This invocation is of course from that in Il. 2. 484 foll., preceding the catalogue of the ships. It is generally briefer than its prototype; but the subject to be narrated is indicated at greater length. The notion is that an account involving much statistical detail requires the special aid of the goddesses of memory and song. ‘Pandite Helicona’ like “panditur domus Olympi” 10. 1, as if the gates of Helicon held in song. Wagn. well comp. Bacchylides, fr. 14 Bergk, οὐδὲ γὰρ ῥᾷστον ἀρ᾽ῥήτων ἐπέων πύλας ἐξευρεῖν. The notion is probably a complex one, of free utterance and of expounding things unknown. The former is the image in Pind. O. 6. 45, which Wagn. thinks inapplicable, χρὴ τοίνυν πύλας ὕμνων ἀναπιτνάμεν αὐταῖς: comp. the opening of Whytehead's Cambridge Installation Ode, “Fling the gates of music wide, Hold back no more the rush of song.” ‘Movete’ like “moveo” v. 45, whether in any way connected with the preceding image is not clear. There is a plausible variant ‘monete’ in fragm. Vat. and Gud., recognized also by Serv.: comp. v. 41. Wagn. rightly rejects it, but is perhaps too scrupulous when he questions its Latinity. Heins. conj. “cantuque monete,” which is actually found in Canon.
 Comp. G. 2. 167 foll. of the nations and families of Italy. ‘Alma’ i. q. “parens.” ‘Quibus arserit armis’ expresses generally what is expressed more in detail in the two previous lines, ‘arma’ being the Virgilian accompaniment to ‘viri,’ as in the first line of the Aeneid and elsewhere. ‘Arserit’ probably includes both martial enthusiasm and the flashing of armour.
[647-654] ‘Mezentius and his son Lausus lead an army from Agyllae in Etruria.’