This chapter examines the temporal texturing of Apollonius Rhodius’ Argonautica. Unlike the Aeneid, the Argonautica is not tied to a specific political project, but it uses epic and specifically Homeric narrative models more allusively to shape its reader’s experience of the world. Focusing on Orpheus’ cosmogonic song, the ecphrasis of the Acherousian headland, and then the consequences of desire as felt by Medea, Phillips draws attention to the small moments of temporal shaping within the Argonautica – how time is experienced by the characters and the readers on the level of the individual line, phrase and even word – which contain the many perspectives offered by Apollonius on navigating the burden of living as a subject of history.

This chapter offers an approach to the discourses of race and ethnicity in ancient Greek epic, specifically Homer’s Iliad and Apollonius’ Argonautica. The chapter begins by defining, theorising and applying a transhistorical concept of race and ethnicity which makes it possible to analyse the literary representations of ancient manifestations of ethnic and racialised oppression. Murray argues that epic poetry transmitted to its receiving society, whether ancient or modern, a mythical social order that placed the heroes, the demi-gods, at the top of the human hierarchy, and non-heroes, the people who are oppressed and exploited by the heroes, at the bottom. She also examines the specific construct of the epic hero, who can only really exist where non-heroes can be and are dehumanised by him. Murray analyses examples of this hierarchical structure and argues that this mythic social order, so integral to the society of Greek epic, was racial.

This chapter focuses on emotions and affects in Greek epic. Leven demarcates the difference between emotion and affect in this context: emotions are defined as complex phenomena that involve embodied minds, gendered individuals and their societies, as well as instincts, cognition and values; and affects are understood as more ineffable feelings, which lie ‘beneath’ the surface: the innumerable microevents that bodies and selves undergo in their experience of the world around them, rarely indexed in conventional language. The chapter then starts by outlining the main questions that have divided scholarship on ancient emotions in general, and epic emotions in particular, with special focus on two cases, anger and fear. It then turns to episodes featuring what Leven calls ‘scenes of affect’ and argues, first, that epic is not in fact solely dominated by ‘big emotions’ but is rather shaped by a multitude of affects. Focusing on representative passages of the Odyssey, the Argonautica, and the Posthomerica, the chapter ultimately shows that epic provides its own tools to conceptualise these affects.

An examination of the Anatolian sources of Greek theogonic traditions, syncretistic myths that took shape in admixed Ur-Aeolian–Luvian communities in the Late Bronze Age, and descendent Aeolian assemblages of mythic and cult elements that persist into the Iron Age. Essential to many of these traditions is the presence of honey, especially honey having psychotropic properties of a sort that occurs naturally along the southern and eastern shores of the Black Sea.

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.

This chapter charts the knowledge of Apollonius Rhodius shown in imperial Greek literature, where there are fewer references in prose writers than might be expected for so prominent a poet, but much exploitation of his language by hexameter poets, above all by Dionysius Periegetes.

A simile in an ancient Greek or Roman epic poem uses the simile form “A is like B” to frame a brief tale about something outwardly unrelated to the poem’s main story. The simile structure asserts a kinship between two things that come from different conceptual domains. Similes tell highly concentrated immersive stories, which invite the reader to experience and not simply to observe the described situation. To do justice to epic similes, they should be studied both within the immediate narrative contexts in which they appear and within the many webs of meaning that they create. Some of these are found within a single poem, while others emerge across multiple poems over time. A detailed reading of Apollonius Argonautica 2.121–29, which compares a fight between the Argonauts and the Bebrycians to wolves stealthily attacking a flock of sheep, sets out the common features of shepherding similes, the ways that similes tell their stories, and the style and approach of the book’s argument. Shepherding similes embody several relationships that bring out a range of themes fundamental not simply to all the poems in this book, but to any exploration of the human experience.