Showing posts with label extension 08-09. Show all posts
Showing posts with label extension 08-09. Show all posts

Friday, June 04, 2010

wind and running water

The speaker on Lyric Poetry at Wednesday's HSC study day, made a comment at one point that whenever you come across storm imagery, you know the poet is about to have a go at women - for being unpredictable, fickle, irrational, even violent. It's not a bad point, think for example of Horace I.5, where he takes pity on his ex-girlfriend's new lover:
...heu quatiens fidem
mutatosque deos flebit et aspera
nigris aequora ventis
emirabitur insolens...

Alas, how often he will weep
At your (and the gods') vacillations
And be exasperated by your rough seas
And black gales.
But it's not just women who get this treatment. In Ode III.9 (a conversation between two lovers) the woman uses similar imagery to describe the man:
quamquam...
...tu levior cortice et improbo
iracundior Hadria,
tecum vivere amem. tecum obeam libens.

Though... you are as light as cork and as bad-tempered
As the deceitful Adriatic, I'd love
To live with you, with you I'd gladly die.

Thursday, June 03, 2010

small-crafted images

I had a stimulating day yesterday with my year 12 class at the CLTA's annual HSC Lecture Day. Here's a helpful quote which stood out to me from the session on lyric poetry.

The principal critical values of the new poets put emphasis on lightness, delicacy, smallness, self-awareness that could even be ironic as well as self-admiring, and sheer delight in wit, in small-crafted images, in suggestion rather than total description. Catullus and his fellow poets experimented with many new Greek meters and started the process of Romanizing them, a process which in the next generation Horace furthered.
(Anderson, W.S. Latin Lyric and Elegaic Poetry: An Anthology of New Translations)

Wednesday, October 07, 2009

The Man of Doubtless Honour...

Here's another poem from one of my (former) year 12 students - her version of Horace Odes I.22. It's much longer than the original poem, but very well done in my opinion. For a comparison you might like to check out this version, by John Wesley, the 18th century preacher.

The man of doubtless honour,
Ne’er once will he require
Hostile blood-stained spears,
Forged in blood-red fire...

The guiltless man shan’t need
The quiver nor the arrow,
Poisoned though it be,
And sharp to pierce the marrow.

Saturday, October 03, 2009

Carol Manners Essays

Each year the CLTA holds an essay competition "for Year 12 students of Latin and Greek who may write an essay from a range of topics related to the HSC and IB Latin and Greek prescribed texts."

The winning essays for 2009 have been published online:

The standard is of course exceptional, and all three essays are well-worth reading. Here is part of the introduction to the second essay, as a brief taste:

Cicero’s rhetorical method in Verrine V fulfils various functions, diverting from structured reasoning (probare), and becoming a “self expression of the orator”. It influences emotionally (flectere), entertains (delectare), and makes Verres a “human object of contempt”. The need to persuade a jury and audience had already been ccomplished in the Actio Prima, where the weight of evidence incriminated Verres. Considering the Actio Secunda was published but never delivered in court, the focus will be particularly on dispositio (arrangement of material), elocutio (style and power of words) and the context of the Verrines in Cicero’s career.

Thursday, October 01, 2009

Alas, my friend...

As a bit of fun end of year exercise for my year 12 extension students, I asked them to have a go at translating one of the poems we'd read this year into poetry.

It's a task that's been attempted by many famous writers in the past, including John Dryden, Basil Glidersleeve, Samuel Johnson, Ben Jonson, James Joyce, Alfred Tennyson, John Wesley, William Wordsworth and many others. You can find many of their versions collected at this excellent site.

Friday, February 20, 2009

Mount Soracte

Horace's Ode I.9 (a translation of which you can find here or here) opens with the poet observing the effects of winter all around him and urging his (probably imaginary) friend to build up a nice big fire and get out the wine.

Vides ut alta stet nive candidum
Soracte nec iam sustineant onus
silvae laborantes geluque
flumina constiterint acuto?

Dissolve frigus ligna super foco 5

large reponens atque benignius
deprome quadrimum Sabina,
o Thaliarche, merum diota.

See how Soracte stands deep
in dazzling snow and the trees cannot bear
their loads and bitter frosts
have paralysed the streams?

Dispel the cold, heap plentiful logs
on the hearth and draw out
your four-year old Sabine wine
from its two handled jugs, Thaliarchus.

