Propositum: DWBAT identify and correct common errors from the Term
3 IA;
4/7/14
Facite Nunc:
1. Take the following handouts:
1.
2.
‘Term 3 IA Review’ (Class Notes)
‘Future Participles’ (Class Notes)
2. Begin working on your ‘Term 3 IA Review’ handout with your table
members
PENSUM #103:
Complete pgs. 1 and 2 of your ‘Future Participles’ hanout
QUIZ ON FRIDAY ON FUTURE PARTICIPLES AND GERUNDIVES
SECTION A: TRANSLATION
1. urbe Rōmae cōnsule carēnte, Cinna, fīdissimus
amīcus Mariō, duōs annōs cōnsul appositus est.
– What grammatical construction is urbe Rōmae
ablative absolute
cōnsule carēnte? ________________
• Translate it LITERALLY:
with the city of Rome lacking a consul
_________________________________________________
• Translate it CAUSALLY:
Because the city of Rome was lacking a consul
_________________________________________________
SECTION A: TRANSLATION
2. plūrēs mīlitum, īratissimōrum ob route magnum per
montēs niveiorēs, sentiēbant saevum dūcem ad suōs
mortēs sē celeriter dūctūrum esse.
sentiēbant
– The head verb is __________________
– The infinitive inside indirect speech is
dūctūrum esse
__________________
imperfect
– The head verb is in the_________________
tense, and the
infinitive in indirect speech is in the _________________
future
tense; therefore that verb translates as
“________________________”
would lead
of the head verb which
– suōs and sē refer back to thesubject
_________________,
is _____________________.
more of the soldiers
SECTION A: TRANSLATION
3. mīlitēs duōrum cōnsulum ā Sullā victī sunt et is
nuntiāvit sī aliquem sibi oppositūrum esse, illum
acerrimās consecutiōnēs latūrum esse.
nuntiāvit
– The head verb is __________________
– The infinitives inside indirect speech are
oppositūrum esse
__________________________
and
_____________________________.
latūrum esse
perfect
– The head verb is in the_________________
tense, and the
infinitives in indirect speech are in the
_________________
tense; therefore the infinitives
future
would oppose
translate as “________________________________”
and
_________________________________.
would endure
subject of the
– sibi refers back to the _________________,
which is
he (Sulla)
_____________________.
head verb
SECTION A: TRANSLATION
SCAVENGER HUNT!
Find the following grammatical constructions within the translation
sentences:
• A COMPARATIVE ADJECTIVE: ____________________;
translates to
niveiorēs
rather snowy/snowier
“____________________”
niveī
– Change it to positive ____________________;
translates to
“_________________”
snowy
niveissimī
– Change it to superlative: ____________________;
translates to
snowiest
“_________________”
• A SUPERLATIVE ADJECTIVE: ____________________;
translates to
īratissimōrum
angriest/most angry
“____________________”
• A -L/R- SUPERLATIVE ADJECTIVE:acerrimās
____________________; translates to
bitterest/harshest
“____________________”
celeriter
• A POSITIVE ADVERB: ____________________;
translates to
quickly
“____________________”
celerius
– Change it to comparative: ____________________;
translates to
more quickly/rather quickly
“_________________”
celerrimē
– Change it to superlative: ____________________;
translates to
“_________________”
most quickly
SECTION B: MULTIPLE-CHOICE
(Marius) domum rediit et in lectō maestissimē dīxit nullum
virum Fortūnae vītam eius confidēre debēre. (lines 1-2)
*confidō, confidere, confisus sum to trust, entrust (semi-deponent)
TRANSLATION:
(He/Marius) returned home and most/very sorrowfully in
(his) bed said that no man ought to have entrusted his life
4. The best translationtoofFortune.
maestissimē is:
a. sorrowful
b. sorrowfully
c. very sorrowful
d. very sorrowfully
SECTION B: MULTIPLE-CHOICE
(Marius) domum rediit et in lectō maestissimē dīxit nullum
virum Fortūnae vītam eius confidēre debēre. (lines 1-2)
*confidō, confidere, confisus sum to trust, entrust (semi-deponent)
TRANSLATION:
(He/Marius) returned home and most/very sorrowfully in
(his) bed said that no man ought to have entrusted his life
to Fortune.
5. The subject-accusative
of indirect speech in this sentence is:
a. nullum virum
b. Fortūnae
c. vītam
d. domum
SECTION B: MULTIPLE-CHOICE
(Marius) domum rediit et in lectō maestissimē dīxit nullum
virum Fortūnae vītam eius confidēre debēre. (lines 1-2)
*confidō, confidere, confisus sum to trust, entrust (semi-deponent)
TRANSLATION:
(He/Marius) returned home and most/very sorrowfully in
(his) bed said that no man ought to have entrusted his life
to Fortune.
