PORTER, JOHN R., Tiptoeing through the Corpses: Euripides' "Electra", Apollonius, and the "Bouphonia" , Greek, Roman and Byzantine Studies, 31:3 (1990:Fall) p.255 Tiptoeing through the Corpses: Euripides' Electra, Apollonius, and the Bouphonia John R. Porter For D. ]. Conacher EURIPIDES' ELECTRA has become something of a focal point in recent disputes regarding the nature and intent of Eurip idean drama. The orthodox reading of the play has found in it, for good or ill, a clear instance of the poet's hostility to received myth and of his aversion to the ethical and religious presuppositions contained therein. In Euripides' treatment of the Orestes story (as opposed to those of Aeschylus and Sophocles) the patina of legend is stripped away and we are presented with ordinary people who perform the acts assigned to them by tradition, but do so in broad daylight, as it were, amid the disconcerting realism, the unglamorous mundaneness of the dramatic world that Euripides sets before us-or so the standard reading of the play would maintain. The uneasiness aroused by this harsh disjunction beween what the characters purport to be and what they are is regarded as an essential element in the work's dynamic and an important clue to its ultimate meaning.t 1 A good example of this approach is provided by W. G. Arnott, "Double the Vision: A Reading of Euripides' Electra," G&R 28 (1981) 179-92. Cf, to varying degrees, E. T. England, "The Electra of Euripides," CR 40 (1926) 97-104; S. M. Adams, "Two Plays of Euripides," CR 49 (1935) 118-22; G. M. A. Grube, The Drama of Euripides (London 1941) 297-314; G. Murray, Euripides and his Age2 (Oxford 1946) 76-79; M. Pohlenz, Die griechische Tragodie2 (Gottingen 1954) 309-15; F. Stoessl, "Die Elektra des Euripides," RhM 99 (1956) 47-92; R. Lattimore, The Poetry of Greek Tragedy (Baltimore J. 1958) 109f; C. Kamerbeek, "Mythe et n!alite dans !'oeuvre d'Euripide," in A. Rivier and 0. Reverdin, edd., Euripide (Geneva 1960) 3--41; M. J. O'BRIEN, "Orestes and the Gorgon: Euripides' Electra," A]P 85 (1964: hereafter 'O'Brien') 13-39; H. D. F. Kitto, Greek Tragedyl (London 1961) 330--41; D. J. Conacher, Euripidean Drama (Toronto 1967) 199-212; B. M. W. Knox, "'Euripidean Comedy," in Word and Action (Baltimore 1979) 251-56 (=A. 255 PORTER, JOHN R., Tiptoeing through the Corpses: Euripides' "Electra", Apollonius, and the "Bouphonia" , Greek, Roman and Byzantine Studies, 31:3 (1990:Fall) p.255 256 TIPTOEING THROUGH THE CORPSES The messenger's description of Aegisthus' murder at lines 774-858 often is cited in this context.2 In most treatments of the Orestes legend Aegisthus is dispatched with relatively little fanfare and with few troubling moral or ethical implications. His death is presented as well-deserved and long overdue. 3 Such is not the case (or at least not evidently the case) in Euripides' treatment of the story, where the usurper is cut down from behind in the midst of a sacrifice to which he courteously has invited the unrecognized Orestes. In this new version Cheuse and R. Koffler, edd., The Rarer Action [New Brunswick 1970] 70-75); B. Vickers, Towards Greek Tragedy (London 1973) 558-66; G. Freris, ·E.lectre. L'incarnation d'une enigme," Dodone 6 (1977) 15-39; J. R. MULRYNE, •Poetic Structures in the Electra of Euripides," LCM 2 (1977: 'Mulryne') 31-38, 41-50; G. B. WALSH, •The First Stasimon of Euripides' Electra," YCS 25 (1977: 'Walsh') 277-89; K. C. King, •The Force of Tradition: The Achilles Ode in J. Euripides' Electra," TAPA 110 (1980) 195-212; H. W. Morwood, •The Pattern of the Euripides Electra," A]P 102 (1981) 362-70; T. A. Tarkow, •The Scar of Orestes: Observations on a Euripidean Innovation," Rh M 124 {1981) 143-53; J. W. Halpern, •The Skeptical Electra," HSCP 87 (1983) 101-18; N. G. L. Hammond, ·spectacle