FourCouncils orFourTribes? 233 wayinwhichitispresentedthere, probablyowingtoits beingpart of a propaganda device, is intelligible in its context, whereas the hypothesis concerning the intention to revive the political signifi cance ofthe four old Ionian tribes lacks support both in the con text and in historical probability. Haifa Ephraim David HERAKLES, JASON AND 'PROGRAMMATIC' SIMILES IN APOLLONIUS RHODIUS' ARGONAUT/CA In theArgonautica ofApollonius RhodiusJason has to defeat theearth-borngiantsinorderto getthe goldenfleece; afterthathe has to find a way to deal with the huge snake which guards the fleece. Herakles, likeJason, has to perform the same feats: he has to fight the earth-born giants Hera set on the way of the Ar gonauts and to get the golden apples of the Hesperides which are guarded by a dragon. This parallel provides the starting point of this paper. Apollonius employs certain patterns of imagery in these corresponding pairs of episodes, patterns based on the anti thesis between Homeric and non-Homericimagery. He uses non Homeric similes for Herakles while for Jason he employs both non-Homeric and Homeric similesI). Nevertheless the Heraklean 1) ForHomeric similes in theArgonautica see E.G. Wilkins, A Classifica tion of the Similes in the Argonautica of Apollonius Rhodius, CW 14 (1920-21) 162-166. Apollonius' use ofsimileincomparisonto Homer's isdiscussed byJ.E. Carspecken,Apollonius and Homer, YCS 13(1952) 58ff. Seealso H.Färber, Zur dichterischen Kunst in Apollonios Rhodios' Argonautica(Die Gleichnisse) (Diss. Berlin 1932), H.P.Drögemüller, Die Gleichnisse im hellenistischen Epos (Diss. Hamburg 1956) esp. 198ff. and W.D.Anderson, Notes on the Simile in Homer andhisSuccessors,CJ53(1957)81-87.FortheuseofsimilesinHellenisticpoetry see N.A.Cistjakova, Apropos de l'emploi des comparisons dans l' epoque Hel lenistique (Argonautiques d'Apolionios de Rhodes), VLU 8 (1962) 111-120 and A.W.James, Some Examples of Imitation in the Similes of Later Greek Epic, Antichthon 3 (1969) 77-90. A semiotic approach to the similes of Apollonius is 234 Theokritos Kouremenos non-Homeric similes are large-scale similes while in the case of Jason the non-Homeric similes assume smaller dimensions. There are certain verbal indications that in the Jason episodes the anti thesis betweenthelargedimensionsofthe Homericsimilesand the small dimensions of the non-Homeric similes can be evaluated in terms ofCallimachean poetics2). These indications could lead imo a neat equation between "smalI" and "Callimachean" which im plies therejectionoftheepic, bombastic "large"; Apollonius how ever makes such an equation impossible not only by attributing non-Homericimagery to Herakles, afigure diametrically opposite to Jason, but also by concealing in the non-Homeric similes re ferences to Homeric imagery3). The fact that both large-scale and taken by S.A.Nimis, Narrative Semiotics in the Epic Tradition (Indiana 1987) 100ff. For the function of similes in the narrative of the Argonautica see Färber 29H. and M.Fusillo, 11tempo delle Argonautiche (Roma1985)327-341. 2) For the nature of Callimachean poetics see the discussions in G.O.Hutchinson,HellenisticPoetry(Oxford1988)26ff. andespecially79-84and M.Heath, Unity in Greek Poetics(Oxford 1989)56H. Forthe theoretical debate, most probably centered around the Aristotelian poetic principles, in which Cal limachusparticipated seeK.O.Brink, Callimachusand Aristotle: An Inquiryinto Callimachus' IIQo~IIQu;upavT]v, CQ 40 (1946) 11-26, R.Pfeiffer, AHistory of Classical Scholarship (Oxford 1968) 88 and 137, S.Koster, Antike Epostheorien, Palingenesia5(Wiesbaden 1968) 120-122and Heath59ff. OnApolloniusand the Aristotelian poetic principles see E.Eichgrün, Kallimachos und Apollonios Rhodios (Diss. Berlin 1961)82ff. and Heath 65-67. In what follows lassume that Callimachus arracked not only the Homeric "epigons" butalso Homer