Salvēte HL discipulī!
STATIM:
• Arrange the seats in a circle around 2-3 tables
• Take out your Summer Assignment
• Take a Course Expectations handout from the
front of the room and take out a pen
PENSUM:
Complete the contact information sheet that will be
e-mailed to you this evening.
HL Latin Syllabus
• Virgil’s Aeneid Book 1, lines 1-49 and 223-493
• Catullus poems 3, 5, 7, 8, 9, 45, 50, 65, 72, 85,
86, 92, 107, 109
• Propertius’ Elegies 1.1; 2.12, .17, .19; 3.23
• Vergil’s Georgics Book 4. 315-529
• Catullus, poem 76
• Tibullus, Elegies 1.1; 3.2, .3, .13, .14, .15, .16,
.17, .18
Introduction to Lyric Poetry
• Lyric poetry was largely neglected at Rome for
centuries, the public-minded Romans preferring the
gravitas of epic and tragedy, but as the violence of the
unraveling republic escalated, some tried desperately
to hold up the standard of old republican values
(Cicero, Cato), while others saw opportunity in the
chaos (Catiline, Caesar), and still others chose to
remove themselves from the arrogance and violence
they witnessed in political life to engage in other
pursuits…
• This final group included a group of poets.
Lecture: Introduction to Lyric Poetry
• Gaius Valerius Catullus was born roughly
twenty years after Cicero (ca. 84 BC) to an
equestrian family of wealth and social
prominence in Verona, a town of Cisalpine
Gaul (as governor, Caesar had visited his
family home).
• From an established family of means,
Catullus came to Rome for his education.
While he frequented the social circles of
the most prominent political figures, he
actively avoided politics, preferring
intimate social gatherings, the social life of
the city, and, of course, the reading,
composition, and performance of poetry.
Lecture: Introduction to Lyric Poetry
• Catullus and the other poets of his circle, contemptuously
dubbed poetae novi by Cicero or “Neoterics” (from Greek),
valued lepor (“wit”), venustas (“charm”), and urbanitas
(“urbanity”) in their lives and their poetry.
• The Neoterics strove to outdo one another in producing
poetry that was witty, charming, and steeped in the smart,
sophisticated manners of the city, characterized by subtle
winks and knowing glances.
• This style, though, was nothing new — the Neoterics held
in high regard the 4th cent. B.C. Greek poet CALLIMACHUS,
whose slim, tightly packed, learned poems were the
standard against which all lyric poetry since had been
judged.
Catullus 68.147-48
• quare illud satis est, si nobis is datur unis
• quem lapide illa dies candidiore notat
Elegiac Couplet
1 (dactyl)
2
3
4
5
6 (spondee)
hexameter
pentameter
1
2
2.5 caesura
3.5
4.5
In the hexameter line, any of the first FOUR feet can have two long
marks (a spondee) instead of a long mark and two short ones (a dactyl)
In the pentameter line, either of the first TWO feet can have two long
marks (a spondee) instead of a long mark and two short ones (a dactyl)
5
VOCABULARY: Catullus 50
• hesternus, -a, -um of yesterday
• otiosus, -a, -um leisurely
• ludō, ludere, lusī, lusus to play; joke
around
• conveniō, convenīre, convēnī,
conventus to come together, meet,
convene  translate impersonally
here
• delicatus, -a, -um indulgent,
luxurious, delicate
• versiculus  diminuative of versus,
-ī m.
• uterque utraque, utrumque each
• illoc = illō
• reddō, reddere, reddidī, redditus to
return, deliver
• iocum, -ī n. joke
• illinc from there
• incendō, incendere, incendī,
•
•
•
•
•
•
•
•
•
•
incensus to inflame; provoke; arouse
facetia, -ae f. joke; wit
iuvō, iuvāre, iuvī, iutus to delight,
please; help
tegō, tegere, texī, tectus to cover,
protect, hide
indomitus, -a, -um untamed, fierce
simul at the same time,
simultaneously
versor, versarī, versatus sum to turn,
move about
perspiciō, perspicere, perspexī,
perspectus to examine, observe
despuō, despuere, --- ,--- to spit
(out), reject, abhor
vemens, vementis violent; emphatic
laedō, laedere, laesī, laesus to
offend, displease, hurt
Vocabulary: Catullus 76.1-13
• recordor, -ārī, -ātus
sum to remember,
call to mind
• siqua = sī aliqua if
anything
• voluptas, voluptātis f.
