LATIN III EXAM PART SIX

Structural Analysis: On the Question 'What is love?'. Choose at let one poem each by Catullus, Horace, and use Ovid Amores 1.1. 50%


Part VI
1. Intro-The ancient poets had varying opinions on love, and this not only reflects their writing, but the methods by which they courted their lovers.
2. Proairetic-Horace, in poem 1.11, is trying to get Leuconoe to let loose, be free, live a little, and "seize the day" ("carpe diem" Hor. 1.1.8). Catullus likes to set a trap by making his crush think he/she has a choice in the matter, but then Catullus turns on them, as evident in Catullus 5. Ovid also uses his writing to demonstrate his love, trying to convince his potential lover that his intense emotions are from the gods themselves, more specifically Cupid.
3. Hermeneutic-Horace has a pattern to telling Leuconoe what not to do, and he strays from this at teh end of his poem, telling Leuconoe what her next actions should be. Catullus repeatedly uses the word "then" to build up to the climax of his poem. Ovid continues to refer to meter, and feet, growing in the end to "eleven feet," (Ovid Amores 1.1.30) the final line and height of the poem.
4. Semic-Horace uses more proper connotations to woo Leuconoe, while Catullus uses much darker connotations in his words. Catullus' use of the word "nox" (Cat 5.6) shifts the tone of the poem, marking a change in approach. Ovid has an epic feel to his poem, trying to win his lover's heart by his fancy diction.
5. Symbolic-Time is a large symbol for Horace, as he tries to convince Leuconoe that time is fleeting. Catullus uses the sun as a symbol, because when it is gone, he is in his element, where naughty things may happen. Ovid uses meter as a symbol, representing the amount of love he holds, and this grows until the end of the poem.
6. Reference-Horace uses a fair amount of allusions to not distract too much from his poem, while Catullus uses none, so that Lesbia can focus on his words. Ovid, on the other hand, is only trying to impress with his knowledge, so uses a large amount of references.
7. Diagetic-Horace begins with "tu" making sure the poem is all about Leuconoe. Catullus starts his poem by asking, then ends it by demanding. Ovid ends with "feet", his love having grown to its height by the end.
8. Conclusion-Horace, Catullus, and Ovid all vary their approaches on winning their lovers hearts based on their opinions on love and poetry.

LATIN III EXAM PART FIVE

Translate: Horace 1.11 and 1.37; Catullus 4 and 10. Dictionary allowed. You may use Twitter as a lifeline... Use #jclatin3 10%


Part V


HORACE


XI

Tu ne quaesieris (scire nefas) quem mihi, quem tibi
finem di dederint, Leuconoe, nec Babylonios
temptaris numeros. Vt melius quicquid erit pati!
Seu pluris hiemes seu tribuit Iuppiter ultimam,
quae nunc oppositis debilitat pumicibus mare               5
Tyrrhenum, sapias, uina liques et spatio breui
spem longam reseces. Dum loquimur, fugerit inuida
aetas: carpe diem, quam minimum credula postero.

Don't you keep searching, to know is a sin, what to me, what to you,

Goals the gods will have given, Leuconoe, and do not be tempted

by the Babylonian numbers. To suffer everything is noble!

Whether Jupiter grants the farthest winters or many,

Which now weakens against the pumice stone of the

Tyrrhenian Sea, may you understand, may you strain the wine and cut back

Your long hope in this short time. While we are speaking, jealous time

Flies: Seize the day, with little confidence in the next.

LATIN III EXAM PART THREE

Vocab: Choose and translate 25 common nouns from the poems. 10%


Part III
1. Libellum-little book
2. Passer-sparrow
3. Pumice-pumice stone
4. Saeclo-age
5. Digitum-finger
6. Animi-mind
7. Puellae-girls
8. Ocelli-eyes
9. Matrem-mother
10. Dominam-wife
11. Factum-fact
12. Basia-kisses
13. Dormienda-sleep
14. Lux-light
15. Nox-night
16. Harenae-sands
17. Oraclum-oracle
18. Dentes-teeth
19. Sepulcrum-tomb
20. Sidera-stars
21. Hominum-humans
22. Lingua-language
23. Fratre-brother
24. Collum-neck
25. Pila-pillar

LATIN III EXAM PART TWO

Choose 10 of those verbs and ID the principle parts. ( ex. laudo, laudare, laudavi, laudatum ) 10%


Part II
1. Maneat-maneo, manere, mansi, mansus
2. Negant-nego, negare, negavi, negatus
3. Sit-sum, esse, fui, futurus
4. Dicit-dico, dicere, dixi, dictus
5. Soluit-solvo, solvere, solvi, solutus
6. Vivamus-vivo, vivere, vixi, victus
7. Amabat-amo, amare, amavi, amatus
8. Iacet-iaceo, iacere, iacui, iacitus
9. Movebat-moveo, movere, movi, motus
10. Pipiabat-pipio, pipiare, pipiavi, pipiatus

