Ovid regarded the Epistulae Heroidum as a collection with a consistent theme. He indicates as much at Am. 2.18.18–26, where he describes the unified conception of nine or ten of the Heroides as the result of Amor's insistence that he be an elegiac poet.

Ovid regarded theEpistulae Heroidumas a collection with a consistent theme. He indicates as much atAm.2.18.18–26, where he describes the unified conception of nine or ten of theHeroidesas the result of Amor's insistence that he be an elegiac poet.

‘[Valerius'] Argonautica is a story of high adventure, not a poème à thèse’: so stated Garson in 1965. Strand later added that the essential nature of this poem and the choice of subject-matter was determined by poetic inability; he describes the prooemium to Valerius' Argonautica as ‘a recusatio: the theme of the fall of Jerusalem is beyond his powers, and it would instead be treated by Domitian who was fit for such an arduous task; Valerius had to content himself with (...) the theme of an old myth’. It is these two opinions that I wish to question in this article. Indeed, alarm bells immediately sound at Strand's interpretation of the poet's recusatio. It has long been recognized that the original Callimachean recusatio was twisted by the Augustan poets. Gordon Williams analyses their practice thus: ‘They sadly regret that their poor talents will not rise to great subjects – and the subjects to which they will not rise are not the old mythological tales but the great affairs of contemporary Roman history and, in particular, the deeds of Augustus. It is clear, however, that they are using this form of poem to enumerate and praise the great deeds of Augustus, under the guise of proposing their own inability.’ No-one hesitates to agree that Valerius was well versed in the Augustan poets. It is dangerous, therefore, to assume without question that he was deceived by their insincerity. There is in fact good reason to examine the alternative possibility, namely that Valerius understood well the practice of his literary predecessors, that he dared to tread in their footsteps and that he succeeded in the supreme duty of a poet, that is to say, the business of ensuring that ars celavit artem. (shrink)

‘[Valerius']Argonauticais a story of high adventure, not a poème à thèse’: so stated Garson in 1965. Strand later added that the essential nature of this poem and the choice of subject-matter was determined by poetic inability; he describes the prooemium to Valerius'Argonauticaas ‘arecusatio: the theme of the fall of Jerusalem is beyond his powers, and it would instead be treated by Domitian who was fit for such an arduous task; Valerius had to content himself with the theme of an old (...) myth’. It is these two opinions that I wish to question in this article. Indeed, alarm bells immediately sound at Strand's interpretation of the poet'srecusatio. It has long been recognized that the original Callimacheanrecusatiowas twisted by the Augustan poets. Gordon Williams analyses their practice thus: ‘They sadly regret that their poor talents will not rise to great subjects – and the subjects to which they will not rise are not the old mythological tales but the great affairs of contemporary Roman history and, in particular, the deeds of Augustus. It is clear, however, that they are using this form of poem to enumerate and praise the great deeds of Augustus, under the guise of proposing their own inability.’ No-one hesitates to agree that Valerius was well versed in the Augustan poets. It is dangerous, therefore, to assume without question that he was deceived by their insincerity. There is in fact good reason to examine the alternative possibility, namely that Valerius understood well the practice of his literary predecessors, that he dared to tread in their footsteps and that he succeeded in the supreme duty of a poet, that is to say, the business of ensuring thatars celavit artem. (shrink)

As an Apollo-like Jason leaves home to start the long journey in quest of the Golden Fleece a strange incident occurs: The first thing to be said about this scene is that it is almost certainly an invention of Apollonius Rhodius.

As an Apollo-like Jason leaves home to start the long journey in quest of the Golden Fleece a strange incident occurs: The first thing to be said about this scene is that it is almost certainly an invention of Apollonius Rhodius.

The study of Homeric echoes and allusions in the Argonautica has overshadowed the influence of other literature, even when, as with tragedy, such influence is clear. The easiest framework for studying allusions to tragedy in Apollonius is comparison with the different types of allusion to Homer. Situations in the epic may recall situations and relationships in tragedy, and verbal similarities to passages in tragedy are also identifiable, despite differences of dialect and metre. The latter are often enhanced by rare words, (...) as Homeric hapax legomena and other Homeric rarities establish allusions to the Iliad and Odyssey. (shrink)

The study of Homeric echoes and allusions in the Argonautica has overshadowed the influence of other literature, even when, as with tragedy, such influence is clear. The easiest framework for studying allusions to tragedy in Apollonius is comparison with the different types of allusion to Homer. Situations in the epic may recall situations and relationships in tragedy, and verbal similarities to passages in tragedy are also identifiable, despite differences of dialect and metre. The latter are often enhanced by rare words, (...) as Homeric hapax legomena and other Homeric rarities establish allusions to the Iliad and Odyssey. (shrink)