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Friday, December 3, 2010

Hercules Check


Verbs
1. habitabat-habitare/to inhabit
2. voluit-valere/to be strong
3. dormiebat-dormire/to sleep
4. movebant-movere/to move
5. exclamavit-exclamare/to exclaim
6. compressit-comprimere/to press
7. sunt-esse/to be
8. excitaverat-excitare/to wake up
9. accendit-accendere/to set on fire
10. rapuit-rapere/to snatch
11. venit-venire/to come
12. vidit-videre/to see
13. ridebat-ridere/to ridicule
14.  monstrabat-monstrare/to show
15. exercebat-exercere/to exercise
16. consumebat-consumere/to burn up
17. erudiebatur-erudire/to educate
18. studebat-studere/to desire
19. percussit-percutere/to beat
20. narrantur-narrare/to narrate
21. facit-facere/to make
22. regnabat-regnare/to reign
23. edixit-edicere/to proclaim
24. coegit-cogere/to collect
25. habebant-habere/to have
Nouns
1 . filius-filius/son
2. hominum-homo/man
3. regina-regina/queen
4. deorum-deus/god
5. serpentis-serpens/serpent
6. scutum-scutum/shield
7. pueri-puer/boy
8. frater-frater/brother
9. mater-mater/mother
10. locum-locum/location
11. femina-femina/woman
12. partem-pars/part
13. diei-dies/day
14. arcum-arcus/bow
15. musica-musica/music
16. centauro-centaurus/centaur
17. equi-equus/horse
18. caput-caput/head
19. arti-ars/art
20. magistri-magister/teacher
21. rex-rex/king
22. sacerdotem-sacerdos/priestess
23. boves-bos/cow
24. scelus-scelus/sin
25. oraculum-oraculum/oracle

Wednesday, December 1, 2010

Latin Quiz-11/30/10

Write the infinitive and then the English

Ex: Laudo= laudare/to praise

1. Dicitur-dicere/to say
2. Venerunt-venire/to ocome
3. Dormiebat-dormire/to sleep
4. Movebant-movere/to move
5. Exclamavit-exclamare/to exclaim
6. Compressit-comprimere/to press
7. Rapuit-rapere/to snatch
8. Venit-venire/to come
9. Vidit-videre/to see
10. Ridebat-ridere/to ridicule
11. Exercebat-exercere/to exercise
12. Consumebat-consumere/to burn up
13. Habebant-habere/to have
14. Percussit-percutere/to beat
15. Excessit-excedere/to exceed
16. Narrantur-narrare/to narrate
17. Facit-facere/to make
18. Regnabat-regnare/to reign
19. Imponere-imponere/to impose
20. Stabat-stare/to stand
21. Habitabat-habitare/to inhabit
22. Comprehendit-comprehendere/to catch
23. Contendit-contendere/to stretch
24. Creaverunt-creare/to create
25. Fecerunt-facere/to make

Friday, October 29, 2010

Horace Odes 1.33-Formal and Structural Analysis

XXXIII

Albi, ne doleas plus nimio memor
inmitis Glycerae neu miserabilis
descantes elegos, cur tibi iunior
     laesa praeniteat fide.

Insignem tenui fronte Lycorida               5
Cyri torret amor, Cyrus in asperam
declinat Pholoen: sed prius Apulis
     iungentur capreae lupis

quam turpi Pholoe peccet adultero.
Sic uisum Veneri, cui placet imparis               10
formas atque animos sub iuga aenea
     saeuo mittere cum ioco.

Ipsum me melior cum peteret Venus,
grata detinuit compede Myrtale
libertina, fretis acrior Hadriae               15
     curuantis Calabros sinus.

Tibullus, may you not suffer too much excessive pain
Remembering cruel, faithless Glycera and do not proclaim miserable
Elegies: " Why have you been hurting because a youth
outshines thee?"

See delicately browed Lycoris as she burns up
with love for Cyrus, as Cyrus cruelly declines
Pholoe: But sooner in the Apullian region
Would roe deer and wolves come together,

Than would Pholoe commit disgraceful adultery.
Thus, having seen Venus, she is made merry
To send forms and minds alike
under her cruel copper yoke.