and Parody in Euripides' Electra," GRBS 25 (1984) 373-87; D. Konstan, • Philia in Euripides' Electra," Philologus 129 (1985) 176-85; S. Goldhill, Reading Greek Tragedy (Cambridge 1986) 162-65, 228f, 244-59. The pioneering study is Wilamowitz, ·nie heiden Elektren," Hermes 18 (1883) 214-63. For the related theory that Euripides attempts a direct refutation of Sophocles' treatment of the Orestes myth, see H. Steiger, ·warum schrieb Euripides seine Elektra ?" Philologus 56 (1897) 561-600; K. von Fritz, •Die Orestessage bei den drei groBen griechischen Tragikern," in Antike und moderne Tragodie (Berlin 1962) 140-45. Cf A. Rivier, Essai sur le tragique d'Euripide2 (Paris 1975) 119-24, who examines the contrast between the characters' actions and the idyllic setting in which the poet locates those actions. 2 Among the studies cited in n.1 see England 103; Adams 121; Grube 308; Stoessl 88f; Rivier 120; Kitto 336; O'Brien 27f, 34; Conacher 206f; Knox 252; Vickers 560f; Mulryne 33f; Walsh 283-86; Arnott 186-90; Morwood 367; Tarkow 144f; Hammond 385f; cf. F. Will, •Remarks on Counterpoint Characterization in Euripides," CJ 55 (1960) 342f; U. Albini, • L' Elettra di Euripide," Maia 14 (1962) 92f, 101ff; F. Zeitlin, •The Argive Festival of Hera and Euripides' Electra," TAPA 101 (1970) 652f, 660; S. A. Barlow, The Imagery of Euripides (London 1971) 74f; E. Masaracchia, •Interpretazioni euripidee," Helikon 17 (1977) 155-62; H. B. Foley, Ritual Irony (Ithaca 1985) 43ff. 3 Cf J. D. Denniston, ed., Euripides, Electra (Oxford 1939) xxv. Note e.g. the numerous depictions of Aegisthus' death in Greek art of the archaic and early classical period, in contrast to the relative dearth as regards the murder J. of Clytemnestra: see A. N. W. Prag, The Oresteia (Warminster 1985), particularly 10-32, 42f. PORTER, JOHN R., Tiptoeing through the Corpses: Euripides' "Electra", Apollonius, and the "Bouphonia" , Greek, Roman and Byzantine Studies, 31:3 (1990:Fall) p.255 JOHN R. PORTER 257 Aegisthus simply does not appear to be as villainous-nor Orestes as heroic-as he should be. The description of the death-blow is particularly unsavory in its explicitness. Aegisthus is in the act of examining the victim's entrails when we read (839-43 ): 'tou 8£ vEuov'toc; Kchc.o ovuxac; E1t' aKpouc; <J'tcl<; Ka<JtyYTl'tO<; a£6Ev £c; a<povouA.ouc; E7tataE, vorna'ia o£ EPPTl~Ev iip6pa · 1tfxv o£ a&Jl' iivc.o Kci'tro ila7tatpEv itMA.t~E ouaOvnaKrov <povcp. 4 The account of this disconcertingly polite Aegisthus5 being butchered from behind has been regarded by the majority of critics as confirmation that the Electra is to be read as an expose of sorts: in this particular regard, as a study of the true nature of vengeance-slaying when seen in the cold light of day, shorn of any mythological, heroic, or jingoistic trappings.6 4"'as [Aegisthus] was leaning down, your brother raised himself on the tips of his toes and smote at his spine, smashing the vertebrae; his body was all convulsed, heaving, writhing in hard and bloody death . ., The text is that of J. Diggle, Euripidis Fabulae II (Oxford 1981 ); the translation is that of M. J. CROPP, Euripides, Electra (Warminster 1988: hereafter 'Cropp, Electra'). On J. the text of 842f cf Denniston (supra n.3) ad loc.; C. Kamerbeek, "'Some Notes on Euripides' Electra," Mnemosyne SER. 4 40 (1987) 282. 