Remember the Name Medea: Reading Apollonius Rhodes’ “Argonautica” Online

Apollonius Rhodes, Argonautica 1.1

“Starting with you, Apollo, let me recall the tales of men
born long ago…”

Ἀρχόμενος σέο, Φοῖβε, παλαιγενέων κλέα φωτῶν
μνήσομαι…

Video Feed: April 28, 3pm EDT

Apollonius Rhodes, Argonautica 3.1-5

“Erato, come and stand by me and tell me how Jason
took to fleece back to Iolkos with the help
of Medea’s love. You share in Aphrodite’s realm
and you bewitch the unmarried girls with worries
and this is the very reason you won your name.”

εἰ δ᾽ ἄγε νῦν, Ἐρατώ, παρά θ᾽ ἵστασο, καί μοι ἔνισπε,
ἔνθεν ὅπως ἐς Ἰωλκὸν ἀνήγαγε κῶας Ἰήσων
Μηδείης ὑπ᾽ ἔρωτι. σὺ γὰρ καὶ Κύπριδος αἶσαν
ἔμμορες, ἀδμῆτας δὲ τεοῖς μελεδήμασι θέλγεις
5παρθενικάς: τῶ καί τοι ἐπήρατον οὔνομ᾽ ἀνῆπται.

In the first year of Reading Greek Tragedy Online, we wandered on our path a little bit to comedy, fragments, and even to epic. This year we are moving out of the archaic and classical worlds to the Hellenistic period, turning to our only full telling of the tale of Jason and the Argonauts, the Argonautica of Apollonius Rhodes.

There were certainly versions of the tale before Ap. Rhodes made his break with Callimachus for epic’s rushing river. Indeed, it is pretty clear that the story of the Voyage of the Argo was an ancient one that was told in many forms, likely influencing and being influenced by Homer’s Odyssey and many other lost traditions. But the way we name the tale is important: it is not just the story of Jason and his crew. It is also the story of Medea, a quest, and a love affair arranged by scheming gods.

In a way, there are elements of Argonautica in the Iliad, the Odyssey, and in Vergil’s later Aeneid. And its story blends into theirs as well. As Catullus frames it in Carmen 64, it was the voyage of the Argo that brought Peleus to Thetis, one domino that needed to fall to lead to their marriage banquet, the arrival of Eris, the golden apple, and so much more.

But Ovid probably encapsulates one view of the voyage best, in Amores 2.11:

“As waves watched, shocked, the pine cut down from Pelion’s peak
Was the first to teach us the evil ways of the sea—
That one that raced madly through crushing cliffs
And made to steal the gold-marked fleece.
I wish the Argo had been overcome, drawing a deep funereal drink
Then no oar would have troubled the broad water’s peace.”

Prima malas docuit mirantibus aequoris undis
Peliaco pinus vertice caesa vias,
Quae concurrentis inter temeraria cautes
Conspicuam fulvo vellere vexit ovem.
o utinam, nequis remo freta longa moveret,
Argo funestas pressa bibisset aquas!

Apollonius Rhodes, Argonautica 3.1405-7

He went back into the city, mixing into the Kolkhians,
turning over how he might oppose them more swiftly.
The day ended and Jason’s labor was finished.”

ἤιε δ᾿ ἐς πτολίεθρον ὑπότροπος ἄμμιγα Κόλχοις,
πορφύρων, ᾗ κέ σφι θοώτερον ἀντιόῳτο.
ἦμαρ ἔδυ, καὶ τῷ τετελεσμένος ἦεν ἄεθλος.

Special Guest: Jackie Murray

Translation (of performance): Aaron Poochigian

Apollonius Rhodes, 3.56

“Mock me all you want! My heart upset by this ruin”

“κερτομέεις, νῶιν δὲ κέαρ συνορίνεται ἄτῃ.