For me, love might aim at better things,
My beloved Myrtale detained me in shackles from
Being a freedman, more sharp than the Adriatic Sea
Curving to fold around Calabria

The poem's title is Horace's "Odes 1.33"
The theme is that love is a cruel sport, making us follow those that flee and flee those that follow. This theme is indirectly stated, mostly from the second and third stanzas.
The poem is not closely linked to a specific time or place, but Horace does tell of the Apulia and Calabria in Italy.
The narrator is Horace, as he is writing a letter to Tibullus, and he is implicit. Horace speaks from the first person, and this is constant throughout the poem. The poem does invite one to equate the narrator with the author.
The poem has an internal addressee, whose name is Albius Tibullus. Tibullus is a Latin poet and writer of elegies (mournful poems).
The poem does contain other characters than the narrator (Horace) and his audience (Tibullus). These are: Glycera (Hor. Odes 1.33.2), Lycoris (Hor. Odes 1.33.5), Cyrus (Hor. Odes 1.33.6), Pholoe (Hor. Odes 1.33.7+9), Venus (Hor. Odes 1.33.10), and Myrtale (Hor. Odes 1.33.14). These characters do not have agency, as Horace reports on their actions.
There is a sad, depressing mood in the beginning, and then an uplifting mood in the last stanza.
The antecedent scenario is that Glycera broke Tibullus' heart by swooning over a younger man. After the poem has ended, it is expected that Tibullus will move on with his life, and stop fretting over faithless Glycera.
There are multiple allusions in this poem, all of which reinforce the explicit meaning. There are allusions to: Cyrus [(Founder of the Persian monarchy)(Hor. Odes 1.33.6)], Pholoe [(The centaur)(Hor. Odes 1.33.7+9)], Apulia [(A region in southeastern Italy)(Hor. Odes 1.33.7)], Myrtale [(A freed woman, a friend of Horace's)(Hor. Odes 1.33.14)], the Adriatic Sea [(Sea touching both Apulia and Calabria)(Hor. Odes 1.33.15)], and Calabria [(Region in southern Italy located on the "toe" of the peninsula)(Hor. Odes 1.33.16)].

Odes 1.33 is a letter written to Albius Tibullus on love. Tibullus is a writer of elegies. Horace is trying to help Tibullus and talk him through the loss of his Glycera. Horace wants to stop Tibullus from writing his elegies and to move on.

Horace speaks to Tibullus about his love life, telling him to calm down. He speaks of love as a fickle thing, and how it can destroy some people. For Horace, love has better meanings and intentions.

There is a pattern of proper nouns at the beginning and end of lines. This occurs in lines 1, 5, 6, 7, 13, 14, 15. Also, in each stanza in line 2 or 3, there is punctuation to break up the stanza. Horace also divided up the stanzas, with the first stanza speaking of Tibullus' love troubles, the second and third stanza speaking of the cruel sport of love, and the last stanza telling Horace's situation on love.

"Praeniteat" (Hor. Odes 1.33.4) connotates that loss of love and misery when a lover turns to like another. "Adultero" (Hor. Odes 1.33.9) has the connotation of all scandalous things about love, and that sometimes, adultery happens. The connotation behind "iuga" (Hor. Odes 1.33.11) is hard labor, like that found in making love work, like that found in working under a copper yoke.

"Tenui fronte" (Hor. Odes 1.33.5) represents youth, as a low forehead was thought to be a mark of youth and beauty. "Venus" (Hor. Odes 1.33.10) represents the fickle mind of love, toying with those who dare to get entangled in it. "Compede" (Hor. Odes 1.33.15) represents the restraints that love puts on a person, making life more difficult. "Curuantis" and "sinus" (Hor. Odes 1.33.16) represent the twists and turns that love takes.

There are allusions to: Cyrus, Pholoe, Apulia, Myrtale, the Adriatic Sea, and Calabria. The allusion to Cyrus shows that love's game does not just apply to those meel elegy writers, but also to royalty. The reference to Pholoe the centaur shows that not only humans have these problems, but so do other animals. The allusion to Myrtale shows that even Horace, in all this wisdom, has love life problems. Love is like the undulating, ever-changing Adriatic Sea.

Horace chose to break each stanza into four lines, the first three lines having twelve syllables, the fourth line having eight syllables. Horace also made sure to open up the poem with "Albi" (Hor. Odes 1.33.1), showing how much he cares for Tibullis. In line eight, "iungentur capreae lupis", he shows the contrast between docile creatures and cruel predators, and how love can get nasty. He also ends the poem with "sinus" (Hor. Odes 1.33.16), showing the curved path of life and love.

In the end, Horace wants Tibullus to realize that troubles are what love is all about, and overcoming them makes love great, and succumbing makes one sad. Love really is a game, in this poem.

