This chapter considers the place of epic, above all Homer, in three overlapping areas of ancient Greek and Roman culture – education at all levels, elite literary culture, and the more specialised interpretations of scholars and philosophers. Homer was central to Greek education and Hunter considers the various types of evidence for this centrality – anecdotes, literary descriptions, papyri – and the reasons for the greater attention given to the Iliad over the Odyssey. He then illustrates the place of epic in the creative poetry and prose of the Hellenistic and imperial periods and finally samples the scholarly and philosophical approaches taken to Homer from Ptolemaic Alexandria to late antiquity. The chapter brings together a range of authors and thinkers, from Quintilian to Horace, Dio Chrysostom to Eustathius, and Porphyry’s remarkable allegorical treatment of Homer.

Ecphrasis, as we saw in Chapter 4, is a characteristic feature of the enargeia of epic, but there is one case in which an expected ecphrasis is conspicuous for its absence. The Argonautica of Apollonius of Rhodes tells the myth of Jason, Medea, and the Argonauts, already encountered in Chapter 2. The Golden Fleece, one of the most famous supernatural objects in all mythology, calls for a detailed description, but Apollonius does not provide one. Films that retell the myth must, however, show it. Hence the concept of neo-mythologism, a useful term coined by director Vittorio Cottafavi: an original work based on myth must be changed for its visual adaptation. The chapter reviews and interprets the different appearances of the Golden Fleece in romantic adventure films (Hercules, The Giants of Thessaly, Jason and the Argonauts), art-house cinema (Medea, The Golden Thing), Ray Harryhausen’s stop-motion animation, and computer-generated images.

Chapter 20 of The Cambridge Companion to Sappho looks at Sappho’s significance for the rich poetic culture of the Hellenistic world, including Apollonius, Theocritus, and Posidippus, as a parallel development to the scholarly discourse surrounding the editing of her work during this period.

The second chapter, closely aligned with the first chapter, continues the earlier discussion of cult and divine movement to further reflect on the visual depiction of divine arrival and absence in different media. A first section reviews key texts for reflecting on the visuality of Apollo's arrival from Hyperborea. The second section turns to relevant physical images of Apollo as the travelling god. The third section expands the discussion to assess what has often been read as stone epiphanies of Apollo's return on the metopes of late Archaic and Classical temples. The fourth section continues the reflection on stone epiphanies through focus on the single most prominent visual depiction of Apollo's return, and one of the most significant divine representations of the Greek world: the late-sixth century BCE East pediment of the Alcmaeonid temple at Delphi. The fifth section looks at Plutarch's reading of the pediments of the fourth-century BCE temple in De E apud Delphos (387f–389c), and his cosmographical reconfiguration of the theology of Delphic divine alternance between Apollo and Dionysus. The sixth section focuses on Pausanias' reading of the Galatian shields set up on the north and west metopes of the same fourth-century temple.