Professional Documents
Culture Documents
Valerius Flaccus: Argonautica, Book 8: Edited with Introduction, Translation, and Commentary Cristiano Castelletti full chapter instant download
Valerius Flaccus: Argonautica, Book 8: Edited with Introduction, Translation, and Commentary Cristiano Castelletti full chapter instant download
Valerius Flaccus: Argonautica, Book 8: Edited with Introduction, Translation, and Commentary Cristiano Castelletti full chapter instant download
https://ebookmass.com/product/euripides-troades-edited-with-
introduction-and-commentary-david-kovacs/
https://ebookmass.com/product/the-phenomenology-of-spirit-
translation-with-introduction-and-commentary-g-w-hegel/
https://ebookmass.com/product/the-hebrew-bible-a-translation-
with-commentary-vol-three-volume-set-1st/
https://ebookmass.com/product/ciceros-academici-libri-and-
lucullus-a-commentary-with-introduction-and-translations-tobias-
reinhardt/
Deadly Fangs (Life with Fangs Book 8) Catherine Lievens
https://ebookmass.com/product/deadly-fangs-life-with-fangs-
book-8-catherine-lievens/
https://ebookmass.com/product/the-roman-martyrs-introduction-
translations-and-commentary-michael-lapidge/
https://ebookmass.com/product/luthers-the-church-held-captive-in-
babylon-latin-english-edition-with-a-new-translation-and-
introduction-janz/
https://ebookmass.com/product/the-oxford-annotated-mishnah-a-new-
translation-of-the-mishnah-with-introduction-and-notes-shaye-j-d-
cohen/
https://ebookmass.com/product/the-life-of-mashtots-by-his-
disciple-koriwn-translated-from-the-classical-armenian-with-
introduction-and-commentary-abraham-terian/
OUP CORRECTED PROOF – FINAL, 07/04/22, SPi
OX F O R D C OM M E N TA R I E S O N F L AV IA N P O E T RY
General Ed i to rs
a n ton y aug ous ta ki s fed e r i c a b e sso n e
ch ris t er h en ri ks én r. j oy l i t t l ewo o d
g es i n e ma n uwa ld ru t h pa rk e s
ch ri s t ia n e re i t z
OUP CORRECTED PROOF – FINAL, 07/04/22, SPi
Valerius Flaccus
Argonautica
Book 8
by
C R I S T IA N O C A ST E L L E T T I
Edited by
A N T O N Y AU G O U STA K I S,
M A R C O F U C E C C H I,
and
G E SI N E M A N U WA L D
OUP CORRECTED PROOF – FINAL, 07/04/22, SPi
Preface
Contents
List of Abbreviations ix
INTRODUCTION1
1. Context and Aim of this Commentary 1
2. The Poem’s Ideology in a sphragis 1
3. The Eighth Book and the End of the Poem 6
4. Text, Sigla, Editions, and Textual Abbreviations 9
Bibliography 255
1. Editions, Commentaries, Translations of Valerius Flaccus255
2. Other Works256
Indexes
1. Index Locorum269
2. General Index272
OUP CORRECTED PROOF – FINAL, 07/04/22, SPi
OUP CORRECTED PROOF – FINAL, 07/04/22, SPi
List of Abbreviations
Introduction
Let us start with the poet’s sphragis in order to examine the most significant
components of the poem’s ideology. VF returns and completes these themes in
the eighth book.
