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"

Catullus 10-First 10 lines

My Varus lead me at leisure away from

the forum to his lover for an appearance,

 a wench, as it had seemed then to me suddenly,

certainly not lacking grace and not unattractive.

When we came to this point, we fell into

various conversations, among which, how was

Bithynia now, how it was holding itself,

and whether I had profited any money there.

I answered her which was, that neither ourselves

nor the praetors  nor their cohort had,
...

Google Doc on Verbs from Catullus 10

https://docs.google.com/document/pub?id=1WFF20gmwNukbZ98bLBPgOxfLfNqNOs1crQ0lQ-JUA1U

Google Doc on Verbs from Catullus 5 and 7

https://docs.google.com/document/pub?id=11o-YBUUejofXsSVqSCVkCvTaOO5t9zEFWyRaVbwTeYI

Seduction Essay (Informal)

Catullus' poem #5 is better in that's it is more realistic. Catullus doesn't beat around the bush, and is much more passionate in his poem. Horace may be more respectful in trying to court Leuconoe, but Catullus already knows Lesbia, and they're acquainted enough for Lesbia to know who he is. Catullus then starts the poem by asking, letting Lesbia think she has a choice in the matter, but in the end he is demanding of her real passion. Catullus' poem shows much stronger emotion than Horace's.

 In the end, though, they also show a similar statement of living in the moment, but Catullus really doesn't play around, as he not only states what he wants, he demands it. Horace probably had similar feelings towards Leuconoe, but was too proper and prudent to really speak his full mind. Catullus also crafts a poem more centered around Lesbia, while Horace's poem has more general applications as well as to Lesbia.

Horace is a lot more lighthearted in his approach, being a little less forceful. Catullus is quite the opposite, with a heavier approach, forceful in his commands of Lesbia. Time will tell which poem survives the longest.

An Old and New iPod Touch

I used to have an iPod Touch,*

3rd generation to be more specific.

I put great sweat* into keeping it clean,

that iPod sure was insanely cool.*

The iPod, though, one day was

filled with many songs,

and so before I got my next iPod

surely it wouldn't be a long time.

I browsed online, checking the stats

of the new iPod, 4th generation.

Of many an awesome trait

this was an cool grouping.

So one day I made a deal with a friend,

so that he would buy my old iPod,

and so I could now afford a new iPod,

with that and my Christmas money.

I needed more room, as 32 gigs

was not enough to satisfy,

but now I'd have double the memory

this was something to change.

I eagerly awaited as my new iTouch

was transported at Apple's convenience.

Like the apple in the Garden of Eden*

this would be my guilty pleasure.

And so one day I arrived at home and

found my iPod sitting* on the table.

Of limitless fun and good times

this new iPod would surely lead to.

The four literary devices Catullus and I used were: End-stopped lines vs. emjabment, metonym, personification, and allusion. I starred an example of each.

Parsed Verbs from Catullus 3

Lugete-2nd person plural  present active imperative of "lugere" meaning "to mourn"

Mortuus est-3rd person singular present indicative of "mori" meaning "to die"

Amabat-3rd person singular imperfect active indicative of "amare" meaning "to love"

Erat-3rd person singular imperfect active indicative of "esse" meaning "to be"

Norat-3rd person singular pluperfect active indicative of "noscere" meaning "to get to know"

Mouebat-3rd person singular imperfect active indicative of "movere" meaning "to move"

Pipiabat-3rd person singular imperfect active indicative of "pipiare" meaning "to chirp"

Negant-3rd person plural present active indicative of "negare" meaning "to deny"

Redire-present active infinitive meaning "to return"

Sit-3rd person singular present active subjunctive of "esse" meaning "to be"

Deuoratis-2nd person plural present active indicative of "devorare" meaning "to devour"

Abstulistis-2nd person plural perfect active indicative of "auferre" meaning "to carry"

Rubent-3rd person plural present active indicative of "rubere" meaning "to be red"

Catullus 1, 2, 3

I. To Cornelius

To whom bestow my delightful new book

Just now polished with dry pumice?