hirnself(cf. M.Poliakoff, Nectar, Springs and theSea: Critical Terminology in Pindar and Callimachus, ZPE 39[1980] 46). F.Williams, Callimachus Hymn to Apollo. A Commentary (Oxford 1978) 85-89 excludes Homerfrom Callimachus'opponents bydistinguishing between1t6vl:O~= Homer and 'AOOUQLOU 1to'tu~oi:o ~EYU~ Q6o~ = imitators of Homer in Hymn. Ap. 106-109 (the same point has been made by Koster 119, not mentioned by Wil liams). Williams tries to support the above distinction by appealing to passages, laterthatthe ageofCallimachus,whichidentifyOceanuswith Homer(forobjec tions to this equation see A.Köhnken, Apollo's Retort co Envy's Criticism, AJP 102 [1981] 414-416). The distinction between river and Oceanus is objectionable becauseforthe GreekOceanuswas ariverfrom whichall otherriverssprang; see R.B.Onians,TheOriginsofEuropeanThought(Cambridge 1951)247-248. 3) Thechoiceofsimilesasavehicleforliterarytheoryseemstobeingrained in Alexandrian philology. Ir has been suggested that Apollonius' use of similes reflectsissuescurrentintheHomericscholarshipofhisera.SeeA.Clausing,Kritik und Exegese der homerischen Gleichnisse im Altertum (parchim 1913) 3ff. and 28-59, Carspecken (above, note 1)66 and 74 and Nimis (above, note 1) 106and 110. Note also that Williams (above, note 2) 88 relates the crucial end of Cal limachus'Hymn toApollotophilologicaldiscussions in theAlexandrianscholarly circlesabout the authenticityof11. 21. 195.Thispracticeparallels thepredilection ofHellenistic poets for rare Homeric words and variants which do not appear in the Homerictextus receptus; see Pfeiffer(above, note 2) 139-140and G.Gian 'Programmatic' Similesin Apollonius Rhodius' Argonautica 235 small-scale non-Homeric similes are unified by Homeric reminis cences suggests the following questions: what is the relation be tweenHerakles' imageryandJason'simageryin thesecorrespond ing pair of episodes? If in the Jason episodes the non-Homeric similes of small dimensions are related to Callimachean poetics, what do Herakles' similes represent in terms of poetics? Herakles' fight against the earth-born giants of Dindymon4) (1. 985-1011) is accidentally related to the Argonautic expedition: the fight was brought about by Hera as just another &eAO~ of Herakles (1. 996-997) and thus it belongs to another course of action that happened to cross the action proper to Apollonius' narrative. Itis interesting that Herakles' &eAO~at the sacred grove of the Hesperides is again accidentally related to the main course of the narrative but both in Dindymon and in Libya these acci dents propel the narration forward: in Dindymon Herakles clears up the way while in Libya he provides the Argonauts with water. The fight at Dindymon ends with a simile that does not occur in Homer: the carcasses of the giants, floating on the water or fallen ontheshorewithparts oftheir bodies hidden underthewater, are compared to beams stretched in rows on the sea-shore (1. 1003-1010)5). The beams are going to be used for ship-building and this provides a link with a Homeric simile where fallen war riors are compared with trees cut for ship-building (Il. 13. 389-391). Although Apollonius used a non-Homeric simile, he carefully inserted a reference to Homeric imagery. At the antipodes of that "little" Heraklean &eAO~ stands Ja son's fight against the earth-born giants (3. 1350-1404). Like their Herakleancounterparts,Jason's earth-borns are related toacourse of action external to Apollonius' narrative: the Theban saga (3. 1176-1190)6). The fight falls into two parts: the giants first slay grande, Hellenistic Poetry and Homer, AC 39 (1970) 46-77. For the rhetorical literary theory that underlines the treatmentofsimiles in the Homericscholiasee Heath (above, note 2) 102-108 (the relationship between Apollonius and the HomericscholiaisexaminedbyH.Erbse,HomerscholienundhellenistischeGlos sare bei Apollonios Rhodios, Hermes 81 [1953] 163-196). 