Odysseus to Nausicaa) 'in Ithaca I shall fashion.
pray to you as to a god for all time to come [because you saved me]', 403 08v£101mv: Aietes scornfully picks up Jason's word from 389.
Il. 9.603 (Phoenix to Achilles), Aesch. Suppl. 980-2 (with Friis 404 The singulars show that Aietes has now focused on Jason, the
Johansen-Whittle's note), I. M. Le M. DuQuesnay, Papers qf the leader of the expedition.
LiverpoolLatin Seminar 3 (1981) 102-13. The fact that 0wrrfo1os, like ~v K,: as fiv is itself sl + &v,ftv Komakes no philological sense; when
Eng. 'divine', may express purely secular approbation should it appears in Homer, it does so (with the exception of Od. 18.318) with
conceal Jason's strategy here; for further examples cf. 443-5n., the variant o:r KS,and modern editors give it no place in Homer's text,
836--711. cf. Chantraine ll 282. As the chronology of such linguistic change is
395 G<f>Wl't'Epolatv : cf. 335n. very uncertain, it remains possible that A. found ftvKS in his text of
396 ¥atcEv 'he spoke', a sense common in Hellenistic poetry, and Homer (cf. A. Platt, J.Ph. 33 ( 1g14) 31); it is, however, noteworthy
derived from two disputed passages of Homer (Od. 19.203, 22.31); that a late papyrus has fivKEas an interlinear variant for ai KE at 1. 706
Livrea on 4.92. and 715.
unoaaoxivwv: this compound is used only of Jason (974, 4.4.10, both 405 ne1p'l)8d;: Aietes' offer has a sting in the tail.
of speeches to Medea). It need not carry the pejorative tone of Eng. 405-6 'For in the case of noble men, I am not grudging, as you say
'fawn' or 'flatter'; here the meaning is 'trying to soothe'. the ruler in Greece (is grudging].' In fact, of course, both Aietes and
396-400 A reworking of a standard Homeric description of making Pelias set Jason tasks which they have no expectation he will survive.
a decision, seen in ll. 13.455-9, &s qi6:To, 6T)'iqioj3os6€ 616:v61xa Valerius Flaccus makes this point rather more obviously at the same
µepµf]pl~EV,IT) T!VO:rrou Tpd:iwv hapiaO'a:tTO µeyo.tlvµwv I 0:4' 6:vo:c stage of the narrative, 7.92 (Jason) alium hie Pelian, alia aequoracemo,
xwpricras, ~ m1pricro:no K0:1oTos.I w6E OEol qipovfov,t 000:0'0"aTO 408 't'ov p' : accusative of respect, 'a task, in which ... '
KEp6toveivo:1,I l3i'jvo:1err' Aiveiav, cf. if. 1,188-92, 14.20-2, 16.435-8. 409 o.µq>wc\µov't'ctt:both 'inhabit', the usual sense of thfa verb for
 COMMENTARY: 417-436 145
144 COMMENTARY: 410-416

gods or men, and 'graze in', cf. LSJ s.v. veµw B 2. There is perhaps
6s
similar equivocation at Arat. Phaen. 282-3 TOV µem O'KaipoVTa5v'
a"t
ff
. 4 17 ~ipt~ ... 6Eldov WP'/lV!the variation of expression is charac-
teristic of mannered, literary poetry.

'lx6ves 6:µ,1veµOVTCXI I "hrrrov, · < 418 1:aliEToitt ' these things under these conditions'; there is no true
parallel to the phrase and Frankel entertained reasonable doubts
410 The alliteration of cp is perhaps imitative of the 'whoosh' of} about the text.
erupting fire, cf. Pind. Pyth. 1.21-4 (description of Mt Etna), 7 in. ·. / 420-1 The speech concludes with a general statement, the yvo:,µ17or
412 1:Rpiyuov 'measuring four yvat'. At Od. 18.374 a TETpayuovis·> brupo:,VT)µa recommended by professional rhetoricians, .cf. H. Lausber~,
the area where Odysseus and Eurymachus would compete against, Handbuchderliterarischen Rhetorik(Munich 1960) 434. A1etes conceals his
each other in ploughing; clearly, therefore, we must imagine a very.: desire to destroy Jason behind the mask of a high 'heroic code'.
large field suitable for ploughmen of the 'heroic age' doing a long day's••·. 422-5 For Jason's behaviour here cf. above, p. 31; for the gesture of
work (cf. Od. 18.367). In the event, Jason completes the ploughing in\ looking down cf. 22n. Very similar is Call. h. 5.82-4, o:µevecpa,1rm6os
two-thirds of a day (134,0-1). Pherecydes had made Jason plough a 5• oµµaTCXw~si\a~ev. j £0'TaK'I)s· &cp6oyyos, ~K6AA<XO'<XV yap &vimI
lTEVTT)KOVToyvov (FGrHist 3 F 30). ytlivcrra Kai cpwvav foxev aµaxavia (cf. Bulloch on 83-4).
1:eAaov'the end of the field', cf. Chantraine, DE s.v., V. Pisani; 11u1:w<;'like that, just as he was {i.e. looking at the ground]'. G.
Athenaeumn.s. 18 (1940) 3-10. . Giangrande, C.Q n.s. 12 (1962) 212-13, understands it as a simple
413-15 'Into the furrows I throw not the seed of the grain (OKTi\sf intensive 'very [speechless]'.
of Demeter, but the teeth of a terrible serpent which grow like in bod{ 1Catc0ff)Tl 'wretched plight' (cf. 476), rather than 'cowardice',
to warrior men.' The text is uncertain, and Frankel's lacuna after 414 despite KaKWTepw1 immediately above.
is a tempting solution. 6:KTi;t'seed for the grain fof Demeter]• is { &µ.cp, : in tmesis with O"Tpo:,cpa;the word-order imitates the twisting
possible Greek (Gow on Theocr. 28.10), but is unattractive beside/ ofJason's thoughts.
oAKOIO'IV. The dative after µeTCXA6iicrKOVTCXS('growing and changing'),/ 426 No attempt to explain Kep6a7'.so1cr1v as •tactful', 'helpful [ to his
with 6sµas as accusative of respect (cf. 4.673), is modelled on verbs o() cause]', 'avise' is satisfactory. M. Campbell, C.Q n.s. 21 (1971) 417,
likeness; thus I:Lgglosses as s~taovµevovs. Unfortunately, the para"\:: suggested µE1A1xio101v.
phrase in 498-g does not help with the text here. ) 427 Jason's concern with justice is found already in Pindar, cf. Pylh.
415-16 In Pindar Jason merely has to plough the field, but the/ 4-13g-41 (addressing Pelias) 'there are minds of men quick to praise
earth-born warriors figured in both Pherecydes and Sophocles' Colchiaii) deceitful profit before justice, men who nevertheless come to the harsh,
Women(fr. 341 R, cf. Eur. Med. 479). For the myth cf. 1176-90 and \ day of reckoning'.
above, pp. 13-14. •. 429-31 Like Aietes, Jason ends with a general statement, but one
u1to
iµ.ciu 6oup1 : both common sense and the image of reaping which makes its appeal to a much broader range of humanity than
(KEipw,6:µiiT010}suggest that a sword would be better in such a combat: Aietes'. The transmitted future (e1nKEiaeT') is less good with the
than a spear (presumably for thrusting rather than throwing). When generalising 6:v6pro1To1a1and may have arisen from a memory of
he faces the warriors, Jason is armed with both, but is described as:y• · ll. 6.458 KpCXTep,i s· ETTIKElcre-r'
6:v6:yKT).
using only his sword like a sickle (1381-gi) against the warriors who/. inexpaEv 'forced'; A. may have connected this rare verb with XP11,
themselves have spears (1356). When Homer compares combat to'\ Se
cf. Od. 5.3g6 O"TVyepos oi expae 6aiµoov, Livrea on 4.508.
reaping (ll. 11.67-g, 19,223), the type of weapon is not germane to the'/ 434 Not for Aietes the Homeric courtesy of offering his guests a bed
comparison, and we have no other evidence as to how Aietes went./ for the night.
about his task (cf. 1057-6on.). This phrase could be interpreted as 'in/: 435-6 Line 435 provides the only example of an optative in -a1s or
combat' or 'through my power' (LSJ s.v. 6opv 11 2), but there may/ -a1 other than at verse end; a mixture ofoptative and subjunctive does
rather be a slightly blurred detail in the poem.
146 COMMENTARY: 437-445 COMMENTARY: 446-452 147

occur in other types of parallel clauses (K-G !l 387-8), but perhaps suggests Medea's attempts at concealment. Her natural
unlikely here. Vian, therefore, proposed the subjunctive modesty has now recovered its composure: oµµcna. Ao!;o:(cf. Anacreon
A. may, however, have regarded µrnxx.6:o-cm:o(from µeTax6:l;oµa1) 4 17.1) replace 6:v-rio: 6:µo:puyµcna (287-8), and she conceals her
a future indicative rather than an aorist subjunctive (cf. Chantraine glances, as a young girl should, with her veil; to look at what lies
284). A future would, moreover, give a more explicitly warning outside this barrier is a gesture marking the erotic temptation which
(MT 2 §447) - followed by the menacing vagueness of 437 ·- and she now experiences for the first time. On the veil as a poetic
vTT066eio-e1s may be considered, although an active future for 6ei6w symbol - marriage was marked by a ritual 'unveiling' - cf. D.
not otherwise attested before Quintus Smyrnaeus. Armstrong and E. A. Ratchford, B.l.C.S. 32 (1985) 5-6 (with
437-8 Menelaus in his duel with Paris prays to Zeus for victory bibliography).
that a man oflater generations may shrink from (eppiy11tm) : a draped linen veil worn over the head and
).11t«p~v... KttAu1t'l'p'l)v
his host who offers friendship' (/l. 3.353-4); Aietes too is a host shoulders. Its gleam, possibly a result of the use of oil to produce a
sees himself as wronged, but he lacks the moral justice of .u,".,'""''~. \/f, .. ·. glossy ·finish (Od. 7.107, Lorimer (1950) 371-2), matches Jason's
case, and his claim to be 'the better man' is to prove an empty uv,tsL·'·' ... brightness, and the two stand out from those around them; the detail
For the exemplary r6le of violent death cf. also ll. 8.515-16. is a good illustration of A 's pictorial imagination.
439 lGKEv : cf. 396n. 446-7 OfLuxouatt 'smouldering', cf. 762, Theocr. 3.1 7, 8.90, Pease
0:1tYJAEyiw,; 'frankly', lit. 'without care or circumspection on Virg. Aen. 4.2. When we last saw Medea, love was 'burning
i.e. without concealing the threat, cf. 18-19n. secretly' within her (296), and this echo, together with v605 picking up
440 m1pa<1XE6ov: normally 'straightaway' (as in 667) v6010 from 298, gives continuity and structure to the narrative.
1.io91, 2. lO and 2.859 a local sense is possible, and here there is a voo,; K'l'A. 'her mind, creeping like a dream, fluttered after his
implication that Augeias and Telamon jumped up departing footsteps'. The oxymoron expresses both the wearying pain
'together with' their leader. (1<aµcnos) and the emotional' high' of passion. Two Homeric passages
441-2 'after making a sign to his brothers to stay behind there in are relevant: (i) Od. 11.222 (the soul after the destruction of the body
mean time (µeo-o-riyvsht) ', cf. 825, rather than 'had signalled in by real fire) \j,IUX~ 6' ~VT' ove1pos 0:TTOTT'TOµEVt) (c[ 1151),
TTfTTOTT)'T(Xl
mean time to his brothers to remain there longer (hi)'. The un,wer•.··'"' and (ii) ll. 22.199 (Achilles pursuing Hector) 005 6' ev oveipw1 ov
will keep an eye on Jason's interests and comfort their mother; A. ---•-. ,....,.,,., 6vvaTa:1 <pevyoVTo:61wKe1v.Medea longs to 'catch' the retreating
no need to spell this out for us. Jason, but her laboured heart cannot; for other echoes of the
~fottv : the standard Homeric form, transmitted at 1331 ; fi1eoav confrontation of Achilles and Hector cf. 956--6rn.
the MSS is used in Attic prose from the fourth century on, and 450 {3E{3YjKU:cf. 27rn ..
earlier (K-B 11 21 7). Certainty as to what A. wrote is 451 a,hw~ 'likewise'.
possible. 45l-2 Cf. Od. 19.516-17 (Penelope) 'I lie in my bed, and many
443-5 Cf. Od. 6.236--7 (Odysseus and Nausicaa) ~l;d sharp cares (µe;>,.e6wva1) stir me (epi0ovow) as I grieve'; for Medea and
cm6:vevee KIWVhri 0iva 60},6:cro-1')5, i Ko:AAE'i
Ka.\x6:p10-1o-ri;>,.r,wv' Penelope cf. above, p. 29.
6li KovpT),924-5n. "Epw-rE~'forces oflove ', who do their work after Eros has done his,
8E<11tiaLov:cf. 392n. Hera is at work here, as (more explicitly) cf. 687, 765; the plural is common in Hellenistic and later poetry, and
919-25 ;just so had Athena made Odysseus marvellously beautiful in other contexts hardly distinguishable from the singular, cf. Headlam
6.229-35). on Herondas 7.94, Pease on Cic. ND 3.60, Campbell (1983) 130-1.
E1t'au'!'wLK'l'A,'keeping her eyes fixed on him at an angle at the µ.i)..e<18a1:epexegetic, '[stir up] to be a care'; for the word cf.
of her shining veil, she wondered at him'. The intricate 4-5n.
148 COMMENTARY: 453-463 COMMENTARY: 464-475 149
453-8 This later became a common topos (Chariton 2.4.3, 6.7.1, 4 64-6 A 'polar' expression denoting 'whoever he is, I shouldn't
Virg. Aen. 4.3-5 etc.), but it is not stale for A. or his readers. Its literary • have anything to do with him', although it is clear how Medea regards
seeds are perhaps to be found in a slightly different idea: in a difficult him (cf. K-G JI 1 73 on ye denoting the preferable of two alternatives).
passage of Aesch. Ag., Menelaus is apparently said to see qio:crµaTaof Some may see here an acknowledgement by A. that Jason's 'heroic
his departed wife (v. 415), cf. Luer. 4.1061-2 nam si abesl quod ames, status' is a central issue of the poem, cf. above, pp. 31-2.
praestosimulacratamen sunt I illius et nomendulceobuersaturad auris. · lppi'l'w: cf. Od. 5.139-40 (a bitter Calyp.so about Odysseus)
npo:n:po: the doubled preposition here marks the vividness and epphw ... TIOVTOV hr' crrpvyETOV.
persistence of her fantasy, as at I 013 the willingness and forwardness of ~ fLiv : strongly emphatic, cf. Denniston 389.
Medea's offer. o,:pEAAElv : the past tense shows that she imagines him already dead
l)a-ro 'he was dressed', a 'false' analogical pluperfect passive of
(or his death as certain); her regret leads her (illogically but quite
evvvµi, instead of the usual foTo which is in the linguistic model ( Od. naturally) to pray for him.
19.,118-19). The correct reading here must remain in doubt; eho 467 A. follows the Hesiodic genealogy which made Hecate the
would be an imitation of ehcu at Od. 1u91, where Zenodotus read daughter of the Titan Perses and a daughter .of Leto called Asteria
rio-ra1 and Aristarchus ricno. One consideration does perhaps tell in· {Theog. 409-11). The prayer to Hecate foreshadows the means by
favour of fiO"To:the form could be derived from fiµai, and 'in what which Jason will 'escape doom' and begins to prepare Medea to offer
clothes he sat' is a possible rendering, then made impossible by the that help; it is, of course, precisely when Jason has got back safely to
subsequent s(p'; such a linguistic game would be very much in the Greece that the power which Hecate gives Medea brings him real
Hellenistic manner. harm.
l!et<p': Medea 'sees' Jason speaking, as well as 'hearing' what he. 469 6cie{'l'l'may he learn', cf. 182n.
said (458). The passage may be an expansion of it. 24.631-2 aih6:p 6 · 470 ot : to be construed with OTT}t,'his terrible fate', cf. 371n.
Ll.ap6avi6T}V Tlpiaµov 6avµa4liv 'Ax1AA€VS, I ekrop6wv 01.j)tV7' 6:yae~v eywye: Medea is starting to divorce herself from the general feelings
t<al µ06ov 6-1<:ouwv. of her people.
opwpe1: singular, because the nouns of 458 form a single concept, cC 471 EOAl)-rO: a word whose derivation and original meaning are
340-6n. uncertain, cf. Buhler on Moschus 2. 74. Ancient glosses explain as 'was
459 -riip(3E1 : unaugmented imperfect. disturbed', 'was anguished', and this is clearly what is intended here;
460-1 This idea is expanded in 656-64. cf. perhaps excruciorat Cat. 85.2.
462 Of the two datives, eMw1 gives the cause of the tears and jl,EAE6~fLClat: cl~ 4n.
1<T)6om1vT)lOlV (' in her anguish for him') describes Medea's state. The 471-2 The careful µev... U articulation stresses the simultaneity of
expression is hard to parallel, but unlikely to be corrupt (Schneider the two actions: Mcdca's wish for Jason's safety is the first step on her
proposed 1<T)6oauvT\1 Te). side towards a meeting between the two of them, and Argos' suggestion
463 A1yiw, i:iveve(i<:a-roµ.u&o.,.'brought out her words in a sad to Jason is the first step on the 'male' side. The point is reinforced by
voice'. The exact sense is doubtful. Atyvs:usually occurs in contexts of Argos' reference to 'the daughter of Perses' following so soon after 467;
lamentation, and here it is likely to be synonymous with &6iv6s,cf. 635, action within and without the house is leading to the same end. It may
616n., ll. 19.314 (Achilles lamenting Patroclus) 6:61v&savi,vHKcn·o. not be fanciful to see divine forces at work in these 'coincidences', cf.
q>wVT}asv Te, M. Kaimio, Characterisationefsound in earfy Greek1,1,,Ynt,,1;. 476n.
(Helsinki 1977) 42-7. The verb, which is also usually connected 475 ovoaaEClt'you will find fault with' (ovoµat). Argos assumes that
sad utterance (Livrea on 4.1748), seems to have been understood Jason's reaction will be like ldas' outburst at ,'}58-63; the actual reply
'bringing the voice up from deep within the chest'. (485-8) does indeed express regret that their situation is so desperate
!50 COMMENTARY: 476-488 COMM f:NT ARY: 492-504 151

that female help is necessary, cf. above, p. 31. Some construe the verse • rc«p« ••. lipvu6, : tmesis. The cornpound is not found elsewhere, and is
as a question (cf. ll. 5.421, Od. 1. r58), but µev... Se is then perhaps influenced by /300-K','go to your mother and stir her to
awkward. action. --'
ivit.j>w'I will say', a meaning found three times in Homer, : middle, 'we have entrusted our return to
E1t£'t"p«:rco(.l.£<18cx
this form seems to be the future of evt1TTW'reproach', A. may have women'.
regarded it as the future of evfow, cf. Chantraine 1 442-3, 492-539 reproduce a common Homeric pattern of speech - silence -
(1968) 405. speech. Two examples seem particularly relevant: (i) Il. 9.16-79. A
476 An echo of 16 suggests that Hera's plan is working through despondent speech from Agamemnon is followed first by a long silence
Argos. · and then by a bold speech from Diomedes which encourages others;
477-8 In contrast to Homer, A. prefers co say things only once (cf. finally a wiser and more cautious counsel is offered by Nestor in the
351-30., above, p. 39); the present verse draws attention to its role here taken by Argos. Idas (5 15-2on.) owes something to Diomedes.
difference from the older epic, because we have heard (ii) It. ro.203...:26(the Dolo11eia, cf. 480--10.). Nestor's suggestion that a
previously from Argos about Medea, cf. Fusillo ( 1985) '2'fr7- On the spy be sent to the Trojan camp is followed by silence and then by a
nature of Medea's magic cf. 531-311. bold offer from (again) Diomedes; there then follows a catalogue of the
IIep<nJi6o,;: cf. 46711. other Greeks who volunteered (cf. 515-iw).
evveoi'l'ltot : cf. 29n. 492-3 Jason's first words reveal the hollowness of his confident
480-1 Cf. ll. 1o. 38-9 (Menelaus conferring with departure ( 192-3). Aietes' true sentiments (q,i'),.ov KT}p,with more than
Cl.AA.a µw,_' alvws I 6ti6w µ~ ov TIS'V1TOCFXflTO:l T06Eepyov. An echo a hint of irony) are opposed to them,
the Doloneia(cf. 492-539n.) suggests the need for cunning rather «V'l"LKpu 'completely', 'irrevocably', cf. 4.1334, 1612.
brawn. 493-4 A. draws attention again (cf. 477-8n.) to his departure from
_theoptative after a verb offearing in the present tense is
u:rcoo't"cit'l'l: the techniques of Homeric epic in verses reminiscent of Eur. Phoen.
not classical (K-G ll 394), but there is an apparent example at 751-2, which self-consciously mark a departure from Aeschylus, cf.
9.245, and the construction recurs in Quintus Smyrnaeus. above, p. 40. Lines 495-6 repeat 409-1 o and lines 497-500 briefly
v1roc,ra(ri occurs in this position in the verse in ll. 9-445. summarise 411-19.
'l"iKfl,Wp 'useful purpose', 'achievement in', a synonym for 1rpfi~15 in
482 ttv'I"t(!oi,,Y)OWV ' to make a request ', cf. 1re1p11crwvin
l 76--8rn.
ll. 24.524 O\J yap 1'1S-rrpf}~1s 1TEAETat Kpvepofoy6010.
483 Cf. Simonides 520.4 6 6' O:(jJVKTOS 6µws €1TIKpsµaTo:l 06:va-ros eii.oi : sc. >..eyoVTt, by a very easy ellipse.
LSJ s.v. emKpeµ&vvvµ1II. , 497 uno'l"Oiatv 'by means of the bulls', cf. LSJ s.v. v-rr6a 11.r. The
484 fo<ppoviwv 'with kindly intention'. transmitted hd gives no good sense, and the text must be considered
485-8 Cf. 4.41 9-20 (Medea agreeing to the killing of Apsyrtus) i\v6' uncertain.
€1TOI-ro6EEpyov /;q,o:v66:vs1, OVTlµsyo:fpw, I KTtiveKTA. 499 x«i,,icioL~: Aietes did not say this (cf. 415), but it is a reasonable
w 1tE1eov: an affectionate address; elsewhere only r. 1337 supposition (cf. 218, 230).
1)(.1.ClTLI>'CU)'l"WL: a variation ofatJTT}µap (419).
making up to Telamon).
Why does Argos not go straight back to the palace? Jason and he 500 xp1a,w : sc. eiva1, cf. 599.
both understand that major decisions lie with the group, and 483 6~ w 'therefore', explained by the following yap clause.
just stressed that all face the same danger. Lines 486--7, therefore, 501 amil.eyiw~ 'outright', 'without hesitation', cf. 18-19n.
Jason's assent to the plan, but general agreement is required, cf. 17 502-4 That the other Argonauts react as Jason had done (422-5),
In Homer /3&0-K'161is used only by Zeus to an inferior god, who and as the whole group had done when it first heard of Aietes'
immediately carries out his will; Jason is not that kind of leader, character and the task in front of them (2.1216--18), shows that this
152 COMMENTARY: 506-516 COMMENTARY: 517-521 153

reaction is not 'unheroic' and emphasises the enormity of the challenge, generation (II. 9.558-9); in Arg. he is introduced as v,repf31osand
cf. above, p. 31. µeyCXA111 mp180:pcrl)S ahKT)I( I.I 51-2)' and at 1.460-9 I he disturbs the
livEwLKat livau6oL: an emphatic doubling (cf. 615), found again a( harmony of the group with his drunken bragging. Various stories had
967 and 4.693. Ancient grammarians sought to distinguish &uet,) 1 him quarrelling over girls with Apollo or the Dioscuri (cf. ll. 9.558-64;
(nominative plural} from avsoo (adverb), cf. IM ll. 2.323, Ebeling s.v.; Gow, Tkeocritus11 38g-4), and this is ofa piece with his 'blasphemy' at
A. dearly uses the word as an adjective, whereas modern scholarship 1.470 and his rejection of a divine omen at 556-67. In Arg. he has
regards it as a Homeric adverb. ;}_ something, but certainly not everything, in common with Heracles,
Il'l)AEu,;: a prominent Argonaut, seen to advantage in moments of\ who had stayed aloof from the female attractions of Lemnos
crisis (2.868--84, 1216-25, 1368-79). His skill as a fighter is displayed./ (l.854-75). For further discussion c( Wilamowitz (1924) n 216 n.1,
at 1.1042, 2.121-2 and 2.829. At 382-4 Peleus' brother, Telamon, had/ H. Frankel, 'Ein Don Quijote unter den Argonauten des Apollonios',
wished to react angrily to Aietes' proposition; here, Peleus' 'late') M.H. 17 (1960) I-20.
response is a mark of his greater prudence, cf. G. Lawall r.C.S. 19 : utiE: the fransmitted vTesmeans that the fourth foot of the verse is
(1966) 139. ·..• a spondee created by position and followed by word-division (a breach
506 t!.p;ot.LEV : imitation of Homeric forms which may be future of 'Wernicke's Law'). Line 1084 seems to be the only Apollonian
indicative (Chantraine n 225-6, MT'- § 196-7) ra_ther than example which cannot be easily corrected. For examples from archaic
subjunctive with a short thematic vowel (like auo:111oµeu 570). epic cf. Leaf's edition of the Iliad, vol. u, pp. 631-9; from the high
µiv •however', c( Denniston 368-9. period of Hellenistic poetry the only other examples are Theocr. 15,42
507 ivi for the transmitted hri seems likely, cf. 2.334-5; (in the mouth of a 'low' character) and 22.88. Both tragedy and
'depending upon' (LSJ s.v. B 1.1.g) would be very strained. ·-• Hellenistic poetry (with this one exception) seem to refer to Castor and
509 The honorific address, ~Pc.>S Aiaoui611,suggests that Jason will•· Polydeuces as Tw6api6at or by similar circumlocutions, but never as
be worthy of the title if he accepts the challenge. An echo of Aietes'.> 'the sons (vioi) of Tyndareus'; their paternity was, of course, a matter
words (434) at the end of the verse makes the point that 511-12 is i of dispute, and at 2.41-3 A. seems to refer directly to the rival claims
polite version of 435-6, where Aietes raised the possibility of fear aru:1} ofTyndareus and Zeus (cf. also Call. fr. 18.1-2). The present exception
cowardice on Jason's part. ::_\ stresses their mortal origins and, hence, the bravery of their offer; no
510 • then you should keep your promise (;mpu1t.ayµeuo),middle}} one would be surprised if the glorious 'sons of Zeus' offered to take on
and get yourself ready'. This is preferable to 'you should be on you? the bulls.
guard and make ready [the accomplishment] of your promise [c[ OlvEt6'1);:Meleager. At 1.1go-8 A. says that ifhe had been only one
737]'. :t year older, he would have been second only to Heracles among the
511-13 'If your heart does not have very full confidence (mi.;./ Argonauts.
whro18su tmesis) in its warrior ability, neither act in haste yourseif( «l~'l)OlO'lV'in their prime', i.e. strong and youthful, a synonym of
nor sit here searching around for someone else among these men.' . :.? aKµo:,euu, cf. 1367, LfgrE s.v.
514 CJX'llO'Ofl.':i.e. aq,~oµcn, c( 1268. \ 0~6£... 1 civ-rillwv 'sprouting not even a little [Headlam on
515~0 C( It. 7.161-g, 10.227-32 and 23.288-goo where the/ Herondas 7.33] down ~owering [on his cheeks]'. Very similar is Call.
greatest heroes respond to a challenge. Those who offer themselves) h. 2.36-7 OUTl'O"'l'l! I 6rj?,.dcnsov6' OO"OUml xv605 ~Me ,rapstais,
<J>oi(,ov
here were also prominent in the battle with the Doliones ( I . l 040-7 r.< but no direct link between the two passages need be postulated (cf. Od.
Tu11µwvt: c( 196--gn.;,his readiness to confront Aietes has already)· 11.319-20, Aesch. Sept.534-5).
been seen in 382-5. \ 521 liKYjv ixov 'kept silence'. At 2. 1086 and in Homer 6:Kriu is an
"1511,; : Homer's Phoenix knew him as the strongest man of a previou~_: adverb, but Hellenistic poets also seemed to have used a noun 6:Kri, cf.
 154 COMMENTARY: 523--531 COMMENTARY: 531-533 !55
Pfeiffer on Call. fr. 238.9. c:ocriv E)(OVdoes, however, appear on a/iW ~ot incompatible with an interest or belief in magic, and we should not
papyrus roughly contemporary with A. in a Homeric verse not found· )/ too hastily assume that the scholars and poets of the Museum and
in our manuscripts (Od. 20.58a), and so it is possible that he and i{:J Library, which held a rich collection of magical texts, regarded the
Callimachus found the expression in their texts of Homer, cf. S. West< ···· powers claimed in these verses as pure poetic fantasy or barbarian
(1967) 276. . ignorance, cf. R. Gordon in M. Whitby, P. Hardie, M. Whitby (eds.),
523 -toSt : probably 'this [is the last resort) ', i.e. to undertake the Ho,nqviator (Bristol 1987) 236-7. At 4.1673-7 tpe poet expresses his
task in the knowledge of certain death, rather than 'death (8avcnos 'amazement' at the power of Medea 's evil eye, but this amazement is
from 514) is the last resort'. neither necessarily sceptical n9r intended to provoke scepticism. It is
525 The optative expresses polite advice, cf. w35, Chantraine 11 true that Simaitha's magic in Theocritus 2 is probably meant to make
216. . us smile, but this is primarily because of Simaitha's character and
527 cicptl6llatt\l-t~ 'recklessly', 'without caring', cf. 630, Livrea o~:j:}) situation, not because magic per se is ridiculous. No gods are more
4.1252. ,{Y'> prominent in the magical papyri than Helios and Hecate, and Medea,
e).ea8ttl 'choose'. Frankel proposed OAEOtlcu, which may be right,ci:./ being linked to both of them, is 'naturally' a powerful sorceress.
2.326-7 µ116' mrr(,JS <xvTaypETovohov 6Ma80:1 [Holzlin: oi..11a8s) 1/ In Roman literature descriptions of magical power become common,
&qipo:Sews i8vST' bncrnoµEVOI VS01TJTI.eAea80:1,however, conveys the\ and these verses were to prove influential, cf. Teufel (1939) 1-15,
same rhetorical point as <xvTaypSTov 'self.chosen'. .\ Fedeli on Prop. 1.1.19-24, Pease on Virg. Aen. 4.487-91, A.-M. Tupet,
528-30 A variation and expansion of 477-8. )i} La Magie dans la polsi.elatineI (Paris 1976).
KoupYJ -tu; : the impersonal references to Medea, ironic in view of her \}\ ttlCllfUX~OlO
: this Homeric epithet of fire is commonly found in the
importance, heighten the mystery which surrounds her. (i'i' magical papyri, cf. PGM IV.2528, 2825.
Mt 'taught', cf. 182n. · { middle, not passive; the point is Medca's power, rather
11.ttv.tCJCJE-t':
<papµttx' ICTh. : cf. /l. I I.740-1 ~o:vei)v'Aycxµi\Sriv!r\ Toaa ipapµQl«l) than that of the drugs which would be emphasised by the nominative
fi1611ooa ,peq,s1 ropeicxxewv.Agamede and Medea were bothi avrµ,i.
granddaughters of Helios, have similar names, and some connection 1Cdel&n1ei : adverbial neuter plural. Homer uses 1<ei\a:6wvto describe
between them seems to have been made in antiquity (Gow on Theocr, water, and TTOTcxµoi IW\CXSovvTEs is a standard phrase in the magical
2. 15-16). 2AT Il. 11.741 tells a story which makes Medea responsible papyri (cf. PGM Ill 556, IV 2540).
for the reputation of Agamede's home, Elis, as being rich in drugs. :N iepa,;: the emendation seems certain; Leonidas (HE 2147) speaks of
ij1mpo,;: the echo of//. I 1.741 (rup1ffax8cbv) perhaps points to the}}' the •holy orbits of Selene'.
etymology o:+1rspcxs,cf. l!.'/..Mag. 433.55. ;:•: ene6YJGE:aorist of repeated action (MP § 156-7). A. may have
"~xu-ro" 'abundant', from a supposed intensive force of VT)- and \ thought of this form either as from mSa:ooor from emSsw;so Homer
xsw, cf. Philitas, fr. 21 Powell, Call. fr. 236.3, Livrea on 4. 1367. uses both Ka.a6eiv 1<EAEV6ous (Od. 5.383) and the verse 85 Tis µ'
531-3 The powers over nature which Argos ascribes to Medea are=. o.8CMlTh>v neSa:0:1Kai e6riae t<Ei\ev8ou(Od. 4.380, 469). 'Witches' are
already in the fifth century associated with women who worked with often said to 'draw down' the moon or cause eclipses (Ar. Clouds750,
magic (Hippocr. Morh. sacr. 4, G. E. R. Lloyd, Magic, reason and............ . Pease on Virg. Aen. 4.489, C. Mugler, R.E.A. 61 ( 1959) 48-56), but
experience (Cambridge 1979) 15-32), and are fully illustrated in a large}/. here it seems that Medea makes time stand still by checking the course
body of 'magical papyri' mostly dating from the early Christian/ of the moon, as Jupiter delays the constellations in Plautus' Ampkitruo
period, but certainly preserving much material from Ptolemaic Egypt/ (cf. vv. 27g-6). The idea is found in the magical papyri, cf. PGM
cf. Betz (1986), G. Luck, Arcana mundi (Baltimore 1985). A high{ 1v2326-30 (= Betz (1986) 80), addressed to the moon, 'I've bound
standard of literary education and an interest in 'serious science' are· (s6T}aa) your pole with Kronos' chains ... tomorrow does not come
156 COMMENTARY: 534-540 COMMENTARY: 546-553 157

unless my will is done.' Textual corruption obscures the substance of{_: 155. In Dapknis& Chloe,a cicada takes refuge from a swallow in Chloe's
the moon's protest about Medea's treatment of her at 4.5g-6o. . ·;\ and is extracted from there by a very willing Daphnis ( 1.26) ;
KOA1ToS
534-6 '_Aswe were coming here ... , we thought of her, in the hope @ so here the erotic significance of the dove's refuge should not be
that her sister, my mother, could persuade her. .. ' For the syntax cf. _/ overlooked.
25-7; these two passages show that the success of the expedition J &qil.licnwt : the 'sternpost' or ornamental wood projecting upwards
depends upon two acts of persuasion, Aphrodite on Eros and Jason on\ from the stern, often in the shape of a fan, cf. Casson ( 1971) Glossary
Medea. s.v.
537 o:1h-oi'Gtv:cf. 350n. }\ m:puc«'Jl:1tEa£V 'impaled itself', cf. 2.831 (a boar) 6oc'l>1mp1K0:1T1TEcrE
539 wv 80:l11-ovL 'with divine favour'. < Sovpi.
540-4 On the cue of Argos' ow6aiµov1,a divine omen confirms the C Mo~oi; : in the Naupactia(above, pp. 15-16) 'Idmon stood up and
wisdom of his proposal (cf. 4.294-7, where a shooting star confirms / ordered Jason to undertake the task' (fr. 6 Kinkel). This suggests that
Argos' proposal as to the route to be taken). Unlike Homer, A. does not\ here, as perhaps elsewhere (d', 914-15n.), the seer Mopsus performs
specify which gods send the omen because we see things with the eyes\ the same structural role as ldmon did in the earlier epic; in Arg. ldmon
of the Argonauts themselves; things become clearer once Mopsus has\ is killed by a boar before Colchis is reached (2.815-35), and Mopsus is
spoken. Three complementary interpretations of the omen present/- the only seer on the expedition in Pytliian4.
themselves: (i) Aphrodite's help is legitimate and assured because it< ciyop£UcrEv:choice between aorist and imperfect is not easy, as
was her bird (RE IVA 24g6-8) which escaped. (ii) That the dove took) Homer regularly introduces speeches with the imperfect, cf. Chantraine
r~uge in Jason's lap foreshadows Medea's flight and her relationship\ u 192-3; the same problem arises in 567. On the archaic models for the
with Jason, as Valerius Flaccus realised (cf. 8.32-5). (iii) As the/ seer's speech cf. R. Fuhrer, Formproblem-Untersuchungen zu den Rede11in
successful escape of a dove from the Clashing Rocks signalled survival< derfriikgriukis,ken Lyrik, Zetemata 44 (Munich 1967) 112-16.
for the Argonauts (2.555-73), so here their escape from Aietes' grim 546-8 'It is not possible to interpret this omen otherwise in a better
plans is foreshadowed. The death of the hawk does not, however; /. way but (that we should) approach the maiden with our request
necessarily either foreshadow the death of Apsyrtus while pursuing / (!ireEo-01 µe-reMeµev),busying ourselves with every device.'
Medea in Book 4 or come from a version of the story in which Aietes\ u8&pll;;Eiv : verbs of thinking are frequently followed by a present
was killed, as various modern scholars have suggested. The detail of the\ infinitive with future reference (K-G I 195-6), but this instance may
omen has struck some readers as funny or absurd, but omens must beiC be a 'prophetic present', such as frequently occur in the utterances of
out of the ordinary to be noticed. seers or oracles (Fraenkel on Aesch. Ag. 126); in any case, the present
The hawk and the dove are traditional enemies in poetic simile (cf. tense has a meaning for the reader who is well aware that Medea is
1.w4g-50, 4.485-6, Nisbet-Hubbard on Hor. C. 1.37.17), and two already far from unconcerned with the Argonauts' situation.
Homeric passages are important here. (i) ll. 22. 13g-42, Achilles 549-50 Cf. 2.423-4 (Phineus) 'take heed, friends, for cunning help
pursuing Hector compared to a hawk pursuing a dove. (ii) /f from the Cyprian goddess, for on her depends the glorious ac-
23.877-81. The target for the archery competition is a dove which, complishment of your tasks'.
after being hit, came to rest on the ship's mast before plunging to its d l.uov: no real doubt is expressed, 'as surely as'.
death. Here the dove escapes and the hawk comes to grief. 552 Ko:1: • 'coricerning '.
~tl'JVK1pKoto:the archaic periphrasis (c[ 1.122 of Heracles} marks 8i: cf. 210-14n.
the hawk as an aggressive warrior; here, however, (3iT)will give way. 553 <pO..ot: Mopsus closes a ring around his speech (cf. 545) and
before !30VAfl (cf. 507). ·< stresses the goodwill and concern which lie behind his advice.
KOA1tou;:either singular or plural may be used in the sense 'lap', cr.·3 l.11:lKAElo=ei;: as we do not see what the Argonauts do after 5 75, this
 ---:

