Valerius Flaccus Argonautica Book 8 Edited With Introduction Translation and Commentary Cristiano Castelletti All Chapter

Valerius Flaccus: Argonautica, Book 8:
Edited with Introduction, Translation,

and Commentary Cristiano Castelletti
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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
OX F OR D C OMM E NTAR I E S ON FL AVIAN POET RY

The Oxford Commentaries on Flavian Poetry series makes available authoritative yet
accessible scholarly editions of Flavian literature, including the works of such authors as
Statius, Valerius Flaccus, Silius Italicus, and Martial. Through publishing traditional
philological commentaries on individual poetic books it aims to promote and stimulate
further scholarship on this key epoch in the history of Roman literature.
Valerius Flaccus
Argonautica
Book 8
Edited with Introduction,

Translation, and Commentary
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
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Preface
Cristiano Castelletti, our dear friend and colleague, died unexpectedly on

4 October 2017 in Lugano, Switzerland, at the age of 46. Cristiano was a talented
Classicist, who had just finished his Habilitation at the University of Fribourg
in Switzerland, with a commentary on Valerius Flaccus’ Argonautica 8 in Italian
(2015), and was in the process of translating and publishing the study in English.
Cristiano had already published a book on Porphyry (Porfirio. Sullo Stige,
2006) and a number of important articles on Valerius Flaccus in the last few
years before his premature death.
Honouring Cristiano’s memory, we bring his commentary to publication, as
he would have wished, in the Oxford Commentaries on Flavian Poetry series,
adding to the growing bibliography and existing commentaries on the last
book of Valerius Flaccus’ poem. First and foremost, we would like to thank the
doctoral student Nicholas Rudman who undertook the difficult task of trans-
lating the manuscript from Italian, providing a superb first draft to the editors.
We have supplemented and slightly edited further (mainly with additional
bibliographical references) various parts of this work to bring it in line with the
conventions of this series. The substance of the original work has remained
unchanged and displays the hallmarks of Cristiano’s approach to Valerius
Flaccus.
We are grateful to Cristiano’s family and, particularly, to his wife Beatrice for
giving us access to Cristiano’s unpublished Habilitation thesis. We also wish to
thank the editors of the Oxford series and Charlotte Loveridge at OUP for
embracing this project and helping us bring it to completion.
AA, MF, GM
November 2020
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
TEXT AND TRANSLATION 15

COMMENTARY49
Bibliography 255
1. Editions, Commentaries, Translations of Valerius Flaccus255
2. Other Works256
Indexes
1. Index Locorum269
2. General Index272
List of Abbreviations
A-G Greenough, J. B., Kittredge, G. L., Howard, A. A., and D’Ooge,

B. L. (1931). Allen and Greenough’s New Latin Grammar. New York.
AR Apollonius Rhodius
Chantraine Chantraine, P. (1968). Dictionnaire étymologique de la langue
grecque. Paris.
CLE Buecheler, F. (1837–1908). Carmina Latina Epigraphica, 2 vols.
Leipzig.
D-S Daremberg, C., and Saglio, E. (1875–1912). Dictionnaire des
antiquités grecques et romaines. Paris.
Ernout-Meillet Ernout, A., and Meillet, A. (1959). Dictionnaire étymologique de la
langue latine. Paris.
EV Enciclopedia Virgiliana (1984–91). Rome.
FGrHist Jacoby, F. (1923–58). Die Fragmente der griechischen Historiker,
15 vols. Berlin.
K-S Kühner, R., and Stegmann, C. (1955). Ausführliche Grammatik der
lateinischen Sprache. Zweiter Band: Satzlehre, 2 vols. Leverkusen.
L-H-Sz Leumann, M., Hofmann, J. B., and Szantyr, A. (1977 / 1972).
Lateinische Grammatik, I: Laut- und Formenlehre; II: Syntax und
Stylistik, 2nd ed. Munich.
LIMC Lexicon Iconographicum Mythologiae Classicae (1981–99), 8 vols.
Zurich.
OLD Glare, P. G. W. (2012). Oxford Latin Dictionary, 2nd ed. Oxford.
RE Wissowa, G. et al. (1894–1980). Real-Encyclopädie der classischen
Altertumswissenschaft. Stuttgart.
Roscher Roscher, W. H. (1884–1937). Ausführliches Lexikon der griechischen
und römischen Mythologie. Leipzig.
TLL Thesaurus Linguae Latinae (1900–). Munich.
TrRF Tragicorum Romanorum Fragmenta (2012–), 2 vols. Göttingen.
Vahlen2 Vahlen, I. (1903). Ennianae poesis reliquiae, 2nd ed. Leipzig.
VF Valerius Flaccus
Walde-Hofmann Walde, A., and Hofmann, J. B. (1982). Lateinisches etymologisches
Wörterbuch. Heidelberg.
Introduction
1. CONTEXT AND AIM OF THIS COMMENTARY
The amount of work dedicated to Valerius Flaccus’ (henceforth VF) Argonautica

in recent decades is indicative of the scholarly interest in imperial epic poets.
Concerning VF, in addition to the commentaries, which now cover all eight
books, one can add D. Hershkowitz’s 1998 and T. Stover’s 2012 books. Hershkowitz’s
monograph was groundbreaking and at that time practically the only modern
work to offer a comprehensive analysis of the poem, addressing both literary
issues and those related to the ideological and sociopolitical context in which
the poet wrote. Stover offered an intriguing reading of the poem in its literary
context with regard to the epic predecessors, especially Lucan, and argued for a
Vespasianic date for the Argonautica, making it the predecessor of the other
three Flavian epic poems, Statius’ Thebaid and Achilleid and Silius Italicus’
Punica. In addition to the commentary on the whole poem by F. Spaltenstein
(2002–5) and Brill’s Companion to Valerius Flaccus (co-edited by G. Manuwald
and M. Heerink in 2014), in 2012 no fewer than two commentaries on VF’s
eighth book came out by C. Lazzarini and T. Pellucchi, respectively. The former
(first conceived nearly twenty years earlier) covers the poem’s first 287 lines,
whereas Pellucchi commented on the whole book. Since these rather recent
works offer a solid starting point,1 in the following sections of the Introduction,
I would like to dwell upon aspects of the poem that are not treated by my pre-
decessors, offering a new interpretation not only for the eighth book, but also
for the entire poem. I shall, however, return to and further develop other aspects
at the beginning of the various sections of the commentary, and, where neces-
sary, also in comments on individual lines.
2. THE POEM’S IDEOLO GY IN A SPHR AGIS
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.
1 See esp. Pellucchi (2012) v–lviii.

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).
2. The Poem’s Ideology in a Sphragis 3
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).
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)
11 On acrostics in Latin epic, see also Kersten (2013).

12 Virg. Ecl. 1.4–5: tu, Tityre, lentus in umbra | formosam resonare doces Amaryllida silvas. For a
discussion of the acrostic FONS that appears in the first eclogue, see Castelletti (2012a) 90–2.
13 Virg. A. 12.236–7: nos patria amissa dominis parere superbis | cogemur, qui nunc lenti
consedimus arvis.
2. The Poem’s Ideology in a Sphragis 5
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.
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.
3. THE EIGHTH B O OK AND THE END OF THE POEM
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.
3. The Eighth Book and the End of the Poem 7
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.
8 Introduction
(Aeetes’ father), to whom Jupiter’s programmatic speech is addressed in the

first book. Certainly, Apollo will inherit the Sun’s importance for the Romans
(and in fact his name is the last word of the Weltenplan at 1.567), and Sun is one
of the Titans. But given that the myth of the Argo is deeply connected to
astronomy,20 one might nevertheless ask (in light of the number of astronomical
references in the poem) whether VF also considers the capture of the ram’s
fleece as a seizing of astronomical knowledge, especially if we consider that,
because of the precession of the equinoxes, Aries had ousted Taurus as a sign
announcing the spring equinox. In this sense, in addition to the technological
knowledge needed for sailing (both a symbol of progress and a cause of nefas),
the Argonauts also take possession of the astronomical knowledge of Eastern
cultures (with the Colchians serving as a stand-in for the Babylonians). Medea,
therefore, as a keeper of magical arts that include control over the natural elem
ents and the stars,21 would also participate in this transfer of knowledge and
power.
In any case, Medea is a complex character in the eighth book, in whom all
the Medeas of past traditions merge, including the ill-fated figure we find in
tragedy.22 But even so, the poet’s gaze always remains compassionate, since she,
too, like Jason, is a victim of circumstances. Medea also performs an important
function for the quindecimvir poet (as this priesthood, in addition to watching
over the Sibylline Books, oversaw the worship of foreign deities). In fact, as she
departs from Colchis, Medea is assimilated with both the Palladium and Magna
Mater (cf. 8.134–74 and 462–3). The translatio imperii of Jupiter’s Weltenplan,
therefore, also entails a translatio of divinities, which reaches its conclusion in the
Roman world of the poet’s day.23 Medea has already appeared as a powerful god-
dess in the scene detailing the taking of the Fleece, in which she takes on the role
of Hercules by effectively saving the Argonauts as an ἀλεξίκακος, thanks to a
potent magical spell. VF also calls to mind this double nature, as both helpful and
frightening at the same time, of a mighty god through references to the bloody
rites of Magna Mater (cf. 8.239–42), perhaps inserted here with polemical intent.
The poem stops at line 467, most likely due to the death of the poet rather
than a failure in transmission (the various inconsistencies, lacunae, and textual
problems found in the final remaining lines suggest a lack of labor limae). The
hypothesis that it ended (based on the model of the Aeneid) with the murder of
Absyrtus seems to me quite persuasive.24 In any case, the abundance of ‘closural
20 On this point, see, for example, Sesti (1987) 241–8.

21 Consider the deductio of the moon and also the power she exerts over the dragon/Draco; see
the comments on lines 56–91.
22 On Medea’s character in VF, see most recently Davis (2014) and (2020) 9–22.
23 On allusions to the evocatio or translatio of foreign cults in VF and the other Flavian poets,
see Fucecchi (2014).
24 This hypothesis, formed independently in Nesselrath (1998) and Hershkowitz (1998) 9, also
convinces Pellucchi (2012) xvii.
gestures’ related to Jupiter’s Weltenplan, as discussed here, together with those

already highlighted by various scholars and discussed at the appropriate
moments in this commentary, support the idea that the eighth book was the
poem’s last.25
4. TEXT, SIGLA, EDITIONS, AND TEXTUAL

ABBREVIATIONS
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
ω: consensus of γ and C. ω does not mean that a reading appears in all

attested manuscripts of VF.
γ: consensus of L and V
L: Laurentianus Plut. 39, 38, before November 1429
V: Vaticanus Latinus 3277, second quarter of the ninth century
Manuscripts derived from L and produced after 1429:
D: Laurentianus Plut. 39, 35

Ha: Codex Harlesii deperditus
M: Monacensis latinus 802
Olis: Olisiponiensis Bibl. da Ajuda 49-III-40
R: Vaticanus Reginensis 1831
Reg: Vaticanus Reginensis 1869
T: Neapolitanus Bibl. Oratoriana dei Gerolamini CF 2.20 (Codex Vallettae)
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.
10 Introduction
Vat: Vaticanus Ottobonianus 1515

Δ: fragment of a manuscript of Carrion, containing lines 8.46–105
C: codex Carrionis (according to Carrion’s declaration in his two editions)
C1: testimony from Carrion in his first edition
C2: testimony from Carrion in his second edition
c: text of VF published in both of Carrion’s editions
c1: text of VF printed in Carrion’s first edition
c2: text of VF printed in Carrion’s second edition
c*: text of VF printed in Carrion’s two editions and already present in at least
one earlier edition
Superscript annotations (for example, L):
L1: correction by the copyist
L2: correction by a second hand (and so on for L3, L4, etc.)
Lac: reading found prior to a correction
Lpc: reading found after a correction
Lac1: reading found prior to a correction carried out in L1
R marg. dext. L: the word require appears in the right margin of manuscript L
The section of text covered by C includes the readings Carrion attributed to his
manuscript, which, considered sound and not diverging from γ, are not men-
tioned in my apparatus criticus.
Early modern editions:
Bon. 1474 (editio princeps, Bologna, 1474)

Bon. 1498 (Bologna, 1498)
Flor. 1481 (Florence, without date explicitly given)
Flor. 1503 (Giuntine edition, Florence, 1503)
Ven. 1500 (Venice, 1500)
Ven. 1523 (Aldine edition, Venice, 1523)
Other works abbreviated in the apparatus criticus:
Baehrens critical edition (Leipzig, 1875)

Balbus annotated edition (Alcala, 1524)
Barth C. von Barth, Adversaria (Frankfurt, 1624)
Bosscha H. Bosscha in Schenkl2

