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Jason at Colchis: Technology and Human Progress in Valerius Flaccus

Published online by Cambridge University Press:  04 July 2014

P J. Davis
P J. Davis*
Affiliation:
University of Adelaide
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Extract

For the Argonauts of Valerius Flaccus the Black Sea and its surrounding lands are an alien world. As Argo leaves the Mediterranean behind and enters the Propontis, we are told that the Minyans begin to gain ‘a view into another world’ (alium prospectus in orbem, 2.628). So too when the ship makes its way through the Bosporus, on the point of entering the Black Sea, we are told that the Greeks ‘see all things new’ (noua cuncta uident, 4.424). Clearly this voyage is presented by Valerius as a major event in world history.

One question which must confront any reader of Valerius’ poem is whether the effects of this voyage should be viewed negatively or positively. Indeed the poem itself poses that question at the outset, through its inclusion of two versions of Argo's destiny: the negative prophecy of Mopsus (1.211-26) and the more reassuring prediction of Idmon (1.234-38). In this paper I propose to consider aspects of this problem through an examination not of Valerius' treatment of the voyage itself, but of its consequences as they are presented in the second half of the poem.

Type
Research Article
Information
Ramus , Volume 39 , Issue 1 , 2010 , pp. 1 - 13
Copyright
Copyright © Aureal Publications 2010

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References

1. This is a revised and expanded version of a paper presented at the Pacific Rim Roman Literature Seminar held at University College London in July, 2009. I would like to thank those who made comments on this paper. I am particularly indebted to Jessica Dietrich for a valuable suggestion which is acknowledged in the appropriate place. I would also like to thank Gesine Manuwald and her colleagues for their gracious hospitality.

2. For an excellent discussion of these issues with particular focus on the first half of the poem see Davis, Martha A., ‘Ratis Audax: Valerius Flaccus’ Bold Shipș, Ramus 18 (1989), 46–73CrossRefGoogle Scholar.

3. Wacht, Manfred, Juppiters Weltenplan im Epos des Valerius Flaccus (Stuttgart 1991)Google Scholar; Manuwald, Gesine, Die Cyzicus-Episode und ihre Funktion in den Argonautica des Valerius Flaccus (Göttingen 1999), 130–76CrossRefGoogle Scholar.

4. As Spaltenstein, François, Commentaire des Argonautica de Valérius Flaccus (Livres 3, 4 et 5) (Bruxelles 2004), 397f.Google Scholar, observes: ‘Au contraire, Apoll. 2,851 sqq. fait se succéder les funérailles et expédie hâtivement celles de Tiphys (vers 859), sans ce caractère démonstrativement dramatique.’

5. I use the following text: Liberman, Gauthier (ed.), Gaius Valerius Flaccus, Argonautiques (2 vols.: Paris 2002).Google Scholar

6. Phaed. 1149–53. For discussion of the role of nature in Phaedra see Davis, P.J., ‘Vindicat omnes natura sibi: A Reading of Seneca’s Phaedra’, Ramus 12 (1983), 114–27CrossRefGoogle Scholar, and Boyle, A.J., Tragic Seneca: An Essay in the Theatrical Tradition (London 1997), 57–67.Google Scholar

7. For Tiphys’ daring see 3.613f.: ausus/Tiphys.

8. For detailed discussion of the Argonautic odes in Medea see Fyfe, Helen, ‘An Analysis of Seneca’s Medea’, Ramus 12 (1983), 77–93CrossRefGoogle Scholar, esp. 86–91; Henderson, John, ‘Poetic Technique and Rhetorical Amplification: Seneca Medea 579’669’, Ramus 12 (1983), 94–113CrossRefGoogle Scholar; Davis, PJ., Shifting Song: The Chorus in Seneca’s Tragedies (Hildesheim 1993), 78–93Google Scholar; Boyle (n.6. above) 126–28.

9. The Prometheus myth is of course found in Hesiod Theogony 507–616 and Works and Days 47–105, where it is closely associated with the creation of the first woman, Pandora.

10. For further discussion of this episode see Zissos, Andrew, ‘Valerius Flaccus’, in Foley, John Miles (ed.), A Companion to Ancient Epic (Maiden MA 2005), 503–13CrossRefGoogle Scholar, at 506f.