This is what Nisbett and Hubbard have to say about Mt Soracte in their commentary on Book I of Horace's Odes:

Mount Soratte is sometimes visible from a few favoured parts of Rome, and the modern tourist, as he (sic) surveys the horizon from the Gianiculo on a clear day willingly imagines that he is re-creating the poet's experience. But we should not suppose that Horace saw the mountain twenty miles away on a winter evening through the narrow slit of an ancient window; he is simply giving local colour to a Greek theme... Horace is not describing a particular scene; rather he has composed a picturesque Christmas-card, based on Alcaeus, and containing among more conventional elements a single feature of familiar topography.

Mount Soratte, 2,400 feet high, [is] about 20 miles north of Rome... At different times it has been called Monte S. Silvestro (after Pope Sylvester I who hid there during the reign of Constantine), or Treste, or Sant'Oreste. It is visible from the
Gianiculo and the Pincio, some tall buildings in Rome, much of the Campagna, and Tivoli (though not, of course, from Horace's Sabine farm). It was associated with Apollo, with the fire-walking Hirpini, with Soranus and Feronia and the cult of the dead (Virg. Aen. 11.785 with Servius, Str. 5.2.9). Some scholars suppose that it has been introduced here becauses of it's funereal associations... but so melancholy a note would be inappropriate at this place in the poem, There is no evidence that the mountain was so sinister that every mention of it suggested thoughts of mortality.

Tuesday, July 22, 2008

mottoes

Back at school today after a very relaxing holiday in Victoria. I was in Melbourne for a few days, then spent some time driving along the Great Ocean Road, and a few days in the Grampians.

While in Melbourne I happened to walk past Melbourne University, and its associated Teachers' College, and I was struck by their mottoes. Keen extension students should be able to tell me what each of the mottoes means, and how they are related.











[University of Melbourne motto, left; Melbourne Teachers' College, right]

Friday, June 20, 2008

Catullus and Seinfeld

The other day while marking some year 12 essays I had a revelation. It struck me that Catullus’ poetry is a lot like the TV show Seinfeld, while Horace’s is more like Sex and the City. Let me explain.

Seinfeld was a show which claimed to be about nothing, but in fact was about lots of stuff- based around the everyday lives and relationships of four friends. Sex and the City on the over hand claimed to be revolutionary television, but when you stripped away the rhetoric it too was about the everyday lives and relationships of four friends.

Catullus claims in his introductory poem that his poetry is also about nothing when he calls his poems mere trifles (‘nugas’). What I think he means is that his poetry doesn’t deal with any of the subjects which were considered in his time to be serious and important; subjects like mythology, gods, heroes, wars, history and even philosophy. Rather his poems are (generally) about his everyday life and relationships. Catullus was not the first to write this kind of poetry, he was heavily influenced by the Alexandrian poets of 200 or so years before (especially Callimachus)

On the other hand, Horace (in Ode III.30, a kind of epilogue, reflecting on his own poetic achievements) claims to have completed in his poetry a monument more lasting than bronze (‘aere perennius’) which will ensure his immortality as long as Rome exists. His boast rests on the assertion that he was the first (‘princeps’) to bring Greek poetry to Rome – though this is not strictly accurate. Catullus and the other poetae novi (whose work is for the most part sadly lost) also experimented with Greek themes, forms, meters and conventions in the same way that Horace did.

So, like Seinfeld, Catullus claims that his poems are nothing, when really they are something, and Horace, like Sex and the City, claims that his poems are revolutionary, when really they are heavily indebted to what has gone before.

[Disclaimer: I have never actually watched an episode of Sex and the City - this is just the impression I get of the show]

Tuesday, June 10, 2008

monumentum aere perennius

Horace's Ode III.30 is a reflection on the completion of his first three books of poetry. It begins:

exegi monumentum aere perennius
regalique situ pyramidum altius...

I have completed a monument more lasting than bronze
and more noble than the pyramids of kings...

Obviously he had a pretty high view of his achievement (see previous post if you want to know more), but it turns out he was right. In fact more right than he could have imagined. Later on he writes:

non omnis moriar, multaque pars mei
vitabit Libitinam...

I shall not die completely, but a great part of me
shall avoid death...

...dum Capitolium
scandet cum tacita virgine pontifex.

... for as long as the chief-priest
ascends the Capitol with a silent maiden.*

Roman sacrifices on the Capitoline Hill stopped long ago, but Horace's poetry is still read (and even sometimes appreciated) widely. If you don't believe me check out this post.

