While Statius’ interventions in the poem seem to encourage a comparison between the poem’s characters and Virgil’s heroes, Chapter 2 shows that the Thebaid actually patterns its heroic narratives after some of the most politically charged myths of Ovid’s Metamorphoses, such as the stories of Cadmus, Perseus, Hercules, and Theseus. Statius’ descriptions of dysfunctional heroes, who re-tread the failure of their Ovidian ancestors to carry on the foundational mission of Virgil’s Hercules and Aeneas, seem to rework the anti-heroic paradigm set by Ovid’s Cadmus (Met. 3–4). By exploring the darker sides of the Aeneid’s gigantomachic discourse, these narratives open the Thebaid to a redefinition of traditional heroic paradigms that potentially questions the political significance of the heroes appropriated by the Flavian emperors in their refashioning of Augustan ideology. While offering new insights into Statius’ renegotiation of poetic independence from his predecessors, this exploration also illuminates the Thebaid’s sophisticated engagement with the material and ideological environments of Flavian Rome.

In the Metamorphoses, Ovid’s simile world becomes a more fragmented and less cohesive place where simile characters from the past may appear rarely or not at all, similes are so short that they often do not achieve the immersive effects typical of the simile worlds of earlier epics, and they do not work hand in hand with the story to bring forward key themes. Some conventional simile features take on different functions in the Metamorphoses, such as the chase similes that describe erotic pursuits instead of battle scenes. Main roles become cameo appearances while minor characters from earlier epics may find themselves at center stage. Yet similes retain many of their familiar qualities, and some of the poem’s most memorable moments are achieved in part with heart-pounding scenes familiar from earlier epics of predators chasing their prey, raging fires, battle scenes, and sailing. Similes help the Metamorphoses both to claim the epic genre for itself and to take that genre to new places it had never been before. The story and the similes tell a tale of constancy and change, of passion rather than battle as the most important arena for human conflict, and of storytelling itself.

By analyzing the topography of Selinous, a colonial foundation of the late seventh century BC, the chapter explores the way in which temple building and sacred architecture became subordinated to urban design. From the sixth century BC onward, Greek cult places and temples were increasingly seen as an expression of the urban rather than the natural landscape. This holds true for altars and temples at the center of cult places, but also for fountain houses that replaced or were built over natural fountains. The sacredness of a place was increasingly represented and communicated through monumental stone architecture. At the same time, the novel use of man-made images in Greek sanctuaries contributed to a radical change in which the presence of the gods was imagined and experienced. All this went along with a shift of power and agency from local groups to urban elites, who had the means to control the restructuring and reorganization of sacred landscapes. The violence of this shift is reflected in the iconography that tends to rationalize and sublimize violence against the non-Greek, non-urban, and non-male.

Through the emission observations of molecular species in the IRAS2 and IRAS4 locations in NGC 1333 in the Perseus Molecular Cloud (PMC), the distinctions between conditions favouring COMs or WCCC production in the immediate neighbourhoods of low-mass protostars are discussed. The current chemical modelling and that which will follow from accumulating higher-resolution observations using the latest generation of millimetre and submillimetre instrumentation are discussed.

The third chapter is concerned with a foundational moment in the history of the archive. The poetic ‘road’ to Hyperborea, there, rather than cult or sanctuaries, serves as the focus for looking at the earliest records of the Hyperborean nexus in archaic epic. A first section looks at trajectories from Hyperborea. The second section analyses Pindar's construction of a journey to Hyperborea in Pythian 10 and Bacchylides' instrumentalisation of Hyperborea in Ode 3. Both readings aim to shed some light on how the two poets composed their worlds with material that was already in place. The rest of the chapter proceeds to examine the nature of this earlier material. The third section looks at the scene of the Iliad (13.1–9) where Zeus turns his gaze towards the men of the distant North, and it sets out the evidence for other relevant early epic texts. The fourth section looks more closely at the fragments of the Hesiodic Catalogue of Women where the circular travels of the winged Boreads bring them all the way to ‘the well-horsed Hyperboreans’. The fifth section revisits in some detail the fragments of Aristeas of Proconnesus' epic narrative of a journey to the distant North, the Arimaspeia.

This chapter addresses the more common subject of mythological representations, focusing on one of the most frequently depicted mythological lovers in Roman wall painting, the cyclops Polyphemus. Beginning with the earliest extant Roman depiction of Polyphemus as a lover, a now much damaged fresco in the so-called House of Livia on the Palatine (30s BCE), the analysis proceeds by exploring the creation of a tender iconography for this well-known monster over the course of the first century CE. At the same time, it considers different literary treatments of this myth by Theocritus, Virgil, and Ovid. These poetic and pictorial portrayals of Polyphemus as a long-suffering, sympathetic romantic protagonist likewise point to the emergence of a Roman aesthetic of tenderness, capable of transforming even the most savage of Homeric characters into a pitiable, domesticated creature. This study of Polyphemus as a lover in Roman poetry and painting also traces the reception of the Roman aesthetic of tenderness among non-elite contexts on the Bay of Naples. A well-known Campanian image of Polyphemus receiving a love letter points to the influence of Latin elegy in the representation of this well-known mythical character in Roman art.