c3109550 • AHIS3310 Major Essay – Argonautika

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c3109550 AHIS3310 Major EssayArgonautika

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The manner in which Apollonius chooses to represent Jason, the hero of his epic the

Argonautika has continually intrigued scholars for its outstanding difference from the other

surviving epics, most notably HomersIliadand Odyssey. Jason is represented as a

completely different type of epic hero, distinguished him from his Homeric counterparts by

his methods and strengths. It was a type of hero more suited to the time and audience in

which theArgonautika was composed, in which, arguably, scholars and audiences of epic

were more interested in intellectual rather than physical prowess. The target audience for the

Argonautika preferred to hear about the successes of an intellectual hero, one who exercised

wit and deception in order to achieve what he wants, rather than brute strength. As a result of

this and the standard for the epic genre already established by Homer, much of the way Jason

is characterised in the epic seems to suggest that Apollonius is constructing an argument and

response to the existing criteria of the epic hero. The representation of Jasons relationship

with his major supporting characters - Hercules and Medea, as well as the way he approaches

his quest and most importantly the way Apollonius constructs his entire nature can be

examined to reveal that the representation of Jason in the Argonautika is one of many textual

techniques used by Apollonius as part of the agenda behind his creatively constructed

argument on epic and the epic hero.

Jasons relationship with Heracles is established early to be conflicting and awkward, and this

clash and contrast of their natures is all part of Apollonius specific representation of Jason as

a unique but justified epic hero. Jason is not heroic in the same way that Heracles is, and this

bewilders and perplexes Heracles because, as a traditional epic hero he is reliant on brute

strength, so he does not recognise Jasons methods, or perceive the importance of diplomacy

and good relationships with significant people who could be instrumental to succeeding in a


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quest. The choosing of the quests leader (1.336-352) is one of the most pointed scenes where

the representations of Heracles and Jason are contrasted, and it is significant to Apollonius

argument to validate Jason as an epic hero. It is Jason who initiates the vote for leader, and

although everyone immediately turns to Heracles, (1.341-3) it seems Jason anticipated his

refute and recommendation from the fact that as soon as the men express approval, he

immediately institutes action. Heracles willing transferral of leadershipand hence power

and heroismhas tones of a succession: when later in the quest it Heracles is removed and

the tasks laid out by king Aietes are evidently impossible to complete with mere physical

strength, it is revealed that this establishment of Jason as leader was a basis for his later

heroism. The group is also an important dynamic in this scene. The men are equally quick to

accept him as leader as they were when they first turned to Heracles. (1.345-352) When it is

argued that the selection of Jason seems to validate the notion of group solidarity, (Toohey,

1992) it is recognised that this is a way of alienating and outdoing Heracles, who is no group

man [and] would have fitted better into the world of Homer (Toohey, 1992) The undeniable

differences between the two men are given attention as a foundation for their later

comparison, and eventual assessment. Jasons difference from Heracles is really just the more

obvious of a series of heroic contrasts and references that Apollonius makes to existing epic

heroes in order to distinguish Jason from them:

One by one the archetypal heroes who appear in Apollonius' poem are discreditedas

opposed to constant emulation of JasonIn discrediting the traditional heroes of epicin this way, Apollonius is not just reflecting an Alexandrian literary bent, but he is

throwing into relief Jason's character, thoughts, and potential. (Jackson, 1992)

This is ultimately to the purpose of arguing that his method; that of the smart, deceptive and

pragmatic is superior than their often brave but violent approach, which is constantly suggests

is outdated through the fact that Jason actually does accomplish everything he sets out to do

and more. (Holmberg, 1998)


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Jasons relationship with Medea is one such example of where Jason accomplishes what he

sets out to do, although this particular incident does involve consequences. The relationship is

a complex combination of politics, witchcraft, love and deception for selfish reasons, and as

can be expected, it results in disaster. It is important to acknowledge the context of the epic

here, and mention that Euripides playMedea was already in popular circulation; it

undoubtedly influences the way Apollonius constructs her as a character, as well as the

relationship between her and Jason. By the time Jason recognises the potential of her power

and significance, especially her key position in relation to Aietes, Apollonius has established

that the method by which he gains this advantage will be deception rather than force, through

the third books opening scene of the divine plan between Hera and Aphrodite. This was the

first appearance of the gods in the epic, and the whole focus of their discussion is the

successful manipulation of Medea, achieved by bribing Eros to infect her with love. Although

Jason is not aware of the aid given him by the gods, he still can instantly recognise that

Medea is overcome by a desire for him, and he immediately uses this to his advantage,

(Holmberg, 1998) using flattering and coaxing words, including oaths and virtual marriage

proposals in order to captivate her.

TheArgonautika presents a Jason for whom it is possible to break oaths, thereby

reinforcing the Euripidean narrative, and presents a Medea who is already willing to

resort to the most extreme threats to enforce the promises made to her.

