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Apollonius； but they are certainly to be seen in the latter。 He seems to
have written the 〃Argonautica〃 out of bravado； to show that he could write
an epic poem。 But the influence of the age was too strong。 Instead of
the unity of an Epic we have merely a series of episodes； and it is the great
beauty and power of one of these episodes that gives the poem its
permanent valuethe episode of the love of Jason and Medea。 This
occupies the greater part of the third book。 The first and second books
are taken up with the history of the voyage to Colchis； while the fourth
book describes the return voyage。 These portions constitute a metrical
guide book； filled no doubt with many pleasing episodes； such as the rape
of Hylas； the boxing match between Pollux and Amyeus； the account of
Cyzicus； the account of the Amazons； the legend of Talos； but there is no
unity running through the poem beyond that of the voyage itself。
The Tale of the Argonauts had been told often before in verse and
prose； and many authors' names are given in the Scholia to Apollonius； but
their works have perished。 The best known earlier account that we have
is that in Pindar's fourth Pythian ode； from which Apollonius has taken
many details。 The subject was one for an epic poem； for its unity might
have been found in the working out of the expiation due for the crime of
Athamas； but this motive is barely mentioned by our author。
As we have it； the motive of the voyage is the command of Pelias to
bring back the golden fleece； and this command is based on Pelias' desire
to destroy Jason； while the divine aid given to Jason results from the
intention of Hera to punish Pelias for his neglect of the honour due to her。
The learning of Apollonius is not deep but it is curious； his general
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sentiments are not according to the Alexandrian standard； for they are
simple and obvious。 In the mass of material from which he had to
choose the difficulty was to know what to omit； and much skill is shown
in fusing into a tolerably harmonious whole conflicting mythological and
historical details。 He interweaves with his narrative local legends and the
founding of cities； accounts of strange customs； descriptions of works of
art； such as that of Ganymede and Eros playing with knucklebones； （3） but
prosaically calls himself back to the point from these pleasing digressions
by such an expression as 〃but this would take me too far from my song。〃
His business is the straightforward tale and nothing else。 The astonishing
geography of the fourth book reminds us of the interest of the age in that
subject； stimulated no doubt by the researches of Eratosthenes and others。
The language is that of the conventional epic。 Apollonius seems to
have carefully studied Homeric glosses； and gives many examples of
isolated uses； but his choice of words is by no means limited to Homer。
He freely avails himself of Alexandrian words and late uses of Homeric
words。 Among his contemporaries Apollonius suffers from a comparison
with Theocritus； who was a little his senior； but he was much admired by
Roman writers who derived inspiration from the great classical writers of
Greece by way of Alexandria。 In fact Alexandria was a useful bridge
between Athens and Rome。 The 〃Argonautica〃 was translated by Varro
Atacinus； copied by Ovid and Virgil； and minutely studied by Valerius
Flaccus in his poem of the same name。 Some of his finest passages have
been appropriated and improved upon by Virgil by the divine right of
superior genius。 （4） The subject of love had been treated in the romantic
spirit before the time of Apollonius in writings that have perished； for
instance； in those of Antimachus of Colophon； but the 〃Argonautica〃 is
perhaps the first poem still extant in which the expression of this spirit is
developed with elaboration。 The Medea of Apollonius is the direct
precursor of the Dido of Virgil； and it is the pathos and passion of the
fourth book of the 〃Aeneid〃 that keep alive many a passage of Apollonius。
ENDNOTES： （1） 〃Or of Naucratis〃； according to Aelian and
Athenaeus。 （2） Anth。 Pal。 xl。 275。 （3） iii。 117…124。 （4） e。g。 compare
〃Aen。〃 iv。 305 foll。 with Ap。 Rh。 iv。 355 foll。； 〃Aen。〃 iv。 327…330
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with Ap。 Rh。 I。 897； 898； 〃Aen。〃 iv。 522 foll。； with Ap。 Rh。 iii。 744
foll。
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BOOK I
（ll。 1…4） Beginning with thee； O Phoebus； I will recount the famous
deeds of men of old； who； at the behest of King Pelias； down through the
mouth of Pontus and between the Cyanean rocks； sped well…benched Argo
in quest of the golden fleece。
（ll。 5…17） Such was the oracle that Pelias heard； that a hateful doom
awaited him to be slain at the prompting of the man whom he should see
coming forth from the people with but one sandal。 And no long time
after； in accordance with that true report； Jason crossed the stream of
wintry Anaurus on foot； and saved one sandal from the mire； but the other
he left in the depths held back by the flood。 And straightway he came to
Pelias to share the banquet which the king was offering to his father
Poseidon and the rest of the gods； though he paid no honour to Pelasgian
Hera。 Quickly the king saw him and pondered； and devised for him the
toil of a troublous voyage； in order that on the sea or among strangers he
might lose his home…return。
（ll。 18…22） The ship； as former bards relate； Argus wrought by the
guidance of Athena。 But now I will tell the lineage and the names of the
heroes； and of the long sea…paths and the deeds they wrought in their
wanderings； may the Muses be the inspirers of my song！
（ll。 23…34） First then let us name Orpheus whom once Calliope bare；
it is said； wedded to Thracian Oeagrus； near the Pimpleian