214 LORENZO SANNA
but he ... went here and there and everywhere dipping just the tips of
his feet, then up to his ankles, into the playful waters; and there was no
delay before he was captivated by the sweet and temperate waters and
took the soft clothing from his delicate body. Then indeed he gave
pleasure and Salmacis burned with desire for his naked beauty; and the
nymph’s eyes were aflame too, just as when Phoebus’ orb, clear and at
its brightest, is reflected in the image of a mirror facing it. (tr. Hill
1985)Ille cauis uelox applauso corpore palmis
desilit in latices alternaque bracchia ducens
in liquidis translucet aquis, ut eburnea siquis
signa tegat claro uel candida lilia uitro.
(Ov. Met. 4.352–5)
He swiftly jumped down into the waters slapping his body with hol-
lowed palms and, plying his arms in turn, he gleamed through the
transparant waters just like an ivory statue or white lilies if someone
encases them in clear glass. (tr. Hill 1985)The Ovidian ephebe is characterized by the same lightheartedness and
the same wish to enjoy himself we have found in the puer Crenaeus.
While the verb gaudeo (Met 4.294–5 ignotis errare locis, ignota
uidere / flumina gaudebat ...) appears to be typical of such a context,
being applied to Crenaeus (Theb. 9.319 gaudebat) as well as to Hylas
(Arg. 1.109 umeris gaudentibus), Parthenopaeus (Theb. 9.724 gaudes)
and Podetus (Sil. 14.497), other textual details confirm the impression
that Statius in the episode of Crenaeus refers to Ovid, as shown also
by the similarity in the use of a tone of innocent and charming levity
and in the aquatic ludus of the two boys. For instance, Hermaphrodi-
tus is described as having a good time playing with the transparent
waves (Met. 4.342 in adludentibus undis) of the spring. Some lexical
choices seem to suggest the Ovidian passage: the connection in ad-
ludentibus undis is repeated in Theb. 9.320 (maternis ... in undis), 321
(in gurgite fido) and most of all in 336 (adludunt aequora); the care-
free wandering of Hermaphrodite in the fountain (Met. 4.342 huc it et
hinc illuc) recurs with similar words also for Crenaeus, jumping hap-
pily from one shore to the other (Theb. 9.324 laetus adulantem nunc
hoc, nunc margine ab illo); moreover, the waters where both boys
play are equally charming and caressing (Met. 4.344 blandarum ...
aquarum; Theb. 9.328–9 pontus / blandior). The Ovidian ephebe is
revived in the boy-hero Crenaeus, and he is certainly unfit for the
Thebaid ’s war scene, from where he quickly disappears.