Princeton/Stanford Working Papers in Classics Distant Landmarks: Homer and Hesiod Version 1.0 February 2012 Richard P. Martin Stanford Abstract: The techniques of the Hellenistic epic poem as seen from the perspective of archaic Greek poetry. A revised version of this essay will appear in the Cambridge Companion to Apollonius (edit J. Murray and C. Schroeder). ©
[email protected] 2 The Argonautica demands to be read as a latter-day Homeric epic that constantly draws attention to un-Homeric and para-Homeric themes and techniques. Recreating the aesthetic tastes of Apollonius and his audience means that we must explore a more complex hermeneutic negotiation than the static notions of “imitation” or “playfulness,” “intertextuality” or “emulatio” can encompass.1 Instead, it may help to imagine the poem dynamically miming what it celebrates--a voyage, a vessel, and a crew of characters. It forges through a sea of traditions, deftly sailing between the clashing rocks of Homer and Hesiod, sighting the smaller (at least to us) islands like Antimachus and the Cyclic epics, skirting the shores of drama and lyric, even stopping off at exotic prose genres. From every such landfall this Argo-like poem takes on a self- conscious awareness of its own simultaneous belatedness and innovation. Consequently, the most important overarching technique in the poem is double vision: that is, the reader’s experience is enriched through being made constantly to observe similarities and contrasts, especially, although far from exclusively, with Homeric and Hesiodic verse, the poetic corpora that are the focus of this chapter.2 Or, to continue the nautical metaphor: every landmark--speech expression, descriptive phrase, even prepositional use-- brings into view yet another, more distant, enabling the reader to get a sense of relative depth and distance, along the moving line of the literary horizon.