Cast

Hannah Barrie – Narrator/Phineus
Tamieka Chavis – Narrator
Paul Hurley – Narrator/Aeetes
Lily Ling – Jason
Natasha Magigi – Medea
David Rubin – Narrator/Heracles

Director: Paul O’Mahony

Apollonius Rhodes, Argonautica 3.1069-1071

“Should you ever make it back to your home again
remember the name Medea, and I in turn will remember you
even though you are far away…”

“μνώεο δ᾿, ἢν ἄρα δή ποθ᾿ ὑπότροπος οἴκαδ᾿ ἵκηαι,
οὔνομα Μηδείης· ὣς δ᾿ αὖτ᾿ ἐγὼ ἀμφὶς ἐόντος
μνήσομαι…

Production Crew

Artistic Director: Paul O’Mahony (Out of Chaos Theatre)
Host and Faculty Consultant: Joel Christensen (Brandeis University)
Executive Producer: Lanah Koelle (Center for Hellenic Studies)
Producers: Keith DeStone (Center for Hellenic Studies), Hélène Emeriaud, Janet Ozsolak, and Sarah Scott (Kosmos Society)
Production Assistant: Francesca Bellei (Harvard University)
Director of Outreach: Amy Pistone (Gonzaga University)
Dramaturgical Support: Emma Pauly and Emma Joy Hill
Associate Directors: Beth Burns, Liz Fisher, Tabatha Gayle, Laura Keefe, and Toph Marshall
Poster Designer: Allie Marbry (Center for Hellenic Studies)
Poster Illustration Artist: John Koelle

For other episodes

go here for previous episodes or to youtube for the full playlist

Apollonius Rhodes, Argonautica 1.20-22

“Now I would like to recite the family and names of the heroes
their journeys through the treacherous sea and all the things
they did while they wandered. I hope the Muses will be supporters of my song.”

νῦν δ᾿ ἂν ἐγὼ γενεήν τε καὶ οὔνομα μυθησαίμην
ἡρώων, δολιχῆς τε πόρους ἁλός, ὅσσα τ᾿ ἔρεξαν
πλαζόμενοι· Μοῦσαι δ᾿ ὑποφήτορες εἶεν ἀοιδῆς.

 

Next Performance

Wednesday, May 26 | Pedro Calderón de la Barca’s El Monstruo de los Jardines (The Monster in the Garden) with Francisco Barrenechea (University of Maryland, College Park); translation by C. Svich

A Wish To be Invulnerable: The Rape and Sex-Change of Kaineus

When I presented a selection of intersex stories from Phlegon of Tralles earlier this week, I left out what I find to be the most disturbing story, a rape followed by a sex-change. Ovid tells a version of this tale.

Phlegon, On Amazing Things 5

5 “Others tell the story that in the land of the Lapiths the king Elatos had a daughter whose name was Kainis. After Poseidon had sex with her he promised to make her into whatever she wanted. She said she wanted to be changed into a man who was invulnerable. When Poseidon did this—as was right—he changed her name to Kaineus.”

Οἱ αὐτοὶ ἱστοροῦσιν κατὰ τὴν Λαπίθων χώραν γενέσθαι ᾿Ελάτῳ τῷ βασιλεῖ θυγατέρα ὀνομαζομένην Καινίδα.

ταύτῃ δὲ Ποσειδῶνα μιγέντα ἐπαγγείλασθαι ποιήσειν αὐτῇ ὃ ἂν ἐθέλῃ, τὴν δὲ ἀξιῶσαι μεταλλάξαι αὐτὴν εἰς ἄνδρα ποιῆσαί τε ἄτρωτον. τοῦ δὲ Ποσειδῶνος κατὰ τὸ ἀξιωθὲν ποιήσαντος μετονομασθῆναι Καινέα.

This story is older than Ovid and Phlegon. It is detailed in the fragments of Akousilaus, perhaps alluded to in Homer, definitely indicated by Apollonius Rhodes, and present even in Plato. While the sex-change narrative remains an important element, the main feature of Kaineus’ tale is his hubris–because of his invulnerability he asks to be made into a god.

Akousilaus FGrH 2 fr. 22 [=P.Oxy. 13, 1611, fr. 1, col. 2, 38-96]

“Poseidon has sex with Kainê of Elatos. Then—for it was not right for him [sic] to have children with him nor anyone else—Poseidon turned him into an invulnerable man, who had the greatest strength of the men at that time. Whenever anyone tried to strike him with iron or bronze, [the attacker] was completely defeated.

Then [Kaineus] became king of the Lapiths and was warring with the Centaurs. After he set up his javelin in the agora he was asking to be included in the number of the gods. This was not pleasing to the gods. And when Zeus saw him doing this, he threatened him and raised the Centaurs against him. They struck him straight down into the earth and placed a stone above as assign. Then he died.”