LATIN III EXAM PART ONE

Go to Catullus in the Latin Library: ID and parse 25 verbs of your choosing. No dictionary. 10%


Part I
1. Maneat-3rd person singular present active subjunctive of "manere" meaning "to remain"
2. Solet-3rd person singular present active indicative of "solere" meaning "to be accustomed to"
3. Lubet-3rd person singular present active indicative of "lubere" meaning "to please"
4. Ferunt-3rd person plural present active indicative of "ferre" meaning "to bring"
5. Soluit-3rd person singular present active indicative of "solvere" meaning "to loosen"
6. Est-3rd person singular present active indicative of "esse" meaning "to be"
7. Amabat-3rd person singular imperfect active indicative of "amare" meaning "to love"
8. Iacet-3rd person singular present active indicative of "iacere" meaning "to lie down"
9. Movebat-3rd person singular imperfect active indicative of "movere" meaning "to move"
10. Pipiabat-3rd person singular imperfect active indicative of "pipiare" meaning "to chirp"
11. Negant-3rd person plural present active indicative of "negare" meaning "to deny"
12. Sit-3rd person singular present active subjunctive of "esse" meaning "to be"
13. Rubent-3rd person plural present active indicative of "rubere" meaning "to be red"
14. Foret-3rd person singular imperfect active subjunctive of "esse" meaning "to be"
15. Edidit-3rd person singular perfect active indicative of "edare" meaning "to eject"
16. Dicit-3rd person singular present active indicative of "dicere" meaning "to declare"
17. Incidisset-3rd person singular pluperfect active subjunctive of "incidere" meaning "to happen"
18. Veniret-3rd person singular imperfect active subjunctive of "venire" meaning "to come"
19. Dedicat-3rd person singular present active indicative of "dedicare" meaning "to declare"
20. Clamat-3rd person singular present active indicative of "clamare" meaning "to proclaim"
21. Vivamus-1st person plural present active subjunctive of "vivere" meaning "to live"
22. Amemus-1st person plural present active subjunctive of "amare" meaning "to love"
23. Aestimemus-1st person plural present active subjunctive of "aestimare" meaning "to value"
24. Sciamus-1st person plural present active subjunctive of "scire" meaning "to know"
25. Possit-3rd person singular present active subjunctive of "posse" meaning "to be able to"

Cat 72 vs. Hor 1.23

Catullus 75-A Short Poem

Huc est mens deducta tua mea, Lesbia, culpa

   atque ita se officio perdidit ipsa suo,

ut iam nec bene velle queat tibi, si optima fias,

   nec desistere amare, omnia si facias.

To this point my mind has been broken down by your fault, Lesbia,

And so it destroys its own self by its obligation,

And now it is not able to wish you well, if you are made perfect,

Nor is it able to stop loving, whatever you do.

Est-3rd person singular present active indicative of "esse" meaning "to be"

Perdidit-3rd person singular perfect active indicative of "perdere" meaning "to destroy"

Velle-present active infinitive meaning "to wish"

Queat-3rd person singular present active subjunctive of "quire" meaning "to be able"

Fias-2nd person singular present active subjunctive of "feri" meaning "to be made"

Desistere-present active infinitive meaning "to stop"

Amare-2nd person singular present active indicative of "amare" meaning "to love"

Facias-2nd person singular present active subjunctive of "facere" meaning "to make, do"

Why does Catullus choose those myths? (From Catullus 64, DRAFT)

Identifying with Ariadne and Peleus, Catullus draws connections between heroic tales and his own strained relationship with Lesbia. Catullus feels connected to Ariadne because of the heartbreak he suffers because of Theseus' (Lesbia's) departure. Catullus associates himself to Peleus for many reasons, including that because of Thetis' (Lesbia's) involvement with the gods, the Trojan War occurs. Also, because of their union (Peleus and Thetis), Achilles is born, and is one of the great mythical heroes, especially of those involved in the Trojan War. This shows Catullus' mixed feelings for Lesbia, because from their relationship, much good and bad occurs. She brings much turmoil to his life, but without her, much of his poetry would not exist, not only because she is the subject of 25 of his 116 extant poems, but also because she has been cited to be a poet herself who actually helped Catullus write many of his poems. Catullus draws connections between his life and those of Ariadne, Theseus, Peleus, and Thetis to show the course of his love with Lesbia, however bitter or sweet it is.

Catullus begins poem 64, his mock epic poem, by invoking the Muses, then transitions into the story of Peleus and Thetis, calling Peleus "the top man of Thessaly" (Cat 64.25-26). Catullus often praises Peleus in this poem, as he relates to Peleus. He tells of how many attended the opulent wedding, and then uses ekphrasis to seamlessly traverse into the story of Ariadne and Theseus with the line "Haec uestis priscis hominum uariata figuris heroum mira uirtutes indicat arte"[This garment changes with ancient figures of men/And points out the virtues of heroes with remarkable skill. (Cat 64.51-52)]. He then devotes a large portion of the poem to Theseus' desertion of Ariadne, and Ariadne's eventual discovery of Bacchus the wine god. Ariadne delivers her vituperations against Theseus and agonizes over his loss, as Catullus often agonizes over Lesbia.

