Ancient Etymologies in Ovid's Metamorphoses: A Commented Lexicon 0905205987, 9780905205984

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ANCIENT ETYMOLOGIES IN OVID'S METAMORPHOSES: A COMMENTED LEXICON

ARCA Classical and Medieval Texts, Papen and Monographs

40

General Editors Neil Adkin (University of Nebraska- Lincoln) Francis Cairns (Florida State University, Tallahassee) Robin Seager (University of Liverpool) Frederick Williams (Queen's University, Belfast) Assistant Editor: Sandra Cairns ISSN 0309-5541

ANCIENT ETYMOLOGIES IN OVID'S METAMORPHOSES: A COMMENTED LEXICON ANDREAS MICHALOPOULOS

X FRANCIS CAIRNS

Published by Francis Cairns (Publications) Ltd c/o The University, Leeds, LS2 9JT, Great Britain First published 200 I Copyright © Andreas Michalopoulos 200 I The moral rights of the author have been asserted All rights reserved.No part of this publicationmay be reproduced,stored in a retrievalsystem,or transmittedin any formor by any means,electronic,mechanical, photocopying,recording,or otherwise,withoutthe prior writtenpermissionof the Publisher,or as expresslypermittedby law,orundertermsagreed with the appropriatereprographicsrights association.Enquiriesconcerningreproduction outsidethe scopeof the aboveshouldbe sent to the Publisherat the addressabove.

British Library Cataloguing in Publication A catalogue record for this book is available from the British Library

ISBN 0 905205 98 7

Printed in Great Britain by Antony Rowe Limited, Chippenham, Wiltshire

CONTENTS Preface INTRODUCTION Classification Etymological markers Some features of Ovidian etymologising Significant names Rarities and neologisms Ekphrastic incipits Etymological clusters Etymological diversity Displaced etymologies Narrative outcomes Etymological metamorphoses and continuities Verbal revitalisation Enrichment Redundancy Compounds and simples Synonyms Antonyms ETYMOLOGIES

VII

l 2 4 6 6 6 6 7

7 8 9 9 9 10 10 10 11 11 13 187 193

Bibliography Index locorum

V

PREFACE

The present monograph originated in a doctoral thesis presented at the University of Leeds in March 1997. The thesis had three parts: first, an account of the history of ancient etymologies from Homer to Ovid and beyond, and of modern scholarship on Greek and Latin poetic etymologies; second, a discussion of the classification of ancient etymologies and of 'etymological markers'; and third, a commented list of Ovidian etymologies in the Metamorphoses in their order of appearance in the text. The original thesis has been substantially revised for publication as a monograph. Much of the content of my original Parts l and 2 has been rendered superfluous by two works which appeared in the run-up to the submission of the thesis: O'Hara (1996) Chh. l and 2 treats very fully the history of and scholarship upon ancient poetic etymologies and offers etymological classifications; and Cairns (l 996) provides another set of classifications. I have therefore replaced those sections of my thesis with an Introduction which confines itself to a brief account of my own etymological classification, the "etymological markers", and some features of Ovidian etymological practice. Part 3 of my thesis the list of etymologies - has been reorganised in alphabetical order of the terms etymologised; and discussions of individual etymologies have been revised and abbreviated. Finally, to facilitate access to this alphabetical list from Ovid's Metamorphoses and from the many other ancient texts in which I have discussed etymologies, I have added a full Index locorum. My greatest debt is to the supervisor of my doctoral thesis, Dr Robert Maltby, although my gratitude to him cannot be expressed in a few lines of text. His penetrating criticism, wide knowledge and moral support guided me throughout my efforts and lightened the burden of my research. Particular thanks are owed to Professor David West for his stimulating criticism and helpful suggestions. Professor Stephen Hinds examined my doctoral thesis and improved it considerably with a number of valuable comments. For remaining errors and inadequacies I alone am responsible. vii

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PREFACE

Words fail me as I express my gratitude to Ors Stratis and Helen Kyriakidis, who have stood by me through the years with their love and care. I would also like to thank the members of the School of Classics in Leeds University for making Leeds such a pleasant and enjoyable place to work in. During my studies in Leeds I received a scholarship from the Greek State Scholarships Foundation (1.K.Y.). My heartfelt debt is to my family, whose love and support has made all this possible for me, and to Nassia Anagnostou for her love and constant encouragement. It is to them that I dedicate this work, for everything they have done for me all these years. Komotini October 2000

INTRODUCTION

Over the past few decades interest in ancient poets' uses of etymologies (often false etymologies) has increased steadily. Recognised landmarks are: Cairns ( 1979) Ch.4, outlining directions for future research in this area; Maltby ( 1991) assembling the etymologies of the Latin grammarians and thus providing a firm basis for the study of Latin poetic 'etymologies'; and O'Hara (1996), focussing on Virgil and offering the most complete study to date of any single Greek or Latin poet's etymological activities. Additionally O'Hara summarizes in his first chapter the history of etymologising in ancient poetry and philosophy from Homer down to Virgil. Two other scholars have approached the topic from other angles: Ahl ( 1985) deals with sound and syllabic play in the Metamorphoses on the principle that "the basic unit of sense, for the purposes of play, is the syllable rather than the word"; 1 and Paschalis (1997), taking as his starting-point the etymology of proper names in the Aeneid, analyses their semantic environments and related semantic environments elsewhere in the Aeneid. Finally numerous scholarly papers, commentaries (and some other monographs) have touched, to a greater or lesser extent, on ancient etymologising; those which appeared before O'Hara (1996) are conveniently listed in his bibliography (pp.293-308). The present monograph consists in the main of a commented lexicon of etymologies in Ovid's Metamorphoses. Given the nature of etymological studies and their relative novelty, no claim is made that all etymologies in Ovid's Metamorphoses are covered; indeed, it is virtually certain that others remain to be found. However, the substantial number listed, many of which seem never to have been noticed, may justify the work's publication. For most of the etymologies listed the following layout is adopted. A paradigm passage, clearly exemplifying the etymology, is placed 1

Ahl (1985), SS. Ahl's conviction that a syllable is a unit of sense is invalid for most languages, including Latin. Ahl's method, however, is undeniably original and ingenious and his wit runs throughout his book.

INTRODUCTION

2

first, with its reference and a brief summary of its context in parentheses. Evidence for the etymology from the grammatical tradition is then advanced, followed by a discussion of the etymology involved. Attention is given to Ovid's sources and models, his originality, the purposes of his etymologies, their functions within their contexts, and to his doctrina. Other examples of the same etymology elsewhere in the Metamorphoses are then presented along with parallels from Ovid's other works. Finally, if the etymology is not unique to Ovid (which is seldom the case), its presence elsewhere in Latin poetry is documented. In the quoted passages the terms of the etymology (i.e. the word etymologised and its derivation) are emboldened. The type of etymological marker (where present) is indicated briefly, without further reference to the bibliography cited below. The verbal markers (see below) are underlined in the Latin passage.

Classification Two classifications of etymologies have recently been proposed independently, i.e. by Cairns (1996) and O'Hara (1996) Ch. 2. These classifications are complementary rather than contradictory, and some of the categories advanced by both are in substance identical. Similarly my own classification partially overlaps with both and contradicts neither. But it is simpler and each of its six categories is transparent, requiring little or no explanation - although, as always with such schemes, category boundaries cannot be applied over-rigidly. All my categories can be readily exemplified before Ovid in earlier Greek and Roman poetry. They are: a) Etymologising on proper names. This is the form of etymologising best recognized by modern scholarship. It goes back to Homer2 and is universal in Greek and Latin literature.3

1 1

See Rank (1951). This form of etyrnologisingis bound up with ancient belief in the power of names (kledonomancy)and their reflection of the true nature of their bearers. Zeitlin ( 1982), 46 defines kledonomancyas "a system of divination which operates on the conviction that languagepossessesan enigmaticoracular capacity to bear an unexpectedmeaning not intendedor even understoodby the speaker".

INTRODUCTION

3

b) Etymologising on common nouns from Greek. The glossing of foreign (especially Greek) names and terms was popular in Latin literature, in part because of the numerous hellenisms in the Latin language. c) Etymo/ogising on common nouns. It was Homer again who set the pattern for this type of etymologising and Ke:pac;-Kpaivco),which (e.g. Od. 19.562-7: e:Aicpac;-e:A.Ecpaipoµat passed to the classical (e.g. Eur. He/. l 109f.: aot3o'tci-tav-aT106va)and Hellenistic poets. The deep interest in language of the latter accounts for the prominent role of etymologising in their work (e.g. Call. Hymn 3.39f.: E7ttKpaivco-Kpci-ta).Latin poets followed the lead of their Greek predecessors. d) Etymo/ogising through antonyms. In this category the term etymologised is collocated with a word or phrase pointing to the opposite of the term's origin. The effect can be striking and sharply ironic, since the natural course of things revealed by the etymology is reversed. Examples date back to Pindar (Pyth. 3.27ff.: A~iac;-eu8vta'toc; 4). Cf. Aesch. Ag. 256: roe/8£A.£t 'too' ayxtVlO'tOV icai. tj\ JtP+opQ 6uO♦lll,lOV, ~ icai. El nc; El7tol ICO'ta :Eo♦oic).ijv 6uamvuµov 't0V Ai.aV'ta, ci>c; OOICO'UV'ta 1tapa 't0 ai., ft 1tapVa~la, (1567): icai. 't~ Ai'.avn 6£ 't0 ovoµa E1tO>Vuµove~11vtx811 'tote; amoii icaicotc; ICO'tc; ~la aiayµci'trov na86V'toc;au'toii. ALES corve loquax, subito nigrantes versus in alas. nam fuit haec quondam niveis argentea pennis ales (2.535-7)

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23

Ovid is going to narrate the story of a bird and thus attention is centred on its plumage. The key words are alas and ales, emphaticallyplaced at the end and beginning of their lines. Varro (Ling. 5.75) attests: alites ab a/is. Cf. oscines aves Ap. Claudius esse ait, quae ore canentes faciant auspicium ... ; alites, quae a/is ac volatu (Fest. 97). Isidore (Etym. 12.7.3) rounds up the argument: a/ites, quod a/is a/ta intendant, et ad sublimia remigio a/arum conscendant. Ovid has chosen ales instead of avis or volucris, because his story will concern the plumage (a/ae) of birds (alites). The same etymological complex occurs at 4.362-4 (Salmacis tightly embraces Hermaphroditus),with ales and alas placed at line-ends: inplicat ut serpens, quam regia sustinet ales sublimemquerapit (pendens caput ilia pedesque adligat et cauda spatiantes inplicat alas). and at 8.213-16 (Daedalus and Icarus) ante volat comitique timet, velut ales, ab alto quae teneram prolem produxit in al!ranido, hortaturque sequi damnosasque erudit artes et movet ipse suas et nati respicit alas. Cf. also Luer. 5.1039f. (the beginning of the discussion about the origin of language): a/ituum porro genus alls omne videmus/ fldere et a pennis tremulum petere auxiliatum. ALVUS

vivaci nutrita solo ceu matris in alvo creverunt faciemque aliquam cepere morando (l.420f.) (New forms of life spring from the earth after the flood.) Cf. Paul.Fest. 8: alvus venter feminae ab alendo dicta.The etymological wordplay involves a synonym of a/ere, nutrire. AMICUS

quove petitus abis? certe nee forma nee aetas est mea, quam fugias, et amarunt me quoque nymphae. spem mihi nescio quam vultu promittis amico (3.455-7) (Narcissus laments the evasiveness of his beloved). For the etymology cf. Jerome (in Mich. 2.7 1.174):ab amore ... amicus dicitur. At Am. 2.5.9f. Ovid blesses the man whose mistress remains loyal: felix, qui quod amat defenderefortiter audet,/ cui sua "nonfeci!" dicere amica potest, while at Tr. 3.4.7lf. he assures his friends that his poems will not harm them: nee meus indicio latitantes versus am/cos/ protrahit. occulte, siquis amabat, amet. The vertical alignment of amicos and

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amet at the line-ends marks the etymologising, and si quis amabit, amet amounts almost to a definition of amicus. This etymology was a favourite of Plautus. Cf. Asin. 64- 7 (Demaenetus speaks to Libanus about the proper behaviour of parents towards their children): omnes parentes, Libane, liberis suis,/ qui mi auseultabunt, facient tobsequellamtl quipp' qui mage amlco utantur gnato et benevolo.l atque ego me id faeere studeo, · volo amarl a meis; Cist. 1 (Selenium's words of friendship to Gymnasium - the amieusamare play has a prominent role): Quom ego antehae te amavl et mi amlcam esse erevi; Mere. 972f. (Eutychus reproaches Lysimachus for stealing his beloved): nam te istae aetate haud aequom filio fuerat tuo/ aduleseenti amantl amlcam eripere emptam argento suo; Mere. 753f. (the cook to Lysimachus): haeein tua est amica quam dudum mihi/ te amare dixtei, quom opsonabas? AMMON quam tibi non Perseus, verum si quaeris, ademit, sed grave Nereidum numen, sed corniger Ammon, sed quae visceribus veniebat belua ponti exsaturanda meis (5.16-19) (Cepheus tries to calm Phineus down.) "dux"que "gregis"dixit "fit Iuppiter, unde recurvis nunc quoque formatus Libys est cum cornr·busAmmon". (5.327f.) (The gods disguise themselves to escape the Giants.)

