a little about me by Anthony Gibbins

My mother took me to see The Empire Strikes Back. And The Return of the Jedi. And the first couple of Indiana Jones films. I saw ET and Close Encounters with friends’ families. The first movie I saw at a cinema, without adult supervision, was Back to the Future. A bunch of us from school went into town together. All of this happened before anyone in the street had a VHS player. Or a BETA for that matter.

My favourite toys in those days were all Star Wars. I had about thirty figures and three major pieces of tech. The best was an x-wing fighter. I loved that x-wing more than anything I have owned since. I had a Hoth base, that I later watched melt in a bonfire (a cross between science experiment and declaration of adolescence) and a remote control Land Speeder that was impossible to steer. I have none of it now. The figures got left at a friend’s place – we were tiring of Star Wars by then. I have no idea what happened to the vehicles.

Star Wars enjoyed a renaissance when I was about twenty. This was before the announcement of the prequels and a good three years before Star Wars merchandise returned to the stores. It was also when I got my first full-time job. It became a hobby. I drove around to fairs, markets and garage sales and bought every old Star Wars thing I could get my hands on. I ended up with far more than I had ever had as a kid, heaps of the original Kenner toys. I had a Desert Skiff, Millennium Falcon, AT-ST Walker, and an Imperial Shuttle. A full collection of pop-up books and soundtrack albums. Han Solo in Carbonite and every single Ewok. I even managed to find the very rare cardboard Death Star. Then I crashed my old Kingswood into a brand new Mitsubishi (I was driving too fast in the rain). I sold the entire collection at an April Collectors’ Market to cover the $6000 excess.

Lego was never much on my radar. I had a few kits as a kid, but nothing bigger than a snack bar. I was vaguely aware when Lego started making Star Wars sets. It reminded me of a documentary I had seen, in which a spokesperson said that Lego would never do licencing. That seems hard to imagine now. But one year, returning from my very first Rusticatio immersion, I popped into a Washington DC Lego store and saw Boba Fett’s Slave One just sitting there, waiting for me. I bought it. I took it home, built the first of five bags, and popped it into the cupboard. I just wasn’t that into it.

And there it sat for at least four years, until the announcement that Disney had bought Lucas Films and that there would be more Star Wars films coming. Then I dragged it out and gave it another go. I loved it. It was a difficult time at work, I was feeling an incredible amount of pressure, and there was something about sitting quietly and following simple instructions that was akin to meditation. It wasn’t long before the collector in me rose to the surface once more. What Lego Star Wars kits had I missed over the years? Which could I find at a good price? Instead of markets and garage sales, it was Gum Tree and e-bay. I now have quite a collection. And after about a year of that I bought my first modular kit – the Parisian Restaurant. I thought it would look good on top of the bookcase. (And the Brick Bank would look good beside it...)

My other great love is Latin. I came to it at the age of 22, and was taken with it immediately. It wasn’t that I found it easy – I didn’t. But I’ve been doing it for twenty odd years now and can finally sit and read a book of the Aeneid without a dictionary. Reading Latin is one of my greatest pleasures. But from the beginning I wanted to write Latin too. I particularly wanted to write picture books, which was hard because I cannot draw. My first attempt was the Gilbo series, which can be found here on Tar Heel Reader. I used the wonderful South Park Studio to create the characters. I also began writing an Orberg style translation of The Hobbit, although I didn’t enjoy translation as much as writing an original work.  (Thanks to Arianne, however, for hosting the three chapters I did write here on her terrific blog, Latin for Everyone.)

Legonium is my favourite project to date. The idea came to me on a sunny afternoon walking in the park. I had just that morning read Ellie Arnold’s Cloelia and was feeling both excited and – I confess it – a little jealous of all the awesome Latin that was being written at that (this!) moment. I desperately wanted to be a part of it. By the time I got home the basic idea of Legonium was there and I began writing the first episode immediately, introducing the character of Marcellus. The ending, however, was a bit dull, so I stood a very cool woman in black on the roof of the bank. I figured I could work out what she was doing there later. I am still working it out.