5 The suggestion that Aegisthus invites Orestes to take part in the rite merely as an excuse to display his own prosperity (M. S. Mirto, • Il sacrificio tra metafora e mechanema nell' Elettre di Euripide," CivCiassChrist 1 [1980] 306£, 329) does not seem to be borne out by the text of 634-37 or that of 779--839. C. H. Keene (The Electra of Euripides [London 1893] vi f) argues that, compelled by the rules of hospitality, Aegisthus merely attempts to avoid any diminution of his own time; cf J. E. G. Whitehorne, "'The Ending of Euripides' Electra, • RBPhil 56 (1978) 8 n. 9. Others would maintain that he is the victim of divine ate or simple arrogance (G. Murray, tr., The Electra of Euripides [London 1913] 93; R. Aelion, Euripide heritier d'Eschyle [Paris 1983] I 132), while W. Wuhrmann, Strukturelle Untersuchungen zu den heiden Elektren und zum euripideischen Orestes (diss.Ziirich 1940) 74ff, cites the apparent contradictions in the presentation of Aegisthus as evidence for the poet's lack of concern for consistency of characterization ( cf, most recently, I. J. F. de Jong, "'Three Off Stage Characters in Euripides," Mnemosyne SER.4 43 [1990] 14-19). 6 Thus e.g. the often cited comment of Vickers (supra n.1) 561: "'The realism has its effect, creating a sickening alienation from revenge." Cf G. Norwood, Greek Tragedy (London 1920) 256; E. T. Vermeule, tr., Electra, in D. Grene and R. Lattimore, edd., Complete Greek Tragedies: Euripides V (Chicago PORTER, JOHN R., Tiptoeing through the Corpses: Euripides' "Electra", Apollonius, and the "Bouphonia" , Greek, Roman and Byzantine Studies, 31:3 (1990:Fall) p.255 258 TIPTOEING THROUGH THE CORPSES The last few years have witnessed a reaction against this reading of the play, particularly as regards its dependence on ironic double entendre and psychological nuance. Recent studies emphasize instead the exciting and innovative nature of the plot and, while playing down the problematic features of the Euripidean account, point to parallels with the story of Odys seus' homecoming. 7 Thus Malcolm Heath, for example, who presents a general protest against the modern tendency toward the abstract "intellectualisation" of these plays, argues that Euripides is operating firmly within an ancient tradition of "emotive hedonism," in accordance with which "the tragedian aims primarily to evoke an emotional response from his audience, while the audience for their part value his work because of the pleasure that accompanies such emotional excitation under the controlled conditions of a theatrical fiction."8 The Electra, Heath would claim (59f, 62f), presents a moving and exciting treatment of the Orestes story, charac terized by a sophistic taste for ingenuity and paradox. On the other hand, Michael Lloyd and (most recently) Martin Cropp attempt to interpret the play along more traditional lines, 1959) 5; O'Brien 27f; Walsh 284ff. Mirto (supra n.5: 312f) notes the de humanizing force of the description, with Aegisthus suddenly reduced to the level of a beast thrashing about in its death-throes: cf. Grube (supra n.1) 308; Mulryne 45f; A. N. Michelini, Euripides and the Tragic Tradition (Madison 1987) 214 n.144. The problematic nature of Orestes' deed further is set off by the athletic/heroic terms in which it is portrayed: Adams (supra n.1) 121; O'Brien 23; M. Kubo, •The Norm of Myth: Euripides' Electra," HSCP 71 (1966) 23f; Zeitlin (supra n.2) 655ff, 659f; Mulryne 37; Arnott (supra n.1) 186-90 and •Red Herrings and Other Baits, A Study in Euripidean Techniques," MusPhilLon 3 (1978) 20f; Mirto (supra n.5) 311 with n.33; Foley (supra n.2) 43; Michelini 217 n.157. J. 7 See, in particular, Dingel, •ner 24. Gesang der Odyssee und die Elektra des Euripides," Rh M 112 (1969) 10 3-09; Halp orn (supra n.1) 10 7f; M. Cropp, • Heracles, Electra and the Odyssey," in M. Cropp, E. Fantham, and S. E. Scully, edd., Greek Tragedy and its Legacy (Calgary 1986) 191 with n.17; W. Kullmann, •neutung und Bedeutung der Getter bei Euripides," in Mythos, Deutung und Bedeutung (Innsbruck 1987) 18; Michelini (supra n.6) 185f, 197f; cf. H. Diller, •Erwartung, Enttauschung und Erfiillung in der griechischen Tragodie," SerPhilAen 7/8 (1962) 93-115; Knox (supra n.l) 268f; Tarkow (supra n.1). 