6. This sentence illustrates
that:
a. Marius wished that Fortune would have allowed him to
completely destroy Rome before he died.
b. Marius wished that Sulla would have died before him.
c. Marius was thinking that he ought to greet the Fates
warmly after death.
d. Marius was thinking that nobody should relinquish control
of his life to Fortune.
SECTION B: MULTIPLE-CHOICE
(Marius) domum rediit et in lectō maestissimē dīxit nullum virum
Fortūnae vītam eius confidēre debēre. (lines 1-2)
*confidō, confidere, confisus sum to trust, entrust (semi-deponent)
TRANSLATION:
(He/Marius) returned home and most/very sorrowfully in
(his) bed said that no man ought to have entrusted his life
to Fortune.
CIRCLE ONE:
eius is REFLEXIVE/ PERSONAL; therefore it must/ cannot refer to the
subject of the __________________________.
head verb
7. eius refers to:
a. Marius
b. Sulla
c. Fortūna
d. nullum virum
FUTURE PARTICIPLES
• Complete the STATIM: Participle Review with
your table members (5 minutes)
• When you are done, raise your hand to let me
know
THE FUTURE ACTIVE PARTICIPLE
4th PP
us
• Formula = ____________________
- __________
ūrus
+ ____________
2-1-2 declension endings
• N.B. Add esse to the form the
____________________
future
active
____________________ infinitive
• Literal Translation = “
about to _________
______________________________”
or “
going to _________
______________________________”
1. exercitus Rōmae mīlitēs Sullae, petitūrōs urbem
ipsam, vincere conātus est.
petitūrōs
– Participle = ___________________________
– The participle is modifying the noun _____________________
mīlitēs
about to/going to attack
– LITERAL translation of the participle
=______________________
who are about to/going to attack
– RELATIVE translation =_________________________________
when/as they are about to attack
– TEMPORAL translation =_____________________________
because they are about to attack
– CAUSAL translation =__________________________________
although they are about to attack
– ADVERSATIVE translation = ______________________________
The army
of Rome tried to defeat the soldiers of Sulla,
– Sentence
translation:
(because) they were about to attack the city itself.
Propositum: DWBAT identify and translate future active and passive
participles
4/8/14
Facite Nunc:
1. Take out your ‘Future Participles’ handout from yesterday
1. Take out a red pen for HW corrections
PENSUM #104:
Complete your ‘Future Participles’ packet in full
QUIZ ON FRIDAY ON FUTURE PARTICIPLES AND GERUNDIVES
2. Sulla, suīs inimīcīs poenās datūrus,
Rōmam gressus est.
datūrus
a) Participle = ___________________________
Sulla (masc., sg., nom.)
b) The participle is modifying the noun ______________________
c) LITERAL translation of the participle =______________________
about to give
who was about to give
d) RELATIVE translation =_________________________________
when he was about to give
e) TEMPORAL translation =________________________________
f)
because he was about to give
CAUSAL translation =___________________________________
although he was about to give
g) ADVERSATIVE translation = _______________________________
h) Sentence translation:
Sulla, who was about to give punishments to his enemies,
approached Rome.
3. “ignōratiō futūrōrum malōrum
ūtilior est quam scientia.” (Cicero)
futūrōrum
a) Participle = ___________________________
malōrum
b) The participle is modifying _________________
about to be
c) LITERAL translation of participle=_____________
d) Sentence translation:
Ignorance of the evils which are about to be is more
useful than knowledge.
The GERUNDIVE or FUTURE PASSIVE Participle
The gerundive is a passive adjective, and can be
thought of as Latin’s future passive participle.
Present Stem
-nd• Formula = ________________
+ __________
2-1-2
+ ____________
declension endings
about to be _______ed
• Literal Translation = “ __________________”
to be _______ed
or, to emphasize futurity “ going
_______________”
1. Decline mereō, merēre, meruī, meritus to earn, to obtain
as a GERUNDIVE.
merendī
merendō
merendum
merendō
merendae
merendae
merendam
merendā
merendī
merendō
merendum
merendō
merendī
merendōrum
merendīs
merendōs
merendīs
merendae
merendārum
merendīs
merendās
merendīs
merenda
merendōrum
merendīs
merenda
merendīs
2. Decline mereō, merēre, meruī, meritus to earn, to obtain
AS A GERUND.
merendī
merendō
merendum
merendō
Cōgitāte…
1. In what key ways do gerunds and future
passive participles differ in form?
• •Gerunds only exist in the singular.
•Gerunds don’t have a nominative.