Poem 64 uses two myths as a basis for its story. Lines 19-21 all start with "tum," showing the stream of consciousness about how Peleus and Thetis must be married. Lines 40-42 and 64-66 all begin with "non,” showing yet another stream of consciousness, this time in regards to the wedding and Ariadne's despair, respectively. This is to emphasize the passion, not only between Peleus and Thetis, but also of Ariadne towards Theseus. This also shows Catullus' emotional involvement in the poem, as the stream of consciousness originates from him.

Catullus uses very specific language, not only for his meter, but also to give his story an extra layer of meaning, and he does this through connotations. In line 59 "iuuenis" ["youth" (Cat 64)] not only states that Theseus was young, but also stands for the folly of youth, the inexperience, and the hedonism. It shows how Ariadne wishes that Theseus just chose to leave on a whim, but would reconsider and return for her. In line 55 "furores" ["rage" (Cat 64)] not only speaks of Ariadne's violent anger towards Theseus because of his departure, but also shows a hint of madness. This is even more intensified emotion about Theseus, as Catullus had for Lesbia when she left him.

Catullus leaves many symbols in this mock epic, including the "amictu" ["veil" (Cat 64.65+69)]. The veil represents Ariadne's ignorance, her bliss, which is blocking her from seeing the truth about Theseus. Ariadne then throws off the veil, when she discovers that Theseus has disembarked without her, and leaves behind that ignorance, and she begins to see the real Theseus. Catullus himself could also have believed this of Lesbia, that while in their relationship, his vision was clouded by his love for her, but when they were not together, he started to better see the real Lesbia. In line 51, the bedspread ["uestis" (Cat 64.51)] allows for ekphrasis to occur, for a new story to be told about Ariadne and Theseus. This bedspread, this new story is like Catullus' poems. Without the wedding of Peleus and Thetis, the bedspread would not be where it is, it would not hold significance, and so would be forgotten. This principle can be applied to Catullus' writing, that without Lesbia, his inspiration, his help for writing, his own poems wouldn't hold the same significance today, and wouldn't have lived on for generations, as he wished them to in Catullus 1, "plus uno maneat perrene saeclo!" ["May it remain everlasting, in more than one age!" (Cat 1.10)]. Achilles is like this bedspread, in that he would not have been born without the marriage of Peleus and Thetis, and so Catullus' poetry would not still exist today without his relationship with Lesbia.

Poem 64 uses over 60 allusions, all to help better paint the picture that Catullus desires. Catullus opens up the poem with a reference to Mt. Pelion ["Peliaco" (Cat 64.1)]. This is important, as Achilles was raised here, and Achilles is to Peleus and Thetis what Catullus' poetry is to Catullus and Lesbia. Catullus begins the poem with this thought about his poetry. In line 62, Catullus then references a statue of "bacchantis" ["Bacchus" (Cat 64.62)], the Roman god of wine, who Ariadne eventually winds up with. This shows that Catullus does have a future beyond Lesbia, but it is not nearly the same, not as good, because his new relationships would be like stone to him, like a statue, not real.

Catullus employs dactylic hexameter (AKA heroic hexameter) in his poem, but uses it to mock epic poetry. Catullus is not a fan of this style of writing, the style of epics, as the subjects of his poetry are very different. This is also a very long poem relative to Catullus' other poems, to fit the epic style. He uses this style, though, to compare his story with those of Peleus, Thetis, Ariadne, and Theseus. Catullus begins with a reference to Mt. Pelion (Cat 64.1), but ends with the word "claro" ["clear, bright" (Cat 64.423)], hopefully by the end having enlightened the reader on his situation with Lesbia.

Catullus uses all aspects of his poetry to relate these two myths to his own life with Lesbia. Catullus chooses Ariadne and Peleus to represent himself, and Theseus and Thetis to represent Lesbia. Catullus' Ariadne aspect shows his immense sorrow caused by Lesbia. His Peleus aspect shows his happiness at having had this relationship, because it led to his poetry, and allowed for it to last so long into the future. This shows that even though Catullus was caused great pain by Lesbia, he is thankful for having had the chance to be with her. 