Ovid is the first Latin author to apply eorniger to Jupiter Ammon (Bomer (1976) on 5.17 .; for a Greek equivalent see Phaistos FGrH 593: Zeu At~unc; lCEpa'tl'lq)OpE, 1CE1CAU0t, µcivn). Cf. Met. l 5.309f.: medio tua, cornlger Ammon,/ unda die ge/ida est, ortuque obituque ca/escit, and Ars am. 3.789f.: sed neque Phoebei tripodes nee cornlger Ammon/ vera magis vobis quam mea Musa eanet. After Ovid eorniger Hammon occurs at Luc. 3.292, Val.Flac. 2.482, etc. The usual etymology for Ammon in the grammatical tradition is from the Greek aµµoc; "sand": Paul.Fest. 102: Hammo eognominatus, quia in harena putatur inventus, quae Graeee hoe nomire appellatur; eui eornua adfinguntur arietis a genere peeoris, inter quod inventus est; Schol.Germ.Bas. p.80: quod ab harena Hammon est nominatus. Catullus works on this derivation at 7.3-5, where libyssae arenae picks up lovis aestuosi = luppiter Hammon (Cairns (1973), 18); cf. Prop. 4.1.103: hoe neque harenosum libyae /ovis explieat antrum.

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However, a different etymology is suggested by Servius (Aen. 4.196): unde factum ·est lovi Ammoni ab arenis dicto simulacrum cum capite arietino: quod ideo fingitur, quia satis eius sunt involuta responsa. add.auct. aut quia Libyes Ammonem arietem appellant. Although Ovid may simply have been influenced by the portrayal of Hammon in art as a homed boy, corniger at Met. 5.17 could allude to the Libyan Ammon "ram", appropriately in an episode set in the land of the Ethiopians bordering that of the Libyans. At Met. 5.327 Libys again points to the Libyan meaning of Ammon, "ram", picking up dux gregis in the previous line, while recurvis ... cornibus (on which see below, s.v. comu) also suggest the involuta responsa of Servius' etymology. nunc and unde verbally mark the etymologising. AMNIS

lustrat caligine tectam amnis et ignarus circum cava nubila quaerit bisque locum, quo me dea texerat, inscius ambit (5.622-4) (Diana covers Arethusa with a cloud). Cf. Varro (Ling. 5.28): amnis id jlumen quod circuit a/iquod: nam ab ambitu amnis . . . itaque Tiberis amnis, quod ambit Martium campum et urbem; (but contrast Isid. Diff. l .244: amnis ... fluvius est nemore et frondibus redimitus, et ex ipsa amoenitate amnis vocatur, Isid. Etym. 13.21.3). Ovid's use of amnis is etymologically pointed: the river Alpheus 'circles round' the cloud that covers Arethusa in his effort to find her. The framing of the lines 623f. with amnis and ambit both marks the etymologising and visually depicts Alpheus' tight embrace (cf. angulus and Acis, Met. 13.884, above s.v. Acis), while circum further enhances the circularity inherent in amnis. scinditur in geminas partes circumtluus amnis (lnsula nomen habet) laterumque a parte duorum porrigit aequales media tellure lacertos. (15.739-41) (Aesculapius chooses his new residence in Latium.) circumjluus analyses amnis into the two parts identified at Paul.Fest. 16: amnis proprie dicitur a circumnando, quoniam "Am" ex Graeca praepositione sumptum, quae est aµ,pi,significat circum, et nare fluere. It is interesting that the amnis is the Tiber, used by Varro in his derivation (above). Cf. Fast. l.292 (the same island): insu/a, dlvldua quam premit amnis aqua. The same etymological complex is used by Virgil, at Aen. 6.550 (the river Phlegethon circling the walls of the doomed): quae rapidus flammis ambit torrentibus amnis. (Notice here also the wordplay on the

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proper name Phlegethon, withjlammis alluding to its Greek origin, the verb tAiyet v "to bum". Cf. Pl. Phd. I l 3a-b: 'tpi'tOµeta 'EA.Eouvtait Elaf3o).ii7tpmtovit El~ 'tl'\VOpo1t0vtioo 6ta tci>vatEVCOV, i\v ♦amv apxi\v Elvot 'tOU'EU11a1t6vtou·£vtou8a 6' Eatl. 'tOKuvo; afiµo aKpO,Ol 6' 'EKal}n~♦aai, and 13.1.28:o'Po6io~ £K7tl7ttEl7tOtoµ6~.Ko8'8v EVtj\ XEppovitacp'tOKuvo~afiµa EatlV, o ♦amv 'EKaPn~Elvat ta♦ov. Ovid challengesthe reader to identify Cynosemawith the help of the context: Hecuba becomes a dog and the place is named after the incident.This etymology is mentioned in brief by Myers (1994), 66 and

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Tissot (1997), 174. (For the loquorllocus etymology at 13.56~ see s.v. loquor.) The naming construction ex re nomen habere had been already used by Ovid at Am. 1.8.1-4 (the drunken Jena Dipsas): est quaedam (quicumque volet cognoscere lenam,/ audiat), est quaedam nomlne Dlpsas anus.I ex re nomen habet - nigri non ilia parentem/ Mmemnonis in rose is sobria vidit equis; see McKeown ( 1989) ad Joe., who cites the following parallels: Sall. lug. 78.1: Syrtis, quibus nomen ex re inditum, Liv. 38.18.4: duci ... exercitus per Axylon quam vocant terram coeptus. ah re nomen habet, Ov. Am. 3.9.4 (to Elegy): a, nimis ex vero nunc tibi nomen erit.

DEUS The grammatical tradition has preserved several different derivations of the word deus (Maltby (1991) s.v.). Four will be treated below:, (b) from oeoq = metus, (c) Q7t() ·tou 8Ecia8al, and (d) a1to tOU8££lV. a) do

nam iam voto deus aequoris alti adnuerat dederatque super, ne saucius ullis vulneribus fieri ferrove occumbere posset (12.205-7) (Caeneis' transformation into a man.) Paul.Fest. 71: deus dictus, quod ei nihil desit, vel quia omnia commoda hominibus dat. dederat (206) picks up the etymology of deus (205): Neptune granted Caeneis her wish, since giving is inherent in his divine nature. Besides, her appeal was carefully worded and orientated towards this feature: da, femina ne sim (12.202). This etymology is widely used in the Metamorphoses: l .486f. (Daphne asks Peneus for perpetual virginity): "da mihi perpetua, genitor carissime ", dixit/ "virginitate frui! dedit hoe pater ante Dianae", 3.293-6 (Semele asks Jupiter for a full exhibition of his divinity): obsequio Semele "qua/em Saturnio" dixit/ "te so/et amplecti, Veneris cumfoedus initis,/ da mihi le ta/em." voluit deus ora loquentis/ opprimere: exierat iam vox properata sub auras, 8.350-2 (Mopsus asks for Phoebus' assistance for the success of his shooting): "Phoebe" ail Ampycides, "si te coluique coloque,/ da mihi, quod petitur, certo contingere telo! ", 8.533-5 (Ovid is unable to depict the grief of Meleager's sisters): non, mihi si centum deus ora sonantia linguist ingeniumque capax totumque Helicona ded/sset,/ tristia persequerer miserarum vota sororum, 10.274-6 (Pygmalion's wish): "si, di, dare cuncta potestis,/ sit coniunx, opto ", non ausus "eburnea virgo "/ dicere Pygmalion "similis mea" dixit "eburnae", 13.598f. (Aurora asks from Jupiter some sort of honour for Memnon): da, precor, huic aliquem,

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so/acia mortis, honorem,/ summe deum rector, maternaque vulnera /eni, 15.683f. (Aesculapius returns a favour to his worshippers): adnuit his motisque deus rata pignora cristisl et repetita dedit vibrata sibila lingua. The list of parallels in Ovid's other works is long: Ov. Ars am. l .203f. (praying to Mars and Augustus to bless Gaius' expedition): Marsque pater Caesarque pater, date numen eunti:/ nam deus e vobis alter es, alter eris, Rem.am. 560 (woes bring an end to love and are common to all): omnibus ilia deus plusve minusve dedit, Tr. 2.183f. (imploring the emperor for pity): non precor ut redeam, quamvis maiora petitisl credibile est magnos saepe dedisse deos (line-end coupling), Pont. 2. l .55f. (his wish for Germanicus will be fulfilled): quod precor, eveniet: sunt quiddam oracula vatum:/ nam deus optanti prospera signa dedit. The play, however, is as old as Afranius (Com. 397): Di tibi dent propria quaecumque exoptes bona. This wishing formula, possibly motivated by etymology, then became a topos in Latin literature: di dent: Plaut. Asin. 46, Epid. 6, Mi/. 1038, Pers. 483, Poen. 208,667, 687, 1055, Stich. 469, Trin. 1152, Catul. 14.6, 28.14f., Hor. Sat. 2.3.191, 2.8.75f., Prop. 4.9.59, Ov. Am. 1.8.113, Tr. 3.1.23, Pont. 2.1.53, lb. 641, di dabunr. Plaut. Amph. 563, Asin. 623, Capt. 934, Pers. 16, Ps. 1130, Virg. Aen. 9.254, di dant: Plaut. Aul. 88, Bacch. 1188, Men. 558, Rud. 1229. Cf. di dedistis: Plaut. Epid. 341, Men. 473f., di date: Plaut. Mere. 850, Hor. Carm.saec. 45-7, di darent: Plaut. Poen. 1252, di dederunt: Hor. Carm. 3.6.7, di dederint: Hor. Carm. 1. 11.2, deus dat: Tib. 1.5.57, deus dedit: Tib. 1.8.56. b) 6eoc;= metus non illo melior quisquam nee amantior aequi vir fuit aut ilia metuentior ulla deorum (1.322f.) (Deucalion and Pyrrha are the only survivors of Jupiter's flood). Paul.Fest. 71: sive a Graeco otoq, quod significat metum, eo quod hominibus metus sit. Cf. Cassiod. in psalm. 21.2 1.56A.49.1 1.39A.83.4 1.105 A: deus videlicet a creando; quamvis et timorem tale nomen indicare monstretur; Serv. Aen. 12.139: quod Graece oeoq, latine timor vocatur, inde deus dictus est, quod omnis religio sit timoris. metuentior (1.323) certainly recalls the association of deus with metus. The interweaving of the two pronouns, ilia and ulla, with the two members of the play, metuentior and deorum, is intended to highlight this etymological play. The list of similar wordplays in the Metamorphoses is long. At 5.99f. Emathion is highly reminiscent of Pyrrha and Deucalion, since

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the old man combines that couple's virtues.justice and fear of the gods: fuit et grandaevus in ii/is/ Emathion, aequi cu/tor tlmldusque deorum (note the line-end coupling). Cf. also I 0.567-9. (Atalanta, frightened by the god's oracle, lives alone in the forests): territa sorte del per opacas innuba silvas/ vivit et instantem turbam violenta procoruml condicione fugal, 15.32-5 (Hercules orders Myscelus to seek the stream of Aesar): visus adesse idem deus est eademque monere/ et, nisi paruerit, plura et graviora minari./ pertlmult patriumque simul transferre parabat/ in sedes penetrale novas, 15.658 (Aesculapius appears in the dream of a Roman delegate): "pone metus! veniam simulacraque nostra re/inquam ". In the cases treated above gods cause fear. In a witty twist (mentioned briefly by McKeown (1987), 48), Jupiter, blinded by his love for Semele, swears by Styx that he will grant her whatever gift she may ask: cui deus "elige" ait, nu/lam patiere repu/sam,/ quoque magis credas, Stygii quoque conscia suntol numina torrentis; timor et deus il/e deorum est (3.289-91). The normal situation is now reversed, as the cause of fear is itself afraid of something else, which not surprisingly is another god (deus). Ovid thus presents in all its magnitude the omnipotence of the Styx. Cf. also 5.396-8 (terrified by Dis' violent attack Proserpina calls for help): usque adeo est properatus amor. dea territa maesto/ et matrem et comites, sed matrem saepius, ore/ clamat, 9.239--41 (Hercules' death): iamque valens et in omne latus diffusa sonabat,/ securosque artus contemptoremque petebat/ flamma suum: timuere del pro vindice terrae (coupling after the caesura). Parallels in Ovid's other works: Am. 3.3.23f. (Ovid's complaint to the gods for the reluctance they show to punish a girl for her faithlessness): aut sine re nomen deus est frustraque timeturl et stulta popu/os credulitate movet (noted by McKeown (1987), 48. nomen marks the etymologising); Tr. l .5.37f. (Ovid urges his friends to remain loyal): neve metu fa/so nimium trepidate, timentes,/ hac offendatur ne pietate deus. At Ars am. l .555f. Bacchus asks Ariadne to lay aside her fear in a way highly reminiscent of Met. 15.658 discussed above: cui deus "en, adsum tibi cura fidelior" inquit;/ "pone metum, Bacchi Cnosias uxor eris ". See also Her. l 0.95, where Ariadne surrounded by dangers at land and at sea is afraid of the visions of the gods in the sky: cae/um restabat: timeo simulacra deorum. At Her. 21.47f. Cydippe is ashamed and in fear, though she feels guiltless, lest she appear to have deserved the displeasure of the gods: iam pudet, et timeo, quamvis mihi conscia non sim,/ offensos videar ne meruisse deos. At Tr. l. l.73f.