•Gerunds only have one gender.
2. Why do gerundives need to decline with in
gender and number, but gerunds don’t?
• Gerundives decline with gender and number because they
act like adjectives that must AGREE with other nouns in
GNC. Gerunds don’t because they are noun forms and
don’t need to agree with any other words.
Exerceāmus!
Group work
• Complete the translations of sentences 1-3
and the Gerund vs. Gerundive graphic
organizer on pg. 3
• When you finish, raise your hand for a CHECK
• If you finish early, you may move on to your
HW (pg. 4 – Participle Practice: Forms)
Propositum: DWBAT identify and translate passive periphrastics and
dative of agent
4/9/14
Facite Nunc:
1. Take a ‘Passive Periphrastic and Dative of Agent’ handout from the
front of the room
2. Take out your ‘Future Participles’ handout from yesterday for
inspection and leave it on your desk in front of your
1. Complete the STATIM at the top of pg. 1 – participle synopsis
PENSUM #105 (Due Friday):
Complete your ‘Passive Periphrastic and Dative of Agent’ packet in full
QUIZ ON FRIDAY ON FUTURE PARTICIPLES AND GERUNDIVES
Participle Synopsis
dīcō, dīcere, dīxī, dīctus: to say
dīcēns
saying
dīctūrus
about to say
dīcendus
about to be said
dīctus
having been said
THE PASSIVE PERIPHRASTIC
AND DATIVE OF AGENT
• The PASSIVE PERIPHRASTIC is a passive verb form
consisting of the gerundive and a form of sum, esse.
The gerundive, as an adjective, will agree with the
subject of sum, esse and act as a predicate
adjective.
Latin Formula = noun + gerundive + form of sum, esse
English Translation = ________ must be/will have to
be/had to be ____________ed
The PASSIVE PERIPHRASTIC
• Unlike the regular gerundive, which is simply a
verbal adjective with an “-ing” translation (ex.
legendīs librīs by reading books), the passive
periphrastic expresses OBLIGATION OR NECESSITY.
So liber legendus est would mean “the book
MUST be read”, rather than simply “the book is
about to be read” or “the book is being read”.
Dative of Agent
• The DATIVE OF AGENT has the same function
of the ablative of agent, but is only used with
passive periphrastic constructions
• liber legendus MIHI est = the book must be
read BY ME
Passive Periphrastic and
Dative of Agent
• hic liber mihi cum cūrā legendus erit
– this book will have to be read by me with care
• illa fēmina omnibus laudanda est
– that woman must be praised by everyone
• pax dūcibus nōstrīs petenda erat
– peace had to be sought by our leaders.
Write out and translate the following
sentences:
1. pax cum Carthāgine Rōmae adquirenda est.
Peace with Carthage must be obtained by Rome.
2. Mithridates Sullae celeriter vicendus erat.
Mithridates had to be conquered quickly by Sulla.
3. fortī consulī Rōma regenda erit.
Rome will have to be ruled by a strong consul.
EXERCEĀMUS!
(10 min.)
• Translate the following authentic Latin
sentences involving the passive periphrastic.
Put a plus sign over the dative of agent in each
one.
• Raise your hand for a group work CHECK when
you are done
EXERCEĀMUS!
Translate the following authentic Latin sentences involving the passive
periphrastic. Put a plus sign over the dative of agent in each one
1. Carthagō dēlenda est. (Cato)
Carthage must be destroyed.
2. haec omnia vulnera bellī tibi nunc sānanda erunt. (Cicero)
All these wounds of war will now have to be healed by you.
3. ad ūtilitātem vītae omnia cōnsilia factaque nōbīs regenda
sunt. (Tacitus)
All plans and deeds must be ruled by us for the benefit of life.
4. Caesarī omnia ūnō tempore agenda erant. (Caesar)
All things had to be done by Caesar at/during one time (at once.)
Quis erat Horace?
• 65-7 B.C.
• Wrote poetry, satire, letters,
ranging in tone from sarcastic
and humorous to serious and
contemplative
• Close to Maecenas, righthand
man to Octavian (later
Augustus) during Octavian’s rise
to power and role as first
emperor of Rome
Propositum: DWBAT identify and translate passive periphrastics and
dative of agent
4/9/14
Facite Nunc:
1. Take out your ‘Passive Periphrastic and Dative of Agent’ handout
from Wednesday
2. Reflect with your table members:
1.
What was one thing you found challenging about the Horace passages? What
was challenging about it?
PENSUM #106:
otiō vestrō fruāminī!
Dē Cupiditāte – Horace, Epistluae
1.1.53
• Homō stultus, “Ō cīvēs, cīvēs,” dīcit, “pecūnia ante
omnia quaerenda est; virtūs et probitās post
pecūniam.”