Wednesday, October 27, 2010

Horace Odes 1.33-Proper Nouns

Albius Tibullus-The elegiac poet (cf. Epp. 1. 4)
Glycera-A favorite of Horace. A female courtesan. (Hor. Carm. i. 19. 30. iii. 19.29.)
Lycorida-Lycoris is a fictitious name
Cyrus-Founder of the Persian monarchy.
Pholoe-The centaur.
Apulis-A region in southeastern Italy bordering the Adriatic Sea in the east, the Ionian Sea to the southeast, and the Strait of Òtranto and Gulf of Taranto in the south
Venus-Goddess of love and beauty
Myrtale-A freed woman, a friend of Horace
Hadriae-The Adriatic Sea
Calabros-A region in southern Italy, south of Naples, located at the "toe" of the Italian peninsula.

Friday, October 22, 2010

Quarterly Vocab Check-10/22

Words from Horace's Odes 1.1, 1.11, 1.22, 1.37


A. Verbs
1. Edite-To eat
2. Sunt-To be
3. Tollere-To lift
4. Condidit-To store up
5. Certat-To find
6. Findere-To divide
7. Secet-To sever
8. Laudat-To praise
10. Reficit-To rebuild
11. Est-To be
12. Spernit-To scorn
13. Demere-To remove
14. Iuuant-To help
15. Rupit-To break
16. Secernunt-To separate
17. Cohibet-To hold together
18. Inseres-To plant
19. Miscent-To mix
20. Urget-To urge

B. Nouns
1. Populo-People
2. Curriculo-Chariot
3. Palmaque-Palm (+ enclitic "que" meaning "and")
4. Honoribus-Honors
5. Sarculo-Hoe
6. Agros-Fields
7. Arbor-Tree
8. Nauta-Sailor
9. Arcu-Bow
10. Sagittis-Arrows
11. Loca-Location
12. Regina-Queen
13. Numeros-Numbers
14. Partem-Part
15. Lupus-Wolf
16. Leonum-Lions
17. Serpentes-Serpents
18. Aetas-Age
19. Terra-Earth
20. Deorum-Gods

C. Participles
1. Metuens-Fearing
2. Pulsanda-Beating
3. Deliberata-Considering
4. Detestata-Detesting
5. Bibendum-Drinking
D. Adjectives
1. Frigido-Cold
2. Dulce-Sweet
3. Nobilis-Noble
4. Inhospitalem-Inhospitable
5. Fatale-Deadly

Monday, October 18, 2010

Declension Check


Nouns
1. Die-5th declension, nominative
2. Pumicibus-2nd declension, ablative
3. Monstrum-2nd declension, nominative
4. Terra-1st declension, nominative
5. Spem-5th declension, accusative

Pronouns
1. Mihi-1st person singular
2. Tibi-2nd person singular
3. Hunc-1st person, singular
4. Illum-1st person, singular
5. Sui-1st person, plural

Adjectives
1. Asperas-1st declension, accusative
2. Fatale-3rd declension, nominative
3. Longam-1s declension, nominative
4. Nobilis-3rd declension, nominative
5. Frigido-1st declension, dative

Participles
1. Metuens-3rd declension
2. Adurgens-3rd declension
3. Pulsanda-1st declension
4. Bibendum-3rd declension
5. Dementis-2nd declension

Thursday, October 7, 2010

Horace Odes 1.22-Formal and Structural Analysis

XXII
Integer uitae scelerisque purus
non eget Mauris iaculis neque arcu
nec uenenatis grauida sagittis,
     Fusce, pharetra,

siue per Syrtis iter aestuosas               5
siue facturus per inhospitalem
Caucasum uel quae loca fabulosus
     lambit Hydaspes.

Namque me silua lupus in Sabina,
dum meam canto Lalagem et ultra               10
terminum curis uagor expeditis,
     fugit inermem,

quale portentum neque militaris
Daunias latis alit aesculetis
nec Iubae tellus generat, leonum               15
     arida nutrix.

Pone me pigris ubi nulla campis
arbor aestiua recreatur aura,
quod latus mundi nebulae malusque
      Iuppiter urget;               20

pone sub curru nimium propinqui
solis in terra domibus negata:
dulce ridentem Lalagen amabo,
     dulce loquentem.

The man who is pure in his way of life
And is uninjured by wickedness, does not need
Darts of the Moors, nor bow or arrows loaded with
Venom, Fuscus,

Or if his way is through the glowing hot sandbanks of Syrtes
Or he makes his way through inhospitable Caucasus
Or the location which celebrates in story the
Hydaspes waters.