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Ovid addresses the book he is about to send to Rome and refers to the gods of the Palatine who have punished him: esse quidem memini mitissima sedibus ii/is/ numina, sed timeo qui nocuere deos, Pont. 3 .2. I 7f. (referring to his friends who abandoned him in his misfortunes in fear of the gods): non ii/is pietas, non officiosa voluntasl defuit: adversos extimuere deos. The play was well-established in Latin poetry. It already appears in Plautus (Amph. 839-42, Alcmene mentions among her merits the fear of the gods): non ego ii/am mi dotem duco esse quae dos dicitur/ sed pudicitiam et pudorem et sedatum cupidinemJ deum metum, parentum amorem et cognatum concordiamJ tibi morigera atque ut munifica sim bonis, prosim probis. Cf. Hor. Sat. 2.3.295 (on superstition): quone malo mentem concussa? timore deorum, Virg. Aen. 6.323f. (Sibylla points out to Aeneas the waters of the Styx): Cocyti stagna a/ta vides Stygiamque pa/udemJ di cuius iurare timent et fa/Jere numen (the similarity to Met. 3.29 I, above, is striking); 12.894f. (Tumus tells Aeneas that it is the gods and hostile Jupiter that frighten him): ille caput quassans: "non me tua fervida terrent/ dicta, ferox; di me terrent et Juppiter hostis", cf. Virg. Aen. 1.58 (god-sent prodigies oppose Tumus' wedding with Lavinia): sed variis portenta deum terroribus obstant. c) ci1t0'tOU 8eoa0at

inde revertentes deus adspicit ales iterque non agit in rectum, sed in orbem curvat eundem. (2.714f.) (Mercury sees the maidens of Athens carrying the sacred offerings to the temple of Pallas.) Eucher. Instr. 2 p.159.20: 8e~ deus ... c:hrorov 8eiiu8ai, a spectando, id est omnia prospiciendo. (Cf. Paul.Fest. 71: sed magis constat, id vocabulum (deus) ex Graeco (i.e. from Greek 8£6V'to). Etymology K0povj 'tq> £1tl 'tal vup.+ut determines Ovid's choice. dryas transliterates the Greek 6puac;, which derives from 6p0c; "oak-tree": Serv.auct. Aen. 1.11 dryades a quercibus; cf. Probus (Virg. ad loc.) "dryadas" puellas ... dicit, quas a/ii Hamadryadas vocant, et eas cum quercu nasci et simul interire ... ; quercus enim Graece appellatur 6p~. Hence, the oak-tree in the middle of the grove automatically leads to the identification of the nymphs surrounding it with the dryades. The play is noted by Bomer (1977) on 8.743ff. The ~pua6Ec; were nymphs of the forest whose life was inextricably connected with the life of the oak-trees, which they protected. They were often identified with the 'Aµa6pua6Ec;, also associated with the oak-tree. Cf. Ath. 78b: KOi.'tOU'tav/6fi 1to8' aµa6pua6oc; vuµq,11c;/ A.EKtouc; EK yaiT1c;AAO'fC 7t6pELlEuKa)..imvt) and was followed by Pindar (01. 9.43ff.: Iluppa LlEuKa)..imv tE Ilapvaooou KataJxxvtEI ooµov £8EV't07tpO>'tOV, 0t£p 6' £\lVcic; oµoooµov/ K'tlOOac; £1Ul)VUµov e;ovoµa,et·/ ~a yap av8pro1tOtµaOUµeya £7tl&icpac;EO'tlVQV£XO'U011Ata8ytOEV, o 6n ICOI. µEXPltoi>vuv 'tflV£1tO>V'Uµi.av a'UtO'U 1C£1CA.tytat). The scholiast on Hom. //. 2.145 offers interesting inforKaAAimation: [1tovto'U'11eapi.oto]1CE1CATJJ.£VO'U om~ ci1t0'11eapo'U µaxo; ev Aiti.ot;, yet this cannot be double-checked,because of the fragmentary form of the Aitia available today. Finally, Strabo follows tat the traditional version of the myth (Strab. Geogr. 14.1.19: ,mpa1CEt 6£ tfl lliµq, vi;a~ 'I1eapi.a ci♦' n; to 'l1eaptov 7tEMJY~.O'U'tll6' £1UOV'Uµ~ £CJ'tlV'I1eapo'U1tat6o; tO'Uaat6aAO'U,ov "1 natpi. ~ ·~· iivi1eaciµ♦6t£pot 1tt£p{l)f)£vte;cim\pav £IC ICOlVO>Vt\Gavta Kpt\~. ffEV 6£ tq> attested at Tzetz. Chi/. 1.504f.: 'I1eapto; 1eat£1tEtavat pooc;µw tmwµov voµaoe Zeuc;, Pind. fr. 33c.4--6Snell: dv te ppotoV ,1ci).ovlCllCA'l](JICOlKaµot,ae8oooa 't£ Aaµ1t£ti.T1't£/ ii; 'tEKEV'HeA.i.cp 'l'n£pi.ovt 6ia Neaipa. Both names are significant. Phaethusa is the feminine form of Phaethon (another significant name), whose etymology she shares. It is not etymologised in the text, probably because its similarity to Phaethon would make the play redundant. On the other hand candida "bright, shiny" glosses and translates Lampetie. The play is noted by Andre (1975), 192. The origin of the name is the Greek epic verb A.aµn£'taco"to shine", which makes Lampetie "the shining one". A.aµ1t£ti. T1is used as an epithet of the moon, UATIVll,at HOrph. 9.9. The coupling of the gloss with the name at the beginning of the line marks the etymologising. LAPIS alterius telum lapis est, qui missus in ipso aere concentu victus vocisque lyraeque est, ac veluti supplex pro tarn furialibus ausis ante pedes iacuit ( 11.10-13)

(The Maenads cannot hurt Orpheus while his song can still be heard.) Ovid lays further emphasis on the enchanting power of Orpheus' music with an unobtrusive yet impressive wordplay: lapis . . . dictus, quod laedat pedem (lsid. Etym. 16.3.1). pedes (13) picks up the second

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element. Instead of hurting (laedere) Orpheus' feet (pedes), the rock (lapis) falls harmlessly at his feet as if to beg forgiveness. So strong is the power of Orpheus' music that it can reverse the true, etymological, meaning of stone as well as its normal characteristics. A wordplay based on the first etymological element of /apis, i.e. /aedere, is found at Catullus 69.3-6, explaining to Rufus why women avoid him: non ii/am rarae /abefactes munere vestis/ aut per/uciduli deliciis lapldis.llaedlt te quaedam ma/a fabula, qua tibi ferturl valle sub a/arum tnDC habitare caper. The coupling of /apidis and /aedit across the line boundary marks the etymologising. See Michalopoulos (l 999) 138f. LATINUS, TIBERIS, AVENTINUS

Ovid does not confine himself to etymologising on mythological figures, but also treats material from the historic - or quasi-historic Roman past. Met. 14.609-622 (the relevant excerpts are quoted below) is an account of the succession of Roman kings after the death and the apotheosis of Aeneas. This is not an Ovidian innovation, but must have been based on the ancient official records held at Rome, which were also the source for Livy 1.3.7-8: is Aenean Silvium creat; is deinde latinum Silvium. Ab eo co/oniae aliquot deductae, Prisci Latini appel/ati ... Capelo Tiberinus, qui in traiectu Albulae amnis submersus ce/ebre ad posteros nomen flumini dedit ... Aventino fa/mine ipse ictus regnum per manus tradidit. Is sepu/tus in eo col/e, qui nunc pars Romanae est urbis, cognomen col/ifecit. Cf. Dion. Hal. 1.71.1-4: µe-ra 6£ 'tO'U'tOV EV Kai. 1t£vt11KOV'ta Aanvo~ nf)~£Venr ... £~~ 6£ Ttl3£ptvo~ 0K't0£'tT\xpovov ef3ac:ri.A.£00£V. 't£A.£'\ml(Jat6' o&o~ EV 6£ U7t0 'tOU µaxu 1tapa 1tO'taµqiyevoµivu Aiye-rat· 1tap£V£X8£i.~ peuµa-ro~ £1trovuµov eamqi KO't£A.t1t£'t0V 1tO'taµov AA~"A.OV Kawuµevov 1tp6't£pov ... 'Aouev-rtvo~ 6£ 1tapa -rou-ro" 'tTJV 6"vameiav 6ta6e~ciµevo~, a+'ou -rcov£1t'ta M+µO~ £y£V£'t0'tCOV KO~, comes several lines later to confirm the reader's assumptions and conclude the whole episode: fit lupus et veteris servat vestigia formae (1.237). Cf. 2.495 (Callisto, daughter of Lycaon): pertimuitque lupos, quamvis pater esset in ii/is. lupos picks up the etymology of lycaon. See, for a multiple etymological complex around lycaeus, Virg. Aen. 8.342-4: hinc lucum ingentem, quem Romulus acer asylum/ rettulit, et gelida monstrat sub rupe Lupercal/ Parrhasio dictum Panos de more Lycael, with the association of lupus (in luperca/) and lucus via A.t>KO~ with lycaeus. See Servius ad Joe. and O'Hara (1996), 209f. Cf. Virg. Aen. 9.556-9, 563-6, where lycus is compared to a wolf, i..t>Ko~(O'Hara ( 1996), 220).

LYNCUS barbarus invidit, tantique ut muneris auctor ipse sit, hospitio recipit somnoque gravatum adgreditur ferro. conantem figere pectus

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lynca Ceres fecit rursusque per aera iussit Mopsopium iuvenem sacros agitare iugales (5.657-61) (Lyncus becomes a lynx.) The episode is otherwise unknown. The name Lyncus (rex ibi Lyncus erat, 5.650) appears to be coined to provide the ai ttov for the creation and naming of the lynces. Bomer (1976) on 5.650 calls it "durchsichtig", while Hill (1992) on 5.650 notes that ''the metamorphosis clearly relates to his name". No etymological markers are present. Servius (Aen. 1.323) draws on Ovid's version: Lyncus rex Scythiae fuit, qui missum a Cerere Triptolemum, ut hominibus frumenta monstraret . . . interimere cogitavit. ob quam rem irata Ceres eum convertit in lyncem; cf. Hyg. Fab. 259, Schol. Stat. Theb. 4.658. MAESTUS vertitur extemplo facies et mentis et oris; nam, modo quae poterat Diti quoque maesta videri, laeta deae frons est, ut sol, qui tectus aquosis nubibus ante fuit, victis e nubibus exit (5.568-71) (Proserpina's mood changes when she learns the good news about her fate.) lsid. Etym. 10.174: mestus, naturaliter tristis, non casu. est enim a natura animi et mentis, unde et mestus, i.e. maestus is a compound of mens and tristis. Both mentis and maesta share the same metrical sedes, the fifth foot in the hexameter. At Met. 9.635--8 Caunus leaves Byblis in distress: tum vero maestam tota Miletida mente defecisse ferunt, tum vero a pectore vestem diripuit planxitque suos furibunda lacertos mente deficere is, according to Bomer ( 1977) ad toe., "eine vor Ovid in dieser Bedeutung nicht belegte Variation der klassischen Junktur animo deficere: Byblis geb!lrdete sich wie eine Wahnsinnige (9.638 demens). Hier bezeichnet mens die mens sana''. The etymological connection between maestus and mens may however have dictated the substitution of mente deficere for animo deficere. At Met. 10.443-5 Myrrha is torn by conflicting emotions when she hears that she has gained admission to her father: infelix non toto pectore sentit laetitiam virgo, praesagaque pectora maerent, sed tamen et gaudet: tanta est discordia mentis maerent, the verb cognate with maestus, and mentis are vertically aligned at the end of two successive lines. Cf. Ov. Ars am. 1.121-3 (the abduction of the Sabines by the