(Holmberg, 1998)The theme of deception is linked to that of betrayal, which consequently becomes

increasingly evident when first Medea betrays her family, and then Jason attempts to betray

his promise to her when he shows a willingness to trade her in order to survive. Medea resorts

to murdering her brother in order to make her sworn loyalty and love for Jason (and, possibly

her abandonment of her family) worthwhile, and so the Absyrtus sceneof extraordinary

slaughter prove[s to be] the acme of a chain of events forming the themes of sin, hybris,


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betrayal, and love. (Toohey, 1992) Jason has now deprived Aietes of both a daughter and

son, and this will eventually result in the murder of his own children.(Toohey, 1992)

This, and more will all result from the deception by Jason. It is all part of the increasingly

apparent falsity that is the entire foundation for their relationship. This ultimately spells its

doom, and is a direct reference to the fate, already known, in Euripides play. It is also,

however, an argument for the validity of heroic pragmatism and emotional distance: although

it may mean extensive tragedy and grief for Jason later on, it also is the means to his

achievement and obtaining of the Golden Fleece.

Jasons manipulation of Medea is exemplary of his methods for achieving his goals, most

notably his tactics of diplomacy and infiltration. Apollonius is arguing that these are the more

successful methods of heroism, and he evidently represents Jasons quick wit and ability to

seize any opportunity as positive aspects of his character as an epic hero. The fact that such a

small part of the epic is devoted to his confrontation with the earth -born men, (3.1365-

1407) as well as the they seem to be so easily defeated is again a component of Apollonius

construction of him as a hero that is definitely able to defend himself physically, but is more

capable of using other means to achieve his goals. Apollonius is effectively acknowledging

and discrediting the advantages of physical prowess at the same time. He ends the scene with

the simple sentence So the day went on, and Jasons ordeal was ended. (Apollonios

Rhodios, 1997) by allowing Jason to defeat this enemy physically, he is stating that Jason

does not necessarily lack heroism, but just approaches his challenges differently, and is still

evidently successful. (Zanker, 1979) In order to support this approach to epic heroism,

Apollonius also mocks physical strength through the ways in which he depicts Heracles.

Arguably the most heroic thing that Heracles does in the epic is save Jason and the Argonauts

from losing sight of their quest in Lemnos, and it is almost comic when his sheer physical


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strength is responsible for the fact that he breaks his oar. Apollonius goes as far as to depict

him acting rather pathetically when Hylas goes missing; he does not search practically but

rages about, overcome with emotion, (1.1261-1272) to the extent that Apollonius compares

him to a bull inflicted with gadfly. In this manner throughout his whole epic Apollonius

strives to advocate his perception of heroism as involving intelligence over strength.

And so Apollonius attempt to validate an alternate heroism through theArgonautika is

Alexandrian in its complexity, but it is also particularly strengthened in its acknowledgment

of the potential weaknesses and disadvantages to the methods behind the heroism that he

represents through Jason. The exploitation of the theme of love as a means to an end is not

presented as something lacking consequences, as we saw with the Medea scene. This is,

however, also illustrated through the Cyzicus incident earlier in the epic, which functions as a

parallel to the tragedy of his relationship with Medea, because here too, Jason is inadvertently

responsible for a series of tragic and unwarranted deaths. This scene, like the manipulation of

Medea, has themes of powerlessness, love, and abuse ofxenia. The fact that the Argonauts

are welcomed and offeredxenia, is added to the representation of an evident purity in the

love between the young king and queen, which can be contrasted with that between Jason and

Hypsipyle and later with that of Jason and Medea: in each case, though, love turns out to

cause distraction, and this is followed by a kind of tragedy and loss. Jason destroys Cyzicus

marriage by entangling himself in a situation, and this is echoed later in the fate of his own

marriage. Love is then a major instrument used by Apollonius in the epic. It is used by his

hero Jason as a means to completing his quest, and Apollonius acknowledges that there are

definite consequences of the abuse of such an important emotion. Combining this with an

equally valid argument that discredits of most of the existing epic heroes, however, is what


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reveals Apollonius representation of Jason as a deliberated challenge to the existing

standards and criteria of epic heroism.

All of the significant elements of the way that Apollonius has constructed his epic support the

argument that he was attempting to challenge the established quota and characteristics of the

epic hero as established by Homer. His innovations in the epic, especially his concentration

on the theme of love, are parallel to currents observable in what we know of the rest of

Alexandrian poetry, in particular epic, (Zanker, 1979) and so, as a response to the rigidity of

epic in his context,Apollonius sought to make an intellectual argument about the possibilityfor an alternate nature and personality that is equally heroic to those of Achilles, Hector and

Odysseus. He, like the traits that he emphasises in Jason, manipulated something already in

existencein his case the challenge to supersede Homer, for his hero; Medeaand used it to

achieve a purposein his case a creative piece that conformed to certain criteria of epic and

yet challenged it - In representing a hero like Jason as so different from those of Homer, and

yet equally successful, he is constructing a complex commentary on the validity of traditional

epic heroism to his modern context.


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Works Cited

Apollonios Rhodios (1997). The Argonautika (Peter Green, Trans.). Berkeley, Los Angeles,

London: University of California Press.

Holmberg, Ingrid (1998). Mhtis and Gender in Apollonius Rhodius' Argonautica.

Transactions of the American Philological Association 128, 135-159.

Jackson, Steven (1992). Apollonius Jason: Human Being in an Epic Scenario. Greece &

Rome, 39(2), 155-162.

Toohey, Peter (1992).Reading Epic. London: Routledge.

Zanker, Graham (1979). The Love Theme in Apollonius Rhodius' Argonautica. Wiener

Studien, 13, 52-75.

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c3109550 • AHIS3310 Major Essay – Argonautika