The idea of chivalry was propagated in the sixteenth century through widely read works of narrative fiction, which circulated in printed form well beyond their traditionally aristocratic reading public. The popularity of the romances, and their centrality to conceptions of dynastic, aristocratic and even national identity, were regarded with misgivings by a small but articulate minority. For humanist critics, romance became the focus for more general concerns regarding the exemplary status of heroes past and present, and of what could be called the ethical significance of literary form. The heroes of chivalric romance lived according to a warrior code which, by conceiving honor as attainable through the exercise of violence, was found to be disastrously out of step with the needs of the time: the precarious protocols of statecraft, the civil obligations of courtiers, the grim realities of modern warfare.1 This was especially the case with those heroes of Greco-Roman myth, such as Hercules and Jason, who had a rich and varied afterlife in post-classical literature. The very features which allowed these pagan heroes an affinity with chivalric romance (their distinction as lovers and warriors, their association with supernatural agency) made them problematic according to humanist norms of virtuous conduct. In part, the problem lay in the composite nature of mythological characters; they appeared in manifestly different aspects across a range of Greek and Roman literary genres, each of which determined its own mode of characterization. Hercules was not just the destroyer of monsters, performer of superhuman labors and hence a classical forebear for the Dukes of Ferrara and other princes;2 Ariosto and Boiardo also knew him from Seneca's Hercules Furens as tragically conflicted, given to madness, error, and murder. Jason's identity as the leader of a heroic quest collided with his status as a seducer and adulterer, marked by an inner weakness and self-doubt — especially as the Argonautica by the ‘decadent’ Apollonius Rhodius came to be better known in the sixteenth century.3 Yet Jason had posed difficulties long before. The hero was known, after all, to a large extent from the multiple perspectives created by Ovid in Metamorphoses VII and the Heroides, and from Seneca's Medea, which presented Jason from the point of view of the women he had seduced and abandoned. Jason was seen to have performed his heroic feats not though his own virtù, but aided by the witchcraft of the beautiful and love-struck Medea. His treatment of Medea thereafter was far from chivalrous: having promised to marry her, he abandoned her, precipitating her vengeful murder of their two children along with other spectacular crimes. Dante, for instance, although drawn to the symbolic possibilities of the voyage of the Argo, regarded Jason as a multiple adulterer and consigned him to the first circle of the Inferno, while Boccaccio condemned him for his cruelty and ingratitude to Medea.4 Yet Jason subsequently would serve as patron for one of the most important and celebrated manifestations of Renaissance chivalry, the Order of the Golden Fleece, founded in Burgundy in 1430. The story of the Argonauts, their perilous voyage to Colchis, and the capture of the Golden Fleece, served the Burgundian knights as a powerful symbol of men of valor united in and ennobled by a common purpose, paradigmatic of the wandering knights of the Grail or of the crusaders dedicated to the liberation ofJerusalem or Constantinople. Philip the Good's choice of Jason as patron of his Order initiated a new phase of vernacular compositions on this theme; it also provoked controversy.5 In 1431 the chancellor of the order, Jean Germain, vehemently condemned Jason for his breach of faith with Medea and proposed Gideon as a more appropriate champion. As a result, subsequent adaptations or commentaries on the story were concerned specificallywith the rehabilitation of the hero, inventing happier and more palatable endings, or using allegorical interpretation to justify the more outrageous episodes.6
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