«Καινῆιδὲ τῆι ᾽Ελάτου μίσγεται ΙΙοσειδῶν. ἔπειτα – οὐ γὰρ ἦν αὐτῶι ἱερὸν παῖδας τεκέν οὐτ᾽ ἐξ ἐκείνου οὐτ᾽ ἐξ ἄλλου οὐδενός – ποιεῖ αὐτὸν Ποσειδέων ἄνδρα ἄτρωτον, ἰσχὺν ἔχοντα μεγίστην τῶν ἀνθρώπων τῶν τότε, καὶ ὅτε τις αὐτὸν κεντοίη σιδήρωι ἢ χαλκῶι, ἡλίσκετο μάλιστα χρημάτων. καὶ γίγνεται βασιλεὺς οὗτος Λαπιθέων καὶ τοῖς Κενταύροις πολεμέεσκε. ἔπειτα στήσας ἀκόν[τιον ἐν ἀγορᾶι θεὸν ἐκέλευεν ἀριθμεῖν. θεοῖ]σι δ᾽ οὐκ ἦεν [ἀρεστόν, καὶ] Ζεὺς ἰδὼν αὐτὸν ταῦτα ποιοῦντα ἀπειλεῖ καὶ ἐφορμᾶι τοὺς Κενταύρους, κἀκεῖνοι αὐτὸν κατακόπτουσιν ὄρθιον κατὰ γῆς καὶ ἄνωθεν πέτρην ἐπιτιθεῖσιν σῆμα, καὶ ἀποθνήσκει.»

In this account, Poseidon seems to be changing Kaineus because of his inability to have children. This makes it rather clear what women are good for from this cultural perspective. In addition, it is interesting that Kaineus as an intersex figure is involved in the war between the Lapiths and Centaurs, a conflict which has its origins in a rapes at a wedding and is often seen as a reflection of the civilized Lapiths struggling against the primitive and violent urges of the Centaurs.

But, as can be seen from the relief below which dates to the early Archaic period, the punishment of Kaineus is a primary motif of the story tradition. In a way, if the sex-change and rape were equally ancient, this is a tale about a women who is raped ultimately being punished for surviving and thriving and exacting retribution for her suffering.

D Scholia ad Il. 264

“Kaineus was a son of Elatos and king of the Lapiths. He was a very beautiful virgin girl before. But after Poseidon had sex with her, she asked to be changed from a young woman into a man. And he became invulnerable, and the most excellent of those alive at the time. And after he stuck his javelin into the middle of the agora, he demanded to be entered into the number of the gods for this reason.

Zeus was annoyed by this request and he arranged the following type of payback from him for impiety. For, even though he was invincible, he made him less while he was fighting the Centaurs. For they were hurling and striking him with pines and oak trees and they drove him into the ground. Apollonius recalls this in the Argonautica saying this, “For the singers used to report the fame that Kaineus was killed by Centaurs, when he alone from the rest of the best drove them, they surged back. They were not strong enough to repel him nor to kill him, but he went under the earth, unbroken, unbent, pummeled by the striking force of powerful pines.”

Καινέα τε. Καὶ τὸν Καινέα. ὁ δὲ Και-
νεὺς ᾿Ελάτου μὲν παῖς, Λαπίθων δὲ βα-
σιλεὺς, πρότερον ἦν παρθένος εὐπρεπής.
μιγέντος δὲ αὐτῇ Ποσειδῶνος, αἰτησα-
μένη μεταβαλεῖν εἰς ἄνδρα ἡ νεᾶνις, ἄ-
τρωτος γίγνεται, γενναιότατος τῶν καθ’
αὑτὸν ὑπάρξας· καὶ δή ποτε πήξας ἀ-
κόντιον ἐν τῷ μεσαιτάτῳ τῆς ἀγορὰς,
θεοῖς τοῦτο προσέταξεν ἀριθμεῖν. δι’ ἣν
αἰτίαν ἀγανακτήσας ὁ Ζεὺς, τιμωρίαν
τῆς ἀσεβείας παρ’ αὐτοῦ εἰσεπράξατο.
μαχόμενον γὰρ αὐτὸν τοῖς Κενταύροις
καὶ ἄτρωτον ὄντα ὑποχείριον ἐποίησε.
βάλλοντες γὰρ αὐτὸν οἱ προειρημένοι δρυ-
σί τε καὶ ἐλάταις, ἤρεισαν εἰς γῆν.
μέμνηται δὲ αὐτοῦ καὶ ᾿Απολλώνιος ἐν
τοῖς ᾿Αργοναυτικοῖς λέγων οὕτως· Καινέα
γὰρ τὸν πρόσθεν ἐπικλείουσιν ἀοιδοὶ Κεν-
ταύροισιν ὀλέσθαι, ὅτε σφέας οἶος ἀπ’
ἄλλων ῎Ηλασ’ ἀριστήων· οἱ δ’ ἔμπαλιν
ὁρμηθέντες, Οὔτε μιν ἀγκλῖναι προτέρω
σθένον, οὔτε δαΐξαι· ᾿Αλλ’ ἄῤῥηκτος,
ἄκαμπτος ἐδύσσατο νειόθι γαίης, Θεινό-
μενος στιβαρῆσι καταΐγδην ἐλάτῃσιν.

