Argonautica IV 1226-1315

The Departure from Drepane:

The Argonauts sail to Libya and are stranded on the Syrtes (shoals off the Libyan coast).

1223: ἤματι δ᾿ ἑβδομάτῳ: References to the itinerary are often numerically detailed; see further (Murray 2014). Δρεπάνην λίπον: A. resumes the brisk style that he adopts when narrating the Argonauts’ travels. For a similar description from the Odyssey, see Od. 15.290–95.

1224: ὑπεύδιος: “under a clear sky.” The omens seem to be good but see below.

1225: ἀλλὰ γὰρ οὔ πω: “but not yet.” This phrase coming at the end of the line, with its full meaning running into the next seems to apply the breaks to the Argo’s swift progress.

1226: αἴσιμον ἦν: “was it permitted by fate.” αἴσιμον ἦμαρ (Il. 8.72, 22.212) and the like is a frequent Homeric phrase. ἡρώεσσιν: a heavy spondaic ending to the line (followed by two more) marks this as a major moment.

1227: Λιβύης ἐπὶ πείρασιν: the Argonauts are destined to suffer (ὀτλήσειαν) in the wastes of Libya. ὀτλήσειαν: the optative is used after a past tense (Od. 3.285).

1228: ἤδη: in this and the next line marks the immediacy of the moment (225–7n.). †ποτί†: read προτί=πρός, in the sense of, ‘on the side of, towards’ LSJ s.v. πρός Ai2 and understanding, perhaps, χθόνα from the next line, translate, “they left (behind) the land in the direction of the Ambracian Gulf.”

1229: Κουρῆτιν: with χθόνα: “the land of the Kouretes,” taking the last syllable as long in arsis at the caesura, or perhaps read Κουρήτων.

1230: στεινὰς αὐταῖς σὺν Ἐχινάσι νήσους: “some narrow islands together with the Echinades. themselves.”

1231: Πέλοπος . . . κατεφαίνετο γαῖα: the Argonauts are getting closer to home, just like Odysseus (Od. 10.29), when disaster strikes. Πέλοπος depends on γαῖα.

1232: The end of the line recalls Il. 6.346, and Od. 10.48. Odysseus’ troubles begin when he is swept off course to the land of the Lotus-Eaters. The Argonauts are heading for a far more desolate destination.

1233: μεσσηγὺς: “in mid-course.” πέλαγόσδε Λιβυστικὸν: “towards the Libyan Sea.” δε: indicates direction: Smyth § 1589.

1233–4: ἐννέα πάσας / νύκτας ὁμῶς καὶ τόσσα: “nine nights and as many days.” φέρ(ε): unaugmented impf. is the main verb, incorporated into the phrase to, perhaps, emphasise the length of the storm.

1235: προπρὸ μάλ᾿ ἔνδοθι Σύρτιν: “very far advanced into the Syrtis.” A. seems to mean the southern most part of the “great Syrtis”, i.e. the Gulf of Sidra, west of Cyrene, a true wilderness; see further Media images. οὐκέτι νόστος ὀπίσσω: referencing the main theme of the Argonautica: nostos: “no longer a return.”

1236: βιῴατο: pres. opt. 3^rd. pl. (epic, ionic) < βιάω, “they are forced.” The present tenses (and the parenthesis: καὶ γάρ . . . ἐποιχόμενον) add to the drama of the description.

1237: πάντῃ . . . πάντῃ: “everywhere . . . everywhere.”

1237–8: μνιόεντα βυθοῖο / τάρφεα: “lit. sea-weedy clumps of the deep”, “tangled masses of sea-weed.” Strange language to match the strange and desolate scenery.

1238: κωφὴ . . . ὕδατος ἄχνη: “noiseless foam of the sea: (A. has in mind, Od. 5.403 and the whole context).

