VALERIUS FLACCUS.
His full name is given in the Vatican MS. as C. Valerius Flaccus Setinus Balbus. It is doubtful (even if the last two names really belong to the poet) whether Setinus means from Setia in Italy or from Setia in Spain. The poet’s Latinity gives no evidence on the point. Quintilian is the only Roman writer who refers to him; x. 1, 90, ‘Multum in Valerio Flacco nuper amisimus’; which shows that he must have died about A.D. 90. In the beginning of the first Book of the Argonautica (written shortly after A.D. 70), Valerius addresses Vespasian, referring to his exploits in Britain, and to the capture of Jerusalem by Titus; i. 7 sqq.,
‘Tuque o, pelagi cui maior aperti
fama, Caledonius postquam tua carbasa vexit
oceanus Phrygios prius indignatus Iulos,
eripe me populis et habenti nubila terrae,
sancte pater, veterumque fave veneranda canenti
facta virum. Versam proles tua pandet Idumen
(namque potest), Solymo nigrantem pulvere fratrem
spargentemque faces et in omni turre furentem.’
i. 5 sqq. probably shows that Valerius was a quindecimvir sacris faciundis,
‘Phoebe, mone, si Cymaeae mihi conscia vatis
stat casta cortina domo, si laurea digna
fronte viret.’
Cf. the allusion in viii. 239 sqq. to Cybele’s bath, which was under the management of the xv.viri; and to the rites of lustration, iii. 417 sqq.
There are several allusions to the eruption of Mt. Vesuvius in A.D. 79, e.g. iv. 507.
The Argonautica is in eight Books, the last being incomplete, and the story breaking off shortly before the death of Medea’s brother, Absyrtus. Valerius probably meant to write twelve Books, but it is not known how much farther he actually proceeded in his work. There is evidence to show that the last Books would have differed considerably from the story as given by Apollonius Rhodius; e.g. the visit to Phaeacia was probably omitted, as Jason was married at Peuce (Book viii.).
Apollonius is followed very closely, many passages being translated from him; thus iv. 236 = Apoll. ii. 38; vii. 404 = Apoll. in. 966. Valerius, however, amplifies where Apollonius is brief, and vice versa. Thus Apoll. ii. 948 sqq. is dismissed by Valerius v. 110 sqq. in a few words. The character painting of Valerius is superior to that of the original, cf. the character of Jason and of Aeetes. So for his artistic work; thus his portraiture of the gradual progress of Medea’s love is superior to Apollonius’ description, and to Virgil’s of Dido.
The obligations to Virgil are paramount.
(1) Verbal; as i. 55,
‘Tu, cui iam curaeque vigent animique viriles,’
from Aen. ix. 311,
‘Ante annos animumque gerens curamque virilem.’
Cf. ‘horrentem iaculis, nec credere quivi, heu quid agat, libans carchesia, summa dies, miscere polum, rumpere questus,’ in Book i.[83]
(2) In matter. The description of Fame, ii. 116 sqq., is from Aen. iv. The character of Styrus, the betrothed of Medea, is modelled on that of Turnus.
After Virgil, Homer (esp. in Book vi.), Ovid, and Seneca’s tragedies are chiefly imitated. Statius is full of imitations of Valerius.
Valerius often tries to connect his subject with Rome.[84] Cf. ii. 304,
‘Iam nemus Egeriae, iam te ciet altus ab Alba
Iuppiter et soli non mitis Aricia regi’;
ii 573,
‘genus Aeneadum et Troiae melioris honores.’