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(POETIC) LICENCE TO KILL: APOLLO, THE PYTHON, AND NICANDER'S THERIACA IN OVID, METAMORPHOSES 1

2018; Cambridge University Press; Volume: 65; Issue: 2 Linguagem: Inglês

10.1017/s0017383518000128

1477-4550

Celia Campbell,

Classical Antiquity Studies

The identification of the quarrel between Cupid and Apollo at Met . 1. 452–73 as a Callimachean recusatio has become a noted feature of scholarly discussion on this passage. Cupid and Apollo's encounter stands as a favoured starting point for the ongoing analysis of generic interplay within Ovid's sprawling work; this is hardly surprising, given its consideration as a programmatic, exemplary triumph of elegy over epic. Although genre studies on the Metamorphoses have represented an enduring presence in Ovidian discourse since Heinze's pioneering work, genre's evolution into what some deem a pet scholarly obsession within studies of the poet has garnered both admiration and revilement. Given the multiplicity of discussions prominently featuring this very episode, it would not seem unfair to deem any addition superfluous. However, adding to the surfeit of analyses is exactly my intention here, with the view that there are yet a few elements that have gone unremarked or underexplored, and that such elements can illuminate further the complex interplay between epic and elegy here on display. Namely, I will suggest that the dynamic created by the difference in accounts of the Python's slaying (Ov. Met. 1.441–4 versus 1.456–60) has not been appreciated fully for its role in the debasement of epic poetry that leads into and consequently informs the programmatic myth sequence of Apollo and Daphne, and that this dynamic finds an overarching explanation by supplying reference to a passage from Nicander's Theriaca . Using Nicander as a literary source, coupled with recognition of both the fictive touches and the weighted literary critical language that Apollo retrospectively applies to his deed, allows us to reinterpret this passage and provides a further example of Ovid's careful strategies of narrative and tone.