1239: ἠερίη δ᾿ ἄμαθος παρακέκλιται: “sand stretches away, raised into the air.” The meaning of ἠέριος is a matter of discussion: the explanation of the scholia (ad loc.), “vast quantities, abundant”, is not attested elsewhere. “Misty sandhills” would certainly be the more atmospheric interpretation. παρακέκλιται: perf. ind. 3^rd. sg. < παρακλίνω, “turn aside.” οὐδέ τι κεῖσε: “nor there does anything . . .”

1240: ἑρπετὸν οὐδὲ ποτητὸν: “that creeps or flies (Hdt. 1.140 ἑρπετὰ καὶ πετεινά, Theoc. 15.118). ἀείρεται: “moves, raises itself.” ἔνθ᾿ ἄρα τούς γε: referring to the Argonauts.

1241: πλημυρίς: A. seems to be echoing (and almost reversing) Odysseus’ escape from the Cyclops (Od. 9.486), where Odysseus is nearly swept back ashore. καὶ γάρ τ᾿: the two καί’s (next line) balance one another: the tide (τόδε χεῦμα) ebbs (ἀναχάζεται) and flows back again (ἐπερεύγεται).

1242: ἐπερεύγεται ἀκτὰς: echoing another Odyssean context (O. swimming ashore): Od. 5.438 (>Virg. Aen. 11.625–8).

1243: λάβρον ἐποιχόμενον: “coming with a rush and a roar.”

1243–4: μυχάτῃ . . . / ἠιόνι: “the innermost shore. ἐνέωσε: aor. ind. act. 3^rd. sg. <ἐνωθέω.

1244: τρόπιος . . . παῦρον: “very little of the ship’s keel.” ἔλειπτο: unreduplicated aorist passive < λείπω: LSJ s.v. B.

1245: οἱ δ᾿: the Argonauts rush to disembark. ἄχος δ᾿ ἕλεν εἰσορόωντας: they are dismayed the landscape (or lack of) that greets them. When Odysseus lands back in Ithaca, he is confronted by a many familiar landmarks (Od. 13.236–48, as listed by Athene).

1246: ἠέρα: see 1239n. they are dismayed by the “mist and the back of the great earth.”

1247: τηλοῦ ὑπερτείνοντα διηνεκές: the most terrifying thing is that this uninhabited landscape stretches off into the distance. A major factor is the mist. For ἠέριος / ἀήρ, ἠέρος, see further 265–8n. οὐδέ τιν᾿ ἀρδμόν: “no spot for water.” This is one of the words used in the description of Ithaca cited above (1245n.).

1248: οὐ πάτον: “nor beaten track.” This word echoes the landing made by Odysseus on “Goat Island” (Od. 9.119).

1248–9: βοτήρων / αὔλιον: “a farmstead.” The lack of one of these is a measure of the desolate of the Argonauts’ landing place. εὐκήλῳ δὲ κατείχετο πάντα γαλήνῃ: “silence reigned over a lifeless world.” (Rieu).

1250–1: τίς χθὼν εὔχεται ἥδε: “what land is this proud to be?” As often in A. an anonymous commentator sums up the situation, while echoing the usual Odyssean interrogative opening: τίς πόθεν εἰς ἀνδρῶν (Od. 1.170 etc). Here, it is literally a cry in the wilderness. With εὔχεται understand εἶναι (LSJ s.v. III). The verb usually signifies a proud boast but here seems empty and despairing. ξυνέωσαν: varying on ἐνέωσε in 1243: “To where have the stormy winds hurled us?”

1252: αἴθ(ε): “would that . . .” ἔτλημεν: “dared.” Such unfulfilled wishes are often a part of interventions such as this; see Medea’s speech at 4.32. , ἀφειδέες: without thought for, disregarding.”

1253: διαμπερές: “straight through.” To be taken with πετράων. The Argonauts are not aware that the Clashing Rocks are fixed after their passage through them in Book 2 (528–647).

1254: ἦ τ᾿ ἂν . . . βέλτερον: “it would have been better,” a ‘counterfactual’ wish that draws attention to a pivotal point in the plot; see further (Louden 2007, 190). καὶ ὑπὲρ Διὸς αἶσαν ἰοῦσιν: “even if we were to go against Zeus’ will: a possible reference to 4.584–5.

