Here, in the middle of the well-known simile that depicts Aeneas and Turnus as bulls fighting for territory and a herd , Vergil registers the reactions of the onlookers. Commentators and lexicographers disagree about what the heifers are doing, interpreting ‘mussant’ in different ways. Servius glosses the verb as ‘dubitant’. By contrast, Heyne offers the paraphrase ‘anxii expectant’, responding to the theme of fear in the two preceding cola: cf. ‘pavidi’ and ‘metu’. Forbiger's explanatory ‘tacite expectant’ stresses rather the note (...) of silence introduced by ‘stat pecus omne metu mutum’. Lewis and Short and Georges concur with Forbiger when they translate ‘mussant’ ‘expect in silence’ and ‘stumm harren’. Other authorities, however, underscore the verb's onomatopoeic sense. Julius Caesar Scaliger, for example, observes of Vergil's usage: ‘sane verbum factitium, neque absonum a bourn voce’. Accordingly, some older commentators interpret ‘mussant’ as a restrained form of ‘mugiunt’. More recently, the OLD and TLL cite Aen. 12.718 under the definitions ‘mutter in indecision’ and ‘mussantem dubitare’. Although there is general agreement that ‘mussant’ connotes uncertainty, there still remains the problem of whether it indicates silence, faint lowing, or muttering. The purpose of this note is to call attention to an unrecognized etymological wordplay in line 718 which helps explain what the heifers are doing and why there are varying interpretations of ‘mussant’. (shrink)

Here Ovid treats the demiurge's disposition of weightless aether over the other elements. This section of the cosmogony follows one that is devoted to the sphere of aer where the creator settles the turbulent winds and other threatening meteorological phenomena. Recently Denis Feeney has suggested that Ovid's demiurge ‘does not act in a very epic manner’ by placing weightless aether on top of the winds. He argues: ‘The oddness of the control is caught in a moment of comparison with Vergil's (...) universe: Vergil's Jupiter controls the winds by putting on top of them a mass of mountains, while Ovid's mundi fabricator places above them the aether, explicitly “liquid and lacking weight, containing nothing of earthly sediment” ’. Feeney's observation has much to recommend it. To begin with, Ovid's excursus on the cardinal winds evokes Vergil's set piece on the cave of Aeolus in Aeneid l. And the demiurge's subsequent placement of aether seems to echo the action of the Vergilian Jupiter. However, Feeney's conclusion that the demiurge's action is ‘redolent of anti-epic allegiances’ needs some adjustment.4 For his reading neglects an important verbal and structural allusion to the cosmogony of Lucretius . Accordingly, the conclusion to be drawn from lines 67–8 may be, not that Ovid momentarily reveals his Callimachean colours in an epic context, but that he plays Lucretius off against Vergil and so establishes his own position in the epic tradition of cosmological poetry. (shrink)