COMMENTARY: 567-605 159

::~o, b, dinni~ :~:;::::::~:': of,h, v,,b (Vi>n n!iEJl (cf. 1.474-5, ~ Il. 9.573). The muttering expresses disapproval ofldas'
15). It would not be out of keeping with the religious element of the abuse, cf. 1.474--5, not of Jason's plan; contrast the loud 8p6os of
poem if the heroes did actually invoke Aphrodite in hymns or prayers approval uttered by the Lemnian women at 1.697-B.
(cf. 2.694-719 of Apollo), but the poet's interest shifts once the group 567 O:ye>p€UEV : cf. 540--4n.
has decided how to act. For the characters the gods are not 'simple 568 niiatv: this is at best a half-truth, as Idas is hardly •pleased'
allegories' (Vian Joe. cit.), cf. above, p. 26. · (ikx6eperfect of o:v6avw), even if he has not explicitly suggested an
556 VIS«~: cf. 515-20n. The pattern of the present scene has several a alternative plan.
Homeric forebears. (i) Od. 2.146-207. A bird omen is interpreted by a) 569 EKn:oT«µoro'away from the river', i.e. leaving the marshy part
prophet, and then the omen and the prophet are mocked by a 'villain• } of the river for open country; they will still be on the 1TOTaµ6,;.
(Eurymachus). (ii) Il. 5.347-51. Diomedes mocks Aphrodite for being/ 570 a:vu\floµi.v: cf. 506n.
out of place in a war; 349 is echoed by 563 here. (iii) Il. 12.230-50/\ 573 a:vetn:-ro:Atv 'up to the city', rather than the more usual sense
Hector attacks Polydamas' cowardice and rejects his interpretation of\ (e.g. 749) 'throughout the city'.
a bird omen- and all bird omens in general - as meaning that the] 574 El'.rva:i«~'anchor stones', attached by cable to the prow; Homer
Trojans should refrain from fighting. ldas' attitude is very like that of') uses the form ewcxLThese were obsolete in A.'s day (Casson (1971)
Hector, cf. ll. 12.243 E\<j oioovos&p1aTO<j &µvvecr6a1mpi 1TO:TP11S- ii 252-6), but form part of his imaginative recreation of the epic
558 Cf. the Homeric 'Axa1i6Es,ovKeT'Axaioi, ll. 2.235 (Thersites), world.
7.96 (Menelaus); further examples of such abuse in Fraenkel's note ori Aiaovi'.6«o:Jason takes navigational charge now that Argos, who
Aesch. Ag. 16'25ff. ,ff Possesseslocal knowledge (2.1260-83), has gone to the city_
559 or: masculine, although the antecedent is yvvai~iv. ·.\}'. 576 «u-rlKOt: Aietes' assembly follows straight on from his dismissal
560-1 'With your eyes no longer on the great strength of Enyalios, :\' of the embassy in 438. Three simultaneous actions are described :
but on doves and hawks, you avoid a contest'; for the preposition/) Medea's emotions (443-71), planning by the Argonauts (472-575)
placed with the second of two nouns governed by it cf. 59-6on. There \',< and Aietes' plans (576-608). Such complexity is quite un-Homeric, cf.
is a doubt about the text. Hiatus in the fifth foot is rare (cf. 1112, 2. 779 }:j:{ 167-274n., Fusillo ( 1985) 282 n. 32, above, p. 24.
where the reading is disputed, 6o6-7n.), and even rarer when the)( 577 The Arg~nauts, and later Medea, are to face the concerted,
syllable in hiatus could be elided; cf., however, Od. 24.209 fioe fovov ad' public opposition of the whole Colchian people; hence the need to
verse-end, and Quint. Smyrn. 4.297 seems to echo what our MSS read\ stress that the matter is discussed in a regular assembly. Contrast 4.6-8
here. Without strong punctuation at the end of 559, Frankel emended /f/ where Aietes and his inner council confer in the palace. The model for
to epri,vovrai, ' ... with women who call upon Cypris, no longer on the:( this verse may be Od. 3.4o8-9 where Nestor holds an assembly of his
great strength of Enyalios, and who keep their eyes on doves and hawk( sons sitting on some polished stones 'where Neleus used to sit in former
and avoid the contest'. · times'_
: the jingle with 1T£Aea6a1
m,>.Ei'.«~ in 559 expresses ldas' scorn. •..... 578 Mtvu«un: cf. 265-7n. Long before A., 'descendants ofMinyas'
562 A. perhaps has in mind Hector's words to a real woman at I(/ had been established as a title for the Argonauts from lolcus; A. makes
6.492 ;r6;.eµos 6' av6pecrcr1µeMcret. For Hector and Idas cf. 556n. /: Jason Minyas' great-grandson, cf. 1.228-33 1 Vian 1 10--12, Roscher
564-5 A comparison with 194-5, &s q,0:7'•e1T~Ev11aa11 61.vfo1 foo( 2.3016-22.
Aio-ovi6aol ;racrcrv6i111, ov6' EcrKE ,rape~ 0 TIS &XA.o
KEAEVOI,reveals A.'s 57g-605 Aietes' speech is framed by two sections of three verses
concern to avoid a 'formulaic' style. \• (576-8, 606-8) and falls into two roughly equal parts: 57g-93 report
oµci611aa:v... I ijKa:µci).• 'muttered in a very low voice', contrasted in indirect speech his words to the assembly (cf. 4.228-35), and
with EKCj>aTO. Grammarians derived oµa6eiv from oµov &16e1v or av6ful • 594-6o5 give, again in indirect speech, his private and concealed
160 COMMENTARY: 580-583 COMMENTARY: 584-593 161
motives (cf. 594n.). The total effect is quite unlike anything in 584-8 Aictcs tells his people that he did not receive Phrixus
perhaps anything else in Greek poetry, and excellently evq,pocrVV1')tcrt v6010 as Argos daimcct (2.1149), but under divine
Hellenistic love of experiment with poetic technique. It is not, compulsion; there arc thus dear limits to his respect for the laws of
however, empty experiment. The use of indirect speech and hospitality (cf. 304-5n.). We are probably to accept this version as
elaborate syntax with frequent enjambment (above, p. 41) reveal true, given Zeus' role in Phrixus' escape from Greece (2.1140-84),
Aietes' deceit and show that 'straight talking' is not his natural although it is in Aietes' 'political' interest to seek to avoid responsibility
what he says is neither simple truth nor simply expressed, but clt~Jor·t,.,i for establishing Phrixus' family in the land, as he is now depictfng them
and in need of interpretation. That the scene for this poetic tour as in league with a band of brigands. The verses, moreover, parade
is an assembly is particularly significant: the Argonauts (or Aietes' obedience to divine command (contrast the wicked Aegisthus at
Lemnian women of Book 1) exchange views openly, whereas Aietes Od. 1.37-9) and advertise the fact that he receives personal messages
a ruthless tyrant who uses misrepresentation even in front of his from Olympus; the Colchians were, no doubt, very impressed.
people (cf. 592-3). For further discussion cf. Fusillo (1985) !iix8aL: av is omitted, as often with the infinitive, cf. u97,
Dr Feeney suggests that we should see here an experiment with Chantraine n 31 1.
'historiographical' style, cf. K. Gries, A.J.P. 70 (1949) 139-41. l;cpia-rLov'guest', lit. 'person at the hearth', from where the most
580 -rov: demonstrative, cf. 4. 1655, LSJ s.v. 6 A 111. compelling supplications were made, such as that of Odysseus to Arete
58i-2 'Breaking up the clump of trees on the top of the (Od. 7.153-4, 248), cf.J.Gould, 'Hiketeia', J.H.S. 93 (1973) 74-w3,
hillside, he would burn the boat, men and all.' He apparently esp. 97-8.
to throw flaming brands down onto the Argo from a vantage o,;; 1u,.piK-rA.: an echo of304-5 lays bare the deceit in Aictes' earlier
above, but the text is far from lucid; it may be worth noting that speech.
could be omitted without any damage to the syntax, and this would 'Epµ.eiav : it was Hermes who had provided the golden ram
with 4.223 where Aietes carries a torch to fire the ship. Aietes' intentioiri (2. 1144-5) and who had told Phrixus to sacrifice it to Zeus on arrival
to burn the Argo occurred already in the Naupactia (~ 4.86), and (4. 121) ; cf. further Vian 1 282-3.
herself later contemplates this action (4.392). There is perhaps w,;; ...cxv-.LaaeLe'so that Phrixus might find him [Aietes] welcoming'.
ironic reminiscence of 1. 244-5, where the people of lolcus say that avT10:vmight mean 'make a request of' (cf. 35n.), but the Homeric
expedition would set fire to Aietes' palace if he did not give them sense is perhaps more likely here. -rrpoo-Kri6eos(glossed by 2LP as
fleece. evµevoiis)is of uncertain meaning: Homer has it once as an epithet of
!ipuµ.ov: probably of pine (cf. 4.223, 1682-6) which was very ~Hvocrvvri(Od. 21.35). A. may wish to hint at Kfj6os'marriage-tie', as
for making torches, despite a popular etymology of 6pvµ6s from Phrixus was to become Aietes' son-in-law; at 4. 717 -rrpocrKri6ees is
cf. J. Wackernagel, SprachlicheUntersuchungen;:_uHomer suggestively placed beside Eµlj)VA001.
1916) 184-7. 589 µ.~ Kai 'much less ... ', 'let alone ... '; more usual is µT)OT\ (K-G
a,hav!ipov ... Vl)lOV : both words have been plausibly Jl 260).
consecutive verses of Callimaehus' version of Aietes' threats 590 eaaea&at 'would sit secure' (future oH~oµai). This seems more
7.312-3); for the relation between Arg. and the Aitia cf. above, p. 7. forceful than focrecr8m,'would be secure', but either may be right. The
Mpu Vl)lOV 'the ship'; at 2 .597, as in Homer, this phrase means same problem occurs at 4.389-90.
ship's plank'. 591 o8vei'.ot,;;bd ... K"t'eaTeaatv: cf. 403; the repetition marks the
583 «1to<p).u;wcnv 'splutter forth', like a hot king's obsession.
Archilochus, fr. 45 West KVqJ01rr~sv!3p1v &ep6riv 592-:3 Aietes portrays the Argonauts as stateless brigands living off
[Schleusner: 6:n-i<pAocrav]. This ghastly image is reinforced the land, cf. Virg. Aen. 1.527-8; his inflammatory exaggeration seems
and -<pAV~- in the same position in successive verses. to have had an effect, cf. 893-5n. We ought perhaps again (cf.
162 COMMENTARY: 594-600 COMMENTARY: 601-616 163

176-8 in.) to think of the Cyclops: Odysseus' men suggest 601 1tEJ1.1tEv:apparently an authorial explanation for the sake of
sheep•stealing and a quick getaway, and the Cyclops asks them if they variety within the indirect speech; the second syllable is scanned long
arc brigands (Arifo,fipes) who bring trouble on others (Od. 9.225-7, in imitation of certain Homeric examples, cf. 1 .289, Mooney 424, West
253-5). (i982) 38. rn\µTTHV would make good sense (cf. MT2 §IIg), but the
6uaKe'.>.&601crw 'wretched'. Early epic connects this word with panic metrical oddity in -rreµmv is unlikely to be corrupt.
or rout (LfgrE s.v.), and Aietes may suggest that the Argonauts' 602 1t!1Tpo;: i.e. Phrixus, cf. 262-7.
approach is a cowardly one (cf. 66Aovs). It is ironic, given Aietes' plan, 60)..1x~v o6ov : either an 'accusative in apposition to the sentence'
that he should accuse the Argonauts of' hatching secret plots'. (Hunter on Eubulus fr. 75.13), i.e. 'he sent them ... to Greece, a long
594 vocrcp1 'apart', 'in secret'. Lines 594-605 describe Aietes' trip', or a 'cognate' accusative with iTEµmv (cf. Soph. A}, 738-9), 'he
thoughts and motives;· the passage is set off as a unit by ring• sent them on a long trip ... '; word-order and rhythm suggest the
composition (vifias $pito10 ~ Xo:i\KtOTTT1S ysvefit). After his public former. Aietes' intentions are made clear by an echo of Od. 17.425-6
castigation of the foreigners in 579-93, we learn that an oracle 'he sent me with some far-roaming brigands to Egypt, a long journey,
foretelling danger from his own family caused him to encourage the so that I might be destroyed'.
sons of Phrixus to leave. Being half-Greek, the young men are naturally 6o6-7 'In his anger he revealed to the people his terrible plans (i.e.
suspected, whereas Aietes' own children escape suspicion (60:i-5). 5so-2].' Others understand 'told his people of [the Greeks']
motif of the unrevealed oracle marks Aietes as a frightened despot, intolerable deeds', but cf. Il. 15.97 oio: Zevs Ko:KO:spyo: TTl(!JO:UO'K€TO:l.
the Paphlagonian slave (Cleon) in Aristophanes' Knights.In &nd:>.ee 'ordered them with threats'; there is no certain classical or
it is a clear link with Pelias (cf. 405-6n.) who also sought to Hellenistic parallel for this construction (Theocr. 24.16 is disputed}.
a threat to his rule, as foretold in an oracle (1.5-8, Pind. Pyth. 4.71-8), v~.i -r' epucr8a1 : the verse-ending vf\o:ipvo-00:1occurs four times in
by despatching the danger (Jason) overseas. For further discussion Homer, 'watch over', 'protect the ship', and A. here alters the sense,
Fusillo ( 1985) 36. Others understand v6oqn as 'in particular', 'as a 'keep an eye on the ship', and 'corrects' the Homeric fifth-foot hiatus
separate part of his speech', which produces a less complex structure, (cf. 56m.). Nothing further is heard of this watch.
but weakens the impact of the considerations adduced above; the real 6u-12 For this narrative technique cf. 477-8n., Fusillo (1985}
truth is something which Aietes tells to no one. 25-7.
fLELAta'retribution', cf. Erbse (1953) 175-6. 8ufLDV:accusative of respect.
595--'7 Cf. 375-6. 6J3-t5 ' ... lest perhaps inappropriately [cf. Il. 3.59] and in vain she
«Kl)6ie; 'without being troubled themselves', i.e. the Argonauts should try to win over [her sister], who was terrified of the awful anger
the dirty work for the sons of Phrixus; for this sense cf. Il. 24.526, of of their father, or their deeds might become open and manifest, if (her
gods. Added colour is given by echoes of ll. 2 r. 123, where cn<rioses(in sister] complied with her entreaties'.
the same sedes)describes the fish who will eat Lycaon's corpse, and &pi6'1)All cf. 502-40. The forceful doublet, which marks
Kal &f1-q>!l6&:
1rpoo-K1')6fos in 588, thus marking Aietes' belief in the young the strength of Chalciope's fears, may suggest that A. interpreted
ingratitude. bµq,o:Min Od. 19.391 aµq,o:56:apyo:yivono as an adjective rather than
597-002 ~&;w : the oracle to Aietes figured already in uc,n.Jl.iuru, . an adverb (cf. LjgrE s.v.).
(FGrHist 31 F 9) and probably elsewhere also. 616--824 The central section of the book shows how Medea reached
«TIJV ... 1t0At.1Tpo1tov 'destruction coming in many guises'. her decision to help the expedition. It falls into two parts with a clear
rroM,po-rros is naturally associated with Odysseus (cf. Od. l. 1) and. break at 743 (cf. 823-4n.). In the confrontation between the two sisters
Jason is 'the Odysseus' of the poem, the reader might see here the loss of Sophocles' Colckian Women is keenly felt, as Electra and
riddling language of an oracle which Aietes has been unable Antigoneshow that poet's interest in such family relationships.
interpret. 616-32 Medea's afternoon sleep is troubled by dreams. Those in
 l64 COMMENTARY: 6l6 COMMENTARY: 617-629 165
love were proverbial dreamers (Theocr. 30. 22, Virg. Eel. 8. r 08) ; the 1 ro4), but it may also be purely intensive (cf. 1206, l.l 083 of sleep).
dreams may be simple wish-fulfilment in which the dreamer's pollwsfor .. J-{ereMedea has fallen asleep while grieving (459-71), like the woman
the beloved takes over (cf. Theocr. 11.22-4, Hor. C. 4.1.37-8, E. 0 f748 (6:61v6v ... K&µ'). For further discussion cf. M. S. Silk, C.O.,n.s.
Vermeule, Aspectsef death in earryGreekart and poetry (Berkeley 1979) 33 (1983) 323-4.
154-6), but poets could create more complex situations as well, and A. 'deceitful', because giving a false picture of reality.
617 1jn:1apon:jjE:,;
has strikingly recreated the uncertainty and unclariry of dreams (cf. 618 It is a familiar doctrine of ancient dream-interpretation that the
619n., 620-3n.). In the main Homeric structural model for this mental and physical state of the dreamer is cru\:ial.
passage, Nausicaa dreams of suitors, marriage and the loss of virginity o).ooL: the dream is a part ofMedea's ov;\o, epws (297) and pertains
(Od. 6.25-40), and 'symbolic' dreams are familiar from tragedy (cf., to the possible destruction of the stranger. The dream which Zeus sent
e.g., Eur. IT 44-55). The sexual symbolism of Medea's struggle with to deceive Agamemnon was oVAOS(/l. Q.6).
bulls is clear; cf. Phaedra's wish to tame horses (Eur. Hipp. 230-1). 619 It is left unclear whether the sowing and slaying of the warriors
As well as Nausicaa, A. has Penelope in mind here (cf. above, p. 29): formed part of the dream - 6Q3-5 does not settle the matter - but the
616-18 are a reworking of Od. 18.188-9 Kovpr11'IKapio10Ka,6: yAvKvv struggle with the bulls carries the symbolic weight.
VTTVOV exsvev[SC. Tl•Aerivri], I ev6d>' 0:VCXKI\Jv6efoo:
and 19.516- 1 7 foz<>-3Whether the fleece had any role in the dream is left
EviAEK,pv:,1, 1TVKlVCX16eµ016:µ,p'afovov KfipI 6~efo1µeAe6&vcooSupoµevriv deliberately vague (cf. 616-3:m.): Medea may have dreamed that
epi\9ovcnv.The latter passage is followed by Penclope's account of a .· Jason came overtly for her, or that he came overtly for the fleece but
symbolic dream portending Odysseus' return: like Medea, Penelope•. really for her, or that he asked Aietes for both. In any event, these
longs for a man (cf. Od. r8.204-5) and is tempted to be disloyal to her verses help to establish a 'quasi-identification' between Medea and the
family (cf. Od. 19.524-9), and like Medea (cf. 459-61) she fears that fleecewhich is to have an important role later in the poem, culminating
the man may already be dead. Penelope's dream, unlike Nausicaa's, is in 4.1141-69 where the couple spend their wedding-night on the fleece.
not sent by any specific divinity, but it is not difficult to see Athena Ovid makes the point more explicitly, spolioquesuperbu.s, I muneris
behind it; just so, A. has no need to spell out Hera's probable role in auctorem secu.m,spoliaaltera,porlans,I uictor/olciacostetigitcumconiu.ge
portus
Medea's dream, cf. Campbell ( 1983) 37-8. (Met. 7.156-8). It is possible that A. knew of versions of the myth in
As well as the poetic tradition, there was a long history of technical which Jason was an open suitor for Medea's hand, cf. Rusten (1982)
writing about dreams upon which A. could draw. Theophrastus and 62-3.
Demetrius of Phaleron, who settled in Alexandria, had both written on a<pinpov 'his', cf. 186n.
the subject, and Hippocratic (De victu.4) and Aristotelian (On dreams, E:tac:tyayono: almost a technical term for 'taking a bride to her new
On prophecyin sleep) treatises survive. The great Alexandrian doctor home', cf. Hdt. 5.40.2, 6.63.1, LSJ s.v. aywB 2.
Herophilus recognised categories of'god-sent' dreams and dreams of 623-4 a.µ<pl... a.E:6).11vouaC1.'competing with the bulls'; there is no
erotic wish-fulfilment (Aetius, Placila 5.2.3 = Diels, Doxographigraeci exact parallel for this use of the preposition, but cf. 117, 1.747, and
416), and 617-18 perhaps have a 'medical' flavour. On dream Homer uses 6:µipiof what one fights over.
interpretation in general cf. RE VIA 2233-45, E. R. Dodds, The Greeks n:ovi£a6c:tl'completed the task•, cf. 1. 1347-8.
and the irrational(Berkeley 195r) eh. rv, C. A. Behr, Aelius Aristidesand 625 un:oaxE:ai'.11,;: Medea apparently dreams that her parents had
the Sacred Tales (Amsterdam 1968) 17r-95. · promised her to Jason, if he successfully completed the test.
616 Ko1.>p1jv picks up the last word of 4 7 I, our last glimpse of Medea, 627 v£iKo, ... aii,<p~pLa~ov 'a hotly contested quarrel', cf. 4-345
to mark a continuous sequence of narrative. Medea's dreams occur where Medea is again the point of dispute.
the same time as the Colchian assembly. 628-g 'Both parties turned the decision over to her for the matter to
a.61vo,;: a word regularly found in contexts of lamentation (cf. 635; be however she desired in her heart.'
166 COMMENTARY: 630--640 COMtvlENTARY: 641-653 167

e;nu\-rpenov: Medea is appointed arbitrator (hrhponos) of her own Book 4 she leaves behind both no:p0evi17 and the 6wµo: ,oKricov
fate. There seems to be a close parallel to this procedure in both (4 .26-49). There is in fact no evidence that Medea's office imposed a_ny
language and subject in Hcsiod's story of Mestra (fr. 43(a).35-43). such duty; on the subject in general cf'. Parker ( 1983) 86-94 (with
L8uaeiev: intransitive here and in 652, governing the genitive in bibliography). Theocr. 7.126, &µµ1vo' 6:avxio: ,E µei\01, is a curiously
1060 and transitive in '.i.950. A. does not reproduce the Homeric use similar phrase in a similar context (the renunciation of love).
with the infinitive ('be eager to'). Others, less plausibly, suggest that 64 1-2 'All the same, however [Denniston 348], rnaking my heart
A. has here 'confused ' ievco and tevvco. shameless, I shall make trial of my sister, no longer keeping apart...'
630 &cpeL6-,jGr.u:ia 'scorning', cf 527n. 6£µ.EVYJ: cf Livrea on 4. 1669.
632 It is a common experience that dreaming of a loud sound often KU'Jeov:dogs were proverbially shameless (cf I!. 9.372-3, LSJ s.v.
wakes the dreamer; contrast Clytemnestra who screams, herself, as she KVWV n), and Medea here echoes a common self-reproach of the
awakes after a frightening dream (Aesch. Ch. 535). Homeric Helen, cf. ll. :;. 180, 6.344, 356, Od. 4.145, L. L. Glader, Helen
633-5 The thought of betraying her parents causes tvfedea to panic (Leiden 1970) 17-18. Mede a will abandon her 'Penelope' role (cf.
oe
like the suitors after the death of Antinous, EK 0p6vcov 6:v6povcro.v 6i6-32n.) in order to become a 'Helen', cf. James (1981) 67, above,
op1v6eVTES 6&µa, I TTO'.VTOO'E
Ka-TO: mrrnaivoVTES EVOµT]TOVS 1TOTlTo[xovs p. 29.
(Od. 22.23-4). The suitors face death for trying to break up a family; aviu8ev : SC. eovao:, but the ellipse is awkward, and Frankel may
Medea is to be tempted by suicide to avoid the events suggested by her have been right to assume a lacuna of one verse after 64 r. Others
dream. These verses and the subsequent monologue influenced similar construe the genitive with both 5:vev0evand m1piJaoµa1.
scenes in Moschus (Europa 16-27), Virgil (Aen. 4.8-30) and Ovid (Met. 643 (X'J't"l(XGYjlt:IIV
: cf :;5n.
9-472-517). 644 <1i3foo1 : if correct, this is a sigmatic aorist optative with a
nepi -r' a:µcpi-re : the doublet expresses Medea's wild searching, cf. 'strong' ending, apparently in imitation of certain forms found in
2. r 208 (the winding serpent), Hes. Theog. 848 (the raging sea). archaic epic, cf. K-B n 103.
&Sw"l)v: cf 6 i 6n. The word closes a ring around the description of 646 v-,ji.moc; 'barefoot', because in a hurry and distracted, cf.
the dream. Thcocr. 24.36; indoors, Greeks usually went shoeless. When Medea
637 µ.eya 6l) '>l: strongly intensive, cf. Bulloch on Call. h. 5.58. finally does leave her chamber for good, she goes shoeless in order to
638 'My mind has been very much (mpi) disturbed (d 368n.) by travel noiselessly (4.43); this detail is one of many echoes and contrasts
the stranger.' For the quasi•instrumental dative cf. K-G 1 439; the between the scenes (cf. Hunter (1987) 136).
asyndeton expresses Medea's wildly leaping thoughts. The primary oieavoc; 'wearing on! y her dress', a 'female' variant of Homeric
sense is not (cf. 637) 'my mind is excited [by fear]for the stranger', but oioxh(A)V(Od. 14-489); when leaving her room, she would normally
the ambiguous wording and echoes of her earlier speech at 464-70 (cf. put on a neTT/\OS(cf. 832), but her emotions are not calm enough for
~ ~
6e1i\airiv Ss1i\ri,fipwwv fipwcov) invite us to read her words in this that.
way as well. 647 aµ.ei41a1: Medea stops in the vestibule (cf. 839) which separated
639 µ.va.<18w : so far, the only wooing Jason has done has been inside her room from the court; as she did not actually enter the court, we
Medea's head. Ovid reverses the topic at Her. 6.107-8 (Hypsipyle to should accept Frankel's infinitive after ;\ei\t17TO(cf. 1 r 58) for the
Jason) illa [sc. Medea] sibi Tanai ScythiaequepaludibusudaeI quaera/et a transmitted &µeli.pS.The symbolic significance of Medea's desire to
patria Phasidisusqueuirum. enter• the outside world' is obvious; her chamber represents the secure
640 «fJ,fJ,l: 'poetic' plural, cf. 713, 784, K-G 1 83-4. Many have and chaste world of the young girl (cf. esp. 4.2&-9).
wished to see here a reference to the necessity for a priestess of Hecate 649-53 EK... €v6o8£v ... £'1<:lwmark Medca's indecisiveness and rapid
to remain chaste, but all Medea means is 'I'm still a young girl'. In changes of plan, while the careful patterning and chiasmus of 652-3
168 COMMENTARY: 654-656 COMMENTARY: 656-657 169
mark the difficulty of her dilemma; al&:>s and i:~pos are equally} 8aA6:µ010,'out of the bridal chamber' (cf. 655 vvµ<pT] ... !kti\aµom1); he
strong. The enjambment (above, p; 41) of 64g-50 and 650-1 is} is killed by Agamemnon 'far from the wife he had wooed and wed,
particularly expressive. <TTpe<p&fo' and eiO'(,)are not syntactically} rrorn whom he had known no delight (x6:p1s) [cf. 660-1], though he
necessary to the sense, and so the clauses stop at verse-end, only to start} had given much for her' (ll. 11.242-3). rbT on 243 interpret T[S TI ov
and stop again in rapid succession. This pattern evokes Medea'i{ xo:plV i6e to mean that Iphidamas did not have the good fortune to
movements. -."} have children by his wife and to enjoy a life together (avµj3(i:,;ia1s)
with
l8ua,u,v: cf. 628-90. The optative marks repeated action in past her. Very similar is A.'s story ofCyzicus and Cleite in Book 1; Cyzicus
time (MT 2 §462-3). }. is killed by Jason during the 'honeymoon' period while his wife 'still
liv6o8csv'inside the vestibule' = Ev6081,a variation in meaning orr"? knew nothing of the pains of child-bearing' {1.974-5). On this reading,
the ev608e11of 650. Others understand 'shame from within', but this} 660-1 might refer to marital avµj3iooa1s,but may still be interpreted
breaks the careful patterning of the verses. physically, as the idea that a little sexual experience merely increases
&paau.;: cf. 687n. /.W the longing for more is common; cf. in particular the fate of Laodamia
654 The pattern 'three times ... three times ... the fourth time' is\." · whose husband, Protesilaus, was killed at Troy [antequam]ueniensuna
common in poetry (Hopkinson on Call. h. 6.13-15), but compressioli atquealura rur.rushiemsI noctibusin longisauidamsaturassetamorem,I posset
into a single verse is perhaps without parallel; it marks the rapidity of. ut abruptouiuereconiugio(Cat. 68.82-4), and see 672n.
Medea's changes. · .\ On either interpretation, the juridical status of the girl is not a
655 csO.txlktaa 'whirling around', but there is also a suggestion that ' question of crucial significance: she suffers from an erotic longing
Medea writhes on the bed (cf. Od. 20.24-8). / which cannot be satisfied, and her relationship with her man has not
656-64 Medea is compared to a girl grieving for her man who has} had the chance to run its natural course. Certain details of vocabulary
been killed in battle; the girl grieves silently so that the married women} (wµ<pl],Tl"O(TIV,xi\po11),the contrast between 657 and I. 780 &11(£11 µ1v
will not mock her for her passion which is unsatisfied and may remain µllf)O'T~v1t;oµec.J0"1
T01t;f\ES,
and the stories of lphidamas and Cyzicus
so for ever; she has missed her chance. Just so, Medea has dreamed of_ seem to favour (ii). To the standard commentaries add A. Ardizzoni,
marriage with Jason, but is afraid that death awaits him. ( G.I.F. n.s. 7 (1976) 233-40 and Studi in onoredi A. Colonna{Perugia
Two interpretations of the detail of the simile are current. (i) The, 1!)82)7-9.
girl has been pledged to the young man, but the marriage has not taken: Comparison with the story oflphidamas reveals a typical refocusing
place. In this case, 66o-1 means, at least in part, that the couple have: of a brief passage of Homer, and an echo of Ji. 19.291-2 (Briscis
never made love. Medea thinks of herself as 'married' to Jason (cf.: lamenting Patroclus) av6pa µt;V001e:6oaav µe wn~p i<ai1Towia µl)TTJP
1Toa1v 'husband'), but it is a marriage which will never be_•- [cf. 65 7] I e16011
npo n-ro;\1056e6ai'yµ{vovb~e'iXC1A1t;6'>1,adds pathos and
consummated; she is a widow (cf. 662) without ever having been a reai:_ texture. Like Briseis the slave-girl, the wµq,1], who is surrounded by her
wife. The simile, like Medea's indecision in leaving her room, expresses:,.,, own servants, feels totally bereft. Regardless of status, the girl of
the indeterminate and transitional nature of her state. She is neither; >> marriageable age loses one family (cf. 657, 7330.) and depends entirely
one thing nor the other. At 1.774-81 Jason, as he approaches on her 'man'; if that man is a warrior, her state is parlous indeed.
Hypsipyle's palace, is compared to the bright star (Hesperus) which 656 8a>.Epovemphasises the man's role as sexual partner, a meaning
brings joy both to wµq,cu and a virgin (mtp8ivos) 'who longs for the\ reinforced by the echo in 8a>,.aµo1a1,cf. I 127-8, Campbell (1983)
young man far away for whom her parents are keeping her to be his, 40.
wife', cf. Carspecken (1952) 97..:..8.(ii) The young man has been killed 657 Just as the girl's whole family has 'given her away' and is
after a brief period of marriage (cf. ll. 17.36). II. 11.221-47 tells the\ •;:. effectively lost to her, so Medea 's grief and love for Jason set her against
story of Iphidamas who married and then went straight to war ac//f 1• the wishes of all her family, except Chalciope (cf. 731-5), and will
!70 COMMENTARY: 658-·669 COMMENTARY: 670-678 17l
eventually cause her to lose her family. ~oe has been emended to ~e to 670 civwla'tov 'unexpected', cf. 6-7n.
comply with the realities of Greek law, but poets are free to blur the eaµ.~~aa.qo;: the weighty spondaic ending (cf. 456,969, above, p. 42,
edges of strict legalism. Faerber ( 1932) 68) stresses Chalciope's amazement.
658-g Friinkel transposf.'d these verses to follow 662 in '"''·v•u~cacr-. 671 Cf. 249. The end of the verse echoes Od. 6.15 (Athena,
with a paraphrase in :i:L. The transposition, however, disturbs µl)T16wo-a- cf 668 - visiting Nausicaa); so too, Chalciope's visit to her
causal link between 662 (o-iya) and 663, although 659 (µvx&t) sister marks a crucial stage in bringing Jason and Medea together.
also introduce 663, and brings aµqmr6i\oto-tv into awkward nr,~i<>m11tv 672 6pu,,llev'had scratched' (cf. MT2 §58). This was a traditional
both with yuvaii,:ss and with the servant of664-6; cf H. Erbse, gesture of mourning, which reinforces the correspondence between
35 (1963) 26-7 and A. Hurst, M.H. 23 (1966) 107-10. Medea and the w1,1<pri of 656-64- Cf. If, •:qoo (Protesilaus) ToO SeKai
ncicro:i;: there is a contrast with the trusted maid of 666. 6:µqn6pvqiris [' with scratches on both cheeks'] &7\0xos (!)vi\aKri1
e:rmppoaUVYJl 'thoughtful reserve', cf. Livrea on 4.11 15. t\si\~m,o. For the relevance of the story of Protesilaus and Laodamia
µ.uxwt : the most secluded part of the house, reserved for women; in cf. 656-64n.; ll. 2.700-1 is cited by L1'It. 11.243 to illustrate the same
poetry the µvx_6sis a powerful symbol of the separation and ,v,,~_,,..,_,, kind of pathos as is found in the story oflphidamas. There is no need
of female life, cf J. Gould, J.H.S. 100 (1980) 48, R. Padel to see here a reaction by Medea to her discovery by the serving-girl
Cameron and A. Kuhrt (eds.), Images of women in antiquity (Campbell ( 1983) 41); it is a normal part of grieving, and does not
Sydney 1983) 8-12. contradict 662 where what is at issue is the noise, rather than the
661 6~v£atv : a word with a wide semantic field, 'plans', gestures, of grief. In a tantalising scrap of Erinna's lament for Baucis
'arts', cf µ~6sa; its vagueness is suited to the pathos of the (cf 811-16n:) at6oos and 6pvTTTEIare juxtaposed (SH 401.34-5).
(contrast µ1yfivm at 4.1164), but has also contributed to the 674-80 The main model is Achilles' series of questions to the
uncertainty about how to interpret the passage. weeping Patroclus (II. 16.7-19, esp. 16.13 ~sTtv' o:yyei\iriv(!)!Hrisill;
6cuoµ.ev1Jn:ep 'through burning', et: Medea's suffering at eKi\vesofos;, corresponding to 677-8), but this type of scene is familiar
Others understand 'tortured' from 6aiw (s) 'I split', but it is also in tragedy (cf Phaedra and her nurse in Eur. Hipp.), and the
to see the fire of love here. influence of Sophocles might well be suspected here.
662 cri'ya: Greek grief was usually loud and overt, cf. M. 674-5 The emotional tricolon is of a kind common in post-classical
The ritual lament in Greek tradition (Cambridge 1974). poetry, cf. Bulloch on Call. Ii. 5.89-90.
xljpov :>.Jxo;: the detail looks forward to Medea's farewell to her 1:(n't' lino:6E~; : a question often asked of those in love (cf. Sappho,
maiden's bed at 4.26. fr. 1.15, Asclepiades, HE 880); Chalciope does not know the answer
663 yuvai'IC£S'married women', cf. Eur. El. 311 (Electra, (cf. Theocr. 1.81, I0.1), but we do.
girl of ambiguous marital status) avaivoµcu ywcii1<a5 [Barnes: 'tl ... nevOo; ; : twice Thetis must ask Achilles Tl 6s cre <ppfoas 1KE1'0
yuvaT1<:a5 Tr 2 : Bkyuµvo:s L] Ol/0'0: Trapesvos. nevf.los; (ll. 1.362, 18. 73); Chalciope is like a mother to Medea (cf.
666 kni'ti; 'attendant'; A. avoids aµqi1Troi\os(cf. 658,669) 733).
would give too mechanical a correspondence with the simile. 676-8 Chalciope raises different possibilities, like a tragic chorus
IC011p1~0\l<JGI : Cf. I 3411. wondering what has caused the sad state ofa great character, cf. Soph.
667 napacrx£6ov : cf 440n. Aj. 1 ti-86, Eur. Hipp. !"41-60 (where there is the same movement from
669 ou6' w;: this seems strange, as Chalciope might have divine to human, and the same cause of distress).
expected to be only too keen to seize such an opportunity. The phrase, Owp.opi'."IJ : cf. 974. The suggestion OwµopiT}1,'by divine wish', is
however, stresses how totally involved she was in her planning. tempting (cf. Call. Epigr. 30.4), but voOcros seems to require an
suggestion that the phrase looks forward, 'even though the m'""""'. adjective.
was from a casual slave girl', is ingenious but unconvincing. vo(foo;: this again (c[ 674-5n.) means more to us than to Chalciope,
172 COMMENTARY; 678-692 COMMENTARY: 695--709 173