1255: μέγα δή τι μενοινώοντας: “eager for some great deed.” There is a similar mixture of cases (ἰοῦσιν ~ μενοινώοντας) at 4. 169–70.

1256: τί κεν ῥέξαιμεν: “but now, what are we to do?” The anonymous Argonaut echoes Agamemnon’s words at Il. 19.90. Agamemnon blames the gods; the Argonaut, the elements and the environment. ἐρυκόμενοι ἀνέμοισιν: “if we are held back by . . .”

1257: μένειν: “to remain”: the infinitive depends on the participle in the previous line. τυτθόν περ ἐπὶ χρόνον: “for even a short time (τυτθόν agreeing with χρόνον).

1258: the anonymous commentator concludes with a linguistically rich line: πέζα, meaning “shore-line” is rare (LSJ s.v. Aii2). The exact signification of διωλύγιος is disputed. Here it agrees with ἠπείροιο. The line is balanced by ἀναπέπταται: pf. pass. of ἀναπετάννυμι.

1259: ἀμηχανίῃ κακότητος: “in despair at their evil situation.” ἀμηχανίη is generally a characteristic that marks out Jason alone.

1260: ἰθυντὴρ Ἀγκαῖος: “the helmsman Ancaeus” confirms that the Argonauts are in a dreadful situation. He is an expert, so the use of his name stresses the fact that the situation is dire. ἀκηχεμένοις: pf. pass. participle < ἀχέω.

1261: ὠλόμεθ᾿. . . μόρον: recalling Il. 21.133. δῆθεν: adding a note of irony: “in truth” (implying perhaps, “after all we have been through”). ὑπάλυξις: invoking Il. 22.270 and particularly Od. 23.287.

1262: πάρα δ᾿. . . πημανθῆναι (with heavy spondaic ending): “it remains for us (πάρα δ᾿ ἄμμι) to suffer the very worst (τὰ κύντατα).”

1263: ὑπ᾿ ἐρημαίῃ πεπτηότας: “having fallen upon this desolate place.” πεπτηότας, here translated as though from πίπτω, could be from πτήσσω (LSJ s.v. ii). A. seems to be following Herodotus’ description of Libya.

1264: ἀμπνεύσειαν: aorist. opt. < ἀναπνέω: “were to blow from the land (χερσόθεν). The Argonauts are completely stranded. τεναγώδεα: acc. sing. with ἅλα (next line). It comes first to stress the desolation that they face.

1265: τῆλε περισκοπέων ἅλα πάντοθεν: the adverbs (τῆλε . . . πάντοθεν) and the verb (περισκοπέων) emphasise the fact that, whenever they look, the Argonauts can see no means of escape. ἤλιθα: “to no purpose, uselessly (for us).” The water churns backwards and forwards over the shoals to no purpose.

1266: ξαινόμενον: “fretted, broken up,” presumably as it runs over (ἐπιτροχάει) the shoals (πολιῇσιν . . ψαμάθοισιν; lit. the grey sand).

1267: καί κεν: placed first to stress the fact that they have escaped from an even more wretched fate: “would have been (smashed)”. The Argo has only escaped total destruction because the incoming tide (1269 πλημυρὶς ἐκ πόντοιο) has pushed the ship some distance up the beach of the Syrtes. διὰ . . . κεάσθη: “have been shattered: aor. pass. < (διὰ) . . . κεάζω, a verb denoting a considerable degree of violence; see 4.391.

1268: νηῦς ἱερή: “our sacred ship,” emphasising the important role that the Argo, herself, plays in the poem. In addition, it is presumably Athena’s crafting of the Argo (1.111–4), or perhaps the beam of Dodonian oak (1.527) that she fashioned for its mid-keel, that makes the Argo a “sacred ship”; see further (Murray 2005). πολλὸν πρόσω: “very far from (dry land).”

1269: μεταχρονίην: “raised up”, i.e. afloat.

