Abstract
This article studies three aetia in the Argonautica that have metapoetic significance as comments on Apollonius’ Callimachean poetics. In the first aetion (1.1132–1139), the Pyrrhic dance reflects the Argonauts’ key role as active agents in the creation of the plot and shows its Callimachean allegiance in the repurposing of traditional martial imagery. In the second one (4.1719–1730), the meagerness of the Argonauts’ offering to Apollo at Anaphe and the light jesting between Medea’s maidens and the Argonauts are programmatic reflections of the ‘lean’ poetics advocated by Callimachus in the Aetia ‘prologue’ (fr. 1). The third aetion (4.1765–1772), by closing the Argonautica in correspondence with the beginning of Callimachus’ Aetia, stresses the close connection between Apollonius and Callimachus. In it, the quick pace, lightness and playfulness of the hydrophoria at Aegina mirrors the fast coming to an end and happy tone that closes the Argonautica.
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