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Romans): nam timor unus erat, facies non una timoris:I pars /aniat crines, pars sine mente sedet; a/tera maesta silet, frustra vocal altera matrem, Catul. 64.24Cr50 (Aegeus' death): Sic funesta domus ingressus tecta paternal morte /erox Theseus, qua/em Minoidi luctuml obtulerat mente immemori, ta/em ipse recepit.l Quae tum prospectans cedentem maesta carinaml mu/tip/ices animo volvebat saucia curas. See also s.v. mens for the etymology implicit in mente immemori. MANDO mandabat pariterque suae dabat oscula natae, et lacrimae mites inter mandata cadebant (6.504f.) (Philomela leaves Pandion and Athens.) This farewell scene is sealed with an etymological play. Ovid has deliberately used both verbs in the same tense (mandabat, dabat) so as to stress their etymological association by means of the effective soundplay. Cf. Isid. Etym. 5.24.20: mandatum dictum, quod olim in commisso negotio alter alteri manum dabat. Cf. 9.155-7 (Deianira gives Nessus' tunic to Lichas for him to take to Hercules): ignaroque Lichae, quid tradat, nescia luctusl ipsa suos tradit blandisque miserrima verbis,I dona det ilia viro, mandal, 9.680f. (Ligdus): dixerat, et lacrimis vu/tum Lavere profusis/ lam qui mandabal, quam cui mandala dabantur. Bomer (1977) ad toe.notes the paronomasia and points to the "kakophonie" -datadaba-. But the placing of mandabat and dabantur at the end of each hemistich and the coupling of mandala and dabantur at the line-end doubly suggest etymological play. The phrase mandatum/a dare is widely used by Ovid in his other works: Her. 13.7f. (Laodamia to Protesilaus): oscula plura viro mandataque plura dedlssem (the two words frame the second hemistich), 13.143 (Laodamia envious of the Trojan wives): producetque virum dablt et mandala reverti, 15.105f. (Sappho complaining to Phaon): non mandala dedl: neque enim mandata dedlsseml ulla, nisi ut nolles inmemor esse mei (emphatic anaphora, juxtaposition of the two words at the end of both hemistichs), Fast. 3.687f. (Anna deceiving Mars about Minerva's feelings for him): saepius instanti "mandala peregimus," inquit;I "evicta est: precibus vix dedit ilia manus" (here dedit manus does seem to recall the etymology of mandala), Tr. 1.3.59f. (Ovid on the night of his exile): saepe eadem mandata dedl meque ipse fefelli,I respiciens oculis pignora cara meis (coupling at the end of the first hemistich), 3.3.43f. (Ovid thinking of his dying hour in exile): nee mandata dabo, nee cum

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117

clamore supremo/ labentes oculos condet amica manus (coupling at the end of the hemistich), Pont. 3.2.91f. {lphigeneia giving her letter to Orestes): ad .fratrem mandata dabat, cuique ilia dabanturl (humanos casus aspice!) frater erat. mandatum dare elsewhere in Latin literature is well exemplified: e.g. Plaut. Amph. 81 : hoe quoque etiam mihi in mandatls dedlt, Virg. Aen. 6.11 Sf.: quin, ut te supplex peterem et tua limina adirem,/ idem orans mandata dabat, 9.311 f.: ante annos animumque gerens curamque viri/em,/ mu/ta patri mandata dabat portanda, Catul. 64.212-14: namqueferunt olim, classi cum moenia divae/ linquentem gnatum ventis concrederet Aegeus,/ talia complexum iuveni mandata dedisse, Tib. l.3.15f.: ipse ego, solator, cum iam mandata dedissem,/ quaerebam tardas anxius usque moras, Prop. 3.7.55f.: flens tamen extremis dedit haec mandata querelis,/ cum moribunda niger clauderet ora liquor, 4.7.71f.: sed tibi nunc mandata damus, siforte moveris,/ si tenon totum Chloridos herba tenet. MARSYAS

fertilis inmaduit madefactaque terra caducas concepit lacrimas ac venis perbibit imis; quas ubi fecit aquam, vacuas emisit in auras. inde petens rapidum ripis declivibus aequor Marsya nomen habet, Phrygiae liquidissimus amnis (6.396-400) (Marsyas' tears become a river with the same name.) Ovid uses this etymology, marked by (nomen habet), to complete a transformation and conclude one more ainov. The etymology is mentioned in brief by Myers (1994), 66. Ovid is not the first source on the etymology of Marsyas. Pausanias (10.3.9) on a painting by Polygnotus: uJtEp 'tomou ecm.v e1ti 1t£'tpa; Ka8£,0µ.£vo; Map(J'\)(X;, Kai UOA.uµ1t0;1tap' au't0V 7tatoo; EO'tlV copaiou Kai auA.E'iv6t6aaKoµivou axfiµa ex,mv.oi 6e: ev K£wtvai; «l>p{ry£;e:8ewum µe:v 't0V 1t0roµov 8; 6t£~£tm v m'.rtot; 6ui 'ti\; 7t()A,£~ EK£lV0V7tO't£Elvat 't0V auXryniv, £8£A.OU>.touV'ta 6taKoµiaat, Kai. eta· omco; au'tfj µt yi\vat. a6nµovouv'to; 6£ 'tOUEKElO'Ej3aatA.EUOV'tO; 6ui 'tTJV'tCOV EVOtKOUV't(l)V 0'7taVtV,AEYO\lO'l 'tOVAia 'tou; au't68t µupµnKa; av6pco8i\vat 1t0ti\aat, 'tou j3aatA.i~ Aiytvav ai'tflO'aµtvo\l Kai. ami\;

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tov L\ia 1tapa1tEtaa011i;. iv8£v toui; Mupµtoovai; µu8oA.OYoum yevea8at. Cf. Theodorus Melitiotis ad loc.: o AiaKoi; tou L\toi; ~v uioi; Kai. e(3aaiA.EUEV-EV Ai yi vu. AEYEtat ouv Ott 8empv'tflV autou xcopav OA.tyav6pouaav 11~ato tq> L\ti, o 6£ toui; µupµ11Kai;£1toi11aev av8pco1toui;,KOi.6u1 tOU'tOMupµi6ovei; KEKA.llVtat.

MYRRHA quae quamquam amisit veteres cum corpore sensus, flet tamen, et tepidae manant ex arbore guttae. est honor et lacrimis, stillataque robore murra nomen erile tenet nulloque tacebitur aevo (10.499-502) (Myrrha is finally transformed into a tree.) This is a classic case of an aittov with an aetiological etymology. nomen tenet marks the etymologising. B~mer (1980) ad loc. comments: "Aition am Schluss mit Hervorhebung des Namens und Betonung der Ewigkeitsdauer", pointing to the placing of murra and aevo at the line-end. Myrrha's transformation had already been heralded in the introduction to her story (10.307-10): sit dives amomo, cinnamaque costumque suum sudataque ligno tura ferat floresque alios Panchaia tellus, dum ferat et murram: tanti nova non fuit arbor. Cf. Ars am. 1.285-8: Myrrha patrem, sed non qua filia debet,

amavit,I et nunc obducto cortice pressa latet;/ illius lacrimis, quas arbore fundit odora,I unguimur, et dominae nomina gutta tenet (note nomina tenet, the same naming construction as at Met. 10.502; this aetiological etymology is noted by Myers (1994), 38) and Rem.am. 99f.: si cito sensisses quantum peccare parares,I non tegeres vultus cortice, Myrrha, tuos. Ovid probably had in mind Prop. 3.19.15f.: crimen et ilia .fuit, patria succensa senecta/ arboris in frondis condita Myrrha novae. In Greek literature Apollodorus Bibi. 3.14.4 attests a slightly different version of the myth, ending with the same transformation, in which however Ilavuami; is the name of the father and Iµupva the name of the daughter: 8eoi. 6£ KatotKteipavtei; OU'tflVeii; 6Ev6pov µetrl~av, 8 KaA.Oootaµupvav. Smyrna and Myrrha were both used in the mythological tradition. Helvius Cinna's epyllion entitled "Zmyrna" obviously dealt with the same myth (Catul. 95.1 f.). The story is later attested in Ant.Lib. 34, from an unmentioned source: Kai. OU'tflV o Zeui; µeta(3aA.O>venoi 11ae 6Ev6pov Kai. EKCXA.Eaev oµovuµov a'U'tfj aµupvav (34.5). Servius relates the myth twice, at Aen. 5.12 and at Eel.

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I 0.18, where the etymology is explicitly mentioned: quae [sc. i\zyrrha] gravida de patre confagit in silvas ibique mutata est in arborem nominis sui. The story is also attested in Hyginus (Fab. 58) and Fulgentius (i\zyth. 3.8). NEFAS atque ibi pallentem trepidamque et cuncta timentem et iam cum lacrimis, ubi sit germana, rogantem includit fassusque nefas et virginem et unam vi superat frustra clamato saepe parente (6.522-5) (Tereus rapes Philomela.) As Bomer (1976) ad loc. comments: "Die Junktur nefas fateri scheint singular zu sein: Thes.VI 338,33". Etymology explains this emphatic juxtaposition at the end of the first hemistich of 6.524. Priscian (gramm. Ill 486.20) states: inde (sc. a far,) putant quidam etiam fas et nef as dictum esse, quod iustum est dici vet taceri. According to Varro (Ling. 6.55)fateor too originates fromfari: hinc (sc. afarl)fassi et confessi, quifati id quod ab his quaesitum. Cf. Virg. Aen. 10.673-5 (Turnus complains to Jupiter): quosne (nefas) omnis in/anda in morte re/iquil et nunc pa/antis video, gemitumque cadentuml accipio? Virgil's application of the play is unique. Just as nefas consists of the negative ne and the noun fas, which derives fromfari, so is infandus formed from the negative in and the gerundive of the verb fari, fandus. Collocations of fas and nefas: Ov. Met. 6.585, 9.55lf., Hor. Carm. 1.18.10, Virg. G. 1.505. NEPHELE s.v. Nymphs of Diana NILEUS at Nileus, qui se genitum septemplice Nilo ementitus erat, clipeo quoque flumina septem argento partim, partim caelaverat auro, "adspice," ait "Perseu, nostrae primordia gentis!" (5.187-90)

(Nileus claimed that the river Nile was his father.) This is a perfect example of false etymologising. Nileus builds his claim solely upon the resemblance between Nileus and Ni/us; he has no affiliation whatsoever with the Nile. Ovid reveals Nileus' fraud, without suggesting an alternative derivation for the name. His intention was simply to alert his audience to the threat of false etymologising. ementitus erat replaces the naming constructions frequently used for 'true' etymologising. Contrast Met. 13.142-5 where the etymological association between luppiter and pater was exploited by Ulixes in order to establish his origin from the omnipotent father (s.v. Iuppiter). For another

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etymology in this passage see s.v. clipeus. NOMEN quidque agat, ignarus stupet et nee frena remittit nee retinere valet nee nomina novit equorum (2.19lf.) (Phaethon loses control of the chariot.) Paul.Fest. 172: nomen dictum quasi novimen, quod notitiam facit. Cf. Cassiod. in psalm. 71.17 1.408 A: nomen . . . dictum est, quod notam rem facial. Related to the etymology from noscere is the one from notare (Dosith. gramm. VII 390.1): nomen dicitur quod unam quamque rem notat, quasi notamen sublata media syllaba per syncopen, vel a graeca origine rrapa -ro ovoµa. Cf. Festus 173: nomen sive ex Graeco . Had Phaethon learned the horses' names, he would have been able to tame them. The etymology is particularly suited to its context. The notion that knowledge of a person's name gives power over that person goes back to Homer. Odysseus conceals his true identity under the pseudonym Oun; (Hom. Od. 9.364-7) and because of this clever trick Polyphemus does not get the help he needs from his fellow Cyclops (9.407-14). When Odysseus later reveals his true name and identity (9.502-5), Polyphemus acquires the power to hurt him. He prays to his father Poseidon to harm Odysseus identifying him with the same words that Odysseus had used to introduce himself (9.528-31) (see Brown (1966)). Poseidon's punishment is thus sure to be inflicted on the right person. The nomen-noscere etymology is frequent in the Metamorphoses: 4.290f. (Alcithoe introduces to her sisters the main character of her story, Hermaphroditus [q.v. for etymologies on his name]): cuius erat facies, in qua materque paterquel cognoscl possent; nomen quoque traxit ab ii/is, 5.211-3 (Phineus' fighters are all petrified): sed quid agat? simulacra videt diversa figurisl agnoscltque suos et nomlne quemque vocatum/ poscit opem, 8.21f. (Scylla had learned the names of the battling leaders): iamque mora belli procerum quoque nomlna norat,I armaque equosque habitusque Cydonaeasque pharetras (lineend coupling), 9.532-4 (the beginning of Byblis' letter to Caunus, which is dominated by the idea that her name will make her known to him): et si, quid cupiam, quaeris, sine nomlne vellem/ posset agi mea causa meo nee cognlta Byblis/ ante forem, quam spes votorum certa fuisset (vertical alignment in the same metrical sedes), 9.669f. (Ligdus, the father of )phis): proxima Gnosiaco nam quondam Phaestia regno/ progenuit tellus lgnotum nomlne Ligdum (coupling after the caesura; here nomen, does not make Ligdus 'known' as it should etymo-

