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Xerox University Microfilms 300 North Z Sabr O Id Ann Arbor, Michigan 48100 75-3145 MILLER, Ann Marie, 1947- STUDIES in the ARGONAUTICA of APOLLONIUS

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Xerox University Microfilms 300 North Z Sabr O Id Ann Arbor, Michigan 48100 75-3145 MILLER, Ann Marie, 1947- STUDIES in the ARGONAUTICA of APOLLONIUS INFORMATION TO USERS This material was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to help you understand markings or patterns which may appear on this reproduction. 1. The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image. You will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., was part of the material being photographed the photographer followed a definite method in "sectioning" the material. It is customary to begin photoing at the upper left hand corner of a large sheet and to continue photoing from left to right in equal sections with a small overlap. If necessary, sectioning is continued again — beginning below the first row and continuing on until complete. 4. The majority of users indicate that the textual content is of greatest value, however, a somewhat higher quality reproduction could be made from "photographs" if essential to the understanding of the dissertation. Silver prints of "photographs" may be ordered at additional charge by writing the Order Department, giving the catalog number, title, author and specific pages you wish reproduced. 5. PLEASE NOTE: Some pages may have indistinct print. Filmed as received. Xerox University Microfilms 300 North Z sabR o id Ann Arbor, Michigan 48100 75-3145 MILLER, Ann Marie, 1947- STUDIES IN THE ARGONAUTICA OF APOLLONIUS. The Ohio State University, Ph.D., 1974 Language and Literature, classical | Xerox University Microfilms t Ann Arbor, Michigan 48106 © 1974 ANN MARIE MILLER ALL RIGHTS RESERVED THIS DISSERTATION HAS BEEN MICROFILMED EXACTLY AS RECEIVED. STUDIES IN THE ARGONAUTICA OF APOLLONIUS DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Ann Marie Miller, B*A., M.A. * * * * * The Ohio State University 1974 Reading Committee: Approved By John W. Shumaker Jane M. Snyder David E. Hahm To Professors John W. Shumaker, Jane M. Snyder, and David E. Hahm I owe thanks for their guidance and assistance in this undertaking. To The Ohio State University X owe thanks for the financial support provided me through a generous University Fellowship. To Chuck, amator amicusque, I owe thanks. TABUS OP CONTENTS Page ACKNOWLEDGMENTS .......................*.......... ii LIST OF TABLES ..................... iv FOREWORD ........................................... V INTRODUCTION ....................................... 1 Chapter I. Typical Scenes ......... 14 II. Parodial and Comic Aspects ............. 81 III. Discontinuity in Characterization ..... 129 APPENDIX A ....... 181 BIBLIOGRAPHY....................................... 18? iii LIST OF TABLES Page Table 1 155 ccti^eTai Mat MoTcra 61' &YYe^-^aQ 6p0aq Pindar For the spoken word may be forgotten or, as it becomes more remote, loses its colour, or be too little understood, or require more intense concentration than the hearer is willing or able to expend at any one moment; but the written word stands indelibly in­ scribed upon its page; if the reader forgets, he may find the word again;-he may balance one word against another, consider and re­ consider each small effect, survey and re­ survey each larger area, and pause when his attention is exhausted, always confident that the word, ever unchanged, will await his reading. John P. Oarspecken v INTRODUCTION The Argonautica is a poem of intricate subtlety, in­ telligible to a reader only after careful and prolonged consideration. The fact that it has not yet received ade­ quate exegesis testifies to the difficulties inherent in its interpretation. The three essays of this collection are intended to be a contribution to the greater under­ standing of the whole epic. Considered together, they indicate that a new approach might be profitable which would look to the Fourth Book not only as continuous with the others, but also as the culmination of the poem. Each essay is independent of the others since it utilizes a particular critical approach to specific problems which the poem presents. But all three are aimed at increasing our general knowledge of the Argonautica with the expecta­ tion that knowledge will lead to keener understanding and refined insights into the entire poem. Chapter One considers the question of how the Argonau- tica was written. Such a study must proceed in a direc­ tion opposite to the process it analyzes; that is, the poet's finished product is dissected so that it yields up the secrets of its composition. Similar