4) Iris noteworthy thatApollodorusdoes not mention that(8),.0<:;. 5) SeeFärber(above, note 1)33. Forverbal reminiscencesofHomerin this simile see M.Campbell, Echoes and Imitations of Early Epic in Apollonius Rhodius, MnemosyneSupp!. 72(Leiden1981)18.Forfallenwarriorscomparedto trees in Homeric batdesimilesseeFränkel, DiehomerischenGleichnisse(Göttin gen 1921)35, B.Fenik, TypicalBatdeScenes in the Iliad, Hermes Einzelschriften 21 (Wiesbaden1968)126andT.Krischer,FormaleKonventionenderhomerischen Epik(München 1975)72-75. 6) Forthestoryofthe dragon teeth seethe ancientscholiaon this passage. 236 Theokritos Kouremenos eachother(3. 1350-1376)andthenJasonfalls uponthemtodeliver thefinal blow(3. 1376-1404). In thefirst partApollonius employs similes borrowed primarily from Homer7). A dose look at these Homeric similes reveals interesting and subtle effects. Jason, like Idomeneus in the Iliad (13. 470-475) is compared to aboarsharp ening his teeth (3. 1351-1353) but Idomeneus, says Homer, was not afraid of the enemy like a child, while Jason was upset at Aeetes' requirement to face the giants. The giants are compared to stars as they are sprouting outofthe earth (3. 1359-1363); Homer uses this serene simile to mark the end of a battle (Il. 8. 555-559) whereasApollonius uses itforthebeginningofafight. TheColch ians shout like the roaring of the sea (3. 1370-1371)8), a simile Homer uses in contexts either of an ayoQf] (11. 2. 209-210 and 394-397)9) or of a battle (Il. 14. 394-395 and 17. 263-266). Apol lonius combined the two different Homericcontexts sincehe used this simile for an ayoQf] watehing a fight. At that point of his narrative Apollonius inserts anon-Homeric simile: the giants slay each other like dogs (3. 1373-1375)10). A non-Homeric simile is perfectly appropriate for a scene totally foreign to Homer - a deadly, irrational fight between monstrous earth-born brothers. This non-Homeric simile is immediately followed by a Homeric simile(cf. Il. 4. 482-486, 5. 560 and 13.389-391; for awind-blown tree see Il. 17. 53-58) : the dead giants falllike wind-blown trees (3. 1375-1376). It is obvious that for Apollonius the shifting to a Homeric scene (falling warriors) demands Homeric imageryll). The first part of the fight is dominated by Homeric imagery which Apollonius integrates into his owncontext. The singlenon Homeric simile prepares the way to the second part where non Homeric similes dominate. The transition takes place smoothly through aHomeric simile: Jason falls uron the fighting groups of giants like a meteor (3. 1377-1380; c . 11. 4. 75-78, 5.5-6 and 11.62-65)12). The transition from Homeric imagery to non Homeric imagery can be viewed as a transition from large-scale 7) ThesimilesinJason'sfightagainsttheEarthbornsarediscussedbyFärber (above, note 1)52-58. 8) SeeFärber(above, note 1)6. 9) For these two similes see C.Moulton, Similes in the Homeric Poems, Hypomnemata49(Göuingen 1977)40--41. 10) OndogsimilesintheArgonauticaseeDrögemüller(above,note1)35H. 11) For the accumulation ofsimiles in Apollonius see Carspecken (above, note 1); cf. Moulton (above, note9)for accumulationofsimiles in Homer. 12) See also Färber (above, note 1) 13-15. The use of star-similes in the Argonauticaisdiscussed by Carspecken(above, note 1)97-98. Forstar-similesin 'Programmatic' Similesin Apollonius Rhodius' Argonautica 237 imagery to small-scale imagery. The second part of the fight has two non-Homeric similes which compare the dead giants to crops (3. 1386-1391 and 1399-1404)while in the Homeric similes ofthe first part they were compared to trees. The transition from large scaletosmall-scalecoincideswithJason'sinterventionin thefight. Thesameeffectisemployed byApolloniusinJason's taking ofthe golden fleece. The antithesis between Homeric and non-Homeric imagery is not as sharp as it seems at first, because Apollonius builds non Homericimagery upon certain elements from the Homeric reper toire. Thecropsofthenon-Homericsmall-scalesimilesappearina Homeric simile comparing slaughter to reaping (11. 