2 Introduction
We know little about our poet, except that he wrote the Argonautica in Latin
during the Flavian dynasty,2 that his tria nomina were probably Gaius Valerius
Flaccus,3 and that he was a member of the priestly college of the quindecimviri
sacris faciundis.4 Apollonius Rhodius’ (henceforth AP) and Virgil’s influence on
VF’s poem has long been recognized, but in addition to these models (and also
others such as Euripides, Ovid, and Seneca) critics have only recently begun to
study the influence of Aratus and his tradition, finding it remarkably relevant
for understanding the Argonautica.5 The dominance of astronomy is clear from
the poem’s first lines, in which the author mentions the Argo’s catasterism (and
not the capture of the Golden Fleece) as the crucial event of the epic: prima
deum magnis canimus freta pervia natis | fatidicamque ratem, Scythici quae
Phasidis oras | ausa sequi mediosque inter iuga concita cursus | rumpere flam-
mifero tandem consedit Olympo (VF 1.1–4). The ship is not only the medium
that brings the Greek heroes to Colchis and allows them to return to Thessaly,
nor is it the only one that can still be admired as a constellation, but it is above
all a metaphor for the poem itself.6 Members of the imperial family would
ascend to the heavens (as VF states shortly after this prooemium, cf. 1.15–20), but
the sky is also the final reward that Jupiter promises to the heroes, as he declares
at the end of the Weltenplan (1.531–67).7 By adopting a (Roman) Stoic concep-
tion of heroism, Jupiter addresses Hercules and the Dioscuri, asking them to
‘aim towards the sky’ (tendite in astra viri, 1.563) through difficult labours. And
this is precisely what VF’s elaborate sphragis appears to show us.
The poet creates this sphragis in the second book while the Argonauts stop at
Lemnos. Just as in AR’s poem, the heroes allow themselves to be seduced by the
pleasures of female company, until Hercules (one of the few who do not give in
to the lure of leisure and love) scolds Jason; the company then returns to its
voyage towards Colchis. At this critical moment in the narrative, in which the
epic has been threatened by the invasion of elegiac elements, Hercules’ inter-
vention also serves a metaliterary function, since it allows the author to bring
the poem back to tracks more suited to the epic genre, a point that VF under-
scores with a clear allusion to arma virumque in two lines at the end of the
episode (2.391–2). VF exploits this critical moment in order to introduce his
own sphragis with an elaborately crafted composition, producing a genuine
conflation between his Virgilian model (the sphragis MAro VErgilius PVblius in
2 For the question of dating the work, see most recently Stover (2012) 7–26, Davis (2020) 3–4.
On VF’s life, see most recently Manuwald (2015) 1–2 and Davis (2020) 1–3.
3 Cf. Zissos (2008), xiii.
4 For a discussion of VF’s presumed affiliation with the priestly college of the quindecimviri
sacris faciundis, see Zissos (2008) xiii–xiv; Stover (2012) 155–7; Deremetz (2014) 54; Bernstein
(2014) 157; Tatum (2016); Cairns (2019).
5 For Aratus’ presence in VF, see especially Castelletti (2012a) and (2014a). See also Krasne
(2014a).
6 See Stover (2010). 7 On Jupiter’s plan, see Ganiban (2014).
OUP CORRECTED PROOF – FINAL, 07/04/22, SPi
G. 1.429–33)8 and the Aratean one (the technopaignion based upon the word
λεπτή inserted in the passage describing the phases of the moon at 783);9 in
fact, Aratus also served as the source for Virgil’s composition (VF 2.357–77
Ehlers):10
PLIADA LEGE POLI NIMBOSO MOVERAT ASTRO 357
IVPPITER AETERNVM VOLVENS OPVS ET SIMVL VNDIS 358
CVNCTA RVVNT VNOQVE DEI PANGAEA SVB ICTV 359
GARGARAQVE ET MAESTI STETERANT FORMIDINE LVCI 360
SAEVIOR HAVD ALIO MORTALES TEMPORE GENTES 361
TERROR AGIT TVNC VRGET ENIM TVNC FLAGITAT IRAS 362
IN POPVLOS ASTRAEA IOVEM TERRISQVE RELICTIS 363
INVOCAT ADSIDVO SATVRNIA SIDERA QVESTV 364
INSEQVITVR NIGER ET MAGNIS CVM FRATRIBVS EVRVS 365
INTONAT AEGAEO TENDITQVE AD LITORA PONTUS 366
ET LUNAM QVARTO DENSAM VIDET IMBRIBUS ORTV 367
THESPIADES LONGVS COEPTIS ET FLVCTIBUS ARCET 368
