COLLECTIVE SPEECH AND SILENCE IN THE ARGONAUTICA OF APOLLONIUS AND VALERIUS* Simone Finkmann 1. Introduction The scope of Apollonius Rhodius’ influence on Valerius Flaccus’ Argonautica regarding its subject matter, character portrayal, and narrative technique has been scrutinized in many recent studies. The use of direct speech, how- ever, a key feature of Greco-Roman epic poetry, has not been comprehen- sively examined yet. While Rolf Ibscher’s GestaltderSzeneundFormderRede in den Argonautika des Apollonios Rhodios (1939) provides a detailed survey of the speech scenes and the individual direct speeches of the Hellenis- tic Argonautica, the most extensive discussion of the speeches in Valerius’ poem remains Ulrich Eigler’s Monologische Redeformen bei Valerius Flaccus (1988). This paper analyzes the key similarities and differences in the use of col- lective and representative speeches and collective “conversational silence”1 in both Argonautic poems. The collective speeches will be divided into pri- mary (the protagonists) and secondary (other collectives) speeches to facil- itate the discussion and avoid unnecessary repetition. For the purposes of our study, a collective speech act is defined as “the coordinated effort of more than one individual in forming utterances in the same rule-governed form of behavior as the speech acts of individuals. The group speech act differs from the individual’s monologic utterance only (or at least character- istically) in that its meaning and intention originate in multiple persons.”2 * I would like to thank the editor of this volume, the conference participants, as well as Matthew Leigh, Stephen Heyworth, and the anonymous reviewer for their valuable com- ments. 1 Bilmes (1994) 79 defines conversational silence as “the absence of talk (or of particular kinds of talk) where talk might relevantly occur.” On the different functions of silence, cf. Ephratt (2008) 1909–1938. On silence in the Argonautica, see Nishimura-Jensen (1998) 456–469 and Anzinger (2007) 156–232. 2 Hughes (1984) 379. 74 simone finkmann According to this definition, Apollonius employs three primary (A. R. 2.145– 153, 4.1251–1258, 4.1458–1460) and three secondary collective speeches (1.242–246, 1.251–259, 4.1318–1329), while Valerius’ Argonautica includes three secondary (V. Fl. 2.113–114, 3.45, 6.29), and four primary collective speeches (1.627–632, 4.327–329, 5.17–20, 5.550–552).3 As none of the sec- ondary collective speeches have equivalents in the other epic, they will be discussed separately first before the corresponding primary collective speeches of both epics are analyzed together. 2. Secondary Collective Speeches in Apollonius a. Male and Female Collectives (A. R. 1.242–246 and 1.251–259) When the Argonauts prepare for their departure from Iolcus (A. R. 1.234– 258), a crowd of common people (λαῶν / πληθύς, 1.238–239) gathers to see them off.4 Apollonius first gives a rational evaluation of the Argonauts’ mission5 from the collective male perspective (1.241, 247) before presenting the more emotional female view (1.247).6 The men question Pelias’ motive for sending their best men on a highly dangerous quest. They are confident that the Argonauts can defeat Aeetes, but are pessimistic about the feasibility of the sea voyage (1.242–246). In contrast to the men, who analyze the reason for the Argonauts’ journey and their chances of survival, the women lament the emotional strain the expe- dition causes for Jason’s weak elderly father Aeson (1.251–259) and especially his esteemed mother Alcimede (1.251, 259). While the men accept the mis- sion as a necessity and focus on its future implications, the women dwell on the past and retrospectively curse Phrixus (1.256–259).7 Their pathos sets the tone for a private farewell between Jason and his parents that takes 3 For a discussion of primary and secondary choruses in Apollonius, see Nishimura- Jensen (2009) 1–23. On the relationship of the chorus and collective speeches, cf. Hentze (1905) 254–268; on τις-speeches (representative speeches), see De Jong (1987) 69–84. 4 On the different models of Apollonius’ farewell scene, see Clauss (1993) 37–56 and Dräger (1995) 474. 5 On the structure of the scene and the speeches, see Ibscher (1939) 1–6 and Dräger (1995) 472–476. 6 Cf. Beye (1982) 81: “the agora mentality of the men” and “the thalamus mentality of the women.” 7 Cf. Hurst (1967) 51: “futur, assurance” and “passé-causalité, malheur.” These categories apply to both the collective and the individual pair (men-women, Jason-Alcimede)..