Published online by Cambridge University Press: 11 February 2009
On his way to convey Jupiter's rebuke to Aeneas, Mercury passes by his maternal grandfather Atlas, a mountain vividly personified as an old man with snowy beard/frozen rivers running down his chin (4.249–51). Here he pauses, then flings himself into the waves (4.253–4):
2 See Clausen, W., Virgil's Aeneid and the Tradition of Hellenistic Poetry (Berkeley, 1987), pp. 23–24 for an example of such temporary ambiguity at Aen. 4.124Google Scholar; Perkell, C., The Poet's Truth (Berkeley, 1989), pp. 5–7Google Scholar; O'Hara, J., Colby Quarterly 30 (1994), 221Google Scholar; Weber, C., Vergilius 41(1995), 28–30Google Scholar; and Horsfall, N., A Companion to the Study of Virgil (Leiden, 1995), p. 229Google Scholar
3 See O'Hara, J., True Names (Ann Arbor, 1996), p. 190Google Scholar, and Ahl, F., Metaformations (Ithaca, 1985), p. 265Google Scholar: ‘Hence we have: “a place, once called ARDea by our ancestors”, with undertones of “a place, ARDea, once called a bird”.‘ Ovid seems to have noticed this wordplay. Taking the cue from Virgil's manet Ardea nomen, he shows a heron rising from the ashes of the fallen city: ’nomen quoque mansit in illa‘urbis, et ipsa suis deplangitur Ardea pennis’ (Met. 14.579–80).
4 Thomas, R., PLLS 5 (1986), 66.Google Scholar