Ovids Metamorphoses Book 8 Lines 183 235 Annotation

Ovid’s Metamorphoses Book 8, Lines 183 -235 Annotation, Mapping, Translation and Images

Annotation and Mapping 183 184 185 186 187 Daedalus intereā Crētēn longumque perōsus exilium tactusque locī nātālis amōre clausus erat pelagō. “terrās licet” inquit “et undās obstruat: et caelum certē patet; ībimus illāc: omnia possideat: nōn possidet āëra Mīnos. ”

Translation 183 Daedalus intereā Crētēn longumque perōsus 184 exilium tactusque locī nātālis amōre 185 clausus erat pelagō. “terrās licet” inquit “et undās 186 obstruat: et caelum certē patet; ībimus illāc: 187 omnia possideat: nōn possidet āëra Mīnos. ” 183. Meanwhile Daedalus, who was hating his long exile on Crete and 184. was touched by a love of (for) (his) birth place, 185. had been closed in by the sea. “Although he may barricade the lies open, ” he said, lands and seas: still surely the sky 186. 187. “we will travel that way: he might possess everything: (but) Minos does not possess (control) the skies. ”

labyrinthus Theseus et Minotaurus

Daedalus et Icarus

Annotation and Practical Mapping 188 dīxit et ignōtās animum dīmittit in artēs 189 natūramque novat. nam pōnit in ordine pennās 190 ā minimā coeptās, longam breviōre sequenti, 191 ut clīvō crēvisse putēs:

Annotation and Practical Mapping 188 dīxit et ignōtās animum dīmittit in artēs he spoke and directed (his) mind into (towards) unknown arts 189 natūramque novat. nam pōnit in ordine pennās and changed (his) nature. For he placed wings in order 190 ā minimā coeptās, longam breviōre sequenti, having been begun (beginning) from the smallest 191 ut clīvō crēvisse putēs: , with the shorter (one) following the long(er), so that you might think that (they) grew on a slope.

Annotation and Practical Mapping 191 sīc rūstica quondam 192 fistula disparibus paulātim surgit avēnīs; 193 tum līnō mediās et cērīs alligat īmās 194 atque ita conpositās parvō curvāmine flectit, 195 ut vērās imitētur avēs.

Translation 191 sīc rūstica quondam 192 fistula disparibus paulātim surgit avēnīs; 193 tum līnō mediās et cērīs alligat īmās 194 atque ita conpositās parvō curvāmine flectit, 195 ut vērās imitētur avēs. 191 in such a way as a rustic shepherd’s pipe at one time rises 192 little by little with unequal (uneven) reeds; 193 194 195 then he binds the middle (feathers) with thread and the lowest with wax and therefore he bends (the wings after they are made) with a small curve so that he might imitate real (actual) birds.

Annotation and Practical Mapping 195 puer Īcarus ūnā 196 stābat et, ignārus sua sē tractāre perīcula, 197 ōre renīdentī modo, quās vaga mōverat aura, 198 captābat plūmās, flāvam modo pollice cēram 199 200 mollībat, lūsūque suō mīrābile patris impediēbat opus.

Translation 195 196 197 198 199 200 puer Īcarus ūnā stābat et, ignārus sua sē tractāre perīcula, ōre renīdentī modo, quās vaga mōverat aura, captābat plūmās, flāvam modo pollice cēram mollībat, lūsūque suō mīrābile patris impediēbat opus. 195. At the same time the boy Icarus was standing (by) and, 196. unaware that he was bringing about his own dangers (downfall), 197. he was now grasping at the feathers, which the wandering air ha 198. moved, with a smiling face, now softening the yellow wax 199. with (his) thumb, and hindering the wonderful work of (his) 200. father with his own game.

Annotation and Practical Mapping 200 postquam manus ultima cœptō 201 inposita est, geminās opifex librāvit in ālās 202 ipse suum corpus mōtāque pependit in aurā; 203 instruit et nātum "mediō" que "ut līmite currās, 204 Īcare, " ait "moneō, nē, sī dēmissior ībīs, ībīs 205 unda gravet pennās, sī celsior, ignis adūrat: 206 inter utrumque volā.

Translation- FINAL 200. After the final hand (touch) was placed on the work, 201. the craftsman himself balanced his body onto the double (two) wings 202. and he hung (them) in the agitated/stirred wind 203. and he teaches/instructs (his) son…

Annotation and Practical Mapping 206 nec tē spectāre Boōten* 207 aut Helicen* iubeō strictumque Ōrīonis ensem 208 mē duce carpe viam!" pariter praecepta volandī 209 tradit et ignōtās umerīs accommodat ālās.