QVI METVS VSQVE NOVOS DIVAE MELIORIS AD IGNES 369
VRBE SEDENT LAETI MINYAE VIDVISQVE VACANTES 370
INDVLGENT THALAMIS NIMBOSQVE EDVCERE LVXV 371
NEC IAM VELLE VIAS ZEPHYROSQVE AVDIRE VOCANTES 372
DISSIMVLANT DONEC RESIDES TIRYNTHIVS HEROS 373
NON TVLIT IPSE RATI INVIGILANS ATQVE INTEGER VRBIS 374
INVIDISSE DEOS TANTVM MARIS AEQVOR ADORTIS 375
DESERTASQVE DOMOS FRAVDATAQVE TEMPORE SEGNI 376
VOTA PATRVM QVID ET IPSE VIRIS CUNCTANTIBVS ADSIT? 377
In order to trap the Argonauts on the island of Lemnos, the Pleiades and
Saturn unleash bad weather following Jupiter’s order. In this context, in which
VF also mentions the movement of Astraea (or rather Dike, the Maiden), the
8 Virgil signals the presence of the acrostic sphragis by employing key words such as sequentis
| ordine respicies (G. 1.424–5) that draw the reader’s attention to what follows, revertentis cum pri-
mum (427), indicating the necessity to read backwards (a fact that explains the inversion of the
tria nomina), virgineum (430, a reference to the nickname Parthenias), and namque is certissimus
auctor (432). See Somerville (2010).
9 Λεπτὴ µὲν καθαρή τε περὶ τρίτον ἦµαρ ἐοῦσα εὔδιός | κ’ εἴη λεπτὴ δὲ καὶ εὖ µάλ’ ἐρευθὴς |
πνευµατίη παχίων δὲ καὶ ἀµβλείῃσι κεραίαις | τέταρτον ἐκ τριτάτοιο φόως ἀµενηνὸν ἔχουσα | ἠὲ
νότῳ ἀµβλυωνετ’ ἢ ὕδατος ἐγγὺς ἐόντος (Arat. Phaen. 783–7 Martin). The word λεπτή is found
twice horizontally and once vertically while it can also be read diagonally. See Hanses (2014).
10 For a detailed discussion of VF’s sphragis, see Castelletti (2016).
OUP CORRECTED PROOF – FINAL, 07/04/22, SPi
4 Introduction
references to Aratus become clear in lines 367–8, in which the Thespian helms-
man of the Argo, Tiphys, ‘sees the moon at her fourth rising gathering clouds,
a frightful omen that keeps the sailors far from their maritime enterprise for a
long time’. The observation concerning the moon’s phase immediately brings us
back not only to the corresponding passage in Aratus (Phaen. 778–87), but also
in Virgil (G. 1.424–35). It may be added that the Tirynthius heros (VF 2.373),
Hercules, is called invigilans rati (374). Hercules, therefore, ‘keeps watch over
the ship’, but in such a context, the word invigilare alludes to the ἀγρυπνίαι, the
sleepless nights spent revising and editing poems, as Cinna’s famous epigram
demonstrates (fr. 11 Courtney). Considering that ratis can refer metaphorically
to the poem itself, Hercules’ deed accordingly also possesses a remarkable
metaliterary significance.
In order to decipher the sphragis, one must follow the directions provided by
the poet, as Aratus and Virgil did in their passages. First of all, we notice the
appearance of the acrostic ET QVI, which can be read vertically from 367 to
371.11 The acronym LENTI, which we can read in line 371 by taking the first
letter of each word, starting from the last (luxu) and returning to the first
(indulgent), completes the phrase. The keywords audiRE VOCAntes (372) pro-
vide the clue that one should read this sequence backwards. This will also help
the reader understand how to locate the poet’s tria nomina. LENTI is signifi-
cant: the spelling recalls Aratus’ ΛΕΠΤΗ (both are five letters long, three of
which are the same, while the last two are very similar), and, furthermore, in
this particular predicament, the Argonauts are lenti (‘slothful, idle’). Tityrus is
also lentus when he honours the musa tenuis (by composing acrostics!) in
Virgil’s Eclogue 1,12 and, above all, so are the Rutulians, whom Juturna rebukes
in the final book of the Aeneid, in a situation that closely recalls the Argonauts’
present circumstances (in both cases, the reprimand directed towards the lenti
provokes an immediate reaction).13 The complete technopaignion ET QUI
LENTI (which alludes to Aratus and Virgil) is therefore composed of an acros-
tic and an acronym, both containing five letters. This technopaignion serves
first of all to direct the reader’s attention to line 371, to which VF has given
special attention. In fact, the poet has inserted other valuable clues in addition
to the acronym LENTI, since that is the central line of the section in which the
sphragis is found.
