1. Take the following handouts:
Propositum: DWBAT identify and correct common errors from the Term 3 IA;
Facite Nunc:
Take the following handouts:
‘Term 3 IA Review’ (Class Notes)
‘Future Participles’ (Class Notes)
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
4/7/14

2. Section A: TRANSLATION
urbe Rōmae cōnsule carēnte, Cinna, fīdissimus amīcus Mariō, duōs annōs cōnsul appositus est.
What grammatical construction is urbe Rōmae cōnsule carēnte? ________________
Translate it LITERALLY: _________________________________________________
Translate it CAUSALLY: _________________________________________________
ablative absolute
with the city of Rome lacking a consul
Because the city of Rome was lacking a consul

3. Section A: TRANSLATION
2. plūrēs mīlitum, īratissimōrum ob route magnum per montēs niveiorēs, sentiēbant saevum dūcem ad suōs mortēs sē celeriter dūctūrum esse.
The head verb is __________________
The infinitive inside indirect speech is __________________
The head verb is in the_________________ tense, and the infinitive in indirect speech is in the _________________ tense; therefore that verb translates as “________________________”
suōs and sē refer back to the _________________, which is _____________________.
sentiēbant
dūctūrum esse
imperfect
future
would lead
subject of the head verb
more of the soldiers

4. Section A: TRANSLATION
3. mīlitēs duōrum cōnsulum ā Sullā victī sunt et is nuntiāvit sī aliquem sibi oppositūrum esse, illum acerrimās consecutiōnēs latūrum esse.
The head verb is __________________
The infinitives inside indirect speech are __________________________ and _____________________________.
The head verb is in the_________________ tense, and the infinitives in indirect speech are in the _________________ tense; therefore the infinitives translate as “________________________________” and _________________________________.
sibi refers back to the _________________, which is _____________________.
nuntiāvit
oppositūrum esse
latūrum esse
perfect
future
would oppose
would endure
subject of the head verb
he (Sulla)

5. Section A: TRANSLATION
SCAVENGER HUNT!
Find the following grammatical constructions within the translation sentences:
A COMPARATIVE ADJECTIVE: ____________________; translates to “____________________”
Change it to positive ____________________; translates to “_________________”
Change it to superlative: ____________________; translates to “_________________”
A SUPERLATIVE ADJECTIVE: ____________________; translates to “____________________”
A -L/R- SUPERLATIVE ADJECTIVE: ____________________; translates to “____________________”
A POSITIVE ADVERB: ____________________; translates to “____________________”
Change it to comparative: ____________________; translates to “_________________”
niveiorēs
rather snowy/snowier
niveī
snowy
niveissimī
snowiest
īratissimōrum
angriest/most angry
acerrimās
bitterest/harshest
celeriter
quickly
celerius
more quickly/rather quickly
celerrimē
most quickly

6. 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:
4. The best translation of maestissimē is:
a. sorrowful
b. sorrowfully
c. very sorrowful
d. very sorrowfully
(He/Marius) returned home and most/very sorrowfully in (his) bed said that
no man ought to have entrusted his life to Fortune.

7. 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:
5. The subject-accusative of indirect speech in this sentence is:
a. nullum virum
b. Fortūnae
c. vītam
d. domum
(He/Marius) returned home and most/very sorrowfully in (his) bed said that
no man ought to have entrusted his life to Fortune.

8. 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:
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.
(He/Marius) returned home and most/very sorrowfully in (his) bed said that
no man ought to have entrusted his life to Fortune.

9. 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:
CIRCLE ONE:
eius is reflexive/ personal; therefore it must/ cannot refer to the subject of the __________________________.
7. eius refers to:
a. Marius
b. Sulla
c. Fortūna
d. nullum virum
(He/Marius) returned home and most/very sorrowfully in (his) bed said that
no man ought to have entrusted his life to Fortune.
head verb

10. FUTURE PARTICIPLES
Complete the STATIM: Participle Review with your table members (5 minutes)
When you are done, raise your hand to let me know

11. THE FUTURE ACTIVE PARTICIPLE
Formula = ____________________ - __________ + ____________ declension endings
N.B. Add esse to the form the ____________________ ____________________ infinitive
Literal Translation = “ ______________________________” or “ ______________________________”
4th PP us
ūrus
2-1-2
future
active
about to _________
going to _________

12. 1. exercitus Rōmae mīlitēs Sullae, petitūrōs urbem ipsam, vincere conātus est.
Participle = ___________________________
The participle is modifying the noun _____________________
LITERAL translation of the participle =______________________
RELATIVE translation =_________________________________
TEMPORAL translation =_____________________________
CAUSAL translation =__________________________________
Adversative translation = ______________________________
Sentence translation:
mīlitēs
about to/going to attack
who are about to/going to attack
when/as they are about to attack
because they are about to attack
although they are about to attack
The army of Rome tried to defeat the soldiers of Sulla, (because) they were about to attack the city itself.

