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.