The poet provides signs in lines 367–8 that direct the reader’s attention to
line 371, namely by stating that the Argo’s helmsman et lunam quarto densam
videt imbribus ortu. Accordingly, if we follow Tiphys’ (Thespiades, 368)
example,14 we should direct our attention four lines lower (quarto ortu).
Counting inclusively from line 368, luna densa appears in line 371. If Aratus had
suggested that his readers look ‘to the tips of the moon’s horns’ (σκέπτεο δὲ
πρῶτον κεράων ἑκάτερθε σελήνην, Phaen. 778), thus alluding to the ends of his
lines (where the acrostic ΛΕΠΤΗ appears), in VF’s case, the poet hints that the
entire line is particularly packed with information. In fact, if we start from the
beginning of line 369 (the Q of qui), we find the five-letter sequence QUIND,
written vertically. The same sequence can also be read by transitioning from
the vertical reading back to a horizontal one in line 371 (QV—the first letters
respectively of line 369 and 370—and the first letters of 371 INDulgent).15 Finally,
by continuing our reading in this direction all the way to the end of the line, we
observe that its final letters are XV (from luXV), another possible a llusion to the
word QUINDecim. All of this could be coincidental, but the meticulous triple
repetition (cum variatione) alluding to the number 15 can, I believe, be read in
connection with the fact that VF was a QVINDecimvir. This suspicion becomes
more credible when we consider that the beginnings of the poet’s tria nomina
lie hidden within the same passage. In order to find them, one must again fol-
low the clues provided by certain keywords and recall the earlier tradition.
By conflating the Aratean and Virgilian models, the Flavian poet conceals
his tria nomina, Caius Valerius Flaccus, in CA (372), VA (370), and FL (368).
Just like in Virgil’s Georgics (1.424–34), VF’s tria nomina must be read back-
wards and on alternate lines. Their arrangement, however, is diagonal, as was
that of Aratus’ fourth ΛΕΠΤΗ. The syllable CA appears in the keywords of line
372, audiRE VOCAntes, which follow the trail blazed by Virgil’s revertentis
(G. 1.427) in suggesting that one should read backwards. We may also add as a
keyword the following term, dissimulant (the first word of line 373), which just
so happens to provide the final D in the acrostic QVIND (369–73).
Taking into account the diagonal orientation of CA, VA, and FL, as well as
the centrality of line 371, the ancient reader’s trained eye would not have had
difficulty in recognizing also the pronoun is in urbIS (the final word of line
374), adding this to the poet’s tria nomina on the basis of the model provided by
the is certissimus auctor of Virgil’s G. 1.432. The completed sphragis, therefore,
reads IS CAius VAlerius FLaccus, QVINDecimvir. If this reading is correct, the
14 Like any good helmsman, Tiphys orients himself at sea through observing the stars, as
explicitly stated at 1.481–3 and 2.64–5, for example. VF also seems to have entrusted a metapoetic
function to the figure of Tiphys, given that he not only serves as the Argo’s helmsman, but also
embodies the poet’s Aratean model. For this point, see Krasne (2014b).
15 The construction of the sequence QVIND within the line as well (that is, moving from left to
right) echoes the phrase δεξιὰ σημαίνει of Arat. Phaen. 6 (see Castelletti [2012a] 85–8), given that
it prompts the reader to look towards the right side not only of the line itself (the final letters of
which are XV), but also of the entire passage, since the sphragis develops on the right side of it.