11. 67-69) and the first Homeric part of the fight is permeated by crop-imagery (see for example 3. 1338, 1354 and 1382). Furthermore, the final non-Homeric simile, apart from the reaping imagery, seems to have incorporated a unique simile from the Iliad (8. 306ff.)13); Apollonius simply shifts the point of reference creating a totally different simile of his own. Thus it is better to think about this antithesis between Homeric large-scaleimagery and non-Homeric small-scale imagery as a complementary one. In Jason's case the small-scale imagery is built upon Homeric elements while in Herakles' case it is the large-scale imagery that draws upon Homeric predecessors. Furthermore, Herakles' large-scale simile, related to Homeric imagery though it might be, lacks an "express ed" reference to Homeric similes in contrast with Jason's similes which are clearly juxtaposed with Homeric similes. The second pair of corresponding Herakles-Jason episodes are their confrontations with huge snakes. Jason's episode (4. 109-182) starts with an apparently non-Homeric simile of large dimensions: the goldenfleece, shininglikeaVEqJEATJ underthe light ofthe rising sun, rests upon an immense oak-tree (4. 124-126)14). The closingpassage oftheepisodecomprises agroup ofsimiles (4. the Iliadsee Moulton (above, note 9)24-27and Similes in the Iliad, Hermes 102 (1974)392-394. 13) StesichorusimitatedthisIliadicsimileinhisGeryoneis;seeA.D.Maing on, Epic Convention in Stesichorus' Geryoneis: SLG S15, Phoenix 34 (1980) 106-107. Stesichorus used the simile for a wounded monster, Geryon, and since Apollonius uses it for wounded or dead monsters and the Geryoneis must have beenoneofhissources(seebelow,note44),itispossiblethattheApolloniansimile comes notdirectlyfrom theIliad butfrom the Geryoneis. 14) On this simile see A.W.James, Apollonius Rhodius and his Sourees: InterpretativeNoteson the Argonautica, CorollaLondiniensis (Amsterdam 1981) 77. 238 Theokritos Kouremenos 167-177). The first simile is again non-Homerie but one of small dimensions: Jason raises the golden fleeee like amaiden holding a AEmaA.EO~ Eav6~ against the full moon (4. 167-171)15). As in the giants episode, the shiftingfrom the largesealeto the small seale is represented by Apollonius in terms ofJason's interferingwith the fleeee: while the fleeee per se is deseribed in large-seale imagery (veqJEAl] simile), when Jason takes it Apollonius employs small seale imagery (Eav6~ simile) although he earefully reminds us of the real dimensions of the fleeee Ü,lEya 'X&a~, 4. 171). Sandwiehed between these two non-Homerie similes are two similes of large dimensions borrowed from Homer. Apollonius uses again the ef feet ofthe Homerie similes for the needs of his own eontext. The spiralingrings ofsmoketo whieh the snake's huge trailing bodyis eompared (4. 139-144) bring to mind two impressive passages from the Iliad where the fear and the havoe that Aehilles, the fearsome heroparexeellenee,inflietsupon theTrojans are deserib ed through similar similes (18. 207ff. and 21. 522ff.)16). Thus Apollonius invokes the extreme Iliadie fear in his deseription of the horroreaused by the monstrous guard ofthe fleeee. When the monsteris gradually beingputtosleep byMedeaitis eomparedto soundless sea-waves (4. 152-153); this simile is not only an imita 17 tion of Il. 14. 16-22 ) but it ean also be eoneeived as an inversion of the Homerie similes where the sea roars (cf. Il. 2. 209-210 and 394-397, 14. 394-395, 17.263-266). This soothing simile, in con trast with the previous one referring to the dragon's enormity, suspends the use of Homerie large-seale imagery, bringing fonh non-Homerie small-seale imagery (Eav6~simile). The revealed symmetry is remarkable: two non-Homerie similes refer to the golden fleeee and move from large dimensions to small dimensions. These similes frame two Homerie similes whieh refer to the guard and move from large dimensions to small dimensions. In the fight of Jason against the giants, large-seale Homerie similes were juxtaposed with small-seale non-Homerie 15) SeeJames (above, note 14)78-79. 