This story is held up as a wistful impossibility by Plato in the laws. This passage is, well, upsetting.

Plato’s Laws 944d-c

“What then would be the right punishment for someone who has thrown away this kind of a power of a defensive weapon for the opposite? For it is not possible for a person to do the opposite of what they say the god did when he changed the Thessalian Kaineus from a women into a man. For one who throws away his shield, the opposite of this transformation, changing from a man into a women, in some way would be the best of all punishments for this.”

ζημία δὴ τῷ τὴν τοιαύτην ἀμυντηρίων ὅπλων εἰς τοὐναντίον ἀφέντι δύναμιν τίς ἄρα γίγνοιτ᾿ ἂν πρόσφορος; οὐ γὰρ δυνατὸν ἀνθρώπῳ δρᾷν τοὐναντίον <ἢ> ὥς2 ποτε θεόν φασι δρᾶσαι, Καινέα τὸν Θετταλὸν ἐκ γυναικὸς μεταβαλόντα εἰς ἀνδρὸς φύσιν ἦν γὰρ ἂν ἀνδρὶ ῥιψάσπιδι τρόπον τινὰ πρέπουσα πασῶν Εμάλιστα ἡ ᾿κείνῃ τῇ γενέσει ἐναντία γένεσις, εἰς γυναῖκα ἐξ ἀνδρὸς μεταβαλοῦσα, τιμωρία τούτῳ γενομένη.

Image result for ancient greek kaineus
The punishment of Kaineus

Aristotle Poetics, 1451b1-6: Poetry is Better than History. And More Philosophical.

“It is clear from what we’ve said that the work of the poet doesn’t concern relaying what has happened but instead consists in communicating what might happen and what is possible according to likelihood or necessity. Accordingly, the historian and the poet differ from one another not because one composes in meter and one doesn’t—for if the work of Herodotus were set in verse it would be no less some kind of History with meter than without it. The poet and historian differ in this: one communicates events that have actually happened and the other relays those kind of events that might happen. Because of this, poetry is more philosophical and serious than history.”

Φανερὸν δὲ ἐκ τῶν εἰρημένων καὶ ὅτι οὐ τὸ τὰ γενόμενα λέγειν, τοῦτο ποιητοῦ ἔργον ἐστίν, ἀλλ’ οἷα ἂν γένοιτο καὶ τὰ δυνατὰ κατὰ τὸ εἰκὸς ἢ τὸ ἀναγκαῖον. ὁ γὰρ ἱστορικὸς καὶ ὁ ποιητὴς οὐ τῷ ἢ ἔμμετρα λέγειν ἢ ἄμετρα διαφέρουσιν (εἴη γὰρ ἂν τὰ ῾Ηροδότου εἰς μέτρα τεθῆναι καὶ οὐδὲν ἧττον ἂν εἴη ἱστορία τις μετὰ μέτρου ἢ ἄνευ μέτρων)• ἀλλὰ τούτῳ διαφέρει, τῷ τὸν μὲν τὰ γενόμενα λέγειν, τὸν δὲ οἷα ἂν γένοιτο. διὸ καὶ φιλοσοφώτερον καὶ σπουδαιότερον ποίησις ἱστορίας ἐστίν•

Yes, Aristotle was engaged in one of the earliest disciplinary pissing contests. No one caused so much grief until Callimachus complained about that dirty river.

