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The adjective  (21) clearly refers to the epic  . But the passage is not entirely without its surprises. In v. 19 the poet calls Heracles  , 'bearing or enduring labour' in the version of LSJ. This, too, is an epic word, but can hardly serve to make Heracles more impressive, for in Homer, as well as in Hesiod, it is used exclusively for mules. |
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When the season to sail has come, this is again described in three ways (256). First the poet refers to the rise of the Pleiades, "an epic-celestial sign", according to Mastronarde (1968: 280). But then we are again in a rural landscape: 'at the time when the outer edges of the domains nourish the young lamb'; this is followed by the third reference:  , 'when spring has already turned into summer'. The collocation  (25) . . .  (27) is reminiscent of Hesiod's Erga (see, for instance, 414420; 582585), while  (2728), 'the divine flower of the heroes', is without a doubt a reference to Pindar's 4th Pythian Ode, in which the Argonauts are called  (188). Through this Pindaric association the glorious heroism of the Argonauts is emphasized, while, on the other hand, there may be a tinge of irony in  'besought themselves of the sea voyage'. In any case, the phrasing does not suggest that they had been eagerly looking forward to their heroic enterprise. |
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Once the Argonauts arrive in Cios, Theocritus abruptly places them in an unmistakably pastoral atmosphere. The end of the verse  is Homeric, but as it is used there (Od. 2.322) to refer to the suitors who are preparing a meal in the palace of Odysseus, it calls up no heroic associations. In true bucolic style, the Argonauts spread out upon the ground a bed of plants, having cut sedge and galingale for that purpose. In the midst of this bucolic scene Hylas goes off to fetch water. Again there is explicit mention of his hair, but now by means of the standard Homeric epitheton of Menelaus: ' (36), 'the fair Hylas'. For an instant we associate the boy with the Homeric hero, but Hylas is decidedly no warrior, although he is in the company of warriors. He is handsome and desirable, but also passive and defenceless. |
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The spring which Hylas finds is surrounded by plants: the description of the place has been included in Motte's list of the 'love landscapes' of Greek literature.16 The nymphs are called  , 'formidable goddesses', just as in the Odyssey Athena, Calypso and Circe are referred to as   . While they have  (48), 'tender hearts', they are nevertheless to be feared, not least by Hylas: they have only to grab his hand and he falls straight into the water. |
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16 See pp. 208211. On p. 213: "Tout se passe comme si les Grecs ne pouvaient se représenter idéalement l'unité amoureuse sans que surgisse en leur esprit l'image d' un espace verdoyant, . . .". |
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