1270: ἡ μὲν: referring back to πλημυρίς (the swell or the tide). πέλαγόσδε μετέσσυται: “rushes back to (δε) the sea.” οἰόθι δ᾿ ἅλμη: this is a common enough sight on any beach: “only the foam.”

1271: ἄπλοος εἰλεῖται: “is whirled around, on which no-one can sail.” ὕπερ . . . ἔχουσα: “raising,” the verb in tmesis with γαίης depending on it and ὅσσον, modifying

1272: The word order of Ancaeus’ speech continues to be very intricate: πᾶσαν agrees with ἐλπίδα, and ἀπ᾿. . . κεκόφθαι is another example of tmesis, with object and main verb embedded between the prefix and the main part of the infinitive (κεκόφθαι). Hunter (ad loc.) notes that this is the earliest occurrence of ἐλπίδα ἀποκόπτειν (LSJ s.v. A2) but see “hopes were anchors or cablesto the Greeks (see further (Thomson 1938, 62)) so it is a neat extension of this metaphor to speak of being “cut off from hope,”especially when the most important point of reference is the Argo. 

1273: ναυτιλίης νόστου τε: “of our voyage and our return.” The basic themes of the Argonautica. δαημοσύνην: “his skill (as a steersman).” This abstract noun occurs first in A. (see 121–2n.). Abstract nouns in –σύνη are uncommon in Homeric poetry and their use somewhat restricted to direct speech (521 examples in direct speech and 90 examples in narrative). Here A. seems to follow the Homeric pattern but generally does not discriminate in the same way.

1274: φαίνοι ἑήν: “let him show.” This is an emendation for transmitted φαίνοιεν / φήνειεν. It makes good sense, though the correption of οι is unusual. πάρα = πάρεστι: see vocab. οἱ: “for him.” ἐπ᾿ οἰήκεσσι θαάσσειν: a picturesque way of describing a possible handing over of responsibility: “sit down at the helm.”

1275: μαιομένῳ κομιδῆς: “lit. if he desires a return home.” οὐ μάλα: “not at all.” Hermann Fränkel’s classic study showed that in Archaic poetry ἧμαρ not only means ‘day’, but the situation which turns into decisive destiny. The epic hero (as many heroes of tragedy and historiography) has his νόστιµον ἦμαρ, his αἴσιμον ἦμαρ, his ἐλεύθερον ἦμαρ, which seals his destiny; see further(Jáuregui et al. 2011, 190).

1276: Ζεὺς ἐθέλει: a fleeting allusion to the ‘plan of Zeus’, mentioned only at significant moments (4.557–61). καμάτοισιν ἐφ᾿ ἡμετέροισι: “after / in return for our troubles. κᾰ́μᾰτος: is another significant word in the Argonautica (1.1). Ancaeus ends on a note of despair to correspond with his opening: ὠλόμεθ᾿(α).

1277: the context is one of total gloom. σὺν δ᾿ ἔννεπον ἀσχαλόωντι: “(the Argonauts) joined in his despair.” ἀσχαλόωντι: pres. part. act. masc. dat. sg. > ἀσχαλάω.

1278: ὅσσοι ἔσαν νηῶν δεδαημένοι: “those who knew anything about navigation (Rieu).” δεδαημένοι: perf. part. masc. nom. pl. <δάω.

1279: παχνώθη κραδίη: “their hearts were frozen with fear,” a variation on ἦτορ παχνοῦται (Il. 17.112), ἐπάχνωσεν φίλον ἦτορ (Hes. Op. 360).

1280: this complex simile marks the depth of the Argonauts’ despair. The parallels for its constituent parts are principally Od. 20.350–7 (Theoclymenus’ vision of impending doom for the suitors); but see also Hdt. 6.27, 7.37, 140, Cic. ND 2.5.14, De Div. 1.97, Tib. 2.5.71–8, Plut. Pyrrhos 31.3 with particular reference to Virg. G. 1.476­–83. A modern parallel that conveys the same sense of despair that pervades this whole passage may be Cavafy’s “Waiting for the Barbarians.” It is also possible that A.’s readers might connect this description with what happened at Thebes before its sack by Alexander the Great (Diod. Sic. 17.10.4–5); see further(Dillon 2017, 188).