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logically, because of his total unimportance and low status). At 12.45961 Nestor declares that he remembers the names of the heroes and not their wounds: quinque neci Caeneus dederat Styphelumque Bromumquel Antimachumque Elymumque securiferumque Pyracmon;I vu/nera non memini, numerum nomenquenotavL Ovid had first used this etymology at Am. 3.10.7f. (the threshingfloor): ante nee hirsuti torrebant farra co/oni,/ nee notum terris area nomen erat. Cf. Fast. 1.631f. (Ovid invites the lover of ancient rites to learn more about them): siquis amas veteres ritus, adsiste precanti;I nomlna percipies non tibi nota prius, Tr. 2.115-20 (Ovid's proud assertion about his fame as a poet): sit quoque nostra domus vet censu parva vel ortu,/ ingenio certe non latet ilia meo;I quo videar quamvis nimium iuvenaliter usus,/ grande tamen toto nomen ab orbe fero,/ turbaque doctorum Nasonem novit et audet/ non fastiditis adnumerare viris, Pont. 3.2.43: (a local addressing Ovid): nos quoque amicitiae nomen, bone, novimus, hospes, 3.4.39f. (apologising to Rufinus for any defects of his new poem): nee mihi nota ducum nee sunt mihi nota /ocorum/ nomlna. materiam non habuere manus, 4.3.lf. (complaining to an anonymous friend about his faithlessness): conquerar, an taceam? ponam sine nomlne crimen,/ an notum qui sis omnibus esse velim?, 4.3.9f. (to the same friend): dissimulas etiam, nee me vis nosse videri,/ quisque sit, audito nomine,Naso, rogas. The play was popular in other authors. See Hor. Sat. 1.9.3 (a man whom Horace knew only by name): accurrit quidam notus mihi nominetantum, Prop. 3.16.29f. (the poet prefers an obscure grave): aut humer lgnotae cumu/is vallatus harenae:/ non iuvat in media nomen habere via. See Michalopoulos (1998) 240f., Cairns (1983), 84--6 on the noscere-nota-nomen wordplay in Prop. 1.5, and Cairns (1993), 114 on the "Gallan" etymological wordplay between notus-ignotus, noscere and nosse, nomen, nota and nobilitas, which is reflected at Ov. Am. 1.3.21, 26. Propertius also employs the nomen-notare etymology in his hint at the origin of Tarquinius' cognomen: quid nunc Tarquiniifractas iuvat esse securis,/ nomine quem simili vita superba notat (3. l l .47f.; nomine and notat frame the line). The nomen-noscere-notare etymological wordplay is frequent in Plautus as well: Men. 294: Cylindrus ego sum: non nosti nomen meum?, 296-9: ego tenon novi neque novisse adeo vo/o.l ~- est tibi Menaechmo nomen. Men. tantum, quod sciam,/ pro sano /oqueris quom me appel/as nomlne.lsed ubi novisti me?, 337: sed miror qui ille noverit nomen meum, 498f.: Men. responde, adulescens, quaeso, quid nomen tibist?I Pe. etiam derides quasi nomen non gnoveris?,Pseud.

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988-90: Sirnia. accipe et cognosce signum. Ba. oh! Polymachaeroplagidesl purus putus est ipsus. novL heus! Polymachaeroplagidi/ nomen est, Trin. 905f.: novlstln hominem? Sy. ridicule rogitas, quocum una cibuml capere soleo. Cha. quid est ei nomen? NOTUS

madidis Notus evolat alis terribilem picea tectus caligine vultum: barba gravis nimbis, canis fluit unda capillis, fronte sedent nebulae, rorant pennaeque sinusque ( 1.264-7) (Notus, the south wind.) Aulus Gellius 2.22.14: latine auster, Graece N6-roqnominatur, quoniam est nebulosus atque umectus; voriq enim Graece umor nominatur; cf. Nonius Marcellus (p.50.20): Austrum, qui graece N6-roq dicitur, ab umore et nebula, quod v6-r~ graece umor latina interpretatione dicitur ac sit is ventus sudoris effector. All the features that Ovid attributes to Notus emphasise the humidity, the voriq, inherent in that name. This is probably why he chose to use the Greek Notus rather than the Latin Auster (although the latter also has an etymological link with moisture, albeit a weaker one: lsid. Etym. 13.11.6: auster ab auriendo aquas vocatus, unde et crassum aerem facit et nubila nutrit). Cf. Her. 3.58: te dare nublferls lintea velle Notis, Fast. 2.300: docta graves imbres et tolerare Notos. NOX

illa nocens spargit virus sucosque veneni et Noctem Noctisque deos Ereboque Chaoque convocat et longis Hecaten ululatibus orat (14.403-5) (Circe employs her witchcraft upon Picus' attendants.) The etymology of nox enhances the dark and deadly atmosphere of the context. Varro (ling. 6.6) calls upon Catulus' literary testimony to back up his suggestion that nox derives from the verb nocere: nox, quod, ut Catulus• ait, "omnia nisi interveniat sol pruina obriguerint", quod nocet, nox. Cf. Serv. Aen. 1.89: nox dicta, quod oculis noceat. Nox is etymologically the most appropriate goddess to help Circe harm Picus' followers. Cf. Met. 4.110-12 (Pyramus blames himself for inviting Thisbe to come out at night): nostra nocens anima est. ego te, miseranda, peremi,/ in loca plena metus qui iussi nocte venires/ nee prior hue veni, • Ribbeck and Scaliger have changed "Catulus" to "Pacuvius".

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15.334 (the waters of Pheneus are harmful when drunk at night): nocte nocent potae, sine noxa luce bibuntur. This is an excellent illustration of the unbreakable bond between night and harm. The emphatic juxtaposition of nocte and nocent at the beginning of the line highlights the etymology, which is then echoed in noxa. Ovid had already used the play at Ars am. I .245f. (young men should examine their girls in the daylight): hie tu fa//aci nimium ne crede lucernae:/ iudicio formae noxque merumque nocent (see Maltby (I 993a), 265f.), 1.567f. (the lover should pray to Bacchus to let him stay sober): Nycteliumque patrem nocturnaque sacra precarel ne iubeant capiti vina nocere tuo, where Andre ( I 975), 194 notes a wordplay on Nyctelius = Greek Nu1e'ti}..io;"nocturnal", picked up in nocturna. Cf. Plaut. Cure. 352: neque diem decet demorari, neque noctl nocerier and Tib. 1.2.31: non mihi pigra nocent hibernae frigora noctls. NUBES

vincula cingebant, adopertaque nubibus atris (2.790) (lnvidia.) Donatus comments on Ter.Hec. 656: nubere ... est operiri tegique, unde et nubes, quod tegere solent caelum, dicuntur. Cf. lsid. Nat. 32.2: nubes ... dictae quod aethera obtegant and Isid. Etym. 13.7.2: nubes dictae ab obnubendo, id est operiendo caelum. Ovid uses a synonym of nubere, i.e. adoperire, to pick up the etymology of nubes. nubes is frequently collocated with other synonyms of nubere in the Metamorphoses: surgit ab his solio fulvaque recondlta nube (3.273), pectus et Aeneaden mo/itur condere nube (15.804), laeta deaefons est, ut sol, qui tectus aquosisl nub/bus ante fuit, victis e nubibus exit (5.570f.), contigerant teed Cadmeida nub/bus arcem (6.217), fugit aurea cae/ol luna, tegunt nigrae /atitantia sidera nubes (10.448f.), non /icuit, densis texlt sua nub/bus ora (11.572), tecta petit iussi sub nube /atentia regis ( 11.591), et patrio capiti bibulas subtexere nubes (14.368), Pelius indulgens nebula velatus in agmen (12.598) (with Isid. Etym. 13.10.10: nebula inde dicta, unde et nubila, ab obnubendo scilicet, hoe est operiendo, terram, sive quod nubes volans faciat). This wordplay is common both in other works of Ovid and in other authors: Ov. Her. 19.122: et latet obscura condlta nube dies, Fast. 2.71: saepe graves pluvias adopertus nub/bus aether, Pont. 4.5.5: cum gelidam Thracen et opertum nub/bus Haemum, Hor. Carm. 2.16.2f.: prensus Aegaeo, simu/ atra nubesl condldlt lunam neque certafu/gent, Virg. G. 1.442: condltus in nubem medioque refugerit orbe, Aen.

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4.177, 10.767: ingrediturque solo et caput inter n11bllacondit, 12.52f.: longe illi dea mater erit, quae n11befugaceml feminea tegat et uanis sese occu/at umbris.

NUMEN templa petebamus Pamasia: vidit euntes nostraque fallaci veneratus numina wltu (5.278f.) dictis et tempore motae adnuimusque viro primasque intravimus aedes (5.283f.) (The adventure of the Heliconian Muses in the hands of Pyrenaeus.) The Muses' acceptance (adnuimus) of Pyrenaeus' kind offer is justified by the fact that they are deities (numina). Cf. Varro Ling. 7.85: numen dicunt esse imperium, dictum ab nutu, Paul.Fest. 172 (cf. Fest. 173): numen quasi nutus dei ac potestas. Cf. Met. 15.680--4(Aesculapius' appearance in the form ofa snake): quisquis adest, visum veneratur numen, et omnes/ verba sacerdotis referunt geminata piumque/ Aeneadae praestant et mente et vocem f avorem./ adnuit his motisque deus rata pignora cristis/ et repetita dedit vibrata sibila lingua, Fast. 5.327-9 (the Floralia): convenere patres, et, si bene floreat annus,/ numinlb11snostris annua festa vovent./ adnuimus voto (vertical alignment at the start of the lines), Pont. 2.8.51 f. (Ovid prays for the safety and welfare of the imperial house): adnuite of timidis, mitissima numina, votis.l praesentis aliquid prosit habere deos, Virg. Aen. 12.187f. (Aeneas prays to the gods before his conflict with Tumus): sin nostrum adnuerit nobis Victoria Marteml (ut potius reor et potius di numlnefirment). NYCTIMENE pro quo mihi gratia talis redditur, ut dicar tutela pulsa Minervae et ponar post noctis avem (2.562-4) (The crow complains of its substitution in Minerva's affection by the 'bird of night' [Nyctimene].) The "bird of night" is the owl, noctua in Latin. The allusion is easily understood, partly because of the etymological association of noctua with nox, partly because the owl is the symbol of Minerva. Cf. Varro Ling. 5.76: noctua, quod noctu canit ac vigilat; Paul.Fest. 175: noctua a tempore noctis dicta, quo canit vel volat; lsid. Etym. 12.7.40: noctua dicitur pro eo quod nocte circumvolat. Virgil plays on the derivation of noctua at G. 1.403: nequiquam seros exercet noctua cantus (O'Hara (1996), 263). At Aen. 12.862-4 noctua is implicit in alltis in parvae subitam collecta

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figuram,I quae quondam in bustis aut cu/minibus desertisl nocte sedens serum eanit importuna per umbras (0' Hara ( 1996), 241). Several lines later the "bird of night" is named:

quid tamen hoe prodest, si diro facta volucris crimine Nyctimene nostro successit honori? (2.589f.) Nyctimene cannot stand the light of day and hides in the darkness, conscious of her guilt: Nyctimenen? avis ilia quidem, sed conscia culpae conspectum lucemque fugit tenebrisque pudorem celat et a cunctis expellitur aethere toto (2.593-5)

Here Ovid interprets the Greek name Nyctimene, which probably derives from w~"night" and µivm "to stay" (Andre (1975), 193). The crow's complaint is set up around this etymology, which accounts for the character of its rival (in accordance with the Stoic doctrine relating the cpucnc; of an object/ person to its name.) NYMPHA coniuge qui felix nympha ducibusque Camenis sacrificos docuit ritus gentemque feroci adsuetam hello pacis traduxit ad artes (15.482-4) (Numa takes the nymph Egeria as his wife.) Egeria is mentioned as wife and adviser of Numa as early as Ennius (Ann. 113 (Sk.): olli respondit suavis sanus Egeria1). Ovid adds a clever bilingual etymological play between eoniuge and nympha. Cf. Serv. Aen. 8.336: "nymphae" ... "maritae" dieit: nam graeee sponsa vvµ.917dieitur; Isid. Etym. 9.7.8: nympha sponsa in nuptiis; et nympha pro lavationis officio, quod et ad nomen nubentis adluitur. Cf. Fast. 3.26lf. (Egeria again): nympha, mone, nemori stagnoque operata Dianae;/ nympha, Numae conlunx, ad tua faeta veni (framing of the first hemistich), Her. 5.12 (Oenone reminds Paris of their different status): servus eras: servo nubere nympha tuli (the collocation of nubere and nympha recalls the marital connotations of the latter). Later in the same letter Oenone stresses her pride and selfrespect (5.81-4): non ego miror opes, nee me tua regia tangit,I nee de tot Priami diear ut una nurus:Inon tamen ut Priamus nymphae soeer esse reeuset/ aut Heeubae fuerim dissimulanda nurus. The marital sense of nympha is emphasised by its central position in line 83, enclosed by nurus twice, occupying the last position of the framing lines 82 and 84.