Burman edition cum notis variorum (Leiden, 1724)
Burman Sec. P. Burmannus Secundus, Anthologia veterum Latinorum
epigrammatum et poematum I (Amsterdam, 1759)
Bury critical edition
Bury1 ‘Critical Notes on Valerius Flaccus’, Hermathena 8 (1893),
392–419
Caussin J. J. A. Caussin de Perceval, Novi editoris notae in
Lemaire’s edition (Paris, 1824–5)
Clerq E. de Clerq, Selectarum observationum in M. Annei
Lucani Pharsaliam specimen alterum (Leiden, 1772)
Columbus J. Columbus in P. Burman, Sylloge Epistolarum (Leiden,
1727)
Courtney critical edition (Leipzig, 1970)
Courtney1 ‘More on Valerius’, CR 12 (1962), 115–18
D’Orville J. P. D’Orville, Commentarii ad Charitonis Aphrodisiensis
de Chaerea et Callirrhoe amatoriarum narrationum libris
VIII (Amsterdam, 1750)
Ehlers critical edition (Stuttgart, 1980)
Ehlers1 review of Courtney’s (1970) edition, Gnomon 48 (1976),
255–60
Fontius annotations of B. Fontius in a copy of Bon. 1474
preserved at Florence, Bibl. Riccardiana (ed. rare 431)
Frassinetti P. Frassinetti, ‘Chiose a Valerio Flacco’, in Mélanges
G. Tarditi, 1.299–317 (Milan, 1995)
Giarratano critical edition (Milan-Palermo-Naples, 1904)
Hardie* per litteras communication with Philip Hardie
Heinsius3 Animadversiones, published in Burman’s edition (1702),
with the latter’s additions in the variorum edition (1724)
Koestlin1 H. Köstlin, ‘Zur Erklärung und Kritik des Valerius
Flaccus’, Philologus 48 (1889), 647–73
Koestlin2 H. Köstlin, ‘Zur Erklärung und Kritik des Valerius
Flaccus’, Philologus 50 (1891), 731–42
Kramer critical edition (Leipzig, 1912)
Langen commented edition (Berlin, 1896–7)
Leo1 F. Leo, Ausgewählte Kleine Schriften, Vol. II, 223–48
(Rome, 1960) (review of Langen’s commented edition,
Gött. gel. Anz. 159 [1897], 953–76)
12 Introduction
Leo2 F. Leo, ‘Coniectanea’, Hermes 38 (1903), 308

Liberman critical edition (Paris, 2002)
Loehbach R. Loehbach, Studien zu Valerius Flaccus (Neuwied, 1872)
Madvig N. Madvig, Adversaria critica II (Copenhagen, 1873)
Maserius critical edition (Paris, 1517 and 1519)
Meyncke1 G. Meyncke, Quaestiones Valerianae (Bonn, 1865)
Meyncke2 G. Meyncke, ‘Beiträge zur Kritik des V. Fl.’, RhM 22 (1867),
362–76
Mueller L. Mueller, De re metrica poetarum Latinorum (Leipzig,
1861)
Peerlkamp edition of Virgil’s Aeneid (Leiden, 1843)
Pius commented edition (Bologna, 1519)
Politianus Angeli Politiani operum tomus primus: Epistolarum lib.
XII & Miscellaneorum Centuriam unam complectens
(Lyons, 1528)
Postgate J. P. Postgate, ‘Critical Notes on Valerius Flaccus’ and
‘Emendations of Valerius Flaccus’, Journal of Philology 27
(1899–1900), 100–2 and 253–66
Renkema E. H. Renkema, Observationes criticae et exegeticae ad
C. Valerii Flacci Argonautica (Utrecht, 1906)
Reuss E. H. F. Reuss, Observationes Valerianae (Diss. University
of Marburg, 1871)
Sabellicus Observationes M. Antonii Sabellici ex varia auctorum
lectione, in Opera (Venice, 1502, f. 104v–105v)
Samuelsson J. Samuelsson, Studia in Valerium Flaccum (Uppsala, 1899)
Sandstroem C. E. Sandstroem, Emendationes in Propertium, Lucanum,
Valerium Flaccum (Uppsala, 1878)
Schenkl critical edition (Berlin, 1871)
Schenkl1 C. Schenkl, ‘Studien zu den Argonautica des Valerius
Flaccus’, Sitzungsber. der Philos. hist. Classe der kaiserl.
Akad. der Wiss. zu Wien 68.3 (1871), 271–382
Schenkl2 C. Schenkl, ‘Grammaticorum Batavorum in C. V. Fl. Arg.
coniecturae ineditae’, WS 5 (1883), 139–43
Schrader J. Schrader in M. Haupt, ‘Johannis Schraderi
emendationes Argonauticarum Valerii Flacci’, Hermes 2
(1867), 142
Shackleton Bailey D. R. Shackleton Bailey, Selected Classical Papers (Ann
Arbor, 1997)
Sudhaus S. Sudhaus in Kramer’s edition (1912)

Thilo critical edition (Halle, 1863)
Turnebus A. Turnebus, Adversariorum tomi I–III (Paris, 1564–73)
I. A. Wagner Commentarius perpetuus in V. Fl. Setini Balbi
Argonauticon libros VIII (Göttingen, 1805)
Ph. Wagner1 Ph. Wagner, ‘Emendationes Valerianae’, Philologus 20
(1863), 617–47
Ph. Wagner2 Ph. Wagner, Review of Thilo’s (1863) edition, Jahrbücher
für klassische Philologie 89 (1864), 382–408
Walker critical edition (London, 1827)
Watt W. S. Watt, ‘Notes on Latin Epic Poetry’, BICS 31 (1984),
153–70
Watt* Watt’s observations communicated to Liberman
Weichert A. Weichert, Epistola critica de C. Valerii Flacci
Argonauticis ad virum illustrissimum et doctissimum
H.C.A. (Leipzig, 1812)
Text and Translation

C. Valeri Flacci Argonauticon Liber Octavus

At trepidam in thalamis et iam sua facta paventem
Colchida circa omnes pariter furiaeque minaeque
patris habent, nec caerulei timor aequoris ultra
nec miserae terra ulla procul: quascumque per undas
ferre fugam, quamcumque cupit iam scandere puppem. 5
Ultima virgineis tunc flens dedit oscula vittis
quosque fugit complexa toros crinemque genasque
ungue per antiqui carpsit vestigia somni
atque haec impresso gemuit miseranda cubili:
‘o mihi si profugae genitor nunc ille supremos 10
amplexus, Aeeta, dares fletusque videres
ecce meos! ne crede, pater, non carior ille est
quem sequimur. Tumidis utinam simul obruar undis!
Tu precor haec longa placidus mox sceptra senecta
tuta geras meliorque tibi sit cetera proles!’ 15
Dixit et Haemonio numquam spernenda marito
condita letiferis promit medicamina cistis
virgineosque sinus ipsumque monile venenis
implicat ac saevum super omnibus addidit ensem.
Inde velut torto Furiarum erecta flagello 20
prosilit, attonito qualis pede prosilit Ino
in freta nec parvi meminit conterrita nati
quem tenet; extremum coniunx ferit inritus Isthmon.
γ = LV (hic desunt vv. 88–125, 136–53, 366–85)
Test C : 14 ut supra citatur || 17 medicamina cistis dum de profert agitur || 23 quem tenet extremum
coniunx ferit irritus Isthmon
1 facta γ : fata Bon. 1474 || 8 ungue Burman : ante γ c* || antiqui L c* : anti V || superstantis Somni
Leo2 || carpsit Lpc1 (cf. D carpit) c* : carsit γ || 10 ille γ c* : ipse Schenkl || 11 Aeeta Fontius Bon. 1498
c : aeta γ || 14 senecta V : -ae L || 17 promit Turnebus : prodit γ : profert C || cistis Lpc1 (cf. D cistis)
c* : cistris γ || 20 erecta Bon. 1474 : eiecta ω || 23 extremum ω : extremo Heinsius3 || ferit ω : furit
Balbus : terit Schrader : petit Columbus : premit Baehrens || Isthmon C : sihmo γ
Gaius Valerius Flaccus: Argonautica, Book 8

Meanwhile Medea, trembling in her room and now terrified at her own actions,
is overcome by the threats and rage of her father, and she no longer fears to
travel beyond the blue sea, and no land seems distant for the poor girl. Now she
desires to flee over any waves, to climb aboard any ship she can find. But then,
weeping, she gives her final kisses to her maidenly ribbons, and, embracing the
bed which she was now about to flee, she shreds her cheeks and hair with her
fingernails in the place where she used to sleep, and, with her face pressed to the
bed, she sadly utters these laments:
‘If only, O father, you could now yourself give me, your fugitive daughter, a final
hug, and see, Aeetes, these tears—here they are—of mine! Do not believe, father,
that the man I follow is dearer to me than you. Ah, if only I were crushed by the
stormy waves with him! I pray that you, at peace, will soon be able to hold your
sceptre throughout your long old age, and that the rest of your descendants may
be kinder to you!’
So she spoke. Then, taking her hidden potions, potions that her Thessalian
husband should not have scorned, out from their deathly baskets, she hides
them in the folds of her maidenly clothing and in her famous necklace, and, in
addition to all of these, she adds a cruel sword. Then, as though roused by the
twisted whip of the Furies, she leapt up, just as Ino, bewildered, leapt into the
sea, forgetting in her anguish the small child she held in her arms; her husband
reaches the end of the Isthmus in vain.
18 C. Valeri Flacci Argonauticon Liber Octavus
Iam prior in lucos curis urgentibus heros

venerat et nemoris sacra se nocte tegebat 25
tum quoque siderea clarus procul ora iuventa.
Qualis adhuc sparsis comitum per lustra catervis
Latmius aestiva residet venator in umbra
dignus amore deae, velatis cornibus et iam
Luna venit, roseo talis per nubila ductor 30
implet honore nemus talemque exspectat amantem.
Ecce autem pavidae virgo de more columbae
quae super ingenti circumdata praepetis umbra
in quemcumque tremens hominem cadit, haud secus illa
acta timore gravi mediam se misit; at ille 35
excepit blandoque prior sic ore locutus:
‘o decus in nostros magnum ventura penates
solaque tantarum virgo haud indigna viarum
causa reperta mihi, iamiam non ulla requiro
vellera teque meae satis est quaesisse carinae. 40
Verum age et hoc etiam, quando potes, adice tantis
muneribus meritisque tuis: namque aurea iussi
terga referre sumus, socios ea gloria tangit’.
Sic ait et primis supplex dedit oscula palmis.
Contra virgo novis iterum singultibus orsa est: 45
‘linquo domos patrias te propter opesque meorum
nec iam nunc regina loquor sceptrisque relictis
vota sequor; serva hanc profugae, prior ipse dedisti
quam (scis nempe) fidem. Di nostris vocibus adsunt
sidera et haec te meque vident. Tecum aequora, tecum 50
experiar quascumque vias, modo nequis abactam
Test. C : 35 timori gravi dum de icta agitur || 40 satis est dum de quaesisse agitur || 45 virgo novis
iterum || 46–105 propter Δ hic servatum verba a Carrione adlata enotare supersedi; post v. 105 deest
codex Carrionis
24 curis M1 Reg c* : curiis L : curiit V || 31 talemque γ c* : talisque Baehrens || 35 acta γ : icta C ||

gravi praeceps Liberman || 38 solaque M2 Reg Bon. 1474 c : sola qui γ || haud Reg Bon. 1474 c : aut
γ || 39 iamiam Lpc1 (cf. D iamiam) : iam γ : iam nunc C : mihi iam Leo1 || non ulla C : non nulla γ ||
40 vellera teque Lpc1 (cf. D teque) c* : vellerat aeque V : vellera aeque Lac, unde vellerat eque habu
isse credit Liberman || meae satis est Lpc1 (cf. D meae satis) C : meaesatis est γ || quaesisse ω : vexisse
Lpc1 (cf. D vexisse) || 45 novis C : nobis γ || 46–105 exstat codicis a Carrione usurpati folium ulti
mum (Δ) || 47 loquor γ Δ c* : vocor Sabellicus (cf. 5.653) || 49 adsunt γ c* : assunt Δ || 51 abactam
γ c* : ab actam Δ : adactam Heinsius3 || -que Lpc1 (cf. D oculisque) Δ c* : om. γ
Gaius Valerius Flaccus: Argonautica, Book 8 19
First, the hero, harassed by worries, had entered the forest of Mars and was
hidden in the woods by the sacred night, but even then his brilliant handsome-
ness made his face shine from afar. Just as when Endymion sits in the summer
shade while his companions are still scattered in the hunt, Endymion who was
worthy of a goddess’s love, and now the moon comes with its horns concealed,
so does Jason fill the woods with his youthful beauty through the darkness, and
he waits for so great a lover. But Medea, like a frightened dove that, enveloped
by the shadow of a large bird of prey looming over it, falls trembling into the
hands of the first person it comes across, in the same way Medea goes to meet
Jason, stirred by a deep fear. But he understood the situation and spoke first,
addressing her as follows with a soothing voice:
‘You shall come as a great prize to our lands, O maiden, you, I know now, are the
only worthwhile reason for my long voyage. In fact, I no longer seek the Fleece,
and it is enough for my ship to have won you. But now, since you have the power
to do so, add this also to the great gifts and services you have already given. In
fact, we have been ordered to bring back the Golden Fleece, but only my com-
panions gain glory from this task.’ Thus he spoke, and he kissed her fingers as a
sign of supplication.
In reply, the maiden, now sobbing again, begins to speak: ‘I forsake my father’s
house and the riches of my family for your sake, and now, now I am no long-
er called a queen, but I give up my sceptre and indulge your desires. Keep that
promise which you first (surely you know it!), which you first spoke to me, now
a runaway. The gods are present with us, they hear our speech, and those stars
watch both of us. I will attempt a sea voyage with you, with you will attempt any
route, as long as no day
huc referat me forte dies oculisque parentis