1280: ἀψύχοισιν ἐοικότες εἰδώλοισιν: “men wander (εἱλίσσονται) ghost-like”, well-summing up the mental state of the Argonauts.

1281: εἱλίσσονται: “roam through (the city),” perhaps with the sense of not knowing what to do like Odysseus at Od. 20.24 ἑλίσσετο ἔνθα καὶ ἔνθα.

1281–2: ἢ πολέμοιο / ἢ λοιμοῖο: “war or plague.” The two genitives depend on τέλος.

1282–3: ὄμβρον / ἄσπετον: floods were considered to be a considerable omen in the ancient world. This (literary) flood influenced Virgil (see above) and, in his turn, Horace; see further (Nisbet and M. 1970, 17).

1283: βοῶν . . . ἔργα: “fields worked by the cattle” (Hes. Op. 46 Virg. G. 1.325 boumque labores). κατὰ μυρία ἔκλυσεν: “which overwhelms.” The aorist is gnomic or generalising, marked by the presence of τε. In A. there are similar examples of hiatus (. . . ία ἔκ . . .) in this position in the line (1.778, 2.660, 4.236, 546, 1502, 1637); see further (Rzach 1881, 65). For the neglect of the digamma (ϝἔργα) see further (Mooney 1912, 418).

1284: ἢ ὅταν: this is the type of mannered ellipse (“or it is like when . . .”) that one expects from an Alexandrian poet. A. is listing the kinds of phenomena that occur when the inhabitants of a city are in despair. For statues sweating with blood and other such portents, see further (James 2005, 372).

1285: αἵματι: a ghastly detail, placed in significant enjambment. μυκαί: a rare word. The equivalent of μυκηθμός LSJ s.v. φαντάζωνται: “are imagined,” (Plato Res. 572.b.1 αἱ ὄψεις φαντάζονται τῶν ἐνυπνίων).

1286: μέσῳ ἤματι: “in the middle of the day.” νύκτ᾿ ἐπάγῃσιν: “draws on night.” An eclipse was an important and significant event in the ancient world; see further (Sofroniou 2013, 211). ἐπάγῃσιν: pres. subj. act. 3^rd. sg. <ἐπάγω (Od. 18.137 οἷον ἐπʼ ἦμαρ ἄγῃσι πατήρ).

1287: οὐρανόθεν: “from the heaven.” λαμπρὰ δι᾿ ἠέρος ἄστρα: an elegantly arranged phrase (λαμπρά with ἄστρα): “the bright stars through the heaven.” φαείνω is an epic form of φαίνω (Estienne 1572, 9873).

1288: The gloom of the following lines is in great contrast to talk of shining stars. ὣς τότ᾿ ἀριστῆες: “the heroes”, i.e. the Argonauts. πρόπαρ: governs δολιχοῦ . . . αἰγιαλοῖο: “along the endless beach.

1289: ἤλυον ἑρπύζοντες: “they wander in great distress” (used of Odysseus at Od. 13.220 ἑρπύζων παρὰ θῖνα and Achilles at Il. 23.225). ἐπήλυθε: “came upon,” with the sense of a degree of suddenness. A. is varying a Homeric phrase such as Od. 1.423 μέλας ἐπὶ ἕσπερος ἦλθε.

1290: ἐλεεινά: “piteously,” neuter plural of the adj. used as an adverb. χεροῖν σφέας ἀμφιβαλόντες: “they threw their hands about each other.” In Homer usually with dative of the person (Od. 21.223Ὀδυσῆι . . . χεῖρε βαλόντε).

1291: δακρυόειν ἀγάπαζον: “they tearfully embraced.” δακρυόειν: epic (alternative) neut. sing. of δακρυόεις used as an adverb. δῆθεν: a strengthened form of δή, perhaps with a note of irony attached. As ἄνδιχα . . . ἕκαστος: the collegiate unity of the Argonauts is breaking down in the face of their miserable situation: “each to his own.”