13. Take out your ‘Future Participles’ handout from yesterday
Propositum: DWBAT identify and translate future active and passive participles
Facite Nunc:
Take out your ‘Future Participles’ handout from yesterday
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
4/8/14

14. 2. Sulla, suīs inimīcīs poenās datūrus, Rōmam gressus est.
Participle = ___________________________
The participle is modifying the noun ______________________
LITERAL translation of the participle =______________________
RELATIVE translation =_________________________________
TEMPORAL translation =________________________________
CAUSAL translation =___________________________________
Adversative translation = _______________________________
Sentence translation:
Sulla
(masc., sg., nom.)
about to give
who was about to give
when he was about to give
because he was about to give
although he was about to give
Sulla, who was about to give punishments to his enemies, approached Rome.

15. 3. “ignōratiō futūrōrum malōrum ūtilior est quam scientia.” (Cicero)
Participle = ___________________________
The participle is modifying _________________
LITERAL translation of participle=_____________
Sentence translation:
futūrōrum
malōrum
about to be
Ignorance of the evils which are about to be is more useful than knowledge.

16. The GERUNDIVE or FUTURE PASSIVE Participle The gerundive is a passive adjective, and can be thought of as Latin’s future passive participle.
Formula = ________________ + __________ + ____________ declension endings
Literal Translation = “ __________________” or, to emphasize futurity “ _______________”
Present Stem
-nd-
2-1-2
about to be _______ed
going to be _______ed

17. 1. Decline mereō, merēre, meruī, meritus to earn, to obtain as a GERUNDIVE.
merendī
merendae
merendī
merendō
merendae
merendō
merendum
merendam
merendum
merendō
merendā
merendō
merendī
merendae
merenda
merendōrum
merendārum
merendōrum
merendīs
merendīs
merendīs
merendōs
merendās
merenda
merendīs
merendīs
merendīs

18. 2. Decline mereō, merēre, meruī, meritus to earn, to obtain AS A GERUND.
merendī
merendō
merendum
merendō

19. Cōgitāte…
1. In what key ways do gerunds and future passive participles differ in form?
2. Why do gerundives need to decline with in gender and number, but gerunds don’t?
Gerunds only exist in the singular.
Gerunds don’t have a nominative.
Gerunds only have one gender.
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.

20. 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)

21. Complete the STATIM at the top of pg. 1 – participle synopsis
Propositum: DWBAT identify and translate passive periphrastics and dative of agent
Facite Nunc:
Take a ‘Passive Periphrastic and Dative of Agent’ handout from the front of the room
Take out your ‘Future Participles’ handout from yesterday for inspection and leave it on your desk in front of your
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
4/9/14

22. Participle Synopsis dīcō, dīcere, dīxī, dīctus: to say dīcēns saying
dīctūrus
dīcendus
about to say
about to be said
dīctus
having been said

23. 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

24. 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”.

25. 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

26. 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.

27. Write out and translate the following sentences:
pax cum Carthāgine Rōmae adquirenda est.
Mithridates Sullae celeriter vicendus erat.
fortī consulī Rōma regenda erit.
Peace with Carthage must be obtained by Rome.
Mithridates had to be conquered quickly by Sulla.
Rome will have to be ruled by a strong consul.

28. 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

29. Carthagō dēlenda est. (Cato)
Exerceāmus! Translate the following authentic Latin sentences involving the passive periphrastic. Put a plus sign over the dative of agent in each one
Carthagō dēlenda est. (Cato)
2. haec omnia vulnera bellī tibi nunc sānanda erunt. (Cicero)
3. ad ūtilitātem vītae omnia cōnsilia factaque nōbīs regenda sunt. (Tacitus)
4. Caesarī omnia ūnō tempore agenda erant. (Caesar)
Carthage must be destroyed.
All these wounds of war will now have to be healed by you.
All plans and deeds must be ruled by us for the benefit of life.
All things had to be done by Caesar at/during one time (at once.)

30. 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

31. Reflect with your table members:
Propositum: DWBAT identify and translate passive periphrastics and dative of agent
4/9/14
Facite Nunc:
Take out your ‘Passive Periphrastic and Dative of Agent’ handout from Wednesday
Reflect with your table members:
What was one thing you found challenging about the Horace passages? What was challenging about it?
PENSUM #106:
otiō vestrō fruāminī!