ingerar. Hoc superos, hoc te quoque deprecor, hospes.’
Haec ait atque furens rapido per devia passu
tollitur. Ille haeret comes et miseratur euntem 55
cum subito ingentem media inter nubila flammam
conspicit et saeva vibrantes luce tenebras.
‘Quis rubor iste poli? quod tam lugubre refulsit
sidus?’ ait, reddit trepido cui talia virgo:
‘ipsius en oculos et lumina torva draconis 60
aspicis. Ille suis haec vibrat fulgura cristis
meque pavens contra solam videt ac vocat ultro,
ceu solet, et blanda poscit me pabula lingua.
Dic age nunc utrum vigilanti hostemque videnti
exuvias auferre velis an lumina somno 65
mergimus et domitum potius tibi tradimus anguem.’
Ille silet, tantus subiit tum virginis horror.
Iamque manus Colchis lumenque intenderat astris
carmina barbarico fundens pede teque ciebat,
Somne pater: ‘Somne omnipotens, te Colchis ab omni 70
orbe voco inque unum iubeo nunc ire draconem,
quae freta saepe tuo domui, quae nubila cornu
fulminaque et toto quicquid micat aethere, sed nunc,
nunc age maior ades fratrique simillime Leto.
Te quoque, Phrixeae pecudis fidissime custos, 75
tempus ab hac oculos tandem deflectere cura.
Quem metuis me adstante dolum? servabo parumper
ipsa nemus; longum interea tu pone laborem.’
Ille haud Aeolio discedere fessus ab auro
nec dare permissae, quamvis iuvet, ora quieti 80
sustinet ac primi percussus nube soporis
53 ingerar γ : -at Δ c*|| superos L Δ c* : -as V : socios Burman || 55 miseratur euntem Lpc1 (cf. D
-ur euntem) Δ c* : miserat urentem γ || 60 torva draconis L Δ c* : torba traconis V || 61 arrectis
haec Liberman || 62 contra γ Δ c* : non iam Reuss || ac vocat Δ C : advocat γ : haud vocat Baehrens
|| ultro L Δ C (dum de ac vocat agitur) : -a V || 66 mergimus Reg. Bon. 1498 : mergitur γ Δ c* :
vergitur Heinsius3 || 67 tantus Δ c* : tantos V Lpc1 (cf. D tantos) : tantis Lac : tacitus Heinsius3 || tum
virginis Bon. 1474 : ut virginis γ Δ c* : et virginis Madvig (tacitus subiit) discriminis Ph. Wagner2 ||
68 lumen Heinsius3 : crinem γ Δ c* || 70 Colchis Lpc1 (cf. D Colchis) Δ c* : colchidis γ || 73 fulm-
Reg Bon. 1474 c* : flum- γ Δ || 75 teque o Meyncke1 || 76 oculos L Δ c* : -is V || 77 me adstante
Heinsius3 : me stante Δ (ut vid., nam in rasura stat) C : meis tande γ || 80 iuvet Ha : iubet γ Δ c* ||
81 permulsus nube Hardie*
ever brings me back here, I, hunted down and thrown before my father’s eyes.
For this do I pray to the gods, and for this I pray to you, too, foreigner.’
Having said this, she, frantic, departs with a swift gait and along hidden path-
ways. Jason accompanies her, clinging to her side, and he admires her as she
runs forward, when suddenly he sees a huge fire in the middle of the clouds and
that the shadows shine with an aggressive light. ‘What is this reddening of the
sky? What star has flashed so mournfully?’ He spoke, and the girl replied to the
trembling hero thus: ‘Behold! What you see is the dragon’s eyes and his terrify-
ing fire. He makes these lights flash from the crest of his head, and, fearing only
me, he sees me standing before him and calls to me of his own accord, as he is
accustomed to do, and he tamely uses his tongue to ask me for something to
eat. Come on! Tell me whether you wish to try to carry off the Fleece while he
keeps watch and can see his enemy, or rather do you prefer that I plunge his
eyes into sleep and deliver a tamed dragon to you?’ The dragon himself is silent,
since the girl strikes so much fear into him.
And now Medea had directed her hands and her gaze up to the sky, uttering an
incantation in barbarian metre, and she began to call upon you, father Sleep,
‘All-powerful Sleep, I, the lady of Colchis, summon you from every part of the
world, and I order you to pour yourself over this serpent alone, I who, using
your horn, have often subdued the waves and the clouds, the lightning, and all
that flashes in the sky. But now, now aid me more powerfully, Sleep, you who
are entirely like your brother Death. And you, too, most loyal guardian of
Phrixus’ ram, it is now time to divert your eyes from this job. What trick do you
fear if I am present? I myself will look after the sacred forest for a while. During
that time, set aside your long-lasting labour.’
The dragon, although tired, did not remove himself from the gold of Aeolus’
descendants, nor did he surrender his mind to the sleep now granted, although
he would have liked to do so, but instead he, struck by the first clouds of sleep,
horruit et dulces excussit ab arbore somnos.

Contra Tartareis Colchis spumare venenis
cunctaque Lethaei quassare silentia rami
perstat et adverso luctantia lumina cantu 85
obruit atque omnem linguaque manuque fatigat
vim Stygiam ardentes donec sopor occupet iras.
Iamque altae cecidere iubae nutatque coactum
iam caput itque ingens extra sua vellera cervix
ceu refluens Padus aut septem proiectus in amnes 90
Nilus et Hesperium veniens Alpheos in orbem.
Ipsa caput cari postquam Medea draconis
vidit humi, fusis circum proiecta lacertis
seque suumque simul flevit crudelis alumnum:
‘non ego te sera talem sub nocte videbam 95
sacra ferens epulasque tibi nec talis hianti
mella dabam ac nostris nutribam fida venenis.
Quam gravida nunc mole iaces, quam segnis inertem
flatus habet! nec te saltem, miserande, peremi,
heu saevum passure diem! iam nulla videbis 100
vellera, nulla tua fulgentia dona sub umbra.
Cede adeo inque aliis senium nunc digere lucis
immemor, oro, mei nec me tua sibila toto
exagitent infesta mari. Sed tu quoque cunctas,
Aesonide, dimitte moras atque effuge raptis 105
velleribus. Patrios exstinxi noxia tauros,
terrigenas in fata dedi: fusum ecce draconis
corpus habes! iamque omne nefas, iam, spero, peregi.’
Quaerenti tunc deinde viam, qua se arduus heros
ferret ad aurigerae caput arboris, ‘heia per ipsum 110
scande age et adverso gressus’ ait ‘imprime dorso.’
Nec mora fit. Dictis fidens Cretheia proles
82 ab arbore γ Δ c* : corpore vel pectore Heinsius3 || somnos Δ c* : -us γ || 83 venenis Lpc1 (habet
D) Δ c* : om. γ || 84 tinctaque Liberman || 86 obruit Δ c* : orruit V : horruit L || 87 occupet γ : -at
Δ c* || 88–125 folio amisso in V desunt || 89 itque ingens Liberman : atque ingens L Δ c* : ac ver-
gens (extra sua tergora) Heinsius3 || 90 proiectus γ Δ c* : porrectus Heinsius3, proiecta v. 93 legens
|| 93 proiecta L Δ c* : porrecta Heinsius3, proiectus v. 90 legens || 94 seque Δ c* : sed L || 97 mella
Δ c* : -e L || 100 heu Δ c* : ne L || passure Δ c* : -a L || 102 cede Bon. 1474 c : caede L Δ || adeo L Δ
: deo c cum edd. a Carrione usurp. parte maiore || digere Δ c* : de genere L : egere Renkema : degere
Heinsius3 || 105 dimitte Δ c* : de- L || 107 in fata Pius in adn. : infesta L
held up his head, steeled himself, and drove sweet rest away from the tree. Faced
with this, the lady of Colchis persists in frothing with underworldly poisons
and in shaking the branch soaked with all the silences of Lethe, and she over-
comes the resistance of his eyes as they try to fight against her hostile spell, and
she makes full use of all her Stygian power of word and gesture, until sleep
seizes the dragon’s blazing fury. But now his lofty crests droop, and his head,
compelled by force, already wavers, and its huge neck now moves away from
the Fleece, just as when the Po ebbs or the Nile gushes into the seven rivers and
Alphaeus reaches the land of Hesperia. Medea, after she sees her dear dragon’s
head on the ground, stretching out her arms around him, lamented both for
herself, her cruelty, and her pet at the same time.
‘I did not see you like this late at night when I was bringing you the sacred
offerings and food, and not like this did I, a trustworthy mistress, give the
honey to your wide-open mouth and nurture you with my potions. Now, how
big is your bulk as it lies on the ground, and how lifeless is what little breath you
have! At least I have not killed you, poor serpent, you who will suffer an awful
day! Now you shall no longer see a Fleece, you shall no longer see a prize shin-
ing under your shadow. Now, leave this place and go spend your old age in
different forests! Forget about me, I implore you, and do not torment me across
all the seas with your hostile hissing! But you, son of Aeson, dispense with all
delays and escape with the stolen Fleece. I, a guilty woman, have destroyed my
father’s bulls, and I have sent the men born from the earth to their doom: here
is the exhausted body of the dragon for you! I hope that by now I have finished
committing the last of my crimes.’
Then, when the hero asked her through what method he could lift himself up to
the top of the gold-bearing tree, she said: ‘Come on! Climb on top of the dragon
and walk on the back that lies before you!’ There were no delays. Trusting in her
words, Jason
calcat et aeriam squamis perfertur ad ornum,

cuius adhuc rutilam servabant bracchia pellem,
nubibus accensis similem aut cum veste recincta 115
labitur ardenti Thaumantias obvia Phoebo.
Corripit optatum decus extremumque laborem
Aesonides longosque sibi gestata per annos
Phrixeae monumenta fugae vix reddidit arbor
cum gemitu tristesque super coiere tenebrae. 120
Egressi relegunt campos et fluminis ora
summa petunt. Micat omnis ager villisque comantem
sidereis totos pellem nunc fundit in artus,
nunc in colla refert, nunc implicat ille sinistrae:
talis ab Inachiis Nemeae Tirynthius antris 125
ibat adhuc aptans umeris capitique leonem.
Ut vero sociis, qui tunc praedicta tenebant
ostia, per longas apparuit aureus umbras,
clamor ab Haemonio surgit grege. Se quoque gaudens
promovet ad primas iuveni ratis obvia ripas. 130
Praecipites agit ille gradus atque aurea misit
terga prius, mox attonita cum virgine puppem
insilit ac rapta victor consistit in hasta.
Interea patrias saevus venit horror ad aures
fata domus luctumque ferens fraudemque fugamque 135
virginis. Hinc subitis †inflexit† frater in armis,
urbs etiam mox tota coit, volat ipse senectae
immemor Aeetes, complentur litora bello
nequiquam: fugit immissis iam puppis habenis.
Mater Idyia ambas tendebat in aequora palmas 140
et soror atque omnes aliae matresque nurusque
Colchides aequalesque tibi, Medea, puellae.
113 squamis Ha Ven. 1523 : quamis Lac : quamvis Lpc1 (cf. D quamvis) || 115 aut del. Heinsius3 ||
117 laborum Heinsius3 || 120 coiere Lpc1 (cf. D coi-) : coire Lac || 126 aptans Reg Bon. 1474 : captans
γ || 129 ab M2 Reg Bon. 1474 : ad γ || 130 ratis M2 Reg Bon. 1474 : -es γ || 131 agit L : ait V || an utque
(Barth) aut mittit legendum? Liberman || 134 aures Fontius M2 Flor. 1481 : auras γ || 136–85 huc
revocavit Politianus : post v. 385 habuit γ || 136–53 folio, quod recta pagina 366–85 continuit, amisso
desunt in V || 136 inflexit L : insurgit Ven. 1523 : vindex it Heinsius3 : infelix Schenkl : surrexit
Liberman || 137 ipse Vat Bon. 1474 : -a L || 139 iam Heinsius3 : nam L || 140 Idyia I. A. Wagner :
adhuc L : ad hanc Baehrens : ad hoc Burman : ad haec I. A. Wagner
makes his way over the dragon’s scales and reaches the top of the great ash tree,
whose branches still guarded the shining Fleece, like illuminated clouds or
Thaumas’ daughter when, after untying her robe, she glides away to meet blaz-
ing Phoebus. The son of Aeson grabs the coveted decoration—his final chal-
lenge—and the tree, groaning, gave up with difficulty the remains of Phrixus’
flight, which it had kept for itself throughout the long years, and gloomy dark-
ness gathered above it.
After leaving, they travel back over the fields and reach the edge of the river’s
mouth. The whole countryside shines, and Jason now throws the sparkling
Fleece over all of his limbs or puts it around his neck or wraps it around his left
arm. So the Tirynthian Hercules left the Argive valleys of Nemea, while he was
still arranging the lion on his head and shoulders. Then, when Jason, enveloped
in gold, appeared before his companions, who were waiting at the mouths of
the river as they had planned earlier, a cry arose from the group of Thessalians.
The ship, also rejoicing itself, moves towards the hero standing on the nearby
riverbanks. Jason quickens his pace and first arranges the pelt, then he shocks
Medea by jumping onto the ship and standing up, triumphant and leaning
upon his spear.
Meanwhile, the terrible and horrifying news announcing the death and doom
of his family and the deception and flight of his daughter reaches the ears of
Medea’s father. And then her ill-fated brother immediately equips himself with
his weapons and armour, and straightaway even the entire city assembles, and
Aeetes himself flies about, forgetting his old age. The armed populace fills the
shore, but in vain. The ship is already escaping at full sail.
Medea’s mother Idyia was still stretching her arms towards the sea, just like her
sister and all the other ladies and wives of Colchis, in addition to the girls about
your age, Medea.
exstat sola parens impletque ululatibus auras:

