nōmen ib latin yr 2...

Nōmen IB Latin Yr 2 HL

IB Exam PAPER 2 REVIEW – CATULLUS Carmina LATIN TEXTS - Catullus 3, 5, 7, 8, 9, 45, 50, 65, 72, 76, 85, 86, 92, 107, 109 CATULLUS 3 METER: HENDECASYLLABIC

Lugete, O Veneres Cupidinesque,

et quantum est hominum venustiorum:

passer mortuus est meae puellae,

passer, deliciae meae puellae,

quem plus illa oculis suis amabat.

nam mellitus erat suamque norat

ipsam tam bene quam puella matrem,

nec sese a gremio illius movebat,

sed circumsiliens modo huc modo illuc

ad solam dominam usque pipiabat.

qui nunc it per iter tenebricosum

illuc, unde negant redire quemquam.

at vobis male sit, malae tenebrae

Orci, quae omnia bella devoratis:

tam bellum mihi passerem abstulistis

o factum male! o miselle passer!

tua nunc opera meae puellae

flendo turgiduli rubent ocelli.

3.1

3.2

3.3

3.4

3.5

3.6

3.7

3.8

3.9

3.10

3.11

3.12

3.13

3.14

3.15

3.16

3.17

3.18

• Identify a TRICOLON in ll.1-2 • With what word earlier in the poem is mellītus (l.6) correspond? How does the word mellītus

contribute to our understanding of the relationship between the puella and the passer? • What form is the word miselle? How is the use of this word characteristic of Neoteric poetry? • Where in the poem do you find shifts in tone? Describe each instance

CATULLUS 5 METER: HENDECASYLLABIC

Vivamus mea Lesbia, atque amemus,

rumoresque senum severiorum

omnes unius aestimemus assis!

soles occidere et redire possunt:

nobis cum semel occidit brevis lux,

nox est perpetua una dormienda.

da mi basia mille, deinde centum,

dein mille altera, dein secunda centum,

deinde usque altera mille, deinde centum.

dein, cum milia multa fecerimus,

conturbābimus illa, ne sciāmus,

aut ne quis malus invidere possit,

cum tantum sciat esse basiorum.

5.1

5.2

5.3

5.4

5.5

5.6

5.7

5.8

5.9

5.10

5.11

5.12

5.13

• Who does Lesbia represent as an archetypal of Roman love poetry? • Identify an instance of ALLITERATION within the poem • See the vocabulary for the translation of the gerundive of obligation in line 6 • mi = mihi • Describe the effect of the ANAPHORA in ll.8-10


Quaeris, quot mihi basiationes

tuae, Lesbia, sint satis superque.

quam magnus numerus Libyssae harenae

lasarpiciferis iacet Cyrenis

oraclum Iovis inter aestuosi

et Batti veteris sacrum sepulcrum;

aut quam sidera multa, cum tacet nox,

furtivos hominum vident amores:

tam te basia multa basiare

vesano satis et super Catullo est,

7.1

7.2

7.3

7.4

7.5

7.6

7.7

7.8

7.9

7.10

quae nec pernumerare curiosi

possint nec mala fascinare lingua.

7.11

7.12

• What are the moods of sint (ll.2) and possint (ll.12)? What grammatical constructions give them their moods?

• Where are the sands located? In what way is Catullus’ inclusion of these proper nouns characteristic of Neoteric poetry?

• From what does the speaker want to protect the kisses? How is this reminiscent of C.5? CATULLUS 8 METER: CHOLIAMBIC

Miser Catulle, dēsinās ineptīre,

et quod vidēs perīsse perditum dūcās.

Fulsēre quondam candidī tibī sōlēs,

cum ventitābās quō puella ducēbat

amāta nōbīs quantum amābitur nūlla.

Ibi illa multa cum iocosa fiebant,

quae tū volebas nec puella nolebat,

fulsēre vērē candidī tibī sōlēs.

Nunc iam illa nōn vult: tu quoque impotēns nōlī,

nec quae fugit sectare, nec miser vīve,

sed obstinātā mente perfer, obdūrā.

Valē puella. Iam Catullus obdūrat,

nec tē requīret nec rogābit invītam.