1292: θυμὸν ἀποφθίσειαν: “die.” aor. opt. act. 3^rd. pl. < ἀποφθίνω. The use of a plural verb with a sing. subject (ἕκαστος) is not unusual. The phrase is used in a similar context at Il. 16.540 θυμὸν ἀποφθινύθουσι. The end of the line (ἐνὶ ψαμάθοισι πεσόντες, “falling in the sand”) and the next conveys a feeling of great desolation.

1293: βάν: aor. ind. act. 3^rd. pl. (epic) < βαίνω. The phrase βῆ ῥ' ἴμεν (and the like) is a common line opener in Homer (Il. 12.299 and often). ἄλλυδις ἄλλος ἑκαστέρω: lit. “this way and that (they went) further,” stressing the way in which the Argonautic unity is breaking down. αὖλιν ἑλέσθαι: “to pick a place for rest.” ἑλέσθαι: aor. inf. mid. infin. <αἱρέω.

1294: ἐν δὲ κάρη πέπλοισι καλυψάμενοι: they cover their heads as a sign of grief (Il. 24.162 Priam).

1295: ἄκμηνοι καὶ ἄπαστοι: the second word seems to gloss the first: “without food or nourishment.” ἄκμηνος is a rare word (Il. 19.346 of Achilles mourning for Patroclus), occurring three times in Il. 19 and nowhere else in Homer (LSJ. s.v.). ἐκείατο: epic-iconic 3^rd. impf. <κεῖμαι.

1295–6: νύκτ᾿ ἔπι πᾶσαν / καὶ φάος: “all night and into the day. The preposition is in anastrophe, binding the phrase together and giving it extra emphasis.

1296: οἰκτίστῳ θανάτῳ ἔπι: another example of anastrophe, varying an Homeric phrase that is used only of Agamemnon (Od. 11.412, 24.34). The Argonauts are on the point of starving to death (Od. 12. 342). νόσφι δὲ κοῦραι: A. typically changes the area of focus for his description at the end of the line. The Phaeacian maids gather around their mistress like a lamenting chorus and are aptly likened to two sets of grieving birds.

1297: παρεστενάχοντο: this verb occurs only here, though στενάχω is common enough: LSJ `.

1298: ὡς δ᾿ ὅτ᾿: “as when.” ἐρημαῖοι: “deserted,” in elegant hyperbaton with νεοσσοί in the next line, thus making the first comparison more compact and therefore more emotionally telling. πεπτηότες: “fallen” perf. part. act. masc. nom. pl. <πίπτω.

1298­–9: πέτρης / χηραμοῦ: “from a hollowed rock.” The grammatical status of χηραμός seems to have been unclear in antiquity. Possibly a noun at Il. 21.494­–5, it could have been interpreted as both a noun and a two-termination adjective. A. seems to reflect both of these two possibilities, here and at 4.1452. ἀπτῆνες . . . νεοσσοί: “chicks that cannot fly / unfledged birds,” (Il. 9.323). λιγέα κλάζουσι: “cry shrilly.”

1300: ἢ ὅτε: “or when,” switching to another vehicle of comparison. καλὰ νάοντος: “fair-flowing / lovely stream (of P.). ἐπ᾿ ὀφρύσι: “upon the raised banks.” The Pactolus is in Lydia.

1301: κινήσουσιν ἑὸν μέλος: “set their song in motion”, varying the Homeric κινεῖν μέλος (Od. 8.298). Both parts of the simile are linked closely to the narrative, embracing both ‘new’ life and death. The Homeric model is Il. 2.495­–63 to which A. adds a poignant note which Virgil later found very attractive; see further (Horsfall 1999, 458).