Anyway, this picture is a statue which is at least as old as Horace's poetry; from the Museo Nazionale Romano at the Palazzo Massimo alle Terme in Rome, where it lives in the same room as this statue. The statues in pretty good shape, which is Horace's point - bronze lasts a long time, and so will his poetry. I guess only time will tell whether Horace outlasts the statue in the long run.

*[Just to clarify, the maiden, the embodiment of goodness and purity etc, was to help out with the sacrifices, not to be sacrificed. The Romans didn't do human sacrifice. Much.]

another essay

I've written another essay, for the benefit of my year 12 class. Here it is:


With reference to Catullus’ Carmen I and Horace’s Odes III.30, compare each author’s attitude to their own poetry.

Friday, May 16, 2008

an essay

Here's an essay, which I've just finished writing. I set the question for my year 12 class recently, and thought I should have a bash at trying to answer it myself. If you're not in my year class, you may not find it very interesting (sorry). If you are in my year 12 class, I hope you find it helpful. Feel free to leave a comment (even a negative one).

What can we learn about Horace’s approach to life from his poetry? In your answer refer to at least three poems we have read this year.

Though it may be a dangerous task to try to discern something of a poet’s character from his work, a strong impression of Horace’s approach to life presents itself throughout his Odes. He writes often about the brevity of life and the inescapability of death, and consequently urges his readers to make the most of the short time they do have, without worrying too much about the future.

Friday, May 09, 2008

superbus

Superbus is an odd Latin word. It’s obviously the root of ‘superb’, but the meaning of the Latin word is quite different to that of its English derivative, which generally has only positive connotations. Superbus has the basic meaning of ‘proud’, but can be used in a positive or a negative sense. For example in Book VIII of the Aeneid (where the word occurs seven times), it can be used to describe Hercules, the heroic slayer of the monster Cacus (and 'type' of Augustus):

nam maximus ultor
tergemini nece Geryonae spoliisque superbus
Alcides aderat…

For our great avenger, the son of Alceus [Hercules] was at hand, exalting in the death and spoils of three-bodied Geryon…
Virgil, Aeneid VIII.201-2

Monday, May 05, 2008

monsters and portents

If you had to guess the meanings of the Latin words monstrum and portentum, chances are you'd go with their English derivations; 'monster' and 'portent' (i.e. an omen, or sign from the gods). And you'd be right. For example, have a look at the following passages:

huic monstro Volcanus erat pater: illius atros
ore vomens ignis magna se mole ferebat.

Vulcan was the father of this monster: vomiting his father’s black fire from his mouth he would move around with his huge bulk.
Virgil, Aeneid VIII.198-9


tum memorat: 'ne vero, hospes, ne quaere profecto
quem casum portenta ferant: ego poscor Olympo.’

Then [Aeneas] declared: ‘There is no need, my friend, no need to ask what these portents mean: I am called for by Olympus.'
Virgil, Aeneid VIII.532-3


That seems fairly straight forward. Except monstrum doesn't usually mean 'monster'- its basic meaning is 'portent'; portentum on the other hand, can sometimes mean 'monster'. In the following passages for example:

Ecce autem subitum atque oculis mirabile monstrum,
candida per silvam cum fetu concolor albo
procubuit viridique in litore conspicitur sus;

Now suddenly before his eyes there appeared a portent. There through the trees he caught sight of a white sow with offspring of the same colour, lying on the green shore.
Virgil, Aeneid VIII.81-3


namque me silva lupus in Sabina...
fugit inermem.

quale portentum neque militaris
Daunias latis alit aesculetis,
nec Iubae tellus generat, leonum
arida nutrix

For in the Sabine forests a wolf fled from me... unarmed as I was. A monster such as not even warlike Daunia rears in her broad oak forests, nor the land of Juba, that barren nurse of lions.
Horace, Odes I.22.9, 12-16


Why is this so? The basic meaning of each word is to do with signs and omens; each noun derives from a verb- monstrum from monstro, monstrare (to show; cf ‘demonstrate’) and portentum from portendo, portendere (to reveal), thus both words mean something which has been shown or revealed. The secondary meaning of ‘monster’ comes from the idea that monsters are somehow sent from the gods, often as a punishment for some kind of wrong doing (eg the Minotaur, the Calydonian Boar), or that they are able to show the will of the gods in some way.