To you, Cornelius: For you were in the habit of

Believing my trifles to be something.

Already at that time, when you alone of the Italians

Dared to unfold all ages in three writings…

Experienced, Jupiter,  and laborious!

Hence, have you whatever this is of a little book--

Of whatever kind, which, O virgin patroness,

May it remain everlasting, in more than one age!

II. Lamenting Lesbia's Sparrow

Sparrow, beloved of my girl,

With which she plays, who she holds to her bosom,

Which she gives her first finger, and is in the habit 

Of inspiring sharp bites as he seeks after it,

When looking bright with desire of me

My dear jests, unaware of what is pleasing

And her small consolation from pain,

Then I believe the painful intensity is at rest:

Could I but play with you just as she does

And lift  the sad cares of mind!

IIb.

This was as pleasing to me as that golden apple

Was to the swift girl they speak of,

Which loosened her long-time fastened girdle.

III. Lamenting Lesbia's Sparrow

Mourn, Oh Venus and Cupid,

And men who are so great among many others!

My girlfriend's sparrow is dead

Sparrow, delight of my girl

Whom she loved more than her own eyes,

For it was sweet as honey,

And it's mistress knew it as well as a girl knows her 

Very own mother, nor would it move from her lap

But hopping around, first here, then there

And would only chirp continually for it's mistress.

He who now goes through a dark journey

There, whence they deny anybody to return.

But may it go badly for you, evil darkness of

Orcus, which devours all pleasant things:

You have taken from me so charming a sparrow.

Oh evil deed! Oh poor sparrow!

Now through your work the eyes of my girl,

Swollen with weeping, are red.

Hyperbaton Example

ZOMBIES ATTACKING JC

Up from the ground the zombies rose

Into the school the zombies went

Out on the grounds the students fled

Away in the woods the students were sent

Off from their bodies fell limbs and flesh

Around their bodies was such a stench

Out of their heads their brains were pulled

Into the mouths of the zombies to quench

Around the campus not a sound immerged

But in all of Bel Air the humans were purged

Latin III Mid-Term-Part 2

PART 3 (Translate the following from Ovid Met. 1.1 and Horace 1.11)

In nova fert animus mutatas dicere formas

corpora; di, coeptis (nam vos mutastis et illas)

adspirate meis primaque ab origine mundi

ad mea perpetuum deducite tempora carmen!

I wish to speak of bodies being changed into new 

forms; you gods, for you alter those schemes, 

influence my first and draw a continuous  poem

from the birth of the world until my own time!

***

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.

You do not be searching (for to know is a sin) what to me, 

what to you goals the gods have given, Leuconoe, and do 

not test the Babylonian numbers. To suffer whatever is noble!

Whether Jupiter assigns the latest winters or many, 

which now weakens against the pumice of the Tyrrhenian 

Sea, may you have sense, strain the wine and trim your boundless

hopes in this small space. While we are speaking, jealous time

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

Part 4 (25 points)

Write a complete eight paragraph structural analysis answering the following question (make sure to quote the Latin directly twice per paragraph): As he comes across in the plots, connotations, parallels and interpretations, symbols, allusions, and ways in which he develops and presents his poems, do you think that Horace should be considered a womanizer and/or misogynist with regards to Odes 1.11 and 1.37?

Horace should not be considered a misogynist in regards to his Odes 1.11 and 1.37, but a realist. Horace does not show in Odes 1.11 that he is against women, but is trying to convince Leuconoe to be with him and make him happy. Just because Horace is courting Leuconoe does not mean that he is a player or dislikes women, in fact, it shows that he is a fan of women. In Odes 1.37, Horace is not condemning Cleopatra for being a woman, but for the actions she committed against Rome, and actually shows a better side of Cleopatra at the end, admiring her in a way, as she was bold, fearless in the face of death, and humble in defeat. Horace does not paint Leoconoe in a negative light, and gives both sides of Cleopatra, not because she is a woman, but because Horace is realistic, and states what he knows.