8 M. Heath, The Poetics of Greek Tragedy (Palo Alto 1987) 11; cf. 35f, 71-80. PORTER, JOHN R., Tiptoeing through the Corpses: Euripides' "Electra", Apollonius, and the "Bouphonia" , Greek, Roman and Byzantine Studies, 31:3 (1990:Fall) p.255 JOHN R. PORTER 259 emphasizing its tragic interplay of fate, character, circumstance, and confounded expectations. 9 As regards the murder of Aegisthus, these scholars would challenge the notion that the messenger's narrative is as problematic as many have alleged. They note (among other points10) that Orestes always employs guile, of necessity, in all versions of the myth; that Greek ethics never stress 'fair play' in dealings with one's enemies in any case; and that (to quote Lloyd) "a person in the act of sacrificing, unlike someone who had taken refuge at an altar, did not enjoy any special protection from the gods. 11 Thus the modern assumption that there is » 9 M. Lloyd, •Realism and Character in Euripides' Electra," Phoenix 40 (1986) 1-19; Cropp, Electra xxix-xxxviii, xlvi-xlviii. For similar readings of EL (which vary, however, in their estimation of the play's success) see Wuhrmann (supra n.5) 45-89; W. Zurcher, Die Darstellung des Menschen im Drama des Euripides (Basel 1947) 108-48; A. Vogler, Vergleichende Studien zur sophokleischen und euripideischen Elektra (Heidelberg 1967); W. Steidle, Studien zum antiken Drama (Munich 1968) 63-91; M. F. Fresco, ·zur Schuld des Orestes," in J. M. Bremer, S. L. Radt, and C. J. Ruijgh, edd., Miscellanea Tragica (Amsterdam 1976) 101-08; G. Basta Donzelli, Studio sull' Elettra di Euripide (Catania 1978); V. J. Rosivach, •The 'Golden Lamb' Ode in Euripides' Electra," CP 73 (1978) 192-99; Whitehorne (supra n.5 ); A cHi on (supra n.5) 111-44; E. M. Thury, •Euripides' Electra: An Analysis through Character Development," R h M 128 (1985) 5-22; D. Kovacs, ·where is Aegisthus' Head?" CP 82 ( 1987) 141 with n.6. Michelini, in one of the most acute analyses of Electra in recent years, argues (supra n.6: 181-230, esp.227) that deliberate confusions of genre in the play produce •a radical discontinuity between real and ideal,, which in turn introduces a series of troubling ambiguities on a variety of levels, aesthetic, moral, and social; this approach allows Michelini to draw upon the best of both schools of thought regarding the play while paying due regard to its 'metatextual' features. 10 See esp. Cropp, Electra xxxi-xxxii and ad 774-858. Cf. Wuhrmann (supra n.S) 68ff, 72-76; Steidle (supra n.9) 82-85; Fresco (supra n.9) 106f; Aelion (supra n.S) 131f; Michelini (supra n.6) 210f, 213f, 216f; Lloyd (supra n.9) 15f; de Jong (supra n.S); and in general see F. Solmsen, •zur Gestaltung des lntriguenmotivs in den Tragodien des Sophokles und Euripides,, in E.-R. Schwinge, ed., Euripides (Darmstadt 1968) 326-44 (=Philologus 87 [1932] 1-17) esp.336, where he maintains that in Euripides' later works the mechanema •in keinerlei prinzipiell fremdartige Ideenkomplexe hineingezogen wird, vor allem nirgends in einen drama tisch fruchtbaren Konflikt mit sittlichen N ormen eintritt., Note, however, the important qualification proposed by G. Zuntz in Rivier and Reverdin (supra n.1) 116f. 11 Lloyd (supra n.9) 16; Cropp, Electra ad 774-858, detects a fitting reciprocity in Aegisthus' murder while playing host to Orestes, since, according to the tradition reflected in Homer's Odyssey, Aegisthus was Agamemnon's host on the occasion of the earlier murder. Zeitlin (supra n.2: 654) notes paral- PORTER, JOHN R., Tiptoeing through the Corpses: Euripides' "Electra", Apollonius, and the "Bouphonia" , Greek, Roman and Byzantine Studies, 31:3 (1990:Fall) p.255 260 TIPTOEING THROUGH THE CORPSES something inherently unsettling about the manner of Aegisthus' death, according to these scholars, is founded on attitudes that the Greeks of Euripides' day simply did not share: in their view, this exciting and innovative account of the tyrant's demise is calculated to serve as a foil to the ensuing matricide, which (as in Aeschylus' Choephoroe) is to be regarded as providing the true crux of the play and which serves as the focus of its angst-ridden concluding scenes. 