(That’s all hyperbole. Callimachus’ dirty river? The Hellenistic poet and librarian believed that lyric was superior to epic and that epic could no longer be written. Cue Apollonius of Rhodes’ exile and writing of the Argonautica).

For those who don’t know, here’s the (somewhat unclear) passage in question from Callimachus, Hymn to Apollo 105-112

And Envy deviously whispers to Apollo’s ears:
“I do not take pleasure in the singer who sings as wide as the sea.”
And Apollo drives Envy back with his foot as he says:
“Great is the flow of the Assyrian river, but it darkens itself
Dragging so much filth and debris from the land in its water.
It isn’t as pleasing when bees draw water from everyplace
As when a small clean and unpolluted drink flows
From a sacred stream onto a petal’s tender tip.”

ὁ Φθόνος ᾿Απόλλωνος ἐπ’ οὔατα λάθριος εἶπεν•
‘οὐκ ἄγαμαι τὸν ἀοιδὸν ὃς οὐδ’ ὅσα πόντος ἀείδει.’
τὸν Φθόνον ὡπόλλων ποδί τ’ ἤλασεν ὧδέ τ’ ἔειπεν•
‘᾿Ασσυρίου ποταμοῖο μέγας ῥόος, ἀλλὰ τὰ πολλά
λύματα γῆς καὶ πολλὸν ἐφ’ ὕδατι συρφετὸν ἕλκει.
Δηοῖ δ’ οὐκ ἀπὸ παντὸς ὕδωρ φορέουσι μέλισσαι,
ἀλλ’ ἥτις καθαρή τε καὶ ἀχράαντος ἀνέρπει
πίδακος ἐξ ἱερῆς ὀλίγη λιβὰς ἄκρον ἄωτον.’

Mythography Madness: Oedipus Had Three Wives (!) and the Heroic Life of Erginos

The following fragment of Pherecydes, the fifth century mythographer, is from a Scholion to Euripides’ Phoenissae 53. Fowler (Early Greek Mythography, 2001) prints this as Pherecydes fr. 95):

“Pherecydes says these things about the children and the marriages of Oedipus: “Kreon,” he says, “gave the kingdom and Laios’ wife, his own mother Iokasta to Oedipus, and from here were born Phrastôr and Laonutos, who died thanks to the Minyans and Erginos. Then a year had passed, Oedipus married Euryganeia, the daughter of Periphas, and from her were born Antigone and Ismene, the girl Tydeus took at the stream and for that reason the stream is called Ismene. The sons Eteokles and Polyneices were also born to Oedipus from here. When Euryganeia died, Oedipus married Astymedea, the daughter of Stenelos. And some people add that Euryganeia was the sister of Oedipus’ mother Iokaste.”

γαμεῖ δὲ τὴν τεκοῦσαν: Φερεκύδης τὰ κατὰ τοὺς Οἰδίποδος παῖδας καὶ τὰς γημαμένας οὕτως ἱστορεῖ· ‘Οἰδίποδι, φησὶ, Κρέων δίδωσι τὴν βασιλείαν καὶ τὴν γυναῖκα Λαΐου, μητέρα δ’ αὐτοῦ ᾿Ιοκάστην, ἐξ ἧς γίνονται αὐτῷ Φράστωρ καὶ Λαόνυτος, οἳ θνῄσκουσιν ὑπὸ Μινυῶν καὶ ᾿Εργίνου. ἐπεὶ δὲ ἐνιαυτὸς παρῆλθε, γαμεῖ ὁ Οἰδίπους Εὐρυγάνειαν τὴν Περίφαντος, ἐξ ἧς γίνονται αὐτῷ ᾿Αντιγόνη καὶ ᾿Ισμήνη, ἣν ἀναιρεῖ Τυδεὺς ἐπὶ κρήνης καὶ ἀπ’ αὐτῆς ἡ κρήνη ᾿Ισμήνη καλεῖται. υἱοὶ δὲ αὐτῷ ἐξ αὐτῆς ᾿Ετεοκλῆς καὶ Πολυνείκης. ἐπεὶ δὲ Εὐρυγάνεια ἐτελεύτησε, γαμεῖ ὁ Οἰδίπους ᾿Αστυμέδουσαν τὴν Σθενέλου.’ τινὲς δὲ Εὐρυγάνειαν ἀδελφὴν λέγουσιν εἶναι ᾿Ιοκάστης τῆς μητρὸς Οἰδίποδος: —

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