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NYMPHS OF DIANA

nam doctior illis lsmenis Crocale sparsos per colla capillos conligit in nodum, quamvis erat ipsa solutis. excipiunt laticem Nepheleque Hyaleque Ranisque et Psecas et Phiale funduntque capacibus urnis (3. 168-72) (Diana's nymphs prepare her bath.) Diana's other bath-nymphs (3.1658) are not mentioned by name. This alerts us to the possibility of etymologising in the six named nymphs in these lines. The name Crocale is rare, occurring here for the first time in Latin literature, and in Greek appearing only once {Lucian Dial.mere/. 15.2). Greek icpoico}..n "beach" is associated with the noun icp6icn "pebble" (LSJ s.v. icpoicci)..n).icp6icn, however, also means a "thread which is passed between the threads of the warp" {LSJ s.v. icp6icn I). For icp6icn used in this sense see Hdt. 2.35, Ar. Vesp. 1144, Plat. Pit. 283a, Arist. Hist.an. 9.39. Thus, the nymph who binds Diana's hair is called Kpoicci)..n"Thread". Her name is significant in itself, and is also glossed with colligit in nodum, a suitable action for a thread to perform. Ovid had already alerted the reader to the etymological play by characterising Crocale as doctior. The names of the other nymphs transliterate their Greek equivalents: Nephele = Necpe)..n"cloud, mist", Hyale = 'l'ci)..n"glass, crystal", Ranis = 'PaviK~"swift" and po,; "a stream". Ovid gives the Latin equivalents to the two parts of the name: rapidi = ci>K~and jluminis = po,;. The play is noted by Andre (1975), 19, Keith (1992), 65f and Tissot (1997), 173. The etymology is signposted by vocavit. Ocyroe is eventually transformed into a mare (2.674f.): pariterque • Keith (1992), 66 maintains that "the obscure name Ocyroe contributes to the effectiveness of the transition by its verbal similarity (-cyro) to the syllabic nexus c-r, for neither Hippe or Melanippe bears any resemblance to the names of the characters in the preceding episode, the daughters of Cecrops, the raven (corvus), the crow (comix, Greek 1Copo:,v'l),the Phocian king Coroneus, and the Thessalian princess Coronis";see also 55 on the existence of the syllabic nexus c-r in the names of the crow-raven episode. This is an intriguing suggestion, but it is risky to establish a relation on the grounds of the so-called "syllabic unit". Although it is true that through such similarities in letters the poets were creating plays on sound, the significance of such plays should not be exaggerated. It is safer to establish links between nouns and names that are glossed by the poet and/or can be backed up by the grammatical tradition.

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novata est/ et vox et facies; nomen quoque monstra dedere. Her new name is not mentioned; but the fact that she was turned into a mare, together with equae ... equam (667f.), points to 'Im or MEMXVlffltT\, the name by which the daughter of Chiron was usually known. nomen ... dedere (675) invites the reader to conjecture the new name; and a reader who understood the bilingual gloss Ocyroe = jluminis rapidi would have no difficulty picking up the hint in equae. OREAS

quae quatenus ipsi non adeunda deae est (neque enim Cereremque Famemque fata coire sinunt), montani numinis unam talibus agrestem conpellat oreada dictis (8. 784-7) (Ceres sends an oread to Famine.) oreas transliterates the Greek 'Opeui~ (a mountain nymph), from op~ "mountain". Cf. Festus 182 (Paul.Fest. 183): Oreus liher pater et Oreades nymphae a montihus appellantur. See also Serv. Aen. 1.500: nymphae montium Oreades dicuntur, Serv. Eel. 10.9, Philarg. Virg.Ec/. 2.46 rec.1.10.10 rec.l, Isid. Etym. 8.11.97. It occurs for the first time in Latin literature at Virg. Aen. 1.500, but no attempt is made there at etymologising. Ovid's montani numinis (786) interprets and translates oreada (787). Bomer (1977) on 8.787 comments on the use of oreades and dryades by Ovid: "Bergnymphen, opea&~, und Baumnymphen, opua&~. aµaopua&~, sind ebensowenig exakt zu trennen wie Berge und B!ume." OS

tum quoque lenta manu flectentem cornua Perseus stipite, qui media positus fumabat in ara, perculit et fractis confudit in ossibus ora (5.56-9) (Athis is killed by Perseus.) lsid. Etym. 11.1.86: ossa ... ah usto dicta, propter quod cremarentur ah antiquis; sive, ut a/ii putant, ah ore, eo quod ihi pateant. The latter etymology best suits this context (for the former cf. Tib. 1.3.6: quae /egat in maestos ossa perusta sinus, Ov. Fast. 5.454: spargehant /acrimis ossa perusta suis). Just as the word for "bone" derives from the word for "face", so Athis' face is turned into crushed bones. The coupling of ossihus and ora at the end of 5.59 is emphatic. Change in shape is accompanied by change in words. Cf. Met. 5.292f. (Pyreneus crashes to the ground): et cadit in vultus discussisque osslbus orls/ tundit humum moriens sce/erato sanguine tinctam, 11.416-8 (Alcyone freezes upon hearing Ceyx' plan): cui protinus intima frigus/ ossa receperunt, huxoque simillimus oral pallor

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obit, /acrimisque genae maduere profusis, 12.250f. (Celadon's death): in/isit fronti lapithae Celadontis et ossal non cognoscendo confusa relinquit in ore (in each of these three cases the etymology is marked by emphatic positioning, line-end coupling, line-framing, and vertical alignment at the line-ends respectively), Fast. l.557f. (Cacus' cave): ora super posies adf,xaque bracchia pendent,/ squalidaque humanis osslbus a/bet humus. Ovid's model for the description of Cacus' cave is Virg. Aen. 8.1957, where however the wordplay does not occur: so/is inaccessam radiis; semperque recenti/ caede tepebat humus, foribusque adf,xa superbis/ ora virum tristi pendebant pa/Iida tabo. The derivation of os from urere is also used by Ovid. At Met. 2.409f. Jupiter is burning with love with Callisto: dum redit itque frequens, in virgine Nonacrinal haesit, et accepti caluere sub osslbus lgnes. ossibus is artistically enclosed by two "burning" words, caluere and ignes, thus pointing to its "burning" etymology. Met. 7.747 (Cephalus in love with Procris) is a similar case: tum mihi deserto violentior lgnis ad ossa. The etymology is frequently used in Latin literature: cf. e.g. Epic.Drusi 434: lliaca ambustis osslbus arva premit, Luer. 6.1168: intima pars hominum vero jlagrabat ad ossa, Virg. G. 3.258: quid iuuenis, magnum cui uersat in osslbus lgnem, Aen. 1.660: lncendat reginam atque osslbus implicet lgnem, 7.355: pertemptat sensus atque osslbus implicat lgnem, 8.390: intrauit calor et labefacta per ossa cucurrit, 9.66: lgnescunt irae, duris do/or ossibus ardet, Prop. 3.17.9: hoe mihi, quod veteres custodit in osslbus lgnis.

PALAESTRA s.v. Phaedimus, Tantalus, palaestra PANTHER quern circa tigres simulacraque inania lyncum pictarumque iacent fera corpora pantherarum(3.668f.) (Bacchus appears in all his magnitude before the astonished sailors.) panther transliterates Greek 1t0V8T1P, a compound of the adjective miv "all" and the noun 8iip "wild beast". (For spondaic quadrisyllable Greek words occupying the end of the verse thus giving a spondaic fifth foot see Henderson (1984) ad Joe.). Some Greek uses of the word are: Hdt. 4.192: ical j3aaaapta Kal uatvat Kal OO'tptxe~ Kal Kptol ayptOl ICOtai ICTUE~ ICOt80>£~ICOt1t0V811P£~ ICOtj3opU£~,Xen. Cyn. 11.1: A.EOVtE~ ae ICOt1tapOOA.El~,A.'\Y'(ICE~. 7taV8f\p£~.ClplCtOl,Arist. Hist.an. 6.35.25: ICOto 1taV8f\paetllCtEl ~Ml C007tEp A.UK~.tllC'tEl aetCl1tA.ElO"tQ 'tiuapa tOVapt8µ6v. Jerome attests (in Os. 5.141.414): panther tam nomen bestiae quam omnis bestia accipi potest. Isidore

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(Etym. 12.2.8) has the same derivation in mind: panther dictus, sive quod omnium animalium sit amicus, excepto dracone (ex Physiol. rec. Y.29.2), sive quia et sui generis societate gaudet et ad eandem similitudinem quicquid accipit reddit, ,rav enim Graece omne dicitur. Ovid's /era is the Latin equivalent of the second part of the word, &ip, although of course /era is here used as an adjective. This wordplay stresses the wild nature of the god and his companions, thus preparing the ground for Pentheus' savage death at the hands of his mother, his aunt and the other demented Maenads. PAPHOS

coniugio, quod fecit, adest dea, iamque coactis comibus in plenum noviens lunaribus orbem illa Paphon genuit, de qua tenet insula nomen (10.295-7)

(Pygmalion's daughter.) In honour of this child the island is named Paphos; tenere nomen marks the etymologising. This etymology is mentioned in brief by Myers ( 1994), 66. Ovid is the only Latin source on the etymology of Paphos. Apollodorus' version of the story is different [Bibi. 3.14.3]: ~ tic I.upi~ £A8mveic; KtAticiav, 1t0Atv eicn'taA.avtEia 8at>µa "Tciv-raAOv",-rotou-rov-rt JCai.-rou-rq> -ro ovoµa eotJCEV£1C1topiaati\ WXT\ 'tiit;; Cl>TVJ.11t;. The latter version is recapitulated at Euseb. Praep. evang. 11.6.21: -rov6e Tciv-raAOv -raA.civta-rov 'tlvci Cl>T\V EVXEtpi 7taAlVtOVOV cpapetpnv, Od. 9.314: ro; ei. te cpapetpu Jui>µ' exi8ein, Pind. 01. 2.84: ev6ov Evtt cpapetpa;, Eur. H.F. 969: ro8et, cpapetpav 6' EUtPEITTI cnceua~etat, Rhes. 979: totov cpapetpa Ao~iou mp~Et (3EAO;)which derives from the verb cpep0>(EM 787.37: ct>APETPA:i\ jiEA08t11CT\' Elpl'ltat 1tapa to cpEpEtVKai Koµi~EtVta tttpoxncovta, cf. the Slavic •tutu= cpapetpa, which originates from the root tul (ferre, tul-isse). Cf. lsid. Etym. I 8.9.1: faretra sagittarum theca, a ferendo iacula dicta; sicut et feretrum, ubi funus defertur. quae idcirco etymo/ogiam communem habent, quia pharetra mortem, feretrum mortuum portal. Another characteristic use of this etymology is I .468f. (Cupid is getting ready to punish Apollo): eque sagittifera prompsit duo tela pharetra/ diversorum operum: fagat hoe, facit illud amorem. The -fer suffix of sagittifera picks up t~e fer-!cpep- part of pharetra. Ovid is the first in Latin literature to associate sagittifera with pharetra. Before him the adjective was attributed only to men. Bomer (1969) ad toe. mentions Catul. 11.6: Parthi, Virg. Aen. 8.725: Ge/oni. Later Statius (Achi/. 1.416) used it together with pharetra. Other parallels include Am. 3.9.7f. (Cupid attends Tibullus' funeral): ecce, puer Venerisfert eversamque pharetraml et fractos arcus et sine lucefacem, Virg. Aen. 1.499-501 (Diana again): exercet Diana choros, quam mi/le secutael hinc atque hinc g/omerantur Oreades; ilia pharetraml fert umero gradiensque deas supereminet omnis (on this