12 One might take issue with the above arguments (see Appen dix), but my concern here is to propose a somewhat different approach to this passage. There is evidence to suggest that for Apollonius of Rhodes, at least, the traditional interpretation of the Euripidean account is precisely correct, and that he is influenced by that account (as well as by other features of Electra) in his rortrayal of Jason's assault upon Apsyrtus in the fourth book o the Argonautica. 13 The notion that Apollonius lels between Aegisthus' situation and that of his father Thyestes as described in the second stasimon. 12 See Wuhrmann (supra n.5) 50f, 72f, 82-86; Pohlenz (supra n.l) 31lf; H. Strohm, Euripides (Munich 1957) 82; Diller (supra n.7) 97ff; K. Matthiessen, Elektra, Taurische Iphigenie und Helena (Gottingen 1964) 78ff; Vogler (supra n.9) 177 with n.120; Steidle (supra n.9) 89; Fresco (supra n.9) 106; Basta Donzelli (supra n.9) 143, 156£, 179; Thury (supra n.9) 12, 20; Kullmann (supra n.7) 18; Cropp (supra n.7) 195 and Electra xxix-xxxi and ad 959-87; de Jong (supra n.S) 20. Masaracchia (supra n.2: 160), noting parallels in the language and imagery employed to describe the two murders, argues that Orestes and Electra both are portrayed as "sacerdoti di una religione crudele e sanguinaria che esige vittime umane." Dingel (supra n.7: 108 n.15) suggests that the death of Aegisthus is modeled in a general fashion on the murder of the Suitors in Od. 21-22: •der fremde Gast unterzieht sich bei festlicher Gelegenheit einer Aufgabe (don gegen den Willen, hier auf Wunsch des Opfers) und totet sein Opfer dann mit dem Werkzeug, das er zur Ausfiihrung der Aufgabe benutzt hat." These parallels are too broad, however, to be compelling: most important, the scenario of Od. 21-22 lacks the crucial element that characterizes the murder of Aegisthus, the sacral nature of the occasion. For the view that Euripides is, in part, merely 'correcting' the improbabilities inherent in Aeschylus' account, see e.g. Pohlenz 311; cf Steidle (supra n.9) 69; Masaracchia (supra n.2) 156£. 13 On the various traditions regarding Apsyrtus' death see J. G. Frazer, ed., Apollodorus, The Library (London 1921) I 112 n.2; U. von WILAMOWITZ MoELLENDORFF, Hellenistische Dichtung in der Zeit des Kallimachos (Berlin 1924: hereafter 'Wilamowitz') II 191-94; F. VIAN, ed., Apollonios de Rhodes, Argonautiques, I-III (Paris 1976-81: 'Vian') at III 7ff, 20-23; C. W. Clairmont in LIMCIIs.v. •Apsyrtos"; A. R. Dyck, "On the Way from Colchis to Cor- PORTER, JOHN R., Tiptoeing through the Corpses: Euripides' "Electra", Apollonius, and the "Bouphonia" , Greek, Roman and Byzantine Studies, 31:3 (1990:Fall) p.255 JOHN R. PORTER 261 here is influenced by tragedy is far from new. In 1924, noting the numerous affinities between Apollonius' narrative and con ventions of plot and of scene structure associated with the Greek stage, Wilamowitz suggested that Apollonius, in composing this section of his poem, merely adapted a now-lost work by an unknown trasic poet. This theory was developed in greater detail by Stoessl, who identified that lost work as Sophocles' Scythian Women. Both Wilamowitz and Stoessel focused on obscurities and alleged absurdities in Apollonius' account, arguing that such defects were the result of the poet's failure to assimilate the material provided by his model to its new context within the fabric of his epic.14 Few scholars would accept this thesis today: Herter has demonstrated that many of the absurdities detected by Stoessl are of his own manufacture, 15 while Handel and Fusillo have analyzed the narrative technique of the passage and have found there a conscious poetic strategy at work, one that strives for variety in its manner of presentation and focuses, not on events, but on the principal characters' reactions to those events. 