This year they are watching Star Wars: The Empire Strikes Back. Is this film pleasing to you? It is certainly pleasing to Scipio.

sharing a birthday and a little Martial by Anthony Gibbins

With whom do you share a birthday? Do you share a birthday with someone you know? Have you ever googled your birthday to see which famous folk were born on the same day? I am going to try it now. October 7. Okay, here we go. For better or worse. Vladimir Putin and Desmond Tutu. John Mellencamp and Heinrich Himmler. The women’s right activist Catharine A. MacKinnon and the environmental activist, Thom Yorke. If you try it, leave your list in a comment below.

 

Martial wrote the following epigram concerning Caesonia, who shared her birthday with the then emperor of Rome, Titus Flavius Caesar Domitianus Augustus, better known as Domitian. Caesonia has a husband named Rufus, and although we cannot be certain, some have suggested this to be Instantius Rufus, a patron of Martial’s. Domitian’s birthday, by the way, was October 24. In this piece the emperor is called Palatinus Tonans the Palatine Thunderer, a reference to his association with Jupiter.

prima Palatino lux est haec orta Tonanti,

            optasset Cybele qua peperisse Iovem;

hac et sancta mei genita est Caesonia Rufi:

            plus debet matri nulla puella suae.

Laetatur gemina votorum sorte maritus,

            contigit hunc illi quod bis amare diem.

haec lux this light/day est orta rose prima first Palatino Tonanti for the Palatine Thunderer qua on which [day] Cybele Cybele optasset would have wished peperisse to have given birth to Iovem Jupiter; et and hac on this [day] genita est was born sancta sacred Caesonia Caesonia mei of my Rufi Rufus: nulla puella no girl debet owes plus more matri suae to her mother. maritus the husband laetatur rejoices gemina from a twin sorte response votorum of his prayers, illi they contigit have affected hunc him quod that bis twice amare he loves diem this day.

Every year they celebrate the day in the same way because Scipio very much loves to watch films. Perhaps you are wondering which film they are watching this year.

all things birthday by Anthony Gibbins

Standing proudly in the forefront of today’s picture is Lego’s 2013 Modular, Palace Cinema (10232-1). It contains 2196 pieces, and is still available to buy. We saw the inside of the cinema way back in episode 5 and – spoiler – we shall be seeing more of it this month. It is flanked by the two halves of 2011’s Pet Shop (which was discontinued only a few months ago). We shall be seeing more of the Pet Shop too.

So, Alan and Scipio are watching a film. If you are interested in that word, pelliciula film, then you can read more about it here. Why are they watching a film? Because they are celebrating Scipio’s birthday. The Latin for birthday is dies natalis, where dies means day and natalis is an Adjective meaning of or belonging to one’s birth. Sometimes the expression was simply meus natalis. In a letter to his friend Atticus, Cicero reports ad urbem (veni) natali meo I came to the city on my birthday.

John C. Traupman’s ‘Coversational Latin for Oral Proficiency’ has much useful birthday related vocabulary; Felicem Natalem (tibi exopto). A Happy Birthday (I hope for you)! natalicium birthday present libum natalicium birthday cake natalicia birthday party nataliciam dare to throw a birthday party. In a harsh speech against Marcus Antonius, Cicero complains that his advesary has not come down to the Forum because he is throwing a party. hodie non descendit Antonius. cur? dat nataliciam in hortis Today Antonius has not descended. Why? Because he is throwing a birthday party in the gardens. Then there is the famous birthday party invitation found at Vindolanda, a Roman auxiliary fort just south of Hardian’ Wall. You can see an image of the hand-written invitation here. In translation it reads;

Claudia Severa to her Lepidina greetings. On 11 September, sister, for the day of the celebration of my birthday, I give you a warm invitation to make sure that you come to us, to make the day more enjoyable for me by your arrival, if you are present (?). Give my greetings to your Cerialis. My Aelius and my little son send him (?) their greetings. (2nd hand) I shall expect you, sister. Farewell, sister, my dearest soul, as I hope to prosper, and hail. (Back, 1st hand) To Sulpicia Lepidina, wife of Cerialis, from Severa.

Finally, in Latine Cantemus : cantica popularia Latine reddita, Franz Schlosser provides this loose translation of Happy Birthday, song to the tune of the original.

Felicissimus sit,

Felicissimus sit,

Dies festus nati tui,

Felicissimus sit!