Catullus 64 Verbs-Lines 51-92

1. Indicat-3rd person singular present active indicative of "indicare" meaning "to point out"
2. Uisit-3rd person singular present active indicative of "visere" meaning "to visit"
3. Credit-3rd person singular present active indicative of "credere" meaning "to trust"
4. Cernat-3rd person singular present active subjunctive of "cernere" meaning "to sift"
5. Pellit-3rd person singular present active indicative of "pellere" meaning "to beat"
6. Prospicit-3rd person singular present active indicative of "prospicere" meaning "to foresee"
7. Fluctuat-3rd person singular present active indicative of "fluctuare" meaning "to surge"
8. Alludebant-3rd person plural imperfect active indicative of "alludere" meaning "to frolic"
9. Pendebat-3rd person singular imperfect active indicative of "pendere" meaning "to hang"
10. Externauit-3rd person singular perfect active indicative of "externare" meaning "to frighten"
11. Attigit-3rd person singular present active indicative of "attingere" meaning "to touch"
12. Perhibent-3rd person plural present active indicative of "perhibere" meaning "to present"
13. Optauit-3rd person singular present active indicative of "optare" meaning "to choose"
14. Portarentur-3rd person plural imperfect passive subjunctive of "portare" meaning "to carry"
15. Uenit-3rd person singular present active indicative of "venire" meaning "to come"
16. Conspexit-3rd person singular perfect active indicative of "conspicere" meaning "to observe"
17. Alebat-3rd person singular imperfect active indicative of "alere" meaning "to nourish"
18. Praecingunt-3rd person plural present active indicative of "praecingere" meaning "to surround"
19. Educit-3rd person singular present active indicative of "educere" meaning "to lead out"
20. Declinauit-3rd person singular present active indicative of "declinare" meaning "to decline"

Catullus 64 Proper Nouns

1. Mt. Pelion-Mountain in Greece southeast of Thessaly that was home to centaurs and the wood that crafted the Argo
2. Neptune-Roman god of the sea, identified with the Greek god Poseidon
3. Aegeus-An archaic figure in the founding of Athens
4. Athens-Largest city in Greece and current capital
5. Theseus-King and founder of Athens
6. Eumenides-Furies who were female goddesses of vengeance
7. Crete-Island in the Mediterranean Sea southeast of Italy
8. Jupiter-Roman king of the gods, ruler of the skies, identified with the Greek god Zeus
9. Charybdis-A monster who created whirlpools that lived opposite Scylla
10. Scylla-A monster who lived on a narrow channel of water opposite Charybdis
11. Syritis-One of two sandy gulfs on the coast of Libya
12. Argive-Name of a person coming from the east Peloponnesian region near the city Argos
13. Taurus-In this case, most likely a reference to the Cretan Bull
14. Cupid-The Roman god of desire, affection, and love
15. Eurota-Europe, referring in Catullus 64 to its rivers
16. Minotaur-A creature with the head of a bull and the body of a man that Theseus killed
17. Androgeos-The son of king Minos who was killed by the Athenians after winning many competitions
18. Bacchus-Roman god of wine, identified with the Greek god Dionysus
19. Peleus-Married to Thetis
20. Nereids-Goddesses of the sea that go to the aid of shipwrecked sailors
21. Cieros-City associated with the Myrmidons
22. Larisa-Said to have been founded by Acrisius, who was accidentally killed by Perseus
23. Oceanus-Husband of Tethys, titan god of freshwater and clouds
24. Tethys-Wife of Oceanus, titan goddess of freshwater
25. Muses-Goddesses of music, song, and dance

Catullus 64 Scansion

Example of Ekphrasis

Pierre was in an elevator in the Eiffel Tower whose cords had broken loose, so he was plummeting to his death. In his hand he held a sub from Subway, which he wished to finish before death. Subway had weird commercials, usually involving this sketchy guy named Jared who lost an impossibly large amount of weight. Jared usually wore glasses, just like Pierre's father when driving along the country during his long summer in Jakarta. Along the way, Pierre would read newspapers, often with pictures of catastrophic events, like the tsunami in Japan. At that same point in time, Jae Yang was surfing the tsunami in Japan, when he fell in the water. As he was being thrown around, he spotted a flyer for a free car wash at Honest Joe's. Honest Joe was currently in the United States, performing some sketchy business involving using cardboard for the brakes in his vehicles. One of those piece of cardboard came from Wal-Mart. Wal-Mart's logo of a smiley face flying around the store was so unrealistic. Often people were not even happy in those stores. Who really wants a NERF gun anyway? Perhaps to wage a war, like the epic Battle of Mount Small Hill, during which Nerfchilles overtook the Nerftrojans. Nerfchilles actually devised a way of entering Nerftroy, by using a large wooden horse and presenting it as a gift. This horse was reminiscent of those used on the board game Risk, where infantry, cavalry, and canons wage war, trying to conquer the world, based on the roll of dice. Dice were also involved in James' epic Monopoly game, in which in created a chance card that killed all other players, and the other players believed it. Pierre, too, believed that his death was imminent, and so, with lettuce from the sub spewing from his mouth screamed "MONOPOLY!!!" as the elevator hit the ground.