16 Such studies have shown that Apollonius, in crafting his account of Apsyrtus' death, is not a slave to any particular model but draws upon a variety of sources to achieve something of a literary tour inth: Medea in Book 4 of the Argonautica," Hermes 117 (1989) 460f; R. L. Hunter, ed., Apollonius of Rhodes: Argonautica, Book III (Cambridge 1989) ad 3.242-46; and, for a useful general account of Apollonius' predecessors, Vian I xxvi-xxxix. 14 Wilamowitz II 196f, suggesting the Scythian Women only as a possibility; F.SToESSt, Apolwnios Rhodios (Bern 1941: hereafter 'Stoessl') esp.120-26; cf. L. Klein, "Die Gottertechnik in dem A rgonautika des Apollonios Rhodios," Philologus 86 (1931) 235 n.70. 15 H. HERTER, •Beitrage zu Apollonios von Rhodos," RhM 91 (1942) 237-44 and Burs ian, Jahresb. 285 ( 1944-55: hereafter 'Herter') 383-87. At times Stoessl reduces Apollonius to the level of an inept copiest: see e.g. his remarks (97) on £~avtov'tac; atArgon. 4.318. 16 P. Handel, Beobachtungen zur epischen Technik des Apollonios Rhodios (Munich 1954) 75ff; M. FusrLLO, Il tempo delle Argonautiche (Rome 1985: hereafter 'Fusillo') 264f. Many of the observations raised by these scholars are presented by Stoessl only to be dismissed: see e.g. Stoessl 99{, 103. Cf. R. lbscher, Gestalt der Szene und Form der Rede in den Argonautika des Apollonios Rhodios (Berlin 1939) 81ff, 101f, 110f; G. PADUANO, Studi zu Apollonio Rodio (Rome 1972: 'Paduano') 222; E. LrvREA, ed., Apollonii Rhodii Argonauticon, Liber IV (Florence 1973: 'Livrea') ad 303-521 passim. PORTER, JOHN R., Tiptoeing through the Corpses: Euripides' "Electra", Apollonius, and the "Bouphonia" , Greek, Roman and Byzantine Studies, 31:3 (1990:Fall) p.255 262 TIPTOEING THROUGH THE CORPSES de force, in which elements derived from tragedy are blended into a predominantly Homeric/epic context to yield a particular ly interesting example of the arte allusiva so beloved by the Alexandrians.17 The insights of Wilamowitz and Stoessl remain valuable, however, for they provide clear evidence of the degree to which devices traditionally associated with the tragic stage pervade Apollonius' narrative. As one would imagine (given the numerous affinities between the two poets), it is to Euripidean tragedy that Apollonius turns most often and, in particular, to Euripides' Electra. 18 Apsyrtus' murder takes place in an environment that is rife with Euripidean overtones. Jason, Medea, and the Argonauts have been run to ground by Apsyrtus and the Colchians in the northern Adriatic. There is no question of the fugitives fighting their way out: the famed Argonauts, whose martial exploits were central to the first two books of the poem, here are conspicuous by their absence. The Colchians agree to allow Jason to keep the golden fleece, but insist that Medea be placed 'in trust' in a nearby temple of Artemis, her fate to be determined by an impartial third party. Jason and Medea then fall to plotting some means of escape, and we find ourselves in the midst of a Euripidean mecha.nema scene: two young people-a man and a woman-trapped in a foreign land and forced to rely on guile for their deliverance. (One thinks in particular of the Iphigenia among the Taurians and its similar associations with a temple of 17 Cf. Livrea xxii f; Vian III 23, who speaks of the Apsyrtus episode as "'une synthese de Ia tragedie et de l'epopee." See also Paduano 229; J. K. Newman, The Classical Epic Tradition (Madison 1986) 86f; and in general M. Fantuzzi, "'Varianti d'autore nelle Argonautiche di Apollonio Rodio," A&A 29 (1983) 146-61; Fusillo 209ff. The foreshadowing of Euripides' Medea in this episode has received particular attention: see e.g. lbscher (supra n.16) 82f, 168-75; J. F. Carspecken, • Apollonius Rhodius and the Homeric Epic," YCS 13 (1952) 10 3f; Paduano 201-39, esp.222f; Vian III 22; G. Zanker, Realism in Alexandrian Poetry (London 1987) 197-201. 