For and in fact I was singing of my Lalage
In my Sabine woods as a wolf of the boundary
Roamed while I was defenseless,
He fled with me unencumbered,

An omen not of the sort that the military
Daunus nurtures in her broad Italian oaks,
Nor the dry land  of Juba which produces
Nurses of lions.

Put me on the dull plains where no tree
Revives on the summer breeze,
A part of the world which mist and evil
Jupiter besets;

Place me under the chariot of the sun
Which draws too near the earth, in a place denied for
Dwellings: I will love my sweetly laughing
Sweetly prattling Lalage.

The poem's title is Horace's "Odes 1.22"
The themes of the poem are virtue and love. The theme is assumed through diction. The themes are interwoven through the story.
The setting of the poem is not specified, but the setting of Horace's anecdote is in Horace's woods. It takes place one day while Horace is walking through the forest.
The narrator is Horace, who is implicit.
Horace speaks in the first person, and this doesn't change throughout the poem.
The poem invites the audience to equate the narrator to the author.
The poem has an internal addressee, named Fuscus (Hor. Odes 1.22.4).
The poem does contain other characters, including a wolf (Hor. Odes 1.22.9), Lalage (Hor. Odes 1.22.10+23), Daunus (Hor. Odes 1.22.14), and lions (Hor. Odes 1.22.12). Horace reports of these characters' actions.
The mood of the poem is of peace and happiness.
The implied world outside the poem is one of little peace.
Something has happened in Fuscus' life, causing him to worry a lot. By the end of the poem, Fuscus has taken Horace's knowledge, and will hopefully live a happier, more peaceful life for it.
The allusions are to the Moors [(An African people) (Hor. Odes 1.22.2)], to Syrtes [(A desert place) (Hor. Odes 1.22.5)], to Caucasus [(an inhospitable place) (Hor. Odes 1.22.7)], Hydaspes [(A place of flowing waters told of in stories) (Hor. Odes 1.22.8)], Sabine woods [(the woods where Horace wandered in his anecdote) (Hor. Odes 1.22.9)], Daunus [(a fierce god) (Hor. Odes 1.22.14)], Jupiter [(king of the gods) (Hor. Odes 1.22.20)], and Lalage [(A reference to a poem by Sappho) (Hor. Odes 1.22.10+23)] . They are cited and reinforce the explicit meaning.

In this poem, Horace talks to Fuscus, telling him to slow down, and stop worrying so much about life. Horace tells him that good things happen to good people, and that Fuscus is a good person, so he should not worry. He cites as an example a time in the forest when a wolf came upon him, and let him be. He also tells Fuscus that he should need no weapons, as none should attack him, for he is a great guy. Horace goes further then to say that not matter where he lives, no matter what the problems, he will always be the same, relaxing, and loving his sweetly prattling Lalage.

In the fist and third stanza, there are 2 proper nouns in each stanza, and in the second stanza, there are three proper nouns. For the second three stanzas, there is only one proper noun in every stanza.  Horace tries to pull the readers in with many allusions that they can relate to, then he makes his point.

There is a powerful connotation between the words "scelerisque" and "purus" (Hor. Odes 1.22.1). They represent good and evil, respectively. Also the word "dulce" is used multiple times, representing all the sweet things in life.

The bows and arrows (Hor. Odes 1.22.2-3)symbolize war, which is what Horace is telling Fuscus not to do. Also, the wolf (Hor. Odes 1.22.9) symbolizes misfortune. It's passing by Horace shows how good things happen to good people, which is what Horace is trying to convince Fuscus of.

Many allusions show up in this poem. They include: The Moors, Syrtes, Caucasus, Hydaspes, Sabina, Daunus, Jupiter, and Lalage.The Moors, Syrtes, and Caucasus are all bad things in life, which Fuscus should not fear. Hydaspes is a river god of western India. The Sabina region is located in Italy. Daunus, in Greek mythology, is the most ancient among the ancestors of Turnus, Aeneas' major rival. Jupiter is the king of the gods, and Horace states that he would live even in a part of the world that could wage war with the king of the gods. Lalage means "to babble" or "to prattle." Horace loves Lalage, and will always sing about her. "Namque me silua lupus in Sabina, dum meam canto Lalagem et ultra terminum curis uagor expeditis, fugit inermem," and "pone sub curru nimium propinqui solis in terra domibus negata: dulce ridentem Lalagen amabo, dulce loquentem" support this. Sappho, the Greek canon poet, wrote a poem about Lalage, which this poem is based off of. Horace employs Sapphic stanza, an Aeolic verse form spanning four lines,  in this poem to further pay tribute to Sappho.