nst

ETYMOLOGIES

145

latter passage Austin (1971) ad loc. points to Callim. Hymn 3.212f.: aµ♦' mµoun +apt"tp~ io6o1eo~ t+op11aav, where the etymological association of ♦Aiypa(Pind. Nem. 1.67: otav 8Eoi. EV 1tE6iAiypac;ftyavtEOOtV µaxav avna~(l)(Jtv). fulmina (151) relates etymologically to Phlegraeis; cf. the commentator on Stat. Theb. 6.336 (358): "Phlegram" regio est, in qua debellati Gigantes ignitis fa/minibus perierunt. ;;.t,yeiv enim Graece ignire proprie dicitur. Silius' later reference to Phlegra shows etymological intent and fulmina is again used as a gloss on Ph/egraeis (Pun. 9.305-8): Phlegraeis quantas effudit ad aethera voces/ terrigena in campis exercitus; aut sator aevi,/ quanta Cyclopas nova Ju/mine voce poposcitl luppiter. Cf. Aetna 41f.: proxima vivaces Aetnaei verticis ignes/ impia sol/icitat Phlegraeisfabula castris. PHOEBUS

purpurea velatus veste sedebat in solio Phoebus claris lucente smaragdis (2.23f.) (Phaethon enters Phoebus' palace.) Macr. Sat. 1.17.33: 4'oi~ appellatur ut ait Cornificius (GRF 476,5) ano rov ;oiriiv Pit;z,quod vi id est 1(a8apov l(ai fertur, plerique autem a specie et nitore Cl>oil3v, MJµ,rpov dictum putant; contrast Isidore Etym. 8.11.54: ipsum Phoebum, quasi ephebum, hoe est adolescentem. Phoebus appears before his son in all the brightness inherent in his name. The juxtaposition of Phoebus and claris lucente on either side of the caesura highlights the etymological intent. clarus combines the sense of both brightness and clarity encapsulated in the Greek Cl>oil3c; (=1Ca8apoc;and A.aµnpoc;);cf. OLD s.v. clarus 2,4. This particular derivation of Phoebus is highly appropriate for the Phaethon episode, in which light and fire hold a central part. Cf. 2.35f. (Phaethon addresses Phoebus): o lux inmensi publica mundi,/ Phoebe pater. The great number of parallels in other authors proves that the Greek

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origin of Phoebus/Phoebe was widely known and that poets expected the learned members of their audience to appreciate the plays built on it. O'Hara (1996), 216 notes Virg. Aen. 8.720: ipse sedens niveo candentis limine Phoebi. Cf. Prop. 3.20.12: Phoebe, moraturae contrahe Lucis iter. Notice also the puns on Phoebe-Diana: Hor. Carm.saec. I f.: Phoebe silvarumque potens Diana,/ lucidum cae/i decus, Ov. lb. 107: nee tibi Sol calidus nee sit tibi luclda Phoebe. Professor David West draws my attention to Hor. Carm. 1.21.I0f., where Delon and insignem are playing similar games to the play on Apo/lo-Phoebus: nata/emque, mares, Delon Apollinis,I insignemque pharetra. Other examples of the wordplay in the Metamorphoses are: 2. I 09f.: per iuga chryso/ithi positaeque ex ordine gemmae/ clara repercusso reddebant /umina Phoebo (c/ara and Phoebo frame the line). Cf. 4.347-9 (Salmacis falls in love with Hermaphroditus): flagrant quoque /umina nymphae,/ non a/iter, quam cum puro nltidissimus orbe/ opposita specu/i referitur imagine Phoebus, I l.316f. (Philammon is the offspring of Phoebus' love with Chione): nascitur e Phoebo (namque est enixa geme//os)/ carmine voca/i clarus citharaque Phi/ammon, 15.190f. (the dawn): cum praevia Lucis/ tradendum Phoebo Pa/lantias inficit orbem. Although c/arus here means "famous", in the background is the idea that the son of Phoebus (11.aµ1tp6c:;) must himself be c/arus. Finally, an interesting reversal of the normal state of things: at 2.38If. Phoebus mourns Phaethon's death: squalidus interea genitor Phaethontis et expers/ ipse sui decoris, qua/i, cum deficit, orbe. Although squa/idus occurs in tragedy and comedy, it is rare in elevated poetry before Ovid (Moore-Blunt (1977) ad Joe.). Its appearance here as a modifier of genitor Phaethontis (i.e. Phoebus) is dictated by etymology. squa/idus "filthy" directly contradicts Phoebus' usual characteristic, purity (~tl}oc:; = Ka8ap6c:; Macrobius Sat. 1.17.33, quoted above). For antonymic etymologies producing an oxymoron see Introduction p.11.

PICUS indignatus avem duro fera robora rostro figit et iratus longis dat vulnera ramis. purpureum chlamydis pennae traxere colorem, fibula quod fuerat vestemque momorderat aurum, pluma fit, et fulvo cervix praecingitur auro, nee quicquam antiquum Pico nisi nomina restant (14.391--6) (Circe transforms Picus into a woodpecker.) This metamorphosis

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follows the standard practice; nomina restant marks the etymologising. All the physical characteristics of the man change, but his name remains the same as a reminder of the bird's previous identity. Cf. Myers (1994), 38. Ovid capitalised upon an already established etymological tradition. Cf. Fest. 209: picum avem quidam dictum putant a Pico rege Aboriginum. Later on both Pliny and Isidore adopt this etymology: Plin. NH 10.41: ipsi pici principa/es Latio sunt in auguriis a rege Pico qui nomen huic avi dedit, Isid. Etym. 12.7.47: picus a Pico Saturnifilio nomen sumpsit, eo quod eodem in auspiciis utebatur.

PINUS redeuntem colle Lycaeo Pan videt hanc pinuque caput praecinctus acuta talia verba refert (1.698-700) (Pan falls in love with Syrinx.) At Met. 3.155 acutus modifies the cypress (vallis erat piceis et acuta densa cupressu), but its use here with pinus is etymological. Cf. Isidore (Etym. 17.7.31): pinus arbor picea ab acumine foliorum vocata; pinnum enim antiqui acutum nominabant. The form pinnus does not occur in pre-Augustan or Augustan poetry, but it is used by Quintilian as the origin of bipennis (Inst. 1.4.I 2: nee miretur, cur .. . a pinno, quod est acutum, (fiat) securis ... bipennis). Ovid, in accordance with his practice of etymologising on rare words or words of peculiar origin, glosses pinu with acuta. This is the first time in the Metamorphoses that a gloss is used to elucidate an ancient etymological root obsolete in Ovid's time. Ovid is the first and only classical poet to employ this particular etymology. See also Her. 5.137f. (Oenone had even shunned the love of Faunus): cornigerumque caput plnu praecinctus acuta/ Faunus, in inmensis qua tumet Ida, iugis (pinu and acuta frame the second hemistich). Cf. Ars am. 2.424 (a lover should use the nuts of the pinetree to win his love): quasque tu/it folio pinus acuta nuces.

POEMENIS s.v. Actaeon's hounds POMONA rege sub hoe Pomona fuit, qua nulla Latinas inter hamadryadas coluit sollertius hortos, nee fuit arborei studiosior altera fetus; unde tenet nomen. non silvas ilia nee amnes, rus amat et ramos felicia poma ferentes (14.623-7) Pomona's interest in the cultivation of the fields and her care for fruit

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trees justifies her name, which derives from pomum "fruit"; nomen tenet and unde mark the etymologising. Cf. Serv. Aen. 7.190: Pomona, pomorum dea and Aug. Civ. 4.24 p.176.23 D: a pomis Pomonam nuncupaverunt, non Pomum. The etymology is discussed by Myers (1994), 114. POSTIS postibus Augustis eadem fidissima custos ante fores stabis mediamque tuebere quercum (1.562f.) (Apollo makes the laurel his beloved tree and a symbol of triumph.) Priscian gramm. Ill 475.7: posies ... dictae, quod post/ores slant; lsid. Etym. 15.7.9: posies eo quod post ostium stent. ante (1.563), the precise opposite of post, ironically reflects the etymology of pastes. The allusion is stressed by the emphatic placing of postibus and ante /ores at the beginning of two successive lines. Cf. Met. 2. 766f. (Minerva refrains from entering the house of Invidia): constitit ante domum (neque enim succedere tectisl fas habet) et posies extrema cuspide pu/sat, 7.602 (corpses defile the temples during the plague on Aegina): ante sacros vidi proiecta cadavera posies (the two terms frame the line). Ovid's first use of this particular etymology had been Am. 2.19.21 f., instructing his new love on how to preserve his interest in her: et sine me ante tuos proiectum in limine posies/ longa pruinosa frigora nocte pati. This passage is closely reminiscent of Prop. l.16.43f., the closing couplet of the locked-out lover's complaint, where ante and posies frame the line: ante tuos quotiens verti me, perjida, postis,/ debitaque occultis vota tuli manibus! (line-framing). For this Propertian play see Michalopoulos ( 1998) 244. PROTESILAUS

prohibent aditus litusque tuentur Troes, et Hectorea primus fataliter hasta, Protesilae, cadis (12.66-8) (Protesilaus is the first Greek to be killed at Troy.) Protesilaus transliterates the Greek IlpCO'tEcri.A.aoc;/TTpID-recri.A.EID~ (Attic), a compound of the adjective npco-ro~"first" and the noun A.ao~ / A£~ "people" (i.e. IlpCO'tEai.A.ao~ is the "first of the people"). primus (67) certainly picks up the npro-ro~part of the name, crossing the boundaries of Greek and Latin. Ovid is alluding to a version of the story in which the first Greek to set his foot on the Trojan shore was destined to die (Catullus obviously hints at this oracle at 68.85f.: quod scibant Parcae

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non /ongo tempore abisse,/ si miles muros isset ad 1/iacos); fataliter (67) enhances the effect of the etymological play. Protesilaus was the first to die, because he bore this sense of priority in his name. Hyginus (Fab. 103.1) attests the etymology: lolaum cuncti appel/arunt Protesi/aum, quoniam primus ex omnibus perierat. Ovid had made this play the basis of Laodamia's letter to Protesilaus (Her. 13). Allusions to the derivation of the name predominate (93-5, Laodamia wonders who is going to be the one to set his foot first on Trojan soil and whose wife will be the first to lament): Sors quoque nescioquem Jato designat iniquo,/ qui primus Danaum Troada tangat humum.l lnfe/ix, quae prlma virum lugebit ademptum! The IlpOYtE'toc; etymology was common in Greek literature. Cf. Hom. //. 2.698-702: 'tCOV au IlpO>'tECJlMlO11aac; tci>vOA.A,O>V 00~111toc;, a compound of nup "fire" and O'ljf"brightness-appearance". The adjective occurs in Aeschylus as a modifier of Zeus' thunderbolt (PV. 667f.): 1tUp0>1tov EKAtoe;µoAE'iv/KEpauvov.Cf. Plut. Mor. 404D (the moon): 'tO MXµnpovKOi.1tup0>1tOV oux, oµowv MXµ~avouaa BE nap' TlA.lOU 01t01tEµ1tEt npoc; tiµac;, aUl\8myap to ai\7tm. Also Schol. Ar.Plut. 213: Ilu8mv ovoµa IC'UptOV. Ilu8cov 6£ q>©KlKf\c; 1tOA.£©. So, why did Ovid prefer the derivation from Python? It is unlikely that he was unaware of the other two versions, given his wide knowledge of Greek and Latin literature and his profound interest in etymology. Meaning and context provide the reason. Ovid highlights Apollo's killing of Python, because this is his first appearance in the Metamorphoses and his first great exploit. The god is portrayed in his grandeur as he establishes new games to commemorate his victory. A derivation from m'>8ea8ai''to become rotten" would be out of keeping for such an illustrious context, and the derivation from m>v8aV£a8ai would also be inappropriate, since no mention of the oracle or of the god's power of divination is to be found in this passage. This is a classic case in which the context determines the etymology. The poet is free to choose among the derivations available the one that would best serve his literary purposes. In this way he is able to implant in his audience's mind a certain way of viewing things, which will reveal the necessary connotations for the desirable appreciation of the story. RAMUS nee fera turbarat nee Iapsusab arbore ramus(3.410) (Narcissus' lake.) Isidore Etym. 17.6.17: rami sunt qui de trunco manant. If /apsus is taken in the sense "flowing" (OLD s.v. lapsus 2) then it can also be taken as a gloss on the origin of ramus. Here the wordplay is created through a synonym of the etymology (see Introduction p.11 ). RANIS s.v. Nymphs of Diana RHADAMANTHUS me quoque fata regunt, quae si mutarem valerem, nee nostrum seri curvarent Aeacon anni, perpetuumque aevi florem Rhadamanthushaberet cum Minoe meo (9.434-7) (Jupiter reminds the gods of Rhadamanthus.) Rhadamanthus transliterates 'Paooµav8ui;, a name whose origins are difficult to trace. The combination -v8- points to a pre-Hellenic origin. In the Latin grammatical tradition Fulgentius' version is the only one available ( Verg.cont. p. IOI. I 0): Radamantum ... Grece quasi tarematadamonta, id est verbum domantem. tarematadamonta is obviously Fulgentius' transliteration of the Greek ta pt\µa-ra ooµov-ra. EM 701.48 reads: PAMMAN8TI:: i\ O't\ 7tEpl 'tCl p66a eµciV11'tCl 'IJ1t0 'tOU taupou npoi:tµeva, i\ ev 'P6&p napa -rate; 'ID.ui&cnv e1ta16eu9rt. Ovid