Horace, in both poems, is just stating his beliefs, and is not attacking Leuconoe or Cleopatra because of their womanhood. In 1.11, Horace is showing how much he cares for Leuconoe, telling her to live in the moment, or "seize the day" (Hor. Odes 1.11.8). Horace is trying to help Leuconoe to stop worrying, telling her to stop searching for god-given goals (Hor. Odes 1.11.1-2), but to relax a little, letting his Epicurean side show through a little. In 1.37, Horace write about the Battle of Actium, up till Cleopatra's suicide, speaking first about Cleopatra in a bad light, even calling her a "fatale monstrum" (Hor. Odes 1.37.21). Thereafter, though, the poem speaks of the good qualities of Cleopatra, even praising her for being so bold as to challenge the greatest empire around. 

There are multiple patterns evident in Odes 1.11 and 1.37. In 1.11, there is about 15 syllables in every line. Also, none of the sentences ever start with a verb (Hor. Odes 1.11), showing how Horace just wants Leuconoe to relax. In 1.37, Horace has a pattern of two long lines with 11 syllables each, followed by two short lines with 10 syllables each, and this only really deviates in lines seven and fifteen (Hor. Odes 1.37). Horace also puts commas in the middle of the lines in ten cases (Hor. Odes 1.37.1, 2, 6, 10, 16, 17, 20, 26, 27, 32), and changes this a little bit later in the poem, where his commas land more often at the end of the lines, showing his own change of point of view of Cleopatra.

The connotations Horace uses in the words of his poems also show that he doesn't dislike women. By starting out 1.11 with a verb like "quaesieris" (Hor. Odes 1.11.1), Horace sets up the poem to be about searching, not criticizing in any way. His use of "melius" (Hor. Odes 1.11.3) shows even that he thinks of Leuconoe as noble. In 1.37, Horace starts out using diction like "dulci" (Hor. Odes 1.37.12), speaking of whimsical, nonsensical pleasure, even hedonism, to show the bad side of Cleopatra. He later uses words like "fortis" (Hor. Odes 1.37.26) when he starts speaking of the better qualities of Cleopatra.

Multiple symbols show through in these two Horace poems. In 1.11, Horace speaks of Jupiter (Hor. Odes 1.11.4), showing how he wishes to Leuconoe to live in the present. Just because Horace speaks of men does not mean that he dislikes women. in 1.37, the asp and its bite (Hor. Odes 1.37.26-27) are used as a symbol of death, a death to the bad side of Cleopatra. This also does not necessarily mean that Horace wants all women to suffer similar fates.

Horace alludes to many things in these two poems about women. In 1.11, he alludes to the Tyrrhenian Sea (Hor. 1.11.5-6), wishing for Leuconoe to live her life to the fullest before being eroded away, like pumice in the sea. In 1.37, Horace alludes to sweet Caecuban wine (Hor. Odes 1.37.5). In this part of the poem, he is still talking about the bad side of Cleopatra, so he speaks of how no one can enjoy this wine, or enjoy themselves, until Cleopatra is gone. He speaks like this to show a greater contrast to when he speaks of Cleopatra in a more flattering tone.


In 1.11, Horace keeps the poem short and sweet, like every day he wishes Leuconoe to enjoy. In this way, even the length of the poem models its message. Horace places his words carefully in 1.37, as word placement is very free in Latin, to further make his point. Horace starts the poem off with the word "nunc" (Hor. Odes 1.37.1) showing how his living in the now is enjoyable after Cleopatra's death. He also decides to end the poem with "triumpho" (Hor. Odes 1.37.32), again showing his difference in opinion stated in the last three paragraphs. He speaks of how Cleopatra is humble, even in loss.