Horace makes a point to start the poem with the word "integer" (Hor. Odes 1.22.1), meaning "untouched." It already sets up the poem to be about those untouched by sin or evil. No matter whether Horace is in a burning zone or frozen pole, he will remain "untouched." He also, in line one, sets up the conflict of the poem, with "scelerisque purus." He places two very powerful words and forces next to each other to show the everlasting conflict between them. He shows Fuscus that both of them are "untouched" by the struggle between good and evil. He also ends the poem with "loquentem" (Hor. Odes 1.22.24), the participial form of "loquor," "to speak." He is referring to his joyful, carefree Lalage, and how they should both be like Lalage, and relax.

Horace, in the end, is just telling Fuscus that the gods guard those that are pure in heart, so he should stop worrying. He tells Fuscus of a time when a wolf came upon him defenseless, and let him be. Therefore, Fuscus should slow down and take life one problem at a time, like Horace, who is without a care in the world, singing of his "sweetly prattling" Lalage.

Friday, October 1, 2010

Horace 1.37-A Formal and Structural Analysis

XXXVII
Nunc est bibendum, nunc pede libero
pulsanda tellus, nunc Saliaribus
     ornare puluinar deorum
     tempus erat dapibus, sodales.
Antehac nefas depromere Caecubum               5
cellis auitis, dum Capitolio
     regina dementis ruinas
     funus et imperio parabat
contaminato cum grege turpium
morbo uirorum, quidlibet impotens               10
     sperare fortunaque dulci
     ebria. Sed minuit furorem
uix una sospes nauis ab ignibus,
mentemque lymphatam Mareotico
redegit in ueros timores               15
     Caesar, ab Italia uolantem
remis adurgens, accipiter uelut
mollis columbas aut leporem citus
     uenator in campis niualis
      Haemoniae, daret ut catenis               20
fatale monstrum. Quae generosius
perire quaerens nec muliebriter
     expauit ensem nec latentis
     classe cita reparauit oras,
ausa et iacentem uisere regiam               25
uoltu sereno, fortis et asperas
     tractare serpentes, ut atrum
     corpore conbiberet uenenum,
deliberata morte ferocior:
saeuis Liburnis scilicet inuidens               30
     priuata deduci superbo,
     non humilis mulier, triumpho.

Est-3rd person singular present active indicative of "esse" meaning "to be"
Ornare-present active infinitive meaning "to decorate"
Erat-3rd person singular imperfect active indicative of "esse" meaning "to be"
Depromere-present active infinitive meaning "to draw out"
Parabat-3rd person singular imperfect active indicative of "parare" meaning "to prepare"
Sperare-present active infinitive meaning "to hope"
Minuit-3rd person singular present active indicative of "minuere" meaning "to lessen"
Redegit-3rd person singular perfect active indicative of "redigere" meaning "to drive back"
Daret-3rd person singular imperfect active subjunctive of "dare" meaning "to give"
Perire-present active infinitive meaning "to die"
Expauit-3rd person singular perfect active indicative of "expavescere
 meaning "to become"
Reparauit-3rd person singular perfect active indicative of "reperare" meaning "to prepare"
Uisere-present active infinitive meaning "to visit"
Sereno-1st person singular present active indicative of "serenare" meaning "to clear up"
Tractare-present active infinitive meaning "to haul"
Conbiberet-3rd person singular imperfect active subjunctive of "conbibere" meaning "to drink completely"
Ferocior-1st person singular present passive indicative of "ferocire" meaning "to rampage"
Triumpho-1st person singular present active indicative of "triumphare" meaning "to triumph over"

Now is the time to drink, now the earth
Beats with the feet of free men, now,
Comrades, is the time for a splendid banquet
To decorate the couch of the gods.
Before this time, to fetch the Caecuban wine
From the ancestral wine cellar was a sin,  while deranged
Queen of the Capitol prepares for
The fall of death and authority.
You will defile the impure herd with
The sickness of venom, drunk was her hope
To do whatever was her fortune and
Pleasure. But her ships on a fire frenzy,
Barely a ship safe and sound,
In Marea, madness of mind
Was lessened to pure fear
Of Caesar, his oars close as she fled
From Italy, Just as a hawk hunts
A cowardly pigeon or a swift hare
In a snow-covered plain
Of Thessaly, so that he might give restraint
To a deadly monster. Anybody can seek
To die nobly:  She was not frightened
Like a woman by the sword, and her
Fast navy moved to no hidden coasts,
To visit her palace that had fallen to ruins
Boldly and with an expression of gladness, to handle
The snake was strong and violent, while
The body drank completely the deadly venom,
Being determined for her death:
Certainly jealous of the savage Liburnian galleys
Descended from her personal arrogance,
Humble was this woman who was not in triumph.