‘siste fugam, medio refer huc ex aequore puppem,
nata, potes! quo’ clamat ‘abis? Hic turba tuorum 145
omnis et iratus nondum pater, haec tua tellus
sceptraque: quid terris solam te credis Achaeis?
Quis locus Inachias inter tibi, barbara, natas?
Istane vota domus exspectatique hymenaei?
Hunc petii grandaeva diem? Vellem unguibus uncis 150
ut volucris possem praedonis in ipsius ora
ire ratemque supra claroque reposcere cantu
quam genui. Albano fuit haec promissa tyranno,
non tibi. Nil tecum miseri pepigere parentes,
Aesonide, non hoc Pelias evadere furto 155
te iubet aut ullas Colchis abducere natas:
vellus habe et nostris siquid super accipe templis!
Sed quid ego <et> quemquam immeritis incuso querellis?
Ipsa fugit tantoque (nefas) ipsa ardet amore.
Hoc erat, infelix (redeunt nam singula menti), 160
ex quo Thessalici subierunt †nam singula†
quod nullae te, nata, dapes, non ulla iuvabant
tempora. Non ullus tibi tum color aegraque membra
errantesque genae atque alieno gaudia vultu
semper erant. Cur tanta mihi non prodita pestis? 165
Aut gener Aesonides nostra consideret aula
nec talem paterere fugam, commune fuisset
aut certe nunc omne nefas iremus et ambae
in quascumque vias. Pariter petiisse iuvaret
Thessaliam et saevi, quaecumque est, hospitis urbem.’ 170
Sic genetrix similique implet soror omnia questu
exululans, famulae pariter clamore supremo
in vacuos dant verba notos dominamque reclamant
nomine; te venti procul et tua fata ferebant.
144 fugam Reg Bon. 1474 : -a L || 145 nata Reg Bon. 1474 : nota L || 148 natas L : nuptas Postgate ||
150 petii Reg Bon. 1474 : peti L || 158 et addidi (cf. Prop. 4.2.3) : om. γ : o add. Mueller : ago quemve
Columbus : ago quemque Courtney || 161 nam singula γ : Colchida reges (reges iam Koestlin2)
Sudhaus : aequora remi Reg Bon. 1474 : litora remi Heinsius3 || 163 tempora γ : pocula D’Orville ||
aegra L : aetra V || membra Courtney : verba γ || 164 arentesque Burman || 165 semper erant Bon.
1474 : semper erat γ || 166 aut Koestlin1 : ut γ : tum Samuelsson || 167 nec Bon. 1474 : ne γ || 170 est
L : om. V || 174 sed venti procul et sua fata Peerlkamp ad A. 2.34, I, p. 85
The mother alone stands out among the crowd, filling the air with shrill
wailings.
‘Stop your flight! O daughter, bring the ship back here from the middle of the
sea; you have the power to do it! Where are you going?’ she shouts. ‘All of your
relatives and your father—not yet mad at you—are here. This is your land and
your kingdom. Why do you, alone, entrust yourself to the Achaean lands? What
will be your position there, you, a barbarian woman among Argive ladies? Is
this the home you desire, the wedding you were waiting for? Is this the day that
I, now an old woman, longed for? I wish that just like a bird I could attack the
face of that bandit with curved talons, and fly over the ship, demanding back
the girl whom I birthed. She had been betrothed to an Albanian king, not to
you. Her miserable parents agreed to nothing with you, O son of Aeson. Pelias
is not ordering you to flee with this prize or to snatch some daughter of Colchis!
Keep the Fleece for yourself, and if anything is left in our temples, take it! But
what am I doing? Am I blaming and hurling reprimands at some man who does
not deserve it? She is the one who fled, and she (what a tragedy!) is the one who
burns with such great love. It was because of this that, unfortunate girl (now it
all returns to my mind), from the time when the Thessalians showed up . . . no
food, no moment brought you joy. Then you had no colour, your body was sick,
your gaze wandered, and your joy always came from the foreigner’s face. Why
was this disaster not revealed to me? Jason could have settled in our palace as a
son-in-law, and you would not have experienced such a flight, or now all the
crimes would certainly have been shared between us, and we both would be
travelling on any path you chose. It would have been pleasant for me to go
together with you to Thessaly and the city of that cruel foreigner, whatever
city it is.’
So spoke the mother, and her sister, screaming aloud, fills the place with equal
wailing, and in the same way the slave girls waste empty words on the wind
with shrill cries, and they call out the name of their mistress. But the winds and
your fate, Medea, were already carrying you far away.
Inde diem noctemque volant. Redeuntibus aura 175

gratior et notae Minyis transcurrere terrae,
cum subito Erginus puppi sic fatur ab alta:
‘vos’, ait ‘Aesonide, contenti vellere capto
nec via quae superet nec quae fortuna videtis.
Crastina namque dies trucis ad confinia Ponti 180
Cyaneasque vocat meminique, o Tiphy, tuorum
saxa per illa, pater, memini, venerande, laborum.
Mutandum, o socii, nobis iter: altera Ponti
eluctanda via et cursu quem fabor eundum est.
Haud procul hinc ingens Scythici ruit exitus Histri, 185
fundere non uno tantum quem flumina cornu
accipimus. Septem exit aquis, septem ostia pandit.
Illius adversi nunc ora petamus et undam
quae latus in laevum Ponti cadit; inde sequemur
ipsius amnis iter donec nos flumine certo 190
perferat inque aliud reddat mare. Sint age tanti,
Aesonide, quaecumque morae quam saeva subire
saxa iterum, quam Cyaneos perrumpere montes.
Sat mihi, non totis Argo redit, ecce, corymbis’.
Haec ait ignarus fixas iam numine rupes 195
stare neque adversis ultra concurrere saxis.
Reddidit Aesonides: ‘et te, fidissime rector,
haud vani tetigere metus nec me ire recuso
longius et cunctis redeuntem ostendere terris.’
Protinus inde alios flectunt regesque locosque 200
adsuetumque petunt plaustris migrantibus aequor.
Puppe procul summa vigilis post terga magistri
haeserat auratae genibus Medea Minervae
atque ibi deiecta residens in lumina palla
flebat adhuc, quamquam Haemoniis cum regibus iret 205
sola tamen nec coniugii secura futuri.
Illam Sarmatici miserantur litora ponti,
illa Thoanteae transit defleta Dianae,
178 aesonide M Flor. 1481 : -ae γ || 180 crastina L : crasti V || 181 meminique Reg Bon. 1474 : -itque
γ || 184 fabor M2 Reg Bon. 1474 : favor γ || 186 fando quem Burman || 189 quae L : quaem V : qua
M2 , coni. Heinsius3 || 190 recto dub. Liberman || 191 perferat Bon. 1474 : pro- γ || 192 aesonide
Bon. 1474 : -ae γ || 194 redit ecce γ : rediisse Heinsius3 || 200 inde γ : inque Watt || flectunt γ : flexu
Ph. Wagner1 || 202 vigilis M2 Reg Bon. 1474 : -liis γ || 206 coniugii M2 Bon. 1474 : -giis Lpc1 (cf. D
-iis) -gis γ || 208 illa γ : templa Liberman || defleta R Pius : deflexa γ
Then, the Argonauts sped along for one day and one night. The wind was more
welcome to them as they returned, and the Minyans see lands already known to
them pass by, when, behold, Erginus spoke thus from the lofty stern:
‘You, O son of Aeson,’ he said, ‘are satisfied with the Fleece that you have won,
and you see neither the journey that we still must make nor the lot that awaits
us. Tomorrow calls us to the threatening confines of Pontus and to the
Symplegades. And I remember, O venerable father Tiphys, your toils as you
sailed through those rocks. We must change course, companions. We should
make our way with difficulty along another path through Pontus and travel the
path that I shall say to you all. Not far from here is the large mouth of the
Scythian Ister, which, we know, does not pour its waters into a single branch. In
fact, it flows into seven channels and opens up into seven mouths. Now let us
aim directly towards the entrance and towards the section which falls on the
left side of Pontus. Then we will follow the path of the river itself until its safe
current brings and transfers us to another sea. Let us undergo, O son of Aeson,
whatever long delay might happen, rather than suffer the horrible crags again
and pass through the Cyanean Rocks. I am stopping here; the Argo does not
return with all of its decorations.’
He said that, not knowing that now by the will of the gods the rocks were not
moving, and no longer was one crag colliding with the other. The son of Aeson
replied to him: ‘Most loyal helmsman, the fears that have seized you are not
unfounded, and I do not refuse to travel a longer course and to show myself to
all the lands as I return.’ From there, they bend their path directly towards other
kings and other places and wheel around towards the sea that was accustomed
to the migrations of wagons.
High up on the stern, a little way off from the rest and behind the skilled
helmsman, Medea was clinging to the knees of the golden statue of Minerva,
and, lying prostrate there and with her mantle pulled down over her eyes, she
was still weeping. And even though she travelled with the kings of Thessaly,
nevertheless she was alone and was not certain that the marriage she hoped for
would happen in the future. The shores of the Sarmatian sea pity her, and she,
mournful, passes through the shores of the goddess Diana of the land of Thoas.
nulla palus, nullus Scythiae non maeret euntem

amnis. Hyperboreas movit conspecta pruinas 210
tot modo regna tenens; ipsi quoque murmura ponti
iam Minyae, iam ferre volunt. Vix adlevat ora
ad seras siquando dapes, quas carus Iason
ipse dabat. Iam nubiferam transire Carambin
significans, iam regna Lyci, totiensque gementem 215
fallit ad Haemonios hortatus surgere montes.
Insula Sarmaticae Peuce stat nomine nymphae
torvus ubi et ripa semper metuendus utraque
in freta per saevos Hister descendit alumnos.
Solvere in hoc tandem resides dux litore curas 220
ac primum socios ausus sua pacta docere
promissamque fidem thalami foedusque iugale.
Ultro omnes laeti instigant meritamque fatentur.
Ipse autem invitae iam Pallados erigit aras,
incipit Idaliae numen nec spernere divae 225
praecipueque sui siquando in tempore pulcher
coniugii Minyas numquam magis eminet inter,
qualis sanguineo victor Gradivus ab Hebro
Idalium furto subit aut dilecta Cythera,
seu cum caelestes Alcidae invisere mensas 230
iam vacat et fessum Iunonia sustinet Hebe.
Adnuit unanimis Venus hortatorque Cupido
suscitat adfixam maestis Aeetida curis;
ipsa suas illi croceo subtegmine vestes
induit, ipsa suam duplicem Cytherea coronam 235
donat et arsuras alia cum virgine gemmas.
Tum novus implevit vultus honor ac sua flavis
reddita cura comis graditurque oblita malorum.
Sic, ubi Mygdonios planctus sacer abluit Almo
laetaque iam Cybele festaeque per oppida taedae, 240
211 ipsi Reg Bon. 1474 : ipse γ || murmura Reg Bon. 1498 : -e γ || ponti L : ponunt V || 214 dabat iam
Reg Bon. 1474 : dabam γ || Carambin Bon. 1474 : -ymbin γ || 216 hortatus V : -ur L || 217 sarmati-
cae L : sarmitice V || peuce V : -ae L || 218 utraque M2 Reg Bon. 1474 : -asque γ || 224 ipse Balbus :
-a γ || invitae γ : innuptae Bon. 1498 : invictae noluit Loehbach || erigere commate post aras deleto
Heinsius3 || 227 coniugii L : -iugi V || 228 victor L : om. V || 231 sustinet Lac : sistinet Lpc1 : stistinet
V : distinet Heinsius3 : destinat Baehrens, Iuno iam d. Hebae legens || 232 adnuit unanimis
Meyncke2 : adsunt unanimes γ || 239 planctus Fontius Bon. 1498 : -u γ || 240 Cybele Lac : -ae Lpc1
(cf. D -ae) V
Every swamp, every river in Scythia grieves for her on the journey. She moves the
Hyperborean snows that see her to pity, she who just a little bit earlier ruled
over many lands. Now the Argonauts themselves, too, agree to endure the
threatening roaring of the sea. Medea occasionally lifts her gaze slowly and
with difficulty, when her dear Jason brings her food. He tells her that they have
now passed cloudy Carambis and the kingdoms of Lycus, and he deceives her
crying by encouraging her to stand up so as to see the mountains of Thessaly.
There is an island that gets its name, Peuce, from a Sarmatian nymph, where the
Ister, always threatening and dreadful on both sides, rushes between the savage
peoples and into the sea. The commander stops on this shore in order to finally
solve his problems, and for the first time he dares to reveal to his companions
the agreements that he made, that is, his promise of faithfulness and the marital
bond. Everyone happily encourages him from the bottom of their hearts, and
they declare Medea a worthy bride. Then he raises altars to Pallas, who now
opposes him, and he begins to stop scorning the will of the Idalian goddess,
and, above all, he, more beautiful than ever at the moment of his wedding,
stands out from among the Minyans, just as when triumphant Mars secretly
goes from the bloody Ebro to Idalia or to his beloved Cythera, or when it was
now permitted to Hercules to visit the heavenly banquets, and Hebe, daughter
of Juno, supports the tired hero. Venus approves and consents, while Cupid was
relieving the daughter of Aeetes of her sad worries with encouragement. And
the goddess herself makes Medea put on her own saffron-dyed clothes, and,
furthermore, Venus gives her own double crown and the gemstones that were
destined to burn with Jason’s other bride. A new beauty illuminates Medea’s face
then, her blonde hair receives the attention it deserves, and she advances, forget-
ful of her misfortunes. Just as when the sacred Almo cleanses the Mygdonian
weeping and Cybele is now happy, and in the city there are festive torches,
quis modo tam saevos adytis fluxisse cruores