pleasure, delight
• pius, -a, -um pious,
upright, loyal
• sanctus, -a, -um holy,
sacred
• ullus, -a, -um any
• fallō, fallere, fefellī,
falsus to deceive
• parō (1) to prepare,
make ready
• abutor, abutī, abusus
sum to waste, abuse,
misuse
• aetas, aetātis f. age,
period, era
• ingratus, -a, -um
unpleasant,
ungrateful
• quiscumque,
quaecumque,
quidcumque
who/whatever
• quisquam,
quaequam,
quidquam
anyone/thing
• pereō, perīre, peri(v)ī,
--- to go through; die
• amplius more,
further, besides
• excruciō (1) to
torture, torment
• offirmō (1) to secure,
fasten; be determined
• istinc from there
• quin why not
• invitus, -a, -um
reluctant, unwilling
• desinō, desinere,
desivī, desitus to
stop, pause
Vocabulary: Catullus 76.13-26
• efficiō, -ere, effēcī, effectus to bring •
about, effect
• lubet = libet it pleases, it is pleasing •
• salus, salutis f. health, prosperity, •
greeting
• sive…sive whether…or
•
• pote able, capable (indeclinable
adjective)
•
• ferre opem to bring help, aid
•
• agere vitam to lead (a) life, spend
one’s life
•
• eripiō, -ere, eripuī, ereptus to steal,
snatch
•
• pestis, pestis f. plague, sickness
•
• pernicies, -eī f. ruin, disaster
• aspiciō, -ere, aspexī, aspectus to
look upon
surrepō, -ere, surrepsī, surreptus to
creep under
imos deepest, innermost
torpor, torporis m. numbness,
paralysis
expellō, -ere, expulī, expulsus to
drive out, expel
laetitia, -ae f. joy, happiness
diligō, -ere, dilēxī, dilectus to pick;
love, value
pudicus, -a, -um chaste, modest,
pure
taeter, -a, -um ugly, foul
pietas, pietātis f. loyalty;
responsibility
Passive Periphrastic and Gerundive
• hoc est tibi pervincendum (C.76.15)
– tibi = dative of agent
– hoc…pervincendum = gerundive
• LITERAL: this must be completely conquered by you
• NON-LITERAL: you must conquer this completely
Genitive of Description/Characteristic
• sī vestrum est miserērī (C.76.17)
– LITERAL: If it is of you to feel pity
– NON-LITERAL: If it is characteristic of you to feel
pity
Dative of Possession
• mihi surrepens imos ut torpor in artūs
(C.76.21)
– LITERAL: As a paralysis creeping into the depths of
the limbs to/for me
– NON-LITERAL: As a paralysis creeping into the
depths of my limbs
Indirect Command/Request
• non iam illud quaerō, contrā me ut diligat illa
(C.76.23)
– Verb of seeking/request/desire/wish + ut +
subjunctive
– I no longer seek that (thing), that that (woman)
love me in return
How IB is silly and confusing
• Rhetorical/poetic/literary
devices/figures/techniques
• Any combination of these two words means
the EXACT SAME THING
Noteworthy features of C.76
• Anaphora (difficile est, o dī)
• Alliteration of p (pote, pestem, perniciem,
potis, pudica, pro pietate)
• Juxtaposition of ingratō gaudia amōre (line 6)
• Comparison/contrast to C.85
– O dī = odī
– excruciēs (76.10) to excrucior (85.2)
Hendiadys
the expression of one idea through two terms
• per locum atque vinum (50.6)
– LITERAL: through a joke and wine
– NON-LITERAL: through a drunken joke
C.50.14-21
But after (my) half-dead limbs were laying on the couch,
tired from work
I made this poem for you, delightful (friend),
from which you might observes my pain.
Now beware of being (too) bold, and I beg (of you),
beware of rejecting our prayers, little (light of my) eye,
so that Nemesis does not demand (exact) punishments
from you.
She is a violent goddess: beware of offending this (one)
STATIM
• Latin, like English, has five letters that are vowels
and a sixth that is sometimes a vowel.
u
• a
____
sometimes y
e
i
o
•
• A diphthong is a sound that contains two vowels
pronounced as one. An example in English is the
sound the letters “oo” make in the work boot.