studies of the poem have been undertaken before, of-course. Many of them seem to begin with a theory about the compositional 2 method and then they proceed to dismantle the epic until evidence supporting their theses is laid bare. Chapter One employs this same basic methodology, although a com­ plete theoretical system is not proposed. Chapter One will consider only one technique which seems to account for the structure of a major portion or the poem. Chapter One originated from observation that the Argonautica consists in part of the same actions and situ­ ations repeated a number of times, even though their spe­ cific content is altered from instance to instance. A reader begins to suspect that he is being presented with the same format over and over, and that the poem's episodic nature alone does not account for the observed repetitions. A similar phenomenon had been discussed by scholars of the Homeric epic, the most outstanding of whom is Walter Arend, even before the theory of oral epic poetry gained popularity among Homerists.^ In the Argonautica we observe recurrent structuring of the narrative in scenic patterns which may be classified into types. Scenes which can be identified as representatives of a broad type are called typical scenes. Apollonius was a close follower of Homer in numerous aspects and it seems that he recognized the value of typical scenes as a compositional method. He W. Arend, Hie Typischen Scenen bei Homer (Berlin 1935)* 3 adopted the method, but he also adapted it to fit the requirements of his own poem, which was composed in an era when epic was a written, not an oral form. If the evidence of the first chapter is accepted, then state­ ments such as Charles Beye's will take on additional sig­ nificance: "He [Apollonius] knows p e r f e c t l y well the structure of his model; he understands the structure in terms of its parts and he can manipulate them at will; by so doing he demonstrates to his reader that he is re— p ordering his Homeric models in some new perspective." The possible implications of Chapter One for subsequent research into Apollonius' relationship to Homer are in­ triguing. Acceptance of this typical composition need not invalidate other studies of the poem. Composition by variations on scenic types certainly accomodates the conclusions of scholars who have studied the poem's sym­ metry and ring compositionf the incorporation of tragic and historical sources, the use of symbolism, etc. It even increases their significance in some instances. Thus, understanding the compositional nature of the Argonautica is a worthwhile goal for its own sake and for its consequences. Beyond the satisfaction of simply know­ ing, the conclusions of Chapter One enhance much of what has been said concerning Apollonius' approach to writing 2 "" C. Beye, "Jason as Love-hero in Apollonius' Argonautica, GRBS 10 (1969) 36. :----- poetry and his relationship to literary predecessors. These products of this study are left for the reader to discover. Chapter Two discusses the parodial and comic as­ pects evident in the Argonautica. A general interest in experimenting with poetic forms and genres is a char­ acteristic of Hellenistic, especially Alexandrian, poetry and this adventurous spirit is not lacking in Apollonius. In particular, the poet borrows from classi­ cal literature certain situations, traditional charac­ terizations, and literary devices, and includes them in an epic poem in which their appearance is unexpected and incongruous. The result is a parodial treatment of some of the poem's features which is quite humorous for us, as it must have been for the ancient reader. The three ex­ amples considered in detail in Chapter Two are the Lemnian episode, the characterization of Heracles, and the Olym­ pian scene of Book Three. All three passages appear to be parodial and comic in tone, but to make only that ob­ servation fails to appreciate fully the poet's intention. Apollonius makes the comedy and parody in his poem serve a greater purpose than the immediate amusement of the reader. The humorous treatment of these three portions of the poem has far-reaching implications for our understanding of the whole work. The handling of the Lemnian episode will contrast sharply v/ith the events on Colchis, as ■ * . - • the lighthearted depiction,.-of tjxepov is compared to the" • i i r tragic and sobering tale* of ^ptoQ . The restoration of ■* . * •* * a natural relationships between men and women which takes * * ■. place on Lemnos will be alluded to as the relationship '■I * i between Jason and Medeafdevelops. The portrayal of Hera- i V 4 * cles and his comic counterpart Idas is quite amusing, v " * vi * but the humor is pointed*-;'.
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