32. 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 (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.

33. 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”?

34. QUIZ: Future Participles, Passive Periphrastic and Dative of Agent
You have the remainder of your recitation to finish your quiz

35. Take out a highlighter or non-black/blue pen
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:
Take the following handouts from the front of the room and place them into the Reference Info. section of your binders
IB Syllabus (SL and HL)
Publius Ovidius Naso
Take out a highlighter or non-black/blue pen
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)

36. IB Latin Assessments

37. 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

38. 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

39. 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.”

40. Preparation for Paper 1 – Ovid’s Metamorphoses
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?
What do you think “dictionary skills” mean?
What kinds of “dictionary skills” do you currently have? (Don’t say “none”)
Familiarity with Ovid’s style of writing, themes in the Metamorphoses, his vocabulary, as many of the passages from his work as possible
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
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

41. Publius Ovidius Naso 43 B.C. – 17 A.D.
Biographical details
Publius Ovidius Naso, more commonly known as “Ovid”, was born in , 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 and later to ,
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.
Sulmo
rhetoric
Athens

42. 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 , a close confidant of the emperor Augustus.
Ovid was friends with the poets (a love elegist) and , and acquainted with ­ and (another love elegist).
In 8 A.D. he was exiled to Tomi on the Black Sea by Augustus for a carmen et error (“a and a “), though the reasons surrounding his exile are unknown and highly contested
Maecenas
Propertius
Horace
Virgil
Tibullus
poem
mistake

43. Exile to Tomis

44. 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

45. Works Amores (“Loves”) Heroides (“The Heroines”)
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

46. WORKS Metamorphoses (“The Transformations”) Fasti (“The Festivals”)
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

47. 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

48. 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).

49. 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

50. The Metamorphoses: Lust/ Love
Juppiter and Io
Daphne and Apollo

51. The Metamorphoses: Arrogance and Self-Indulgence
Daphne and Apollo
Narcissus and Echo

52. The Metamorphoses: Greed
Daedalus and Icarus
Arachne and Minerva

53. Cogitāte… Which of Ovid’s works sounds most interesting to you?
In what ways were Ovid’s works innovative?
Is there anything about Ovid you feel you can relate to on a personal level?

54. EXIT TICKET Write your answers on a slip of looseleaf paper
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

55. Take out a piece/half of looseleaf paper for your quiz
Propositum: DWBAT translate an abridged version of the Daphne and Apollo myth to familiarize themselves with the plot and context of the passage
Facite Nunc:
Take the following handouts from the front of the room and place them into your binders
Phoebus et Daphnē (Class Notes)
Take out a piece/half of looseleaf paper for your quiz
Answer the following questions as a warm-up before your quiz:
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
4/24/14

56. Wait to receive back your Exit Ticket from yesterday and review it
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:
Take the following handouts from the front of the room and place them into your binders
Phoebus et Daphnē (Class Notes)
Wait to receive back your Exit Ticket from yesterday and review it
PENSUM #108:
Finish translating ‘Phoebus et Daphne’ to line 14

57. EXIT TICKET Write your answers on a slip of looseleaf paper
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
Lawyer
Rhetoric- the art of persuasive speaking/writing
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
Physical transformation
Geographic commonalities
Commonalities in theme
Contrasts in theme
Genealogical relations
Similarities in kinds of transformation

58. QUIZ: Publius Ovidius Naso
Write your answers on your quiz slip
Each question is worth 2 points
You have 5 minutes

59. 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

60. Phoebus 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

61. Take out your ‘Phoebus et Daphnē’ text from yesterday
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:
Take out your ‘Phoebus et Daphnē’ text from yesterday
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 on back)
CONTEXT QUIZ on Phoebus et Daphne on Tuesday

62. Phoebus et Daphnē
Daphnē erat prīmus amor Phoebī. Īra Cupīdinis Phoebō amōrem dedit.
Phoebus superbus vīderat Cupīdinem cum sagittīs et dīxerat: “Quid est tibi,
puer, cum armīs et sagittīs? Sagittae sunt meae. Ego possum dare vulnera
hostibus. Tū dēbēs contentus esse cum amōribus.”
Daphne was the first love of Apollo.
The anger of Cupid gave love to Apollo. (Caused Apollo to fall in love.)
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?)
Arrows are mine.
I am able to give wounds to enemies.
You ought to be satisfied with loves.”