The poem has a title, it is Horace's "Odes 1.37"
The theme is to rejoice over the fall of a great and terrible woman, named Cleopatra.
The theme is directly stated.
There are two themes, and the poem shifts between them. The first theme is to celebrate the fall of the power-hungry Cleopatra (Hor. Odes 1.37.11), but the second theme paints Cleopatra in a nobler light, showing that she was bold (Hor. Odes 1.37.25) and unafraid even in death. The second theme is that even the terrible Cleopatra has some honorable characteristics.
The setting of the poem is in the Sea of Marea (Hor. Odes 1.37.14) near the city of Actium, where Cleopatra eventually loses and commits suicide. The battle took place September 2nd, 31 BC.
The narrator is someone making a speech at a celebration, so it might very well be Horace. The narrator is implicit and is third person omniscient.
The implied reader is the assumed audience.
The  characters in the poem are Cleopatra and Octavian, and these characters acted in their own right. Horace is reporting on their actions.
The mood of the poem is celebratory, then triumphant, then humble.
Octavian has just finished off Mark Antony and Cleopatra, ending the Final War of the Roman Republic.
The poem had just summarized the battle, and is anticipating a new Rome under Octavian.
The poem alludes to sweet Caecuban wine (Jor.Odes 1.37.5) in the celebration. It also refers to the Roman Capitol, on which Jupiter's temple was located (Hor. Odes 1.37.6). There is also an allusion to the Sea of Marea (Hor. Odes 1.37.14). These allusions reinforce the explicit meaning.

Horace's "Odes 1.37" tells of the Battle of Actium and celebrates Octavian's victory over Antony and Cleopatra.
Celebrations are starting (Hor. Odes 1.37.1-4) because of the fall of Cleopatra. Cleopatra was losing a naval battle (Hor. Odes 1.37.12), and so fled to Actium, with Octavian in hot pursuit. Cleopatra knew she had lost, so she committed suicide by asp bite (Hor. Odes 1.37.28)
The poem has a pretty solid pattern of two long lines with 11 syllables each, followed by two short lines with 10 syllables each. This pattern really only deviates at line seven (Hor. Odes 1.37).
The connotation of an animal like the hawk (Hor. Odes 1.37.17) is that of a predator animal, making Cleopatra the prey.
The asp and its bite (Hor. Odes 1.37.26-27) is used as a symbol of death. The venomous asp's bite is fatal. Cleopatra chose life over death, and found the fastest way possible to get there.
The poem alludes to the sweet Caecuban wine (Hor. Odes 1.37.5). It also alludes to the Sea of Marea (Hor. Odes 1.37.14), where Cleopatra was losing a naval battle to Octavian.
Horace chooses to begin the poem with word "nunc" (Hor. Odes 1.37.1), showing that he is enjoying living in the now, after the fall of Cleopatra. He also choose s to end the poem with the word "triumpho" (Hor. Odes 1.37.32), ending the poem on a good note, a note of looking forward to a better Rome, a note of celebration.
Horace chooses a little after the middle of the poem to completely switch sides on his opinions of Cleopatra, showing a little more that there are two sides to every story.

Friday, September 24, 2010

The Individual

Thomas, actor and friend,
Oh, pleasure to be around,
There are some who get a thrill from
Solving an equation in math,
Or memorizing dates in social studies.
Others seek to be fake in front of a crowd
To impress, to catch as many eyes as
Possible. Still others wish to blend in,
To never have a name, to never be noticed
And not stir things up. These are quiet, shy
People, not answering questions in class.
More seek only to ridicule and put people
Down, in an attempt to boost themselves
Up. These people are generally disliked.
Some are stingy, never giving a penny
Extra, while others are cowards, lacking the
Gumption to complete a task. Meddlers
Find thrill in conflict, creating chaos
Whenever possible. Not you. You are the
Individual. You do not need to be told that
You are smart, as you know you are
Intellectually. You do not need to be fake to
Impress others; you do that as you are. You
Always stand out, are always generous, and are
Courageous, and you always know what
Others are thinking. You find pleasure in
True culture, in music, in dance, in acting.
Others never strive to be the best that they
Can be, but in your field, that is all you do.
For that, someday you will reach the stars. 

