Propositum DWBAT identify and correct common errors from
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 subject of the head verb – suōs and sē refer back to the _________, which more of the soldiers is ___________.
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 “_________” īratissimōrum • A SUPERLATIVE ADJECTIVE: __________; translates to angriest/most angry “__________” • A L/R SUPERLATIVE ADJECTIVE: __________; translates to acerrimās 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) TRANSLATION: *confidō, confidere, confisus sum to trust, entrust (semi-deponent) (He/Marius) returned home and most/very sorrowfully in (his) bed said that no man ought to have entrusted his life to Fortune. 4. The best translation of 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) TRANSLATION: *confidō, confidere, confisus sum to trust, entrust (semi-deponent) (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) TRANSLATION: *confidō, confidere, confisus sum to trust, entrust (semi-deponent) (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) TRANSLATION: *confidō, confidere, confisus sum to trust, entrust (semi-deponent) (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 • th PP 4 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 = _______________ – Sentence translation: The army of Rome tried to defeat the soldiers of Sulla, (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 ___________ about to give c) LITERAL translation of the participle =___________ 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 =__________________ G) although he was about to give 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 = “ _________” going to be _______ed or, to emphasize futurity “ ________”
1. Decline mereō, merēre, meruī, meritus to earn, to obtain as a GERUNDIVE. merendī merendō merendum merendō 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, ” 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, money must be sought before all things; virtue and honesty after money. ” However the desire for money must be fled (avoided). Also the desire for glory must be 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 3 rd and 4 th 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 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 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
Daphne and Apollo THE Metamorphoses: Lust/ Love Juppiter 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
• • • • • • 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
Phoebus et Daphnē 1. 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
• • • • 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
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)
Phoebus et Daphnē 15. 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 LATIN EVIDENCE 1. Apollo praises her and Daphne flees- Lines 16 17: virginem videt…fugitat in silvās PERSISTENT (he continues to pursue Daphne even after she flees his advances) 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 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
- Slides: 76