At tū dolebis, cum rogāberis nūlla.

Scelesta, vae tē! quae tibī manet vīta?

Quis nunc tē adībit? Cui vidēberis bella?

Quem nunc amābis? Cuius esse dīcēris?

Quem bāsiābis? Cui labella mordēbis?

At tū, Catulle, dēstinātus obdūrā.

8.1

8.2

8.3

8.4

8.5

8.6

8.7

8.8

8.9

8.10

8.11

8.12

8.13

8.14

8.15

8.16

8.17

8.18

8.19

• To whom is this poem addressed? Explain the significance of the opening vocative phrase • Identify TWO poetic devices in ll.4-7

• Identify an instance of ASYNDETON in ll.11 • Describe the effect of the repeated interrogative pronouns in ll.16-18


Verani, omnibus e meis amicis

antistans mihi milibus trecentis,

venistine domum ad tuos penates

fratresque unanimos anumque matrem?

venisti. o mihi nuntii beati!

visam te incolumem audiamque Hiberum

narrantem loca, facta, nationes,

ut mos est tuus, applicansque collum

iucundum os oculosque suaviabor.

o quantum est hominum beatiorum,

quid me laetius est beatiusve?

9.1

9.2

9.3

9.4

9.5

9.6

9.7

9.8

9.9

9.10

9.11 This poem marks a break from the Lesbia sequence and is instead addressed to a friend of Catullus’, Veranus, whom he is welcoming back from Spain

• Identify an instance of CHIASMUS and a TRICOLON within the poem • What other line from C.3 is ll.10 reminiscent of? What is the significance of this?


Acmen Septimius suos amores

tenens in gremio ‘me’' inquit ‘Acme,

ni te perdite amo atque amare porro

omnes sum assidue paratus annos,

quantum qui pote plurimum perire,

solus in Libya Indiaque tosta

caesio veniam obvius leoni.’

45.1

45.2

45.3

45.4

45.5

45.6

45.7

Hoc ut dixit, Amor sinistra ut ante

dextra sternuit approbationem.

At Acme leviter caput reflectens

et dulcis pueri ebrios ocellos

illo purpureo ore suaviata,

‘sic’ inquit ‘mea vita Septimille,

huic uni domino usque serviamus,

ut multo mihi maior acriorque

ignis mollibus ardet in medullis.’

Hoc ut dixit, Amor sinistra ut ante

dextra sternuit approbationem.

Nunc ab auspicio bono profecti

mutuis animis amant amantur.

Unam Septimius misellus Acmen

mavult quam Syrias Britanniasque:

uno in Septimio fidelis Acme

facit delicias libidinisque.

quis ullos homines beatiores

vidit, quis Venerem auspicatiorem?

45.8

45.9

45.10

45.11

45.12

45.13

45.14

45.15

45.16

45.17

45.18

45.19

45.20

45.21

45.22

45.23

45.24

45.25

45.26

• sternuit approbationem: Who is the subject? What is the significance of this action?

• Explain the significance of the repetition of the refrain Amor...approbationem

• Compare Catullus 45 and Propertius 2.12 in

o the role of Amor

o the significance of medullis


Hesterno, Licini, die otiosi

multum lusimus in meis tabellis,

ut convenerat esse delicatos:

50.1

50.2

50.3

scribens versiculos uterque nostrum

ludebat numero modo hoc modo illoc,

reddens mutua per iocum atque vinum.

Atque illinc abii tuo lepore

incensus, Licini, facetiisque,

ut nec me miserum cibus iuvaret

nec somnus tegeret quiete ocellos,

sed toto indomitus furore lecto

versarer, cupiens videre lucem,

ut tecum loquerer simulque ut essem.

At defessa labore membra postquam

semimortua lectulo iacebant,

hoc, iucunde, tibi poema feci,

ex quo perspiceres meum dolorem.

Nunc audax cave sis, precesque nostras,

oramus, cave despuas, ocelle,

ne poenas Nemesis reposcat a te.

Est vemens dea: laedere hanc caveto.