as the description oflove as a disease is very common at all periods (er/ 695 ffl"...b1:itcAuae9up.ov: lit. 'washed over her in her heart' (acc.
Eur. Hipp. 476-7, Pease on Virg. Aen. 4.1). ) of respect). Like other emotions (286-9on.), pain can be thought ofas
o~AOfl,£V1)": she has seen the scratches on Medea's cheeks which' a flooding or melting of the heart, cf. Ovid, Episl. Pont. 1.2.55 sic mea
suggest grieving over a (coming) death. · perpetuisliquefiuntpectoracuris,Onians (1954) 33-7.
lMYI~ : cf. 182n. . ... 6g6 -roi': i.e. OTt TOia, cf. 38o-rn.
678-80 From the point of view of a Greek, Chalciope already live{ 697An echo of 18 suggests that this scene is a human counterpart
'at the ends of the earth', like Homer's Phaeacians (Od. 6.205), er/)\ of the opening consultation between Hera and· Athena; Hera is
2.417-18, Eur. Med. 540-1 (Jason to Medea) 'if you had continued tti/'/' working through Chalciope, as she is through Argos (cf. 476n.).
live at the furthest boundaries of the earth, no one would have heaid(< 6gg Earth and Heaven are suitably primordial (Hes, Theog. 116-28)
of you', Thomson (1948) 59. This is not simply an ironic reversal ofth\ to act as the most awesome deities for a race ruled by descendants of
'natural' way oflooking at things; these verses help to plant the seeci:. the Titan Hyperion. At Il. 15.36-7 Hera swears to Zeus by Earth,
of flight in Medea's mind, cf. 3n-13n. )/ Heaven and die water of the Styx.
tv« il:-rA.:sc. £11'} or ei11ro:ovacu, cf. rn92-3. i) 700 Spondaic rhythm lends solemnity to Chalciope's charge.
684 ' ... at other times it flew deep down into her chest'; the\ 701-s Cf. Il. 22.338-9 (the dying Hector to Achilles) Aiaaoµ' v1rep
pluperfect stresses the speed of movement (cf. 270-4n.). This is a vivid} ljlV){TlSKai yowc,;w (1(,)V TE TOKT)(,)11.I µT) µs ea 1TO:(XX\IT}VC1l KV\laS
reversal of traditional language; 'winged words' are here unspoke1l 1<crra60:l!'<Xl•Axaioov.Chalciope, however, is asking Medea to betray
and suppressed. C her parents.
685-6 ' ... often it (µ0&os) rushed up to her lovely mouth for speechi 703-4 Chalciope threatens to commit suicide if her sons are killed
[epexegetic infinitive], but did not issue further in articulate speech· and then to pursue Medea as a Fury, as though Medea herself had
(q,6oyyfi1)'. < been her murderer. Medea herself uses a very similar threat to Jason
ijL£flOEV : lit. 'full of desire'. In the battle between aiSC:,5and iµ1:pos;' at 4.385-7.
speech is a function of the latter, silence of the former. )\ 7o6-7Two interpretations are possible. {i) Chalciope is kneeling
687 6oAwt : Medea allows Chalciope to understand that her dre · ·•·· before Medea who is on her bed (672), and she {Chalciope) embraces
foretold the destruction of the latter's sons. Medea has inherited sorrii her sister's knees in an urgent gesture of supplication (J. Gould, J.H.S.
of her father's deviousness. ·j 93 (1973) 96-7) and drops he~ head into Medea's lap. (ii) Chalciope
Op«ai\e~:the 'bold' Loves make Medea herself bold and reckless, cf.\ remains apart from Medea, clasps her own knees and lets her head
653 where 8pao-vs iµepos opposes al6ws. /; droop in a gesture of grief. Both actions would be meaningful in the
E1tlKAOV€£aKOV: the simple verb is often used of winds (LSJ s.v.), c( context (cf. Charlton 7.6.5 for (i), Theocr. 16.11, Chariton 1.8.3 for
CLT}T<Xlin 688, 967-72n. ·. (ii)), and the textual uncertainty in 707 makes decision difficult; the
"Epwn;: cf. 451-2n. emotional pressure of supplication is, however, something which
688 ii11-r«,: cf. 286-9on. , Chalciope is unlikely to have omitted, and this favours (i), as perhaps
6go K«-r«Kvwaaoua«:cf. Od.4.8o9 (Penelope) ii6vµw,.a Kll<.ooaovi{ also does rn'<XAAf\A111<r1.
iw OVEtpeiT}IC1I ilVATllalV. \ aov &i • as well', 'at the same time'.
691-2 AE6aaw : adverbs meaning 'recently' often join a verb in th1;( m,pltc«f:lfi«).ev: the better attested plural is hard to accept, although
present tense, but here A.£Vaaoo also marks the vividness of the' both sisters are grieving. 1tep1- presumably means that Chalciope
drean /2 covers Medea's lap, but iv1- (Campbell) is tempting, particularly with
Oeo~... I 9ElYj: the jingle may reflect an etymology ofaeos from Ti5!1@ ,repi0')(£TOimmediately above.
(Hdt. 2.52.1). ?o8-g bi:'ciU:ljlYj,al'beside/ over each other'. It is tempting to see
174 COMMENTARY: 711-723 COMMENTARY: 725-734 175
also a suggestion of 'for each other', although rni is not normally used} confirm the truth of her assertion in 722. There may be an echo of Jl.
with verbs of lamentation. \\ 6.221 Kat µn, ey~ 1<0TEM:11l'OV iCil\l£\I 6ooµac' eµoio-1.
iwl) I 'Aen-rtt'AEYJ
'a high-pitched cry oflamentation '. In this context,-/ 725-6 aµu6u;: not merely 'at the same time': Medea blushed 'all
A. might be thinking of a link between iooriand the cryloo. Contrast\ over', cf. io12.
the similar scene of Priam and Achilles weeping (et: 701-3n.), -r&v 6e} cix'Au,;... l(UVO!'-EVYJV: cf. IOI 9-2 I. The Homeric mist which attends
O'TO\laxiiKaTa 6wµcrr' bpoope1(It. 24.512). ·.·...•. the death of a warrior (//. 5.696, 16.344) is here transferred to
7n 611,µovtl'Jhere marks a mild and friendly rebuke, cf. 1120;/ amatory passion, cf. D. L. Page, Sappkoand Alcaeus·(Oxford 1955) 29;
although in other contexts it may be somewhat stronger (cf. 1.476; Y 'mist of love' is found as early as Archilochus, fr. 191 West (quoted
865). in 296-Bn.).
oI' ayopEUEl<S:cf. 380-m. < 727 up.µ, : a neat touch. &µµ1 would be just as accurate.
712 A variation on the language of 704 which also echoes Od;) 73o-2 The chiasmus framed by 'your' and enjambment of o&v
2.135-6 (Telemachus about Penelope) µ1)TTJP sp1ws)
crnryepas O:p1)0'TT. mark the strength of Medea's undertaking. Medea, of course, has
I oiKov &rrepxoµEVTJ. For Chalciope as Medea's 'mother' cf. 733n.;) other, unspoken, thoughts as well. As with her flight in Book 4, her
there is a similar effect in 716-17. ) motives are complex: in clinging to her sister's family, her devotion to
712-13 'Would that it were securely in my power to protect yourJ/ which we are given no reason to doubt, she can hope to betray her own
sons.' ·/ familywithout seeming (to herself or others) to do this solely out oflust
714 U7t£p~lO<S 'of great strength', the µey11ITOSI opKoS 6e1\IOTCTT0511:( for a man. While deceiving Chalciope (cf. 687) 1 she is also trying to
of ll. 15.37-8. A. perhaps wishes to suggest the literal sense 'beyond\ deceive herself; she is as confused as she is hypocritical.
violence', i.e. 'to which no violence can be done'. <i ciSEA(f)ELol: technically, they were her nephews, but Greek often uses
716-17 A reworking of Telemachus' pledge to Odysseus at Od./ 'brother' beyond its strict application, and she has clearly grown up
23.127-8 ov6e Ti q>TJµII W.KfiS6ev11oeaflai,OOTJ6vvaµis ye mxpEO'TI\I.As) with them (734-5). Her own brothers would certainly not support her
in 7121 this echo suggests that Chalciope stands in lfJCopareniis for. (cf. 657n.).
Medea. 1CYJ6Ep.6ve,; 'close relations'. The literal sense 'someone who cares
8ewv p."q't'l'JP: Gaia bore Ouranos and then mated with him to for' is important in Medea's use of the word here.
produce the other gods and the natural world, cf. Hes. Theog. 126ff.· 733 Greek sometimes uses the accusative in indirect speech where
Earth's motherhood is particularly relevant in an oath to protect;,?''' the nominative would be expected, to give particular prominence to
someone's sons. the speaker's claim {K-G n 30-1); the nom. is metrically guaranteed
avua't'ci1tEp&v,.,6wa11v'provided that what you ask is possible', c£ in the parallel passage at 4.368-9, and may be right here, but the acc.
Denniston 483. is better attested and also leclio difjicilior.Behind Medea's claim lies
719 ~Elvw, : the crucial word for Medea comes with powerful effect Andromache's famous declaration to Hector that he is' father, mother,
at the head of her sister's speech. brother and husband' to her (Jl. 6.42g-30), because her own family is
... ae8'Aou'a ruse for accomplishing the test', objective
720 11-ij't'tv dead. Medea's family will be 'dead' to her after her secret help.
genitive. 734 It is common today in various parts of the world to see teenage
721 'l'66' i.Ktive, 'has come for this purpose', cf. Ii. 14.309,( girls suckling their young brothers or sisters as well as their own
Chantraine 11 44. / children. This detail suggests that the relationship between Medea and
723 'In coming.here, I left him for the moment (cf. 441-2n.) in my'i Chalciope is not merely like that between a pair of Sophoclean sisters,
room.' The text has suffered in transmission, but we need a reference) but also resembles a tragic heroine (e.g. Phaedra) and her nurse-
to Argos, and the fact that he has just been with Chalciope serves to : confidante.
 176 COMMENTARY: 735-75l COMMENTARY: 745-748 177

735 ... 1tO'r€'constantly ... in former times'.

c:tlflV picture of the world at evening moves from alert watchfulness (sailors)
737 A)ltroµ.cu: the future indicative with oq,pa imitates a to exhausted sleep (a mother whose children have died), from the
rarity, cf. Chantraine II 2 73. expansive seas to the narrower land, from the male world of exchange
738 'I will go', although the form - only here certainly
€LOO(J.r:tl and communication (sailors, travellers, a gate-keeper) to the most
Arg. - seems to be connected with ieµa1. private female grief, from one sphere of activity controlled by Hermes
6€AK'r)lplc:tIC~A.: cf. 33n. (commercial travel) to another (sleep and death); for· this organising
739 This verse is preserved only in the scholia; it was lost from pattern cf. J.-P. Vernant, Myth and thoughtamong the Greeks (London
MSS because of the similarity of eio-0µ0:1and oicroµevri.The loss 1983) 127-75, esp. 129-30. Although 750 returns to the idea of the
made good by changing the former to oio-0µ0:1. approach of darkness, the passage as a whole seems to move from early
;dvwL: cf. 719n.; Chalciope's request and Medea's answer evening (744-7) to the deadest part of the night (74g-50), thus
ringed by the crucial word. suggesting the length of time through which Medea suffered, cf. J.
v€i1to,;: an echo of Medea's dream (627), as well as of ll. Carriere, Euphrosyne2 (1959) 51-3, Beye (1982) 67-8.
,AAe~av6po10,TOV EIVEKCXVSlKOS opwps; just as Medea is to have Scenes of worried sleeplessness open Ii. 2 (Zeus) and 10 (Aga-
of Helen about her (cf. 641-2n.), so Jason is a beautiful 'Paris' memnon) and Od. 15 (Telemachus worried about Odysseus, cf. ·
girl, stolen from far away, will bring enormous grief into his house. 752n.). Particularly important are echoes of the scene from Il. 10 where
740 The lack of any 'so she spoke' formula is unusual, as is ,uc ..>•>>t·,·. > the cares of leadership keep the Greek general awake; the transference
absence of any indication that ii ye is not the speaker who has of such a scene from the military sphere to that of personal emotion is
finished; no good parallel has been adduced. If the text is sound· a characteristic technique of later amatory poetry. Homer compares
Frankel proposed a lacuna after 739, created at the same time as Agamemnon's troubled spirit to the flash of lightning; this is here
verse dropped out - this unusual technique must lay particular replaced by ·the more domestic image of sunlight on a pail of water
on the speed with which Chalciope moved (i81, 736 ~ KIE,740). (756-60), thus completing the 'rewriting' of martial epic. Cf. also
t
741 '"I"6i (J.LVt:if sound, this would be a remarkable Pvf•pn,,.n ..
Hopkinson (1988) 188.
of the Homeric O:VTflV µ1v {ll. 11.117), and cf. ov eeev
'of him, ( l 745 'E).(KlJV 'The Great Bear' (cf. t 195-60.) which revolved
4.1471). TflYye µfo is good for sense, marking a contrast between me::>...::c:,.t,.>> (eAicrm;iv) around the Pole. Cf. Aratus, Phaen.37-41 'By Helice Greek
emotions of the two sisters (cf. Denniston 387), but is unattractive ~n.Pr·,,.,.,>"" sailors calculate where they must steer their ships ... being bright and
ii ye. easy to observe, it appears large at the beginning of the night. '
743 The infinitive depends on the verbal content of 742, 'she 'ilpi'.wvo~ : Aratus notes the importance of Orion to sailors; like the
ashamed and afraid ... ' Bear, it is very bright, cf. Phaen.323-5, 730-1.
: probably 'without the knowledge of', '11.a8pri1
1tr:tp1H; ', as at 746 The spondaic centre of the verse contrasts with the dactyls of
24.434 (a passage which may have been in A. 's mind, cf. 24.435 744-5 to suggest the weight of sleep (v1Tvo10 ).
742). The genitive would then be a simple variation on ii6pc:t1tov : an archaic aorist which should mean 'had [already]
accusative. For this theme cf. 615, 4.14-15. Others understand turned their eyes to ... ' (MT 2 §58), but A. may have used this form as

defiance of', as at 2.344. an imperfect.

E1t'<ivepL'for a man', but the sense 'for her husband' (as she Tl~ o6i-ni,;: travellers think of finding an inn as dusk approaches, cf.

already dreamed) is not far away. Aesch. Ck. 660-2 'the dark chariot of night is hastening, and it is time
744-51 As night draws on, Medea's restlessness - in other co111textsii/>F for travellers to drop anchor in a house which receives all guests'. TtS
a standard symptom of love (Theocr. 1o. 1o etc.) - is contrasted here generalises, cf. LSJ s.v. A 11.1-2.
the movement towards sleep throughout the world, cf. 4.1058-67. A. 747-8 The gate-keeper acts as the point of transition between one
178 COMMENTARY: 749-765 COMMENTARY: 755-763 l79
kind of world and another. 'The mother of dead children' dancing on water introduces the indecision of766-70. As transmitted,
Medea's desire to protect Jason and her !ear that she will fail; like the simile does not refer primarily to indecision but rather to Medea's
mother, Medea has only an eternity of hopeless longing and regret jumping heart and physical restlessness, although the two cannot be
front of her. So too at 4.136-8, when Jason and Medea confront firmly separated. Virgil indeed uses a light simile derived from this
dragon which guards the fleece, a reference to mothers protecting passage precisely to describe indecision (Aen. 8.18-25), but his passage
frightened children suggests Medea's protection of Jason. A is a virtuoso reworking of Apollonian elements - night, for example,
shadowing of the death of Medea's own children also links comes at the end, rather than the beginning, of the scene - and is
beginning and end of her life with Jason. unreliable evidence for his text of Arg. Frankel's suggestion is tempting,
'l'e8veW'l'WV : scanned as three long syllables, with synizesis but the transmitted order should be retained:_ the water of the simile
Elsewhere in Arg., a spondee is formed by synizesis only in the first eflectively turns into Medea's te11rs,and the text closely reproduces the
last foot, and Rzach's TE6va6Twv (cf. ~<pe<rTo:6Tas in 1276) pattern of the Homeric model in the opening of It. 10 (cf. 744-51n.).
remove this anomaly. The parallel passage at 4. 1058-67 also moves from night to worried
ttilVO\I; cf. 616n. sleeplessness to a simile and finally to Medca's tears. With or without
Kwµ.': Homer uses Kooµa of a god-sent sleep (ll. 14.359, Od. the transposition, it is clear that for Medea thoughts of Jason represent
(Penelope)), and in earlier poetry generally it is associated with a light in the blackest night.
supernatural, cf. Campbell ( 1983) 112 n. 5. There is a suggestion The comparison of Medea's palpitating heart to a ray of sunlight
the gods have relieved the mother's suffering with sleep, but there is reflected off swirling water probably has both Homeric ( Od. 4.45-6,
divinity to soothe Medea (see next note). 7.82-5) and non-Homeric origins. The comparison of atoms or the soul
749 The remarkable absence of barking dogs indicates the to dust particles in a ray of light may be traced· at least as early as
quietest part of the night, cf. h. Henn. 145. In particular, barking Democritus (Arist. De anima 1.404a1-5, Bailey on Luer. 2.112-24), and
may mark the presence of Hecate (cf. 1040, 1217, Theocr. the fact that A.'s image recurs in the philosophical prose of the Empire
S. Karouzou, J.H.S. 92 (1972) 64-73), and so even her own goddess (Epictetus 3.3.20-2, cf. Dlo Chrys. 21.14) suggests a classical, perhaps
not there to help Medea: philosophical, source; there is, however, no reason to associate the
750 iixljel,; : three long syllables, emphasised by image with a particular school of philosophy.
match sound to sense. 755 i8ut£v 'raged wildly'.
tixev : 1<aTexe1v is more usual in such contexts, but cf. Call. h. 756 w,;Ti,; Tt: cf, 1323. A. imitates a Homeric usage, cf. Ruijgh
µeo-o:µ(,p1vo: 6' eix' opos acrvxio: (with Bulloch's note). ( 197I) 952-3.
752 µ.ei..Eliiiµ«T• : cf. 4-5n. The end of the verse echoes Od. 757-8 The alternative receptacles and irov suggest that the
where 'worries about his father' keep Telemachus awake: as phenomenon is observable in a number of different circumstances,
suggested Medea's 'maternal' care for Jason, so this verse both formal (11e~iJTl,suggesting cooking or washing) and informal
expresses her worry and love in terms of a family relationship; (yo:vJ,.&1);alternatives are a common feature of Homeric similes also,
examples of this idea in other genres cf. C. Macleod, Collecled c[ Carspecken (1952) 80-1 who notes that the alternatives do not
(Oxford 1983) 17. touch the central point of the simile.
753 6u6utav: the expected form would be 6e161viav,but loss A£~1JTt'a roughly hemispherical bowl often provided with a tripod
before another vowel or diphthong is common, and £i6vio:vsupplies or other stand', D, A. Amyx, Hesperia27 ( 1958) 199-200.
obvious model. Cf. further Hunter on Eubulus fr. 143. tv: placed with the second of two nouns, cf. 5g-6on.
755-65 Frankel transposed 761-5 to follow 754 so that the 76o 6ti: cf. 210-14n.
pity follow immediately after the reason for them and the simile 762-3 The pain homes in on a progressively smaller area (xpoo5
180 COMMr:NTARY: 765-770 COMMENTARY: 771-780 181

... ivcxs... 1v1ov,reinforced by sound echo) and finds every way to 771 'Alas, am I to be in this trouble or that?' 1<ai<&v depends upon
get in (61a... aµ,pi. .. inr6). The language is Homeric and is agairi ev8cx,cf. Eur. Tr. 685 616aa,ce1sµ' ev8a TTTjµa,wv 1<vp&.Medea's
transferred from war to love; in particular, A. imitates the Iliadic indecision echoes that of Penelope at Od. 19.524,just as the death-wish
interest in anatomical precision, cf. ll. 13.567-9 'he struck of773-4 picks up Penelope's words at Od. 18.202-3, cf. above, p. 29.
between the genitals and the navel, where battle is most uri,.•v,"n• 772 The asyndeton and series of short clauses, as in 636-8,
(ai\eye1v6s)of all for wretched mortals', 14-465-6 'he struck him at ""<>,-,,,,., characterise Medea's despair.
join of the head and neck, the topmost (vekrrov}vertebra ... ', enjambment marks the continuity of pain; there is no
773 ffl1P.Cl'l'OS:
8.83-4 (horses), 11.381, 16.314-15, N. E. Collinge, B.I.C.S. 9 pause from it.
43. A. also has his eye on contemporary medicine. The role of the 774 Artemis is traditionally responsible for the sudden death of
in bodily sensation was a subject of considerable debate, and women, but here there is a special point derived from this goddess's
Alexandrian doctors Erasistratus and Herophilus had discovered general oversight over virgins and Medea's close connection with
body's nervous system; apa:1as Ivcxsare most plausibly interpreted Artemis-Hecate. Very different, however, is the arrow which really
'nerves' (VEVpcx), cf. F. Solmsen, M.H. 18 (1961) 196, Fraser (1972) has struck Medea (284).
352, 11 512-13. What, if any, role had been assigned to the 'lowest 7751 These verses find a bitter echo at 4.32-3 as Medea finally
of the occiput' (veicxwviviov,cf. Gow on Theocr. 25_.264)is not takes leave of her home, ai8e ae nov-ros,I ~eive,61eppa:1aev'!TplV
Koi\xi6cx
The juxtaposition of contemporary science and the poetic image 'Achaean land' is also part of the slowly developing idea
yaicxv11<E<JSa:1.
Loves shooting· their painful arrows is a mixed effect typical that Medea will one day leave Colchis for Greece.
Hellenistic poetry. Although Medea listened to Argos' narrative, she is made to forget
: cf. 446-7n.
ai-c,u:x,ourJa it, as she has got the idea that her nephews actually reached Greece,
765 1tpam'6eaaLV : in Homer, the' diaphragm' may be a seat cf. 1071-4n.; whether or not her father shares this view is unclear, cf.
or intelligence, and poets used this word in both physical 375-6n. To obviate this apparent inconsistency, Frankel proposed
emotional contexts, like Eng. 'heart'. Cf. S. D. Sullivan, Ciotta replacing ycxicxvIKEa8aiwith vi\a Koµiaaa1, 'before the Achaean ship
( I 987) I 82-93. brought the sons of Chalciope', on the basis of an unmetrical and
EVlrJKlµ.~alv: cf. 153. The pains oflove are like arrows piercing nonsensical variant, ycxiavKoµiaaa:1,in '!Lm. This change would make
flesh. the reference of,ovs µev to the Argonauts - understood from 'Achaean
ffEpw-res: cf. 451-2n. ship' - much clearer than at present and pick up Argos' extravagant
766-g Medea considers helping Jason, or not helping him praise of the Greek ship (34o--6); in its favour might also be adduced
ensuring his death) and killing herself (to ease the pain and Virg. Aen. 4.657-8 ftlix, keu nimiumftlix, si litora tantumI numquam
disgrace), or doing nothing and trying to be strong. The verses are Dardaniaetetigissentnostra carinae.With Frankel's change, however,
reminiscent of the Euripidean Phaedra's account of her struggle 1aii6EV in 777 is obscure: 'from there' after 'Greek ship' would still
overcome her love for Hippolytus (Hipp. 392--402, cf. 811-16n.). naturally mean 'from Greece' (cf. 375) rather than 'from the Island of
'?ii 'she thought'. Ares'.
Ka-raqi,8ei'a8a,... &«viuv : for these aorists, where futures might 776-7Vian suggests that Medea sees the Argonauts as a divine
been expected, cf. Charmaine 11 307, MT 2 § 127. punishment for Aietes' treatment of Phrixus and his sons, but she seems
au-r.'.K«'presently', introducing a third option. to be worried only about her own problem (&µµ1 'for me', cf. 784,
ou~• ... ou: an emphatic anacoluthon, cf. K-G II 28g. 64on.).
au-rws 'just as she was'. 77g-8o The sudden shift from a dismissal of Jason to thoughts of
770 6o«l'JCJClTO : cf. 2 IIl. deceiving her parents, mediated by a 'for' which is psychologically
!82 COMMENTARY: 781-789 COMMENTARY: 790-803 183

rather than logically appropriate, marks the strength of Medea's 790 mxaaa:µ.iv11: in Homer cp6:pµcx1<cx Tl"O:O-o-ecv
is 'to sprinkle
desires. medicines' (/l. 5.401, goo, 1L515); A. produces a typical variation of
kv(l.jlw: cf. 475n. The force of e1T1is this by using 1Tmeoµcx1'I taste', et: L. Belloni, Aevum53 ( 1979) 69. The
action]'. faint echo ofeeAKT!)ptcx q,6:pµai<:o:
Tcrupwv (738) in the second halfofthe
781 µ.ij·rn;£7ttK1on:o.:; ... !ipwyij,; 'crafty plan of help', suggesting verse indicates that Medea's 'reward' for giving Jason the magic drugs
also 'a plan which can conceal my help', cf. 720, 912n. . will be to take poisonous drugs herself.
782 A meeting with an unaccompanied Jason would satisfy the need . 791--2 im,-).i;oualv ... K£p~oµ.ia:.:; 'people will ·wink reproaches at
for concealment (cf. 736-9), but there is in reality little threat from his me', a vivid extension of the Homeric KEpToµ/cxs µvefio-cxo-0ext.
Cf. 1.486
companions; Medea's passion thus shows through her planning. Gillies 1<alµ1v smt..i\il;wv~µeij3.:ro KEpT0µ1010-iv.
removed this awkwardness by reading hcxp&v, 'without my female 792-3 'The whole city will scream my fate far off.' Medea's
companions', cf.910-11 where an hri1<t..01To5 µf\,15 makes the maids vehemence is expressed through the alliteration of 1T and its voiced
leave Medca and Jason alone. h6:pwv, however, is a mark of Medea's equivalent j3, cf. 71n., W. S. Allen Vox graeca3 (Cambridge 1987) 31.
confusion and foreshadows an important motif of the later scene (cf. Others understand 'every city far away will ring with my fate', but
908, 913). Medea's concern is with the reaction of her own people. ·
n:poan-ru~oµ.<u 'greet', 'address', cf. I 025, 1 104; the word is partly '"JAOU : used here with the sense of TtJAOo-e, cf. e1CT0&1in 255.
chosen so that we feel its other sense, 'embrace', 'enfold'. 793-4 6ux a1."oµ.a1."o~ 'on their lips', cf. Gow on Theocr. t 2.20-1.
fouaa : the transmitted i6ovo-cxmatches W1TT)Ves in 82 1, but the aorist•• µ.wµ.~aov~«l: cf. 506n. Medea's words cast her again (cf. 641-2n.)
makes no sense. oi'.11ioOo-cxwould suit Medea's desires (cf. Gillies's in the role of Helen, '[If I go to bed with Paris], all the women of Troy
hcxp&v), but fifth-foot correption is rare ( 136, 1395, M. Campbell, will abuse (µwµ~o-oVTcxt)me afterwards'(/!. 3.411-12).
R.Ph.3 47 (1973) 89). 795-7 Medea imagines the direct words of her detractors, like
785--6 In 466 spphw was said of Jason: things have changed Hector at II. 22. 104-10 and, in particular, Nausicaa at Od. 6.275-85
somewhat. who imagines that she will be accused of dishonouring her own people
a.y)..«il): a general word denoting respect and good fortune, cC by marrying an COITJP TTJAE6CX1T6s (cf. 795).
Livrea on 4.1041. The cost of helping Jason will be the loss of all .i)..).06«1toi'o: the idea that it is folly to seek things far away has
advantages of being a princess. Medea uses the word again bitterly at almost proverbial status in Greek literature, cf. Pind. Pyth. 3.20-3
4.357 when she accuses Jason of becoming forgetful because of his (love), Eur. Hipp. 184-5 (Phaedra's desire for TO crn6v), Thucyd.
success (ayAaio:1): her loss is his gain. 6.13.I, 6.24.3.
787 er. 1.888-90 (Hypsipyle to Jason) VIO"EO ... o:v-rwsoos e8kt..e1s
Kcd µ.a.pyoauV'ljl'lust', the lack of sophrosyne in sexual matters; it is the
TOI cpii\ov.These passages find a sad echo in t061-2 vicreo6' eµ1TT)S I ~1 condition induced by µ6:pyos "Epws ( 120). In her later despair, Medea
cpiAov,~1 ,01 lio:6evacpopµ118ev.1vfa-rllcxt.This verse has a close reproaches herself for µcxpyoo-uvm(4.375).
parallel in Call. h. 2. l 13 0 6e M&µos, iv' 0 (1)06vos,evecxVEOlTo,c[ 797 1."L..a:l:ax_o~;:'What reproach will not be mine?' Others
above, p. 7. understand 'What [can I do which] will not bring shame to me?', but
788 i;«vua£l£V : the mood is attracted to the optative of the main the former seems better suited to her fear of popular reaction.
verb, cf. 1112, K-G 1 255-6. 8oo avwtG1."Wl : both 'unexpected' and 'not understood', cf. 6-7n.
78-9fLEAct9pwl: the 'ridge-beam' in the centre of a wooden roof; A death-wish closes the speech, as one had opened it (773-4).
according to Od. 11.278, Oedipus' wife hanged herself from this .. 8o3 Cf. Od. 4.230 (about Egypt, the source of Helen's drugs)
structure. ~pµCXKcx, -rroi\7\aµev eo-8/\0:
µsµ1yµevo:,TiOAAa6£ Avypo:.
184 COMMENTARY: 804-816 COMMENTARY: 818-827 185
·:::;::.

804-5 Cf. Od. 21.55--6 (Penelope and the bow of Odysseus) ~OIJEVTJ ": 818 As at other crucial moments (250, 4.11, 510, 1199-1200), Hera
Se Ko:r' av61, q,O.otshrl yovvamaeract,
I KAOOE
µai\a i\1yaoos,EK6' ~!pee}? intervenes directly: 811-16 represent only one side of Medea's
i'O~OV a\lCXKTOS. . < dilemma - for her the doubt and torment is to continue (c( 828-35n.,
a.G't'e&yi~ 'not in drops', i.e. 'in floods', an adverbial neuter. - i:\ 1132, I 157-62) - and the divine intervention marks the difficulty and
8oJ -roq>pe& instead ofoq,pa is first found in Antimachus, fr. 3.2 Wyss,} importance of Medea's action, c( Campbell ( 1983) 50-6. There is no
cf. Livrea on 4. 1487; euphony and metre will have been the guiding\/ necessary inconsistency between 818 and what has gone before, and the
factors in its use. nature of divine psychic intervention here remains basically Homeric,
nciacu-ro: cf. 790n. •:} cf. E. R. Dodds, The GreeksandIkeirrational(Berkeley 1951) 1-14, W.R.
811 'For a long time she sat numb and unmoving', cf. 2840. :' Johnson, Darkness visible (Berkeley 1976) 161-3, above, p. 26. Less
811-16 In being tempted to renounce suicide in favour of the Homeric (but cf. 25on.) is the technique which postpones the revelation
pleasures of a young girl's life, Medea sets in train a series of actions/ ofHera's role; there is a close parallel at 4.119g-1200 where Hera's
which destroys those pleasures, as she later realises {4.rn36-7). By) role in making Arete plead for Medea to her husband is only revealed
offering aid to a strange man behind her parents' backs, she leaves{ postfactum.
behind the innocent pleasures of the 1<ovp11. •/ iw£alyt,a,: cf. 29n.
A contrast between the delights of life and the grimness of death ii 818-19 ' ... nor did she any longer hesitate over (cf. 20-rn.] counsels
a standard poetic theme (cf. Nisbet-Hubbard on Hor. C. 1-4-18). Of) [which would lead her] in any other way'.
particular relevance may be the fragmentary remains of Erinna's ib.6e'l"o: an echo of 747 closes the passage: as the gate-keeper had
description of the games she played with her now dead friend Baucis; longed for sleep, so Medea longs for the dawn.
if the standard interpretation of those verses is correct {SH 401. 1-27); 821 I~ C:,nl)"'face to face•.
In Euripides' Hippolytus,Phaedra, who has decided to kill herself; 822 &wi... ).u£a1C£contrasts by echo with the despair of 808.
argues that people do not do what they know to be right, in par( B23-4 Cf. the longer description of dawn at 4.1 1 70-5 which also
because of'the many pleasures of life' (vv. 382-5), cf. 766-9n. Ovid marks a crucial boundary for Medea (Alcinous' announcement of his
transfers Phaedra's view to his Medea, 11.ideo melioraprohoque,I deteriorJ· decision). Here, Medea's 'long night' is over: night (744) gives way to
sequor(Met. 7.20-1). ) dawn, stillness (74g-50) to busy movement.
11£"
l'-"l)cr!l'l"O K-r)..'She remembered her happy friends, as you would_ _ 'HplY£"~~: here and at 2.450 a noun or proper name, at 1224 an
expect a young girl to.' µev, if it is answered at all, is so by non-/'" epithet of TJWS; A. does not use the Homeric 11p1yeve1a.
adversative Kai in 817, cf. Denniston 374; 814 explains and gives detail/{ 1Cl"WV-ro: the stirring city at dawn is the subject of a famous passage
to 813. · / ofCallimachus' Hecale(fr. 26o.63-g = SH 288.63-9), cf. 927-3tn.
: the plural stresses the number of different pleasures,
nlli>.o\l'l"!ll di/ iKe&G't'Ol:the singular is regular, but cf. 1.872, Od. 9.164, LSJ s.v.
K-G l 65--6. -/ u.
.JiiAL~:in the darkness of night, the thought of the sun gives Medea/ 825-'7 A. is at pains to chart the movements of all the important
something to live for; the appearance of the sun is indeed going to mark\ characters: Argos will have returned to the ship immediately after
her emergence from worried doubt into action. Y- learning from his mother of Medea's promise (740-1, immediately
d iuo" K'l")..' ... as in truth she began to ponder [lit. 'lay hold of']/ before the description of Medea's w~), and his brothers return on the
everything in her mind '. rneµaial' is a striking extension of the/ following day when they have some news (914-15).
Homeric Elvµosrneµaie-ro (It. rn.401 ), but cf. already h. Herm. 1o8) ltOUp'J~:cf. 1133-6n. Pindar too had punned on Medea's
11.l16Ee&
truposs· rnsµaie-ro i'E)(VTJV. In 2.546 A. uses this verb of visual/: name (Pyth.4.27); here it marks the men's complete dependence upon
'grasping'. the young girl's µ~-rt~. For other 'significant names' in A. cf. 242-6n.
186 COMMENTARY: 828-832 COMMENTARY: 833-845 187

AlaCJ&d, 'returning', cf. 966, 1164. The aorist shows that cleanses herself with 'ambrosia' and 'ambrosial' oil; aµj?,poo-iw1 in 834
... 711acr6sis are a single action (M T 2 § 150). makes the variation clear. 'Ambrosia' and 'nectar' are used almost
828-35 The appearance of dawn marks Medea's decision to help interchangeably by later poets or are taken to refer respectively to the
both Jason and her sister (cf. 728-9); the disastrous consequences or drink and food of the gods, although Homer's conception is quite
that decision will soon be foreshadowed in another image of powerful different and 'nectarous ointment' is not in keeping with it, cf. Onians
brightness, cf. 956-6rn. For the moment, however, she gives herself a ( 1954) 292-9.
brightness to match that of the dawn. Three archaic models suggest the q,aL6puvET•em: reversed or anastrophic tm·esis, cf. 43-7n., 10181
importance of Medea's toilet: (i) Ii. 14-17o-86. Hera prepares herself ll 36, 1 i 93, Buhler ( 1960) 22 1-8.
to arouse Zeus's sexual desire. This scene had been used in the 833 ttPl')PEl'-Evov: perfect passive participle from apaptO'KW.The
description of Aphrodite at 45-50 (cf. 43-7n.), and 829 rewrites 50; the recessive accent imitates Homeric forms such as o:KTJX£µ€vos.
echo stresses Medea's beauty and suggests that both Hera and the 834-5 The model for Medea's veiling is three Homeric verses used
power of Aphrodite, for which Hera had pleaded, will work through of Calypso ·and Circe (Od. 5.230-2, 10.543-5); Medea thus has
her. (ii) In the HomericHymn to AphroditeAphrodite makes herself up something of all Odysseus' women, although the poet is about to
and dresses in a beautiful peplos before going to meet Anchises with concentrate on the debt to Nausicaa.
whom Zeus has made her fall in love (vv, 61-4, 86-7); this hymn is 836--7 An authorial observation (cf. 1133-4, 2.65-6 etc.) qualifies
again an important model at 883-4 (Artemis' effect on the animals}, Medea's temporary happiness. The troubles' at her feet', i.e.' present',
(iii) Od. 18.292-4. Antinous presents Penelope with a beautiful 'of immediate concern', are most naturally interpreted as the fearful
mplKWIAEO:1TE1T/\OV, / 1TO!Kl/\OV' EVs· exp' foav mp6va1 flight which she is soon to make, the 'future troubles' as the disastrous
11'00'0:t [cf. 838] I xpuaeto:1,KAT)iO'lVaiyvaµiTTOIS o:papvTaLThe fusion later history of her relationship with Jason.
models referring to Aphrodite, seduction and Penelope points to the aTt:i/3£n:i6ov gives life to the metaphor in ev 1T□criv; it is as though
crisis in Medea 's life; Hera has determined that the young girl will she tramples on her &xri as she moves excitedly about.
Jason, hut she herself still faces a terrible dilemma. 8ECJ1tfot':the literal sense is again (cf. 392n.) plainly felt; Hera has
829 (avMG: Medea has hair of the same colour as Jason caused these troubles.
( 1 o 1 7n.) ; so too, the ladies of Roman love-elegy are typically .flauae. 838-43 Many echoes of Nausicaa's preparations at the opening of
This detail conflicts with the standard Greek picture of the Colchians Od.6 (esp. vv. 16-19 and 69-74) lead into the more extensive use of this
as a dark-skinned race (Pind. Pyth. 4.213, Hdt. 2.104.2). Homeric text in 869ff.
830 The h1atus in the first foot imitates Homeric practice in 840 That Medea's maids are still too young to have husbands points
the digamma of fol was operative, cf. 1226; contrast the correption to the dangerous position in which Medea is placing herself by having
o:i in 838 and µevscanned short before oi in 1205. For nt:uc1m;m; a rendezvous with the handsome stranger.
practice in general cf. Gow on Theocr. 15.112, Pfeiffer on Call. 845 tpo:CJL: a common trick of style in epic, cL 2.976-7, ll. 17.674,
2.3. 19.415-16, Hopkinson on Call. h. 6.52. The device may be used to
1<a'?au11-ivcu 'falling down', from Ka611w1,cf. im1e1µs"'1in 45. prevent the poet or one of his characters from making a false assertion,
831 Eql'l}X£'she rubbed', a further echo of Aphrodite's toilet, cf. but Hellenistic and Roman poets use q,o:cri, <jlCITi,, .fertur etc. to
royf}KTOVS in 50; Callimachus uses this verb of' rubbing down' animals, acknowledge, rather than to conceal, their use of a written source, or
in a passage which is soon to be very relevant (h. 3. 163, cf. 1.10,c,-,t1m1. to pretend that they have authority for what they are reporting. LLP
E'f'T)O"Eof the MSS, 'she wiped', would be much less unusual, 854-9b asserts that A. has no source for his account here, and there are
corruption to S'+'llX•hard to explain. indeed no certain earlier references to the drug Prometheion, although
832 \1€K~czpil)t 'fragrant', a variation on ll. 14.170-2 where a very late source attaches a story about it to the third-century Stoic
188 COMM!-:NTARY: 847 COMMENTARY: 848-854 189
Cleanthes (SVF I 595). Two possible sources arc, however, worth 848 oii-rE: the second syllable is lengthened before initial p in
considering. {i) The Colthia11H'omm and Rlii~olomoi('root-cutters') of imitation of Homer, cf. Mooney 421.
Sophocles. The former indudcd an account of the sufferings of 84g--50 • ... for that day he would be invincible in might and
Promctheus (kypotk. Acsch. PV, cf. Pearson on Soph. fr. 340), and 858 strength (cf. 1043-4] equally'. Frankel understands 'equally [i.e.
and 865 seem indebted to the latter (sec nn. on those verses); for without lessening] throughout that day', and Vian-Delage adopt this;
another possible tragic source cf. 851-3n. (ii) Contemporary phar- but this does not seem a natural way to interpret oµws. Cf. further
mac-ological and magical writing, of which a great deal was produced 1050n.
in Alexandria. It is perhaps particularly unfortunate that we do not' 851-3 Prometheus' suffering is described at 2.1247-59, which
have more of the work of Bolus 'the Democritean ', a paradoxographer prepares for the crucial role of• Prometheion' in the poem. Here four
with a special interest in pharmacology whom we know to have been· noun-adjective phrases covering two verbless verses tell the story in all
interested in 'sympathy' in nature, an idea of some relevance to·, necessary detail; for a related stylistic mannerism cf. the close matching
Prometheus' suffering at 865-6; for Bolus see Fraser ( 1972) 1 440-2. . of nouns and adjectives in the opening invocation (1.1-4). The exotic
Greek myth knew of many plants which grew from blood (cf. Teufeli nature of the drug is marked by three alliterative pairs of noun and
( 1939) 25-38) - the hyacinth and the anemone, for example - and geographical epithet (852, 855, 859).
scholars have sought a real plant lying behind A.'s description. The n:pw-roq>uit; : i.e. it did not arise from another plant.
most likely candidate is mandrake, around which there was an ex< IC«~aCJT«;cxv-ro~ 'let drop'. Cicero quotes his own translation of a
tensive folklore, cf. C. Lacombrade, Pallas ro (1g61) 19-30 and R.J.:,::tr speech by Prometheus in the lost PrometkeusLyomenosof Aeschylus
Clark, Folklore 79 {1g68) 227-31. A. has probably also borrowed \? (Tu.re.disp.2.23-5 = Aesch. fr. *193 Radt, cf. M. Griffith, Aeschylus:
from descriptions of a poisonous plant called 1<oi\x11<6v. Dioscorides\{ Prometkeus Bound (Cambridge 1983) 291-5) which has a number of
(4.83) says that this plant, which is abundant in Colchis, has a white ./@@ ideas in common with the description of Prometheus and the eagle at
flower 'like crocus' (cf. 855) and that the inside of the root is 'white, )/:'! 2.1247-59. The end of the speech, cladesnostroinfixa est corpori,I e quo
soft and sweet and contains a lot of juice', a description which would S: · liqualaesolis ardoreexciduntIguttae,quaesaxa adsidueinstillantCaucasi,has
also do for 'freshly cut flesh' {857). There is, however, also a clear deb(\ similarities (as well as differences) with 851-3 which are noteworthy
to Homer's description ofmo?,, 'black in root, flower like milk' (Od,) and harden the suspicion that there is much lost poetry behind the
10.304), which Hermes gave to Odysseus to protect him against Circe's') present passage.
magic and which is said by a late source to have grown from the blood:\ Wl'-lJOT£W : scanned as three long syllables, with synizesis of -e(a).
of a giant killed by Helios on Circe's island (Alexander of Paphos ap/ «l!'-«-rowr' txwpcx: this phrase has a double appropriateness. (i)
Eustathius, Hom. 1658.48-54). A. has thus created a mixture of the Ichor is what flows in the veins of the 'bloodless' Homeric gods, the
'mythical' and the 'scientific', typical of his whole picture of Colchii.) &µ~pOTovcxTµa(ll. 5.339-42), and in the bronze giant Talos (4.1679).
847 '1«tpcxv: here a cult name for Hecate, cf. 1035. Elsewhere Daira:\ Prometheus has 'bloody ichor' because he occupies a middle position
{or Daeira) is a chthonic deity associated with Eleusis and ofteii( between man and god, cf. Ar. Birds 1494-1552 etc. (ii) lxoop also has
identified with Persephone {hence the gloss 1<ovpf1v). This name is;\ the medical sense 'pus' (LSJ s.v. u), and 'blood-filled pus' aptly
therefore, one element in the extensive syncretism of Persephone/ > , ·.··· describes what one imagines filled Prometheus' constantly reopened
Hecate and Artemis found in the latter part of this book. :( wounds.
1.1-ouvoyevm1v:cf. 1035, i.e. she has no siblings; this epithet is also\ 854 ij-rol emphasises the truth of the account, cf. Denniston
applied to Hecate by Hesiod ( Tkeog.426, 448), and to Persephone by'( 553-4.
late 'Orphic' texts {fr. 190 Kern, h. 29.2). · ····· OIJOV n:11xulO'II'a cubit high', cf. LSJ s.v. oaos1.6.
190 C0:\1M ENTARY: 855-860 C01\,!MENTARY: 862-868 19]

