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In the best tradition of reference works, O'Hara is explicit about his process and boundaries and extraordinarily systematic in his format. Of the possible reasons he gives, I would credit the issues of genre (a similar tendency is noted in Greek bucolic) and theme more than any relationship to the timing of Varro's de Lingua Latina. 12.8 rather than the beech), O'Hara finds comparatively few certain examples of etymology in the Eclogues as a whole. Although the Eclogues begin with a likely instance (1.1 sub tegmine fagi, implying the phegos (oak) of Theoc. The challenge of a single interpretive framework for poetic etymology is quickly apparent: onomastics and Greek glosses are interspersed with what seem to be grammarian jingles proposed ex post facto. formica quod ore micas ferat), 438-43? fletibus flatibus, 469? Eumenidum veluti demens videt agmina Pentheus, 509-11? ter centum tonat ore deos, Erebumque Chaosque / tergeminamque Hecaten, 609 nocturnisque Hecate triviis ululata per urbes.

aures a vocibus hauriendis), 377-8 Hermes as interpres divum, 402-7? formicae convectant (Serv.

Here is a typical run of examples from the fourth book: 359? vocemque his auribus hausi (Lactant. The annotated catalogue, which begins with the Aeneid, includes matters great and small. By genre, therefore, the volume is an etymological commentary, and a model of that. In O'Hara's opinion, his second section, which occupies about two-thirds of the volume, is the more important and more useful part of the book. True Names has two parts, a basic introduction on ancient etymological thinking (for more see Robert Maltby's forthcoming monograph) and then a 'reasonably comprehensive collection of examples of etymological wordplay in Vergil'. James O'Hara, who previously gave Vergilian studies a monograph on prophecy, has now contributed a reference work on the author's technique.

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