50.4

50.5

50.6

50.7

50.8

50.9

50.10

50.11

50.12

50.13

50.14

50.15

50.16

50.17

50.18

50.19

50.20

50.21 CATULLUS 65 METER: Elegiac Couplet

Etsi me assiduo confectum cura dolore

sevocat a doctis, Hortale, virginibus,

nec potis est dulcis Musarum expromere fetus

mens animi, tantis fluctuat ipsa malis—

namque mei nuper Lethaeo in gurgite fratris

pallidulum manans alluit unda pedem,

Troia Rhoeteo quem subter litore tellus

ereptum nostris obterit ex oculis.

numquam ego te, vita frater amabilior,

65.1

65.2

65.3

65.4

65.5

65.6

65.7

65.8

65.10

aspiciam posthac? at certe semper amabo,

semper maesta tua carmina morte canam,

qualia sub densis ramorum concinit umbris

Daulias, absumpti fata gemens Ityli--

sed tamen in tantis maeroribus, Ortale, mitto

haec expressa tibi carmina Battiadae,

ne tua dicta vagis nequiquam credita ventis

effluxisse meo forte putes animo,

ut missum sponsi furtivo munere malum

procurrit casto virginis e gremio,

quod miserae oblitae molli sub veste locatum,

dum adventu matris prosilit, excutitur,

atque illud prono praeceps agitur decursu,

huic manat tristi conscius ore rubor.

65.11

65.12

65.13

65.14

65.15

65.16

65.17

65.18

65.19

65.20

65.21

65.22

65.23

65.24

• Identify an instance of HENDIADYS (transferred epithet) within the poem • To whom is the word Battiadae (line 16) a reference? What is the significance of this allusion

to Neoteric poetry? • To what myth do the names Daulias and Ityli refer?

CATULLUS 72 METER: ELEGIAC COUPLET

Dicebas quondam solum te nosse Catullum,

Lesbia, nec prae me velle tenere Iouem.

dilexi tum te non tantum ut vulgus amicam,

sed pater ut gnatos diligit et generos.

nunc te cognovi: quare etsi impensius uror,

multo mi tamen es vilior et levior.

qui potis est, inquis? quod amantem iniuria talis

cogit amare magis, sed bene velle minus.

72.1

72.2

72.3

72.4

72.5

72.6

72.7

72.8

• Note the connotation of the word amicam (ll.3) as listed in your vocabulary reference • How does the speaker define his love for Lesbia in ll.3-4?


Si qua recordanti benefacta priora uoluptas

Est homini, cum se cogitat esse pium,

Nec sanctam violasse fidem, nec foedere in ullo

Diuum ad fallendos numine abusum homines,

Multa parata manent in longa aetate, Catulle,

Ex hoc ingrato gaudia amore tibi.

Nam quaecumque homines bene cuiquam aut dicere possunt

Aut facere, haec a te dictaque factaque sunt:

Omnia quae ingratae perierunt credita menti.

Quare cur tu te iam amplius excrucies?

Quin tu animo offirmas atque istinc teque reducis

Et dis inuitis desinis esse miser?

Difficile est longum subito deponere amorem;

Difficile est, verum hoc qua lubet efficias.

una salus haec est, hoc est tibi peruincendum;

Hoc facias, siue id non pote siue pote.

O di, si uestrum est misereri, aut si quibus unquam

Extremam iam ipsa in morte tulistis opem,

Me miserum aspicite et, si vitam puriter egi,

Eripite hanc pestem perniciemque mihi!

Quae mihi subrepens imos ut torpor in artus

Expulit ex omni pectore laetitias.

Non iam illud quaero, contra me ut diligat illa,

Aut, quod non potis est, esse pudica uelit:

Ipse ualere opto et taetrum hunc deponere morbum.

O di, reddite mi hoc pro pietate mea.

76.1

76.2

76.3

76.4

76.5

76.6

76.7

76.8

76.9

76.10

76.11

76.12

76.13

76.14

76.15

76.16

76.17

76.18

76.19

76.20

76.21

76.22

76.23

76.24

76.25

76.26


Odi et amo. Quare id faciam, fortasse requiris.

nescio, sed fieri sentio et excrucior.

85.1

85.2

• Scan this poem. How many elisions are there? What are the effects of the first and last elisions?