OUP CORRECTED PROOF – FINAL, 07/04/22, SPi
6 Introduction
composition accordingly extends from line 368 to 374, with line 371 (the one
packed with meaning) exactly in the middle.16
One consideration comes to mind. The orientation of IS CAius VAlerius
FLaccus suggests an ascending motion beginning from the end of line 374 and
proceeding towards the beginning of line 358. In a thoroughly Aratean context
in which Hercules plays a decisive role in the success of the voyage by following
the instructions of his divine father, VF’s sphragis seems to hide far more than
merely a signature. As we know well, Hercules is fated to become a god after
completing his labours, in accordance with the will of Jupiter, as expressed in
the Weltenplan in the poem’s first book. This is precisely what VF’s complete
sphragis seems to indicate. In a perfectly ‘ascending line’ (as in catasterism)
stretching from the end of 374 towards Iuppiter of 358, Valerius has absorbed
the Tirynthius heros (373) and inserted his own tria nomina in order to secure
a place in the heavens and undying fame for both his poetry and his name.
Various clues seem to support this reading, including novos . . . ad ignes in
line 369, and above all the verbal repetition of tendit(e) in astra that one can
read in the words TENDITquE (366) and ASTRAea (363), which appear in the
perfectly ascending line extending from the end of 374 up to Iuppiter at the
beginning of 358. This perhaps explains the curious fact that the syllable in-
begins four consecutive lines (IN, INvocat, INsequitur, INtonat, 363–6), as if to
prompt the reader to connect the lines in which the salient words (tendit and
astra) appear. Even if this composition appears complicated, its meaning is, at
its core, very simple. VF literally enacts two well-known Virgilian techniques,
conflation and window allusion.17
In addition to providing a remarkable example of the poet’s compositional
skills and deep engagement with his predecessors (among whom Aratus in
particular stands out), the sphragis allows us to confirm that VF was a member
of the quindecimviri. This evidence is extremely useful for understanding what
the poet develops in the eighth book by employing Aratean themes.
As we have just seen, one critical element of the poem’s ideology becomes clear
from the poet’s sphragis: the fulfilment of Jupiter’s will through virtus and
labores (which lead to apotheosis). After the Gigantomachy and the
Titanomachy, Jupiter himself held power over the heavens. Not by accident did
16 Note that in the composition of an acrostic, a poet often directs more attention to the central
line, placing information important to the construction as a whole within it. For examples and
analysis, see Castelletti (2014a) 60.
17 For the usage of these techniques in constructing technopaignia, see Somerville (2010)
208–9.
OUP CORRECTED PROOF – FINAL, 07/04/22, SPi
the poet insert the sphragis in the passage describing the stop at Lemnos, in
which Hercules’ intervention, essential for the voyage to succeed, is motivated
by amor rerum (VF 2.381).