63. Phoebus et Daphnē
Fīlius Veneris respondit: “Tuus arcus omnia, Phoebe, fīgit, sed meus
arcus tē fīgit.” Et in arcū Cupīdō duo tēla tenuit: alterum tēlum amōrem
fugat; alterum amōrem facit. Hoc est acūtum, illud est obtūsum. Deus
Cupīdō obtūsum tēlum in virginem fīgit, acūtum in Phoebum. Phoebus
amat; Daphne nōmen amōris fugitat. Per silvās cum Dīānā et cēterīs nymphīs
errāre sōlum amat.
The son of Venus responded: “Your bow pierces all things, Apollo,
but my bow pierces you.”
And in (his) bow Cupid had two darts: one dart puts love to flight;
the other makes love.
This one is sharp, that one is dull.
The god Cupid pierces the dull dart into the maiden, the sharp (dart) into Apollo.
Apollo loves; Daphne flees the name of love.
She loves to wander through the woods with Diana and the rest (of)
the nymphs alone.

64. Phoebus et Daphnē
Saepe pater nymphae, deus flūminis, dīxit: “Dēbēs coniugem habēre.”
Saepe dīxit, “Dēbēs fīliōs habēre.” Sed Daphnē pulchra patrem ōrat ita:
“Cārissime pater, dā mihi hoc dōnum- mē esse virginem perpetuam.”
Pater fīliae hoc dōnum dedit.
Often (her) father, god of a river, said to the nymph:
“You ought to have a spouse/husband.
Often he said, “You ought to have children.”
But beautiful Daphne begs (her) father thus:
“Dearest father, give this gift to me- that I be a maiden forever.”
The father gave this gift to (his) daughter.

65. ‘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

66. Phoebus 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

67. 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:
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
Take out your ‘Phoebus et Daphnē’ text and translation for correction and inspection
Review lines and discuss with your table members:
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)

68. Phoebus et Daphnē
Phoebus autem virginem amat et flammae amōris in deō crescunt. Deus
virginem videt et laudat caput, capillōs, oculōs; laudat digitōs et manūs et
bracchia. Daphnē autem nōn manet. Fugitat in silvās.
“Manē, nympha! Nōn sum hostis. Nympha, manē! Amor est mihi
causa dolōris. Nescīs mē esse Phoebum. Iūppiter est mihi pater. Sum deus
sōlis, mūsicae, medicīnae, artium.”
Apollo however loves the maiden and flames of love grow in the god.
The god sees the maiden and praises (her) head, hairs, eyes;
he praises (her) fingers and hands and arms.
Daphne however does not stay. She flees into the woods.
“Stay, nymph! I am not an enemy. Nymph, stay!
Love is a cause of grief/pain for me.
You do not know that I am Apollo.
Jupiter is a father for me. (Jupiter is my father.)
I am the god of the sun, of music, of medicine, of the arts.”

69. Phoebus et Daphnē
Daphnē iterum fugitāverat. Phoebus virginem iterum petīvit. Eam
superāre temptāvit. Daphnē aquās fluminis patris vīdet et dīxit: “Dā mihi
auxilium, pater, sī potentiam habēs, mūtā fōrmam meam.”
Statim pater bracchia pulchra in ramōs mūtat. Daphnē virgō fōrmōsa
nunc est laurus, arbor pulchra. Phoebus oscula arborī dat et dīcit: “Sī
coniūnx mea esse nōn potes, arbor eris certē mea; stābis prīma in capitibus
rēgum ducumque Rōmae.”
Daphne again had fled. Apollo again sought the maiden.
He tried to overcome her. Daphne sees the waters of the river (her) father and said:
“Give help to me, father, if you have the power, change my form.”
Immediately (her) father changes (her) beautiful arms into branches.
The beautiful maiden Daphne is now a laurel, a beautiful tree.
Apollo gives kisses to the tree and says:
“If you are not able to be my wife, you will surely/certainly be my tree;
you will stand first (foremost) on the heads of kings and the leaders of Rome.”

70. 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)?

71. 2. Daphne flees again and Apollo pursues her- Lines 21: Daphnē…petīvit
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
LATIN EVIDENCE
Apollo
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

72. 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

73. Propositum: DWBAT explain the effects on the passage created by the poetic devices anaphora, tricolon and tetracolon
4/29/14
Facite Nunc:
Take out a pen for your quiz
Keep your ‘Phoebus et Daphne’ handout out and turned face down for a HW check
PENSUM #111:
Complete your ‘Phoebus et Daphnē’ handout in full
Poetic Language quiz TOMORROW (Idiomatic and Poetic Expressions, Poetic Devices)

74. Context Quiz: Phoebus et Daphnē
You will have 15 minutes to complete your quiz

75. 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.

76. 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