• Pecūniae autem cupiditās fugienda est. Fugienda
etiam est cupiditās glōriae; ēripit enim lībertātem.
Neque imperia semper petenda sunt neque semper
accipienda; etiam dēpōnenda nōn numquam.
• A stupid man says, “Oh citizens, citizens, money must be
sought before all things; virtue and honesty after money.”
However the desire for money must be fled
Also the desire for glory must be avoided;
(avoided).
for (it) takes away (one’s) freedom.Neither must commands
(authority) be sought always nor must they always be accepted;
also they must not never be put aside.
Dē Cupiditāte – Horace, Epistluae
1.1.53
• What virtues and vices are mentioned by
Horace?
• Which ones should be sought and which
avoided?
• Why is Horace framing this in the words of a
“homō stultus”?
QUIZ: Future Participles, Passive
Periphrastic and Dative of Agent
• You have the remainder of your recitation to
finish your quiz
Propositum: DWBAT analyze the structure of the IB syllabus for Latin and
identify significant features of Ovid’s biography and literature
4/23/14
Facite Nunc:
1. Take the following handouts from the front of the room and place
them into the Reference Info. section of your binders
1.
2.
IB Syllabus (SL and HL)
Publius Ovidius Naso
2. Take out a highlighter or non-black/blue pen
1. Silently read over the IB syllabus handout and annotate it for
clarifying questions and most important information
PENSUM #107:
Mini QUIZ on Publius Ovidius Naso tomorrow (5 short answer questions)
IB Latin Assessments
IB Latin Assessments
On the day of your IB Examinations:
Paper 1 = translating 1 excerpt from Ovid’s
Metamorphoses, which may or may not be an excerpt
studied in class
Paper 2 = answering questions on reading
comprehension, style, influence, significance, and
possibly translating parts of a selection of passages
studied in class (TBD)
During the course of the year:
Part III- Individual study = an independent research paper
written on a topic of the student’s choosing involving
copious primary and secondary research
IB Latin at TBLS
• Your assessments during your 3rd and 4th years
of Latin will all be modeled after the types of
assessments you will have to complete during
your IB Examinations
• Your assessments up until this point have
been modeled after those Papers
– Paper 1 = Translatiō
– Paper 2 = Explicatiō/Midterm/IA
Suggested Preparation for Paper 1 –
Ovid’s Metamorphoses
“The aim of the Latin syllabus is to teach a facility
with reading and understanding, and to develop
some sensitivity to style. After grammar has been
taught, selected reading of the prescribed author
should be pursued. In paper 1, students are asked
to produce a translation with the use of a
dictionary, and proper dictionary skills should be
developed in class to assist with all areas of the
syllabus. It is best practice for teachers to
encourage students to familiarize themselves with
the most common words in prescribed authors.”
Preparation for Paper 1 – Ovid’s
Metamorphoses
1.
Knowing that you will have to translate a random passage from
Ovid’s Metamorphoses, what kind of preparation should we be
doing in order to make that task as manageable as possible?
Familiarity with Ovid’s style of writing, themes in the Metamorphoses, his
vocabulary, as many of the passages from his work as possible
2. What do you think “dictionary skills” mean?
Being able to determine what part of speech a word is (noun, verb, adverb,
adjective, preposition) and how to use that information to find the correct
definition in a dictionary; how to chose the best definition based on
context for a word
3. What kinds of “dictionary skills” do you currently have? (Don’t
say “none”)
Knowing how to determine the part of speech of many kinds words;
knowing how words (verbs, nouns) appear in a dictionary; knowing that
you should chose one definition from many based on context
PUBLIUS OVIDIUS NASO
43 B.C. – 17 A.D.
• BIOGRAPHICAL DETAILS
– Publius Ovidius Naso, more commonly known
as “Ovid”, was born in Sulmo , a town
northeast of Rome, to an equestrian family.
•
– His father, a lawyer, wanted him to pursue a
legal career and sent him to Rome to study
rhetoric and later to Athens ,
•
– After holding a few minor political positions,
and the death of his brother, Ovid abandoned
his political career and decided to pursue
poetry around the age of 16, a decision which
his father disapproved of.
•
PUBLIUS OVIDIUS NASO
43 B.C. – 17 A.D.
• BIOGRAPHICAL DETAILS
– Around the time of his first recitation of his
work in 25 B.C. he became part of a literary
circle of M. V. Messalla Corvinus and Maecenas,
a close confidant of the emperor Augustus.
•
– Ovid was friends with the poets Propertius (a
love elegist) and Horace , and acquainted
with Virgil and
(another love
Tibullus
elegist).