855 Cilicia (southern Turkey), and particularly a mountain cave syncretised Selene-Hecate-Artemis-Persephone (cf. PCM iv 2270,
near the coastal town of Corycus, was a famous source of saffron, cf. Betz ( r 986) 78 and Glossa~ys.v.),
L. Robert, R.E.A. 62 (1960) 334-5. Saffron was associated with 1Coup0Tpot:pov: already an epithet of Hecate in Hesiod, cf Theog. 450
Demeter and Persephone (Richardson on h. Dern. 6), and so it may with West's note.
have a particular appropriateness in this description of chthonic 862 The narrative imitates the piled epithets of an actual prayer, cf.
magic. 1.1125-6, 4.147-8 (which varies this present passage). All of the
856-7 Reference to two' technical' words of botany, 5tKcruAsfo'to epithets may be amply attested both from literature (cf. Livrea on
have two stems' and crapKwBris'fleshy' (Theophr. HP 6.6.8-10), adds 4.147) and from the magical papyri.
an air of science to the description; in the latter case, A. gives a evipoLmv &vaaoa:v makes plain a syncretisrn with Persephone,
gruesomely literal meaning to the expressive term. which is already visible in the classical period, cf. Eur. Ion 1048-50
858-g 'Like the dark moisture from a mountain oak, she had eivo6ia evycmp Ao:µa-rpos, 0: TWV I VVKTtTTOAWV sip66wv av6:crcre15,
gathered its [dark sap] in a Caspian shell to work her magic.' A dark Diggle on E"ur.Phaetlwn268, Pfeiffer on Call. fr. 466. &vo:cruais an early
and sticky extract from certain kinds of oak (i~6s) was used in a cult title of Hecate: already at h. Dern. 440 she is PerM~phone's
number of colouring processes and to trap birds. np6noi\os Kai on6:wv ... 6:vacroo: (cf. Richardson ad loc.).
K£).omn\v: the colour of death and menace, cf. + 1508, Nisbet- 863 Both the night and the magician are dark; Hecate herself may
Hubbard on Hor. C. 1.37.27. be dressed in black robes, cf. PCM iv 2553.
Ka:o-n11)L:the Caspian was often thought of as a gulf of Ocean, Auya:t"IJl:probably 'moonless'; at 1362 and 2.1 120 the word is used
although some later scholars disputed this, cf. Thomson ( I 948) I 27-9, of a stormy night (cf. 2. 1104-5), and at 4.59-61, in an unfortunately
RE x 2275-90, Vian m 16-17; little was in fact known about this sea. corrupt passage, the moon claims that she allowed Medea to practise
A. imagines a system of three rivers which linked the Caspian to the her magic 'in the gloom of night', In other contexts moonlight is
Black Sea- the Araxes, the Lycos and the Phasis (4.131-5, Delage necessary for the efficacy of magic, ef. Virg. Aen. 4.513-14 jalcibus et
(1930) 182-4) - thus accounting for Medea's possession of the shell; messaead lu.1111m
quaeruntur... herbae.
the epithet is part of the ethnographic and geographic detail with 865 This verse perhaps acknowledges a debt to the Rh£zotomoiof
which A. fills out the kingdom ofColchis. The use ofa shell (a common Sophocles, which may have told the story of Medea's destruction of
talisman) in this dangerous magic may have been to ward off Pelias. Real 'root-cutters' were a familar group on the fringes of
malevolent powers, cf. Teufel (1939) 27. ancient medicine and were much more prosaic than A.'s Medea, cf.
aµ.iiar.no 'gathered', possibly a variation on Sophocles' description G. E. R. Lloyd, Science,folklareand ideology(Cambridge 1983) 119-35.
(fr. 534 Radt) of how Medea 'cut' (r\µa) her magic roots. T1T1)Vtlio~:Prometheus was the son of the Titan Iapetus, and Medea
860-1 Seven is a magical number in many cultures, cf. J. Gwyn the great-granddaughter of the Titan Hyperion, who stands next to
Griffiths on Apul. Met. 11.1 (p. 266, 22). Medea either bathes in seven la pet us in Hesiod's list of Titans ( Tlieog. 1 34); so too, Hecate's
different streams, cf. Ovid, Met. 13.953 ( 1oostreams), E. K. Borthwick, grandfather was the Titan Kreios (Hes. Theog. 375). These various
Eranos64 (1966) 106-8, or seven times in (possibly the same) water; in connections identify Colchis as a place where pre-Olympian, 'non-
the latter case enTo: stands for enTO:Kf. Greek' practices are the norm., cf. 1122-4n. On Titans in general cf.
a:eva:oto1'ever-flowing', and hence sacral and purifying, cf. Soph. West on Hes. Theog. I 33.
OC 469, Parker ( 1 983) 1B-2 1, 226-7. 866 1tEp1governs oSuvfll (cf. LSJ s.v. mpi ll 11.3), and 6vµ6v is an
Bptµ.w 'the roarer', i.e. Hecate, cf. 1211; the cult name is accusative of respect.
appropriate to her noisy appearances (cf. 1038-40, 1217). Elsewhere, 867--S The description of Prometheion is enclosed by chiasmus and
this title is applied to Perscphone and, in the magical papyri, to the ring-composition, e~eii\no ... TTpoµ110e1ovin 844-5 is answered by
 192 COMMENTARY: 869-872 COMMENTARY: 873-876 193

f
'ICX1T.roio rr&:1s
•.. a;OVEAoCiaa.
The long 'digression' allows the bizarre ·••· i@i'l)a«v: the simple verb picks up the compound of 869, and the
contrast of 867-8 to come with particular force; cf. perhaps 4.1405-7 : active varies the earlier middle.
where the beautiful Hesperides lament over a rotting serpent. These·. 873 1tEtp1v&oi; : the detachable 'car' or 'basket' which was placed
verses tell us much about the different aspects of the Apollonian < on the o:µa~a.
Medea, cf. Hunter (1987) 130. ·.·. 874-5 A pictorial detail common in both literature and art, cf.
'breast-band', supporting the breasts under the tunic.
p.l..:p'l)L ) 4.45-6 (with Livrea's note), 940-9, Richardson on k. Dem. 176. A.'s
l.!.-.pu'was wound', pluperfect passive of eipoo. ./ immediate model seems to be k. Dem. 174-7 (of the daughters ofKeleos
86g-86 As well as the clear debt to the opening scenes of Odyssry 6,< going back to fetch Demeter) 'like deer or heifers in the spring who
the description of Medea's ride to the temple has a number of paralleb : leap through the meadow, having eaten to their heart's content, so did
in the extant works ofCallimachus, particularly the Hym,itoArtemis(et/ they dart along the hollow (KoiA1)ll,which A.'s evpeicxvmay try to
nn. to 86g-72, 876-7, 878,879, 881-3, Eichgriin (1961) 111-18); a} explain as well as vary] waggon-road, holding up the folds of their
Homeric framework with Callimachean elaboration points to Apol~\ lovely robes'. The echo hints at a similarity between Demeter and
lonius as the borrower from Callimachus, not vice versa. The pa11agc\ Medea ·and an association of Hecate and Hecate's priestess, Mcdea,
as a whole is marked by' the subtle evocation of a wedding atmosphere'.{ with Demeter's daughter, Persephone. In the·HomericHymn, Demeter
(Campbell (1983) 58): the cosmetic preparations, the reference to\ is searching for her daughter who has been carried off by a man:
bathing, a chariot-ride and attendant virgins all find some counterpart} Medea is to try to arrange such an event behind her parents' back (c£
· in the ritual of a Greek wedding. These hints are distributed between/ 876-86n.). These verses also irresistibly call to mind the proem to
the simile and the main narrative, and are suggested rather than madC/ Callimachus' Aitia, 'poet, feed the victim to be as fat as possible; but,
explicit. Medea is going to meet a man whom she has already dreamed/ myfriend, keep the Muse slender (Arn'Tai\env).This too I bid you:
to be her husband; Nausicaa's mind too was on marriage when she se(. tread a path which carriages (a:µa~ai) do not trample; do not drive
out. A series of pointed contrasts between this passage and Medea'a your chariot upon the common tracks of others, nor along a wide road
flight in the first scene of Book 4 paints the disappointment of her (ofµovcxva: 1TAa-rvv),but on unworn paths, though your course be more
dreams with stark clarity, cf. Hunter (1987) 136. .• narrow' (fr. 1.23-8, trans. Trypanis). The relative chronology of Arg.
869-72Cf. Od. 6. 78, 81-4 Kovpn 6' ime~T}ad CXTrT)VflS- I ... I11lf and Call. fr. 1 is a very difficult problem (c( above, p. 8), but A. was
EAaf3,e.v µaa.tya Kai iivia a1yw.6ev,a, I µaOTl~E\I 6' i:Mav· KCMX){fl 6' ~v certainly familiar with the critical idiom represented by the prologue,
11µ16vouv·I ai 6' o:µo,ov 'TCXVVOV'TO,qiepov6' ecr0fi,a KO:ICXV'TT)V.I ovic<· and many may see here a programmatic acknowledgement that the
oinv, cxµa 'TT}l ye Kai 6:µq>l1TOAOIKiov0:AAQI. << present passage is a modern (hrnTCXAeoS) reworking of a famous
EK8.\: EKis either in tmesis with KtoOcraor adverbial, 'and then', c£</ Homeric scene.
2&~
8oiji;: all of Medea's movements are quick and urgent. At Call . .i.\)
J \f:
e-myouv£6os:the thigh just above the knee. 'White thigh' is an
explicitly erotic detail, in keeping with the purpose of Mcdca's trip; for
3.106 Artemis has a 6oov a:pµa. ') such sensual detail cf. G. Huber, Lebenssdzilderung und Kleinmalereiim
8oud b«up8-.v: both 'one on each side' (cf. Od. 11.578) and 'two/ ktllenistischenEpos {diss. Basel 1926) 59-63.
on each side' (cf. Il. 11.27) are possible translations, but at Od. 6. 18-1iiii 876-86 Homer had compared Nausicaa playing with her friends to
(which was obviously in. A.'s mind) 6vo ... a<a-rep0eis 'one on eachf Artemis out hunting with the nymphs (Od. 6. 102-g); the point of the
side', as is 601~ ... ~Kinepesvat Orph.Arg. 815 which probably echoes) Homeric simile is the superiority of Artemis and Nausicaa respectively
this verse. Three people in the chariot is in keeping with the suggestio~/ to the girls around them. A. changes the position and point of the
of wedding-ritual (cf. 869-860.). simile, which now precedes the girls' arrival at their destination, thus
194 COMMf:NTARY: 876-877 COMMENTARY: 878-883 195

creating a more- obviously close parity between simile and main naturally associated its name with Artemis' fondness for it, cf. 2.936-9.
narrative: the washing, the chariot, the movement towards the temple; The Amnisos flowed near Knossos in Crete; at the town of Amnisos,
and the fear inspired by the procession are all common to both simile Eileithyia, the goddess of childbirth, had an ancient shrine, cf. Od.
and narrative. In Homer, Nausicaa's mother had taken a leading part 19.188, Call. fr. 202.1, h.. 3.15, 162. Eileithyia came to be identified
in the preparations for the trip and in the simile Leto rejoices to see her with Artemis Aox/a (Roscher I 572-3), and it is tempting to suppose
daughter, but Medea's parents would take no joy in her excursion; the that Artemis has been bathing in the river to cleanse herself of stains
omission of Homeric detail is here as important as what is included. In and pollution arising from her attendance at a birth (cf. Parker (1983)
making some of these changes A. may reflect ancient criticism of 4:g-50), just as the Parthenios refreshes her after hunting (2.937-g,
Homeric practice, cf., e.g., :a>-Ii. 10.5, A. Clausing, Kritik und Exegese: Call. fr. 75.24-5). The giving of alternative locations for the goddess
der komerischenGleicknisseim Altertum (diss. Freiburg 1913) 31-2. imitates the Homeric model (cf. Od. 6.103), but also adds 'a tone of
There are a number of reasons why Artemis is an appropriate: religious formalism' (Bulloch on Call. h. 5.60-5) as it is predominantly
goddess in this context. Hecate was sometimes identified with her (cf. a stylistic feature of prayers, here taken over into narrative.
Friis-Johansen and Whittle on Aesch. Suppl.676), increasingly so as the ).iapoialv: normally 'warm', but at 2.939 Artemis cools herself in
Hellenistic period went on, and the fear which Medea inspires (879n.;, the Parthenios; the meaning may therefore be·'pleasant', 'sweet', cf.
885-6) derives from her magic powers and association with that dread Hesychius >..927 where the list of glosses includes vyp6v, 1<a8ap6v,
goddess. Artemis was also closely connected with the crucial 11sv.
transitional stages of a woman's life - puberty, marriage, childbirth; 878 Cf. Call. k. 3.110-12 'Artemis, Virgin, Slayer ofTityos, golden
death - and it is just such a transition that this ride represents fol' were your weapons and your belt, golden was the chariot you yoked,
Medea; cf. Burkert ( 1985) 150- 1, H. King, 'Bound to bleed: Artemis and on your deer you threw golden reins.' Gold is par excellencethe
and Greek women' in A. Cameron and A. Kuhrt (eds.), Images ef metal and colour of the gods, cf. 46, Williams on Call. k. 2.32.
women in a,itiquity (London/Sydney 1g83) 109-27, H. Lloyd-Jones; 879 In the Homeric model, Artemis 'takes delight in the boars and
J.H.S. rn3 ( 1g83) 87--102. A. names two cult places, one of'the Virgin•• swift deer'; A. has put this detail to a quite different use. The deer is
and one connected with childbirth, which make the point clearlyf the animal most closely associated with Artemis (RE vm 1945-8) and
between the two must come contact with the male world and: Callimachus too has Artemis drive such a chariot (k. 3.98-112). At a
marriage. ·· festival of Artemis Aacppia in Patrai the priestess rode on a waggon
pulled by deer (Pausanias 7.18.12). A. may well have this rite in mind,
as another feature of it was that wild animals were thrown alive into
the sacrificial fire, and this would certainly suit the animals' fear in
884; for discussion of this festival cf. G. Piccaluga, 'L'olocausto di
Patrai ', EntretiensFondalumHardt 27 ( 1981) 243-87. KEµcxshere is simply
'deer', not 'young deer'; contrast 4.12.
881-3 er. Od. 6.105-6 'Ttll 6Ee·aµa vvµcpat,t<oOpaiA1os aiy16xo10,
virgin goddess) oiTj TS ••• ecp' v6aa1 (in the same series), apparently Iaypov6µ01 [v.l. ayp6µeva1) "11"ail;ova1. A.'s division of nymphs (c[
imitated by A. at 4. 1 31 1, seems a clear warning against change. An: 1.1222-9, 4.1149-51) is already in Homer (Od. 6. 123-4, ll. 20.8-9, RE
alternative interpretation, •at the streams of Parthenios, or having xvn 1532-3); it may be relevant that Callimachus wrote a monograph
washed in ... ', gives a more regular sense to hri, but 876 is then hard', ffapi vvµcp&v(fr. 413).
to reconcile with 878-80. The Parthenios flowed into the Black sea: ll[J,Op~6ec; •companions,' cf. Call. k. 3.45 6vycrrepas /\fl'TOOi61
near Sesames in Paphlagonia (northern Turkey), and the ancients m!µnov aµopf.\ovs-.
196 COMM ENT ARY: 882-892 COMMENTARY: 893-900 197

a:ypoµ.ev«L:. the openings of 881-2 reproduce those of Od. 6. w5-6; 718, //. 15.46 'Tf\1i1,1ev.
Only gradually does Medea reveal to her maids
A.'s verse suggests that he knew the reading 6:yp6µEVa1in Homer, not 1hatshe has actually made a rendezvous with Jason; she begins as if her
necessarily that he approved ofit, ifhe knew another as well, ef. above · feelings arc just the same as those of all the Colchians.
p. 36. ~ f1,E'f• 'among•.

882 'Aw,llal6o,;: Frankel's 'Aµvu:riSESis tempting as it gives better; 8g:J-5 Medea explains why there is no one else at the temple, and
internal balance to the clause and more point to cnrrf\s,but the: . therefore nothing for them to do; normally they would be much
resulting rhyme with o:µop~a&s in the previous line may be thought t6 \?} concerned with the requests of the women of ,the town who would
produce an undesirable sameness in the verses. Unfortunately, Virgil's:( gather at Hecate's temple for a variety of social and religious reasons.
imitation of this passage at Aen. 1.498-502 does not help with this\ That Medea left early in the morning. to go to the temple will have
detail, ef. Clausen ( 1987) 2 i. . f seemed to the maids merely part of the normal routine (cf. 251-2). On
>..moGaott:the transmitted Sriai\i\a1 clearly arises from 872. NJ\ this day, however, no one has come, for fear of the strangers who are
proposal can be considered certain, but Nonnus has ai Si:i\movaa 1r::== roaming around.
ai\cmx of nymphs (14.210-11). C: «f',Y)X«YlY)l:i.e. the townspeople have no idea how to get rid of these
883-4 Two epic models are important here. (i) At ll. 13.27-8 the{ unwanted strangers.
creatures of the sea leap for joy around Poseidon's chariot. The passag/{i -rotea{ 'and therefore', cf. LSJ s.v. o A vm.3.
as a whole has much in common with the opening cifOd. 6, and so, ai} a:yt\povr«1: Hellenistic poets use both 6:ye1p-
and aysp- as the present
often, A. has taken an idea from one Homeric passage and used it irt stem of this verb, cf. Maner (1935) 12-13, Gow on Theocr. 17.94.
his reworking of a parallel piece of Homer. The contrast between joy 8g6 ullo,;: the generalising masculine (K-G l 82-•3), but Medea
and fear increases the menace of Medea's appearance. (ii) In /i. Aphr)} has a very particular male in mind. ·
the wild beasts fawn around Aphrodite as she goes to visit Anchises and·( Bg']-9 Nausicaa and her servants played ball on the beach while
she instils in them the desire to mate, unlike the huntress Artemis who\ their washing dried. Here Medea suggests a similar pastime, but in
fills them with fear (vv. 6g-7 4) ; the echo of that scene shows that there'\ particular she reveals her desire by creating 'the circumstances in
is more to Medea than just virginal beauty. The transition from which rape regularly occurs' (Campbell (1983) 61). Persephone,
Artemis to Aphrodite is skilfully made by two details in the Homeric} Creusa (Eur. Jon 888-go) and Europa are merely three examples of
hymn immediately before the passage just described: Aphrodite goes to} the ~ny virgins in Greek myth who were raped (in either sense} while
Ida 1TOAV1Tiba(v. 68, cf. 883 in the same sedes}which is described asY picking flowers; in particular, groups of young girls engaged in the
µrrrfpa 811poov;it is Artemis of the fields who is ,r6,v1a eripwv (I(\ worship of Artemis were especially vulnerable (cf. Burkert (1985) 150),
21.470). \ and thus the simile of 876-84 has prepared for this nuance here. The
885-6 The people avoid Medea's gaze not just out of deference to~/ corresponding simile in Valerius Flaccus in fact has Persephone
princess, but for fear of the magical powers she carries in her eyes (cf dancing with Athena and Artemis (5.343-9).
4.145, 1~72); at 4.727-9 the poet says that the descendants o(\ p.ol'lrij,'games', not merely 'singing', cf. 949-50, Od. 6.101. The
Helios are recognisable by the brilliant gleam in their eyes. } meaning of µo>.,r~ in Homer was much discussed in antiquity (Livrea
889 «UT08l 'immediately', emphasising Medea's eagerness, cr.r· on 4.894).
LfgrE s.v. 3. Others understand 'there', which is colourless. T «U'njv ... ~p't)v 'at the same hour [as usual]', cf. 417.
8g1-2 wq>Cl.«l: Medea speaks like a tragic heroine to her chorus, 900 r1eour&e : the potential optative avoids a straightforward
cf., e.g., Eur. Med. 227, 765, 1236. C · untruth. Medea's stress throughout this speech on the gifts she is
ou6' ivol)al'lI fi.~ lfl.EV'I did not realise that I should not go ... '; for( supposed to be receiving (906, 9og-to) is not merely an attempt to
the construction cf. Od. 11.foz-3, and for the hiatus in the first foot ef/ persuade her servants by bribery; it is also designed to make her µ~TIS
 198 COMMENTARY: 902-915 COMMENTARY: 917-931 199
(912) believable. The gifts would be a visible sign to the maids that function in Eumelus' Corinlhiata(cf. 1354-6a n., above, P- 15) and in the
is telling the truth, but, more importantly, a proof of her cunning ·---,,......
,,.........
. ](aujJactia(ef. 540-411-,frr. 6-8 Kinkel), although no actual reference to
intellectual superiority over the Greek stranger; they would also him as a go-between for Jason and Medea survives from those poems.
sufficient reason by themselves to engage in this deception. Cf. lfso, A. acknowledges his debt to the tradition, and then surprises us
stress on gifts throughout the Odyssey,and, particularly, t'e:nelon,••••,i/• by pulling Mopsus (and Argos) out of the way.
deceitful eliciting of gifts from the suitors ( 18.250-303). 917-18 Mopsus can interpret bird omens (cf. 54,Cr-4,1.1084-1 ro2),
902 no:pctTpittEl'seeks to corrupt'_ but also give good advice to those going on· a journey. For the
90:J-4 The parenthesis seeks to reproduce the excited syntax importance of omens (which may not be obvious to an untrained
young girls conspiring together. The request for secrecy is again observer) at the start ofajoumey, cf., e.g., Theocr. 18.16-17, Hor. C.
891n.) reminiscent of a tragic heroine and her chorus, cf_ Eur.
3.27.15-16. For the anaphoric w&:.\os cf. t. io6-7 (of another man with
259-70, 8112-3. special foreknowledge, Tiphys the steersman), Hes. Theog. 435-9,
905 o Tt': the indefinite suggests Medea's ignorance and lack Tyrtaeus, fr; 5.3 West.
personal interest in the stranger. ·ev,crnEiv' tell of', •name', hence 'interpret '.
in 623. In Homer, m,pi with the dative expresses
nEp{: cf_lx1,1q,i 919-25 Just as Medea on her approach to the temple was compared
one fightsfor, not with. to Artemis, so here Jason approaches in a special glow : the two
907 E7tllw£ov : deliberately ambiguous. 'Praised' can, but need passages focus attention on the principals whose meeting will be th_e
mean 'approved', 'agreed to'. climax of the two journeys. The beautification of a hero by a god 1s
..·:.
·.-,· 9o8 This is not strictly true (cf. 738-9, 782), but Medea is Hn,i;~,;;.c<•':.'.,,• familiar from Homer, cf_ Zeus and Agamemnon at Ii. 2.482 (echoed
it increasingly difficult to separate reality from her desires. In fact, here in 922). Particularly important is Od. 6_229-37 where Athena
will require the intervention of Hera to bring this situation about makes Odysseus especially handsome for Nausicaa_ Whereas, however,
931)- Medea's words also reassure her maids that they will not have Odysseus had first approached Nausicaa naked and filthy, Jason will
deal with a large gang of strange men. approach in a brilliant gleam.
909 6«11011-Ecr&o:: either a future (cf_ 737n.) or a short•vowel 923 'both to look directly at and to [hear] speaking'. The awkward
subjunctive in parallel with ir6pool,IEV. change of subject is eased by the idea of two•way communication in
f1£TUcr<picnv'among ourselves'. irpOT11,1u81joaa6a1.
911 p.ot 'please', the so.called 'ethic dative' (K-G 1 423). 924-5 Cf. t.1230 (Hylas) 1<0:i\;\ei: 1<ai y;>..V1<Epij101v
epeue6µe..vov
912 e1tid.01to~... 11-ijT,,: ef. 781n. The maids have, of xapi-rroo1v,Od.6.237 (Odysseus after beautification by Athena) 1<0:i\Aei
themselves been deceived by the ' crafty plan'. rniKAoiros: here Kai x6:p1a1<TTi;>,.~· &r)ei-roSe 1<0Vpl},ll. 3.392 (Paris waiting for
suggests 'thieving' : Mede a 's scheme is going to trick gifts out Helen). Od. 6.237 was also echoed (with typical differences) when
Jason. Medea last saw Jason at 443-4, and this links the two meetings
913 The echo of 908 shows that the Greek side too is now together.
towards the rendezvous, «lhol iT«ipo1 : what then will be the effect on Medea !
914-15 Cf. 825-7_n. 926 nou : A. frequently distances himself from his narrative in this
'as soon as'.
6T' ij6'1') way, as though he were reporting events of which he himself was not
ti.pov: for the stress on the temple's sanctity cf 981. The epithet 1heauthor and for whose veracity he takes no responsibility, cf. Frankel
to justify Mopsus' role in the expedition. He had been instrumental (1g68) 502. Here, where the ,rov refers to unexpressed thoughts (cf.
getting the Argonauts to seek Medea's help (543-54), and he 1,1037), the device is particularly piquant : the poet does not know for
come in useful at the temple; in fact, A. needs him to interpret whether his seer .had certain foreknowledge.
speech of a crow. It is quite probable that Idmon had an an.a,oi,J1is 927-31 A narrative style of a very common type, cf. 4.982, 11.
200 COMMENTARY: 932-933 COMMENTARY: 934-953 201