16) James(above,note14)77-78considersthefiveHomericsimilesofforest fire (11. 2. 455-456, 11. 155-157, 14. 396-397, 15. 605---{,06, 20. 490-492) as the modelofthisApolloniansimileandhediscards theAchilleansimiles because "the mainpurposeofthesesimiles is quite differentfrom thesimileinquestion". 17) The Homeric simile is actually used to describe Nestor's inability to decidewhetherheshouldmeetAgamemnonorjointheotherAchaeans;seeMoul ton (above, note 9) 24. Apollonius used the same simile for a similar state of ambivalence: thedragonwas beingputtosleep,itsbodyrelaxingunderthechant ing,neverthelessitstilltriedtoattackJasonandMedearaisingitshead(4.150-155). 'Programmatic' Similes in Apollonius Rhodius' Argonautica 239 similes. Here non-Homeric similes enclose Homeric similes and both sets shift from large dimensions to small dimensions. It will be provisionally assumed that this symmetrical structure under lines the unity between the "Iarge Homeric" and the "small non Homeric". To prove this proposition it should become apparent thatreferences to Homericimageryrelate the "non-Homericlarge and small" to the "Homeric large and small" as it happens in Jason's fight against the giants. This question ties up to another important point. The enclosing set of similes seems to challenge the conclusion from Jason's fight against the giants that the shift ingfrom largedimensions tosmalldimensions is carriedthrough a shifting from Homeric to non-Homeric imagery. One should ex pect a Homeric introductory simile instead of the non-Homeric VECjJEAll simile. In Herakles' MAot; at Dindymon Apollonius used a non-Homeric large-scale simile which was built upon Homeric imageryand he did thesame, although withanon-Homeric small scale simile, in Jason's fight against the giants. An application of the same technique here would be necessary in order to create the above symmetrical structure which emphasizes the essential unity between the "Homeric large" and the "non-Homeric small". The first simileinJason's confrontationwith the snake guard compares the golden fleece to aVECjJEAll. NECjJEAaL in Homeric imag ery are represented either as enshrouding mountain peaks (11. 5. 522 and 16. 298, Od. 12. 73-74) or as bright-colored "protecting" cloaks (11. 5. 186, 14. 350, 15. 308, 17. 551, 20. 150) or as the darkness of sorrow (11. 18. 22 and Od. 24. 315) and sorrowful anger (11. 17. 591); in only one case VECjJEAll does denote the dark ness ofdeath (11. 20. 417). Now, the ApollonianVECjJEAll rests upon an oak-tree of huge dimensions resembling similar high-altitude settings of the Homeric VECjJEAaL. Furthermore, since in Homer a bright-coloredVECjJEAllfunctions as agarmentorcloak, itis reason able thatApollonius choseto comparethefleece to aVECjJEAll in the first simileand to a~av6t;in thesecond simile. Itshallbediscussed later, in connection with Herakles, how Apollonius alludes to the other two components of the Homeric VECjJEAll, darkness of sor row/anger and darkness ofdeath. Forthe time beingwhat matters is that Arollonius includes Homeric reminiscences into his own system 0 imagery thus reaffirming the conclusions that the shift ingfrom Homeric to non-Homeric imagery is really paralleled by a shifting from large-scale imagery to small-scale imagery. It has already been said that the closing moon simile is the first part ofasimile complex. After the comparison ofJason hold- 240 Theokritos Kouremenos ing thefleece to amaiden holdingaAfmuAEOt;euv6t;againstthefull moon, Apollonius proceeds to compare thefineness ofthefleece's golden wool to the fineness ofthe wool of either ayearling heifer ordeer (4. 