11. Perhaps the best known example of this kind of ekphrasis is Aeneid 1.466–93, where Aeneas sees images of events from his Trojan past which are to be replicated in his Italian future. For this see Putnam, Michael C.J., Virgil’s Epic Designs: Ekphrasis in the Aeneid (New Haven 1998), 45–47.Google Scholar

12. Manuwald, Gesine, ‘Die Bilder am Tempel in Kolchis’, in Eigler, Ulri and Lefèvre, Eckard (eds.), Ratis Omnia Vincet: Neue Untersuchungen zu den «Argonautica» des Valerius Flaccus (Munich 1998), 307–18Google Scholar, at 313. Manuwald’s reading of Phaethon’s fate as foreshadowing that of Absyrtus is particularly persuasive because, as she points out, Apollonius (3.245) says that the Colchians called Aeetes’ son ‘Phaethon’. But this identification does not exclude that which I propose: multiple readings are possible.

13. Phaethon–s sisters: Met. 2.340–63; Eridanus: Met. 2.324, 372; Pyrois (first named by Ovid): Met. 2.153.

14. Feeney, Denis C., The Gods in Epic: Poets and Critics of the Classical Tradition (Oxford 1991), 332Google Scholar n.66, also makes this connection. Zissos’s objection to Feeney’s argument, viz. that ‘the dominant tone is one of pathos’, is not persuasive, for the fact still remains that the Sun likens Argo–s journey to Phaethon–s (Zissos, Andrew, Valerius Flaccus’ Argonautica, Book 1: A Commentary [Oxford 2008], 312)Google Scholar. Allusion to Daedalus and Icarus at 1.704–08 functions in a similar way to allusion to Phaethon, for it reminds us not only of Pelias’ resemblance to the tyrannical Minos, but also of the unnatural and disastrous character of the flight of Daedalus and Icarus. Here too Ovid is pertinent, for Ovid’s Daedalus, like Jason, is aware of the hubristic nature of his venture and prays for forgiveness in advance (Ars 2.38; cf. V. Fl. 1.96), while Icarus can be viewed as an overreacher (note Daedalus’ advice at Ars 2.64 and Met. 8.206 [inter utrumque uola, ‘fly between the two’] and the emphasis on Icarus’ daring at Ars 2.76 [Icarus audaci fortius arte uolat, ‘Icarus flies more bravely with daring skill’] and Met. 8.223 [puer audaci coepit gaudere uolatu, ‘the boy begins to rejoice in daring flight’]). Ovid also emphasises that flying is a violation of nature (sunt mihi naturae iura nouanda meae [‘I must change the laws of my nature’], Ars 2.42; naturamque nouat, [‘and he changes nature’], Met. 8.189). For further discussion of this simile see Ricci, M.L., ‘Di alcune similitudini mitologiche in Valerio Flacco’, SIFC 49 (1977), 145–96Google Scholar, at 166–68.

15. audax 301, ausus 318, audax 347.

16. I do not agree with Schmitzer, Ulrich, ‘Praesaga Ars: Zur literarischen Technik der Ekphrasis bei Valerius Flaccus’, WJA 23 (1999), 143–60Google Scholar, at 153, who explicitly rejects this reading.

17. For the distribution of similes throughout the poem and the tendency to concentrate similes in particular episodes see Fitch, John G., ‘Aspects of Valerius Flaccus’ Use of Similes’, TAPA 106 (1986), 113–24Google Scholar, at 119–21.

18. Perutelli, Alessandro (ed.), Gaius Valerius Flaccus: Argonauticon Liber 7 (Firenze 1997), 458Google Scholar.

19. Shelton, James E., ‘The Storm Scene in Valerius Flaccus’, CJ 70.2 (1974/75), 14–22Google Scholar, at 16.

20. I would like to thank Jessica Dietrich for this observation.

21. The use of coniunx (2.427) of the wives of Castor and Pollux reinforces the point.

22. It will be apparent that I agree with Zissos, Andrew, ‘Navigating Power: Valerius Flaccus’ Argonautica’, in Dominik, William J., Garthwaite, J. and Roche, P.A. (eds.), Writing Politics in Imperial Rome (Leiden 2009), 351–66CrossRefGoogle Scholar, at 354, that ‘the relentless tragic adumbrations of the later books’ constitute decisive evidence for a pessimistic reading of the poem.