[These two articles also discuss the word monstrum and related English words]

Wednesday, March 12, 2008

Catullus' man-crush

Yesterday my year 12 class did an exam, in which they had to translate a poem from Catullus to a fellow poet, Licinius. Here's part of the poem and it's translation:

Hesterno, Licini, die otiosi
multum lusimus in meis tabellis,
ut convenerat esse delicatos:
scribens versiculos uterque nostrum
ludebat numero modo hoc modo illoc,
reddens mutua per iocum atque vinum.
atque illinc abii tuo lepore
incensus, Licini, facetiisque,
ut nec me miserum cibus iuvaret
nec somnus tegeret quiete ocellos,
sed toto indomitus furore lecto
versarer, cupiens videre lucem,
ut tecum loquerer, simulque ut essem.
at defessa labore membra postquam
semimortua lectulo iacebant,
hoc, iucunde, tibi poema feci,
ex quo perspiceres meum dolorem.


Yesterday, Licinius, we had a lot of fun
relaxing with my little writing tablets,
since we'd agreed to be frivolous.
Writing light verses, we played together,
now with this meter, now with that,
toasting each other with jokes and wine.
I left your place so inflamed, Licinius,
by your wit and your jokes,
that food didn't help me in my misery,
nor did sleep bury my poor eyes in rest,
but wild with madness I tossed and
turned all over my bed, wanting to see the light
so that I could talk with you, so that I could be with you.
But when my weary limbs, exhausted from their suffering,
lay limp on my little couch,
I wrote you this poem, dear friend,
so that you could fully appreciate my pain.

I think it's clear from this poem that Catullus is suffering a major man-crush. He can't stop thinking about his time with Licinius; he can't eat, he can't sleep, he tosses and turns all night mad with excitement, all he can think of is seeing and talking to Licinius again.

Some of the words and phrases he uses here are usually used by poets to describe passionate love. 'me miserum' (me in my misery) for example is used by Catullus himself in poem 51 when he first spies his girlfriend Lesbia across a crowded room. Poem 64 describes both Peleus and Bacchus as 'incensus amore' (inflamed with love). Catullus also often writes about the pain ('dolorem') and suffering ('labore') of being in love (poem 85 is an obvious example). In fact, reading Catullus often makes me think of this exchange from the movie Love Actually:

Daniel: Aren't you a bit young to be in love?
Sam: No.
Daniel: Oh, OK, right. Well, I'm a little relieved.
Sam: Why?
Daniel: Well, you know - I thought it might be something worse.
Sam: [incredulous] Worse than the total agony of being in love?
Daniel: Oh. No, you're right. Yeah, total agony.

Monday, February 04, 2008

Horace Online

Here are a bunch of sites which I hope my year 12 class will find useful as we read some of Horace's Odes.

You can of course find the Horace’s complete works at the Latin Library .Translations of all of Horace’s poems can be found at Perseus (with notes) or at about.com. Unfortunately some of their translations can be a bit hard to follow. These three sites (with notes) have better translations but only offer a selection of poems.

Wikipedia of course has information about Horace's life as well as a separate page on the Odes. Here you will find some other useful links for both Horace and Catullus, and this site has some hard core information on Horatian meters in case anyone is interested.

Horace

For my year 12 students, who have just started reading some the Odes, here is a bit of information about Horace:

Horace (Quintus Horatius Flaccus) (65-8 B.C.) was the son of a freedman of Venusia on the Aufidus in S. Italy, a Latin colony which had joined the rebellion of 90 B.C. and had then been granted the citizenship. It has been conjectured that the name Horatius was taken by his father from the Horatian tribe, in which Venusia was included. He was five years younger than Virgil. His father was a coactor exactionum, a collector of payments at auctions, and had acquired a small estate. He gave his son the best education obtainable, first at Rome under Orbillius, and later at Athens. The Civil War broke out while Horace was in Greece; he recieved a commission as tribune in the army of M. Brutus and fought (and, he says, ran away) at Phillipi (42 B.C.) Thereafter he returned to Italy and made his submission.

He obtained a clerical post in the civil service (he was one of the scribae quaestiorii or quaestor's clerks), but his estate was forfeited and poverty drove him to write verses. About 38 B.C. he was introduced by Virgil to Maecenas, who after some delay took him under his protection, admitted him to the circle of Augustan poets, and about 33 B.C., gave him the Sabine Farm (near Tibur, in the valley of the Digentia, now the Licenza) which was to be the source of much hapiness to Horace and the inspiration of some beautiful passages in his writings.