The relationship between Hercules, Jason, and the heroism of the latter is
one of the most discussed topics in Valerian scholarship. The eighth book is of
critical importance for resolving such a debate.18 In particular, during the epi-
sode describing the taking of the Fleece (VF 8.54–133), which should represent
the final piece of evidence supporting Jason’s consecration as a hero, the poet
turns to the Aratean tradition in order to compare an unheroic deed (as Jason
takes possession of the Fleece through Medea’s action to incapacitate the
dragon) to a heroic one (Hercules’ final labour, i.e. retrieving the golden apples
of the Hesperides, an enterprise here mirrored by Medea’s actions). The eighth
book, therefore, sees the fulfilment of what was declared in Jupiter’s Weltenplan
and reflected in the poet’s sphragis, that is, the apotheosis of Hercules, who
earned a place in the heavens through his labores. But Jason’s fate seems sealed,
both due to the weight of tradition and the fact that he is the son of a mere
mortal, not a god. The gradual deterioration of his relationship with Medea
and the conflict between his duties as a leader and as a husband already begin
to draw him towards the future tragedy at Corinth, which the poet adumbrates
with particular force in this book. Nevertheless, although the poem is
incomplete, it seems to show that VF does not intend to condemn (or lionize)
Jason entirely, since Jason appears to be a victim of circumstances and the
mythic tradition.19
When the Fleece and Medea depart from Colchis, other events prophesied
in Jupiter’s Weltenplan are set in motion. In fact, the decline of Asia signals the
rise of Greece; Greece will later lose Jupiter’s favour (as the Romans rise to
power). According to Herodotus’ account, Medea’s departure fits into a series
of kidnappings that produce clashes between East and West, the first of which
is the Trojan War, a topic that will persistently recur within the book, beginning
especially with the arrival of the Colchian fleet at Peuce, which interrupts the
wedding of Jason and Medea (8.217–317). One of the certainly original features
of this book is the presence of Medea’s suitor, Styrus, who will later perish when
Juno rouses a storm at sea (8.318–84). As we shall see, Styrus’ character is not
only reminiscent of two Virgilian suitors, Turnus and Iarbas, but his failed
attempt to retake the virgo also represents a destructive Gigantomachy (the
poet presents Styrus as Orion, both a giant and a constellation at the same
time). The author’s deployment of the astronomical context again serves as an
important component of the ideology underlying Jupiter’s Weltenplan. The
decline of Aeetes’ kingdom and household also symbolizes the decline of Sol
18 On this topic and the character of Jason within the poem, see most recently Castelletti
(2014b).
19 Cf. Castelletti (2014b) 188–9.
OUP CORRECTED PROOF – FINAL, 07/04/22, SPi
8 Introduction
VF’s manuscript tradition has been studied extensively.26 For the present
edition, I have compared all previously published major editions, beginning
with the editio princeps (Bon. 1474) up to G. Liberman (2002), as well as the
sources used by Lazzarini’s and Pellucchi’s 2012 commentaries with their
critical observations. I have also examined the principal manuscripts myself.
For the apparatus criticus, I reproduce the abbreviations used by Liberman,
with some additions.
Sigla
25 On the various theories concerning the total number of planned books, see Pellucchi (2012)
xiii–xviii.
26 See Liberman (1997–2002), Taylor-Briggs (2014), and Manuwald (2015) 31–4.
OUP CORRECTED PROOF – FINAL, 07/04/22, SPi
10 Introduction
“The war has proved moreover that our free government like
other free governments, though slow in its early movements,
acquires in its progress a force proportioned to its freedom; and
that the Union of these States, the guardian of the freedom and
safety of all and of each, is strengthened by every occasion that
puts it to the test. In fine, the war with its vicissitudes is
illustrating the capacity and the destiny of the United States to
be a great, a flourishing, and a powerful nation.”
The intercourse between the Eastern States and the enemy was
notorious. The Federalist press of Massachusetts, encouraged by
Russian and English success in Europe, discussed the idea of
withdrawing the State from all share in the war, and making a
separate arrangement with England. The President’s first act, after
sending to Congress his Annual Message, was to send a special
Message incidentally calling attention to the want of harmony that
paralyzed the energy of the government.
The special and secret Message of December 9 asked Congress
once more to impose an embargo. Considering the notorious
antipathy of the Eastern States to the system of embargo, the new
experiment was so hazardous as to require proof of its necessity.
That it was directed against the commerce of the New England
States was evident, for the blockade answered the purposes of
embargo elsewhere. The Message seemed to propose that all
commerce should cease because any commerce must favor the
enemy; in effect, it urged that New England should be forbidden to
sell or buy so long as the rest of the country was prevented from
doing so.
470
“Those who voted the embargo so very lately,” he said,
“and those or him who recommended it must, I think, feel a little
sore under Webster’s rubs.... I have not for a long time seen the
Feds look in so good humor. They have all a smile on their
countenances, and look at each other as if they were the men
which had brought this great and good work about.... The
Republicans have not the most pleasing countenances. Those
who support the bill do not look gay or very much delighted with
their majority, and those who expect to be in the minority have a
melancholy gloom over their faces.”