cogitet aut ipsi qui iam meminere ministri?
Inde ubi sacrificas cum coniuge venit ad aras
Aesonides unaque adeunt pariterque precari
incipiunt, ignem Pollux undamque iugalem 245
praetulit et dextrum pariter vertuntur in orbem.
Sed neque se pingues tum candida flamma per auras
explicuit nec tura videt concordia Mopsus
promissam nec stare fidem, breve tempus amorum.
Odit utrumque simul, simul et miseratur utrumque 250
et tibi tum nullos optavit, barbara, natos.
Mox epulas et sacra parant. silvestria laetis
praemia venatu facili quaesita supersunt;
pars veribus, pars undanti despumat aeno.
Gramineis ast inde toris discumbitur, olim 255
Hister anhelantem Peucen quo presserat antro.
Ipsi inter medios rosea radiante iuventa
altius inque sui sternuntur velleris auro.
Quis novus inceptos timor impediit hymenaeos
turbavitque toros et sacra calentia rupit? 260
Absyrtus subita praeceps cum classe parentis
advehitur profugis infestam lampada Grais
concutiens diramque premens clamore sororem
atque ‘hanc, o siquis vobis dolor iraque, Colchi,
accelerate viam, neque enim fugit aequore raptor 265
Iuppiter aut falsi sequimur vestigia tauri.
Puppe (nefas!) una praedo Phrixea reportat
vellera, qua libuit remeat cum virgine; nobis
(o pudor!) et muros et stantia tecta reliquit.
Quid mihi deinde satis? Nec quaero vellera nec te 270
accipio, germana, datam nec foederis ulla
spes erit aut irae quisquam modus. Inde reverti
patris ad ora mei tam parvo in tempore fas sit?
241 tam Fontius Pius in adn. : iam γ || 242 aut ipsi qui γ : haut ipsi quin Heinsius3 || 243 sacrificas
L : -ans V || 247 aras Maserius || 249 fidem Lpc1 (cf. D -em) : fides γ || fidem et breve Heinsius3 ||
251 iam Reg Bon. 1474 || 258 sternuntur Lpc1 (cf. D -stern) V : stennuntur Lac || 259 impediit Lpc1
(cf. D impediat) : impendit (in- V) γ || hymenaeos Bon. 1474 : -eos γ || 263 diramque γ : diroque
Baehrens || sororem Lpc1 (cf. D sor-) : son- γ || 264 atque hanc L : adque h. V : hanc ait Liberman :
usque hanc Caussin : atque haec (: o si quis . . .) Heinsius3 : atque ait Watt* : heia agite Baehrens ||
268 remeat Reg Bon. 1474 : tremeat γ || 272 inde γ : unde Heinsius3 : an immo?
who would ever think that so much bitter blood had recently dripped in the
inner chambers of the temples, or who even among the very priests remembers
it any longer? Next, when Jason reaches the sacrificial altars with his bride, they
approach them together, and together they begin to pray. Pollux offers the fire
and the water for the wedding ritual, and together they turn towards the right
side. But the flame did not soar, shining into the thick air, and Mopsus does not
see harmony foretold in the incense, but foresees that not even the promised
loyalty will last, and there will only be a brief period of love. He hates and pities
them both at the same time, and then he wished that you, O barbarian woman,
would have no children. Next they prepare the banquet and the sacrifices.
Woodland game abound for the couple’s pleasure, and they catch the animals
with easy hunting. Part of the meat was put on skewers, and the rest boils in a
foaming cauldron. Then they lie down on grassy beds inside the cave in which
Ister once pressed the gasping Peuce. Those two, beaming with fresh youth, lie
down on a tall bed in the middle of the group, reclining upon their Golden
Fleece.
What new terror obstructed the wedding that was just begun, disturbed the
beds, and stopped the still-hot sacrifices? Hurrying with his father’s makeshift
fleet, Absyrtus approaches the fleeing Greeks, and, shaking a threatening torch,
he rages against his poor sister, screaming:
‘You, too, O Colchians, if you feel grief or anger, make haste! In fact, Jupiter is
not the kidnapper who flees over the sea, and we are not following the tracks of
a pretend bull. Does the bandit carry off Phrixus’ Fleece on only a single ship
(what an insult!) and does he return with the maiden that he wanted, and has
he (what a disgrace!) left our walls and houses undamaged? What satisfaction
can I get after that? I do not want the Fleece, and I no longer accept you, sister,
not even if they give you back, and there will be no hope of an agreement
between us nor a limit to my wrath. Would it be allowed for me to return before
the eyes of my father after so short a time?
Quinquaginta animae me scilicet unaque mersa

sufficiet placare ratis? Te, Graecia fallax, 275
persequor atque tuis hunc quasso moenibus ignem.
Nec tibi digna, soror, desum ad conubia frater,
primus et ecce fero quatioque hanc lampada vestro
coniugio, primus celebro dotalia sacra,
qui potui: patriae veniam da, quaeso, senectae. 280
Quin omnes alii pariter populique patresque
mecum adsunt. Magni virgo ne regia Solis
Haemonii thalamos adeas despecta mariti
tot decuit coiisse rates, tot fulgere taedas.’
Dixerat atque orans iterum ventosque virosque 285
perque ratis supplex et remigis <…… 286a
………………………………> vexilla magistris. 286b
Illi autem intorquent truncis frondentibus undam
quaeque die fuerat raptim formata sub uno
et tantum deiecta suis a montibus arbor
(quid dolor et veterum potuit non ira virorum?), 290
haud longis iam distat aquis sequiturque volantem
barbara Palladiam puppem ratis, ostia donec
Danuvii viridemque vident ante ostia Peucen
ultimaque agnoscunt Argoi cornua mali.
Tum vero clamorem omnes inimicaque tollunt 295
gaudia, tum gravior remis fragor, ut procul Argo
visa viris, unamque petunt rostra omnia puppem.
Princeps navalem nodosi roboris uncum
arripit et longa Styrus prospectat ab unda,
coniugio atque iterum sponsae flammatus amore. 300
Iamque alii clipeos et tela trabalia dextris
expediunt, armant alii picis unguine flammas.
Impatiens tremit hasta morae nec longius inter
quam quod tela vetet superest mare. Vocibus urguent
interea et pedibus pulsant tabulata frementes. 305
274 unaque L : una V || 276 spargo Clerq || 277 frater Reg Bon. 1474 : pater γ || 278 pronubus ecce
Clerq || 279 dotalia L : da- V || 280 da L : de V || 281 alii Bon. 1498 : alti γ || 284 coiisse Bon. 1498
: coire γ || fulgere M2 Reg Bon. 1474 : fulgore L : fulgure V || 286a–286b locum constituit Leo ||
287 frondentibus Lpc1 (cf. D frondent-) : frondibus γ || 288 fuerat L : furat V || 293 danuvii V :
-bii L || viridemque M2 Reg Bon. 1474 : virilemque L : virilegemque V || 302 armant M : amant γ ||
picis unguine Reg Bon. 1474 : pici sanguine γ
‘Will fifty dead men and a single sunken ship be enough to satisfy me? And you,
deceitful Greece, are the one I pursue, and I wave this fire towards your walls!
And for you, sister, I, as your brother, do not miss your proper wedding. Here!
I am the first to carry and shake this torch for your marriage, I am the first to
celebrate your wedding rites, I who could, that is. Please forgive my father’s old
age. Everyone else, however, both commoners and elites, are here together with
me, so that you, royal maiden, daughter of the great Sun, are not looked down
upon when you go to the marriage bed of your Thessalian husband. It was only
fitting that so many ships assemble and so many torches shine for you!’
So he spoke, and entreating the winds and the men again, he comes suppliant
along the ships . . . the flags to the helmsmen. These men churn the waves with
leafy branches, and each tree had been shaped in a single day and had just now
been cut down from its mountains (what could the anger and wrath of ancient
men not accomplish?). Now the barbarian ship, travelling on the sea, is no
longer very far away, and it follows the speeding boat of Minerva until the
Colchians spot the mouths of the Danube and green Peuce in front of said
mouths, and identify the tip of the Argo’s main mast. Then, as soon as they spot
the Argo from afar, they all raise a threatening cry of triumph and the din of
their oars grows louder, and all the boats’ bows turn towards the single ship.
Leading, Styrus grabs a hook made of gnarled oak wood and peers from the
open sea, inflamed anew by the hope of marriage and by love for his fiancée.
Now some make ready their shields and missiles, heavy and as big as ceiling
beams, in their right hands, while others prepare torches using pitch. The
impatient spear quivers due to the delay, and now not much time is left before
they can throw their javelins over the sea. Meanwhile, the Thessalians shout and
roar, and they stamp their feet upon the decks.
Cum subitas videre rates vibrataque flammis

aequora non una Minyae formidine surgunt,
primus et in puppem deserta virgine ductor
prosilit et summa galeam rapit altus ab hasta,
ense simul clipeoque micat nec cetera pubes 310
segnius arreptis in litore constitit armis.
At tibi quae scelerum facies, Medea, tuorum
quisve pudor Colchos iterum fratremque videnti
quidquid et abscisum vasto iam tuta profundo
credideras! Ergo infausto sese occulit antro, 315
non aliud quam certa mori seu carus Iason
seu frater Graia victus cecidisset ab hasta.
Haud ita sed summo segnis sedet aethere Iuno
aut sinit extrema Minyas decernere pugna
nec numero quoniam Colchis nec puppibus aequos. 320
Ergo ubi diva rates hostemque accedere cernit,
ipsa subit terras tempestatumque refringit
ventorumque domos. Volucrum gens turbida fratrum
erumpit, classem dextra Saturnia monstrat.
Videre inque unum pariter mare protinus omnes 325
infesto clamore ruunt inimicaque Colchis
aequora et adversos statuunt a litore fluctus.
Tollitur atque infra Minyas Argoaque vela
Styrus habet, vasto rursus desidit hiatu
abrupta revolutus aqua. Iamque omnis in astra 330
itque reditque ratis lapsoque reciproca fluctu
descendit. Vorat hos vertex, hos agmine toto
gurges agit. Simul in vultus micat undique terror;
crebra ruina poli caelestia limina laxat.
Non tamen ardentis Styri violentia cedit, 335
hortatur socios media inter proelia divum:
‘transferet ergo meas in quae volet oppida dotes
Colchis et Haemonius nobis succedet adulter,
nec mihi tot magnos inter regesque procosque
307 non minima Bury1 : non parva dub. Liberman : non ulla Bosscha || 318 segnis summo
Baehrens || sedet Bon. 1474 : sed γ || 319 aut V : haud L || 320 aequos Lpc1 (cf. D equos) V : aequor
Lac || 321 accedere Lpc1 (cf. D acced-) : accend- γ || 322 ipsa subit Reg Bon. 1474 : ipsas ubi γ ||
328 infra Giarratano (alio contextu; locum intellexit Courtney1) : intra γ || minyas L : minias V ||
329 Styrus M2 Reg Ven. 1500 (Sti-) : styrys V : styris L || habet V : abit Bon. 1474 : adest Baehrens ||
desidit L Vpc : -et Vac || 331 ratis M2 Bon. 1474 : -es γ || 333 agit L : ait V || in γ : ob Liberman ||
334 limina Olis : lumina γ || 338 Colchis M2 Reg Bon. 1474 : -ius γ || succedet L : -deret V
Another random document with
no related content on Scribd:
bräunlich angeflogen, innen heller bräunlich 8. — Vom Vertex zum
Anus 490 mm, von der Lippe zum Anus (alle Krümmungen
mitgemessen) 650, Hinterhand 170. Von Schädel- und
Skeletmaassen dieses Exemplares seien nur die folgenden
angegeben und zum Vergleiche die eines alten männlichen Skelettes
von Parepare, das W e b e r (p. 103 und 104) „very large“ nennt, das
aber erheblich kleiner und schwächlicher ist als das von Tonkean,
trotzdem die Schädelnähte weit mehr verstrichen sind; ebenso
weisen sich die Zähne bei dem Tonkean Männchen in allen
Dimensionen um ⅓ grösser aus. Dieses Parepare Skelet gehört jetzt
dem Dresdner Museum (B 3274).
T o n k e a n (B P a r e p a r e (B
3166) 3274)
Schädellänge 144 mm 137 mm
Jochbogenbreite 100 88.5
,, ,,
Breite am proc. zygom. os. front 77.3 70.6
,, ,,
Geringste Breite zwischen den 7.2 6
Augenhöhlen ,, ,,
Breite an den Alveolen der 37.5 35.2
Caninen ,, ,,
Geringste Breite am Pterion 49.4 47.8
,, ,,
Grösste Breite am Pterion 61.5 55
,, ,,
Länge des Femur 210 189
,, ,,
Länge der Tibia 193 166
,, ,,
T o n k e a n (B P a r e p a r e (B
3166) 3274)
Länge des Humerus 185 165
,, ,,
Länge des Radius 185 169
,, ,,
Einen jüngeren weiblichen Schädel hat M u r i e (P. Z. S. 1872, 725)