2.811-15 (a tree), Hopkinson on Call. h. 6.37. Schneider's EOKE for 934 l.pcx"tov... foo<; 'a word of love'.
is adopted by Frankel and may find support in Call. h. 6.37-8, ' 936 The two KaKo-compounds pick up, respectively, 917 and 918;
was a poplar (aiye1pos), a tall tree reaching the sky, I near which Mopsus is not Eo-BMs in either of the claimed spheres.
\hn, though the text is uncertain) ... '; for Callimachean echoes in the Keucoµcxvn: i.e. Kcn<os µo:1rns,not µo:v-nsKaKWV which is the meaning
present passage cf. below. The present tense is, however, regular in of the word at Aesch. Pers. ro and Sept. 722; it appears from the scholia
such descriptions in Homer, and A. here displays his knowledge of > that the meaning of µcwn Km<rov at Ii. I.Io6 was disputed.
Colchian geography, cf. 200-9. Ovid possibly had this passage in mind / 937 l.mn:vt:foua1v 'inspire [as a prophet]', cf Call. fr. 260.50 (' how
at Her. 12.67-9 (Medea to Jason), est nemuset piceis et frondibus ilicif \ the Thriae inspire (e-rrrrrvefovat)the old crow'), and 'inspire with love
atrum; I uix illuc radiis solis adire licet. I sunt in eo- Jue.ran/eerie- delubra· or knowledge oflove ', cf Theocr. 1 2. 1 o (with Gow's note), Richardson
Dianae, which plays with the temporal problems raised by this on h. Dern. 238. For the conception of love as a breath of air cf.
narrative form. 967-72n.
1tE6'010 K«"ttt a-r{~o'II 'along their path in the plain'; others \ 94l 6~El<; 'you will find'; this verb always has a future sense.
understand .re6io10 as a separate locatival genitive (K-G I 384-5). / &v"tt~oA~<Jt:t<;:cf 176--8m.
Koµ.owa«: cf. Theocr. 7.8-9 aiyupo1 TI'TEAEcu Te... x::\wpofoiv < 942 Dr Feeney suggests that Mopsus, truly a KaKoµav-ns,mistakes
1TETCCA01<n KaT!)pEq>EESKoµ6wao:1. where responsibility lies, in thinking that Aphrodite is behind the
Kopwv«t: two passages of Callimachus introduce talking crows whole matter: 'one prophet has been misled by another (Phineus) '.
(Iambus4 = fr. 194, and Hecalefr. 260 = SH 288); A. may well owe a ...·•·•·· Rather, however, Hera and Aphrodite are working together in the one
further debt to Callimachus here (cf. 932-3, 937nn.), but its precise / divine force which controls the destiny of Jason and Medea; Aphrodite
nature can no longer be established. Later literature associates crows >. has given herself over completely into Hera's service, and fine
with weddings and marriage (Aelian, NA 3.9, D'A, W, Thompson, A ·. · distinctions of responsibility are not maintained.
glossary of Greek birds2 (London 1936) 170-1), and this may be an lweai"l)t<;: cf. 29n.
element in A's choice. They are familiar as birds of omen and 943 Cf. 548-51, 2.423-4.
prophecy in Roman literature, but not in Greek before A.; 946 1t«p«-rpon:iwv: this verb may be morally neutral, 'persuade',
however, the crow's role in informing Apollo, the god of prophecy, but the pejorative sense 'corrupt' is clearly felt here, especially after
the unfaithfulness of Coronis (Pind. Pytl!. 3. etc.). 1l'apcrrpem;1in 902.
~ouA«i<; 'chided [him] through the will of Hera'; the 947 Both Jason and Medea have now shed their companions. Lines
!3ovMs 'spoke [cf. 475n.] the will of Hera' is awkward, and for the 913-47 do not break the temporal sequence, and 948 follows directly
absence of an object with T)Vt1Tcrrre cf. Od. 18.78. in time from 912.
932-g The similarity between these verses and Call. h. 2.106, (Envy \ axE!io'II 'immediately'.
to Apollo) OVK&yaµai TOVo:0166v8s ov6' oaa lTOll"'fOS aei6e1,has given< 94!r5l µt:A1tOjL€V1J\j:cf. 897-9n.
rise to a vast discussion; there is a useful summary by E. L. Bundy, C .. 1tifocx1... &µ~xavo<; 'All games, whichever one she played, it did not
C.S.C.A. 5 (1972) 40-1. Some link between the two passages is not > please her to amuse herself ~ith for long, but she kept stopping, quite
improbable, given the many signs of Callimachean influence in this : / .•··distracted.' For this 'broken' syntax cf. 192-311.; Campbell ( I 983) 66
part of the book, but we have no way of telling the nature of the ..···. ··•···· ··.·
..• suggests that it reflects Medea's state of mind.
link. >
. •·• 952 K£AEU6ou~ : the plural, if correct, marks Medea's uncertainty as
of6E vowt q>p«aacxa&otl 'knows how to conceive in his mind'; this > · to the direction from which Jason will approach and increases the
curious phrase mockingly picks up 918 and prepares for Kcn<:oqipa6k ·..· pathos of her situation.
936 and mp1qipo:6ews947. The origin of the phrase may be ll. 10.247 953 Alliteration (cf. 7 m.) suggests the quickness and emotional
(Odysseus) rnd mp/016£ vofiaa1. of her furtive glances.
202 COMMENTARY; 954-961 COMMENTARY: 962-965 203
'
954-5 Literally, 'often indeed her heart was broken out of her (WD 586), which has an obvious relevance to Medea's situation. The
whenever she doubted (18-19n.] the sound [i.e. the origin of damage which the appearance of the star portends for flocks links the
sound] of a foot or wind hurrying past'. simile with the corresponding simile in Od. 6, where Odysseus
ani81EC,)\I: i.e. El<CTTT}6ewv,
cf. g62, Il. 10.94-5 Kpcx6i11 6£ µ01 E~C.:, approaching Nausicaa and her maids is compared to a hungry lion
crrri8sc.:,v~K8pwtaKe1, G. Giangrande, C.Q, n.s. 17 (1967) 96-7; ravaging flocks (vv. 130-4); Homer too had there used the language
understand a locative 'in the chest' (K-G 1 384-5). The verb seems of an Iliadic duel to describe an erotic encounter, cf. above, p. 30.
have been taken over from a strictly physical use such as Od. UA.iOf.l,EY7ll EqJUCl\l&.,,:an echo of 819 makes dear that Jason's
(Elpenor) EK6s oi o:uxrivI acrrpayaAWV eayri,perhaps under brightness is the brightness for which Medea has waited during her
influence of the Homeric ~Top K<XTEKActa6tj. It is very unlikely to 'long night'.
corrupt, cf. HE 622-3, Quint. Smyrn. r .204. For the aorist u\J,ov'a.vu8pwllJICWY: cf. II. 22.34 \J\J!Oa'
&vaax:6µevo5(of Priam in
action cf. It. 3.232, Bulloch on Call. k. 5.65. his grief); the echo stresses that Jason's appearance will have disastrous
6ociaacu : ~ glosses as s6o~ev aKOVEtv,and there is certainly consequences. The participle refers not merely to Sirius' rising, but also
element of this: she is unsure not only what sounds mean, but to Jason's manly step, cf. II. 22.24 (Achilles immediately before the
whether she has actually heard anything at all. The motifis a cornlllton,.': Sirius simile) A<Xl\111'1PCX
rr66as Kai yovv<XT'evci)µa;3.22 l,l(Xl(pCX
!3-1'3mcx,
one, cf. Nisbet-Hubbard on Hor. C. 1.23.4, Campbell (1983) 68. l 3.37 I V'flll31f3<XVTCX.
956-61 A reworking of It. 22.25-32, 'Old Priam was the first to «GffETO\I : it may be relevant that this word seems to have been
Achilles with his eyes, gleaming like a star as he hurried over the connected or confused with aaf3e(a)Tos (LfgrE s.vv.), as 'un-
a star which comes at harvest time and its rays shine quenchable' would be very appropriate in the context of the terrible
(a:pil;1)AOt) amidst the many other stars at the dead of night. This heat which both sheep and Medea feel.
men call by the name of "Orion's dog" [i.e. Sirius, one star of ...... 6ua(p.Epo\l 'the sickening distress of desire'. KaµCXTos,
1<cip.u-ro
maior].It is the brightest star, but it is an evil sign, and brings which is virtually synonymous with 01/;05(cf. 4.1374, Il. 15.365) and
fever upon wretched mortals.' For the meeting of Medea and recalls the onset of Medea's love (289), denotes both physical and
likened to that of Achilles and Hector cf. 964-5n., t 105n.; a emotional distress, and the epithet also looks foiward to the unhappy
echo ofDiomedes' entry into battle at Ii. 5.5-6 also marks the r,.,.,ntma end of her passion. Both words are picked up in the proem to Book 4
of martial epic into quite new patterns, cf. Beye (1982) 64. For to mark the progressive stages of her story, cf. Hunter ( 1 g87) 134.
the appearance of Achilles portends the imminent death of his 9'2--3A careful reworking of 724-6. The three crucial stages of
son. For Medea, the appearance of her beloved (also coming over Medea's love - the first sight ofJason, Chalciope's request for assistance
plain) brings a fierce intensification of love's burning heat and Jason's appearance at the temple - are linked by three variations
foreshadows the ruin to come: like a poor sheep, she can do nothing on a description of her physical reaction, 288-90, 724-6, 962-3.
protect herself from the heat which powers beyond her control 11uTW'!i'of their own accord', 'without more ado'.
down upon her; contrast Theocr. 12.8-9 where the appearance of 964-5 Temporary paralysis is a common symptom of erotic passion,
beloved brings cool relief from the burning heat. This passage forms as of other strong emotions; cf. Theoer. 2. 110 (Simaitha's reaction as
counterpart to 1. 774-81 where Jason is compared to the Evening Delphis enters her house) rnayriv6ayii61 K(Xfl.0V xpoa rrmoew iacx,
the star of marriage and fertility, as he approaches Hypsipyle's HE3214-17 (where it is again connected with burning heat from the
here the simile is much less promising. Sirius' rising near the end beloved), Bulloch on Call. h. 5.83-4. The motif prepares for 967-72,
marked the onset of the hottest days of the year when men were "•~•••:<<':,:,.c~, whereJason and Medea are compared to tall trees, by suggesting that
exposed to sickness (Hippocr. Aer. 11, West on Hes. WD 417); Medea's feet take root in the ground, cf. Ovid, Mel. 1.54,8 (Daphne
says that women are 'most wanton' (µCXXA0TCIT<XI) during this turning into a tree) torpor grauis occupat artus. At Il. 22.451-3
204 COMMENTARY: 967-972 COMMENTARY: 973-976 205
Andromache describes her reaction to the wailing which she -fears: 'rustle' ; the verb may refer to any indistinct or confused
b1-'ci6'1a0t'\I
signals Hector's death, Ell 6' eµoi cru-riit 1)TOpav&
I a,,;ea:n TrO:/\/\ETQl sound (cf. 564-5n.), and there is no need to imagine a violent storm,
6e
O"Toµa,vep& yovva I -rr11yvv-ra1,cf. 956-6m. The same scene was/ as in the Homeric model. The idea is close to that of [Theocr.] 27.58
echoed at the very first appearance of the Argonauts in the palace) (Daphnis to the girl he is seducing) 'the cypresses are telling each other
(254-6n.): the deadly combat of Achilles and Hector has become what; ofyour marriage'. For the aorist in a simile cf. 1329, r 3 71, M T 2 §§158,
Hector said it could not be (Il. 22.126-8), an exchange of words oflov~ 547- 8-
between a young man and a girl. { 973-4 Jason realises from Medea's demeanour that she is not
you"ctT« : Sirius burns 'the head and the knees' (Hes. WD 587), and entirely in control of her actions and he senses the hand of the divine,
at Od. 18.212 the suitors' 'knees are loosed' as they are overcome with/ of which Mopsus has already given him warning; cf. Ovid, Her. I 2.37
desire for Penelope; the knees were once thought of as a seat of sexua[y: (Medea to Jason) peefide, sensisti- quisenimbenecelatamorem?In Book 4
and generative power, cf. Onians (1954) 174-86, B. Gladigow, Rh.M{ both Medea herself(4.41-l?-r3) and others (4.1080-2) claim that forces
111 (1968) 357-74. )/ beyond her control 'took away her wits' when she gave Jason the drug;
967-,2 The comparison of people to trees is a common one (Peasf for this sense of &-n,,basic to the Homeric poems, cf. E. R. Dodds, The
on Virg. Aen. 4.441). Of particular relevance is Il. 12.131-4 '[Leonte Greeksand the i"ational (Berkeley 1951) 5.
and Polypoites] stood in front of the tall gates like lofty oaks in th blnEn:-nJui.iv:here and at 1312 this form is from 1TITrTCu, at 321 from
mountains, which constantly endure the wind and the rain, fixed by' m~aac.u, cf. Livrea on 4.93.
the great, long roots'; the two warriors are compared to trees unmoved-: u110aactivwv: cf. 3g6n. Like Kv6aivoovin 1008, l1Troo-o-aiveuv stresses
in the face of a fierce storm, but Medea and Jason will soon move ii{ how Jason's words both please Medea and flatter her sense of her own
the breaths oflove - strength gives way to delicacy and sensitivity. Tu{ importance; the participle also calls attention to the questionable truth
simile also stresses the beauty of Jason and Medea; cf. Od. 6. 167° of what he has to say.
(Artemis' height) and Odysseus' comparison of Nausicaa to a tall 975 cil;E«,: elsewhere in Arg. only of religious feelings: it picks up
palm-tree at Od.6.162-7. The idea oflove as a wind is found alread .. &uµopiT}Ito suggest the extent ofMedea's apparent awe. This situation
in archaic poetry (Sappho, fr. 47 LP-V, Ibycus 286) and has bee reverses that of Od.6. 168-9 where Odysseus pretends ( ?) to feel awe in
foreshadowed in 687 and 937; in Plato's Symposium, Pausanias speaks' front of Nausicaa in order to win her over. The opening of Jason's
those 'inspired' (rnmvo1) by love (181c5). The prospective nature<>. speech reverses the pattern of his meeting with Hypsipyle in Book I:
the simile (µeAA011) is highly unusual: we follow the conversation in t~ there, despite her aidos,she had encouraged him µu6otat. .. aiµvAio10-1
knowledge of where it is leading, cf. Carspecken (1952) 86-7. _ __ ,.. with an initial question and the observation that he had nothing to fear
ii"EWlKctl&vctu6ol: cf. 502-4n. The phrase occurs again with bitter·>< (1.792-6), and it was Hypsipyle who misled Jason about recent
irony at 4.693 as Medea and Jason await Circe's purification for th.t 'history', as Jason is to do here (997-1004).
murder of Apsyrtus. 976 5uCJ«uXeE~ 'insolent and boastful'. The precise nuance is
jj ... ij: cf. 757-8n. - ·.LD uncertain, but in the context it is difficult not to think of the arrogant
nctpiiaaov: the meaning is uncertain. •Immediately' (cf. 17n.) ~> Delphis in Theocr. 2 (esp. vv. 114-25, cf. 964-5n.); Homer uses
impossible, but 'side by side' (cf. oooov) would stress the tre. · KWEalJ)(T}S of those whose deeds do not match their words (II. 8.230).
common stillness which is soon to be disturbed by the wind. Othe Perhaps Jason means that he is not going to relay to others whatever
understand 'at first', a possible, even if not certainly attested, meant passes between them, and therefore Medea should speak freely (979);
for this word, cf. Fraenkel on Aesch. Ag. 737. in particular he will not boast of his relationship with a foreign
lppi:l;wvrcu: the strong spondaic ending cf. Beye (1982) 138. Campbell (1983) 71 understands 'too
represent the firm hold of the roots, cf. 670n. singing his own praises to listen' to what she has to say. It seems
'206 C0).1MENTARY: 977-988 COMMENTARY: 989-1004 207
likely that Jason is also referring to standard i::haracteristii:sof thi:- 989 uµ.ei:wv : plural for singular, cf. 640n. ; Tot (987) ... vµeiwv, .. o-oi
sexcs: • I am not a braggart, as men usually are; therefore, don't you (990) form an elegant pattern of variation. Others understand •you
(Koup11)be like other women who use sweet but deceitful words.' and Chalciope' or 'you and the gods' (cf. 985-6).
977 11:«-rpJll : this reference to Greece is a further (cf. 990-2 Cf.Jason's corresponding promise to Aietes at 391-2. 8eµ1s is
preparation for Medea's flight. human custom sanctioned and, at least in part, laid down by the gods,
979 nape!;: whether this is treated as an adverb or as a prefix w11m····,::.:,...:1,·,: cf. H. Lloyd-Jones, Thejusticeof {eus2 (Berkeley 1g83) 186--7; E1T1ei1<e10:
the following infinitive, the meaning is doubtful. There is no appeals to a more purely human standard of' fairness', 'Those living
example of the expected sense 'of your own accord', apart' and 'when they have returned to Greece' (993) will obviously
prompting'. 'To speak mxpsf in Homer was interpreted as 'to have a powerful effect on Medea's emotions.
wrongly', 'speak inappropriately' (IbT /!. 12.213), which is 993 tcl'l)u1ouow 'will celebrate [you]', a contracted future of
impossible here. Campbell understands 'in passing', 'incidentally'. l<i.fJtil;etv.
The emphatic anaphora at the head of 993-4 stresses the
g81 To be read with 980 rather than 982; for the pregnant sense heroic status of the men whose safety depends upon Medea.
ev,which is best translated as 'into', cf. LSJ s.v. 1.8. 994-5 xou : this need not express any real doubt nor cause us to
1'\lll -r' 'where', cf. 1290, Ruijgh (1971) 469-75. doubt Jason's assertion, cf. It. 2.136--7 (admittedly a speech of
g82-3 The idea that 'sweet' words are also deceptive is deception), 9.628. Jason's own parents showed extravagant grief at his
common, cf. Aesch. Ag. 492 TEp1TVOV T66' eMov<p&sEq>!)AWO"eV ...,.,,.vu,-,. departure ( 1.247-305, where yoo:o:Ol(EVand avia:s:at the ends of 264-5
Jason's words are full of irony: it is he who is deceiving with are picked up in 995-6). The detail does, however, foreshadow that
words and he who does not speak aµcpcd5111v. His appeal to the part of the myth of Ariadne which Jason is going to omit, as the echo
of the temple enclosure is dou hie-edged in these tircumstances. in ecpel;oµivri(1001) makes clear, cf. Campbell (1983) 72.
g84 µ.evoeu(ea 'providing [lit. 'suited to'] µevos'. This sense 99,-1004 Jason uses a Tra:p&Se1yµa or exemplumdrawn from 'recent
also fit some Homeric passages where the word is usually history' to strengthen his case. Tradition told that after she had come
to describe food as 'pleasant', 'agreeable'. 10 Athens to live with Aegeus, Medea tried various ways to kill Aegeus'
g85 -rotc~<uv: highly ironic in the circumstances, cf. 701-3n. son Theseus, whom she perceived as a threat to her (cf. Call. Hecalefrr.
986-7 Jason uses the same plea to Mcdca (and the same""'""''""":.·: 230--3); these events preceded Theseus' trip to Crete which resulted in
though with the terms differently arranged) as Argos had used to Ariadne's elopement with him, Jason, however, tells Medea the story
at 2.1131-3. Medea's Homeric model, Nausicaa, understood of Theseus and Ariadne as an event of history; A. marks this
potent force of this plea (Od. 6.207-8), and Medea is later to throw chronological innovation by the disingenuous 6~ noTe. Some versions
back at Jason, cf. 4.358-g TrOVTot 810; 'ltcec:rio10 I optc10:;. The had made Theseus himself an Argonaut, and A. takes pains in the
etymologicain iKET11S ..• itc6:vwalso occurs in the main Homeric Catalogue to explain his absence from the expedition (uo1-3).
the plea of Odysseus to the Cyclops at Od. 9.266--71. The reference Jason's manipulation of both story and chronology mark his
Zeus's protection of strangers and suppliants foreshadows the manipulation of Medea, cf. C. Weber, T.A.P.A. 113 ( 1983) 263-71.
wrath at the treacherous murder of Apsyrtus. For Homeric precedent for this technique cf. M. M. Willcock, C.Q,n.s.
g88 XPElOi,ivaytcttt71l: this very strong phrase, taken from /l. 8.57 14 (1964) 141-54.
the Trojans fighting for their women and children (cf. 994-5), piles The story of Theseus and Ariadne is A.'s equivalent of Odysseus'
pressure on Medea - she has promised, he is a suppliant, a stranger wishof a happy marriage for Nausicaa ( Od. 6. 180-5) ; in both passages,
in the very greatest need. This is a further motif shared between ....., ..... ,..,.,.,.,
..... male speaker exploits the disturbed feelings of a young girl by
passage and Od. 6 (cf. Odysseus' 'need' at 1 36) ; Medea reworks <1m,w'""' her to conclude or hope for more than he has actually said.
same Homeric passage in her plea to Arete (4.t014-28). (RE Suppl. xm 1045-1238) is an important 'role•model' for
208 COMMENTARY: 997-998 COMMENTARY: 999-1008 209
Jason. Like Jason, Theseus returned to his native city (Athens) after an u1teAuaaT': Campbell (1983) 73 notes the possibility of' released
upbringing somewhere else, passed a test of cunning and daring which secretly', a common nuance of 0-rro-compounds.
involved a fierce bull (the Minotaur), and had to prove himself against 999 Ilaauprx'I}KoUp'I} ... 'HeXfoto both stresses Medea's family con-
a descendant of Helios, Minos (cf. the story of Theseus' descent to the nection with this story, and points to the appropriateness of Pasiphae,
ocean floor in Bacchylides I 7) ; for further parallels cf. Hunter ( 1988) 'Brightness everywhere', as the name for a <laughter of the sun; cf. the
449-50. Ariadne, like Medea, was a granddaughter of Helios, and name 'Phaethon' (245).
eloped with Theseus after helping him to survive the test of the .·...·• rnoo-4 p.Ev... Iii referring to the same person has good parallels in
labyrinth, a test which involved her, as Medea was similarly to be ( both archaic and later epic (cf. G. R. McLennan, Ciotta 53 ( 19.75 )
involved, in the death of her' brother', the Minotaur (cf. Cat. 64.150, i 76--8),but here the device calls our attention to the lack of information
181); Theseus then abandoned her (cf. 1069n.} on the island of Dia about Theseus' behaviour: we would normally have expected him to
(Naxos) where she was found and loved by Dionysus. Jason's words in/ .. be the subject of the 6eclause. The bridal crown which Dionysus gave
1ooo and 1100 hint at a version in which Minos formally gave Ariadne > to Ariadne was later catasterised as Coronaborealis,cf: Arat. Phaen.71- 2,
to Theseus, as Hes. Tkeog. 992-4 suggests that Aietes gave Medea to / Call. fr. 110.59-61, Nisbet-Hubbard on Hor. C. 2.19. 13 ; in some
Jason (cf: 620-3n.); it is probable that A. had (? Cretan} sources fot / · versions, Ariadne herself became immortal (Hes. Tkeog. 9 49, Fedeli on
such a version (cf. FGrHisl 328 F 17a with Jacoby's commentary,/ Prop. 3.17.7-8). Jason allows Medea to understand that the crown
I rn6-7n., H. Herter, Rh.M. 91 ( 1942) 228-37), but, in any event, the> whose origin he omits, was set in the heavens as the result of divin;
poetic strategy is clear. Hypsipyle was the granddaughter of Ariadne gratitude to Ariadne for saving Theseus.
and Dionysus, and so Hypsipyle-Jason, Medea-Jason, Ariadne'-' < V'l}Ot;:the genitive after eqisl;oµh'T)varies the construction of 995 .
Theseus and Ariadne-Dionysus are all seen to be part of the same ii ·• ci8<ivaTOl'f)tlavTo: pointedly ambiguous. The phrase may be
pattern and thus mutually illustrative. Jason performs his magic in a< < understood of non-sexual affection, cf. 66, 4.990, Call. k. 3. 1 8s. There
robe that was given to him by Hypsipyle (1204-6) 1 Apsyrtus is lured/ is a witty reworking of these verses (and of the Ariadne-motif as a
to his death by a robe which the Graces had made for Dionysus on Dia\ whole) at Ovid, Met. 7.60-1 (Medea's monologue) quo [sc. Jasone]
and on which he and Ariadne had made love (4.424-34),just asJason < coniugefelixI et dis caraferar et uerticesidera tangam.
and Medea make love on the fleece (4. 1141-2; for the parallelism cf.</ nrxvvuxo-.: the Coronais not in fact normally visible all night (cf.
4.184-6, 428-9), For further discussion cf. Bulloch (1985) 594..:5; > Newman (1986) 89), but the detail magnifies Ariadne's reward.
Fusillo (1985) 69-71, 307-10. ( Eiliwlotatv 'constellations',
The Ptolemies claimed a blood relationship to Dionysus, and this / 1007 EK'to judge from', LSJ s,v. 111.7.
god was very important in the royal cults of Alexandria (Fraser (1972)/ imjTEi'l}1a1: the semantic field of this and related words covers both
1 201-7, E. E. Rice, The grand procession of PtolemyPhitadelphus(Oxford / intelligence (Od. 13.3321 18.128) and 'friendliness' or 'good will'
1983)); one of the demes of the tribe 'Dionysia' was 'the deme of ../ . . (2.987, Od. 21.306). The latter is more appropriate here. Jason's words
Ariadne', although the name may not antedate Ptolemy Philopator (c'. < · .·call attention to the possible differences between appearance and
244-205). Ariadne makes frequent appearances in the remains of:r substance. This theme is important for judging Jason's own speech and
Hellenistic poetry, and Herter loc. cit. suggested that poetry written/ as a warning of what is to come; later history showed that 'lovely
under royal patronage cleared her of 'immoral' conduct. It• fa, ) .. ..··friendliness' was not always Medea's most striking characteristic,
however, doubtful that the Ptolemies would have been much put out<} / . ll'.EK«a8cu( < Ka1vvµ1) 'be equipped with' more probably than
<
by the elopement of one of their gods with a Greek hero or with the .\> 'surpass in', but firm choice is hardly possible.
traditional account of events on Dia. > · 1 1oo8 Ku!ia(vwv : cf. 973-4n.
997--8 The appropriateness of the exemplum is stressed by verbal) • q"K1'18ovoaat: (:lalouact: cf. 22n. Here the gesture marks Medea's
ttlm, bi<»~, (cf. 9"9), =p8"ooi (cf. 97'), '"'>P°'"=' (cf. 9"o)-• : ")' i< pl<>rurethat J•son both n«d, hoe h,Ip and i, not cnti<dy indiffcrent
210 COMMENTARY: 1009-1018 COtvlMENTARY: t0!9-1023 21 l

to her (1007); there is a dear echo ofHypsipyle's reaction to her calling Eros a j/\VKIJ1T1Kpovo:µaxavov opmTOV (fr. 130.2), Plutarch
sight ofJason, J.790-1 T)6' ey1<A16ov 00-0Ef:,ai\ovaa I mxp6SV!KTJ explained that Eros was always represented with a torch because 'the
1TapT)i6as. brightness of fire is the sweetest thing, but its power to burn the rnost
1009-10 vEKT11p£0V : cf. 832n. This prepares for the image painful' (fr. *135 Sandbaeh).
in xveri. -.ij,; 6' ... ~pm:t~€\I 'snatched the bright glances [cf. 288] of her eyes',
xu&lJ 'dissolved into liquid', cf. 286-gon., 1020-1, Onians cf. Ovid, Am. Z, I 9.19 tu quoque,quaenostrosrapuislim,per ace/Losetc. This
33-8, 202. is a reversal of the cornmon idea that one is caught by the beloved's
&E,poµ.E\ll)(i : cf. 37rn. eyes, cf. Pind. fr. *123.2-4, 10-12 S-M, which also has the image of
]012 aµ.u6u; : cf. 725-6n. liquid, 'whoever, seeing the sparkling rays (o:KTivas... µapµapv(oiaas)
rn13 nponpo: adverbial, 'eagerly', d'. 453-8n. from the eyes ofTheoxenus, docs not drown on a wave of desire ... but
: cf. 867-8n. The repetition of the' formula' 8vw6eos...
µ.l-i-plJ<; { melt away (TaKoµai, cf. 1020-1) ... '
marks the completion of her purpose. 1019-21 The model is a much discussed simile at Jl. 23.597-9 which
1014 For Jason's joy on similar occasions, cf. 4.93, 170-1, describes Menelaus' joy when Antilochus cedes the prize of a horse to
(1987) 132. him, 1'0!0 oh 0vµos I taveriws El 1'E TIEpl cr1'axveamv EEpcrT) I llfllOV
1015-16 &puauacx'drawing off(like a liquid]', a continuation cm
aA8f\aK0\11'0S, <j)piaaovo-\V&povpai, cf. G. E. R. Lloyd, Polarityand
imagery.of 1009. The phrase may be a further (cf. 135n.) ren1m1tscence analogy(Cambridge 1966) 188-~9.A>s simile may seek to explain, as
of Empedocles, cf. fr. 138 D-K X<Vi.1<&1 a1TOlf'VXflV 6:puaas, well as to echo, the Homeric text (cf. Erbse on :;: ad loc.). Homeric
16.505 (Patroclus killing Sarpedon) was very probably concision has been replaced by an elegant chiasrnus of vocabulary set
the development of the image, -roio 6' o:µa IJIVXTlV -re Kat iyxeos into matching verbal phrases (iaivno ... TflKoµevri,TT\KETat ... 1mvo-
aix1-111v.The Iliadic verse suggests Jason's baneful effect µevri), and the Homeric picture of nature's bounty by a picture of the
Medea - she would happily die for him. non-utilitarian beauty of nature, cf. Carspecken ( .1952)70. The image
&yuloµ.ivlj X«TioVTL •exulting in his need for her'. looks conventional (cf. Sappho, fr. 96.12-13 LP-V), but may not be:
understand 'would have given it to him exultingly, if he had asked it is primarily later erotic .literature which gave the rnse such a
it'. prominent position in poetic simile, cf. Nisbet-Hubbard on Hor. C,
1017 l;cxv8oto: cf. 829n., 1.1084, Ovid, Her. 12.1 ! flaui ... 1.5.1, Bulloch on Call. h. 5.28. These verses may well have been in
Jason. Relevant is [Arist.] Physiog. 812a16 'Those with sandy Ovid's mind at Mel. 3.487-90 (Narcissus) ut intabescere JlauaeI igne leui
(~av6of) are brave; the model is the lion.' ceraematulinaequepruinaeI sole teperilesolent, sic altenuatusamoreI liquitur et
1018 cnpci.rtT£v . .. &no' flashed forth'. Such a separation of verb tectopaullatim carpiturigni.
prefix (which retains its normal accent) in anastrophic tmesis i«tvt--ro: the' fire of love' is working, cf. Aleman 59a spc,;,s.,, Ko:poiav
is very rare. The verse continues the notion of Jason's special ia(ve1.
(925, 956--61), and repeats in a different form the arrow-shot T'l)KOfJ.EVlJ : dew 'melts' when it evaporates. Medea's emotional
there Eros shot Medea from beside Jason, here the flame (which is turmoil has now passed beyond mere 'liquefaction'.
an arrow) comes from his he~d. Hence we should print "Epws, po6eEaaw: if correct, this will be formed by analogy and extension
than iipc.:is. Here, however, the effect is more powerful, as Jason from the third declension datives of such words as 8iv6pov, cf. K-B 1
come specially to see her- contrast 287-8 with io18-19. For the 505-6. Bnmck's pooiT)tmv, 'rose-bushes', is an attractive proposal.
or 'lightning' of love cf. Soph. fr. *474 Radt, Gow-Page on <pu.feaalv 'rays of light'.
46o4ff. 1022--:3 Cf. 22n.
Yj6£t«v... q,).oy«: the oxymoron expresses what Sappho meant a,:pial 'each other'.
212 COMMENTARY: 1024-1034
COMMENTARY: 1035-1037 213
1024 The conjunction of a smile with 'bright brows'
be burnt pieces of raw flesh from each limb of the animal as part of the
Richardson on h. Dern. 357-8) marks the mutual feeling
gods' portion (cf. Il. 1.457-61, W. Burkert, Homo necans(Eng. trans.,
6:µqieuin 1022; contrast l009), and prepares for the working oflove
Berkeley 1983) 6); this practice was almost certainly obsolete in A. 's
Jason at l077-8. iµep6ev should be given its full force, as at 685.
day, but he has changed the meaning of the verb to 'sacrifice', 'burn',
phrase may echo Sappho, fr. 31.5 LP-V ys?..aio-asiµepoev.
and a6aiETov, 'unbroken', calls attention to the innovation.
1026-62 ! informs us that in Sophocles' Colcl1ianWomenthere was
TWL 6' em: as the blood has to drain into the pit, the sacrifice is
scene of stichomythia in which Medea gave Jason instructions for
probably imagined to ta~e place at its edge:, this sense can .be e~tracted
coming trial with the bulls. ,
from the transmitted ev1 (ef. LSJ s.v. ev 1.8), but Em 1s some
1026 'Observe now how I shall devise a help for you
improvement, even with the repetition in 1034. With either pre-
subjunctive, cf. h. Ap. 325a). Others understand 'take heed in position, however, the reprise is dearly felt, and it may be that the
that I may ... ', but Medea seems to be stating the fact of her help.
effect, introduced by m:pnwea, is intended to mark the circularity of
1027 The 'unnecessary' eµ6s emphasises her betrayal.
the pit: the description of the sacrifice begins and ends with it. There
1028 an:ei'.p«ricu 'for sowing', epexegetic, cf. 1177.
is a valuable discussion of this passage by M. Campbell, C.Q, n.s. 19
1029-51 The main model for Medea's instructions is
(1g69) 280-1.
mantic scene in the Odyssey(I0.516-40, 11.23--50). As in Homer,
8ij).uv I «pV€lOV : A, uses apve1os,lit. 'ram', for 'sheep', thus varying
hero first receives instructions and then carries them out ( t
Od. 10.527 OIVapvEIOVpEl;EIV efiMv 'TE µsAatvav, and creating a witty
but A. is at pains to avoid the Homeric formula-style, cf.
verbal effect with ei\Aus. The sex of the animal was an important
pp. 39-4o. consideration in sacrificial ritual, cf. P. Stengel, Die grieckischen
1029 'wait for midnight which divides the night in two'.
Kultusaltertiimer (Munich 1920) 152-3.
sacrifice was naturally a nocturnal activity; for the specification
ci6czlt.Tov'unbroken', but the context hints at another (in-
midnight cf. PCM vu 436, x1a 4-5.
appropriate) meaning, 'unburnt'.
I030 «KCltf.l.(XTOlO:a variation for CIEVaoS(cf. 86o-tn.).
cl: cf. 1209n.
1031 Ku«vfoun: cf. 137-4on. Medea wore dark clothes to cut
1035--6 Ritual is frequently described in an ornate, highly poetic
Promcthcion (863}; Jason's choice of robe at 1205-6 comes
style, cf. Hunter on Eubulus fr. 75 (introduction); f~r su~h.description:
ru~~~ .
of honey cf. Aesch. Pers. 612 (a necromancy) -r17s'T av8eµovpyov
1032-4 ~o&pov: a pit into which the blood of sacrificed --------·-··•.·,:.·,,,,, OTayµa, '!l'aµqiaes µei\1, Eur. IT 165 (libation to the dead) ~oue&v
drained and thus reached the nether world was a standard feature
TE 'll'Ollflµa µe?..11:m&v. Here there is circumlocution, assonance
chthonic ritual, cf. Od. 11.35-6, Hor. Sal..1.8.28, Burkert ( 1985}
(TlEpo--11i6a... ow!37'ii1a),and.figura erymologica(µe1Aiaao10... µeA1aaeoov).
A.'s 'circular' pit is probably intended as an explanation oHv8a ----..:,,,,,·.,_.,,.,:1.-
..-.-,·
..-_-
1.1.ouvoyevij:cf. 847n.
ev8a in the description of the Homeric pit (Od. ro.517, 1 1.25},
f.1.E1l.i'.aoo10: cf. 525n. This word is uox propria for dealings with
1207n. chthonic deities, although A. does not restrict it to that use. For the
bpu~«a9«l : imperatival infinitive, as in the Homeric model
etymological link with µe?..1cf. ! Soph. OC 159, Chantraine, DE s.v.
10.517), but with the middle replacing the active, cf. MT 2 § 784.
µeiAICX.
Twt 6' em KTA. 'Over the pit slit the throat of a female sheep
l epya.. K<Xµ<rros,
GlP,{3A~lt.l iipyt:t:cf. 4.1132-3 µe?..10-aeeuv 'll'OVOS
and
burn it whole, heaping up high a pyre on the very edge of the t'".·<Nc:JtL:.- epyov are frequently used for both honey and the labour that goes into
Such holocausts were particularly associated with chthonic ritual, -.,·,,'.':'t:'ic'-J{:'it, cf. Hes. WD 305-6, Theog. 599 etc.; bees were proverbially hard-
Burkert ( 1985) 63, although they have no place (except orr1so,ect1veJI):',_
...
,-.,-.-,.,·.,::.-.-,.-,.,_.,_.,
working, cf. Hor. C. 4.2.29-30 (Horace as a poetic bee) per laboremI
cf. Od. 11.30-3) in Odysseus' dealings with the Underworld. In plurimum.
wµ,o8eTeivdenotes the custom of placing on the altar or on the bones 1037 p.€fLV1)f.l.Ello-;• remembering my instructions'.
2l4 COMMENTARY: l038-l055 COMME;'llTARY: !056--1068 215
rn38-41 An interdictioµ on looking or turning around is a scene of combat, as part of his avoidance ofa 'formulaic' style. In these
feature of ritual or magic involving dangerous powers, cf. Soph. circumstances, it seems unwise to seek to remove this slight discrepancy.
490, Gow on Theocr. 24.g6, Teufel (1939) 188-204. The wo1rcH>rd1•r::c.·c::;c,'.'.c-, yiycri1>t"E':only here of the 'earthborn warriors', who, however, have
is elegantly poetic for the prosaic µ1J6Eo-ei\ 600no5 no6&v r\ much in common with the earthborn Giants of Greek myth, cf. Hes.
KVVWV KTA, T11eog.185-6, F. Vian in J.-P. Vcrnant (ed.), Prablemesde la guerre en
KU\IW\I: cf. 749n. Greu ancimnr(Paris 1968) 61-2. The parallel passage at 1355 uses
K«'fa KO<Jfl,OV'in good order', a powerful understatement. y11yeV!ieS, and the derivation ofyiycxs from yii was current in antiquity,
1043-5 Cf. 849-50. cf. Soph. Tr. 1058-9, Eur. Ph. 128, RE Supp!. ur 666.
ol : choice between two interpretations is difficult: (i) = 0-01,cf. 1056 a:'lKE\I: as often, the use of a conditional form does not imply
where Cl'./IK~ enters Jason. There is no good parallel for this, but r~,..-.·,<.·,',\:,,\ ··•"··'···that the matter is in doubt, cf. 2.1066.
·',·
.. ...
Homeric epic is very free with its use of pronouns (cf. 98-9n.). 1057-60 In Pherecydes' account of Cadmus, the frightened hero
cut this knot by adopting E's TOI. (ii)= 'it', i.e. 'your body', pelts the warriors with stones, and they kill each other, thinking that
either interpretation, io-a,sµev will be intransitive, 'you would say their brothers are attacking them (FGrHist3 F z2), and in Apollodorus,
you are equal ... ' The verses have a strong formal similarity to 1. Jason is told by Medea to pelt the warriors from a hidden position
where oi = 'to him'. (1.9.23, cf. rn57) and they then fight each other. Jason's deed is truly
1046 xen«A«Yfl-EVo\l •sprinkled' ('!TaAO:o-o-w); in the parallel passa.ge.<:.\YI/ heroic (1365-9), but no reason is given why the warriors fight over the
(1247, 1256) A. uses naMvw for the sake of variety. For stone. It may be that, as the comparison to dogs suggests, the warriors
weapons cf. 415-16n., 1279-82. believe the stone to contain nourishment, or they may fight over
1048 ClO'XE'fO~ r
' otherwise J irresistible). it because it is a piece of their mother (cf. Ovid, Met. 1.393-4). In
1050 «Uri'jfL«p• l>fLW~o-u ye: an ingenious variation on 850 any case, the trick proves Jason's cunning (cf. · Aa&p111),and thus
fiµap oµw~: the sense is 'you won't be strong enough for very long, om::-.:c,,, ..,,,,::11,,,,
.. complements the ploughing which was rather a test of strength
only for that single day; [but don't worry about that], get on with (1053).
Vian adopts Frankel's c:nhiiµap 0µ&5· O\J6s 'for that one day "<lPX«AEol'fierce [with hunger]', cf. 4.1442 61411'(1 1<apxo:Afosof
i.e. throughout the day. Heracles (the image is again of a dog, cf. 4.1393-5).
1051 x«pel; 'further', cf. 195n. 1059-60 'hasten to head straight for the battle', cf. 628-gn,
105~-3 Word-order reinforces meaning: Jason's might (xepal -roioy' EICYJ'fL'as far at any rate as the test is concerned [whatever
fivopk111)splits 'the whole field' and he ploughs 'through' the • else may occur afterwards]'.
field'. There is a similar effect at 1331, and cf. Lucretius 1.451-2 1061-2 TYJl.oiino81 is effectively placed at the end of the utterance
S. Hinds, C.Q, n.s. 37 (rg87) 450-3. Others understand 6u:\: -~:.c:.F ..\t>.<·: to mark Medea's regret at this outcome.
'completely'. vioeo: an echo of Hypsipyle's speech of farewell ( 1.888), as are 1062
1054-5 Frankel transposed the order of these verses because (cf. r.890, 787n.), 1067-8 (cf. r.886-7) and t069 (cf. 1.896-7).
warriors spring up after, not during, the sowing ( 1346-7, ia:6ev : cf. 568n.
1337-8 mark Jason's prudence in this matter. The point is well 1063 Cf. 22n. Medea has not finished what she has to say (Se in
and the present tense of <T'l'l'Etpoµsvoov is difficult, whether io55 106g), but as tears get the better of her, she tries to hide her face from
considered to be a genitive absolute or, as seems preferable, to ,i,.,"",,..i:-::::cx::,::c.,T Jason.
upon cxvcxo-rcxxvooo-1 'spring up from the dragon's teeth which are 1065 i T' 'because', cf. Chantraine u 285-6.
(cf. 227, 957). Medea does not, however, give a full account (cf., ,. -·.g,;/};i~;'.tf; (( 1067-8 Cf. 1061-2n. This open gesture of affection, normally a
1345-53), and A. is at pains to preserve some information for the .......,.;, ..~r',/
.....
·.·
..','.·,.',·'.•'."-'''''··,
male action, suggests an intimacy which no young girl should have
 COMMENTARY: 107:,-1085 217
216 COMMENTARY: 1069-1074
particular, it is amusing that Medea asks about a place where she
with a man who is not her husband (cf. 1068); so Odysseus takes
herself might easily live, as the distinc.tion which A. draws between A'iri
Penelope's right wrist at Od. 18.258 as he gives her his parting advice.
and A1oiri vf)oos was far from universal, cf. above, p. 21. fn 775 also,
At 4.99-1 oo Jason seals his promise of marriage to Medea by returning·
Meclea seemed unaware of the details of the meeting between Aietes
the gesture. .
and the Argonauts at which she was present; this may be intended to
• o<p8CXAµ.ouc;: cf. 93n. Here the role of the eyes is strengthened by
reflect the distraction of her mind and senses (cf. 284-90, 444-8).
O:VTT)V.
ro75 &ptyvw-t"lj\l'famous', with a suggestion of 'bright', like the
106~ µ.vweo 'remember', an imperatival form from µv6:oµa1,here
constellation of which Medea has heard. This word (and cf. also
exceptionally constructed with the accusative. Medea's plea, in
,1)1\EKAEIT~v and 6:yAo6vin 1097-8) may be designed as an explanation
quite natural thing to say when parting (cf. Sapp ho, fr. 94. 7-8 LP-V),
of the name 'Ap1&61111, which modern scholars derive from 6:6v~, a
both looks back to the farewells of Hypsipyle (cf. 1061-im.) and
Cretan form of ccyv~. In both passages the stress on 'naming' calls
Nausicaa (Od. 8.461-2) and forward to Medea's future history (cf.
attention to the etymology, and here the juxtaposed nocmp6:rishas
4.383). The considerable stress in this scene on remembering and
already been explained (999n,), Hesychius o: 720 r reports that there
'.orgetting, however natural, is noteworthy (cf. 1079-80, 1109-17),
was•a Cretan name 'Ap16i}Ao('Very dear') for 'Ap16:6vT), but Lobel's
1s to be connected with the exemplumof Ariadne. The reasons
correction of'Ap16i}Ao:to 'Ap1~60:seems certain, cf. Pfeiffer on Call. fr.
Theseus' abandonment of her on Dia are not stated at 4.434, and
variously given in the tradition - unfaithfulness, a warning from 67. 13.
1077--8 Echoes of 29&-7 mark the fact that Jason now returns
gods, loss by armed force, bad weather. Relevant is I Theocr.
Medea's affection, and the repetition of' destructive love' reminds us
which ascribes it to forgetfulness (sent by Dionysus), and this seems
of the awful future in front of them. The situation has much in common
be the version which Catullus adopts in Poem 64. A. exploits
with the disguised Odysseus' pity for the weeping Penelope (Od.
knowledge of this story to lend a peculiar poignancy to
19.204-12).
promises. Virgil seems to have used the same idea in his reworking
tntl)'ie'stole over', cf Aa6pri1in 296, Prop. 1.9.26 acrius illa subil,
1079-80, dum memoripse mei etc. (Aen. 4.336).
Pontice,si qua lua est.
1071-4 Medea's questions about Jason's home and those parts
c[ 106-7n., Hunter (1988) 446-7. To the reader, at
mip11f3),:,\SY)11:
the world with which she has family connections prepare again
least, Jason speaks 'deceitfully'.
678-8on.) for her eventual flight to Greece.
ro79 Jason's opening verse picks up Odysseus' promise to honour
rrijt. .. mjt 'where ... to where'.
Nausicaa 'for all days' in his last words to her (Od. 8-467--8), just as
ll118e11 ' from here' ; in 1 094 the sense is 'from there '.
Medea had begun with an echo of Nausicaa's last speech {1069).
a.<pvE1ou : cf. 2. I 186. Minyas, the founder of Orchomenos (
1080 EmAlJO'Ea81u : cf'. I069n.
265-7n.), possessed legendary wealth; Pausanias records that he
1083 Eua:St:'it pleases' (ccv66:vw),cf. 568n.
the first man known to have built a treasury to store his
1084 This verse infringes 'Wernicke's Law' (515-2on.), as does its
(9.36. 7).
Homeric model, Il. 10.389.
v~aou : Circe lives on the Italian coast (cf. 31 r -13n.), as
1◊85--95 A faint echo of Odysseus' false tale involving 'Deucalion'
might have been expected to know, whereas Homer had placed her ori
(Od. 19.171-80), which makes Penelope weep, suggests both the
an island; Jason seems to repeat the 'mistake' in picking up
powerful emotional effect of Jason's account and his continuing
words in 1093. A. may be alluding to a belief that the 'Mountain
exploitation of Medea's state of mind,
Circe' was originally an island separated from the mainland (cf. RE
1085 Cf. 9:q-3 in. Herodotus describes Thessaly as 'shut in on all
2566-7), but Medea's ignorance is characterised by making her
sides by very high mountains' ( 7. 129,1). This afforded protection
to a piece of Homeric geography which her own poet has rejected;
218 COMMENTARY: 1086-1095 COMMENTARY: 1096-1105 219
against wind and enemy attack, and was thought a very desirable Argonauts were descended (1.229-33), was a son of Poscidon and, on
location, cf. Eur. fr. rn83 N 2 (Laconia), Men. Rhet. 345. r 0-12; Jason his mother's side, a descendant of Aeolus, the son of Dcuca!ion, and
thus paints a tempting picture of both the geography and the culture thus again within Mcdea's sphere of interest. The repetition of his
( 1088-9) of his homeland. name is not merely to make a mythological point, but marks again the
1086 A variant of the Homeric evj:,OTOS evµ11i\os(Od. I 5.406); at Od, glorious history of Jason's homeland. For this technique cf. 861- 2 ,
11.256-7 Pelias of Iolcus is described as iroi\vpp11vos. The variant 1.87-8, 4.827-8, Faerber (1932) 74.
svppi;nos would make good geographical (Hdt. 7.129.2) and rhetorical YE µiv 'moreover', cf. Denniston 387.
sense, but the Homeric echo favours kvpprJvos. cpa-r1,;: cf. 845n. In Jason's mouth the device prepares for his
Ilpoµl)Oeuc; :Jason appeals again to what is already within Medea's abandonment of' mythology' in the following verse, and also reminds
sphere of interest. Promctheus, as both Titan and civiliser, forms a link us of the uncertain truth of his speech (cf. 1077-Bn.).
between Cokhis and Greece. In return for Medca's gift of Prometheion, 1096-g By breaking off(' aposiopesis ') his account of Minyas, Jason
Jason's words hold out hope of the gift of Greek civilization, which in avoids ans·wering Medea's second question in which he might be
one sense at least was also the product of Prometheus; cf. Eur. lvfed. compelled to give awkward details about Ariadne.
536-8 where Jason claims that he gave Medea the chance to enjoy '0Jh€KAE.1-r~v 'far-famed', cf. rn7511. For 'readers who know more
'justice and laws' in a Greek city. So too, it is tempting to sec in Alµovi17 than Medea does, the epithet is very pointed: the abandonment of
(1090), which could mean 'the land of blood', a proffered return for Ariad1~ewas indeed notorious.
the blood of Prometheus which Medea has given to him; cf. the -rb... ouvoµa 'by which glorious [lit.' bright', cf. ro75n.] name', an
equivocation with ~vvo:iµos and Aiµwv in Sophocles' Antigone(e.g. v. accusative of relation with KO:AErn1<ov. The epithet looks to Od. 11.568
794). Mivwo:ioov, .liios6yXo:6v vl6v.
1087"""9Deucalion was credited with establishing civilisation after 1tapOEv1K'1)V ... En~po:-rov , a further sign that Medea is to have much
the flood, and was particularly, though not exclusively, connected with in common with Ariadne, cf. roo7.
Thessaly (cf. 2'.4.265, RE v 26z-5). Line 1088, where the alliteration uoo-1 Jason now delicately brings the possibility (or lack ofit) of
is a stylistic device to increase the grandeur of what is described, recalls marriage between them into the open. The situation is a complete
the claims of Prometheus himself at Aesch. PV 447-58. Formally, the reversal of that of the 04)'Ssry,where Alcinous has no sooner met
verse echoes Od. 6.9-10, describing the work of the founder of Odysseus (whose identity he does not know) than he is expressing the
Scheria. wish to have the hero for a son-in-law (Od. 7.311-15, verses for which
'Io:nnlovi6'1]<;, the grand patronymic is designed to impress. Homer was much criticised, and much defended, in antiquity). For the
Vl)OU<; : Deucalion was credited, interalia, with an altar to the Twelve version of the story of Ariadne hinted at here cf. 997-roo4n.
Gods in Thessaly (Hellanicus, FGrHist 4 F 6), the oracle of Zeus at l;uvapiaaat"o 'reached an agreement with'; this verb is found in
Dodona (Et. Mag. 293.2-11) and the temple of Olympian Zeus at extant marriage-contracts, cf. F. Preisigke, Wo'rterbuchder griechischen
Athens (Pausanias u8.8), cf. RE v 261-76. Papyrusurkunden s.v.
1090 Aiµovtl)V 'the land of Haimon ', a son of Pelasgos or Ares; this ap6µloc,: the context hints at an etymological link with apEO'KEtV; the
is a common name for Thessaly in Hellenistic poetry. Haimon's son, word in fact seems to be connected with &po:piou1v,
Thessalos, gave the area its definitive name. Cf. rn86n. 1102 Ka't"o:l.j>~xwv'caressing', 'stroking' (properly of a horse); the
: this, 'ltvt.1<65and 'lo:ot.1<65
1091 'Io:c.llAKO<, are all current in Greek sense is roughly the same as l'.mocrcro:/vwv(974), cf. Hunter ( 1988)
poetry, cf. M. L. West, Glotta 41 (1963) 278-82. 447.
1092 «Kouac.u : sc, ECTTI, cf. 680. 1 rn4 a.6lvfu1, cf. 6 16n.
1093-5 Cf. p. 21, 265-7n. Minyas, from whom most of the 1105 aw'l]µoouvac; 'pacts', picking up ~vvo:p/;crcro:ro. Future events
 COMMENTARY: l\!3-1126
220 COMMENTARY: I 107-1112 221
distance, cl'., e.g., Eur. Hel. 1487-94; we may think again (cf.
are to make this verse bitterly ironical and to lend more colour than
927-3rn.) of the crow which reported Coronis' infidelity to Apollo.
Medea would have wished to her cautious TTov.Apsyrtus is killed by a
EKA£Aci8oLo : cf. 788n.
deceitful crvv8Ecr1ri (4.437), and in Greece Jason is to suffer horribly for
1113-14 A reversal of Od. 20.63-5 where the despairing Penelope
his betrayal, cf. 4.1042 oe/craTEavveeo-iasTE KC(\opK!O:, Eur. Med.
wishes that a storm-wind would carry her off to Ocean; Medea's wish
439-40. Further echoes (cf. 956-6rn., 964-5n.) of the meeting of
is to travel from the extreme east to Greece. Helen too expresses the
Achilles and Hector prophesy an evil outcome; cf. ll.22.261 "Einop, µ1)
wish that on the day she was born 'a terrible storm-wind had carried
µm, O'AO:D"TE, crvv1iµocrvvo:sayopeve, 22.265 &s OVK foT' /;µi,: Kai erk
me off to the mountains or the waves of the roaring sea, where a wave
(jllA1)µEva1 (cf. 1108). Where Achilles speaks in bitter anger and hatred,
would have swept me away before all this had happened' (ll. 6.346--8).
Medea is sorrowful and regretful; she would love to' make a pact' with
Literature and art both commonly represent the sudden death of
Jason, but the Iliadic echoes show how disastrous that will turn out to be.
young girls as the work of storm-winds which carry them away, and so
1107-8 Despite the irony of the verses, it is important that Medea
these verses may mean that, ifJason forgets her, Medea will kill herself
is not yet ready to leave with Jason - this will happen, through Hera's
and her ghost will haunt him, cf. E. Vermeule, Aspectsefdeath in ear{:;
agency, at the opening of Book 4. Aietes was certainly not like
Greekart and poetry (Berkeley 1979) 167-71. More probably, however,
Minos who was famed for his wisdom and justice, but
Medea imagines herself suddenly materialising on the other side of the
(particularly Athenian) view of the Cretan king saw him as a cruel and
world, a fantasy which her magical powers make frighteningly real.
bloodthirsty tyrant, and it is this tradition which creates the powerful .
'la;wAKOV: cf. w9 r n.
irony here. Both Aietes and Minos controlled savage bulls, and Jason's
1u5-17 These verses suggest a famous scene of Euripides' Medea
test has much in common with the clash between Minos and
(446-626).
best known from Bacchylides t 7. Already in Homer, the' good' Minos
µ.v~aw picks up 11 1 t-12, 'rememberme ... or I shall come to remind
shares with Aietes the epithet oAooqipwv(Od. w.137, 11.322), and the
you'.
ancients were well aware of the great discrepancies in accounts of
i,:pt\a't'10~: cf. 584-8n. Medea threaten_s to appear unexpectedly as a
Minos' character, cf. Strabo 10.4.8, Plut. Theseus 16.3, RE xv
suppliant, just as Jason has appeared unexpectedly 'at her hearth'.
1890-1927. . ·. II 19 un:0!3Alj6Yjv: cf. 396-4oon.
<j)LAol;EVllJV:marriage between Medea and Jason wo~ld establish
1 J20 6a:lµ.ov111 : cf. 71 1 n.
<:ptAo1;sviribetween Aictes and Jason; Aietes' xenophobia (584-9~)
KEvEci~'to no purpose', predicative.
makes this an unlikely event. This is the only occurrence of etther this
1121 µ.na:µ.wvla: various explanations (cf. Ebeling s.v.) connected
noun or its adjective in Arg. and there may be an echo of the formulaic
this word with the 'raising aloft' ofa bird in flight (PMG 516) or with
verses spoken by Odysseus before meeting both Nausicaa
av£µos (cf. the 'pun' at 4.1483-4, the two sons of Boreas described as
Polyphemus, 'do the inhabitants commit outrages and are they
µno:µwvta µoxa~cro:VTe,); it is, therefore, particularly appropriate
and uajust, or arc they hospitable (q:i1M/;£1vot) and have they a .
here.
fearing mind?' (Od. 6.120-1, 9.175-6); Jason has found ~ot~ h~s
u22-4 Cf. 392n., Od. 8.467-8 (Odysseus' promise to Nausicaa), ll.
Nausicaa and his Cyclops {cf. 176-8rn.). The theme ofhosp1tahty 1s
9.297, 603 (the Greeks' offers to Achilles).
recurrent throughout the Odyssean episode of the Cyclops.
ij8.;a;: both 'customs' and 'land', the double sense suggesting again
1109-12 Cf. 1069n.
thatjason is offering her 'civilisation' (1085-92), as well as a change
't'OK'l)wv: Medea lets Jason know the price she is paying to
of home.
him.
n:opaaviouo-w 'will honour', cf. ,q19, 4.897 (divine honours), LSJ
oo-aa:: a prophetic or divinely inspired voice or rumour; it
S. V, TrOpD"VVW
UL
personified as the messenger of Zeus at it. 2.93-4.
1126 Ka:a,yV'l')'t'Ot 't'E 'brothers and kinsmen', although ho:1
n E't'CLl
&yytAO~ opv1~: birds are obvious carriers of messages over a
222 COMMENTARY: ll27--ll36 COMMENTARY: 1138-1147 223

