connection between astragals, games and erotic sphere is a long-standing framework in Greek religious thought, as a literary witness of early Hellenistic times testifies. In the 3rd Book of his Argonautica , ApolloniusRhodius depicts Eros playing with
The article deals with the role of the Greek goddess Hera and her Roman counterpart, Iuno, in the poetic treatments of the myth of Argonauts. The focus is put especially on Iuno’s character development in Valerius Flaccus’ adaptation of the myth. Iuno’s character in this work has already been discussed by Werner Schubert in his fundamental study (1991), in which he pointed out the remarkable approximation of Iuno fabulosa and Iuno civilis. Referring to this study, the article emphasizes rather the literary development of Iuno’s character. It is shown that Valerius Flaccus portrays the highest goddess not only as a peculiar helper (socia), as suggested by Schubert, but also as a permanent participant in an intertextual dialogue with the epic poems of Homer and Apollonius Rhodius. Valerius Flaccus’ aim here is to invert his literary predecessors’ accounts in a subtle and witted way (as Debra Hershkowitz has already presented).
The largely neglected characterization of Aeëtes and the function of Ares in the 'Argonautica' may heighten the insight into Apollonius' intentions. Regarded more closely, the plot shows that Aeëtes, though being the son of Helios, is marked as an Ares-hero, and not only in the scene in which he arms himself (3. 1225-45). Already in book 2 his close connection with the war-god is hinted at repeatedly, and in book 3 it is further intensified by the adaptation of the Cadmus-and-dragon myth (as told by Pherecydes). Jason, who was compared to both Ares and Apollo at the beginning of his aristeia, proved to be a match for the cruel Aeëtes when he finally performs the shocking massacre of the earthborn. He wins, but he owes his success to Aphrodite. In Apollonius, Ares and Aphrodite rule over human beings and their fates; however, the outcome of their power is not harmonia (as in the Cadmus myth), but at the very end of his poem (book 4) crime, blood and death.
In the Argonautica of Valerius Flaccus, due to the influence of Apollonius Rhodius, Jason, the main character of the epic, has several cloaks. The most important of these is the one Jason receives from Hypsipyle, when he leaves Lemnos. According to an ekphrasis in Book 2, two pictures woven on the cloak represent the rescuing of Thoas, father of Hypsipyle and the abduction of Ganymede. My paper analyses the function of the description of these representations in the Argonautica, besides, it examines the relationship between the two pictures described in the ekphrasis. It is argued that the purpose of Jason donating all his other cloaks (one from Cyzicus, one woven by his mother, and another one also given to him by Hypsipyle) is to emphasize the importance of the cloak he received from Hypsipyle and to remind the reader of her fidelity, in a further part of the epic.
The study examines one of the shield-descriptions of Valerius Flaccus’ Argonautica. Its main aim is to demonstrate that Valeris Flaccus altered Canthus’ story in accordance with his literary purposes. The poet depicts the shield of Canthus in the catalogue of the Argonauts mentioning that the hero had inherited this famous shield from his father, Abas, albeit according to the mythology he is not known to have any shield. The paper displays how many other Abases there were in Greek mythology and in Roman literature having a shield and it is argued that Valerius Flaccus was influenced by the coincidence of names and transformed the original story of Canthus (which can be read in Apollonius Rhodius) in order to imitate his literary models: Vergil, Ovid and the Iliad. Furthermore, the author rewrites the story of Canthus so that the Argonaut can be paralleled with Patroclus. Consequently, Canthus must be an important person of the epic which is highlighted by Valerius Flaccus in several ways and his shield has to have a literary function.
E tanulmány Kallimachos az elhunyt II. Arsinoé előtt tisztelgő költeményét elemzi. Először az Ektheósis Arsinoés a költői életműben elfoglalt helyét, a műfaj kérdéseit és a mű szerkezetét vizsgáljuk. Ez vezet át a versben fellelhető irodalmi allúziók értelmezéséhez (főként Hésiodos, Ibykos, Simónidés, Pindaros). Ezenfelül részletesen tárgyaljuk a történelmi hátteret és a töredékes hagyományból származó filológiai nehézségeket. A befejező rész a kallimachosi költemény utóéletét térképezi fel a görög és latin irodalomban.
This article aims to present an overall interpretation of a poem by Callimachus on the dead Ptolemaic queen Arsinoe II. Firstly the position of the Ectheosis Arsinoes in Callimachus’ rnuvre, the genre to which it belongs and its structure will be investigated. This leads to the analysis of the highly allusive character of the work (above all to Hesiod, Ibycus, Simonides and Pindar as well as to hymnic poetry). In addition, realia (the historical background) and textual difficulties arising from the fragmentary transmission will also be treated. The conclusive part looks at the reception of Callimachus’ poem in later Greek and Latin poetry.
kinship with Iris can be linked to a passage from ApolloniusRhodius, who narrates that Iris saves the Harpies from death at the hands of the sons of Boreas, who were defending Phineus from the raids of those horrible bird-women of prey. 33 Moreover, in
. [éd.] : Virgil. Critical Assessment of Classical Authors. Vol. II. London – New York 1999, 58–82, sp. 58 et 68) ; ŻYBERT, E. : Simaetha versus Medea : Examples of oppositio in imitando in ApolloniusRhodius’ Argo-nautica. Eos 96 (2009) 79–92, sp. 82