18 See R. L. Hunter, "'Short on Heroics: Jason in the Argonautica," CQ N.s. 38 (1988) 449-52, who notes similarities between Apollonius' Jason in this scene and the Euripidean Orestes. Stoessl ( 106, 112ff, 121 n.50) notes several similarities between Electra and the Apsyrtus episode. The contribution of Sophocles' Scythian Women must remain a matter of conjecture, given the problematic nature of our evidence, most of which derives from Accius: see Stoessl 124ff; Radt, TrGF IV 415-18; D. F. Sutton, The Lost Sophocles (Lan ham 1984) 120-24. PORTER, JOHN R., Tiptoeing through the Corpses: Euripides' "Electra", Apollonius, and the "Bouphonia" , Greek, Roman and Byzantine Studies, 31:3 (1990:Fall) p.255 JOHN R. PORTER 263 Artemis.)19 As usual in Euripides, it is the woman who is the moving force in the plot: Medea devises the scheme to lure 20 Apsyrtus to a lone meeting where Jason can ambush him. Apsyrtus is to be won over by means of Medea's magic and the gift of a cloak, one given Jason by Hypsipyle in Book One.2t Im mediately one recafls the magical cloak of Euripides' Medea, 22 but the treachery towards blood kin involved in this plot also recalls Electra's summoning of Clytemnestra in Electra. Messengers are packed off with the cloak, the history of which 23 Apollonius recounts in great detail ( 423-34 ). There follows the 19 Cf. Wilamowitz 196; Stoessl 113 and 101, 103, where he notes echoes of the initial meetinl? between Jason and Medea before the temple of Hecate at 3.975-1145; cj. Fusillo 264 with n.38; G. PADUANO and M. FusiLLO, edd., Apollonio Rodio, Le Argonautiche (Milan 1986: hereafter 'Paduano/Fusillo') ad 4.393-410. R. L. Hunter, •Medea's Flight: The Fourth Book of the Ar gonautica," CQ N.S. 37 (1987) 131 n.17, suggests comparison between the Circe episode of Book Four and the Iphigenia Taurica. 20 As many have noted, Apollonius' Jason is all too ready to join in Medea's treacherous plot. In this he resembles not only the Jason of Euripides' Medea (cf. Zanker [supra n.17] 204) and the Orestes of Electra, but e.g. the Menelaus of Helen. For various interpretations of his problematic words at lines 395-409 see Ibscher (supra n.16} 82f, 161f; Stoessl105; Herter 386; H. Frankel, Noten zu den Argonautika des Apollonios (Munich 1968) 484f, 488; Paduano 212-15, 223ff; C. R. Beye, Epic and Romance in the Argonautica of Apollonius (Carbondale 1982) 162; Livrea ad 404; Paduano/Fusillo ad 393-410; Hunter (supra n.19) 130f; cf. F. Vian, ·mrnN AMHXANEQN," in E. Livrea and G. A. Privitera, edd., Studi in onore di Anthos Ardizzoni (Rome 1978) II 1033-36. 21 On the cloak and its implications see Stoessl 10 7f; Frankel (supra n.20) 490f; Livrea ad loc.; H. A. Shapiro, '"Jason's Cloak," TAPA 110 (1980) 266-71; Vian III n.c ad 434; A. Rose, '"Clothing Imagery in Apollonius's Argonautika," QUCC N.S. 21 (1985) 39-41; Newman (supra n.17) 74ff; Zanker (supra n.17) 224 n.156; Hunter (supra n.13) ad 3.997-1004. 22 Herter 386; Vian III 22 n.4; Beye (supra n.20) 163; Paduanao/Fusillo ad 421f; Hunter (supra n.19) 131; Dyck (supra n.13) 460. 