In the end, Horace really doesn't seem angry or mean at all towards women. Horace is very nice and helpful to Leuconoe, and even though he may come off as a womanizer with his smooth moves, he really cares for her. Horace also only shows a dislike of Cleopatra at first, not because of her gender, but because of her actions against his homeland, and her desire to put to ruins (Hor. Odes 1.37.7) all that he cares for. He later sees a not-so-evil side of Cleopatra, who acted as she did for her country and her lover, and even shows admirable qualities, speaking of her trying to die nobly (Hor. 1.37.22).

Bonus: Scan the following using OneNote and posting as a jpeg to your blog. (Up to 5% increase in score).

Arma virumque cano, Troiae qui primus ab oris

Italiam, fato profugus, Laviniaque venit

litora, multum ille et terris iactatus et alto

vi superum saevae memorem Iunonis ob iram;

multa quoque et bello passus, dum conderet urbem,               5

inferretque deos Latio, genus unde Latinum,

Albanique patres, atque altae moenia Romae.

Musa, mihi causas memora, quo numine laeso,

quidve dolens, regina deum tot volvere casus

Latin III Mid-Term-Part 1

PART 1 (ID and Parse 25 verbs)

1. reddebat-3rd person singular imperfect active indicative of "reddere" meaning "to return"

2. habitabat-3rd person singular imperfect active indicative of "habitare" meaning "to inhabit"

3. contulit-3rd person singular present active indicative of "conferre" meaning "to debate"

4. percussit-3rd person singular perfect active indicative of "percutere" meaning "to beat"

5. potuit-3rd person singular perfect active indicative of "posse" meaning "to be able"

6. dabatur-3rd person singular imperfect passive indicative of "dare" meaning" to give"

7. gerebat-3rd person singular imperfect active indicative of "gerere" meaning "to carry on"

8. incolebant-3rd person plural imperfect active indicative of "incolere" meaning "to live"

9. acceperunt-3rd person plural perfect active indicative of "accipere" meaning "to accept"

10, gaudebant-3rd person plural imperfect active indicative of "gaudere" meaning "to rejoice"

11. habebant-3rd person plural imperfect active indicative of "habere" meaning "to have"

12. invenit-3rd person singular perfect active indicative of "invenire" meaning "to come upon"

13. prehendit-3rd person singular perfect active indicative of "prehendere" meaning "to catch"

14. coepit-3rd person singular perfect active indicative of "coepere" meaning "to begin"

15. fecerat-3rd person singular pluperfect active indicative of "facere" meaning "to make"

16. laborabat-3rd person singular imperfect active indicative of "laborare" meaning "to labor"

17. destitit-3rd person singular perfect active indicative of "desistere" meaning "to stop"

18. constituit-3rd person singular perfect active indicative of "constituere" meaning "to set up"

19, comprehenderunt-3rd person plural perfect active indicative of "comprehendere" meaning "to grasp firmly"

20. adussit-3rd person singular perfect active indicative of "adurere" meaning "to scorch"

21. venit-3rd person singular perfect active indicative of "venire" meaning "to come"

22. abscidit-3rd person singular perfect active indicative of "abscidere" meaning "to cut off"

23. mordebat-3rd person singular imperfect active indicative of "mordere" meaning "to bite"

24. imbuit-3rd person singular perfect active indicative of "imbuere" meaning "to dip"

25. vidit-3rd person singular perfect active indicative of "videre" meaning "to see"

PART 2 (ID and Translate 25 nouns) 

1. pede-foot

2. deorum-gods

3. tempus-time

4. dapibus-feasts

5. cellis-wine cellars

6. ruinas-ruins

7. imperio-authority

8. regina-queen

9. nauis-ships

10. ignibus-fires

11. mentemque-mind (+ enclitic "and")