• Who is the subject of the verb requiris? • Explain the dichotomy between active and passive verbs in this poem. How is the speaker both

acting upon/engaging in his feelings and victim to them? CATULLUS 86 METER: ELEGIAC COUPLET

Quintia formosa est multis, mihi candida, longa,

Recta est. Haec ego sic singula confiteor,

Totum illud 'formosa' nego: nam nulla venustas,

Nulla in tam magno est corpore mica salis.

Lesbia formosa est, quae cum pulcherrima tota est,

Tum omnibus una omnis subripuit Veneres.

86.1

86.2

86.3

86.4

86.5

86.6

• How is the subject of this poem, Quintia, perceived differently by Catullus and the people referenced by the word multis (ll.1)? How is the inclusion of this difference characteristic of Neoteric poetry?

• How do Quintia and Lesbia differ? • Identify a CHIASMUS in this poem


Lesbia mi dicit semper male nec tacet umquam

de me: Lesbia me dispeream nisi amat.

quo signo? Quia sunt totidem mea: deprecor illam

assidue, uerum dispeream nisi amo.

92.1

92.2

92.3

92.4

• What is unusual about the word order in ll.2?

• What is the best translation for the verb deprecor (ll.3)?


Si quicquam cupido optantique optigit umquam

insperanti, hoc est gratum animo proprie.

Quare hoc est gratum nobis quoque carius auro

quod te restituis, Lesbia, mi cupido.

Restituis cupido atque insperanti, ipsa refers te

nobis. O lucem candidiore nota!

Quis me uno vivit felicior aut magis hac est

optandus vita dicere quis poterit?

107.1

107.2

107.3

107.4

107.5

107.6

107.7

107.8

• What words are repeated in this poem? What is the significance of that repetition? • What is the case and function of the word uno (ll.7)? • How does this poem differ from other poems involving Lesbia?


Iucundum, mea vita, mihi proponis amorem

hunc nostrum inter nos perpetuumque fore.

di magni, facite ut vere promittere possit,

atque id sincere dicat et ex animo,

ut liceat nobis tota perducere vita

aeternum hoc sanctae foedus amicitiae.

109.1

109.2

109.3

109.4

109.5

109.6

• What will be the result for Catullus and Lesbia’s relationship if the gods grant his request? • What grammatical construction is introduced by the words ut liceat? • Identify a SYNCHYSIS within the poem

ENGLISH TRANSLATIONS by Charles Martin Poem 3 Cry out lamenting, Venuses and Cupids,*

and mortal men endowed with Love's refinement: the sparrow of my lady lives no longer! Sparrow, the darling pet of my beloved, that was more precious to her than her eyes were; it was her little honey, and it knew her as well as any girl knows her own mother; it would not ever leave my lady's bosom but leapt up, fluttering from yon to hither, chirruping always only to its mistress. It now flits off on its way, goes, gloom-laden down to where--word is--there is no returning. Damn you, damned shades of Orcus* that devour all mortal loveliness, for such a lovely sparrow it was you've stolen from my keeping! O hideous deed! O poor little sparrow! It's your great fault that my lady goes weeping, reddening, ruining her eyes from sorrow. *Venuses and Cupids = plural of Venus, goddess of love, and Cupid, her son, whose arrows cause love. *Orcus = Hades Poem 5 Lesbia, let us live only for loving, and let us value at a single penny all the loose flap of senile busybodies! Suns when they set are capable of rising, but at the setting of our own brief light night is one sleep from which we never waken. Give me a thousand kisses, then a hundred, another thousand next, another hundred, a thousand without pause & then a hundred, until when we have run up our thousands we will cry bankrupt, hiding our assets from ourselves & any who would harm us, knowing the volume of our trade in kisses. Poem 7 My Lesbia, you ask how many kisses would be enough to satisfy, to sate me! --As many as the sandgrains in the desert near Cyrene*, where silphium* is gathered, between the shrine of Jupiter the sultry* & the venerable sepulchre of Battus*! --As many as the stars in the tacit night that watch as furtive lovers lie embracing: only to kiss you with that many kisses