could be used for a wide range of social and family relationships (cf. 825-7n.) is here used in a new way: Medea herself is merely an
t.305, roT ll. 6.239). instrument of Hera's µt\61oa.
II27 &,x).epoi: cf. 656n. The verse prepares for Jason's offer KaKov 'as an evil'. These verses are very like a surviving quotation
marriage, conditional on Medea's arrival in Greece (cf. 4.95-8), in from Pherecydes' account,' Hera put these things into Jason's mind, so
following verses. that Medea should come as a disaster for Pelias (,w1 nsr.1ai KaKov)',
&6Y)v: treated as an indeclinable adjective with KaK0Trrros,cf. &A.is FGrHist 3 F 105.
272. iE>p~v:Iolcos was no doubt the site of several major temples (RE 1x
I 128-30 nopaixviu,;: the echo of 1124 marks marriage as 1853), but the story of Pelias' neglect may point to the existence of a
particular reward from Jason, as opposed to the general thanks shrine of the Thessalian or 'Pelasgian' Hera.
whole people. AtafY): elsewhere ofMedea only in the parallel passage at 4.243, and
tpl/\O't'Y)"l:O,; 'from our [state of] love', a genitive of separation. A. may be suggesting a link with ala1'; for this etymology cf. [Plut.] De
r r 29-30 rework Od. 4.178-80 where Menelaus imagines the jolly uita et poe;i Homeri 126, and cf. the equivocation with the name Aias at
he and Odysseus would have had together after the Trojan War. Soph. Aj. 430-3. The word emphasises Medea's 'foreignness': when
should remember how his account continues (v. 181) 'but these she comes to Greece, she will bring barbarian. horror with her.
god was to begrudge us'. The Homeric context colours A.'s promise 1131i-9 'The time of the day was failing for the maiden to return
a ' happy ever after'. ·. home to her mother', i.e. the amount of daylight left for getting back
1131 Cf. 286-9on. Here A. varies the construction by maki"ng to the city was running out (cf. 1143-4). In other circumstances, of
the subject of a passive verb. course, Medea roamed the countryside at night with great freedom
u32 'But she shuddered to contemplate the terrible things [she (863, 4.60).
done].' Both the meaning ofepy' ai6T)Aaand the figura e/ymologica n4o-2 Line 1142 makes dear that 1140 is the apodosis of a
taken from Il. 5.872 (cf. the echo of piy1cna from the conditional sentence, but A. omits &vand presents 1 140 as a fact, thus
Homeric verse in Ka,~ppiyricrEV),where LT glosses the adjective stressing how absorbed Medea really was.
ip6opo1to16-,cf. Hes. fr. 30.17, 60.2 (Coronis' infidelity), Tyrtaeus, IXL!J.UAfoun : cf. 5 in.
11.7 West. The other sense (Livrea on 4.47) of this adjective otPe 1t€p : a long silence followed I I 30.

'obscure', 'unclear', and many have wished to see here a XI43--S In the Oefyssoi,it was Nausicaa whose scruples did not allow
foreshadowing of the terrible events portrayed by Euripides; her to be seen with a strange man (6.273-96). Here it is Jason who is
immediate context, however, is concerned rather with cautious (mqivi\ayµsvos).
betrayal of her parents and the coming death of Pelias. ·n,; ... I o8vE>Lwv'some outsider', i.e. someone not concerned in our
1133-6 Cf. 4.242-3. For such foreshadowing cf. 1. 78-9, business. It is, however, precisely with 'some outsider' that Medea is
1302, 2.65-6, 137-8, 1028. The technique was derived from dealing to betray her family and city.
(e.g. Il. w.336) and discussed by grammarians, cf. G. E. Uu1ckworth'.>:ii a.{30Al)<JO!J.EV : probably 'we will meet' (future) rather than 'let us
'npoavaq,WVT)0-15 in the scholia to Homer', A.J.P. 52 ( 1931) meet' (short vowel aorist subjunctive). This is best seen neither as a
Here, the point is pathetic: what Medea most wants will bring meaningless formality (cf. au reuoiretc.), nor as a firm promise of
misery. another meeting at the temple. Jason recognises their relationship
ax,E>~ALY) 'unhappy', 'wretched' (cf. 2.1028, 4.1524), without (symbolised by the temple), and offers hope (ofan unspecified kind} for
necessary reproof Homer docs not use this word in such the future.
(preferring V1)1TIOS), cf. J. Griffin, J.H.S. w6 (1986) 40. 1146 EnL'fOo-o-ov'as far as this', i.e. this is the point which their
w,;...1:06€: for the apparent pleonasm cf. Il. 6.349 emi Ta6e y' relationship had reached. Others understand 'up to this moment'.
ewi KaKa,eKµt\pavro. The etymology of Medea's name in µt\6e-ro 1147 61e'f1J.ayov 'they parted'. In this sense Homer uses the aorist
224 COMMENTARY: !!48-1162
COMMENTARY: 1163-1174
passive 6uhµayev [v,l. -ov), but A. transfers the form to that of
to•, •share with•, hence perhaps •pondering what an evil deed she had
intransitive aorist active. For A.'s use of 61e7µaysv cf. 34o-6n.
shared with her will'. Such a separation of a person from their h~ule
1148-62 Jason and Medea react very differently to their
would not be unparalleled, but it seems better to understand
Jason with joy and Medea with a kind of dazed depression.
'pondering in what an evil deed she had become a partnt•r by her own
u49 CJXE6ov«V'fE~OA'l}t:rav'drew near to meet her'. counsels•. The verb stresses that Medea has joined forces with those
u51 Cf. Od. 11.222, quoted in 446-7n. which describe outside her family.
ve.ry similar feelings after her previous sight of Jason. That her This is the last we see of Medea until the panic at the start of Book
flying with love (cf. PMG 378), is with the clouds suggests a m,1or,.......,
•.,,,.
4, and her despair here prepares for that scene.
from reality like that of a day-dream (cf. GP 2054-6 of a dream 1163-6 In contrast to Mcdca's lonely dcspair,Jason is embraced by
wealth). She will never get what she wants, or, when she gets it, it
the support and solidarity of his comrades, cf. Fusillo (1985) 259,
not be as she had imagined.
Hunter (1987) 132.
µ.E'f«xpov("I'raised aloft', cf. West on Hes. Tkeog. 269. Kll'f«1tpolmwv: the double prefix suggests 'leaving them behind as
1152-4 Cf. 86g-72: Medea's trip to the temple is enclosed by he went on'. _
composition. The Homeric model is Nausicaa's return to her city op.1lov · oµ.ou: the juxtaposition points to an etymology of the noun,
6.253, 316-18, 7.3-6). For the motif in these verses cf. Theocr. cf. Tkes. s.v. 1949. The echo of 1150 marks the diflerence between
(Simaitha's return from the expedition on which she had seen Jason and Medea: the latter was alone, though surrounded by her
'I had no more thought for that festival, nor do I know how I got 1101m<".'::.C•'./,ii
maids.
again.' 1168 SyjvE«'plans', 'wiles'. This is a reversal of Od. I0.289 where
'fijl 8' : SC. ETEPTJL Hermes gives Odysseus a magic drug to protect him againstthe 6~veo:
6a:16«li"lv: a variation on euTTol117ov of 871. Kip1<f1S- It is characteristic that Jason explains everything to the other
1157 1t«l1v-.po1ti'.'1}1a1v 'stunned by reversal'. The
&p.yj:x,«vo,; Argonauts, whereas Odysseus does not tell his men about the mory.
both literal,' the turning back [i.e. coming home]', and mt:ta1Jncmcar..•<••··•<v>: 1169--70 OL08Evoio,; 1h«ipwv 'quite alone of the Argonauts', a
the emotional 'high' of 1 151 has given way to depression. Medea nn .. ,,...,.,,...,,,,:tstronger form ofoios ho:ipoov ( LI 240, 4.912). Others take the genitive
realises what she has done, cf.1162, Frankel (1968) 430-1. For the with crnavsvSe, but word-order makes this unlikely. For ldas cf.
. '<c:>\':'.'."'c,:k.'C,:"e:.'
of the plural cf. at<T]&irito-1in 297. 515-2on.
116o The attitude described matches that of some SlllCO>V :x,olov 'biting back his anger', cf. Od. ro.378-9 (the angry
preserved funerary sculpture, cf. M. Collignon, Les Statues Odysseus eating his 6uµ6s, rather than Circe's food), Dover on Ar.
dansl'art grec(Paris 1911) 203-14, esp. fig. 135, G. Neumann, Gesten· Cl!Juds 1 369.
Gebiirdenin dtr griechischenKunst (Berlin 1965) 136-50. uv,er-nntt\?:cc:::rc.:< 1171-2 'Happy, they quietly took their ease for the moment
distinctions of meaning in the poetic description of gesture an::::>:•:<<t::<:=.:::, (TflllOS), because night's darkness prevented them [from doing
dangerous, but here the verse clearly conveys fear and be·wtl.ctermenitt{AT'./:· anything further].'
in Medea's relations with Jason, thoughts of death are never far Y1186auvo1:cf. Jason's reaction at 1014; the parallelism marks the
(788-824, 4.27-33). solidarity of all the group except for Idas.
u61 'The eyes in her eyelids were moist [with tears]'; this does mpl t:r(plc:r1v:this construction is not paralleled in Arg., but cf.
necessarily mean that her eyes were closed (cf. 4.6g8), but we Leonidas, HE 2295 oi 6' OVI<o:µip' aiywv µeµei,.riµevota.AA.ampl
rather think of the stunned, staring (SXEV) expression so CJ<p£c.>V.
funerary sculpture. &µ.'iioi: dawn rises, un-Homerically, at the end of the verse.
1162 A difficult verse. In 4.435 em~w60µ0:1 means 'make 1<uuw11i:c>=<iFii:• 1174 11:po!l-EV:Telamon (196-gn.) is the leader of the embassy; the
226 COMMENTARY: 1!75-1182 COMMENTARY: ! 183-1187 227
choice is a natural one as he accompanied Jason on his trip to the The' spring of Ares' is the modern Oo:po:TTopTt,at the south-west of
palace. The 'heroic' epithet ap11iqi111osnot only marks Telamon's the city walls, c[ Vian op. cit. 84-5, RE VA 1426.
virtues, but is also part of the switch from the ;omance of the previous tcp~v'l}1lmfoupov: an echo ofa Homeric verse about Minos, Cadmus'
episode to the martial events to come. That one 'dear to Ares' should nephew, cf. Il. 13.449-50 (ldomeneus) Zl)VOSy6vos sv66:6' tKavr,:,(cf.
collect the teeth is appropriate in view of their history. os
1179] I TTpc:.'novMivooo:T~KSKp~TTJIrmtovpov. The meaning of the
n75-go The story of Cadmus bridges the meeting of Medea and last phrase was much disputed, and A.'s 'watcher', 'guardian over the
Jason and the account of Jason's trials, and covers a period of daylight spring' points to an etymology from hn-op&w (cf. Eur. Pk 66 1
in which nothing much happens. Such versified mythography is very hncrKOTT&v,P II. 13.450). Elsewhere in Arg. STTiovposis followed by
common in post-classical poetry. the genitive.
1175 KAu-tov:after his death Aithalides divided his time between· 1183 The 'Tritonian goddess' is Athena, who was associated with
the Underworld and the upper air and preserved his memory ( 1.640--8, several lakes or rivers called Triton, but here A. is clearly thinking of
with Vian's note). It is thus significant that, with the exception of a Lake Tri ton in Bocotia, cf, 1.109-11, 4-260, Livrea on 4.269.
2. 1139, A. uses KAVTOS only of immortals. EAaaaaa 'having knocked them out'; the verb depicts Athena
1178 'Aoviolo 'of Aonia '. The Aones were pre-Cadmean inc dealing with the dragon as one boxer deals with another, cf. 2. 785
habitants ofBoeotia (Pausanias 9.5.1, Pfeiffer on Call. fr. 572), and so (Heracles), Od. 18.28-9 (Iros and Odysseus). In some other versions,
the learned epithet is correctly applied to the dragon. A. Cadmus himself or Ares took out the teeth, cf. Eur. HF 252-3
Bmc.n6s and related words, perhaps because some connected the name "Apl']S... 116:i3povopaKOVTOS s~spriµwo-o:syiwv. Either we are to imagine
with the j3ovs which guided Cadmus, thus making it anachronistic for a goodly supply of teeth (cf. Ovid, Met. 3.34 triplicistant ordinedenies),
the time of the dragon (cf. :EEur. Ph. 638). as from his half Aietes seems to perform his feat quite regularly
'QyuyiYJt : Ogygos was said to have been the first king of what (409-18), or else the corpses of the dead warriors magically revert to
later Thebes (Pausanias 9.5. 1); poets use the adjective both of Thebes being teeth; perhaps, however, A. did not bother himself about this, cf.
(e.g. Aesch. Pers. 37, Soph. OC 1770) and, more generally, to mean Herter ( 1973) 43·
'ancient', 'revered'. The actual etymology is quite obscure. n86 'Ay'l}vopi~YJ<;:the patronymic is appropriate in a foundation
1179--82 Cadmus and his brothers were sent out from Phoenicia legend, and Cadmus' paternity was in fact a matter of some debate (cf.
their father to search for their sister Europa, who had been abducted :E!!77-87 (f), Frazer on Apollodorus 3.i.,).
by Zeus. When he reached Delphi, Cadmus was told by Apollo Ei'.aa-to'settled', the aorist middle ofii;oo.
abandon the search and instead to follow a particular cow and to 1187 Tradition usually told of five survivors who founded the
a city on the spot where it lay down to rest. It is unlikely that 1 179 Theban race: Echion, Oudaios, Chthonios, Hyperenor and Pe!oros, c(
intended to reflect a version different from the usual one, and 'while he Jacoby on FGrHist 4 F l. Interpretation of the verse poses two
was searching for Europa' should thus not be interpreted too strictly. problems. (i) vTToooupi may be construed either with AtTTOVTo 'spared
After reaching what became Thebes, Cadmus wished to draw water by the spear' or with aµwov-ros 'reaping with the spear'; for the latter
a spring sacred to Ares in order to sacrifice the cow; the spring cf. 416n. In either case, the verse looks like a reworking of ll. 19.230
however, guarded by a dragon (which in some versions was foo-01 15' &v TTO;\Eµo10 mpi crTvyepoTo AtTTWVTO:l. (ii) In Pherecydes'
offspring of Ares). Cadmus' trials - in a place sacred to Ares version, which A. has in general followed, the warriors kill each other
first a dragon and then the offspring of its magical teeth - parallel (cf. 1os57-6on.); if that is what is assumed here, 'Ares' is a metonymy
reverse order the testing of Jason; the two heroes found, however, for' war', as Ii. 19.230 might suggest. Nevertheless, the various versions
different ways of dealing with their dragons. For these myths c[ that we possess differ so much in the assignment of roles to Cadmus,
Ph. 638-75, Apollodorus 3.1.1-4-2, F. Vian, Les Originesde Ares and Athena that the poet may envisage an actual slaughter by the
Cadm(}set les Spartes(Paris 1963). god of war. Pherecydes (FGrHist3 F 22) made both gods responsible for
228 COMMENTARY: 1189-1196 COMMENTARY: !197-1206 229