•
• Latin contains five diphthongs, two of which are
common and three of which are rarer.
ae
au
ei
oe
ui
eu
WHAT IS ELISION?
• In general terms ELISION (from ēlīdō, -ere, ēlīsī,
ēlīsum knock or strike out) is the omission of a
syllable--it is a common feature not just of poetry
but everyday speech.
– e.g. going to is usually said gonna; vegetable is
veg’table; family is fam’ly; etc.
• In Latin poetry ELISION follows a set of rules. As
you scan a line, look at the spaces where words
end and begin. This is where elision occurs.
WHAT IS ELISION?
• If one word ends with a vowel and the next
word begins with one, the first vowel is
dropped (or ELIDED) and the words are
pronounced together. N.B. With two
exceptions*, it is the first vowel that is elided.
–
e.g. quae om·nia  qu’ om·nia
WHAT IS ELISION?
• When one word ends with vowel+m and the
next word begins with a vowel...
•
e.g. do·mi·nam us·que  do·min’ us·que
WHAT IS ELISION?
• When one word ends with a vowel and the
next begins with h-vowel (N.B. h NEVER
counts as a consonant)...
•
e.g. mo·do huc is mod’ huc
WHAT IS ELISION?
• When one word ends with vowel-m and the
next begins with h-vowel…
– e.g. a·bu·sum ho·mi·nēs is a·bus’ ho·min·ēs (this
example comes from c.76)
WHAT IS ELISION?
• *Exception: In an elision where the second
word is es or est, the e in those words is
elided...
•
e.g. quan·tum est  quan·tumst
Tibullus 1.1 Vocabulary
lines 7-16
• serō, serere, sevī,
satus to sow, plant
•
• tener, -ra, -rum tender,
delicate
•
• maturus, -a, -um
•
mature, ripe,
seasonable
•
• vitis, -is f. vine
•
• vitō (1) to avoid, shun
• aestivus, -a, -um
summer-like,
•
occurring in the
•
summer
•
•
•
•
•
itus to go by, pass by •
increpō (1) to strike,
rebuke, prod
•
bos, bovis m/f cow
stimulus, -ī m. spike, •
goad, staff
interdum sometimes •
bidens, bidentis hoe;
animal for sacrifice
•
(sheep)
•
agna, -ae f. lamb
piget it disgusts, pains,•
grieves
ortus, -ūs m. rising, • fetus, -ūs m. offspring,
rise
young
Canis, -is m. Dog star • capella, -ae f. female
arbor, arboris f. tree
goat
rivus, -ī m. river
• oblitus, -a, -um
praetereō, -īre, -ivī, forgetful (+GEN)
desertus, -a, -um
abandoned
exiguus, -a, -um small,
meager
pecus, pecoris n.
cattle; flock
parcō, parcere,
pepercī, parsus to
spare, refrain from
fur, furis m. thief
grex, gregis m. flock
praeda, -ae f. loot,
booty
Tibullus: Biography
• Born between 55-50 and died 18/19 BC
• Born into an equestrian family but adopts
persona of a poor man, as is customary to the
tradition of elegiac poets
• Shunned public life with the exception of
going on military campaigns with his patron
Messalla
• Apuleius identifies Delia as Plania
corpus Tibullianum
• First book of poems addressed to DELIA, the
second to NEMESIS
– Book 1 is called Delia
• Delia  ‘delos’ (clear, bright); Delos (birthplace of Apollo
and Diana)
– Book 2 is called Nemesis
• T’s ideal life with his lover is set in the
countryside, rather than an urban setting
• Draws on the idyllic and bucolic influences of
Vergil’s Eclogues and Georgics, and Theocritus
• Tension between T’s vision of a simple, pious
country life and the demands of an urban
mistress is a recurrent theme throughout Book 1
corpus Tibullianum
• Book 3 is called the appendix Tibullianum
• It has at least 3 authors- Tibullus, Lygdamus,
and Sulpicia
– 6 poems by Lygdamus
– long hexameter poem honoring Messalla
– collection of poems on the love of Suplicia (niece
of Messalla)
• some written by an unidentified poet, 6 written by
Sulpicia
DISPUTĀTIO
• A DISPUTĀTIO is a group explicātio response. A
question will be posed to you as a class and
you will all contribute to drafting, editing, and
finalizing a response that I will record. That
recorded response will be graded and you will
be assigned that base grade in combination
with preparation work you hand in
DISPUTĀTIO – Tuesday 10/13
1. Identify and explain Tibullus’ allusions in lines
45-52. How do these allusions serve to
characterize the speakers values
2. Explain how Tibullus uses diction and
rhetorical figures to dichotomize his lifestyle
with that of the typical Roman male
Thematic Diction
•
•
•
•
•
•
•
•
Militaristic imagery
Water imagery
Sexual imagery
Senescent imagery
Agricultural imagery
Domestic imagery
Monetary imagery
Religious/sacrificial imagery
Rhetorical Figures
•
•
•
•
Alliteration
Allusion
Anaphora
Metonymy
PAPER 3 – Practice Translātio
• atque suus coniunx ubi sit circumspicit, ut quae
•
605
But his wife looks around (for) where he might be,
deprensi totiens iam nosset furta mariti.