1301­–2: λειμὼν / ἑρσήεις βρέμεται: “the dewy meadow murmurs” βρέμω can sometimes denote a much louder sound: LSJ s.v. and λειμὼν / ἑρσήεις a very different context (1.750–1). A.’s overall imagine is a delightful one but a vivid contrast with the situation of the Argonauts.

1303: ξανθὰς . . . ἐθείρας: “blond hair.” Or is it? There is much discussion (Scathlocke 2017) about whether any Ancient Greeks could be said to be blond; see further (Smith 1890) s.v. Coma. θέμεναι: “laying”: aor. part. mid. fem. nom. pl. <τίθημι.

1304: a fine sounding four - word line (the assonance of ἐλεεινὸν ἰήλεμον combined with the spondaic ending: ὠδύροντο) marks the end of the section and expresses the grieving of the maids. ἰήλεμον: the Ionic form (for ἰᾱλεμος) is doubtless used to increase the euphony of the line.

1305: καί νύ κεν: “and they would have . . .”, signalling a change in the narrative. A divine intervention is about to occur. ἐλίασθεν: “would have parted”: aor. ind. pass. 3^rd. pl. <λιάζω.

1306: νώνυμνοι καὶ ἄφαντοι: “nameless and unseen.” The subject of this clause is indeed “unnamed” until we reach 1307. The first adjective might be connected with ὕμνος. If the Argonauts die in Libya, no poems or songs will be sung about them like the Argonautica (see the concluding lines of the poem.) They will not be ἀοίδιμοι for ἐπιχθονίοισι δαῆναι for mortal men to learn about.”

1307: ἡρώων οἱ ἄριστοι: “the best of heroes.” The grandiloquent title is in contrast with the second half of the line (“upon a task unfulfilled”: Od. 16.111), and also with the opening of 1309: the heroines of Libya come to the rescue of the heroes of Greece.

1308: ἀλλά σφεας: pace Hunter ad loc. σφεας is not scanned as a single long syllable; see 1008. ἐλέηραν: “took pity”, aor. 3^rd pl. <ἐλεαίρω. ἀμηχανίῃ: the consistent reaction of the Argonauts (and Jason) in the face of setback. μινύθοντας: agrees with σφεας.

1309: ἡρῶσσαι Λιβύης τιμήοροι: “guardian heroines of Libya.” This phrase summons up a number of illusions to Callimachus and Hellenistic epigram; see further (Harder 2019, 380–81). ἡρῶσσαι: on the form and interpretations of this word see further (P. Hulse 2020, 9).

1310: ἦμος ὅτ᾿: Athene was born from the head of her father Zeus. πατρὸς κεφαλῆς: there is a recently published papyrus (Benaissa, Slattery, and Henry 2019) that reads ΗΜ[O]EKΦΑ, which must represent a slightly mistaken version of a transmitted text that read ἦμος ὅτ᾿ ἐκ κεφαλῆς πατρὸς. The text of the Argonautica remains doubtful in many places and new papyri regularly warn against over-confidence (Hunter, R. 2015, 27). παμφαίνουσα: “in her gleaming (armour)”; see further (Stephens 2015) on a passage from Callimachus’ Aetia that must be related to A.’s version.

1311: Τρίτωνος ἐφ᾿ ὕδασι: “beside the waters of Lake Triton.” χυτλώσαντο: “bathed, washed.”

1312: ἔνδιον ἦμαρ ἔην: “it was high noon,” a dangerous part of the day, when gods and goddesses might be abroad; see further(Jazdzewska 2020). ὀξύταται θέρον αὐγαί: the heat is intense and make visions and phantasies a distinct possibility.

1313: αἱ δέ: i.e. the heroines of Libya.

1314: ἔσταν: “they stood”: aor. ind. act. 3^rd. pl. < ἵστημι. The goddesses come to the aid of Jason much in the way that the ‘three ladies’ rescue Tamino in Mozart’s Magic Flute. Here they gently (ἠρέμα) remove (ἕλον δ᾿ ἀπὸ χερσὶ) the cloak (πέπλον) that Jason has pulled over his head (καρήατος) so that he alone can see them.

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