the division of teeth, whereas A. mentions only Athena. In some _Trojan campfi~es at ll. 8.555-8 {cf. 16.299-300), 'as when the stars in
accounts of the myth, also, it is doubtful whether or not 'Ares' is the. heaven , shme clearly around the bright moon , when the air · 1s
·
in metonymy, cf. Aesch. Sept. 412, Eur. HF 5-6. windless (VT')ve1-1os:);
all the high places and peaks and valleys stand out
n89 p.Lv: i.e. Jason. and the limitless (~e-ros) air comes down from heaven'. A. may hav~
ndpa-r' a.i81-.ou'the completion of the task', cf. 2.424 'upon been led to ec~o this scene by the reference in 1193 to the Greek camp.
depends the treipcrrc:x&eei\ov', Pind. Pyth. 4.220 'Medea showed Zenodotus omitted vv. 55 7-8, and it is natural to look in A.'s text for
the Treipcrr'a£8Awv', Livrea on 4.120 I. a grammatical, as well as a poetical, point. Trm>J:VKl]Aos is best taken as
ugo Jason's work, unlike that of his Pindaric forebear, will not a variation on VT)V£µos !n 556, which implies a Homeric text including
finished after the yoking and ploughing, cf. 415-16n. the doubtful verses; this does not, of course, necessarily mean that A.
1191-1224 The description of Jason's magic ritual _forms a supported the retention of those verses, cf. above, p. 36.
contained unit bounded by the setting of the sun and the 1197_ Cf. 1191--4n. Thieves prefer murky nights (//. 3. 10-12); on a
appearance of dawn ( 1223-4n.); for similar narrative structures clear night.they go to a lonely spot to avoid being seen. Secrecy and
1.1172-rn79, 4.109-84, A. Kohnken, ApolloniosRhodios und theft are well suited to the pattern of Jason as 'ephebe', c[ above,
(Gottingen 1965) 17-25. p. 30, Hunter (1988) 450-2. In Book 4 Jason 'steals' Aietes' fleece
1191-4 Cf. h. Herm. 68-9 (Hermes setting out to steal - cf. and runs away.
Apollo's. cattle), 'the sun disappeared beneath the earth into ng8 auv niiatv XP~t:aal 'with all necessary things', cf. Chantraine
I 70,
with its horses and chariot; but Hermes ... ' The chariot of
which is first found in tragedy (Aesch. Ck. 660-1, Eur. Ion 1 npo ycip ic-i-1-..:this realistic detail, like the explicit provenance of the
varies the epic model. sheep in 1199-1200, is typical of A.; Homer usually dispenses with such
linw&Ev: Colchis is in the extreme east. explanations.
la1tEp£wv: Homer divided the Ethiopians into those who lived in 1199 &ijl.uv... ow : a variation on !032-3.
extreme west and those in the extreme east (Od. 1.22-4, cf. Hc,pkinton yaA11: cf. 1210n. Medea had said nothing about milk, but A. is at
on Call. Ii. 6.11). Mimnennus had placed Helios' stables 'in the pains to avoid a formulaic style; contrast Od. 10.517-25 ~ 11.25-33.
of the [eastern] Ethiopians' (fr, 12.9 West), but A. leaves open For offerings of milk to chthonic powers cf. Aesch. Pers. 61 1, Eur.
vexed question of where the sun spends the night and is concerned Or. I 15, K. Wyss, Die Milch im Kullus der Griechenu11dRiimer (Gicsscn
with its setting. The epithet is here particularly pointed as Aia, 1914) 25-32.
Jason is now, is in or near the land of the 'eastern Ethiopians', cf. iicTo&t1tolp.v'}; 'from a flock'. Possible also is e1<1To8e 'from some
(1966) 29-32, 410-21, Diggle on Eur. Phaethon1. The floc.kor other'; A. uses e1<1To8sv with the genitive (262, 1289), and
ecmep1osmakes good sense, but lacks the point of Frankel's Qumtus Smyrnaeus has adverbial e1<1ro6e. _
ECTITepiwv ... Ai6101TflWV
framing the verse suggests how the eastern 1201-2 A variation on Medea's ofos aveve· &i.i\wv (1031).
western Ethiopians frame the world. Much ancient discussion ice1811pij,aw'clear [of trees]' and '[ritually] pure', c[ Theocr. 26.5
Homer's Ethiopians has filtered through into Strabo 1.2.24-35. (the Bacchants) ev
1<a6apw1AE1µwv1. The clear sky, unobscurcd by
x«p.Eu\111;:the heroes go about their normal tasks with 1,;u1u1<1c1J,o:, trees, is required as a purifier against the pollution which Hecate will
1195-0 CT. 745n. In antiquity the Bear did not actually set bring, cf. 200-9n., Parker (1983) 222-4.
5.275 with Stanford and Hainsworth ad loc.), but its approach to -·--,,--_-_,,_,-_,,,,,Ei.ap.aijLalV•meadows [by a river] ', •marshes', cf. R. E. Glanville
horizon could mark the middle of the night (cf. 1029), cf. Gow Downey, C.P. 26 (1931) 94-7.
Theocr.24.11-12, H. White, Mnem.4 30 (1977) 138-9. 1203--0 1tO't"fljJ.Oio: the genitive after AofoaaTO (cf. 876-7n.) varies
o'5pavo8£\Iic-rl.._:an echo of part of the famous simile describing
the construction of 1030. ·
230 COMMENTARY: 1207-1211 C:0/vfMENTARY: 1212-1218 231
Oeioto : cf. 164-6n. 1212 a:yKaAfoa~ 'having called her up', cf. 861.
: Jason
-repE11 is very vulnerable before he has applied 1213 t1n<XTWII 'furthest', 'lowest', there is no certain parallel (cf.
drug. Vian on 2.207), and corruption has been widely suspected. The
cprlpo~: it is characteristic of A that we heard nothing of this superlative may, however, convey extremity in a direction other than
Book 1; for such gifts cf. 2.30-2, Od. 5.264 (Calypso dresses height (cf 4.282 vrra.ov dpas 'QKecxvofo), and cf. Lat. altus, both
in fragrant robes, which Plutarch, at least, thought were 'high' and 'deep'.
,~s q,11\ias, Mor. 83rd). In following Medea's advice, Jason 1214-15 In the Rhizotomoi(cf. 84511.) Sophocles depicted Hecate as
himself in an advertisement of his tendency to leave women behind, having snakes and oak leaves in her hair (fr. 535 R). The snakes occur
Fusillo ( 1985) 308, A. Rose., 'Clothing imagery in elsewhere in literature (Ar. fr. 5 I 5 K-A, Lucian, Philops. (34 Macleod)
Argonautika', Q,,U.C.C.n.s. 21 (1985) 29-44. In 4,42,~-34 another 22) and the magical papyri (PGiH iv 2800-1, Betz ( 1986) 9 I), and are
which Hypsipyle had given to Jason and on which Dionysus had a standard feature in the descriptions of Furies and witches in Roman
with Ariadne is used to lure Apsyrtus to his death; these similarities poetry, but there is no other reference to Hecate's association with the
part of the complex relations between these various stories oak. It may be relevant that Dido constructs her magic pyre out of pine
1oo 4 n.). It is very probable that we are to understand and ilex (A.en.4.505) and that the necromantic scene in Seneca's Oedipus
Hypsipyle and Jason had slept together on or under this robe (530--658) is set in an oak-grove. The word-order, with crµep-
H. Frankel, T.A.P.A. 83 (1952) 153 n. 31). 80:t\fot ... 6p6:Kov-r€Sframing the verse, enacts the meaning: there is a
µ.ev: emphatic after a relative pronoun, cf. Denniston 36 t. For garland of snakes around her head.
scansion cf 830n. 1216 Torches are standard equipment for Hecate, and a common
a6111ij~!cf 616n. Here either 'sweet' (cf. Erbse (1953) 194-5) title for her is q,wo-q,6pos,cf. Richardson on h. Dem. 52. The epic model
'frequent', 'intense' (cf. :L" it. 22.430 -rrvKvoO Kai ovvexoOs). for these verses is h. Ap. 445-7, describing the god's brilliant epiphany
interprets as 'sad', because Jason left Hypsipyle, but this seems at Delphl, the ololygeof the women who saw it, and the universal
likely. fear.
1207 mj:x,1Hov 'a cubit long', a variation and expl~nation 1217 Cf. 749n. Hecate's dogs may here be envisaged as a pack of
-rrvyovoiov in the Homeric model (Od. io.517 = 1 r.,25), d. Z 10.51 Cerberuses, also with snakes in their hair, cf. perhaps Hor. Sat. 1 .8.34-5
,rvyovotov· m1xvafov, 1032-4n. serpentesatqueuideresI infemas errarecanes,W. Burkert, EntretiensFonda/ion
1208 in( 'over [the pit]', cf. 1032-4n. Hardt 27 (1981) 118.
&pv£tou: cf. 1032-4n. 1218 Nature trembles at the approach of the dread goddess, cf.
120 9 au-rov : Frankel's au,fivwould extract a little more PCM 1v 2537-42 'when they hear your cry, all the immortal gods, all
humour from the sex of the sheep, but seems an unnecessary n,1.11u:rn•c1 the mortal men, the starry mountains, the valleys, all the trees, the
EU'skilfully' or perhaps 'as was required', a variation on both crashing rivers, the wide sea ... shudder', Virg. Aen. 6.256-7, Sen. Oed.
context and the meaning of the adverb in 1034. 575-6 totum nemusI concussit horror. Imagination creates a magical
<ptTpou,;: i.e. the o-xil,o:tof 1208, although q,t-rpoi are usually reason for a common occurrence, an earth tremor; so Ludan's
solid than 'kindling'; there is the same alternation at 1.405 ~ character (34.22) speaks ofa crstoµ6s. The epic model is the reaction of
1210 µ.1ya6a,;: a mixture of honey ( I 036) and milk ( l l 99). 'JLJV:>:,<eu, nature to the passage of Poseidon at JL 13.18-19 ,peµe 5' ovpscx µaKpo:
had offered µet\iKpl)TOV,wine and water, and A. interprets the Kai VAT] I Tl'OO'O'lV vTT' aOqvo:-roim Tloo-EEOO:WVOS16v-ros, and cf.' 2 .679-80
these as honey and milk, cf. Eur. Or. I 15 µeA[Kpa.' &q,es vn:An,u,,c (the passage of Apollo).
olw,m6v -r' &xvriv, LSJ s.v. µet\1Kpr17ov. n-1a£a'watery meadows', the eiaµwai of 1202. Homer uses this word
12n Bp1µ.w: cf. 860-rn. only in connection with nymphs (ll. 20.9, Od. 6.124, k Aphr. 99),
232 COMMENTARY: 1219-1225
COMJ\!ENTARY: 1225-1230 233.
o).o).u;av: the ololygewas a loud female cry uttered at various
full Homeric panoply and the sN order of the arming, cf. it. 3.328-38
occasions, such as a sacrifice. Here it marks the epiphany of a god,
(Paris), 1!.!6-46 (Agamemnon), 16.130-44 (Patroclus and Auto-
h. Ap. r 19, Ar. Knights 1327, Call. h. 4.258, and signals awe and
rnedon, the charioteer), 19,'.164-91 (Achilles and Automedon), J. I.
Cf. L. Deubner, Otolygeund Verwandtes(Abh. Berlin, 1941), Fraenkel
Armstrong, 'The arming motif in the Iliad', A.J.P. 79 (1958) 337-54,
Aesch. Ag. 597.
Frankel (1968) 469-72,James (1981) 74-5. Frankel notes that, except
1219 Cf. 881-3n. 'Marsh-dwelling river nymphs' conflates two
for the rather unusual case of 1246-67, Apollonian arming-scenes are
the Homeric categories.
not followed by battles; this is a further break with the Homeric
1220 el.aµ.t:vll": cf. 1201-20. A. has used three synonyms in
pattern. Comparison of this passage with the description of Aietes in his
verses, TT[o-ecx,EAE!o-,dcxµevii.
chariot at 4.219-115 shows a careful concern to vary both the epithets
'Aµ.apav-riou: A. places the source of the Phasis in the
and the details.
Mountains' in Colchis; Aristotle placed it in the Caucasus
1225-7 m,pi... lfea-ro: cf. /!. 12.464 of the raging Hector (with
1.35oa28) and Eratosthenes in Armenia, cf. ! 2.399-401, !
1 232-3 ~ r;.465-6), Call. fr. 293 o-r6:61ov6' V<jl£EO'TOXt-r&va.
RE XIX 1888.
a-r6.61ov 'rigid', i.e. made of fixed pieces o_fmetal, as opposed to
t:tl{aaov-rat : probably 'dance' (cf. 1.1135, 4. r r 98) rather
a scale-corselet (a ewpri~ aAvm6WT05), cf. Lorimer (1950) 196-2!0,
'gather', 'mill around'. There is also an eq~ivoc~tion w!th t11,,<_,u•u·ucll
A. M. Snodgrass, Early Greek armour and weapons (Edinburgh 1964)
used ofa 'winding' river: the nymphs are identified with their
72-86.
(cf. 1.501-2), just as vvµqiTJ is commonly used by metonymy
cl>leyp«i'ov : cf. 230-4n.
'water'. The imperfect ElAJO'O'OVTo may be correct (cf. 1.1222-5),
Mtfl,«v-ra : that it was Ares who killed the giant Mimas is not
the present tense identifies the nymphs more closely with
otherwise attested in literature before Claudian (ft. c. A.D. 400) -
particular meadow, and such precise erudition is very much in
contrast Eur, Ion 215 (Zeus), Apollodorus 1.6.2 (Hephaistos) - but this
Hellenistic manner.
version is found on a red-figure cup by Aristophanes (ARFVP 2
1221-2 Cf. 1038-41n.
1318-19). Mimas figured in the Gigantomachy on the north frieze of
1223-4 The sudden appearance of dawn in mid-verse marks the
the Siphnian treasury at Delphi and in the second-century frieze of the
of Jason's encounter with the 'powers of darkness' and the start •h,, :-•:·· 1.•>
altar ,of Zeus at Pergamum, but in neither case is the opposing
day of the contest, which will fill the remainder of the book, cf.
Olympian known, cf. V. Brinkmann, B.C.H. 109 ( 1985) 98 with fig.
(1932) 75-6, M. Campbell, C.Q n.s. 19 (1969) 281. The focus
93, E. Simon, Pergamonund Hesiod (Mainz 1975) 41. The possession of
from the 'dark earth' of the far west ( 1192-3) to the snowy
this marvel confirms the similarities between Aietes and the harsh god
in the east; dawn' casts' her light to replace the yoke 'cast' ( 1 193)
of war (cf. 2. 1205-6) and marks Aietes' own mastery over 'the
Night's horses. Dawn is immediately followed by the
earthbom'; for the warriors and the Giants cf. 1054-5n.
Aietes like the risen sun, from whom he descends.
1228--30 A number of Homeric passages may have contributed to
ljp1yt:v~~ : cf. 823-4n. . .
these verses, cf. ll. 5.743-4 (Athena's golden helmet), 19.381-3
&v-ri).louaa: the spondaic close (above, p. 42) gives an air
(Achilles' helmet with golden plumes), 22.134-5 (Achilles' armour
to the verse.
gleaming 'like fire or the rising sun').
1225-45 Aietes arms himself, apparently for the battle he foresaw
-re-rp,:upetAJJpov : this Homeric epithet probably refers to four small
581-3, and which in some versions did actually take place. 'T'L!C·'· ·
disks which strengthened the front of some helmets, cf. Lorimer ( 1950)
description divides into two the account of Jason's
240-1, but we cannot be sure how A understood it. He may refer to
Medea's instructions, as part of the avoidance ofa formulaic style.
the four bolts where the cheek-piece joined the head-piece (cf. !A It.
arming of a hero is a standard motif of the Iliad, but A. avoids both
5.743),
234 COMMENTARY: 1231-1240 COMMENTARY: 1240-1241 235
:rci,:phpoxov 'circling' and 'circular'. Increasingly from the fifth at o~e ~f his major ,temples. 'f'.he alternative destinations suggest
century on, Helios was represented with a halo or crown of brilliant Pose1don s (and A1etes) pleasure m such performances, and invest the
rays, cf Roscher s.v. 2003-5, F. W. Goethart and H. Schlcif, Der simile with a religious solemnity, as this style is very like the listing of
Athenalempeluon/lion (Berlin 1962) figs. 34-40. At Virg. Aen. 12.161-4, alternative divine abodes in a prayer, cf. 876-7, 1.307--9 (Jason
another descendant of Helios, Latinus, is crowned with twelve golden compared to Apollo), 1.536-8, Bulloch on Call. h. 5.60-5.
rays. Poseidon is chosen here for a number of complemenrary reasons. A
'QKE:«voio: Helios is at his brightest when he emerges, famous scene in the Iliad depicts Poseidon's passage in his chariot over
washed, from Ocean. This detail is also appropriate to the setting of the the waters (/l. 13.23-31, cf. 1218n.). Aietes' family has strong Jinks
story in Colchis in the extreme east near Ocean. · with marine divinities (242-6n.), and Pelias was Poseidon's son (us,
1231-2 av 6k... vwµ.a 'he brandished in the air' or 'he picked up Od. 11.254-7) ;Jason's opponents have, therefore, many links with the
and brandished'. o:v= 6:va(cf. 1236). god of the sea. Mythology told of disputes between Poseidon and the
no),.upplvov 'covered with many layers of hide', cf. Lorimer (1950) two gods most closely concerned with the success of the Argonautic
183. exp.edition, with Athena over the fate of Odysseus (the most important
&.µ.alµ.«Kt:-rov'irresistible', as 1232-3 make dear, cf. Et. Mag. epic prototype for Jason) and for supremacy in Athens, and with Hera
76.8-19, M. S. Silk, C.Q n.s. 33 (1983) 328-g. In.view of 1240-5, it over the fate of Troy and for supremacy in Argos (cf. Eur. Tr. 24,
may be relevant that Pindar uses this epithet of Poseidon's trident Pausanias 2.15.5 etc.). So too, Poseidon was very closely associated
(Jsthm. 8.38). with bulls (ll. 20.403-5, Eur. Hipp. 1213-33 etc.), and throughout
1232-4 Cf. ll. 12.465-6 (only a god could have stopped Hector), Greece he had strong associations with the earth and with fertility,
16.141-4 = 19.388-91 (no other Greek could lift Achilles' spear). As which made him an appropriate god to 'watch over' the sowing of the
often, Heracles exemplifies a physical power not attainable by any·· dragon's teeth, cf. N. Robertson, C.Q n.s. 34 (1984) 1-16. Beyond all
other Argonaut, cf. 2.145-53, D. Feeney, P.V.S. 18 (1986) 47-85, this, however, Poseidon was a brooding, difficult god, cf. Burkert
Fusillo (1985) 44-54. The resort to magic was thus entirely necessary, ( 1985) 139: '[Poseidon isJ always decidedly a member of the older
once Heracles had been lost to the expedition. . generation ... an embodiment of elemental force ... clarity and iJ.
1235-6 'For him Phaethon brought near [cf. LSJ s.v. exw A 11.8]the lumination does not proceed from [such a power] - this must come
stout chariot and swift horses for him to mount.' The horses, we learn from Athena or Apollo ... ' This then is the force against which the
at 4-220-1, were a gift from his father Helios. For Phaethon cf. Apolline Jason (cf 1283, 1.307-9) will have to contend.
242-6n. 1240 The Isthmian games were held in Poscidon's precinct m
1236-g Aietes (cirr6s) drives (contrast 4.224-5), and Phaethon Corinth, cf. L. Farnell, Cults ef the Greek states (Oxford 1907) 1v
rides with him; mp1vmay, therefore, have its regular plural 81-3.
although a singular sense is possible (cf. Jebb on Soph. DC 1490). 1241 T01iv01pov:the southernmost part of the Peloponnese, site of a
£Upti'av Ka-r' &.µ.ot;ltOv: cf. 874. Medea's earlier trip along the famous temple of Poseidon and an entrance to the Underworld, cf.
route has prepared Jason to confront the test to which Aietes is now Pind. Pyth. 4.44-5, RE !VA 2030-49; the Tainaria games in Poseidon's
travelling. The echo calls attention to the parallelism of the similes of honour were held either there or at Sparta, cf. M. P. Nilsson, Griechische
Artemis (876-84) and Poseidon (1240-4). Feslevan religiiiserBedeutung(Stuttgart 1906) 67-9.
&.ni,:iplto,;... Aao,;: the contrast with 885-6 shows that Aietes has Aipv't),;I u6wp : at Lerna in the Argolid were springs sacred to
people behind him; Medea was an outsider in her own society, Poseidon Genesios, which the god is said to have revealed as a gift to
before she betrayed it. Amymone, after he had made love to her, cf. Pausanias 2.38.4, Frazer
1240-5 Aietes is compared to Poseidon travelling to witness his cult on Apollodorus 2. I+
236 COMMENTARY: 1242-1248 COMMENTARY: 1249-1262 237
1242 Onchestus, beside Lake Copais in Boeotia, was a special n:e;p16e'and particularly', cf. 415-16n. Others understand it as a
of the god (ll. '2.506, h. Ap. 230-8, RExvm 412-17), and . second prefix with -rr6:Awev,'he sprinkled around ... '
games were held there in his honour (Pind. Parth. _2.41-?)- 1249 '3El3tl'jµ.ivo1 'using all their force',
Hyantes, like the Aones (117811.), were pre-Cadmean mhab1tants 1250-1 'but, unbroken as before, it remained hard in their mighty
Boeotia (Pausanias 9.5.1, RE ix 22), and so the epithet associates hands',
with the grim history of the teeth. &ttyii;: elsewhere (except Quint. Smyrn, 6.596 which imitates this
1 2 43-4 A change of syntax produces a mannered anacoluthon passage) the first syllable is short, as one would expect. A. may be
avoids monotony. There may be an echo of Pind. .Nem. imitating a lost source for this prosodic rarity.
TTocr€100:WVa ... OSAiyae€v TTOTl KA€1TO:V eaµo: vicrETal'lcr6µov liwpfav, ev£aKA~lC€l; pluperfect of /;va1<ei\Aw, a verb which indicates the
Ka),o;upw1.v: Poros, in the Saronic Gulf opposite Troezen. hardness which results from drying, cf. 2.53 of boxing-thongs,
temple of Poseidon on the island was the seat of an important 1252 &µ.o't'ov 'insatiably', i.e. Idas has never ceased from his anger
Amphictyony, cf. Farnell, Cults rv 83, A. M. Snodgrass, The dark age of 556-64, cf. l 169-70. Others understand 'violently', cf. Livrea on
Greece(Edinburgh 1971) 402. . 4 .923, LfgrE s.v.
6~ ! emphatic after a prefix in tmesis, cf. 4.1040, 1267, F. 1253 oup(«xov: the end of the spear, often pointed so that it could
R.Ph.3 36 (1962) 43· be stuck in the ground (cf. 1 286-7).
Ili't'Pl'J":Petra, near Mt Olympus, was probably not the site of 1253.,-4 'the sword-edge leapt back like a hammer from an anvil'.
Petraia in Poseidon's honour (cf. 1, Bacchyl. 14.20--2), but aKWK~ : here the edge of the sword, rather than the point, cf. Lat.
celebration is clearly meant here. Poseidon Petraios was aczes,
throughout Thessaly, and the title was taken to refer to his striking po;la-r~p: once in Homer, during the making of Achilles' divine
rock with his trident to create the first horse or, in other versions, armour (ll. 18.477); the echo points to the magical power of Jason's
valley through which the Peneios flowed, cf. Hdt. 7.129.4, weapons.
Cults 1v 76. At Pind. Pyth. 4. 138 Jason addresses Pelias as n-aAt\l'l"U1t£~:adverbial neuter. The genitive of separation is more
Poseidon Petraios'. likely to follow the verb without a preposition (K-G r 394-5) than to
Aiµ.01111Jv 'Thessalian', cL 1090n. depend upon -rraAtvTvms (LSJ s.v. -rr6:i\1vr).
re:p«ta't'ov: a promontory in southern Euboea with a famous oµ.a6l)a«v: the sense of togetherness (6µo0) in this verb, cf. 564-5n.,
to Poseidon ( Od. 3.1 77-9, Farnell, Cultsrv 79); according to L Pind, stresses the solitary opposition of Idas, who now disappears altogether
13.112, Geraistiawere held there in the god's honour. The who'.e from the poem. Jason's success in the trials that await him proves an
Euboea was an important source of timber (RE VI 855), but there 1s effective silencer.
other evidence which singles out Geraistos. l258 £11:Eppwao;v-.o 'moved swiftly', from bnppcooµat; the form
1245 ~ 1e;vt6eo-8o;1 : the infinitive expands and completes the could, however, derive from bnppwvvµ1 'strengthen', and the second
the verb, cf. K-G 11 14-15, 17svmakes good sense, but 171evpicks up half of the verse, which suggests a connection with pwµri, allows both
in 1240 and stresses the processional aspect of Aietes' approach to possible meanings of ~,reppaicro:VToto be felt.
games, cf. Campbell ( I 983) 94· 1t£pl : probably adverbial, 'exceedingly', rather than governing
1 246--67 Jason's preparations are simultaneous with Aietes'. otli.vei,or being in tmesis with the verb.
anoints his weapon before himself, thus reversing the order of 1259-62 A.'s model for this simile is a Homeric passage over which
instructions ( 1042-7) and avoiding a formulaic style of narrative. the ancient interpreters puzzled greatly; it describes Paris after he has
1247-8 a.µ.q>en:a:Al>\1£\1: a variation for -rro:A6:ao-eiv(1046n.). left Helen and donned his armour and Hector in his terrible power
'3p1«pov: not of spears in Homer, cf. 1321-2n. after he has been cured and given new strength by Apollo (Il.
 COMMENTARY: 1263-1264 COMMENTARY: 1265-1272 239
238
6. 506-11, 15.263-8): 'as when a stabled horse, having fed his fill at the K. Latte, De saltalionibusGraecorum(Giessen l 913) 27-63,J .-C. Poursat,
trough, breaks his bond and runs stamping (K~oaivwv) and :xulting B.C.H. 92 (1968) 550-615, E. K. Borthwick, Hermesg8 ( 1970) 318--31,
(Kvoiowv) over the plain, accustomed to bathe m_the broad nver. !1e and for its possible significance Hunter ( I 988) 450-1.
holds his head aloft, and his mane plays around his shoulders; trusting µ.eTapO'Lov'ixvo,; en:aAAE\I: rather 'he leaped an airborne step'
in his prowess, he swiftly plies his knees towards the fields where the (cognate accusative) than 'he wielded his step in the air' (predicative
horses graze.' A. has reduced the scope of, the mode,!, an~ ~ adjective).
combined it with Aesch. Sept. 392-4 (1 ydeus) µo:x11sepwv 1265-J The flashing and rapid movement of the shield and spear is
ss7166µeVOS rro71eµotoJ, I irrrros xa71,vwv &s 1<<rrao-t}µaivwv µ.\vet,I compared, but not by direct simile, to the flash of lightning from a
~OTJV ocr71myyosopµcdVtll<AVWV. In Homer the simile is complex and stormy sky, cf. 1377-80, Il. 13.242-5. The comparison suggests Zeus's
problematic, not least because of its application to both Hector success with the thunderbolt against the Titans (Hes. Theog.687-99),
Paris; A. has simplified it to emphasise Jason's readiness to thus foreshadowing Jason's success in the coming contest. Frankel
truly heroic tasks, but the war-horse perhaps sug~ests the transposed these verses to follow 1292 to make them describe the fiery
tactics of the Hellenistic age. As the horse was the ammal most breath of the bulls, and this is certaii:ily how Valerius Flaccus uses this
associated with Poseidon, the simile also suggests that Aietes has passage (7.567-72). The transposition is ingenious, but to be rejected,
a worthy opponent. For the subsequent history ofthis simile in cf. M. Campbell, S.I.F.C. n.s. 46 (1974) 148-50, who notes the
poetry, cf. Ennius, Ann. 535-9 Skutsch, Virg. Aen. I 1.492-7, M. preparation here for the simile describing the destruction of the
Albrecht, Hermes97 ( I 969) 333-45. warriors at 1399-1403.
KTA. 'strikes the ground as he prances and neighs'.
O'Kttp6f1,WL 'was flashing in different directions', picking up
f.tETa.m:urpttaO'Ealia.l
rre6ov interprets the Homeric Kpoaivwv, which some ancient Ev8a Kal foea in Jason's movements. This verb was thought to be
derived, probably rightly, from Kpove1v,cf. Ebeling s.v., connected with qiaiv1a1v, cf. P' ll. 2.450, L. Belloni, Aevum 53 ( 1979)
70-1, Livrea on 4. 1442.
DE s.v. 1<povw.
op6ot'GLve:1t'oi.ia.O'LV 'its ears upright', i.e. keen and attentive, The text of 1267 is uncertain, as the repetition of hm,a is barely
Soph. El. 27 (the paidagogoscompared to a noble horse) 6p8ov tolerable. Ziegler's o,~rrip TE is very attractive, cf. Il. 4.259-60, 1o. 7 (a
1cr-rriow,LSJ s.v. eiri B 1. 1. A. chooses parts of the horse (ears and storm from Zeus), Ruijgh (1971) 496-7.
1269 l1tu1xepw 'in order', cf. 170; for the allotment of rowing
which Homer omitted.
1263-4 Jason 'warms up'; cf. ll. 19.384-5 where Achilles checks positions cf. 1.394-401.
physical preparedness after he has donned his new armour. Both 1270-, The Plain of Ares was on the south bank of the river
verses and the simile of the horse are reminiscent of a dance. opposite the city (2.1266-9). The Argonauts now row a llttle way
Greeks knew many dances by men in armour or carrying weapons, further (rrpo,Epw) upstream and cross the river to moor beside the
most relevant is the rrupp1XT),which seems to have been performed Plain. The Colchians watch from the northern bank of the river, taking
least partly naked (cf. 1282), carrying a spear and a shield (cf. advantage of the higher ground there (1276).
and wearing a helmet (cf. 1281) ; its function was large! y as part 1271 a.aT£O~ av-rtm\pl)6ev 'opposite the city', cf. Livrea on 4-68.

training for wa'.-. This dance was associated with Athena, and 1272 ' ... as is the winning-post, which a chariot must reach, from

version made its origin the goddess' celebration of the victory over the starting.gate ... ' The use of this measurement of distance increases
Titans (Dion. Hal. AR 7.72.7); this would make it the sense that Aietes, like Poseidon, has come to watch sport in his
appropriate for Jason before his clash with the 'earthborn honour. Both here and at l.!060 (the funeral ofCyzicus) A. reminds
£m::u..Aw( 1263) may signal this connection, as 'Pallas' was us that he has chosen to omit a scene of funeral games such as Homer
derived from this verb (Pl. Grat. 406e-7a etc.). For the rruppixri ,.,_ .,,,,,,,-_-, had bequeathed to the epic tradition. We should, however, remember
240 COMMENTARY: 1273-!278 COMMENTARY: 1278-1287 24]
Il. 22. 162-4 (Achilles pursuing Hector):' as when prize-winning horses 1278 The echo of 1163 marks the conclusion of preparations and the
with their single hooves run very swiftly around the boundaries; at beginning of the contest proper.
stake is a great prize, a tripod or a woman, when a man has died'. Part 12_79l;uv 6o~pi Kai aarc161: cf. 416n. These arms mark Jason's
of Jason's prize will indeed be a woman. The fusion in this passage of heroic status, cl. Il. 5.297, ·io.407. They are also the traditional arms
contemporary reality and epic reference is characteristic of Hellenistic of the hoplite - Jason now faces his real test after the long preparation,
poetry. cf. abo':e, p. 31, H,unter ( 1988) 452. The phrase has a long history in
en~?,oii.o; 'to be reached', a passive sense found only here. Greek hterature (Fraenkel on Aesch. Ag. 111), but there is no reason
vua<u.i: the mark (LaL meta) at one end of a hippodrome, which to think that A. is quoting a particular text.
served as a turning-post (Kaµ,r-n\p) and, if the race was of an odd 1280 aµu6l<; 'also', 'at the same time'.
number oflengths, the winning-post, cf. H. A. Harris, Sportin Greeceand eAE: there is a slight zeugma with ~iqios 6:µqi c.oµo1s (' took
Rome (London 1972) 151-83. The length of race courses varied greatly, up' ... 'placed'), but Frankel's i\s is unnecessary.
but most were between two and four hundred metres. This seems a 128o-j Several noun-epithet pairs give the passage a pronounced
very short distance, but the Greek cannot mean 'the distance of 'epic' flavour, but A. avoids actual Homeric phrase;.
entire race', e.g. twelve laps (nearly ten kilometres). 1281 In Homer helmets a~e used for purposes other than protecting
1273-4 Jason's contest (aell1<ov)will lead to victory and a the head (cf. ll. 3.316, drawmg lots). Here the helmet will serve as a
(0E61<ov). sowing-sack, as Jason's head is protected by the magic drug.
K1JS1aµov£i; : cf. 730-2n. Funeral games in Homer are arranged by the 8owv 'sharp'.
deceased's family (Il. 23.631, Od. 24.85-92) or by those closest to them 1~82--3 y~µ-..o;: cf. 1263-4n. Hesiod recommends ploughing and
(Achilles for Patroclus). At Il. 23. 163 the Kf16~µ6vsslight sowmg yvµvos (WD 391 with West's note), but we should here rather
funeral pyre (' kindred mourners' Leaf). think of the nakedness of gods and heroes in Greek art. In Pindar
1275---'7a.ii.ii.wv'as well', cf. LSJ s.v. n.8. Jason throws off his KpOKoeveTµa before ploughing (Pyth. 4 .23 2 ). '

<JKonir.olGl : A. has in mind the word's connection with crKOTT£iv,cf. At ll. 2.478-9 different parts of Agamemnon are compared to Zeus,
2'.TIl. 2.396; O"KOTTEAot were high watch-places, cf. Ovid, Met. 7. Ares and Poseidon. Here, Jason's likeness to Ares foreshadows his
amueniuntpopuli sacrumM auortisin aruumI consistuntqueiugis. triumph in 'the Plain of Ares' and marks him as a worthy rival for
EAlG<JOµ£vov:Aietes is' roaming up and down' in angry Aietes (cf. 1_227).In b_eautyand stature he is like Apollo (cf. 1.307-11 ),
cf. Il. 18.372 °TCV6' Evp' iopwoVTO:EA!O'O'Oµevov mpl q>vcras. a god who 1sclosely lmked to the success of the expedition, c[ Hunter
between xeThos and TIOTaµoio, however, the word also hints (1986). At Find. Pyth. 4.87-8 Apollo and Ares are two of the
e1<icrcrEcr6a1of rivers, cf. 122011., and some editors adopt the possibilities considered by the crowd at the wondrous sight of Jason•
ture s?-.iacroµivov, which sacrifices the pointed ambivalence of ~res is there signified by xa71Kapµa·TOs ... n6cr1s 'Aqipo6iTas, which b;
transmitted text. itself .could be taken to refer to Hephaestus, and so the present passage
1278-1407 The description of the contest falls into two sections may mterpret as well as reflect Pindar.
1278-1353 (the bulls) and 1354 adfm. (the warriors); 1346-53 forms xpuc:raopwt:a word of debated meaning, but ~i<t>os points to 'with
transitional passage. A. portrays Jason's deed largely by means the golden, sword'. for :'pollo and gold cf. Call. h. 11.32-4, 8 78n.
simile; the result is an extended passage unlike anything else in Ht84 X«AKta: this 1s new, but unsurprising, information, cf.
poem - closest is the boxing-match of 2.67-97 - and, through 230-1.

dense clustering of similes, also unlike normal Homeric 1285 Cf. 23,m.
(though cf. 1327-911.). A. has compressed a whole Iliad into this 1286 xp1µ1.j>i;. ... K1wv 'he approached'.
section. For further discussion cf. Faerber (1932) 49-59, 1287 oup1dxw1: cf. I 25311.
(1952) 91ff., Fusillo (1985) 330-4. : a variation on .rfi71171<a
K\J'IIE'l')v ( 1281). Jason rests the helmet
;;~~ing ,he ,.::::~•~:• :p~~::•:::.:• w th" no<hing ,,,~f TplJ-roi'atv
COMMENTARY: 1299-1306

... xo«votat: furnaces or smelting-vats had openings in the

side to let flame and molten metal out and air and the bellows in, cf.
Hes. Theog. 863, D. Muller, Handwerk und Sprache(Meisenheim am
243

th;;~.1:~p;;r:s;7~·h::!::t!n~~::~:~~1~~
antiquity :::~:~:::;;:;~
as either• large' or 'countless' (Livrca on 4.158); !
as the bulls •
•.·•·•.·.•.•••··•.····.••··•··.·.•.•.·.ii
.••....
'.:..•
Gian 1974) 128-40, J. Charbonneaux, Greek bronzes (London 1962)
24-6.
have been in the field for some time, the latter seems preferable. Ifso,J
iupptvot 'made of tough hides', cf. R. J. Forbes, Metallurgy in
µa1nevwv will be 'following' rather than 'tracking'. .·:•
antiqui9 (Leiden 1950) 114-15. For the mannered arrangement of
lhmo&EvKTA.'from some hidden underground cave'. EKTro8ev (cf.\
nouns and adjectives cf. 1366.
262n.) probably governs all three following words, despite EKTro8ai
&v«p.11pp.11ipoua1 KTA.'cause sparks to dash out as they [i.e. the
6:cppa:a.010at 2.224, 824. Others take i<eu8µ&vosxeoviou as a 'local'./
bellows] activate the deadly fire'. The verb occurs only here;
genitive. . y
µapµaipetv means to 'quiver' or 'flash'. A. has in mind Charybdis,
iv« TE: cf. 98 In. :•
who, compared to a seething cauldron, avaµopµvpecrKe(Od. 12.238).
1293 Cf. Od. w.219 (the sailors surrounded by Circc's animals) To{•.
Just as Odysseus was saved from this danger by Circe's advice, so
6' e6&1crav,emeii6ov aiva Tre1t.wpa. •• > ·L
Medea's drug savesJason. Many editors therefore read 6:vaµopµvpovo-1
1293-5 The Homeric model is Il. 15.618-21, which describes the:/ Fi here, but this seems inappropriate to bellows - A. uses µopµvpoo of
Greek battle-line as it faces Hector and the Trojans: 'like a great tal}/
water at 1.543 and 4.287 - and produces an unhappy anticipation of
rock, which stands near the grey sea and endures the swift passage o~({/
1302. The text must, however, be considered doubtful, cf. Livrea
the keen winds and the huge waves which batter against it'; Hector/./
(1g82) 23, M. Campbell, C.R. n,s, 32 (1982) 16.
like the bulls, 'gleams everywhere with fire'. A. has altered the image ;{
«u-rou : i.e. 'the fire', the subject of 6.i~ri1.If auToovis adopted, this
will probably be the furnace, rather than the bellows.
A papyrus of the fourth century A.O. seems to have had three verses
after 1302 which do not correspond to our 1303-5; the papyrus does
Virg. Georg.3.237-41 where a charging bull is compared to a crashing\}'.·•· i
~:;:;~r~tf::c~:;c~;~~~ough Poseidon) of bulls and the sea j/ilf'.
•.:.,
..•.•. not continue after the 'extra' verses, so that we cannot say whether
they are an addition or a substitute for 1303-5. Our text is, however,
not obviously lacvnose. For a similar case cf. 2.944-6 and, in general,
EU 6u1[5<i~'planting his legs firmly apart', cf. l. 1199, C. Browri, / •
above, p. 42.
A.J.P. w6 ( 1985) 356-9. Word-order here reinforces the fact that ( vEloOEv'from the bottom', where the bellows would be applied.
Jason puts a firm obstacle in the path of the bulls. <.
. ·. §?
q>>.oy«q>ucnowvTEc, : the alliteration expresses the hiss of fire, cf. the
p.ip.vEt: unusually, the verb is attached to the subject of the simHe \ alliteration of p-sounds in the description of Etna at Pind. Pyth.
rather than to the main subject, and µiµvsv must be supplied with§;{
1.21-4,
for other possible instances cf. J. Vahlen, Opusculaacademica JI (Leipzig.)}
OfU13Euv i.:-r}.. : the verse has been seriously corrupted, but is restored
1908) 187-92, Gow on Theocr. 5.28, 7.76, and for a Te followed bya)\
with some plausibility, cf. 4.1145 mxcras 6e1TVpos&s 8:µ<pmevatyr.ri,
fin!: 9;e~c:~:~t;·their path'. ·. /Cj\J Hes. Theog. 6g6 (the battle with the Titans) TOVS 6' aµ<pme eepµo5
cnrrµT\,
12 ga ' ... but with their charge they could not heave up the shiel1}{/
611fov'burning', c£ LfgrE s.v.
even a little'. A charging bull will throw obstacles into the air (6:va~)'.,/:•
ipu-ro: a non-thematic imperfect of ~puoµar.

.~~~,iI;,
1299-1305 The fiery breath of the bulls is compared to the blast\!: .,.
1306-25 The description of the triumph over the bulls may be