Proper Nouns from Horace 1.1

Maecenas-Important patron and friend of Horace
Olympicum-A series of athletic competitions held for representatives of various city-states in Greece, used here for Greek games in general
Quiritium-The Roman people
Libycis-The country of Libya
Attalicis-Of Attacus, King of Pergamus
Cypria-Cyprus
Myrtoum-The Myrtoan Sea
Icariis-An island in the Icarian Sea
Africum-Africa, a continent south of Europe
Massici-Massic wine
Ioue-Jupiter, king of the gods
Marsus-Latin poet and contemporary of Horace, also had Maecenas as a patron
Nympharumque-Nymphs, water demi-goddesses
Satyris-Satyrs, upper part man, lower part goat
Euterpe-The muse of music
Polyhymnia-One of the muses
Lesboum-Of Lesbos, a Lesbian

Thursday, September 23, 2010

Horace Odes 1.1-Formal and Structural Analysis

Maecenas atauis edite regibus,
o et praesidium et dulce decus meum,
sunt quos curriculo puluerem Olympicum
collegisse iuuat metaque feruidis
euitata rotis palmaque nobilis               5
terrarum dominos euehit ad deos;
hunc, si mobilium turba Quiritium
certat tergeminis tollere honoribus;
illum, si proprio condidit horreo
quicquid de Libycis uerritur areis.               10
Gaudentem patrios findere sarculo
agros Attalicis condicionibus
numquam demoueas, ut trabe Cypria
Myrtoum pauidus nauta secet mare.
Luctantem Icariis fluctibus Africum               15
mercator metuens otium et oppidi
laudat rura sui; mox reficit rates
quassas, indocilis pauperiem pati.
Est qui nec ueteris pocula Massici
nec partem solido demere de die               20
spernit, nunc uiridi membra sub arbuto
stratus, nunc ad aquae lene caput sacrae.
Multos castra iuuant et lituo tubae
permixtus sonitus bellaque matribus
detestata. Manet sub Ioue frigido               25
uenator tenerae coniugis inmemor,
seu uisa est catulis cerua fidelibus,
seu rupit teretis Marsus aper plagas.
Me doctarum hederae praemia frontium
dis miscent superis, me gelidum nemus               30
Nympharumque leues cum Satyris chori
secernunt populo, si neque tibias
Euterpe cohibet nec Polyhymnia
Lesboum refugit tendere barbiton.
Quod si me lyricis uatibus inseres,               35
sublimi feriam sidera uertice.

Edite-2nd person plural present active imperative of "edere" meaning " to eat"
Sunt-3rd person plural present active indicative of "esse" meaning "to be"
Iuuat-3rd person singular present active indicative of "juvare" meaning "to help"
Euehit-3rd person singular present active indicative of "evehere" meaning "to carry away"
Certat-3rd person singular present active indicative of "certare" meaning "to contest"
Tollere-present active infinitive meaning "to raise"
Condidit-3rd person singular perfect active indicative of "condere" meaning "to put away"
Uerritur-3rd person singular present active indicative of "verrere" meaning "to sweep clean"
Findere-present active infinitive meaning "to divide"
Secet-3rd person singular present active subjunctive of "secare" meaning "to sever"
Laudat-3rd person singular present active indicative of "laudare" meaning "to praise"
Reficit-3rd person singular present active indicative of "reficere" meaning "to rebuild"
Pati-present active infinitive meaning "to suffer"
Est-3rd person singular present active indicative of "esse" meaning "to be"
Ueteris-2nd person singular present passive subjunctive of "vetare" meaning "to forbid"
Demere-present active infinitive meaning "to remove"
Spernit-3rd person singular present active indicative of "spernere" meaning "to scorn"
Iuuant-3rd person plural present active indicative of "juvare" meaning "to help"
Manet-3rd person singular present active indicative of "manere" meaning "to remain"
Est-3rd person singular present active indicative of "esse" meaning "to be"
Rupit-3rd person singular perfect active indicative of "rumpere" meaning "to break"
Miscent-3rd person plural present active indicative of "miscere" meaning "to mix"
Secernunt-3rd person plural present active indicative of "secernere" meaning "to separate"
Cohibet-3rd person singular present active indicative of "cohibere" meaning "to hold together"
Refugit-3rd person singular present active indicative of "refugere" meaning "to flee"
Tendere-present active infinitive meaning "to stretch"
Inseres-2nd person singular future active indicative of "inserere" meaning "to plant"