•
– In 8 A.D. he was exiled to Tomi on the Black
Sea by Augustus for a carmen et error (“a poem
and a mistake “), though the reasons
surrounding his exile are unknown and highly
contested
Exile to Tomis
Exile to Tomis
• The Julian Marriage Laws of 18 BC, which
promoted monogamous marriage to increase the
population's birth rate, were fresh in the Roman mind.
Ovid's writing in the Ars Amatoria concerned the serious
crime of adultery, and he may have been banished for
these works which appeared subversive to the emperor's
moral legislation. However, in view of the long time that
had elapsed between the publication of this work (1 BC)
and the exile (AD 8), some authors suggest that Augustus
used the poem as a mere justification for something more
personal.
(Jose Gonzalez Vasquez)
• Ovid may have been involved in an adulterous affair
between Augustus’ granddaughter Julia and a senator,
Decimus Junius Silanus, for which Julia was also exiled
• Amores (“Loves”)
WORKS
– Published in 16 B.C. and 8 B.C.
– In two editions, the first in 5 books, the second in 3
– Series of erotic poems addressed to a lover, Corinna
• Heroides (“The Heroines”)
– Published in 15 B.C.
– 21 letters written by famous women of mythology and history
to the male lovers who had wronged them (ex. Penelope to
Odysseus, Dido to Aeneas, Ariadne to Theseus)
• Ars Amatoria (“The Art of Love”) and Remedia Amoris
(“The Cure for Love”)
– 3 books, first 2 written for men, the last for women
– Parody of didactic (teaching) poetry meant as a manual for
seducing and attracting members of the opposite sex
– The Remedia Amoris written for those suffering from broken
hearts
WORKS
• Metamorphoses (“The Transformations”)
– Finished in 8 A.D.
– 15 book epic chronicling mythological stories of physical
transformation of gods and mortals from the beginning of time up
until the age of Augustus
– Considered the ultimate, encyclopedic catalogue of myth and
mythology
• Fasti (“The Festivals”)
– Finished 8 A.D., though incomplete
– Poem written in 6 books about the Roman calendar (1 book for each
month January to June) and the origins of Roman holidays, rituals,
traditions, and cultural phenomena
• Tristia (“Sorrows”) and Epistulae ex Ponto (“Letters from the
(Black) Sea”)
– Written during Ovid’s life in exile at Tomi
– 5 and 4 books, respectively
– Often personal in nature, sad and despairing in tone, these poems
detail his journey to and life in Tomi and advocate for his return from
exile back to Rome
STYLE
• Ovid has often been praised for his versatility; he is able to
switch between different genres of writing and poetry,
from love elegy to almanac to encyclopedic catalogue, with
ease and adroit skill
• Ovid sought to innovate in his writing- unlike many of his
predecessors he did not express strong moralistic views,
nor did he seek to mimic or replicate famous works of
literature that had come before him in any traditional sense
• The language of Ovid’s poetry is often described as
– Musical, employing many poetic devices which affect the sound
of his poetry
– Expressive, creating vivid images and invoking strong emotions
– Rhetorical, drawing influences from his legal training which can
be seen in his enumeration, transitions between topics, and
effects of surprise
THE Metamorphoses
• Bucking tradition, Ovid wrote a 15-book epic in dactylic hexameter (a type of meter
reserved for epic poetry) about a decidedly un-heroic topic- a series of
mythological stories all tied together by the theme of transformation (god or
human into animal, tree, rock, etc.)
• While he based his topic off of other famous works of literature which catalogued
transformations or explained the origins of natural phenomena (Hesiod’s Theogony
and Catalogue; Callimachus’ Aitia; Nicander of Colophon’s Heteroeumena), he
chose to do so while writing in the epic genre, traditionally reserved for stories of
heroes and their heroic deeds
• The scope of Ovid’s work is infinite- beginning his first book at the beginning of
time and creation of the world and ending his last with the deification of Julius
Caesar while praising the emperor Augustus
• There are about 250 different mythological episodes within the Metamorphoses,
which are all linked by a wide variety of connections, ranging from geography
(stories that all take place in Thebes in Book 3), to commonalities in theme (stories
about the lovers of the gods, or the gods’ jealousies and revenge) or even contrasts
in theme (stories about pious mortals juxtaposed with stories about impious ones),
to genealogical relations or similarities in the kinds of transformations that take
place (different kinds of flowers or birds).
THE Metamorphoses:
Why it is Praised Today
● TRANSFORMATIONS are mythical, fantastical, awe-inspiring,
and yet...