Meanwhile, in the movie cinema, Alan and Scipio sit watching a film. Today is the birthday of Scipio and they are celebrating the day.

reading Virgil, if you cannot read Latin yet: III of III by Anthony Gibbins

At the end of last year, I was playing around with a model for introducing the Aeneid to folks who can’t read Latin yet. I don’t have time to pursue this hoc tempore at this time, but I thought I’d share the format in case anyone else sees value in it. No doubt they could do with an edit, but I will present them as is. Over three posts I will cover lines 1-49. nb: Contrary to custom, I will post them UNDER the picture and translation. They are quite long.

'Then I will find the thief -or thieves,' Monas declares. 'Do not worry yourself Ms... - excuse me, what is your name?' 'Ravena,' she says.

Recap: The goddess Juno is keeping the Trojan refugees from reaching Latium, in Italy. She is opposed to the Trojans for a number of reasons, primarily their fated destiny to found the Roman race, the race which will one day destroy her beloved city of Carthage. She keeps the Trojans at sea. As the story proper opens they have been wandering for many years.

Please Note: There is description of sexual violence in lines 39-41 and violent death in lines 42-45.

 

vix e conspectu Siculae telluris in altum

vela dabant laeti, et spumas salis aere ruebant,

cum Iuno, aeternum servans sub pectore vulnus,

haec secum: 'mene incepto desistere victam,

nec posse Italia Teucrorum avertere regem?                                                lines 34-38

 

vix e conspectu Siculae telluris in altum: The narrative now begins. But not at the beginning – that would be dull. Instead it begins mid-wandering, as the Trojans sail from the island of Sicily. vix barely e out of conspectu sight Siculae telluris of the land of Sicily in altum into the deep.

vela dabant laeti: There is an evocative sailing idiom in Latin, to give the sails to the wind. And now, barely out of sight of Sicily, dabant they* were giving (*the Trojans) vela the sails. And the rest? It appears that the idiom was so well known, that Virgil did not feel the need to finish it. The Adjective describing the Trojans is laeti happy. This seems strange considering what has come before.

et spumas salis aere ruebant: et and ruebant they were driving before them spumas froth(s) salis of salt aere with the bronze. This makes little sense, until we realise that the prows of the Trojan’s ships were bronze-coated. Then it becomes quite the image.

cum Iuno, aeternum servans sub pectore vulnus: Before long, Juno enters the narrative. cum Juno when Juno servans preserving aeternum vulnus the eternal wound sub pectore beneath her chest.

haec secum: [said] haec these things secum to herself. It is quite common to leave out – gap – Verbs of speaking, as here. Especially when what is spoken follows on immediately.

'mene incepto desistere victam: -ne indicates that what follows is a question (albeit a rhetorical one). But the particular Forms of the Verbs and Pronouns used* indicate a certain indignation. me* Am I victam defeated desistere* to desist incepto from my undertaking. It continues.

nec posse Italia Teucrorum avertere regem? nec nor posse* to be able avertere to turn away regem Teucrorum the king of the Teucrians Italia from Italy. Teucrians is another name for Trojans, after an early Trojan king Teucer. Aeneas is not a king, but he has become their leader.

 

quippe vetor fatis. Pallasne exurere classem

Argivum atque ipsos potuit submergere ponto,

unius ob noxam et furias Aiacis Oilei?                                              lines 39-41

 

quippe vetor fatis: quippe Surely vetor I am forbidden fatis by the Fates. Juno is not happy, and there may be a touch of sarcasm in quippe. Notices the link between ‘forbid’ and ‘veto’.

Pallasne exurere classem Argivum atque ipsos potuit submergere ponto: Juno now compares her situation with that of Pallas. Pallas is an honorific title of Minerva, the Roman equivalent of Athena, and Juno’s inferior. –ne indicates another question, again rhetorical; she knows full well what happened. Did Pallas exuere Pallas destroy with fire classem Argivum the fleet of the Argives atque and submergere sink ipsos the men themselves ponto in the sea. The question continues.

unius ob noxam et furias Aiacis Oilei? ob on account of noxam the guilt et and furias the madness unius of one man Aiacis Oilei Ajax Oileus? As the Greek soldiers ransacked Troy on the night of its destruction, Ajax dragged a Trojan priestess, Cassandra, from a temple of Pallas, where she had taken refuge, and raped her.