would satisfy, could sate your mad Catullus! A sum to thwart the reckoning of gossips & baffle the spell-casting tongues of envy. *Cyrene = a Libyan city where silphium, a medicinal herb, was gathered. *shrine = temple of Ammon, the Egyptian Jupiter *Battus = founding father of Cyrene Poem 8 Wretched Catullus! You have to stop this nonsense, admit that what you see has ended is over! Once there were days which shone for you with rare brightness, when you would follow wherever your lady led you, the one we once loved as we will love no other; there was no end in those days to our pleasures, when what you wished for was what she also wanted. Yes, there were days which shone for you with rare brightness. Now she no longer wishes; you mustn't want it, you've got to stop chasing her now--cut your losses, harden your heart & hold out firmly against her. Goodbye now, lady. Catullus' heart is hardened, he will not look to you nor call against your wishes-- how you'll regret it when no one comes calling! So much for you, bitch--your life is all behind you! Now who will come to see you, thinking you lovely? Whom will you love now, and whom will you belong to? Whom will you kiss? And whose lips will you nibble? But you, Catullus! You must hold out now, firmly! Poem 45 Septimius, holding his lover Acme, in his bosom, said, “my Acme, if I do not love you with abandon and if I am not prepared to henceforth love you constantly for all our years, so many times as he who can die alone in Libya and in sweltering India, I shall come to meet the blue eyed lion.” As he said this, Love sneezed approval on the left as before on the right. But Acme, lightly bending back her head, and having kissed the infatuated eyes of the sweet boy with her wine-red mouth, said, “let it be thus, my life, my little Septimius: let us forever serve this one master, so that a passion far grander and keener may burn in my soft marrow.” As she said this, Love sneezed approval on

the left as before on the right. Now, having started off on a good omen, they love and are loved like-mindedly. Poor little Septimius prefers Acme alone to Syria and Britain: the faithful Acme finds pleasure and desire in Septimius alone. Who has seen any one happier, who has seen a more blessèd love? Poem 50 Yesterday, Calvus, at leisure we played much on my tablets, as it was agreed that we would be self-indulgent: and each of us writing our lines of poetry was playing now in this meter now in that, delivering lines in turn while laughing and drinking. And I left from there, [so] piqued by your charm and your wit, Calvus, that neither did food placate poor old me nor did sleep shut my poor little eyes in peace, but rather I tossed about on the whole couch from uncontrollable spasms, wishing to see the light, so that I could speak with you and at the same time be with you. My half-dead limbs lay strewn across the couch exhausted by their exertion, but, delightful friend, I made this poem for you, from which you might discern my sorrow. Now beware of being over-confident, and we beg you, beware of spitting upon our prayers, my little jewel, lest Nemesis exact punishment on you. She is a powerful goddess: beware of displeasing her. Poem 65 Hortalus, though with unremitting pain, concern draws worn out me from the learned maidens, nor can my mind produce the Muses' sweet fruit, my minds surge with such bad things— for recently in the Lethen whirlpool my brother's pale little foot a flowing wave lapped, which, removed from our eyes, the Trojan ground crushes under the Rhoetean shore. O brother, more lovable than life, will I never behold you hereafter? But I'll surely always love: I'll always sing solemn poems for your death,

of which kind Procne sings under the dense shadows of branches groaning fates of consumed Itys. But in such sorrows, O Hortalus, nevertheless I send you these translated poems of Callimachus, lest you think that your words, entrusted in vain, have slipped perhaps from my mind to vagrant winds, as an apple sent by a fiancé's secret tribute, runs out from the maiden's chaste lap because placed under the poor forgetful girl's soft robe, when she jumps with her mother's arrival, it's cast out, and in a prone hurry, headlong drives that thing guilty blush springs from this sad one. Poem 72 You used to say that you wished to know only Catullus, Lesbia, and wouldn't take even Jove* before me! I didn't regard you just as my mistress then: I cherished you as a father does his sons or his daughters' husbands. Now that I know you, I burn for you even more fiercely, though I regard you as almost utterly worthless. How can that be, you ask? It's because such cruelty forces lust to assume the shrunken place of affection. *Jove = another name for Jupiter Poem 76 If there is any pleasure in remembering past good deeds for a man, when he believes that he is dutiful, nor he has violated any sacred trust, nor in any pact of the gods to have abused divine power to deceive men, then many joys remain for you in your long life, Catullus, prepared from this thankless love. For anything that a man is able to do or to say well to another these have been done and said by you. All of which things have died entrusted to this ungrateful mind. So why do you keep torturing yourself further? Why not be firm in the mind and lead yourself out from there, and stop being miserable with the gods unwilling? It is difficult to suddenly put away a long love It is difficult, but you must effect this in some way or other: it is the one salvation, this must be conquered by you You must do this, whether it is impossible or possible. Oh gods, if it is yours to feel pity, or if ever you have saved someone in the nick of time in death itself Look upon pathetic me! And, if I have lived life purely, take away this pestilence and ruin from me, which creeping down to my inner most self like a paralysis