● RELATABLE characters whose REAL HUMAN EMOTIONS lead to
these transformations
○
○
○
○
Lust/ Love
Greed
Arrogance and Self-Indulgence
Anger and Jealousy
THE Metamorphoses: Lust/ Love Juppiter
Daphne
and
Apollo
and Io
Daphne
and
Apollo
THE Metamorphoses:
Arrogance and Self-Indulgence
Narcissus
and Echo
THE Metamorphoses: Greed
Daedalus and Icarus
Arachne and Minerva
Cogitāte…
1. Which of Ovid’s works sounds most
interesting to you?
2. In what ways were Ovid’s works innovative?
3. Is there anything about Ovid you feel you
can relate to on a personal level?
EXIT TICKET
Write your answers on a slip of looseleaf paper
1. What profession did Ovid’s father want him to pursue?
2. What was Ovid trained in, while pursuing that profession,
that had an impact on the style in which he wrote his
poetry?
3. Name one innovative feature about Ovid’s style or poetry
4. What is the main theme of the Metamorphoses?
5. Name 1 way in which Ovid linked stories together in the
Metamorphoses
Propositum: DWBAT translate an abridged version of the Daphne and Apollo
myth to familiarize themselves with the plot and context of the passage
4/24/14
Facite Nunc:
1. Take the following handouts from the front of the room and place
them into your binders
1.
Phoebus et Daphnē (Class Notes)
2. Take out a piece/half of looseleaf paper for your quiz
3. Answer the following questions as a warm-up before your quiz:
1.
2.
3.
4.
5.
What profession did Ovid’s father want him to pursue?
What was Ovid trained in, while pursuing that profession, that had an
impact on the style in which he wrote his poetry?
Name one innovative feature about Ovid’s style or poetry
What is the main theme of the Metamorphoses?
Name 1 way in which Ovid linked stories together in the
Metamorphoses
PENSUM #108:
Finish translating ‘Phoebus et Daphne’ to line 14
Propositum: DWBAT translate an abridged version of the Daphne and Apollo
myth to familiarize themselves with the plot and context of the passage
4/24/14
Facite Nunc:
1. Take the following handouts from the front of the room and place
them into your binders
1.
Phoebus et Daphnē (Class Notes)
2. Wait to receive back your Exit Ticket from yesterday and review it
PENSUM #108:
Finish translating ‘Phoebus et Daphne’ to line 14
EXIT TICKET
Write your answers on a slip of looseleaf paper
1. What profession did Ovid’s father want him to pursue?
Lawyer
2. What was Ovid trained in, while pursuing that profession,
that had an impact on the style in which he wrote his
poetry?
Rhetoric- the art of persuasive speaking/writing
3. Name one innovative feature about Ovid’s style or poetry
•Writing a epic style poem in a non-traditional genre
•Did not express strong moralistic views
•Didn’t seek to mimic prior famous works of literature
4. What is the main theme of the Metamorphoses?
Physical transformation
1. Name 1 way in which Ovid linked stories together in the
Metamorphoses •Geographic commonalities
•Commonalities in theme
•Contrasts in theme
•Genealogical relations
•Similarities in kinds of transformation
QUIZ: Publius Ovidius Naso
• Write your answers on your quiz slip
• Each question is worth 2 points
• You have 5 minutes
Phoebus et Daphnē
• This passage has been adapted from Ovid’s myth
of Daphne and Apollo
• We will be reading this abridged version of the
myth before we begin to read Ovid’s version to:
– Refresh ourselves on the plot and context of the myth
– Introduce ourselves to poetic language in a prose style
– Begin to familiarize ourselves with Ovidian vocabulary
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P
HOEBUS ET DAPHNĒ
superbus, -a, -um: arrogant
duo: two
fugitō (1): to avoid, flee
errō (1): to wander; to make a mistake
flūmen, flūminis n.: river, stream
dōnum, -ī n.: gift
coniunx, coniungis f.: wife; spouse
ōrō (1): to beg, pray
perpetuus, -a, -um: eternal, forever
flamma, -ae f.: flame
autem: moreover; however
bracchium, –ī n.: arm
mūtā = sing. imperative of mutō (1)
capillī, -ōrum m. pl.: hairs
quid…? what…?
stō, stāre, stetī, status: to stand
arbor, arboris f.: tree
fōrmōsus, -a, -um: beautiful, lovely
sagitta, -ae f. arrow
īra, -ae f. anger
Cupīdō, Cupīdinis m. Cupid
Propositum: DWBAT translate an abridged version of the Daphne and Apollo
myth to familiarize themselves with the plot and context of the passage
4/25/14
Facite Nunc:
1. Take out your ‘Phoebus et Daphnē’ text from yesterday
2. Review lines 1-14 with your table members from the point at which
you left off in your group-work yesterday
PENSUM #109:
Finish translating ‘Phoebus et Daphne’ to line 27 (lines 24-27 on back)
CONTEXT QUIZ ON PHOEBUS ET DAPHNE ON TUESDAY
1.