Hate & Insult

Catullus knows that a lot of the time, witty remarks and spiteful words are more powerful than physical fighting, and so this is why people never hear about Catullus being in a fistfight, but often hear about his invectives, like Catullus 37 and 39. Catullus wishes to cut deeply and permanently, to leave scars that can't be seen by the eye.  And not only does he do this to the face of those he dislikes, but he writes of it, so posterity knows of these disgraceful people. Catullus wishes to inflict emotional pain, not physical pain, to really hurt those he dislikes. He does this because he knows this will do longer lasting, more widespread damage, not only to the person, but to their reputation.

In  Catullus 37 and 39, he displays his anger towards a group of men gloating about their sexual exploits. Catullus does not do this by calling them everyday names, but finds much more creative ways to insult them. In Catullus 37, he does this in multiple ways, one being that he tells the group of men to sit in a line and he will have all of them blow him (Cat 37.6-8). He then threatens to draw penises all over their tavern (Cat 37.9-10), and criticizes the men for gloating about sleeping with his beloved Lesbia. In Catullus 39, he singles out Egnatius, who was a part of the group of men from 37, and further tears him apart, saying that "Whatever is going on, wherever he is, whatever may happen, he grins," even if the occasion is in court or at a funeral (Cat 39.6-7). Catullus then states that the higher the polish on Egnatius' teeth, the higher it shows that Egnatius drinks his own piss (Cat 39.20-21).

Both 37 and 39 use the same meter, and both are invectives of Catullus. They are both meant to attack, insult, and degrade the subjects of the poem. Both also start out by addressing the recipient(s) of the insults, whether it be the lecherous tavern and its companions (Cat 37.1) or Egnatius and his bright teeth (Cat 39.1). They both also end by stating that Egnatius drinks his own "urina" (Cat 37.20) or "loti" (Cat 39.21). In 39, Catullus repeatedly uses "aut" (Cat 39.10-14) to show a stream of consciousness, because he is building up to the end, getting more and more intense.

Catullus artfully uses connotations in his poetry to further his point, and uses them to add greater bite to his invectives. The word that stands out the most in both 37 and 39 is urine. It only appears in line 20 of 37, and in line 21 of 39. Urine implies all of the dirty, disgusting, unclean, things not worthy of use, and yet Egnatius is shown to use it daily to polish his teeth. This is just another way Catullus personally insults Egnatius.

Catullus picks some interesting symbols in his poems, and in 37 and 39, his chief symbol is Egnatius himself (Cat 37.17 + Cat 39.1). Egnatius represents all the terrible, lowly, gossiping lowlifes who find pleasure in others' failures. Catullus is not only attacking Egnatius, then, but what Egnatius represents, knowing that his words will do more damage than simple brawling. The Celtiberians (Cat 37.18 + Cat 39.17) are also a symbol, representing old, barbaric ways, and so Catullus also insults Egnatius' people. Catullus will not stop in his assault of Egnatius, degrading all that he comes from, is, and represents.

Catullus 37 only alludes to the Celtiberians and Spain (Cat 37.18+20, respectively). Catullus 39 alludes to the Sabines, Tibur, the Etruscans, Umbria, Lanuvium, and the Celtiberians (Cat 39.10+10+11+11+12+17). Catullus repeatedly alludes to more primitive, less developed peoples to equate to Egnatius. Catullus relentlessly assails Egnatius and his background, making his onslaught as personal as possible. Catullus will not let up in trying to hurt Egnatius on the inside, and in these intense actions shows he cares a lot more about hurting internally than externally.

Catullus uses the same meter in both poems, and starts and ends them in a similar fashion. There are obviously strong connections between these invectives, because Catullus wishes for everyone to know of disgraceful Egnatius. Catullus seems to be much more emotional in his own attacks in 37. In contrast, he seems to be much more rational in his approach in poem 39. Catullus is showing that in any state of mind, Egnatius is not a nice guy.

Catullus unleashes a volley of insults in such aggression that his passion for language and its power is clear. Catullus clearly realizes that his talent is to hate and insult verbally, all the while knowing this will have a greater effect on Egnatius. Catullus'  belligerence in his poetry is his substitute for an physical confrontation, because Catullus is far more cunning than that. Catullus wishes to cut deep and permanent, and this offensive launched against Egnatius in his poetry proves it. And one last piece of evidence to prove this: the full damage is still not done, because Catullus' attacks on Egnatius have lived on for generations, and will live on for more, so that Egnatius will be ridiculed and laughed at even farther into the future.

Catullus 39 Translation

Egnatius, who has bright teeth,

Shines always everywhere. If he comes to court

When the speaker excited crying,

That man grins; If at the funeral pyre where one mourns a

Devoted son, at the time a bereft mother weeps for her only son,

That man grins.  Whatever is going on, wherever he is,

Whatever may happen, he grins: This man has a vice,

Neither elegant, as I think, nor courteous.

Therefore, you heed my advise, good Egnatius.