12. timores-fears

13. campis-military camps 

14. monstrum-monster

15. regiam-palace

16. populo-people

17. serpentes-serpents

18. triumpho-triumph

19. praesidium-protection

20. curriculo-track

21. palmaque-palm (+ enclitic "and")

22. honoribus-honors

23. agros-fields

24. caput-head

25. matribus-mothers

Practice for Horace 1.1

1. ID and parse each verb (no infinitives).

2. ID and translate each noun.

3. Write a complete 8 paragraph structural analysis: Explain the meaning of Horace's dedication.

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 "iuuare" meaning "to help"

Euehit-3rd person singular present active indicative of "euehere" meaning "to carry away"

Certat-3rd person singular present active indicative of "certare" meaning "to contest"

Condidit-3rd person singular perfect active indicative of "condere" meaning "to put away"

Uerritur-3rd person singular present active indicative of "uerrere" meaning "to sweep clean"

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"

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

Ueteris-2nd person singular present passive subjunctive of "uetare" meaning "to forbid"

Spernit-3rd person singular present active indicative of "spernere" meaning "to scorn"

Iuuant-3rd person plural present active indicative of "iuuare" 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"

Inseres-2nd person singular future active indicative of "inserere" meaning "to plant"

regibus-kings

praesidium-protection

curriculo-track

puluerem-dust

metaque-cone (+ enclitic "and")

palmaque-palm

terrarum-lands (+ enclitic "and")

dominos-owners

deos-gods

horreo-barn

areis-areas

sarculo-hoe

agros-fields

nauta-sailor

mare-sea

fluctibus-waves

mercator-merchant

otium-peace

rura-farms

pocula-cups

partem-part

die-day

membra-members

stratus-cover

aquae-water

caput-head

castra-camp

lituo-curved staff

tubae-trumpets

sonitus-noise

bellaque-war (+enclitic "and")

matribus-mothers

catulis-puppies

cerua-deer

aper-boar

hederae-ivy

frontium-faces

chori-chorus

populo-people

tibias-flutes

barbiton-lyre

uatibus-prophets

feriam-festival

sidera-stars

uertice-whirlpool

Explain the meaning of Horace's dedication.

Horace's dedication is to Maecenas, an important patron to the new generation of Augustan poets. Maecenas is Horace's patron, so Horace writes great things about him. He writes to keep Maecenas happy, to thank him, and to ask to be a poet of the Greek canon. Horace's fondness of Epicureanism also shines through in this poem, in the way he praises Maecenas. Horace does not praise him with average glory, like that won in sporting events but he gives him the glory of moral character, and a simple, peaceful lifestyle. 

Horace praises Maecenas and tells about how many others obtain fame and fortune. He speaks about sporting events, like the Olympics (Hor. Odes 1.1.3), including  chariot races. He then states that in contrast, Maecenas is a simpler kind of guy, who finds pleasure with the little things in life. Maecenas likes things like farm life, sitting under a strawberry tree (Hor. Odes 1.1.21), and visiting a spring head (Hor. Odes.1.1.22). 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 (Hor. Odes 1.1.35-36). 

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. (1)

In this poem, the farm ("rura" Hor. Odes 1.1.17) stands for an Epicurean lifestyle. Euterpe and Polyhymnia (Hor. Odes 1.1.33) are also used as symbols for culture. Horace is saying the Maecenas is a cultured man. (3)

Horace alludes to the Greek Olympics (Hor. Odes 1.1.3), 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 (Hor. Odes 1.1.10), as the Libyans provided wheat for much of the Roman Empire. Horace also alludes to the Greek canon (Hor. Odes 1.1.35), 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 (Hor. Odes 1.1.31), 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 mean "top" or "summit" ending the poem on a high note (literally).

Horace's dedication to Maecenas is to praise him, thank him, and yet, ask for more. Through a unique kind of flattery, Horace tries to get on Maecenas' good side, before eventually asking to be a lyric poet of the Greek canon. Even in this poem, Horace's person is seen as one who desires a simple life and likes to find peace.