Phoebus et Daphnē
Daphnē erat prīmus amor Phoebī. Īra Cupīdinis Phoebō
amōrem dedit.
Daphne was the first love of Apollo.
The anger of Cupid gave love to Apollo.
(Caused Apollo to fall in love.)
2. Phoebus superbus vīderat Cupīdinem cum sagittīs et dīxerat:
“Quid est tibi,
Arrogant Apollo had seen Cupid with arrows and had said:
“What is (it) to you, boy, with weapons and arrows?
(What are you doing with weapons and arrows?)
3. puer, cum armīs et sagittīs? Sagittae sunt meae. Ego possum
dare vulnera
Arrows are mine.
I am able to give wounds to enemies.
4. hostibus. Tū dēbēs contentus esse cum amōribus.”
You ought to be satisfied with loves.”
Phoebus et Daphnē
5.
Fīlius Veneris respondit: “Tuus arcus omnia, Phoebe, fīgit, sed meus
The son of Venus responded: “Your bow pierces all things, Apollo,
6. arcus tē fīgit.” Et in arcū Cupīdō duo tēla tenuit: alterum tēlum amōrem
but my bow pierces you.”
And in (his) bow Cupid had two darts: one dart puts love to flight;
7. fugat; alterum amōrem facit. Hoc est acūtum, illud est obtūsum. Deus
the other makes love.
This one is sharp, that one is dull.
8. Cupīdō obtūsum tēlum in virginem fīgit, acūtum in Phoebum. Phoebus
The god Cupid pierces the dull dart into the maiden, the sharp (dart) into
Apollo.
9. amat; Daphne nōmen amōris fugitat. Per silvās cum Dīānā et cēterīs
nymphīs
Apollo loves; Daphne flees the name of love.
She loves to wander through the woods with Diana and the rest (of)
10. errāre sōlum amat.
the nymphs alone.
Phoebus et Daphnē
11.
Saepe pater nymphae, deus flūminis, dīxit: “Dēbēs coniugem
habēre.”
Often (her) father, god of a river, said to the nymph:
“You ought to have a spouse/husband.
12. Saepe dīxit, “Dēbēs fīliōs habēre.” Sed Daphnē pulchra patrem
ōrat ita:
Often he said, “You ought to have children.”
But beautiful Daphne begs (her) father thus:
13. “Cārissime pater, dā mihi hoc dōnum- mē esse virginem
perpetuam.”
“Dearest father, give this gift to me- that I be a maiden forever.”
14. Pater fīliae hoc dōnum dedit.
The father gave this gift to (his) daughter.
‘Phoebus et Daphnē’
Annotation and Translation
• Annotate and translate the passage in groups
• 1 person will lead in annotation
• 1 person will lead in grammar and vocabulary
reference
• 1-2 people will lead in translation
– Indicate your group role with an A, G, or T at the
top of your page
– Translate lines 15-27
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P
HOEBUS ET DAPHNĒ
flamma, -ae f.: flame
autem: moreover; however
bracchium, –ī n.: arm
mūtā = sing. imperative of mutō (1)
capillī, -ōrum m. pl.: hairs
quid…? what…?
stō, stāre, stetī, status: to stand
arbor, arboris f.: tree
fōrmōsus, -a, -um: beautiful, lovely
sagitta, -ae f. arrow
iterum: again
laudō (1) : to praise
manē = sing. imperative of maneō, manēre
Propositum: DWBAT 1) discuss and reference main plot points and character
traits in Apollo and Daphne and 2) make inferences about the characterizations
and actions of the main characters in the Apollo and Daphne myth
4/28/14
Facite Nunc:
1.
Take a ‘PHOEBUS ET DAPHNĒ (LATIN VIA OVID)’ handout from the front of the
room and put it into the Class Notes section of your binders
1.
Take out your ‘Phoebus et Daphnē’ text and translation for correction and
inspection
1.
Review lines 15-27 and discuss with your table members:
1. Were there any sentences or phrases that were difficult to translate? If
so, which were they?
PENSUM #110:
CONTEXT QUIZ on Phoebus et Daphne tomorrow (Plot Outline and Character
Traits and Context questions)
Poetic Language quiz on Wednesday (Idiomatic and Poetic Expressions, Poetic
Devices)
15.
Phoebus et Daphnē
Phoebus autem virginem amat et flammae amōris in deō crescunt.