174-177). Since the euv6t;is made outoffine wool, itis obvious thatthesecond simileactuallycontinuesthefirst one. The first similefocuses onthe reflection ofmoonlightuponthesurface of the golden fleece and the second one describes the material of that surface that causes the reflection. Let us look more dosely at the verbal material out of which these small-scale non-Homeric similes are woven. The euv6t; is AfJ't'tUAEOt; (4. 169), an adjective Callimachus used to describe his ownMuse (Aet. fr. 1. 24) and the extremelyfine wool ofthefleece is described by the word äonovwhich Callimachus used to denote again thefineness ofhispoetry(Hymn. Ap. 112). Apollonius used äonov in its original meaning of "fine wool" while Callimachus applied the word metaphorically to a tiny drop (ALßat;) of a holy fountain (J'tLöu1;)18). In the Argonauts' encounter with the Hes perides these words appear in the same imagistic environment as äonov, anon-Homeric small-scale simile (4. 1451, 1454 and 1456). Thus Apollonius seems to have "sprinkled" references to Cal limachean imagery over similar contexts as he did with reminis cences of Homeric imagery in the context of the VfCjJEAf]lEuv6t; 19 similes ). The Callimachean reminiscences in the non-Homeric small scale similes which dose this episode offer a basis for a better understanding ofwhat precedes these similes. Both AfmuAtOt; and 18) Foräw'WvseeWilliams(above,note2)95-96andPoliakoff(above,note 2)41--42. 19) TheinterpretationofI.EJt'taI.EO~andäw'tovasallusionstoCallimaehean poetiesisnotunjustified.Thesewordsrefertokey-notionsofCallimaeheanpoeties and their presenee in small-seale non-Homerie similes whieh are juxtaposedwith large-sealeHomerieonessuggestspoetologiealeoneerns.Moreoverthelanguageof thissimileshowsafeaturewhiehisunmistakablyHellenistie: wordsrareinearlier poetry and hapax legomena in Apollonius. cqanvEll (4. 175) oeeurs only in an epigram of Phalaeeus (A.G. 165. 22). Eustathius (11. 2. 575. 4) talks about the diffieulties this word eaused to the interpreters and it is obvious that he refers to this passagefrom Apollonius (Eustathius' passageis notquoted by E.Livrea, Ar gonautieon LiberQuartus [Firenze 1973]63--64). Forthe original meaningofthe wordseetheseholiaonArg.4. 175.AslightlydifferentversionofC!XaLLVElloeeurs in Aristotle's H.A. 506a24 and 611 b 18. Thelearned obseurity ofthe word isa perfeet example of the Hellenistie indulging in uneommon voeabulary. Before Apollonius the word I.f)vo~(4. 177), "wool", oeeurs only in Aeseh. Eu. 44. The word aYQw(J't1'1~(4. 175) meaning "hunter" oeeurs only in Apollonius (see also Livrea63). 'Programmatic' Similes in Apollonius Rhodius' Argonautica 241 äwtov refer to the small-scale Callimachean poetry, diametrically oppositeto apoetrywhich indulges in harsh, donkey-like sounds. The monstrous guardian of the AE:n:tuMo~fleece keeps producing terrible, deafening sounds (4. 129-144) and it is noteworthy that, in order to describe this monstrous sound, Apollonius used a Homeric similereferring to Achilles, the mostprominent example ofan epichero (4. 139-144; cf. Il. 18.207-213).Thesuspicionthat the anti-Callimachean roaring of the dragon and the reference to traditional epic allude to the kind of poetry despised by Cal limachusis reinforced bytheuseoftheword X:UXAU to describethe spiralingbodyofthedragon(4.151 and 161).Thenumberofthese XUXAU is huge (4. 151 and 160) like the lines of the cyclic poetry Callimachus scorned (cf. Aet. fr. 1.4 and Epigr. 30. 1)20) and this suggestive "cyclic" imagery is repeated in the Homeric simile which describes the dragon's un-Callimachean sound (OtQOCPUALY YE~ 4. 140). Nevertheless, Apollonius chose to emphasize the link between the "large Homeric" and the "small non-Homeric" by inserting into the latter reminiscences of the former. This link seems to be reflected in the application ofthe verb EAlOOELV, which Callimachus used to describe the dainty nature ofhis own poetry (Aet. fr. 1.5),to the XUXAU ofthe dragon's body (4. 