23 Although lines 423-34 are based on Homeric models (e.g. ll. 2.101-08: see Livrea ad 423), the function of this digression within Apollonius' narrative is not unlike that of the colorful, myth-laden odes of Euripides' later works: in each, the sudden shift to the timeless world of traditonal mythology provides a stark contrast to the bleak action for which it forms a background. The sensuous vignette at 430-34 is particularly reminiscent of the manner of Euripides' 'dithyrambic' stasima. More specifically, Apollonius' elaborate evocation of the perfidious history associated with Hypsipyle's cloak (supra n.21) recalls Euripides' account of the golden lamb of Atreus at El. 699-746, the ode that directly precedes the execution of the plots against Aegisthus and Clytemnestra: cf. n.24 infra. PORTER, JOHN R., Tiptoeing through the Corpses: Euripides' "Electra", Apollonius, and the "Bouphonia" , Greek, Roman and Byzantine Studies, 31:3 (1990:Fall) p.255 264 TIPTOEING THROUGH THE CORPSES address to CJXE'tAto~ "Epw~ at 445-49, which has reminded many commentators of the choral stasima that commonly separate Euripidean mechanema scenes from the report of the success or failure of these schemes.24 Then follows the murder. Apsyrtus is another sympathetic character killed by deceit in a sacral context (here, in the pronaos of the temple of Artemis) and in a most unheroic fashion. Like Euripides, Apollonius apfears to go out of his way to emphasize the treacherous nature o the deed and its gory realism, thereby generating an atmosphere laden with overtones of miasma, guilt, and of heroism turned sour. We pick up the account at line 464: au'th:a 0' AiaoviOTl~ 1t'U1CtVOU E1C1t(lA 'tO A.Oxow 'Y\)J.I.VOV avaax6J.LEVO~ 1tClAclJ.LTI ~i<po~. alwa OE lCO'\JPTl EJ.LxaA.tv OJ.LJ.La't' £vetKE, KaA.uwaJ.LEVTl 666vnat, J.lll <pOVOV a6pitaete KClCJt"(Vft'tOtO 't'U1tEV'tO~. 'tOV 0' 0 ye, (3ou'tU1tO~ ro~ 'tE J.LEyav KEpEaAKE(l 'taupov' 7tA:i\~EV C>1tt1tEUCJ(l~ VllOU axeoov ov 1tO't' E0£tJ.L(lV 'Ap'tEJ.LtOt B puyol7teptvate'tat avn7tEpll6ev. 25 24 See Wilamowitz II 196; H. Faerber, Zur dichterischen Kunst in Apollonios Rhodios' Argonautica (die Gleichnisse) (diss.Berlin 1932) 105 n.3; StoesslllO, 123; Vian III 23 n.3, n.c ad 449; Hunter (supra n.19) 131; and in general Frankel (supra n.20) 493-96; Paduano 228; Paduano/Fusillo ad 445-51; the influence of tragedy here is denied by Herter 386; Livrea ad 445 with Addenda; Fusillo 378f with n.37. On Euripides' practice see e.g. Strohm (supra n.12) 82, who cites EL 699-746, IT 1089-1152, Hel 1107-64. Other echoes of Euripidean technique can be detected in the aition concerning the • Apsyrtean Islands" at the conclusion of the episode (4.480f, 507-21). Like his contemporaries, Apollonius displays a taste for such aitia that is foreign to modern sensibilities: see e.g. Herter 387; Fusillo 116ff; M. Valverde Sanchez, El aition en las Argonauticas de Apolonio de Rodas (Murcia 1989), was not available to me. In this instance, however, the aition achieves a peculiarly Euripidean effect in each of the passages where it is introduced. The glancing allusion to the • Apsyrtean people" at 480f rounds off the vignette of Apsyrtus' wretched death after the manner of e.g. Hipp. 1423-30, suggesting an honorable compensation for the hero's fate while at the same time, by its very inadequacy, enhancing the pathos of that fate. In quite another vein, the Colchians' abortive attempt to pursue the Argonauts at 507-21 (frustrated by Hera's sudden intervention at 509f) and their decision to settle in the islands that will bear the name of their murdered leader directly recall not only Od. 24.528-48 but also the conclusion of IT (1422-89) and the aitia that are integral to Athena's final dispensations in that play. 25 Just as Aegisthus' sacrifice to the nymphs carries ironic overtones (see Appendix), so this temple of Artemis-in addition to recalling IT and providing an ironic counterpoint to the eros theme so prominent in the