About 35 B.C. he had issued the first Book of his Satires. It was followed about 30 B.C., after Actium, by the second Book of the Satires and the Epodes (which include some of his earliest poems). The first three Books of the Odes, composed gradually in the course of some ten years and reflecting the political events of 33-23 B.C., were published in 23; the first Book of the Epistles about 20. The Carmen Saeculare appeared in 17, Book IV of the Odes about 15 B.C. There remain three literary essays, two of which form Book II of the Epistles, while the third is known as the Epistle to the Pisos, or more usually as the Ars Poetica. These are generally assigned to the last years of the poet's life; but the question of their date is undecided. The second epistle of Book II and the Ars Poetica are placed by some authorities as early as 19 B.C.

Horace died in 8 B.C., a few months after Maecenas, with whom he had maintained a friendship of thirty years. He was never married. We have a life of Horace by Suetonius, who describes him as short and stout. Horace speaks of himself as prematurely grey.

Horace's position as one of the greatest of Roman poets rests on the perfection of his form, the sincerity and frankness of his self-portaiture, his patriotism, his urbanity, humour, and good sense. His poems give a vivid picture of the Roman society, high and low, of his day. He has endowed literature with a multitude of happy phrases. If surpassed by Catullus in passion and force and by Lucretius in grandeur, he in turn surpasses both in the breadth of his interests, and Catullus in moral dignity. Quintilian calls him 'felicissime audax' ['most happily bold'], and Petronius refers to his 'curiosa felicitas' or 'studied felicity'.

Horace has been so universally read and admired that his influence on English poetry, both Lyrical and satirical, is almost all pervading. Of direct imitations the most famous and successful are Pope's adaptions of certain of the Satires and Epistles (1733-8). Milton translated his Ode to Pyrrha (I.5).

[From The Oxford Companion to Classical Literature, ed. Sir Paul Harvey]

Monday, October 22, 2007

Lyric Poetry

The prescribed genre for Latin extension next year is Lyric Poetry. I was a bit unsure what qualified as Lyric poetry, so I checked the article in my trusty Oxford Companion to Classical Literature, and this is what it said:

Lyric Poetry

1. Greek Lyric Poetry

Lyric poetry, meaning 'poetry sung to the lyre', is a term applied originally to songs accompanied by music; at first to Scolia or drinking songs, and to light songs of love; but always to to songs as expressing the untrammelled and personal sentiments of the poets, as distinguished from epic and dramatic poetry. Lyric poetry had its origin in the Aeolian island of Lesbos, with Terpander, Sappho, and Alcaeus, and in Ionia with Anacreon. It was accompanied at first on some kind of lyre. It employed a great variety of meters, of which the most characteristic were combinations of dactyls and trochees. It was chiefly developed among the Dorians, where Terpander, who migrated to Sparta, is said to have established it. It there took the more solemn and elaborate form of the Choral Lyric, accompanied by the flute as well as the lyre. This reached its greatest perfection with Pindar. The age of the great lyric poets ended about 452 B.C. when Pindar and Bacchylides wrote their last known odes. But by this time lyric poetry had found a new field in the choruses of the Greek drama. Greek tragedy was at first essentially lyric in character. The early tragedian Phrynicus was famous for the sweetness of his lyrics; and although as tragedy developed the chorus was more and more relegated to a subordinate position, the lyrical element continued a source of delight to the end of the period of the great tragedians. Lyrics are an important feature likewise in the comedy of Aristophanes, and there is often in his choruses 'a rush of real feeling and beauty, quickly apologised for and turned off with a laugh' (Murray).

2. Roman Lyric Poetry

The adoption in Latin of the Greek Lyric meters presented great difficulty, especially with the restrictions that the Romans introduced, and the number of great Roman lyric poets is small. Livius Andronicus composed a national hymn to be sung by a choir of maidens; and Laevius was another early writer of lyrics, but only fragments of his work have survived. The two chief Roman lyric poets were Catullus and Horace, and they had no important successors (except perhaps Statius). Seneca uses a variety of lyric meters in the choruses of his tragedies, Sapphics, Glyconics, Asclepiads; but without the metrical skill of the great Greek tragedians and without the variety of the strophic arrangement.

(Oxford Companion to Classical Literature, ed. Sir Paul Harvey, 1962)