just as (someone) who had recognized the tricks of a
• husband caught so many times already/before.
quem postquam caelo non repperit, 'aut ego fallor
•
Whom, after she does not find in the sky, says
aut ego laedor' ait delapsaque ab aethere summo
either I am being deceived or I am being offended and
• having glided down from the highest ether
constitit in terris nebulasque recedere iussit.
stopped on the lands (below) and ordered the clouds to recede.
Phrygium marmor
murex
ZEUGMA
• Greek “yoking”; when two words (nouns or verbs) are
united to a verb/adjective that only applies
grammatically/contextually to one of them
• Often one word is linked more literally, the other more
figuratively
– Ex. She drove off in tears and a convertible
– non opibus mentēs hominum curaeque levāntur
– The minds and cares of men are not lightened (relieved) by
riches
– The minds of men are not relieved FROM THEIR CARES by
riches
COTIDIANA: Sulpicia 3.13
• Write your answers on a half-sheet of paper
1. What is the best translation for texisse (line 1)?
2. Annotate lines 3-4
exorata meis illum Cytherea Camenis
attulit in nostrum deposuitque sinum
3. Supply one literal and one contextual translation for exolvit
(line 5)
4. Identify one JUSSIVE SUBJUNCTIVE verb from this poem
Double dative
• qualem texisse pudorī / quam nudāsse alicui sit mihi, Fama,
magis.
– which is the sort (of love) which to have hidden would be more
of a (source of) shame to someone (like) me than to have
exposed (it)/laid (it) bare
– Two datives in a sentence where a form of ‘sum, esse’ is the
main verb
– One dative is a dative of REFERENCE, the other is a dative of
PURPOSE
– _______ ‘is a source of DATIVE OF PURPOSE to/for DATIVE OF
REFERENCE’
– DATIVE OF PURPOSE = pudorī
– DATIVE OF REFERENCE = mihi
Camenae
EXPLICATIO
• Identify an instance of SYNCHYSIS
• Who is the quis in line 6 that this poem is
addressed to? How does the message of the
speaker to this figure differ from the message
of the speaker of Propertius 1.1?
• What difference (if any) exists between the
Fama of line 2 and the famae of line 9?
• Explain the significance of the word order and
polyptoton in line 10
COTIDIANA: Sulpicia 3.14
• Write your answers on a half-sheet of paper
1. What noun should be implied with the adjective
tristis in line 2?
2. Translate dulcius (line 3)
3. Identify a SYNCHYSIS in this poem
4. What is the case of Messalla in line 5?
rūs, ruris n.
• What does the rūs meant to Propertius?
Tibullus? Sulpicia?
Sulpicia 3.14
• Grammatically significant constructions
– agendus erit (line 2) future passive periphrastic
– dulcius urbe quid est? (line 3) abl. of comparison
– an villa sit apta puellae…? (line 3) indirect question
– meī studiose (line 5) objective genitive
– quiescas (line 5) jussive subjunctive
PAPER 5 –
Tibullus/Sulpicia Seminar
• Analyze poems 3.13-3.18 showing how
Tibullus’ poetic style emphasizes or refutes
major themes of Roman love poetry. Support
your argument by quoting the Latin text
Vergil Introduction
• What are your impressions of Vergil as a
person? As a writer?