206 R 6 Class Translation nec tē spectāre Boōten* 207 aut Helicen* iubeō strictumque Ōrīonis ensem: 208 mē duce carpe viam!" pariter praecepta volandī 209 tradit et ignōtās umerīs accommodat ālās. I order you not to watch Booten nor Helicen and (nor) the sword of (which) had been drawn/having been drawn 206 Orion 207 seize (follow) the (middle) path, with me (as) your leader! 208 Equally* he gives the instructions of flying and he fits the unknown (unfamiliar/new/untested) wings to (on his) 209 shoulders *pariter = “equally”, as in “at the same time as he…. , he…. ”

Annotation and Practical Mapping (lines 210 -213) 210 inter opus monitūsque genae maduēre** senīlēs, 211 et patriae tremuēre** manūs; dedit oscula nātō 212 nōn iterum repetenda*** suō pennīsque levātus 213 ante volat comitīque timet,

Translation 210 inter opus monitūsque genae maduēre** senīlēs, 211 et patriae tremuēre** manūs; dedit oscula nātō 212 nōn iterum repetenda*** suō pennīsque levātus 213 ante volat comitīque timet, 210 between (his) work and (his) warnings, the cheeks of the old man grew wet, and (his) fatherly hands trembled; he gave kisses to his son (which) 211 would never again be repeated and after he has been lifted (up) by 212 the wings, he flies before (ahead of) (his son) and fears for (his) companion 213

Annotation he flies ahead and fears for his companion 3 3 just like a bird which led forth its delicate offspring* 3 2 he led forth his young child into the air 0 0 and teaches the dangerous arts (of flying) 0 0 and he himself moves and looks back at the wings of (his) son 3 3 *that (are) from a high nest he urges (Icarus) to follow

FINAL DRAFT 213 ante volat comitīque timet, velut āles, ab altō he flies ahead and fears for his companion, just as a bird 214 quae teneram prolem prōduxit in āera nīdō, which led forth (its) delicate offspring from a high nest, 215 hortāturque sequī damnōsāsque ērudit artēs and he urges (Icarus) to follow and teaches the dangerous arts (of flying) 216 et movet ipse suās et nātī respicit ālās. and he himself moves (forward) and looks back at the wings of (his) son

‘Boōten’ (line 206) • Booten = Bootes – The constellation of the ‘Ox-Driver’ or ‘Plowman’ – Possibly the son of Demeter who ‘drove oxen’ into the constellation Ursa Major – The Big Dipper is the ‘plough with oxen’

Helicen (line 207) • Helicen = Helice – The constellation Ursa Major (The Greater Bear) – The bear is Callisto, conquest of Jupiter turned into a bear by Juno. – Callisto’s son Arcas nearly shoots his bear - mother but Jupiter turns them both into constellations in order to avoid the murder

strictumque Ōrīonis ensem (line 207) – The constellation of Orion represents the mythic hunter Orion, son of Neptune – Orion claimed he would kill every animal on the planet, so Gaia (Terra) sent a giant Scorpion to slay him – Orion’s ‘sword’ (sometimes also thought of as a club) was the weapon used for hunting

Annotation and Practical Mapping 217. hōs aliquis tremulā dum captat harundine piscēs, 218. aut pastor baculō stivāve innixus arātor 219. vidit et obstipuit, quique æthera carpere possent*, 220. crēdidit esse deōs. et iam Iūnōnia lævā 221. parte Samōs** (fuerant Dēlosque Parōsque*** relictae****)

Translation 217. hōs aliquis tremulā dum captat harundine piscēs, While someone catching fish with a trembling rod 218. aut pastor baculō stivāve innixus arātor or a shepherd leaning on (his) staff or a plowman (leaning on) (his) plow 219. vidit et obstipuit, quique æthera carpere possent*, saw these (men) and was amazed, he believed that they, whoever were able 220. crēdidit esse deōs. et iam Iūnōnia lævā to seize the airs (skies)/(fly), were gods. And now Juno’s Samos was 221. parte Samōs** (fuerant Dēlosque Parōsque*** relictae****) on the left part (left-hand side) (both Delos and Paros had been left behind (passed over))

arator

• Levitha = Lebinthos • Kalymnos = Calymnē

Annotation and Practical Mapping 222. dextra Lebinthos** erat fēcundaque melle Calymnē**, 223. cum***** puer audācī cœpit gaudēre volātū 224. deseruitque ducem cælīque cupīdine tractus 225. altius ēgit iter. rapidī vīcīnia sōlis 226. mollit odōrātās, pennārum vincula, cērās; 227. tabuerant cēræ:

R 6 Class Final Draft Translation 222. dextra Lebinthos** erat fēcundaque melle Calymnē**, Lebinthos and Calymne rich with honey were on the right 223. cum***** puer audācī cœpit gaudēre volātū when the boy began to rejoice in the daring flight 224. deseruitque ducem cælīque cupīdine tractus he left behind (his) leader and having been dragged/pulled by (his) desire of the sky 225. altius ēgit iter. rapidī vīcīnia sōlis he drove (flew) a taller journey (he flew higher). The closeness of the fierce sun 226. mollit odōrātās, pennārum vincula, cērās; softens the sweet smelling wax chains of (his) wings; 227. tabuerant cēræ: the wax had begun to melt:

Annotation and Practical Mapping 227 nūdōs quatit ille lacertōs 228 rēmigiōque carēns nōn ūllās percipit aurās 229 ōraque caruleā patrium clāmantia nōmen 230 excipiuntur aquā, quae nōmen trāxit ab illō. How many clauses should there be in these lines? How do we know? Find 14 annotations

227 R 6 Class Translation nūdōs quatit ille lacertōs 228 rēmigiōque carēns nōn ūllās percipit aurās 229 ōraque caruleā patrium clāmantia nōmen 230 excipiuntur aquā, quae nōmen trāxit ab illō. 227 That (boy) shakes (his) bare (upper) arms and because he is lacking (flapping of) wings, he doesn’t seize/catch 228 hold of any winds (breeze) 229 and (his) lips shouting the name of (his) father are removed (overpowered) by the blue sea 230 which pulled (got) (its) name from that (boy).

Annotation and Mapping (21 annotations and 9 clauses) 231 at pater īnfēlix, nec iam pater, ‘Icare, ’ dīxit, 232 ‘Icare, ’ dīxit, ‘ubi es? quā tē regiōne requīram? ’ 233 ‘Icare’ dīcēbat: pennās aspexit in undīs, 234 dēvōvitve suās artēs, corpusque sepulcrō 235 condidit, et tellūs ā nōmine dicta* sepultī. *dicta = dicta est

R 6 Class Translation 231 232 233 234 235 at pater īnfēlix, nec iam pater, ‘Icare, ’ dīxit, ‘ubi es? quā tē regiōne requīram? ’ ‘Icare’ dīcēbat: pennās aspexit in undīs, dēvōvitue suās artēs, corpusque sepulcrō condidit, et tellūs ā nōmine dicta* sepultī. 231 But the unhappy father, (who was) no longer a father, said ‘Icarus’ 232 ‘Icarus’, he said, ‘where are you? In what region (place) should I look 233 for you? ’ ‘Icarus, ’ he was saying: he looked at the feathers in the waves 234 or cursed his own crafts/arts, and settled the body in a tomb 235 and the land was called by the name of the sunken (boy).

Cogitāte… • HOW DO THE FOLLOWING WORDS HAVE DOUBLE MEANINGS? Consider how Ovid uses the following words to create nuance in meaning by implying two different definitions for each word – artēs (line 235) • Daedalus curse his ‘crafts’ or creations (i. e. the wings), but also his (false) confidence in his own ‘skills’ which prompted him to go through with this plan that caused his son’s death – condidit (line 235) • Daedalus ‘settles’ Icarus’s body in a tomb and the tomb ‘establishes’ or ‘founds’ the new name for the land – tellūs (line 235) • The ‘land’ is the greater location in which Icarus is buried and which takes his name, but also the dirt ‘ground’ in which his body is interred – sepultī (line 235) • Icarus’ body is ‘buried’ in the earth but also has been killed by being ‘sunk’ or ‘immersed’ in water

EXPLICĀTIO Question Types • There are five types of questions that make up EXPLICATIŌNĒS: 1. Translation: Translate into clear, idiomatic English. There are high expectations since you have already seen and translated the text. 2. Annotation: Annotate to prove an understanding of the text’s grammar. 3. Summary: Paraphrase and include relevant details to prove understanding beyond translation. 4. Provide Context: Demonstrate knowledge of the whole text and/ or Roman culture by interpreting the narrative, actions, or concepts. 5. Analyze Language: Demonstrate an understanding of why the author has chosen certain words or expressions, the relationship between one word and the entire narrative, and poetic devices.

THEMES in Ovid’s myth of Daedalus and Icarus • • • Temptation Defiance Responsibility Risk and reward Desire Disobedience Rebellion Ambition Desperation

TERM 1 IA • Friday 8: 00 AM – Translātio (60 minutes) • First 5 minutes for annotation and clausal breakdown ONLY • Slightly shorter than your in-class translātio • You will have access to your own dictionary. YOU MUST BRING YOUR DICTIONARY ON FRIDAY!!! – Explicātio (60 minutes) • Questions ranging in type and style on the entire Daedalus and Icarus myth (8. 183 -235) • 18 questions • NO DICTIONARY OR VERBA UTILIA/DISCENDA!!!

• Henri Matisse,