beschrieben und abgebildet, aber der adulte Schädel differirt
bedeutend, so dass auch die Charakteristik, die A n d e r s o n (Anat.
Zool. Res. 1878, 81) von dem jüngeren Schädel entwirft (und die
F o r b e s : Primates II, 12 1894 verkürzt reproducirt), durchaus nicht
für den alten zutrifft. Die Abbildungen dürften eine nähere
Beschreibung des adulten Tonkean-Schädels überflüssig machen.
Das Exemplar hat 9 Caudalwirbel; S c h l e g e l (Cat. VII, 117, 118
1876) giebt 8 für maurus und ocreatus an, der 9., die Spitze, ist
allerdings sehr klein; das Parepare Exemplar hat 7, ist aber
möglicherweise defect.
Das Museum besitzt noch den S c h ä d e l eines Jungen von Süd

Celebes (259), von mir mitgebracht, im Zahnwechsel, der 1.
bleibende Molar bereits vorhanden. Schädellänge 100 mm,
Jochbogenbreite 63.
Ferner das S k e l e t eines mas juv. von Süd Celebes (B 1984), von
mir mitgebracht, noch nicht im Zahnwechsel, aber der 1. bleibende
Molar im Durchbruche. Schädellänge 90 mm, Jochbogenbreite 56.
Endlich einen F o e t u s in Spiritus vom Pik von Bonthain, 1500´

hoch, an dem die Haarstellung vortrefflich zu sehen ist (R i b b e und
K ü h n 1883 coll.).
Beide Tonkean Exemplare, das junge Weibchen sowohl, als auch

das adulte Männchen, haben schwarze Extremitäten, gegenüber den
grauen des jungen Paares von Buton und Kandari, und, so viel mir
scheint, kannte man a d u l t e s c h w a r z g l i e d r i g e bis jetzt
überhaupt nicht. So hat, wie Dr. J e n t i n k mir gütigst mittheilt 9, das
grösste sehr alte Männchen des Leidener Museums (S c h l e g e l
Cat. VI, 118 1876 Ex. 1, J e n t i n k XI, 32 1892 Ex. g) Grau an den
Unterarmen und Unterschenkeln; es dürfte dem Tonkean-Männchen
an Grösse kaum nachstehen, denn es misst vom Vertex zum Anus
480 mm und von der Lippe zum Anus (mit allen Krümmungen) 640,
bei einer Hinterhandlänge von 155 (gegen 490, 650, 170 bei dem
[4]Tonkean Exemplare). Wie sich das alte Männchen von Parepare
(W e b e r p. 103 und 104 Nr. 333, Skelet B 3274 M. Dr.) in dieser
Beziehung verhielt, ist nicht mehr zu eruiren gewesen. A n d e r s o n
(Cat. Mamm. Ind. Mus. I, 77 1881) registrirt nur graugliedrige, aber
es sind keine adulten darunter. Da das Grau gegenüber dem
einfarbigen dunkleren Jugendkleide schon der Charakter einer
Altersentwicklung ist, so scheint das junge schwarzgliedrige
Weibchen von Tonkean zu beweisen, dass die graue Phase an
Unterarm und Unterschenkel auch übersprungen werden kann, allein
es ist weiteres Material nöthig, um hierin klar zu sehen.
Ich zögere um so weniger M. maurus nur für den jungen ocreatus

anzusehen, entgegen der Annahme W e b e r s (p. 108), „that both
are variations of one species“, als bereits B a r t l e t t (bei M u r i e
P. Z. S. 1872, 723) am Lebenden beobachtet hat, d a s s d i e
helle Zeichnung sich aus einem einfarbigen
K l e i d e m i t d e m A l t e r e n t w i c k e l t . Auch Dr. J e n t i n k
glaubt, wie er die Güte hatte mir mitzutheilen, dass die 11 Exemplare
des Leidener Museums dasselbe lehren. Es ist wohl möglich, wie
W e b e r (p. 107) meint, dass Manche diese Entwicklung überhaupt
nicht durchmachen und einfarbig bleiben, was ja auch das junge
Tonkean Weibchen zu lehren schien. Das Zusammenvorkommen der
verschiedenen Färbungen in einem Truppe, das W e b e r (p. 104
und 108) beobachtete, spricht vielleicht ebenfalls dafür. Prof.
W e b e r hatte die Freundlichkeit mir dieses Zusammenvorkommen
noch folgendermaassen auszuführen: „In der Umgegend von Maros
waren in einem Walde die Exemplare zahlreich und nicht scheu; sie
liessen sich daher gut beobachten. Doch sah ich in demselben
Truppe sehr verschiedene Färbungen, namentlich bezüglich der
Ausbreitung von Grau oder Weiss auf der Hinterextremität und bei
manchen auch auf der Vorderextremität.“ Es sind jedoch weitere
Beobachtungen und mehr Materialien nöthig, um hier Klarheit zu
gewinnen, denn diese liegt noch keineswegs sicher vor.
1 Ich habe bisher Celébes, mit Accent auf der zweiten Silbe, geschrieben, weil die
Holländer so betonen, A . W i c h m a n n hat aber kürzlich (Gids 1896, 328)
wieder hervorgehoben, dass die Spanier im 16. Jahrhunderte die Gegend von
Mindanao bis Nord Celebes als Archipel der Célebe oder als Inseln der Célebes,
mit Accent auf der 1. Silbe, bezeichneten. Die Leute nannten sich Célebe. Die
Herkunft des Wortes ist bis jetzt dunkel. Man vergleiche C r a w f u r d s
etymologische Conjectur (Descr. Dict. Ind. Is. 1856, 90). Der von W i c h m a n n
versuchte Beweis, dass die allgemeine Anwendung des Namens Celebes für die
ganze Insel sich erst in Folge eines Missverständnisses von H a c k l u y t
eingebürgert habe, ist jedoch nicht als gelungen anzusehen. (S. auch E g l i : Etym.
geogr. Lex. 1880, 108.) ↑
2 Was auch L y d e k k e r (Geogr. Hist. Mam. 1896, 47) noch ganz neuerdings
thut: „peculiar to the southern portion of the island“. R a d d e (25. Jb. Ver. Erdk.
Dresden 1896, 120) sah Buton-Exemplare irrthümlich für Cynopithecus niger an (s.
auch unten p. 5 Anm. 2). ↑
3 Siehe die Karte in Abh. Mus. Dresden 1896/7 Nr. 2. ↑
4 E v e r e t t (bei H a r t e r t Nov. Zool. III, 150 1896) erwähnt „probably“ M.
maurus vom Pik von Bonthain. Das Museum besitzt einen Foetus dieser Art
daher, von 1500′ Höhe (s. unten). ↑
5 Am 3. August 1871 hörte ich in Poso, laut Tagebuchnotiz, dass dort weisse
Affen als Anführer der schwarzen vorkommen sollen. Es sind dies vielleicht sehr
alte Individuen, Greise, oder jüngere albinotische, wie W e b e r (Zool. Erg. I. 104
1890) sie beschreibt (s. unten Anm.). ↑
6 R e i c h e n b a c h (Affen T. XXIV Fig. 370 s. a.) hat die Vorderhälfte davon
copirt; Fig. 368 und 369 sollen ebenfalls maurus vorstellen, gehören aber
keinenfalls der Art an; sie sind nach einem Exemplare des Museums gezeichnet
(p. 142), das nicht mehr zu identificiren ist. ↑
7 R e i c h e n b a c h (l. c.) hat die Abbildung von P. Z. S. 1860 auf Tafel XXVIII Fig.
408 copirt. ↑
8 Diese fünf abkürzten Beschreibungen mögen in Bezug auf Details durch die
Abbildungen ergänzt werden. ↑
9 Dr. J e n t i n k schreibt auch, dass nur die Exemplare a, b, c (aus der
Gefangenschaft) und j (Cat. XI, 32 1892) Arme und Beine n i c h t grau hätten,
diese 4 aber sind noch nicht adult; a, b und j werden zwar als: „à peu près adulte“
bezeichnet, aber bei a (Länge vom Vertex zum Anus 330 mm, Hinterhand 120)
sind die 3. Molaren erst eben zu sehen, bei b (375 und 140) im Unterkiefer eben im
Durchbruche, bei j (420 und 140) sitzt der Schädel noch im Balge, die
Längenmaasse beweisen jedoch die Jugend des Thieres zur Genüge. Ex. c ist als
„passablement jeune“ bezeichnet (410 und 140). 3. Molar noch nicht zu sehen.
Alte Individuen mit dunklen Beinen sind dies also keineswegs. Auch die weiblichen
Albinos, die W e b e r (Zool. Erg. i, 104 1890) von Maros und Parepare beschreibt,
und die er „full grown“ nennt, dürften nicht adult gewesen sein, denn das eine misst
vom Vertex zum Anus nur 435, gegen 490 bei dem Dresdner Tonkean
Männchen. ↑
[Inhalt]
2. und 3. Macacus cynomolgus L. und
philippinensis Js. Geoffr.
Das Vorkommen von Macacus cynomolgus auf C e l e b e s ist noch

nicht ganz sichergestellt. Te m m i n c k (Coup d’oeil III, 112 1849)
sagt, dass er dort eine leichte Färbungsdifferenz aufzuweisen
scheine. Worauf er sich dabei stützt, ist nicht angegeben, im
Leidener Museum sind keine Exemplare von Celebes (S c h l e g e l
Cat. VII, 102 1876, J e n t i n k XI, 27 1892). Im Norden kennt man
die Art nicht, Dr. R i e d e l , der so lange da lebte, hat nie davon
gehört. R o s e n b e r g (Mal. Arch. 1878, 266) giebt an, dass sie im
Süden gemein sei. Das kann man jedoch keinenfalls behaupten. Die
Herren S a r a s i n theilten mir mit, dass dieser Affe ihnen in Freiheit
auf Celebes nicht begegnet sei. W e b e r (Zool. Erg. I, 102 1890)
sah in Parepare an der Südwestküste ein Exemplar in
Gefangenschaft, was nicht beweisend ist, und seine Jäger
beobachteten eines bei Loka auf dem Pik von Bonthain, was
Bestätigung verlangt. Sonst finde ich keine Angaben; es bedarf
daher der sicheren Constatirung des Wildlebens der Art auf Celebes,
und, wenn dies der Fall sein sollte, der Untersuchung, wie sie sich
zu dem typischen cynomolgus verhält.
Der Makak der P h i l i p p i n e n ist ebensowenig genügend bekannt,

wenn auch weit bekannter als der von Celebes. J s . G e o f f r o y
basirte 1843 (Arch. Mus. Paris II, 568 pl. 5 = XXXIII, s. auch Cat.
syst. 1851, 29) seinen M. philippinensis auf einen von Manila lebend
erhaltenen Albino. S l a r k fand in Paris ein Exemplar „von den
Philippinen“, das er als M. fur beschrieb (P. Ac. Philad. 1867, 36 pl. I
uncol.), J . V e r r e a u x hatte ihm mitgetheilt, dass dieser Affe nur
auf Luzon vorkäme, was nicht richtig ist. In Luzon erhielt ich ihn 1872
auch (Mus. Berlin). G ü n t h e r (P. Z. S. 1876, 735) führt M.
philippinensis aus der S t e e r e schen Sammlung vom Berge
Mahayhay in Luzon und (1879, 74) aus der E v e r e t t schen von
Nord Mindanao auf. Ich erhielt ihn 1872 auf dem diesem nahen Süd
Negros (Mus. Dr. und Berlin) und auf Panay (Mus. Berlin 1). Das
Dresdner Museum besitzt ihn ausserdem von Cebu. Dr. P l a t e n
sammelte ihn 1887 auf Palawan (Mus. Leiden und Braunschweig 2);
S t e e r e (List 1890, 28) erwähnt ihn von Basilan, Samar und Leyte.
(Auf die kritiklose Compilation E l e r a s : Cat. sist. I, 2 1895 kann
man in diesem Fall unmöglich Rücksicht nehmen.) Thatsächlich also
ist ein Makak über die ganzen Philippinen verbreitet, jedoch noch
nicht so genügend bekannt, dass man, ohne Serien von Exemplaren
von vielen dieser Inseln [5]in der Hand, über ihn urtheilen könnte.
Erst solche werden ergeben, ob, oder wie sich die Localformen
dieses weit verbreiteten Affen auf den Philippinen gegen einander
abgrenzen.
1 Auch im Britischen Museum sind Exemplare aus meinen Sammlungen