145)and to the "spiraling" sound it produces (4. 140). Thus an interesting possibility emerges: the movement from Homeric imagery to non-Homeric imagery can be conceived as a shifting from Homeric to Hellenistic and specifically Callimach ean imagery where "Callimachean" means "programmatic". But since the small-scale non-Homeric simile which expresses the "Callimachean" is built upon Homeric imagery, there is no ten sion between the old and the new, the Homeric and the Hellenis tic. Consequently any kind of Callimachean scornful dichotomy disappears. Apollonius does admit discrete parts in the literary history buthealso emphasizes theircontinuity. The Callimachean principles areconsidered as a natural stage in the poetic evolution, not as something totally opposite to the predecessors. Let us return to the question that has already been stated above: ifin theJason episodes the Callimachean "small" is derived from the Homeric "Iarge", where does the Heraklean "Iarge" stand in relation to this complex? 20) Theterm "cyclic" in the contextofCallimacheanliterarytheory isdis cussed by T.M.Klein, Callimachus, Apollonius Rhodius and the Concept of the BigBook, Eranos 73 (1975)23-24. 16 Rhein.Mus.f.Philo!.139/3-4 242 Theokritos Kouremenos Herakles' encounterwith thesnake-guard at the sacred grove of the Hesperides is given indirectly through the narration of Aegle, one of the nymphs (4. 1432-1449)21). Aegle's narrative is outsidethe dramatictime ofthemain narrativeoftheArgonautica, anothersubtleindicationthatHerakles actuallydoes not belongto 22 the poem ). Nevertheless it is the same nymph who provides a closelink between the temporally(and narratively) remote Herak les and the Argonauts: Herakles created water to satisfy his im mense thirstand now this Heraklean water is going to quench the thirst of the Argonauts (4. 1432). Herakles drank avidly like a beast (4. 1449), a non-Homeric large-scale simile. This simile marks the end of Aegle's enclosed and temporally distinct narra tive. The shifting to the main course of the narrative starts with two small-scale similes describing the Argonauts as they drink water from the Heraklean fountain: they swarm around the foun tain like ants swarming into a narrow passway (4. 1452-1453) or likeflies swarmingaround asmallhoney-drop (4.1453-1455). The first ofthesesimilesis non-Homericwhile thesecondis amodified Homeric simile (Il. 2. 469-473 and 16. 641-644: flies swarming around milk-pails)l3). Apollonius againrepresented the shiftingfrom the large-scale to the small-scale similes in terms of the Argonauts' intervention. The a8g6ov üöwg which Herakles drank shrinks into a ALßa when the Argonauts drink itas they "shrink" from the beast Herakles is comparedtointoinsects.Thesmall-scaleimageryisstructuredina verysignificantway: aHomeric simileis complemented by anon Homeric one and the whole is tightened by means of allusions to Callimachean poetics as will become apparent in the next para graph. The essential unity between Homeric large-scale and non Homericsmall-scaleimagerywhich was already presentinJason's 21) See C.R.Beye, Epic and Romance in the Argonautica of Apollonius (Southern Illinois University Press 1982) 149. 22) ForHeraklesintheArgonauticaseeA.Ardizzoni, L' Eraclesemnos nel poemadi Apollonio(Catania1937),J.Adamietz,Jason und Hercules inden Epen desApolloniosRhodiosundValeriusFlaccus,A&A 16(1970)29-38,D.N.Levin, Apollonius' Heracles, Cl 67 (1971) 22-28, Fusillo (above, note 1) 44-51 and D.C.Feeney, Following after Hercules in Vergil and Apollonius, PVS 18 (1987) 47-85. 23) ForthispairofsimilesseeFärber(above, note1)22-23andtheinterest ingdiscussioninCarspecken(above, note 1)whonotes hereApollonius' breaking awayfrom theHomericuseofalternativesimiles. Foran analysis ofinsect-similes in theArgonautica seeDrögemüller(above, note 1)58H.