If you are from the city or Sabine or Tibur

Or a stupid Umbrian or a fat Etruscan

Or  a dark and toothed Lanuvian

Or Transpadine, to mention briefly my own,

Or whoever of those who cleanly wash their teeth,

Yet I wish you not to grin always and everywhere:

For no thing is more foolish than foolish laughter.

Now you are a Celtiberian: In the Celtiberian land,

Everybody is in the habit of pissing in the morning

And scouring their teeth and red gums with it,

In order that the higher the polish is on your teeth,

The greater this might proclaim that you have drunk your piss

Catullus 39 Verbs, Proper Nouns, Relative Clauses, Five Literary Devices

VERBS

Habet- 3rd person singular present active indicative form of habere- to have

Renidet- 3rd person singular present active indicative form of renidere- to shine, glow, shine through

Excitat- 3rd person singular present active indicative form of excitare- to wake up, stir

Lugetur- 3rd person singular present passive indicative form of lugere- to mourn, grieve

Agit- 3rd person singular present active indicative form of agere- to drive

Arbitror- 1st person singular present passive indicative of "arbitrare" meaning "to think"

Esses- second person singular imperfect active subjunctive of "esse" meaning "to be"

Attingam- 1st person singular present active subjunctive of attingere" meaning "to touch"

Libet- 3rd person singular present active subjunctive of "libere" meaning "it pleases"

Lavit- 3rd person singular perfect active indicative of "lavere" meaning "to wash”

Renidere-present active infinitive meaning "to shine"

Ineptior-1st person singular present passive indicative of "ineptire" meaning "to play the fool"

Est-3rd person singular present active indicative of "esse" meaning "to  be"

Es- 2nd person singular present active indicative of "esse" meaning "to be"

Minxit- 3rd person singular perfect active indicative of "mingere" meaning "to urinate"

Solet-3rd person singular present active indicative of "solere" meaning "to be in the habit of"

Defricare- present active indicative meaning "to rub hard"

Est-3rd person singular present active indicative of "esse" meaning "to be"

Praedicet-3rd person singular present active subjunctive of "praedicare" meaning "to proclaim"

PROPER NOUNS

Egnatius-A proper Roman name of one of Spanish origin who cleans his teeth with urine (according to Catullus)

Sabinus-Referring to the Sabines, an Italic tribe who lived in Latium prior to the founding of Rome

Tiburs-Referring to Tibur, a Sabine city in Etruscan times

Etruscus-The Etruscan civilization of ancient Italy in the area corresponding roughly to Tuscany.

Umber-Umbria is a region of modern central Italy

Lanuuinus-Lanuvium is an ancient city of Latium

Transpadanus-Beyond the Po River, the longest river in Italy.

Celtiber-The Celtiberians were a Celtic-speaking people of the Iberian peninsula in the final centuries BC. The group originated when Celts from Gaul migrated and integrated with the local pre-Indo-European populations

RELATIVE CLAUSES

"quod  candidos habet dentes" (Cat 39.1)

"orba cum flet unicum mater" (Cat 39.5)

"quidquid est" (Cat 39.6)

"quodcumque agit" (Cat 39.7)

"qui puriter lavuit dentes" (Cat 39.14)

"quod quisque minxit" (Cat 39.18)

FIVE LITERARY DEVICES

Alliteration-"hunc habet" (Cat 39.7)

Allusion-"Sabinus" (Cat. 39.10)

Assonance-"vester expolitior dens est" (Cat 39.20)

Hyperbole-"nam risu inepto res ineptior nulla est" (Cat 39.16)

Repetition-"renidet" (Cat 39.2,4,6,7,15)

Verbs from Catullus 39

https://docs.google.com/document/pub?id=1BcnZdUtNGDixnolC8J4YGrKxufSM-QEaCcxhSRckTv8

Catullus 37-Verb Quiz

SALAX taberna uosque contubernales,
a pilleatis nona fratribus pila,
solis putatis esse mentulas uobis,
solis licere, quidquid est puellarum,
confutuere et putare ceteros hircos?
an, continenter quod sedetis insulsi
centum an ducenti, non putatis ausurum
me una ducentos irrumare sessores?
atqui putate: namque totius uobis
frontem tabernae sopionibus scribam.
puella nam mi, quae meo sinu fugit,
amata tantum quantum amabitur nulla,
pro qua mihi sunt magna bella pugnata,
consedit istic. hanc boni beatique
omnes amatis, et quidem, quod indignum est,
omnes pusilli et semitarii moechi;
tu praeter omnes une de capillatis,
cuniculosae Celtiberiae fili,
Egnati. opaca quem bonum facit barba
et dens Hibera defricatus urina.


esse-present active infinitive meaning "to be"
licere-present active infinitive meaning "to bid on"
est-3rd person singular present active indicative of "esse" meaning "to be"
confutuere-present active infinitive meaning "to have sex with a woman"
putare-present active infinitive meaning "to think"
sedetis-2nd person singular present active indicative of "sedere" meaning "to sit"

Catullus 10-First Ten Lines (Revised)

My Varus lead me at leisure away from

the forum to pay a visit to his lover,

 little whore, as it had seemed then to me immediately,

certainly not uncharming and neither unattractive.