vorhanden. ↑
2 Prof. W . B l a s i u s hatte die Güte mir das Exemplar zur Ansicht zu senden. ↑
[Inhalt]
4. und 5. Cynopithecus niger (Desm.) und
nigrescens (Temm.)
Tafel II Fig. 3–4 und III Fig. 3–4
S c h l e g e l (Cat. VII, 119 1876) führt beide als Macacus niger. Was
die generische Stellung anlangt, so sagt er zwar (p. 118): „Ce singe
rappelle les Papions par son ensemble et plus particulièrement par
son museau prolongé et pourvu de deux côtes saillantes“, erachtet
dies jedoch nicht für wichtig genug, um die Art zu den afrikanischen
Pavianen zu stellen. J e n t i n k (Cat. XII, 32 1892) ist ihm hierin
gefolgt, fast alle anderen Autoren aber acceptiren für diese isolirte
Form die Gattung Cynopithecus. Auch ich finde die Differenzen,
speciell des Schädels, zwischen ihr und Macacus viel zu bedeutend,
als dass ich, unter Anwendung der sonst üblichen Regeln, das
Zusammenstellen zweier so verschiedener Thiere in e i n e Gattung
für gerechtfertigt halten könnte, und andrerseits auch die
Unterschiede von Cynocephalus gross genug, um, bei dem
räumlichen Abstande, den Celebes Affen von dieser Gattung zu
trennen. Es bleibt eben eine der charakteristischesten Celebes-
Formen, ein Überbleibsel aus früherer Zeit, das erst
palaeontologische Entdeckungen ganz verstehen lehren werden. Die
Art ist noch viel isolirter als Macacus maurus, dessen nächsten
lebenden Verwandten wir doch in M. arctoides Js. Geoffr. von
Hinterindien 1 suchen können, wenn dieser Verwandter auch kein
sehr naher ist. Stellt man mit S c h l e g e l und J e n t i n k C. niger in
die Gattung Macacus und neben M. maurus, so verliert er allerdings
viel des Exceptionellen, und man könnte dann an die Entstehung
dieser beiden isolirten Formen aus einander denken, allein hierzu
möchte ich mich keineswegs bekennen.
Zwar haben Q u o y & G a i m a r d (Voy. Astrol. 1833 pl. 7) schon
zwei Schädel von C. niger abgebildet, einen jüngeren und einen
älteren, allein auch der ältere ist nicht adult, denn der obere 3. Molar
ist noch nicht ganz heraus, auch spricht die geringe Dimension des
ganzen Schädels, wenn natürliche Grösse gemeint ist, dagegen.
Ausserdem lässt die Kleinheit der Eckzähne ein Weibchen
vermuthen, worüber weder aus dem unklar gehaltenen Text (I, 67
1830), noch aus den Tafelerklärungen im Atlas und Texte Sicherheit
zu schöpfen ist. Auch scheint das Exemplar gar nicht von Celebes,
sondern von Batjan — „Matchian“ (sic!) — zu sein (p. 69). Ich bilde
daher auf Tafel II Fig. 3–4 und III Fig. 3–4 den Schädel eines adulten
Männchens von Main in der Minahassa (B 2735), in der norma
facialis, lateralis, verticalis und basalis (¾ nat. Gr.) ab, so dass ein
directer Vergleich mit dem Schädel von Macacus maurus auf
denselben Tafeln möglich ist. Dieser Vergleich ergiebt leicht die sehr
bedeutenden Unterschiede und erlässt mir ihre textliche
Hervorhebung, sowie die nähere Begründung dafür, dass ich nicht
beide in die Gattung Macacus zusammenstelle. Wenn der
abgebildete Schädel von C. niger auch 8 mm kürzer als der von M.
maurus ist, so sind sie im Ganzen doch gleich gross zu nennen und
jedenfalls ungefähr gleichaltrig, sowie adult. Auch die Körpergrösse
der beiden Exemplare kommt ziemlich überein (vom Vertex zum
Anus c. 490 mm 2). Der abgebildete ist nicht der grösste niger-
Schädel des Museums; ein männlicher (B 1477) von Batjan übertrifft
ihn, dessen Maasse, sowie die eines alten, aber defecten
männlichen von Main, in der Minahassa (B 2729), ich daneben setze
(es sind dieses die 3 ältesten aus einer Serie von 20 Schädeln), und
auch einige Skeletmaasse, soweit möglich, hinzufüge, um die oben
von M. maurus gegebenen vergleichen zu können: [6]
B 2735 B 2729 B 1477

(Cel.) (Cel.) (Batjan)
Schädellänge 136 mm — mm 142 mm
B 2735 B 2729 B 1477
(Cel.) (Cel.) (Batjan)
Jochbogenbreite 83,7 90,6 87
,, ,, ,,
Breite am proc. zygom. os. 63 67,2 63,6
front. ,, ,, ,,
Geringste Breite zw. den 6,7 6 5,6
Augenhöhlen ,, ,, ,,
Breite an den Alveolen der 40 41,3 43
Caninen ,, ,, ,,
Geringste Breite am Pterion 48 45,3 44,5
,, ,, ,,
Grösste Breite am Pterion 55,4 52,8 49
,, ,, ,,
Länge des Femur 3 194 — 201
,, ,, ,,
Länge der Tibia 178 — 185
,, ,, ,,
Länge des Humerus 170 — 175
,, ,, ,,
Länge des Radius 172 — 182
,, ,, ,,
Die Zahl der Schwanzwirbel giebt S c h l e g e l (Cat. VII, 119 1876)

auf 5 an. Das Museum besitzt 7 Skelette: Vier von Celebes haben 3,
4 und 5 Wirbel, bei dem einen der beiden mit 5 sind sie zu 4
verwachsen, eins von Lembeh hat 4, zu 3, zwei von Batjan haben 5,
zu 2, resp. 3 verwachsen. Man kann also nicht in allen Fällen von 5
normalen Caudalwirbeln sprechen. Die Ungleichmässigkeit zeigt,
dass der Schwanzrest bereits in absteigender Entwicklung begriffen
ist; jedenfalls ist er kürzer als der von Macacus maurus.
In meinem Tagebuche finde ich folgende Aufzeichnungen: Im
Februar 1871 sah ich an den Ufern des Flusses T u m u m p a t
unweit Manado Schaaren von 25 und mehr, ich schoss auch einige;
man hört sie schreien und sieht sie beim Herannahen des Bootes
von Baum zu Baum springen, so dass die Äste unter ihrer Last
krachen. Am 9. April schoss ich einige hinter M a l a l a j a n g unweit
Manado. Am 25. April sah ich sie sehr zahlreich auf M a n a d o
t u a . Die Insel ist unbewohnt, aber von Fischern viel und von
weither besucht, die die Affen füttern. Früher wurde jährlich von
Manado ein Boot mit Essen hingesandt und am Strande deponirt,
später beschränkte man sich darauf, ein Floss mit Essen und
brennenden Lichtern Abends in See zu schicken 4, 1871 that man
auch dies nicht mehr, erlaubte aber nicht, sie zu schiessen, da man
sonst sterben müsse. Die Affen waren dick und fett und so zahm,
dass sie sich in nächster Nähe niedersetzten und erst wegliefen,
wenn man sie, sozusagen, greifen konnte, doch näherten sich nur
Männchen. Sie warteten auf den Bäumen über uns bis wir vom
Essen am Boden aufstanden und stürzten sich dann auf die Reste.
(Vgl. auch bei S c h l e g e l : Cat. VI, 120 1876.) Wahrscheinlich sind
sie vom Menschen nach der kleinen vulkanischen Insel Manado tua
übergebracht worden. Im April beobachtete ich einen Trupp bei
Ta t e l i , nahe Manado, auf hohen Bäumen, wohinauf die Gewehre
nicht reichten, auch versteckten sie sich im Laube. Wir machten
unten ein Feuer mit viel Rauch, worauf sie auf eine nahe hohe
Kokospalme flüchteten. Diese erkletterte einer meiner Begleiter,
währenddem sich ein Affe c. 60 Fuss hoch herabfallen liess und
anscheinend unbeschädigt davonlief. Auch sah ich einmal am
Waldesrand eine Wache, die das Nahen einer Gefahr meldete,
worauf aus dem Innern geantwortet wurde. Auf der Insel B a n g k a ,
im Norden von Celebes (5. Mai), fand ich sie nicht; diese Insel ist
grösser als Manado tua. Am 10. Mai in der Strasse Lembeh notirte
ich, dass viel Affen auf der Insel und auf der Festlandküste seien.
Am 23. Juni in P a n g h u , im Gebirge der Minahassa, viele. Bei
einer Besteigung des K l a b a t (2. Juli) sah ich keine, doch heisst
es, dass viele daselbst seien. Am 24. August fand ich welche c.
2000 Fuss hoch auf dem B o l i o h u t o , nordwestlich von Gorontalo,
und notirte, dass sie von unten gräulich wären, also alte Exemplare,
die stets an der Brust und den Vorderextremitäten [7]grau sind. Sonst
ist die Art vom G o r o n t a l o schen und von To m i n i registrirt
(S c h l e g e l Cat. VII, 121 1876) und P. und F. S a r a s i n
beobachteten sie in Bolang Mongondo zwischen der Minahassa und
Gorontalo (Z. Erdk. Berl. XXIX, 375 1894). H i c k s o n (Nat. N. Cel.
1889, 82) nennt sie auf der Insel Talisse, an der Nordspitze von
Celebes, häufig.
Te m m i n c k sagt (Coup-d’oeil III, 112 1849) von C. niger, dass er

überall, mit Ausnahme der grauschwarzen Schenkel, intensiv
schwarz sei. Dies ist jedoch nicht richtig. C. niger ist nie überall
intensiv schwarz, sondern stets auf der Oberseite mehr oder
weniger, oft sehr stark, mit Braun versetzt. Das eine oder andere
Exemplar unter den 16 des Dresdner Museums von der Minahassa,
Manado tua und Lembeh ist tiefer schwarz, aber auf dem Rücken
zeigen auch diese stets Braun. Es darf daher, entgegen der Angabe
fast aller Autoren, die Hervorhebung dieser Farbe in der
Beschreibung nicht fehlen. Ferner sind nur die Oberarme und
Umgebung (bei alten Individuen aber auch die Unterarme) gräulich,
im Gegensatze zu Macacus maurus, wo vornehmlich die Schenkel
so auffallend hellgrau gezeichnet erscheinen.
Zugleich trennte Te m m i n c k (p. 112) C. nigrescens ab als

braunschwarz, besonders auf den Schultern und dem Rücken, und
mit jederseits ungetheilten Gesässchwielen,
g e g e n ü b e r d e n j e d e r s e i t s z w e i t h e i l i g e n b e i niger.
Die braunschwarze Färbung kann jedoch keinen Unterschied
abgeben, denn alle Exemplare, junge wie alte, männliche wie
weibliche, aus der Minahassa, von Manado tua und Lembeh haben,
wie bereits bemerkt, mehr oder weniger Braun, letztere besonders
ausgesprochen. Erst durch S c h l e g e l (Cat. VII, 121 1876) erfuhr
man, dass Te m m i n c k zur Fundirung seines nigrescens 5
Exemplare von Gorontalo, Tulabello und Tomini, also nicht aus der
Minahassa, dienten, bei denen es allerdings auffällig ist, dass sie
jederseits eine ungetheilte Gesässchwiele haben, gegenüber der
jederseits zweitheiligen der Minahassa Exemplare. S c h l e g e l (p.
119) hielt dies für individuelle Variation, was ich nicht annehmen
möchte. Die 5 genannten Exemplare, in den Jahren 1842 und 1864,
also in 22jährigem Zwischenraum, an 3 verschiedenen Localitäten
gesammelt, sprechen schon dagegen, und von den 16 Exemplaren
des Dresdner Museums von der Minahassa, Manado tua und
Lembeh hat nicht Eines eine ungetheilte Gesässchwiele, auch führt
S c h l e g e l (p. 120) unter 5 Exemplaren der Minahassa nur eines
an, das sie links ungetheilt habe. Von den Gefangenschafts-
Exemplaren, deren Herkunft man nicht kennt, sehe ich ab. Man kann
daher hier nicht von individueller Variation sprechen, sondern es
dürfte sich um einen constanten Charakter, der einer
geographischen Provinz angehört, handeln. Auch i c h habe in
meinem Tagebuch eine Notiz, dass das Gesäss der Gorontaloer
Affen dunkler sei, als das der Minahassaer, es muss mir also eine
Verschiedenheit aufgefallen sein, ich hatte jedoch keine
Gelegenheit, dies näher zu verfolgen. Jedenfalls muss es durch
weitere Untersuchungen klar gestellt werden, wie auch, ob andere
Differenzen vorhanden sind, vorläufig allerdings lässt sich C.
nigrescens als Subspecies—mehr würde die Form nie
beanspruchen können—nicht erweisen, sondern man kann nur
sagen, dass die Exemplare von Gorontalo bis Tomini an den
Gesässchwielen von den Minahassa Exemplaren abzuweichen
scheinen.
Der B a t j a n -Affe ist derselbe wie der der Minahassa, von wo er
auch dorthin gebracht 5 worden sein dürfte. Die 2 Exemplare des
Museums haben zweitheilige Schwielen und unter den 5 des
Leidener Museums (S c h l e g e l l. c. 121) hat nur eines ungetheilte.
Das von Q u o y & G a i m a r d (Voy. Astrol. pl. 7 1833) abgebildete
Gesäss eines Exemplares von Makjan (rect. Batjan) ist ungetheilt,
allein auf diese Abbildung dürfte kaum Etwas zu geben sein. Ich
muss auch bemerken, dass die Art des Trocknens der Häute und die
Art des Präparirens hier irreführen kann; 2 Exemplare aus der
Minahassa schienen ungetheilte Schwielen zu haben, nach dem
Aufweichen kam die Theilung jedoch sehr deutlich zum Vorschein.
A n d e r s o n (An. Zool. Res. I, 83 1878 Anm.) lässt auf Batjan
nigrescens zu Hause sein—„Celebes, Moluccas, and the small
adjacent Island of Batchian“ (sic!) —, was nun ganz irrig ist. 6
Die sich durch fast alle Bücher schleppende irrthümliche Angabe,