takes away happiness from my whole heart. Now I do not seek, that she loves me in return or, (that which is not possible), that she chooses to be chaste I wish myself to be well, and to put down this foul disease Oh Gods! return this to me in return for my piety. Poem 85 I hate & I love. And if you should ask how I can do both, I couldn't say; but I feel it, and it shivers me. Poem 86 Many find Quintia stunning. I find her attractive: tall, "regal," fair in complexion--these points are granted. But stunning? No, I deny it: the woman is scarcely venerious,* there's no spice at all in all the length of her body! Now Lesbia is stunning, for Lesbia's beauty is total: and by that sum all other women are diminished. *venerious = an odd English word made from Venus and meaning given to sexual pleasures, sexy. Poem 92 Lesbia never avoids a good chance to abuse me in public, yet I'll be damned if she doesn't love me! How can I tell? Because I'm exactly the same: I malign her always--yet I'll be damned if I don't really love her! Poem 107 If ever something which someone with no expectation desired should happen, we are rightly delighted! And so this news is delightful--it's dearer than gold is: you have returned to me, Lesbia, my desired! Desired, yet never expected--but you have come back to me! A holiday, a day of celebration! What living man is luckier than I am? Or able to say that anything could possibly be better? Poem 109 Darling, we'll both have equal shares in the sweet love you offer, and it will endure forever--you assure me. O heaven, see to it that she can truly keep this promise, that it came from her heart and was sincerely given, so that we may spend the rest of our days in this lifelong union, this undying compact of holy friendship.

FINAL DRAFT TRANSLATIONS- Catullus’ Carmina CARMEN 3

1.

2.

3.

4.

5.

6.

7.

8.

9.

10.

11.

12.

13.

14.

15.

16.

17.

18.

CARMEN 5

1.

2.

3.

4.

5.

6.

7.

8.

9.

10.

11.

12.

13.

CARMEN 7

1.

2.

3.

4.

5.

6.

7.

8.

9.

10.

11.

12.

CARMEN 8

1.

2.

3.

4.

5.

6.

7.

8.

9.

10.

11.

12.

13.

14.

15.

16.

17.

18.

19.

CARMEN 9

1.

2.

3.

4.

5.

6.

7.

8.

9.

10.

11.

CARMEN 45

1.

2.

3.

4.

5.

6.

7.

8.

9.

10.

11.

12.

13.

14.

15.

16.

17.

18.

19.

20.

21.

22.

23.

24.

25.

26.

CARMEN 50

1.

2.

3.

4.

5.

6.

7.

8.

9.

10.

11.

12.

13.

14.

15.

16.

17.

18.

19.

20.

21.

CARMEN 65 1.

2.

3.

4.

5.

6.

7.

8.

9.

10.

11.

12.

13.

14.

15.

16.

17.

18.

19.

20.

21.

22.

23.

24.

CARMEN 72

1.

2.

3.

4.

5.

6.

7.

8.

CARMEN 76

1.

2.

3.

4.

5.

6.

7.

8.

9.

10.

11.

12.

13.

14.

15.

16.

17.

18.

19.

20.

21.

22.

23.

24.

25.

26.

CARMEN 85

1.

2.

CARMEN 86

1.

2.

3.

4.

5.

6.

CARMEN 92

1.

2.

3.

4.

CARMEN 107

1.

2.

3.

4.

5.

6.

7.

8.

CARMEN 109

1.

2.

3.

4.

5.

6.

nōmen ib latin yr 2...

Documents