Maecenas, descendant of kings,
Oh, and my protector and sweet honor,
There are some whom  amassing  Olympic chariot dust
Pleases, and turning points in a circus
Avoided by glowing wheels, the noble palm
Exalting the gods, lords of the world;
This man, if an uproar of easily swayed Romans
Fights to raise him by threefold honors;
That, if he puts away in his own granary
Whatever has been swept up from the Libyan threshing floor.
Rejoice to split by hoe the ancestral
Fields, never on Attalicis terms
Could you move him, a ship to Cyprus
He, a fearful sailor, divided the Myrtoan Sea.
Struggling against and fearing the African flood,
Merchants praise the peace and lands
Of his farm; Soon, he repairs the battered
Boat, ignorant to allow poverty.
There is he who forbids neither a Massici cup of wine
Nor to take away and spurn a part of the work day,
Now laying out his limbs beneath a strawberry tree,
Now off to the gentle head of some sacred spring.
The camps please many, and the sound of trumpets
Mixed with cornets for war are hated by mothers.
The hunter remains under the frigid Jupiter,
Forgetful of his tender wife,
Whether a doe is with her faithful fawns,
Or if a Marisian boar breaks down his well-wound nets.
Ivy, the prize of my learned brow,
Mix with the gods above; My icy woods
And a capricious chorus of nymphs and satyrs
Separate the population,  if Euterpe's flute
Does not hold together, nor does Polyhymnia
Of Lesbos flee to stretch his lyre.
But if you insert me as a lyric poet,
The crown of my head will strike the stars.

The poem has a title, it is Horace's "Odes 1.1."
The theme is that Maecenas is not like everyone else in the way he gains happiness and fame. Maecenas likes a simpler lifestyle  (Hor. Odes 1.1.17).
The poem takes place in Horace's time, when Maecenas is his patron.
The narrator is implicit; it is Horace. He is third person omniscient in this poem, and the poem does invite one to equate the author and the narrator.
The poem has an internal addressee, namely Maecenas (Hor. Odes 1.1.1)
This poem has many characters including the gods, Romans, merchants, a hunter, a doe and her fawns, a boar, nymphs, satyrs, Euterpe, and Polyhymnia. These characters act in their own right.
The poem has a cheerful mood, praising Maecenas.
Maecenas has chosen to be Horace's patron, and this set the poem in motion.
Maecenas has been thanked and praised by the end of this poem. Horace has also asked to be a lyric poet of the Greek canon (Hor. Odes 1.1.35-36)
Horace alludes to the Greek Olympics (Hor. Odes 1.1.3), the Libyan threshing floor, nymphs, satyrs, Euterpe, and Polyhymnia. These allusions reinforce the explicit meaning.

Horace praises Maecenas and tells about how many others obtain fame and fortune. He then states that in contrast, Maecenas is a simpler kind of guy, who finds pleasure with the little things in life. Horace then asks to be a lyric poet of the Greek canon.
Horace has a pattern of placing proper nouns throughout the poem. He also waits until the very end, after he has stroked Maecenas' ego, before asking to be a lyric poet.
Horace uses average words to describe others' lifestyle, but words like "laudat" (Hor. Odes 1.1.17) to describe Maecenas' lifestyle, praising him like a god.
In this poem, the farm ("rura" Hor. Odes 1.1.17) stands for an Epicurean lifestyle. Euterpe and Polyhymnia are also used as symbols for culture. Horace is saying the Maecenas is a cultured man.
Horace alludes to the Greek Olympics, one of the multiple allusions to Greek culture in this poem. He alludes to the Olympics to show the contrast between glory won by sporting events and glory gained by Epicureanism. He also alludes  to the Libyan threshing floor, as the Libyans provided wheat for much of the Roman Empire. Horace also alludes to the Greek canon, a set of nine famous lyric poets. He wishes to be one of them.
Horace chooses to address Maecenas in the first word of the poem (Hor. Odes 1.1.1), making it clear that the poem will be about him. Horace nears the ends of the paragraph before he pulls in the nymphs, satyrs, and muses, suggesting that Maecenas is worthy to be in their presence, as they may exist even in Maecenas' woods (Hor. Odes 1.1.30) on his estate. He also ends with the word "uertice" (Hor. Odes 1.1.36), a word which can also mean "top" or "summit" ending the poem on a high note (literally).