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juxtaposes florem and Rhadamanthus on either side of the caesura of line 436, probably thinking of civ8~ "flower" - another pre-Hellenic word - as the second part of the name. The assumption is strengthened by the form Rhadamanthon of the accusative four lines below (cum videat fessos Rhadamanthon et Aeacon annis, 9.440), which certainly presupposes av8oc; at the end of the name. Ovid's original attempt to etymologise Rhadamanthus contrasts with other authors (Plaut. Trin. 928, Virg. Aen. 6.566, Sen. Her.F. 734, Juv. 13.197) who fail or choose not to engage in etymological play on the name. SALTUS sic onere adsueto vacuus dat in aere saltus succutiturque alte similisque est currus inani (2.165f.) (The Sun's horses dash through the air.) Isidore Etym. 18.19: saltus dictus quasi exilire in a/tum: est enim saltus altius exilire vel longius. Isidore obviously regards saltus as a compound of the verb salire and the adverb alte. Nonius (p.387.3) takes only salire into account: saltus consuetudine a saliendo dicitur. With this wordplay (alte recalling the derivation of saltus) Ovid accentuates the start of Phaethon's flight as a crucial moment: right from the outset the horses leap high and drag him to his doom. SANGUIS hactenus, et pariter vitam cum sanguine fudit; corpus inane animae frigus letale secutum est (2.61 Of.) (Apollo kills Coronis.) Isidore derives sanguis from Greek ~iiv "to live" (Etym. 4.5.4): sanguis ex graeca etymologia vocabulum sumpsit, quod vegetetur et sustentetur et vivat. (He also attests a derivation from Latin (Etym. 4.5.6 and l l. l.122): sanguis Latine vocatus quod suavis sit.) It is an ancient belief, also existing among primitive tribes, that blood is both a living substance and the giver of life to the human body (see Levy-Bruh! (1931 ), 323-433). The belief was also shared by the mi011c;aapKoc; atµa Jews, and the Mosaic Law stated that 11'ljl'\JXT\ au--couemtv ... (Leuit. 17.11-14). The Roman attitude towards blood was similar. The shedding of blood entails automatic loss of life, since blood and life form an inseparable and undivided whole. By collocating vitam and sanguine at line 610 Ovid recalls this association, sanctioned by etymology. The same wordplay constitutes the basis of Medea's deception of Pelias' daughters at 7.332-5: "quid nunc dubitatis inertes?I stringite"

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ail "gladios veteremque haurite cruorem,I ut rep/eam vacuas iuvena/i sanguine venas.l in manibus vestris vita est aetasque parent is". Cf. l 1.326f. (Chione is pierced by Diana's arrow): lingua tacet, nee vox temptataque verba sequuntur,/ conantemque /oqui cum sanguine vita reliquit, Pont. 2.11.17f. (Ovid's wife): quae ne dissimilis tibi sit probitate laborat,I seque tui vita sangulnis esse probat (juxtaposition on either side of the caesura). Virgil may have been Ovid's model (Aen. 2.531f., Polites' death): ut tandem ante oculos evasit et ora parentum,I concidit ac mu/to vltam cum sanguine fadit. The collocation also occurs at Hom.Lat. 5 I 5 (ca/ido cum sanguine fadit) and later at Ps.Quint. Deel. 9.21: fandenda vita cum sanguine. Cf. Plaut. Moste/1. 508f.: Tr. hicin percussit! Th. guttam haud habeo sangulnis.l vlvom me accersunt Accheruntem mortui. Cf. also Prop. 2.9.39f.: figite certantes atque hanc mihi solvite vltam!I sanguis erit vobis maxima pa/ma meus (coupling across the line-boundary). At Met. S.436f. Ovid goes beyond the simple allusive collocation of vita and sanguis and actually glosses sanguis with the adjective vivum (Cyane becomes a pool): denique pro vivo vitiatas sanguine venas/ lympha subit, restatque nihi/, quod prendere posses. Bomer (1976) comments ad loc.: "vivus sanguis ist eine sonst in der augusteischen Dichtung nicht begegnende Junktur". In many of the cases discussed above (Coronis, Pelias, Chione, Cyane) the wordplay occurs at the point of death - or of a transformation equal to death. The contrast is sharp and effective, as the "living" connotations of blood counterpoint the phenomenon of death. Bomer (1976) on 5.436 makes the same point only for the vivus sanguis combination: "Sie findet am ehesten ihre ErkUlrungdarin, dass Ovid gem das letzte Stadium vor dem endgllltigen Eintreten der Verwandlung (des Todes) noch einmal mit vivus bezeichnet", and goes on to cite 4.744 (viva medulla), 6.305 (nihil est in imagine vivum) and 6.644 (viva ... membra).

SATURNIA "cladibus" exclamat "Saturnia,pascere nostris! pascere et bane pestem specta, crudelis, ab alto corque ferum satia" (9.176-8) (Hercules furiously calls upon Juno.) Cic. Nat.Dear. 2.64: Saturnus ... est appel/atus quod saturaretur annis. Cf. Fulg. myth. 1.2 p.17, I 6: hie ... per annonae praerogationem ad se populos adtrahens a saturando Saturnus dictus est. For more derivations see Maltby (1991) s.v.

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Saturnus. Ovid's conscious etymologising of Saturnio with satiare, a synonym of saturare, emphasises Juno's fierce nature. The wordplay is noted by Feeney (1991), 201, n.47 and O'Hara (1996), 164 and (I 996a), 259f. For Virgilian uses of the Saturnia-saturare association see O'Hara (1996), 68f., 164. (For more etymologies in this passage see s.v. pestis.) SCIRON tutus ad Alcathoen, Lelegeia moenia, limes conposito Scirone patet, sparsisque latronis terra negat sedem, sedem negat ossibus unda, quae iactata diu fertur durasse vetustas in scopulos; scopulis no men Scironis inhaeret (7 .443- 7) (Theseus kills the robber Sciron.) The I:1etprovi6£; 1tE'tpat were so called because they were the haunt of Sciron. Pausanias 1.44.8: 'ta; 6£ µ£'ta 'tO\l'tTIVvoµi~o,xnv ivay£'i;, mpouc:ci>voci,totv o I:1dprov, 'tllV 8aA.aooav. 01t600t; 'tci>v~evrov E1t£t{Jyx,av£v,iicl>i£toci,a~ Ovid's innovation is that the rocks did not exist until the skeleton of the robber became petrified. In this way the naming of the rocks after Sciron is better justified: the robber himself hides inside them, and this is why they keep his name. This is the first time nomen inhaerere is used as an etymological marker in the Metamorphoses; it does not occur in Latin literature before Ovid.

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SCOPULUS inminet aequoribus scopulus; pars ima cavatur fluctibus et tectas defendit ab imbribus undas, summa riget frontemque in apertum porrigit aequor (4.525-7) (lno holding Melicertes in her arms reaches the top of a rock.) Ovid's inminet aequoribus scopulus is a variant of a standard epic formula (est locus, est nemus etc.) introducing an ekphrasis. See Hinds (1987), 145 n.37 for bibliography. Scholars dispute whether the image of the rock sheltering the waves of the sea from the rain is conventional or a paradox giving a humorous tone to a heavily dramatic moment. Bomer (1976) ad loc. cites both views. Etymology may provide the answer. scopu/us transliterates the Greek ox:61t£AO~ "rock":• cf. Serv. Aen. 1.45: ' Hom. II. 2.396: itpoPM'tttcni:ont).(p,Od. 12.73:oi 6e 600>«nl:OKEM>\ oµev oupavov £Upuvl1CllV£t,12.83:µEOO1CM!). With these derivations in mind, the purpose of tectas defendit (4.526) is clear: emphatically occupying the middle of the line, just like scopulus, it picks up the etymology of scopulus. Ovid chooses the derivation from 01C£1tElV instead of that from 01Co1tEtvbecause of the context. loo does not climb the rock to have a view of the sea below it, but to dive into the waves that lie beneath it. Several lines later, however, Ovid does use the derivation of scopulus from 01Co1tetv: nee bibulis ultra Perseus talaribus ausus credere conspexit scopulum, qui vertice summo stantibus exstat aquis, operitur ab aequore moto. (4.730-32) (Perseus' struggle with the sea-monster.) The coupling of conspexit and scopulum before the caesura highlights the etymologising. Nevertheless, Ovid has inverted the normal order of things: here the scopulus is not a place from which one may look out over the neighbouring area, but it is itself looked at by Perseus at a crucial point of his tight with the sea-monster. A close parallel is Ov. Her. l O.l 35f. (Ariadne asks Theseus to see her with the eyes of his mind): nunc quoque non oculis, sed, qua poles, asplce mentel haerentem scopulo, quem vaga pu/sat aqua. Cf. also Prop. 2.30.27f. (Cynthia's and Propertius' grotto): il/ic asplcies scopulls haerere Sorores/ et canere antiqui dulcia furta /ovis (see Michalopoulos ( 1998) 242), Catul. 64.243-5 (Aegeus sees from a distance the black sails of Theseus' ship): cum primum infecti conspexit lintea veli,/ praecipitem sese scopulorum e vertice iecit,/ amissum credens immiti Thesea Jato (see ibid. 242f.), Virg. Aen. I. l 80f. (Aeneas climbs on a rock to get a broad view of the sea below): Aeneas scopulum interea conscendit, et omnem/ prospectum late pelago pet it (see O'Hara ( 1996), 119). SCORPIO concava litoreo si demas bracchia cancro, cetera supponas terrae, de parte sepulta scorpius exibit caudaque minabitur unca (15.369-71) (The miraculous birth of the scorpion out of a crab.) Cf. lsid. Etym.

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12.5.4: scorpio ... animal armatum aculeo, et ex eo Graece vocatum quod cauda figat et arcuato vulnere venena dijfundat, that is, deriving scorpio from the Greek oup~ 1teipEt. Hence, caudaque minabitur unca glosses and translates scorpio, describing the animal's main attribute which is responsible for its name. For a similar wordplay in Latin epigraphic verse see Michalopoulos (forthcoming 1). For the general belief, based on the similarity of the two animals, that scorpions were engendered from crabs see Plin. NH 9.99: sole cancri signum transeunte et ipsorum, cum exanimati sint, corpus transjigurari in scorpiones narratur in sicco. The scorpion was also believed to originate from the crocodile (Archel. ap. Antig. Mir.19). Cf. also Met. 15.364-7 (bees from dead bulls), 15.368 (hornets from dead horses) and 15.372-4 (butterflies from grubs).

SCYLLA quid quod nescio qui mediis occurrere in undis dicuntur montes ratibusque inimica Charybdis nunc sorbere fretum, nunc reddere, cinctaque saevis Scylla rapax canibus Siculo latrare profundo? (7.62-5) (Medea's overpowering passion for Jason.) Etymologising on the name Scylla is prominent in these four lines. The name transliterates the Greek I.KUA.Ml,for which there are two distinct etymologies. The first is from the Greek noun pty~ (p.112, 35 DUbner): l:uptyyo~ 6e two~ tO'Ufport~. £1t£l 1tpo copa~£~EA.l1t£ iipacr8116 nav ical El~ µv11.111v tOV~iov, to µ0001.icov£1tOiT10'£V opyavov, ical O'Ut~ auto £1C(lA.£0'£V. TAGES baud aliter stupuit, quam cum Tyrrhenus arator fatalem glaebam mediis adspexit in arvis sponte sua primum nulloque agitante moveri, sumere mox hominis terraeque amittere formam oraque venturis aperire recentia fatis: indigenae dixere Tagen, qui primus Etruscam edocuit gentem casus aperire futuros (15.553-9) (The miraculous birth of the Etruscan vates Tages.) dixere marks the etymologising on the name Tages. This etymology is noted by Bomer (1986) on 15.552-9 and Myers (1994), 47. The commentator on Luc. 1.636 attests: Tages Etrusca lingua vox terra missa ... ; qui quoniam e terra natus est, Tages est appellatus a1to tfi~ Yii~et lingua Etrusca significat "vox terra emissa". Ovid picks up both the Etruscan meaning of the name and its Greek etymology. oraque aperire implies voice

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(vox) and terraeque amittereformam aims at the Greek a1t0'tfi