dass sich diese oder eine verwandte [8]Art auch auf den Philippinen
fände 7, mag daher rühren, dass die seit lange jährlich die Minahassa
und die Tominibucht zum Cacao-Einkaufe besuchenden Philippinen-
Schiffe lebende Affen mit zurücknahmen, die dann z. B. von Manila
aus in ein europäisches Museum kamen oder sonst (z. B. von Sulu
durch G o g o r z a , An. Soc. Espan. XVII, 9 des S. A., 1888) registrirt
wurden. Eine solche Verschleppung hat gewiss oft statt gefunden,
denn Affen werden jedem einlaufenden Schiff angeboten, so m i r
sofort, als ich am 25. November 1870 Abends in Kema per
Dampfschiff ankam.
1 E v e r e t t (P. Z. S. 1893, 494) führt arctoides auch von Borneo auf, indem er
melanotus Ogilb., den G ü n t h e r (P. Z. S. 1876, 425) von dort nennt, damit
identificirt (nach A n d e r s o n : An. Zool. Res. I, 45 1878 und Cat. Mamm. I, 74
1881), allein das betreffende junge Exemplar hatte, bei einer Körperlänge von 12
Zoll, einen 3½ Zoll langen Schwanz, es kann also nicht arctoides gewesen sein.
(S. auch H o s e Mamm. Borneo 1893, 8.) Die neuesten Abbildungen von jungen
und alten arctoides findet man bei A n d e r s o n (l. c. pl. I u. II 1878). ↑
2 Die ähnliche Färbung jüngerer Exemplare scheint z. B. W a l l a c e , der
vielleicht keine oder wenig Affen auf Celebes schoss, verleitet zu haben, M.
maurus im Süden für C. niger zu halten (Mal. Arch. D. A. I, 331 1869), was schon
W e b e r (Zool. Erg. I, 103 1890) bespricht (vgl. auch J e n t i n k : T. Aardr. Gen.
1889, 246). So irrte W a l l a c e auch, wohl ebenfalls in Folge dieser
Verwechselung, wenn er C. niger über „ganz Celebes“ (p. 393) verbreitet sein
lässt; wir sahen bereits oben unter M. maurus, dass er wahrscheinlich nur die
Nordhalbinsel bewohnt. Auch Te i j s m a n n (Nat. T. Ned. Ind. 38, 77 1879, s.
auch 23, 367 1861) nahm M. maurus im Süden (Pangkadjene) für C. niger; er
heisst hier dureh. (S. auch oben p. 1 Anm. 2.) ↑
3 Die entsprechenden Maasse einiger jüngeren weiblichen Exemplare sind:
B 2737 (Cel.) B 3077 (Lembeh) B 1475 (Batjan)
Länge des Femur 158 mm 146 mm 176 mm
Länge der Tibia 143 138 158
,, ,, ,,
Länge des Humerus 141 130 157
,, ,, ,,
Länge des Radius 147 136 159
,, ,, ,,
4 Ob Letzteres nicht in anderem Zusammenhange wie mit den Affen geschah,

will ich hier nicht untersuchen. Man vergleiche u. a. H i c k s o n : Nat. N. Cel.
1889, 163 und Globus LX, 154 1891, sowie S c h u r t z Abh. Sächs. Ges. Wiss.
Phil. Hist. Cl. XV, II. 68 1895. ↑
5 Der v . R o s e n b e r g schen Angabe (Mal. Arch. 1878, 268) möchte ich kein
grosses Gewicht beimessen, wenn es sich auch so verhalten haben
könnte. ↑
6 Die beste Synonymie von C. niger und nigrescens findet man in A n d e r s o n s
ausgezeichnetem Werke. ↑
7 Siehe z. B. W a l l a c e (Mal. Arch. D. A. I, 393 1869 und Geogr. Verbr. D. A. I,
495 1876). S c h u i l i n g (T. Aardr. Gen. 2. s. v, 536 1888) folgt W a l l a c e
blindlings, was schon J e n t i n k (l. c. VI, 244, 1889) gebührend beleuchtet hat,
und so bringt ebenfalls er dieses Philippinen-Vorkommen, wenn auch mit einem
„vielleicht“. Dass E l e r a , der unkritischeste aller Compilatoren, noch neuerdings
(Cat. sist. fauna fil. I, 4 1895) wieder die Art auch von Negros und Sulu aufführt,
kann unter diesen Umständen nicht Wunder nehmen; eine so kaltblütige
Abschreiberei, wie sie E l e r a in seinem mehrbändigen Werke sich hat zu
Schulden kommen lassen, dürfte einzig dastehen. ↑
[Inhalt]
6. Tarsius fuscus Fisch.-Waldh.
Die Art kommt nach W e b e r (Zool. Ergebn. III, 264 1893) nur auf
Celebes, Sangi, Saleyer 1 und Savu vor, wir werden aber sehen,
dass die Sangi Form von der von Celebes abweicht und
abzutrennen ist. Das Museum besitzt T. fuscus von Manado, Lotta
und Kenilo, in der Minahassa, von der Insel Menado tua 2 bei
Manado, vom Pik von Bonthain in Süd Celebes, von Tonkean, in
Nordost Celebes gegenüber Peling, und von der Insel Saleyer, im
Ganzen 15 Exemplare, das Leidener Museum hat ihn ausserdem
von Gorontalo (J e n t i n k Cat. XI, 81 1892), und ebendaher das
Berliner Museum aus meiner Sammlung, er scheint also ganz
Celebes zu bewohnen. Die Exemplare von Manado tua
unterscheiden sich nicht von denen des Festlandes. Ob T. fuscus,
wie wahrscheinlich auch Cynopithecus niger, vom Menschen auf
diese kleine vulkanische Insel hinübergebracht worden ist?
Das Exemplar von Saleyer hat den Schwanz weniger behaart,

scheint aber noch jung zu sein.
Inländischer Name in der Minahassa: tankassin. Ich besass das

Gespenstthierchen im Jahr 1871 in Manado lebend, konnte es aber
nicht lange in der Gefangenschaft erhalten.
F o r b e s (Prim. I, 21 1894) registrirt die Art irrigerweise auch von

den Philippinen. Er nennt als einziges Unterscheidungsmerkmal von
T. spectrum (Pall.) die dunkelbraunen Hände, allein an der Farbe der
Hände kann man die beiden Arten, deren Charaktere W e b e r
schon genügend und in bemerkenswerther Weise klar gestellt hat,
nicht erkennen. Die Verschiedenheiten im Skeletbaue lohnte es sich

Valerius Flaccus Argonautica Book 8 Edited With Introduction Translation and Commentary Cristiano Castelletti All Chapter

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Valerius Flaccus: Argonautica, Book 8:

Edited with Introduction, Translation,

OX F OR D C OMM E NTAR I E S ON FL AVIAN POET RY

Edited with Introduction,

Great Clarendon Street, Oxford, OX2 6DP,

Cristiano Castelletti, our dear friend and colleague, died unexpectedly on

TEXT AND TRANSLATION 15

A-­G Greenough, J. B., Kittredge, G. L., Howard, A. A., and D’Ooge,

1. CONTEXT AND AIM OF THIS COMMENTARY

The amount of work dedicated to Valerius Flaccus’ (henceforth VF) Argonautica

2. THE POEM’S IDEOLO GY IN A SPHR AGIS

1 See esp. Pellucchi (2012) v–lviii.

2. The Poem’s Ideology in a Sphragis 3

11 On acrostics in Latin epic, see also Kersten (2013).

2. The Poem’s Ideology in a Sphragis 5

3. THE EIGHTH B O OK AND THE END OF THE POEM

3. The Eighth Book and the End of the Poem 7

(Aeetes’ father), to whom Jupiter’s programmatic speech is addressed in the

20 On this point, see, for example, Sesti (1987) 241–8.

4. Text, Sigla, Editions, and Textual Abbreviations 9

gestures’ related to Jupiter’s Weltenplan, as discussed here, together with those

4. TEXT, SIGLA, EDITIONS, AND TEXTUAL

ω: consensus of γ and C. ω does not mean that a reading appears in all

Manuscripts derived from L and produced after 1429:

D: Laurentianus Plut. 39, 35

Vat: Vaticanus Ottobonianus 1515

Early modern editions:

Bon. 1474 (editio princeps, Bologna, 1474)

Other works abbreviated in the apparatus criticus:

Baehrens critical edition (Leipzig, 1875)

4. Text, Sigla, Editions, and Textual Abbreviations 11

Bosscha H. Bosscha in Schenkl2

Leo2 F. Leo, ‘Coniectanea’, Hermes 38 (1903), 308

4. Text, Sigla, Editions, and Textual Abbreviations 13

Sudhaus S. Sudhaus in Kramer’s edition (1912)

Text and Translation

C. Valeri Flacci Argonauticon Liber Octavus

Gaius Valerius Flaccus: Argonautica, Book 8

18 C. Valeri Flacci Argonauticon Liber Octavus

Iam prior in lucos curis urgentibus heros

24 curis M1 Reg c* : curiis L : curiit V || 31 talemque γ c* : talisque Baehrens || 35 acta γ : icta C ||

Gaius Valerius Flaccus: Argonautica, Book 8 19

20 C. Valeri Flacci Argonauticon Liber Octavus

huc referat me forte dies oculisque parentis

Gaius Valerius Flaccus: Argonautica, Book 8 21

22 C. Valeri Flacci Argonauticon Liber Octavus

horruit et dulces excussit ab arbore somnos.

Gaius Valerius Flaccus: Argonautica, Book 8 23

24 C. Valeri Flacci Argonauticon Liber Octavus

calcat et aeriam squamis perfertur ad ornum,

Gaius Valerius Flaccus: Argonautica, Book 8 25

26 C. Valeri Flacci Argonauticon Liber Octavus

exstat sola parens impletque ululatibus auras:

Gaius Valerius Flaccus: Argonautica, Book 8 27

28 C. Valeri Flacci Argonauticon Liber Octavus

Inde diem noctemque volant. Redeuntibus aura 175

Gaius Valerius Flaccus: Argonautica, Book 8 29

30 C. Valeri Flacci Argonauticon Liber Octavus

nulla palus, nullus Scythiae non maeret euntem

Gaius Valerius Flaccus: Argonautica, Book 8 31

32 C. Valeri Flacci Argonauticon Liber Octavus

quis modo tam saevos adytis fluxisse cruores

Gaius Valerius Flaccus: Argonautica, Book 8 33

TEXT AND TRANSLATION 15

A-G Greenough, J. B., Kittredge, G. L., Howard, A. A., and D’Ooge,

2. The Poem’s Ideology in a Sphragis 3

2. The Poem’s Ideology in a Sphragis 5

3. The Eighth Book and the End of the Poem 7

4. Text, Sigla, Editions, and Textual Abbreviations 9

4. Text, Sigla, Editions, and Textual Abbreviations 11

4. Text, Sigla, Editions, and Textual Abbreviations 13

Gaius Valerius Flaccus: Argonautica, Book 8 19

Gaius Valerius Flaccus: Argonautica, Book 8 21

Gaius Valerius Flaccus: Argonautica, Book 8 23

Gaius Valerius Flaccus: Argonautica, Book 8 25

Gaius Valerius Flaccus: Argonautica, Book 8 27

Inde diem noctemque volant. Redeuntibus aura 175

Gaius Valerius Flaccus: Argonautica, Book 8 29

Gaius Valerius Flaccus: Argonautica, Book 8 31

Gaius Valerius Flaccus: Argonautica, Book 8 33

Gaius Valerius Flaccus: Argonautica, Book 8 35