As we came to this point, we fell into

various conversations, among which, how was

Bithynia now, how its affairs were holding,

and whether I had made any money there.

I answered her which was, that neither ourselves

nor the praetors  nor their cohort had...

First Five Lines of Catullus 37

Lecherous tavern and you companions,

At the ninth squared pillar from the felt cap brothers,

Are you believing that you alone have a male sex organ,

You alone to bid for whatever is maidenly

To have sex with, and to think the rest are male goats?

Catullus 37 Parsed Verbs

Esse- present active infinitive meaning "to be"
Licere- present active infinitive meaning "to fetch"
Est- 3rd person singular perfect passive indicative of "esse" meaning "to be"
Sunt- third person plural present active indicative form of "esse" meaning "to be"
Pugnata- perfect passive participle of "pugnare" meaning "to fight"
Consedit- third person singular perfect active indicative of "considere" meaning "to sit down, hold sessions"
Beati- perfect passive participle of "beare" meaning "to bless"
Confutuere-2nd person singular present passive subjunctive of "confutuare" meaning "to have sexual intercourse with a woman"
Putare- present active infinitive of "putare" meaning "to think"
Sedetis-2nd plural present active indicative of "sedere" meaning "to sit"
Amatis- 2nd person plural present active indicative of "amare" meaning "to love"
Indignum est- 3rd person singular perfect passive of "indignare" meaning "to scorn"
fugit - 3rd person singular present active indicative of "fugere" meaning "to flee"
amabitur - 3rd person singular future passive indicative of "amare" meaning "to love"
Putatis- 2nd person plural present active indicative of "putare" meaning "to think"
Irrumare - present active infinitive meaning "to abuse"
Facit- 3rd person singular present active indicative of "facere" meaning "to make"
Opaca- 2nd person singular present active imperative of "opacare" meaning "to shade"

Hendecasyllabic Scansion

Five Literary Devices Found in Catullus 12

1. Alliteration-"miserunt mihi muneri" (Carm. 12.15)
2. Hyperbole-Catullus makes a large deal of taking napkins, even calling Asinius a fool ("inepte"-Carm. 12.4)
3. Rhetorical question-"Hoc salsum esse putas?" (Carm. 12.4)
4. Metonymy-"hendecasyllabos trecentos" to mean many of his poems or many lines of his poems(Carm. 12.10)
5. Allusion-to both "Fabullus et Veranius" (Carm. 12.15-16)

Catullus' Ego Essay-Revised

Catullus is quite the narcissist, and this is evident throughout his poetry. In Catullus 5 and 7, his demands of Lesbia are numerous and presumptuous, as he assumes that Lesbia will wish to do as he pleases. In Catullus 10 he goes to the point of deceiving another that he just met in order to look better. He is even angry when she forces him to admit that what he said was false. In Catullus 5, 7, and 10 Catullus shows his high opinion of himself in regards to those he comes into contact with.

In Catullus 5, Catullus starts out in the first sentence by stating that the opinions of all the serious old men are worth but a penny (Cat 5.2-3). He starts out showing how little he thinks of these men in relation to himself, showing his own inflated ego.

Catullus then demands thousands of kisses from Lesbia, assuming she wishes to kiss him this many times (Cat 5.7-10). In Catullus 7, Catullus demands as many kisses as the sands of Libya and more from Lesbia, and nothing seems to be enough for him (Cat 7.3). In Catullus 10, he lies to Varus' lover in order to make himself seem more fortunate, showing that he likes to make good impressions on others of his wealth, as he builds himself up.

In Catullus 5, he starts out using the subjunctive mood, making Lesbia think she has a choice in the matter of kissing him (Cat 5.1). He then turns on her, using the imperative, demanding from her many kisses (Cat 5.7). This shows the power Catullus believes he has over Lesbia, and he assumes  he is worthy enough of her love. Catullus 7 states this is a similar manner, again speaking of many kisses to be kissed (Cat 7.9). Catullus repeatedly calls Varus' lover a wench, showing his opinion of the woman who called his bluff (Cat 10.3 + 24).

Catullus 5, line 6 speaks of night being "perpetual in sleep," but Catullus does not only wish to convey that these are nighttime occurrences, but there is an association with the other mischievous things that go on at night that Catullus is talking about. He wants Lesbia to know that he is serious in his demands for making love, again showing is overblown ego. Catullus 7 shows a similar thought, in that Catullus states "aut quam sidera multa, cum tacet nox." He wishes for as many kisses as the stars, when night is silent, again giving the connotation of more going on at night (Cat 7.7). In Catullus 10, he open up by calling the girl he is to meet Varus' lover, not dignifying her with a name, and associating her with something naughty (Cat 10.1). 