Deus
Apollo however loves the maiden and flames of love grow in the god.
16. virginem videt et laudat caput, capillōs, oculōs; laudat digitōs et manūs et
The god sees the maiden and praises (her) head, hairs, eyes;
17. bracchia. Daphnē autem nōn manet. Fugitat in silvās.
he praises (her) fingers and hands and arms.
Daphne however does not stay. She flees into the woods.
18.
“Manē, nympha! Nōn sum hostis. Nympha, manē! Amor est mihi
“Stay, nymph! I am not an enemy. Nymph, stay!
Love is a cause of grief/pain for me.
19. causa dolōris. Nescīs mē esse Phoebum. Iūppiter est mihi pater. Sum deus
You do not know that I am Apollo.
Jupiter is a father for me. (Jupiter is my father.)
20. sōlis, mūsicae, medicīnae, artium.”
I am the god of the sun, of music, of medicine, of the arts.”
Phoebus et Daphnē
21.
Daphnē iterum fugitāverat. Phoebus virginem iterum petīvit. Eam
Daphne again had fled. Apollo again sought the maiden.
22. superāre temptāvit. Daphnē aquās fluminis patris vīdet et dīxit: “Dā mihi
He tried to overcome her. Daphne sees the waters of the river (her)
father and said:
23. auxilium, pater, sī potentiam habēs, mūtā fōrmam meam.”
“Give help to me, father, if you have the power, change my form.”
24.
Statim pater bracchia pulchra in ramōs mūtat. Daphnē virgō fōrmōsa
Immediately (her) father changes (her) beautiful arms into branches.
25. nunc est laurus, arbor pulchra. Phoebus oscula arborī dat et dīcit: “Sī
The beautiful maiden Daphne is now a laurel, a beautiful tree.
Apollo gives kisses to the tree and says:
26. coniūnx mea esse nōn potes, arbor eris certē mea; stābis prīma in
capitibus
“If you are not able to be my wife, you will surely/certainly be my tree;
27. rēgum ducumque Rōmae.”
you will stand first (foremost) on the heads of kings and the leaders of
Rome.”
PLOT OUTLINE
• Who is the first love of Apollo (line 1)?
• How did Apollo come to love her (line 1)?
• What did Apollo say to Cupid to insult him (lines 2-4)?
• How does Apollo assert his superiority over Cupid (lines 3-4)?
• How does Cupid take revenge on Apollo (lines 6-8)?
• How does Cupid affect Daphne (lines 8-9)?
• How does Daphne wish to spend her time (lines 9-10)?
• What does Daphne’s father want her from her (lines 11-12) ?
• What does Daphne want from her father (line 13)?
• What does Apollo say to Daphne (lines 16-20)?
• What is Daphne’s reaction (lines 21-22)?
• How does Daphne’s father help her (lines 24-25)?
• How does Apollo react to Daphne’s new form (lines 26-27)?
CHARACTER TRAITS
Directions: Fill in at least 2 personality traits for each character, and
cite Latin evidence (write out the Latin) to justify each answer.
Character TRAIT
APOLLO
PERSISTENT
(he continues to
pursue Daphne
even after she
flees his advances)
LATIN EVIDENCE
1. Apollo praises her and Daphne
flees- Lines 16-17: virginem
videt…fugitat in silvās
2. Daphne flees again and Apollo
pursues her- Lines 21:
Daphnē…petīvit
Phoebus et Daphnē
• Group work (20 minutes)
– Complete the following sections of your Phoebus
et Daphnē review handout
• Character Traits
• Context Questions
– When you are finished, raise your hand for a CHECK
of your work
Propositum: DWBAT explain the effects on the passage created by the
poetic devices anaphora, tricolon and tetracolon
4/29/14
Facite Nunc:
1.
Take out a pen for your quiz
1.
Keep your ‘Phoebus et Daphne’ handout out and turned face down for a
HW check
PENSUM #111:
1. Complete your ‘Phoebus et Daphnē’ handout in full
2. Poetic Language quiz TOMORROW (Idiomatic and Poetic Expressions,
Poetic Devices)
Context Quiz: Phoebus et Daphnē
• You will have 15 minutes to complete your
quiz
IDIOMATIC and POETIC EXPRESSIONS
1. “īra Cupīdinis Phoebō amōrem dedit” (line 1)
• LITERAL: The anger of Cupid gave love to Apollo.
• COLLOQUIAL: Angry Cupid made Apollo fall in love.
Phoebus et Daphnē
• Group work (20 minutes)
– Complete the following sections of your Phoebus
et Daphnē review handout
• Idiomatic and Poetic Expressions
• Poetic Devices
– When you are finished, raise your hand for a CHECK
of your work