• What was he trying to achieve?
• What do you predict will be different about his
style/themes as compared to other authors
we’ve read?
• Arma virumque cano, Troiae qui primus ab oris
Italiam, fato profugus, Laviniaque venit
litora, multum ille et terris iactatus et alto
vi superum saevae memorem Iunonis ob iram;
multa quoque et bello passus, dum conderet
urbem,
5
inferretque deos Latio, genus unde Latinum,
Albanique patres, atque altae moenia Romae.
• Musa, mihi causas memora, quo numine laeso,
quidve dolens, regina deum tot volvere casus
insignem pietate virum, tot adire labores
10
impulerit. Tantaene animis caelestibus irae?
•
REVIEW!
• What did Vergil write in addition to the
Aeneid? What were the subjects of these
poems?
• What did Augustus seek to achieve through
his commission of Vergil’s Aeneid
• In which characteristics does Aeneas share
with his Greek epic protagonist counterparts?
In which characteristics does he differ?
COTIDIANA: Virgil 1.335-351
• Write your answers on a half-sheet of paper
1. List one example of ALLITERATION and its affect
2. Cite one example of the LOCATIVE case
3. List one example of a DATIVE OF POSSESSION
BONUS! Explain the significance of the adjective
purpureō (line 337) to Venus’ assumed identity
Vergil, Georgics 4.315-529
•
•
•
•
•
•
•
•
•
Wed. 1/13 – 315-332
Th. 1/14 – 333-356
F 1/15 – 357-373
Tu 1/19 – TRANSLATIO (Paper 8)
W 1/20 – 374-397
Th 1/21 – 398-424
F 1/22 – 425-452
M 1/25 – 453-477
Tu 2/2 478-529
Vergil’s Georgics
• Published in 29 B.C., 4 books
• From the Greek word georgika ‘agricultural
things’
• Modeled on Varro’s works about farming
(Rerum rusticarium tres libri), influenced also
by Hesiod’s Theogony
Vergil’s Georgics
• Book 1 - description of the four ages up to present time
encomium to Octavian as savior of Roman state after
civil wars and assassination of JC
• Book 2 – man’s struggle against nature, catalogue of
trees, detailed advice about cultivated grape vines and
olive trees
• Book 3 – animal husbandry, invocation of Greek and
Italian gods and honoring C and Maecenas
• Book 4 – didactic instructions for bee keeping; bees as
microcosm for human society; description of bugonia;
Aristeus’ loss of his colonies and struggle to restore
them through the advice of his mother Cyrene and the
capture of Proteus; epyllion on Orpheus and Eurydice
Vergil’s Georgics 4.315-529
PAPER 9 PRACTICE
1.
Translate lines 329-332 [3 marks]
2.
Write out and scan lines 327-328 [2 marks]
3.
Lines 345-351. Describe what Clymene and her sisters are doing as
Aristeus arrives [3 marks]
4.
Lines 460-464. List the geographic references and their
significance to the epyllion of Orpheus and Eurydice [4 marks]
5.
Discuss how Vergil uses his poetic art to underscore Orpheus’
musical skill. Support your answer by quoting the Latin text [8
marks]
IB Latin Internal Assessment
• What format will your Internal take?
• What is the maximum number of words
allowed for your Internal?
• How many sources should your Internal have?
• What three criteria will you be graded on?
HL Syllabus
• VERGIL
– Aeneid, 1.1-49, 223-493
– Georgics, 4.315-529
• CATULLUS
– Carmina 3, 5, 7, 8, 9, 45, 50, 65, 72, 76, 85, 86, 92, 107, 109
• PROPERTIUS
– Elegies 1.1; 2.12, 17, 19; 3.23
• TIBULLUS/SULPICIA
– Elegies 1.1; 3.2, 3, 13, 14, 15, 16, 17, 18
Sample Internal Questions
• How does Vergil’s use of the adjective inanis vary
within Book 1 of the Aeneid?
• How does Ovid’s portrayal of Eurydice in the
Metamorphoses differ from Vergil’s in the Georgics?
• To what extent does the narrator of Propertius’ Elegies
fulfill the archetype of the lyric Roman poet?
• What is the effect of Catullus’ use of simile in Carmina
50 and 76?