=::~'.~:.:~~=
=~:=~<;.~~~!.~:.'.."!~~ indebted not only to Pindar, but also to Callimachus' Hecalein which
Theseus' victory over the bull of Marathon was described; cf. Hecalefr.
244 COMMENTARY: 1307-1319 COMMENTARY: 1321-1329 245
258 8npos Ep1:.:n10-o:s oi\oov Kepo:s, and for Jason and Theseus ring. However, the lexicographer Pollux (2nd cent. A.D.), whose
cf. 997-1004n., Hunter ( 1988) 449·-50. Relevant also is [Theocr.] account goes back to Eratosthenes, takes Kopwvn to be the end of the
25.145--52 where Heracles deals with the charging bull called Phaethon pole which joined the yoke. Homer calls this the llil;ri (ll. 24.272) and
(cf. 242-6n.), 'as he came the prince grasped the left horn in his strong it' runs up to an almost sharp point' (Leaf), cf. 8ofii. How A. envisaged
hand and bent the neck for all its mass down to the ground, and thrust Jason making the connection between the two - by tying the pole to
the beast back with the weight of his shoulder; and all the muscle on the yoke with straps? - must remain unclear. For further discussion cf.
his upper arm stood braced and bunched over the sinews. And the._· A. S. F. Gow, J.H.S. 34 (1914) 269-71.
King himself, and Phyleus, his wise son, and the herdsmen that tended auvciprusae... I ~euy).l'j8EY'attached the pole to the yoke'. ovv-
the horned kine, marvelled to see the tremendous strength of _ apaacroo is a synonym of O'U11o:pµ~ also at 2.614; behind this usage
Amphitry'on's son' (trans. A. S. F. Gow). · seems to lie Od. 5.248 where o:po:o-o-ev and o:pripevare variants and the
1307 :n:,).«aaev 'until he had brought it to the yoke'; for c)(ppo:
with sense must be 'fitted together', cf. lfgrE s.v. &pao-o-c.:,.
the aorist indicative cf. 4.1448-9, MT 2 §615. TTEACCO'O'T)I would mean 1321-2 yiv1:o 'he seized'; no part of this verb other than this aorist
'until the bull came near to ... ' The model is Pind. Pylh. 4.227 (Aietcs} occurs in extant literature, cf. Livrea on 4.225.
TOVS&ycxywv l;svyr.0:1'ITEAO:O'O'EV µovvcs, but this cannot decide the -• &opu... &ax,e1:ov: a variation on 513,piµoveyxos ( 1286).
correc;t reading in A. 1322---1 • ... with which he pricked (u1To... vvcro-ev)the centre of their
1310 aq>YjAE yvu~ ipt:i.ov-r« 'brought it down, falling to its knees'." flanks, as a labourer [pricks his cattle] with a Pelasgian goad'. The
Even with the slight tautology, epmovTo:is to be preferred to eTTtoVTo:: ·_ mannered word-order and interlacing of main subject and comparison
it is Jason who is now doing the attacking. Vian argues that, as Jasori strongly differentiate these verses from the style of archaic epic.
was occupied with the first bull, the second had to charge before he __ w~'rl~ 'i'E: cf. 756n.
could grab it; in fact, however, both bulls are right in front of Jason; __ - fiEA«oytS, ... cx.icr:dVl)t: ' Pelasgian' is a poetic word for 'Thessalian ',
one at each side (cf. 1306). from an eponymous King Pelasgus; here the epithet identifies the
1311-13 'With his feet firmly planted right and left, he held them· dialect source of the gloss m:o:1VTJ (which is also used at Call. fr. 24.6).
down, one on each side of him (fotlo:Ko:ievtla), fallen on their front For such a poetic technique cf. Theocr. 2.156 TW llwpiSo:... oAm:xv.
knees, while he bent down straight ahead (eieo:p)through the flames.•·. >.«yOYCII~: this seems to pick up ~p11TAeupc.:,1 (j)VO:I of the bulls in the
Jason takes the-full blast of the fire as the bulls kneel in front of him .. Pindaric model (Pylh. 4.235).
The interwoven word-order and the juxtaposition ev8o:Kai evtla- Tfii 1324-s Cf. 230--4-ll.
Kai Tfi1emphasise the doubleness of the task. ip.1te6ov 'firmly', •securely'.
1314 Cf. Pind. Pytk. 4.237-8 (quoted in 1372n,), [Theocr.] 25.150-2 ixiTAl'jV 'the handle of the plough, which was fitted, in this case
(quoted in 1306-25n.), presumably by welding, to the cutting blade.
1316 cxyxl110>.ov' [coming] close'; the suggestion of µor.eiveases the 1326 should refer to the bulls' initial resistance, but the text is very
ellipse of a verb. uncertain. 2. 132 and 4.285 argue for the retention of oi 6' frrot, and
1317 Aoq>ot~'on the backs of their necks', where the yoke sits. u(w; or TEC.:,S is attractive, despite the Homeric examples ofeiws in this
fLEaal)yu' between [the two bullsJ'. sense (LSJ s.v. ews B); for the ancient debate cf. !bT Il. 15.277. Cf.
1318-19 The lo-ToJ,oevs,the pole which connected the yoke to further Livrea (1982) 23.
plough (cf. West's edition ofHes. WD p. 266), could bejoined to the 1327--gCf. 231, 1292, 2.665-6 (strenuous rowing compared to oxen
yoke in a number of ways. Sometimes there was a ring (Kpi1<os) on pulling the plough) cxv-rµfiI o:v<XAET) O'TOµ(XTWV o:µOTOV jjpeµet. An echo
yoke through which a peg was passed and then placed in a hole in of 1301-2 makes clear that, even when they are yoked, the bulls are a
pole, cf. Leaf, lliad211 623-5; some take Kopoovri1 here to refer to frightening proposition, cf. Hurst (1967) 100. A. has in mind Ii.
246 COMMENTARY: !331-1335 COMMENTARY: 1336--1345
247
15.624-8 which describes Hector charging the Greek battle-line and 1336-g Jason must sow as he ploughs; ancient farmers sometimes
which follows immediately upon the rock-simile which is reworked at used an assistant to do the former task, cf. West on Hcs. WD 44 r-, ··.
1293-5: 'as when a wave falls on a swift ship, a fierce (i\c,f)pov) wave &p"ljpoµiwp;:the perfect passive of6p6w, cf. ll. 18.548 (the plougtng
stirred up by the winds and the clouds; the whole ship is hidden in scene on the shield of Achilles).
foam, and the terrible blast of the wind roars (!:µj3peµnm) against the ~w).ov: the verse perhaps hints at an etymological link with
mast, and all the sailors (vaOTat, replaced in Arg. by the Hellenistic j3o:AAElV.
aAtTTA001)tremble in their hearts, afraid (6et6toTeS, at start of verse), no:po,; 'before he was ready', i.e. after the ploughing, cf. 1054 - 511•
for they have only just escaped death'. A. has thus broken up the oi 6' &p' em1tpo 'the bulls in front of him'; others understand the
cluster of Homeric similes, cf. also 1351-3n. Sailing and rowing, adverb with the verb, 'laboured forward', cf. !.I 156, 2.1244 (both of
in which the boat cuts a 'furrow' through the water, were often rowing).
likened to ploughing, cf 1.1167, 2.662-8, Pfeiffer on Call. fr. 572, ;(GtAKl,ll)I~ KTA. : cf. z .666-7 o1 6' svi yai111 I x11t-as oKriphnov,E
Nisbet-Hubbard on Hor. C. 1.7.32. rrav11µep101·rroveovTa1.Lines 2.665-6 had been 'reused' at 1327-8: A.
'3u1<:-.aW\I : cf. Od. to.20 (Aeolus) j3VKTO:WV
&veµwvKC(TS6T]<JE
KE/1€V00:, has broken up his earlier passage, and avoided any suggestion of a
j3VKTT)S must mean something like 'blustery', the kind of wind which 'formulaic' repetition.
was threatening to sailors. The alliteration suggests the blast of a 1340-5 One of a number of such elaborate indications of time, cf.
roaring _gale. 1.1 , 72-8 (the end of the day marked by the return home of the digger
).a.ti:po,;: the large mainsail would expose too much canvas to flap and the ploughman), Buhler (1960) 210-11, Hunter ( l 986) 54-5. The
wildly in a storm, cf. PMG 999, Casson ( 197 r) 275-6. Ordinary mortals device was much favoured in Hellenistic poetry (cf., e.g., Call. fr.
are afraid, but Jason has magical assistance. 177.5-..g, 238. 19--:21), but has clear archaic roots, cf. I!. 11.86---91
Ecrrei).a.v,:o: the 'gnomic' aorist common in similes, cL 967-72n. (midday marked by the woodcutter having his lunch), h. Aphr. 168-71
1331-4 These verses, 'full of harsh rasping sounds, describe the (cattle return to their stall). As these examples show, this device is often
rending of the fallow land and the din made by the clods as the plough used to set heroic events against the background of the 'real' world.
forges through tne furrows' (Campbell (1983) 85). Here Jason's marvellous deed is contrasted with the eagerness of
b1.:p1oeaaa.' hard '. ordinary ploughmen for the day to end (KEKµT)&TES -· o:Kaµo:Tw1);
EpdKe-ro 'was broken up', cf. [Hes.] Scut. 286-7 o1 6' 6:poTfips<;j ploughing was notoriously hard work which lasted all day (4. 1630, Od.
T\P<lKovxe6vo:6Iov. o-xi(oivwas the regular ancient gloss for this verb, 13.31-5), and here ploughmen who are nearing the end, but not yet
cf Ebeling s.v. finished, are contrasted with Jason who has already done' a full day's
w).i,:a,~ &p6-rpou 'furrows made by the plough'; the emendation work', but who has another major task in front of him. The passage has
6:p6Tpwi would be a dative of the agent after 6:yvvµwo:1. several points of contact with Call. h. 3. 1 75~80, and some link between
~w).o:KE<;... a\16po:x8ee~'fragments of earth as big as a man could the two is probable, cf. P. Bing, ;:,.P.E. 54 ( 1984) 7.
carry'; for this interpretation cf. L Od. IO.121. D. E. Gerber, A1.Cr. r o/ -rpha.-ro\l: Homer established a tripartite division of both the night
12 (1975/7) 177-9, suggests a second meaning, 'heavy/pregnant with (!.10811, ll. 10.251-3, which is in A.'s mind here., Od. 12.312) and the
men'. · day (II. 21. 1 11), cf. M. Schmidt, Die Erklarv.ngenz:.umWeltbild Homers
1335 ).a.io\l: if this is the right reading, it may refer to the end of the und ;;.urKultur der Heroen;;.eit in den bT-Sclwlien zur llias (Munich 1976)
ploughshare on which the ploughman treads to push it into the earth, 198-202.
cf A. S. F. Gow, J.H.S. 34 (1914) 251, and (de)primerearatmm at Virg. a\loµi\lolO I ...el; 'f/OG,;'closing from dawn', 'wanirig from dawn'.
Georg.1.45, Ovid, Trisl. 3.10.68 and Met. 3.104 (Cadmus), but the text The slight redundancy stresses that the ploughmen have been
and the sense arc obscure. working since dawn. It can hardly be chance that 1340--1 is in fact
248 COMMENTARY: 1346-1353 COMMENTARY: 1354-1358 249
almost exactly two-thirds of the way between the start of the day at The emendation p1liproduces a much more usual verbal sequence, but
1223-4 and its end at 1407; rioushere picks up TJOOS in I 224. a rare rhythm (word-division after a fourth-foot spondee, the second
1CctAeout1t : the tired men express aloud their desire for the end of the halfofwhich is a monosyllable), cf. 771, Mooney 413, West (1982) 154 .
day. Cf. further 1370-rn.
n-rpciyuo,;: cf. 412n. The matter-of-fact verse-ending suggests that 1354-6 To these verses Wendel attaches a scholion, found as i: 1372,
Jason has so tamed the bulls that unyoking them requires no special · which identifies A.'s source as a conversation between Medea and
effort; in 1346 he shoos them away like a couple of sheep. Idmon in a poem (probably the Corinlhiaca)of the early epic poet
1346 tcE:1vci,; 'empty', an Ionic form found only here in Arg., but Eumelus. I also cites a fragment of Sophocles' ColcllianWomenin which
four times in the Iliad. a messenger tells Aietes of the growth of the warriors (fr. 341 Radt).
1348-g The ploughmen on Achilles' shield were able to have a For discussion cf. Huxley (1969) 66-7, F. Michelazzo, Prometlieus1
drink of wine at the end of each row (Il. 18.545-6). That the helmet (1975) 38-48, Campbell (1983) 88-9.
which had just held the magical teeth is put to this homely use (cf. 1354 Cf. I 054.
Smith on Tib. 2.6.8} is an effect typical of Hellenistic poetry. 1355-8 A.'s primary model is the description of the battlefield
... 6(..j,«v: the image is not found before A., although thirst is ·
11(3i11-.v ablaze with shining armour at Ji. 13.339-43, ·and this passage is a good
frequently associated with fire. example of how A. redistributes elements from his model to create a
1350-1 EA«q>pci : predicative, 'to keep them supple'. new picture: ecpp1~ev 6e µo:xri q>810-iµ@,poTOS eyxeiTJIO'l(cf. 6ovpo:m] I
1,1,iy«vK-rA.: cf. /l. 22.312-13 (Achilles in the final assault on Hector) µco<pf\1s,as eixov TO:µEcrixpoo:s· ooae s· a:µep6evI o:vy17 [cf. o:1yM1]
l,ISVEOS6' EIJ,TrAT)CJOTO 8vµov I cxypiov. XO:AKEiTJ Kopv&oov o:rro AO:µrroµevaeuv I 8oopT)Kl'..uV
Te VSOO'j.lT)KTWV
1351-3 A vivid 'epic' simile marks Jason as a martial hero, cf. Il•. ao:Ke.euvTEq>o:s1vliwI epxoµsvwvaµv61s. As often, full appreciation of the
13.471-5 '[ldomeneus] waited, like a boar in the mountains, trusting. Apollonian passage depends on knowledge of the continuation of the
in his valour, who waits for a great mass of attackers in a lonely spot · Homeric model which has not peen directly reworked: • very bold-
and his whole back bristles up; his eyes blaze with fire, and he whets hearted would be the man who would rejoice at the sight of that
his teeth, raging to defend himself against dogs and men', 17.281-3,. struggle (-rrovos)and would not be terrified'. Just such a one is Jason.
[Hes.J Scut. 386-92. This is the third in a series of similes: first the rock, For other passages describing the gleam of armour which reaches the
then the storm, and now a boar. The first two reworked Il. 15.618-28; heavens cf. ll. 2.457-8, 19.362-3 (Xo:A.Kov vno aTepoITf\S, cf.
immediately afterwards, at 630-6, Homer has a lion-simile for Hector. · I 359-63n.) • -
It is thus noteworthy that :t1' comments on the ·boar-simile at /L q>pi°;Ev'bristled' like a real grain-field; the image, which is already
13.471-5, which was clearly in A.'s mind, that the poet has chosen to·. in Homer, had a long history in Latin poetry, cf. Skutsch on Enn. Ann.
compare Idomeneus to a boar, ralku thanto a lion,because this suits his 267. The word forms a link with what has immediately preceded, as
situation 'lying in wait for his attackers'. So too, Jason's stratagem· ··. both the Homeric and the Hesiodic boars 'bristle' (Jl. 13.473, Seu/.
suggests the hunted boar rather than the reckless lion, and it is . 39i}.
tempting to believe that this pattern of similes in Arg. reflects · &1,1,q>tyuou;: a Homeric gloss of uncertain meaning, found as an
contemporary discussion of the Homeric text. epithet of spears in contexts of menace, One ancient interpretation was
o6ov-ro.,;: Jason has 'teeth' with which to fight the men born from 'sharpened at both ends' (LfgrE s.v.}, but we cannot say what A.
teeth. thought the word meant.
pi£ : an imperfect referring exceptionally to the boar of the simile, v£1okv 'from below' and ( ?) 'from the ve1os '.
rather than to Jason. A. may have wished to imitate the tra.nsrmtted &GTpcin:-rouao.: a common image (LSJ s.v. u), and Campbell (1983)
!iKTTJV, in parallel with AEil3m:x1, in the boar-simile at [He.~.]Scut. 86 denies that the sense 'lightning' is still felt here; the following simile
250 COMMENTARY: 1359-1370 COMMENTARY: l'.l70---l376 25!
of further astral phenomena, however, suggests that the original force 1370-1 The Cokhians, watching in a natural amphitheatre ( 1276),
of the participle is important here. roar like a crowd at a sporting contest (Jl. 23.847, 869); for them,
1359-63 A number of Iliadic passages have contributed to this Jason's o:£Bi\os('trial') is really an &eei\os ('sporting contest'). Echoes
image: 8.555-9 (the Trojan campfires), 12.278-87 (heavy snow of earlier sea and storm imagery in 1294 and 1328 suggest that the
reduces visibility), 19.357-64. In this last passage, gleaming arms are terror which the bulls inspired has turned into a sporting triumph. The
compared (in point of quantity alone) to a thick snowstorm, and A. has Homeric model is /l. 2.394-6 where Achaean acclamation for a speech
changed the order of the comparison and multiplied the points of by Agamemnon is compared to the roar of a wave against a tall rock;
contact; it is not merely quantity (TroAEo<;) which is relevant here, but here there is an effective contrast between the crowd's roar and Aietes'
the gleam oflying snow at night and the sudden (a:I4'') appearance of grim silence.
the stars after a winter storm is also like the gleam of the arms against 'i«XE": an aorist form (tf. 967-72n.) found also in Homeric similes
the dark earth of the ploughed field (cf. 1055, Il. 18.548). It is as (ll. 5.860, 18.219). Ardizzoni (on 1353) argued that A. understood
though a harvest has suddenly sprung up in the middle of winter. such form~ as imperfects, but in fact he uses this form with both aorist
Auy«£111 : cf. 8630. (4.581) and imperfect ( 1.552, 4.1 30) sense. The unusual (but cf.
: cf. 413- I 5n.
&v«A6"qGICO\l't'£t; 1or 9-2 r) repetition of the verb may be designed in part to explain the
1365-'7 A heroie action worthy of Hector (ll. 7.264-5) or even ellipse of a verb in the Homeric model (fl. z .394-6).
Athena (ll. 21.403-4). A number of Homeric passages refer to stones 1372 Cf. 1354-6n. In Od. 8 Odysseus throws a discus which is
which two modern men, or one very strong modern man, could not O"TE~apw,epovOUK oi\[yov mp much further than the young men of
carry (//. 5.302-4, 12.380-3, 447-50, 20.285-7). A. 'out-Homers' Scheria (v. 187). This verse combines that passage with Pindar's
Homer: he doubles the number, but omits the reference to 'modern description of Aietes' response to Jason's success ~t yoking the bulls,
men', as the emphasis is on Jason's magical strength, not on the tv,;ev 6' 6:qx:vvft,w1mp £µTra, &xa I 6vvacr1v Al~-ras 6:yo:mleis (Pyth.
distinction between a heroic and a degenerate age. 4.237-8); the scholia to the Pindaric passage debate whether it means
6E1vovK-rA. 'a terrible disc of Ares Enyalios '. Set against the grand that Aietcs cried out loud or groaned inwardly, and 6:µq>acririmay give
title for the god and the mannered word-order is the idea that Ares A. 's answer.
amuses himself by tossing this mighty stone about; cr6i\01 could be 1373-4 A careful variation on 1057-9.
discuses or shots used in athletic games, cf.4.851, Livrca on 4.657. The 600{ 'fierce'.
phrase stresses Jason's likeness to the god (cf. r 282). The description of f3pux~6ov 'with a roar'; the dog-simile, however, allows us to sense
the stone as mp1riyfts is perhaps to be connected with the dictum of also a connection with f:ipuxw/f:ipuKwof tearing or gnashing of teeth,
!A II. 23.826 that cr6i\ot are spherical and 6icr1<01flat and round, and hence the adverb colours both simile and main narrative.
although other ancient texts see no difference between the two. e6'1ifo": this form is found only here; elsewhere A. uses 61116wor the
ai~1jOL: c[ 515-200. Homeric 61116w,cf.J. Wackernagel, Spral'hlicheUntersuchungen zu Homer
1368 p£t«: the transmitted xeTpa is impossible, and either p£Taor (Gottingen 1916) 170-1.
xetpi could find support in the Homeric models; the former, however, 1374-6 The pathos of this and the subsequent similes is of a kind
makes Jason's feat all the more remarkable and helps to prepare for the familiar both in Homer, cf. J. Griffin, Homer on life and death (Oxford
amazement of the onlookers. 1980) Chap. iv, and elsewhere in Arg., cf. 1.1003--1 ! (the Giants, who
1369 rW;«;'darting forward'. have much in common with the warriors) and 4. 1682-8 (Talos), but
Aa8p~t: cf. 1057-6on. here it is so heavy and the situation so unusual that the result is quite
1370 fbpaaAfo,; 'confident [in the outcome of his trick]'. The unlike Homer, cf. Frankel ( 1968) 449-·50. The primary epic models for
transmitted adverb seems less effective in juxtaposition with i\66p111. the death of a warrior compared to a falling tree are Il. 4.4.82-7, 5.560,
 252 COMMENTARY: 1377-1384 COMMENTARY: 1386-1398 253
13.389-91 ( = 16.482-4) and, particularly, 17.53-8 (the death of· body - contrast Ovid, Met. 3. 109 mo;,;umeripectusqueonerataquebracchia
Euphorbus compared to the destruction ofa carefully tended olive-tree le/is - and the progression in ovexovTa5- nil.il.oµevovs- €CITl)OOTas -
by a sudden strong wind). ETTeiyoµevovs.(cf. next note), and is also awkward with Kai 'actually'.
oi S': an emphatic repetition, cf. 2.92-4; 'some ... some' is not Something from the lower part of the leg seems required: yovvwv
possible here. For similar uses cf. wo1-2, F. Vian, R.E.A. 75 ( 1973) 85 (Struve), Kvt-iµ&w (Platt) and Tapcr&v (Campbell) have all been
(where, however, the examples are a very mixed bag). suggested, The error may have arisen because the opening of either
llpuE,;: for the alternatives in a simile cf. 757-8n. These verses may 1382 (aµwwv) or 1389 (wµ6v) caught a scribe's eye.
suggest an etymological connection, such as modern scholarship -rEAAOJtEvou,; 'growing', a word often used of plants. The suggestion
accepts, between 66pv and 6pvs. of' coming to completion (TEAos)'marks it as an advance on ovsxovTo:s.
Kc:iT«tK£<; 'squalls', cf. Pfeiffer on Call. fr. 238.29. 1386-g.1 Jason's frantic reaping is compared to that of a farmer
1377-9 Just as the warriors are like stars ( r 360- 1), so Jason has his cutting his unripe crop to prevent an invading army destroying it, This
own astral gleam (cf. 95 7-60). The simile continues that of 1 -.65-7 · is a quite different point from that of the primary model, ll. 11.67-7 ! ,
where his weapons flashed like lightning; here the suggestion is that his· where the two armies in battle are compared to reapers harvesting; cf.
sword swoops like a shooting star. The main Homeric model is the· also Cat. 64.353-5 (Achilles) namque uelut densas praecerpensmessor
description of Athena's brilliant descent to earth, like a shooting star, aristasI sole sub ardentijlauentia demetilarua, I Troiugenuminfestoproslemil
at ll. 4. 75-8. corporaferro.
ol'.o,;... unc:iuya~wv ' ... as a fiery star quivers upward in the heaven ciyxoupounv 'between neighbouring peoples', which will give the
trailing a furrow of light behind it...' Cf. Campbell (1983) 126-7, farmer very little time to work. The alternative reading aµq>'ovpo1m,
'The star is not, initially at any rate, seen to trace a straight path 'concerning boundaries', also makes good sense (cf. JI, 12-421), but is
through the sky ... but suddenly to burst forth from the height of more likely to have arisen accidentally as a memory of Homer; at
heaven with a trail of light in its wake, which gives the impression at I, l 222, however, ayxiyvm and 6:µ<p/yvo1 are variants.
that moment ofa "quivering" upward movement.' 1tpoTaµwvTc:i1 'cut before [the farmer has had a chance to harvest]',
rtupoE1,;: Z notes that 6 TTvp6e1s was a name for the planet Ares rather than (cf. Od. 18.375) 'cut in front (of their advance]', The
(Mars), and A. may hint at this, without of course actually meaning subject is oi 1roi\eµ101understood from 1roil.sµo10.
the planet. This name is not, however, certainly attested before the first· Ei:1<c:iµnijveo811yic:i: the two epithets mark the savagery and
century B.c., as [Arist.J De mundo39gag is of uncertain date. desperation of the farmer's act, as well as the destructive power of the
: (61-)ofo-crwis virtually a technical term for the movement
iill;c:iv-rc:i sickle.
of shooting stars, cf. '.Lb ll. 4. 7S-9, Arat. Phaen.926 (perhaps reworked wµ.ov 'unripe', but in the context of the main narrative we hear also
by A. in 1379), LSJ s.v. 6taio-crw. ·. 'cruel', 'savage' (LSJ s.v. u).
1381 µ.ly6'1)v 'at random'. Jason has to strike wherever a warrior ou6k ~oAjjuu KTA. 'nor does he wait until harvest-time (LSJ s.v.
appears: there can be no system to the slaughter. &pafos 1.3) for the crop to be dried by the rays of the sun'.
1382-3 As there is no meaningful distinction between r 382 and • 1392 Like the unripe crop, the warriors have not 'dried up' or
1 383, either the 6' of r 383 must be removed, creating a short syllable ·. matured, and so their blood flows freely.
lengthened 'in ictus' (Mooney 424) and an awkward use ofss in two ciµapc:it'irrigation-channels', cf. Hopkinson on Call. h. 6.29.
different senses, or a lacµna placed after I 382 along the lines of' many 1393-8 Cf. 1.1003-11 where the other Y11YfVEiSare likened, as they
were visible to the waist (but halfofthem was still hidden) as they rose lie in different positions on the beach with different bits of them in the
to the air ... ~ ···•.\·.......
' :·
water or out of it, to the logs which woodcutters arrange in a line on
1384 The transmitted wµwv both disturbs the sequence down the the shore.
254 COMMENTARY: 1399-1404 COMMENTARY: !405-1407 255
ri:ovo~.:both vines '~n which farmers have toiled' and vines' (whose
T£TP'IJXOTa:either' rough' (TPTJXVv)
or' disturbed' (1napayµsvov),
destruction] causes gncf to farmers'.
cf. 276--7n.
1405 «!'-fLL:Y«'together with'; the word suggests again the great
o6oucu: if the text is sound, this will be an explanatory and
number of Aietes' supporters, the 6:rreiptTOS1>.aosof 1239.
etymologising addition to 666:~,on the model of the Homeric 1>.cx~ rro6(
1406 6ow-.£pov 'with all speed'. When we next see Aietes (4.6-ro)
(cf. 2.to6, 4.1446); 666:~was derived by some from 6oovs and by others
he is spending all of the night immediately after the contest plottin;
from 66:Kvw(Ebeling s.v.). This case is, however, much more obvious
revenge with his counsellors.
than AO:~rro6/, and no true parallel has been adduced. It may be
1407 The preparations for and the conduct of the contest have
therefore, that 66o0crt has a second function as well: not just' with thei;
taken one full day, cf. 6-7n., 41 7--18, 1223-··4.The book ends with the
teeth', but 'the earth which had been disturbed for (or 'was rough
end of the &e6A05,but neither the poem nor the o:E6i\01are over.
with 'Jthe dragon'steeth', If so, the language of the verse will have been
designed as deliberately problematic.
a.yoa-.w1 : in the Iliad only in the formula SA€yaiav 6:yoo-T&1,where
it was variously interpreted as 'palm' (cf. 120), 'forearm' or 'elbow'
(LfgrEs.v., Livrea on 4.1734). A. may here have intended any of these,
or he may have thought of the word as a synonym for (and hence
explained by) rrJ\evpoi's.
60!'-~" 'in form, = 6sµas.
uri:o 'from under'; for representations of this in art cf. F. Vian, La
Guerredes giants (Paris 1952) 186.
ri:po,hu,Pav 'shot up'; there is no real parallel for this vivid use and
rrpovKV'f'CXV, 'emerged', is a tempting alternative. '
ri:).o:6apoi'a1'weak', 'soft', the image is of plants bending under the
weight of their flowers, cf. ll. 8.306-8, Theocr. 7,146. Vian suggests
that there is a further nuance: the warriors are like young babies whose
heads are too heavy for their necks.
vip~pt>1v-.o'leaned down', pluperfect ofepeiooµo:1.
. 1399-1404 Here the warriors of 1396-8 are compared to young
vmes destroyed by a storm before they have reached maturity, cf.
1374--6n., Faerber (1932) 35-6.
ri:ou-.o{wt; 'in a similar way, I imagine'. TTov(cf. 926n.) distances
the poet from the grief felt by the owner of the vineyard, and calls
attention also to the literariness of the device of the simile.
<pUT«Atij1 veo6p€1t't'o:'young nurselings in the vineyard'; the
common comparison of children to young vines or shoots (Gow on
Theocr. 7.44) is here taken a stage further.
iipo:l;e: the repetition from 1397 stresses the likeness of the warriors
to broken vines.
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Lennox, P. G. •Apollonius, Argonautica 3, 1ff. and Homer', Hermes
Delage, E. La Glograpkiedans les Argo11autiques d' Apolloniosde Rhodes ·.
J08 ( l 980) 45-73
(Bordeaux 1930)
Lesky, A. GesammelleSchriften(Bern 1966)
Eichgriin, E. Kallimackosund ApolloniosRJ1odios (diss. Berlin 1g61)
Levin, D. N. Apollonius'Argonauticare-examined.1: The neglecied first a11d
Erbse, H. 'Homerscholien und hellenistische Glossare pei Apollonios ·
secondbooks(Leiden 1971)
Rhodios', Hermes81 {1953) 163-96 ..
Livrea, E. Gnomon54 (1982) 18-24, review of Vian 11.
Faerber, H. Zur dichteriscken Kunst in ApolloniosRkodios'Argonautika(Die ·
Lorimer, H. L. Homerand the monuments(London 1950)
Gleichnisse)(diss. Berlin 1932)
Marxer, G. Die SprackedesApolloniosRkodiosin ihrenBu.iehungen;;,uHomer
Frankel, H. Einleitung;;,urkritisckenAusgabederArgrmautikadesApollonios
(diss. Zurich 1935)
(Gottingen 1964)
Newman, J. K. The classicalepictradition(Madison 1986)
.Nolen;;,uden ArgonautikadesApollonios(Munich 1968)
Onians, R. B. The originsof Europeantlzou,1;ht 2 (Cambridge 1954)
Fraser, P. M. PtolemaicAlexandria(Oxford 1972)
Paduano, G. Studi su ApollonioRodio (Rome 1972)
Fusillo, M. ll tempodelleArgrmautiche (Rome 1985)

256
258 BIBLIOGRAPHY

Parker, R. Miasma (Oxford 1983) INDEXES

Pfeiffer, R. Historyof classicalscholarship
from the beginningsto theendof the
hellenisticage (Oxford 1968)
Richardson, N.J. The HomericHymn to Demeter(Oxford 1974) Italic numbers refer to pages of the Introduction, non-italic to line•
Ruijgh, C,J.Autourde "te ipique" (Amsterdam 1971) numbers in the Commentary.
Rusten, J. S. DionysiusScytobrachion (Cologne 1982)
Teufel, M. Brauch und Ritus bei ApolloniosRhodios (diss. Tubingen
SUBJECTS
1939)
Thomson, J. 0. Historyof ancientgeography(Cambridge 1948) Aietes, Chalciope, Homer (imitation of), Jason and Medea are
West, M. L. Greekmetre(Oxford 1982) omitted.
West, S. The Ptolemaicpapyri of Homer (Cologne 1967)
Wilamowitz-Moellendorff, U. von HellenistischeDiehl/mg (Berlin accusative; 'iri apposition to Apollonius of Rhodes: life of, 1-9;
1924) sentence', 602; for nominative in works other than Arg., !}-I 2
indirect speech, 733 Apsyrtus, t 4, 2 42-6, 997-· 1004; see
Adrasteia, 133 also Phaethon
Aeolus, 12-13, 299-438 Aratus, 137-40
Aeschylus, 19 Archilochus, 12, 296-8, 583
aetiology, 19,35 Ares, I 282-3, 1365-7; metonymy for
Agamede, 528-30 war, 1187; Plain of, 1270-7;
Agamemnon, 744-51 Spring of, 1179-82
Aison, 356---6r Argo, 340-6
Aithalides, 196-9, 1175 Arganaulica:date of, 8-9; metre of,
Alcinous, 30, 21y-41, 221-7, 310, 41-2; style of, 38-41; tex1 of,
! 100-1 42-3; see also Index of passages
Alexander Aetolus, 1 15- 18 discussed
Alexandria, 3, 10 Argos, son of Arestor, 34o-6
alliteration, 71, 41 o, 953, w87-9 Argos, son of Phrixus, I 76-8 1,
Amarantian Mountains, 1220 320-66, 34o-6
Amazons, 351-3 Ariadne, 18, 30, 997-1004, 1000-4,
Amnisos, 876=-7 1069, 1075, 1096-g, 1203-6
anaphora, 993 Arisrarchus, 1
anchors, 574 Aristophanes of Byzantium, 1
Antimachus, 17-18, 230-4 Aristotle: Poetics,JS-4; cosmology of,
Aones, 1178 1 35
aorist: of repeated action, 954-5; in arming, scene of, 1225-45
similes, 967-72 art: connections with, 43-7, 115-18,
Aphrodite, 36-110, 43-7, 51, 64-5, 230-4, 1160; descriptions of works
66---75, 79-82, 98-9, 152, 828-35, of, 131-44
883-4, 942 Artemis, 29, 774, 847, 876-86, 876-7,
Apollo, 1282-3 879, 897--9
Apolionius of Alabanda, 2 11. 7 asyndeton, 772
Apollonius 'the eidograph ', , , 4 ate, 973-4
Apollonius 'Molon', 2 n. 7 Athamas, 12

259
260 INDEXES INDEXES 261

.-\tht"na. 13. 6-35, 11-1:.1,1183, Daira, 847 'foundation' poetry, 5, JQ-12 Ibycus, 158
I :.16:\·•{ Demett'r, 874-5 furnaces for metal-working, ichor, 851-3
.-\ugeias. 1!){i-9 Dl'mocritus, 755-65 129g--1305 ldas, 515-20, 556
Deucalion, I o87-9 infinitive: exclamatory, 375-6;
banqueting, scene of, 270-4 Dionysius Srytobral.'hion, 2<1 Ganymede, 115-18 imperatival, 1032-4
Bear, the Great, 745, 1195-6 Dionysus, 997-1004 genitive participle with dative Ino, 12
bees, 1035-6 Dioscuri, 515-20 pronoun, 371 lokus, 13, 1133-6
Bdkrophon. 30. 230--1, 351--3 dogs: associated with Hcrate, 749, Geraistos, 1243-4 Iphidamas, 656-64, 672
bellows, 1299- 1 305 1217 ; proverbially shameless,641-2 gods in Arg., 24--6,6-35; set alSt> Isthmian Games, 1240
blood, plants sprung from, 845 dove, 540-4 Aphrodite, Ares, Athena, Eros, lxion, 61-2
Bolus, 845 dreams, 616-32 Hecate, Hera, Poseidon, Zeus
Brimo, 860-1 dual for plural, 2oo-g gold, associated with gods, 43-7, Kanobos, frlO
'bu{'()Jk diatITsis', -/2, 115-18 115-18, 878 Kaunos, 5, 10
Byblis, rn elms, associated with death, 2oo-g knees, seat of generative power,
Eiduia, 242-6 hawk, 540-4 g64-5
Cadmus, 1175-go, 1179-82, 1186 Eileithyia, 876-7 Hecate, 29, 467, 531-3, 847, 874-5, Knidos, 5, 11
caesura, 115-18 Empedocles, 135, 296-8, 1015-16 876-86, 1214-15 knucklebones, 115-18, 123-4
Callimachus, 1-g, _1,j-8,40, 42, enjambment, 41, (49-53, 730-2, Hector, 254-6, g64-5, II05,
221-7, 276-7, 362-3, 581-2, 787, 750, 773 125g-62 Laodamia, 656-64, 672
831. 869-86, 876-7, 927-31, epic poetry after Homer, :P--4 Helen, 29, 641-2, 793-4, 803 Lerna, 1241
932-3; Ailia, 6-8, 12, 37-8; Hecale, epigrams, 9 Helios, 230-4, 531-3, 1191-4; Library, Ptolemaic, 2
7: lbiJ-,6: Pi11akes,
4; see also Index Epimenidcs, 16.n. 71 Spring of, 221-7 love, 26-g; as a liquid, 286-go, 695,
,!fpassagtsdimtssed Erasistratus, 762--3 Hellanicus, 20 1oog-10, 1018; as a wind, 967-72
Calypso, 221-7, 834-5 Eratosthenes, 1, J--4, 311-13, Helle, 12-13
Caspian Sea, 858-g 1318-19; Hermes, 135 Hephaestus, 36-tto, 38-42, 136, magic, 531-3
Camllus, 34 Erinna, St 1-16 221-7, 230-4 mandrake, 845
chariot-races, 1272 Erato, 1-5 Hera, 13, 26, 6-35, 8-10, 14-15, Medea, meaning of name, 825-7,
Charybdis, 1299-1305 Eros, 24, 113-14, I 15-18, 135, 136, 64-5, 66-75, I06-7, 818, 942; 1133-6
cheeks, scratching of, 672 275-gS, 1018 etymology of, 210--14 medicine, 296-8, 761!-3
Cheiron, 13, 16, 21 Erotes, 451-2 Heracles, 515-20, 1232-4 Meleager, 515-20
chiasmus, 380-1, 867-8, 986-7, Ethiopians, 1191-4 Hermes, 584-8 Mestra, 628-g
1019-21 etymology, J(i, 6-7, 56, 73, 161-2, Herodorus, 20, 597-6o2 metre, 41-2; special effects of, 3-4,
choliamb, 9 210-14, 528-30, 691-2, 986-7, Herodotus, 200-9 146-8, 253,284,746,750
Circe, 14-15, 21, 26-8, 311-13, 1035-6, 1054-5, 1075, !TOO-I, Herophilus, 616-32, 762-3 milk, 1199
834-5, 1071-4; Plain of, 200--9 I 132, I 163-6, 117g-82, 1263-4, Hesiod, 12, 1,t-15 Mimas, 1225-7
Cleanthes, 845 1275-7, 1336-g, 1374-6, 1393-8 hiatus, 560-1, 606-7, 830, 891-2 Mirnnermus, 2, 221-7
Cleite, 10, 656-64 Euboea, 1243-4 Homer, 14-42, 1-5; reflections of Minos, 401-21, 997-1004, 1107-8,
Colchis, Colchians, ooo,2oo-g, 829, Eudoxus, 135 scholarship on, _J(i,113-14, 185, 1179-82
865 Eumelus, 15, 914-15, 1354-6 l!I0-14, 22!-J, 279, 453-8, 5o2-4, Minyas, Minyans, 265-7, 578,
Coronahorealis,1000-4 Euphorion,3 613-14, 656-64, 881-3, IOIS-21, 1071-4, 1093-5
correption, 43-7, 782, 830 Euripides, 18, 43-7, 291-5; Medea, 1032-4, n95-6, 1207, 1210, Macro, l 15-18
crows, 927-31, 1109-12 18-19, 1115-17 125g-62, 1351-3, 1365-7, 1370-1 mo{y,845
cycle, epic, 26 eyes: blazing, 371; lowered, 22, honey, t 035-6 moon, 531-3, 863
Cyclops, 176-81, 986-7, 1107-8 wo8; of the beloved, 1018; of Hyantes, 1242 Moschus, 633-5
Cyta, 228-g race of Helios, 885-6; shame Hypsipyle, 14, 975, 997-1004, rno8, Mopsus, 540-4, 914-15, 917-18
Cyzicus, 656-64 associated with, 93 1061-2, 1203-6 Museum, 2, 4, 7
262 INDEXES INDEXES 263
mythology, reconciliation of varying Phaedra, 766-g, 811-16 Sauromatae (Sarmatians), 351-3 time, elaborate indications of,
stories, 21, 66-75, 265-7, 299-438, Phaethon, 242-6; see alsoApsyrtus seven, magical number, 860--1 1340-5
311-13 Phaon, 66-75 similes, 276-7, 291-5, 656-64, Titans, 865
Phasis, 15, 1220 755-65, 757--8, 876-86, 956-6 1, tmesis, 4g-7, 291-5, 832, 1018,
names, meaningful, 242-6, 825-7, Pherecydes, 20, 415-16, 1057-60, g67-72, 1019-21, 125g-62, 1243-4
999 I 133-6, 1187 tricolon, 674-5
1278-1407, 1293-5, 1327-g,
Naucratis, 10-11 Philitas, Hermes,27 1351-3, 135g-63, 1374-6, 1377-9 Tyro, 13-14
Naupactia,15-16, 540-4, 581-2, Phlegra, 230-4 Sirius, 956-61
9 14- 1 5 Phrixus, 12-13, 584-8 Sophocles, 18-19, 674-80; Colchian Valerius Flaccus, 54◊-4, 1265-7
Nausicaa, 26,30, 4-5, 250, 616-32, Pindar, q; Pythian4, 16-17, 1, 427, Women, 19, I 15-18, 415-16, Varro of Atax, 34
795-7, 86g-86, 876-86, 919-25, 1282-3, 1307, 1322-4, 1372 616-824, 845, 1026-62, 1354-6; veil, 443-5
ro69, 1079, 1143-5 pit, in chthonic sacrifice,. rn32-4 845, 865, 1214-15;
Rhi,t.ol11moi, Virgil, 633-5; see also Index of
nectar, 832 Pleiades, 221-7 Tyro, 64-5 passagesdiscussed
nominative for vocative, t plough, construction of, 1318-19 spondees: fourth-foot, 1351-3; fifth- virginity of priestesses, 640
Nosloi, 14 pluperfect of rapid action, 270-4 foot, ,p, 670, 700, g67-72, 122g-4
Nymphodorus, 200-9 plural, poetic, 640, g89 stepmothers, 1go- 1 'Wernicke's Law', 185, 515-20,
nymphs, 881-3 Poros, r243-4 . subjunctive, short-vowel, 25, 506, rn84 ·
Poseidon, 1240-5 word-order, 41, 43-7, g8-9, 286-go,
909, I i43-5
oak, association with Hecate, Praxiphanes, 3 n. 13 supplication, 128, 584--8, 7o6-7 375-6, 422-5, 443-5, to38-4t,
1214-15 preposition: doubled, 453-8; with synizesis, 747-8, 851-3 1052-3, 1293-5, 1322-4
Ocean, 242-6, 1228-30 second of two nouns, 5g-60, 56o-1
Odysseus, 2!)-32 present tense, prophetic, 546-8 Tainaros, 1241 Xenophon, 20
Odyssry,and Argonautic story, 14 proekdosisof A.rg.,5-6 Telamon, 1g6-g, 382-4, 1174
Onchestus, 1242 Prometheus, 851-3, 865, 1086 Theocritus, 8-9, 220-1, 347--8, Zenodotus, 4, 12, ng:-14, 200-9,
optative, 14-15, 396-400, 435-6, pronouns, free use of, 98-9 1195-6
531-3, 640,976
480-1, 525,644,649-53 prosody: influence of Homeric Tht'Dn, 1-2 Zeus, 12-13, 26, 192-3, 328, 377,
oracles, 594 digamma, 137-40, 830; Theseus, 997-1004, 1069, 13o6-25 986-7; birth of, 134
Orchomenos, 265-7 lengthening 'in ictus', 161-2, 601 Thessaly, 1085, 1090
Orestes, 30 Protesilaus, 656-64, 672
Orion, 745 Ptolemy II Philadelphus, 4
Ovid, 633-5; see also Index of passages Ptolemy III Euergetes, 1, :r-4, 8, 16
discussed pyrrhid1e,1263-4 2 GREEK WORDS
aayiJ~ prosody of, 1250-1 aµq11veµoµa1,409
Paris, 739, 1259-62; Judgement of, repetition, avoidance of, 35)-40, 134,
53-4 158, 321-3, 528-go, 564-5, 712,
o:yc,s,
2oo-g avaypa:qic:.>,2 n. 5
CIYDO'TOS, I 393-8 avevei1«rro,463
Parmenides, 135 g62-3, to2g-51, 1050, 1054-5, I 199,
a51v6s, 616, 12og-6 CXlll!c:.>I,
502-4
Parthenios (river), 876-7 1225-45, 1246-67, 1336-9, 1373-4
Aiai11,1133-6 avt"l~OA6c:.>,176-8 I
Pasiphae, 999 Rhodes, 1-5, 11
Pelasgus, 1322-4 ring-composition, ooo, 4-5, 20-1, ClJ01]AOS, I I 32 <X'TTOVpas,I 73-5
00~1]05,5 I 5-20 "ApTl5,prosody of, 183
Peleus, 502-4 I 58, 230--4, 296-8, 553, 594,
cxTo-cx,
3-4 aa-rm-o,;,956-61
Pelias, 13, 66-75, 333-4, 336-9, 594, 633-5, 818-19, 867-8, 1152-4
1240-5 roses, 1o I g-2 1 CX!<T)V,
521 &-rri,973-4
Penelope, 29, 451-2, 616-32, 771, aµcuµaKE'To,,1231-2 av-royvo<;,230-4
804-5, 828-35 saffron, 855 o:µvµc:.>v,1go--1 aq,:>.cxa.o,,
540--4
Persephone, 847, 862, 874-5, 897-9 Sappho, 27,43-7, 286-90, 296-8, aµqiaSo:, 613-15
aµq:,1
yvt)EIS,36-7 801c:.>Tos,
1178
Petra, 1243-4 IOJ8, 1024
aµqi1yvos, l 355-8 ~VKTIJS,1327-g
264 INDEXES INDEXES 265
yap: anticipatory, 3-4; postponed, VT)pl'TO,,
1288-go
386 \ITIXV"TOS,
528-30 3 PASSAGES DISCUSSED
ywro, 1321-2
yiyo:s, 1054-5 ofos, 380-1 AESCHYLUS· h. 6.37-8 927-31
oTOTpos,276-7 fr. * 193 Radt 851-g Epigr. 28 J(i-7
60:iµoov,388-90 OAOAVYTJ, 1218 See also subjetl index
6/;, apodotic, 210-14 oµa6eoo,564-5 ANACREON
6E16via,753 CATULLUS
6TJVEO:,661 1ro:pa~ATJ611v, 106-7 PMG3g8 115-18
68.82-4 656-64
61hµayov, 1147 1rapciaaov, 967-72
6VO'O:VXTJS, 976 ,rapaaxe6ov, 440 ANTIMACHUS
1Tape~.979 ERINNA
fr. 64 Wyss 18 n. 75
eiacryoµo:1,620-3 1TO:O'O'v61Tjl,
I 95 SH 401.34-5 672
EK,adverbial, 280, 86g-72 ,re1p~1v, 8-10 APOLLONIUS OF RHODES
eK1To&v, 262 1TOAUS, with feminine nouns, 20-1 EURIPIDES
ivilvoo,475 ,rov, 926, 994-5, 13sg--1404 fr. 8 Powell JJ n. 49

i.wso-ia1,29 fr. 12 Powell JJ n. 54 Helen 143

-rrpoa7,.TJS,
73 3 14
EOATj'TO,471 1rp61,1ar.os,
200-9 Arg. l.t-4 851-3
m11,1c&,µa1, 81!-16 1Tpon6:po18ev, 317 · 1.18-19 16n. 71 HESIOD
1TpOO'KTj6TJS,
584-8 1.508-g 134
1.547-5 2 34o-6 Theogol!Y
992-1002 14-15
,;eeios, 52 lTVKIVOS,6-7
rir.ifl=o,, 161-2 ITvpoe1s,1377-8 1.774-81 956-61
1.792-6 975 'LONGINUS'
r,v KE,404
O'K01l'SAOS,
1275-7 !.I06o 1272 De sub/. 33.4 34 I'/. 148
8/;µ15,990-2 O'T0:610,,
l 225-7 1.1064-6 10 n. 48
8ecmfo1os,392 O'VVapeaKOO, I I 00-1 2- 1247-59 851-g
OVID
avve1µ1,1 n. 4 4.i-5 1-5
lfhioo,628-g o-q,hepos,186 4-32-3 775-6 Amores 1.15.14 34 n. 148
i~os,858-9 mpoohepcs,335 4.316-22 340-6 Heroidts 6. rn7-8 639
lO'KE\I,
396 axhr.10,, 1133-6 4.985 7 n. 31 12.67-9 927-31
aoooµat, 306-7 4.1019-22 8 n. J3 Mei. 3.109 1384
Ka'TTJ(!>EIO:,
123-4 4.!058-67 755-65 3.487-go !Oig-21
KAOOO'TTJP,
254-6 TE'TpO:q>CCATjpOS,1228-30 4.1061-5 291-5 4-453 43-7
KVKAIKOS,
J(i--7 ,-.rprixws, 276-7 4.1165-7 25~ 7.60-1 1000-4
l<V\11'o:T05,
192-3 'TIK'l'OO,
of father, 32 4.1199-1200 818 9.454-665 10
1<001,10:,
747-8 Toq,pa, 807 4.1483-4 11!!I
700, 4-5 4.1516 10 n. 45 PINDAR
1.1ap6s,876- 7 4.1673-7 531-g
Pythian 4.87-8 1282-3
r.1yus,463 v1r=o,, 1213
CALLIMACHUS 4.237-8 1372
U1l'O~hTJ61111,
396-400 See also suhjeclindex
'l, 91-2
\lo:AIO'TO: fr, I 6-8,37-8, 874-5
µe1r.iaaoo, 1035-6 q,aal,845 fr. 301 276-7
µe11..• 6&,referring to same person, lj>1Ao:TD,
66 THEOCRITUS
fr. 612 19 n. 86
100-4 fr. 676 131-44 25. 139-41 242-6
IJE'T0:1,100\IIOS,
I 121 ·0yuy10s, 1178 h. 2.106 932-3 25.145-52 1306-25
µoipo:,3-4 00µ08.r,loo,I032-4 h. 3.175-80 134D-5 See alsosulijectindex
11ux6,,658-g
266 INDEXES

VALERIUS FLACCUS 4.657-8 775-6

hg. 5.343-9 8974) 7.37 1-5
8.18-25 755-65
VIRGIL 8.387-8 146-8
Georg. 3.149 276-7
Aen. 4.336 1069 3.237-41 1293-5