In Catullus 5, "rumoresque" (Cat 5.2) stands for all the scandalous things about love, as all the serious old mean were talking about. Catullus then shows that he is above those things, saying that what those men say is worth a penny. In Catullus 7, "basia" (Cat 7.9) represents more than just the kiss, but the passion between Catullus and Lesbia. Catullus' demanding of this from Lesbia shows how he believes he has control over her, as he sees himself as better than her. "Scortillum" (Cat 10.3) stands for all the bad things a woman could be called, as Catullus dislikes Varus' lover.

Catullus 5 alludes to Lesbia, Catullus' lover (Cat 5.1), and she is again brought up in Catullus 7. Jupiter is referenced in line 5, showing the scope of the Catullus' seriousness. Catullus is not fooling around. In Catullus 10, Catullus mentions Cinna Gauis, who was actually his friend, after his lie was discovered by Varus' lover (Cat 10.30). He had already claimed Cinna's men to be his own, though, and after discovered, only mentions him in passing, so showing his regard of his friend.

Catullus 5 begins with "vivamus" (Cat 5.1), showing that the poem will be about living, and line one ends with "amemus," showing that the love between Catullus and Lesbia will be a way of living for them, or at least for Catullus. He also makes sure to end the poem with "basiorum" (Cat 5.13), showing the lasting impression he wishes to make is a passionate one, fueled by desire for Lesbia. Catullus 7 starts out in line one with "quaeris," showing that the poem will have a question/answer format. Catullus' answer to how many kisses is an innumerable quantity. Catullus wishes for their love to dominate, again showing his regard for Lesbia. Catullus chooses to end Catullus 10 with "neglegentem" (Cat 10.34), stating that Varus' lover is not one he should be careless around, showing that Catullus thinks Varus' lover is spiteful and is just trying to pick out his mistakes.

Throughout these three poems, Catullus shows repeatedly his high esteem of himself, and his low opinion of others. In Catullus' relationships with Lesbia, Varus, and Varus' lover, he shows how he places them lower than himself socially. Even though he desires for Lesbia, his desire is carnal and it seems like not much more, as all he does is demand of her. In regards to Varus' lover, Catullus believes she was out to get him, and so he dislikes her intensely for making him look like a fool. The clues to Catullus' egotism are clearly placed in his poetry, so as to accurately reflect the person writing it. 

Catullus 5 and 7 Check

ID and Parse 10 verbs from each and translate each poem


CATULLUS 5
Let us live and let us love, my Lesbia,
and let us estimate all the rumors of 
serious old men at one penny!
The suns are only able to fall and rise:
For us, when our brief light falls, 
night is perpetual in sleep.
Give to me a thousand kisses, then one hundred,
then another thousand, then a second hundred,
then all the time another thousand, then one hundred, 
then, we will make with many thousands,
we will confuse that man, let us not know,
but he is not able to cast an evil eye on us,
while knowing the number of our kisses.


1. vivamus-1st person plural present active subjunctive of "vivere" meaning "to live"
2. amemus-1st person plural present active subjunctive of "amare" meaning "to love"
3. aestimemus-1st person plural present active subjunctive of "aestimare" meaning "to value"
4. occidere-present active infinitive meaning "to fall"
5. redire-present active infinitive meaning "to return"
6. possunt-3rd person plural present active indicative of "posse" meaning "to be able"
7. occidit-3rd person singular present active indicative of "occidere" meaning "to fall"
8. est-3rd person singular present active indicative of "esse" meaning "to be"
9. da-2nd person singular present active imperative of "dare" meaning "to give"
10. fecerimus-1st person plural perfect active indicative of "facere" meaning "to make"


CATULLUS 7
You ask, how much of your kissing,
Lesbia, may be enough and more for me.
The great number of Libyan sands in 
which lie asafoetida in Cyrene
between the oracle of sweltering Jupiter
and the holy grave of old Battus;
or as many as the stars, when night is silent,
they see the furtive love of humans:
then your many kisses to kiss
may be enough and more for wild Catullus,
which neither will satisfy the curiosity to count up,
nor may evil speech be able to bewitch.


1. quaeris-2nd person singular present active indicative of "quaerare" meaning "to ask" 
2. sint-3rd person plural present active subjunctive of "esse" meaning "to be"
3. iacet-3rd person singular present active indicative of "iacere" meaning "to lie"
4. tacet-3rd person singular present active indicative of "tacere" meaning "to be silent"
5. uident-3rd person plural present active indicative of "videre" meaning "to see"
6. basiare-present active infinitive meaning "to kiss"
7. est-3rd person singular present active indicative of "esse" meaning "to be"
8. pernumerare-present active infinitive meaning "to count up"
9. possint-3rd person plural present active subjunctive of "posse" meaning "to be able"
10. fascinare-present active infinitive meaning "to bewitch"