 

ipsa, Iovis rapidum iaculata e nubibus ignem,

disiecitque rates evertitque aequora ventis,

illum expirantem transfixo pectore flammas

turbine corripuit scopuloque infixit acuto.                                         lines 42-45

 

ipsa, Iovis rapidum iaculata e nubibus ignem: Juno recounts the actions of Pallas, responding to her own question. ipsa she* herself (*Pallas) iaculata hurling rapidum the swift ignem fire Iovis of Jupiter e from nubibus the clouds. The swift fire of Jupiter is, of course, the lightning bolt.

disiecitque rates evertitque aequora ventis: -que both disiecit she scattered rates the rafts –que and evertit she overturned aequora the sea(s) ventis with the winds. Having recently referred to the ‘fleet’ of the Argives, Juno now calls their ships ‘rafts’. Is this perhaps a comment on their vulnerability when faced with the power of Pallas and the lightning bolt of Jupiter?

illum turbine corripuit: corripuit she snatched up illum him* turbine in a whirlwind. *He is Ajax, the rapist.

expirantem transfixo pectore flammas: Now Juno describes Ajax in his final moments, struck with lightning and lifted through the sky. expirantem breathing out flammas flames transfixo from his pierced pectore chest.

scopuloque infixit acuto: -que and infixit she fixed [him] acuto on a sharp scopulo crag.

 

ast ego, quae divum incedo regina, Iovisque

et soror et coniunx, una cum gente tot annos

bella gero! et quisquam numen Iunonis adoret

praeterea, aut supplex aris imponet honorem?'                               Lines 46-49

 

ast ego, quae divum incedo regina: Juno’s continues to compare Pallas’ power with her own seeming impotence. ast but ego I quae who incedo parade around regina as queen divum of the divine ones.

Iovisque et soror et coniunx: -que and et soror both sister et coniunx and spouse Iovis of Jupiter. Jupiter and Juno were both the children of Saturn. After Jupiter usurped his father’s power, the two were wed.

una cum gente tot annos bella gero! gero I wage bella wars tot for so many annos years cum with una one gente people! The Trojans, of course.

et quisquam numen Iunonis adoret praeterea: Juno now asks herself two (connected) questions. The first. et literally and, but better understood here as expressing Juno’s indignation. praeterea afterwards quisquam will anyone adoret entreat numen the divinity Iunonis of Juno.

aut supplex aris imponet honorem?' aut or supplex as a supplicant imponet place honorem honor aris on [my] altars? Here end’s Juno’s monologue. In the lines that follows we will watch as she puts a new plan into action.

reading Virgil, if you cannot read Latin yet: II of III by Anthony Gibbins

At the end of last year, I was playing around with a model for introducing the Aeneid to folks who can’t read Latin yet. I don’t have time to pursue this hoc tempore at this time, but I thought I’d share the format in case anyone else sees value in it. No doubt they could do with an edit, but I will present them as is. Over three posts I will cover lines 1-49. nb: Contrary to custom, I will post them UNDER the picture and translation. They are quite long.

But, when I afterwards returned to the dumpster, the suitcase was not there. Perhaps she has an accomplice. 'She?' Monas asks. 'She,' the woman repeats.

Recap: Virgil introduces the theme of his poem, arms and a man. The man (not yet named) is Aeneas, distinguished for his pietas, but tossed about on land and sea. Virgil wants to know why Juno, the queen of the gods, would force such a man to undergo such trials. He asks the Muse. There was a city, she says, Carthage, which Juno loved more than all others. She wished it to be the kingdom of all races. If by any means the Fates might allow it.

 

progeniem sed enim Troiano a sanguine duci
audierat, Tyrias olim quae verteret arces;
hinc populum late regem belloque superbum
venturum excidio Libyae: sic volvere Parcas.                                     lines 19-22

 

progeniem sed enim Troiano a sanguine duci audierat: The Muse, or Virgil, continues. enim for sed however audierat she* had heard (*Juno) progeniem an offspring duci to be being drawn a from Troiano sanguine Trojan blood. This offspring, the audience knows, is the Romans, descendants of the Trojan Aeneas.

Tyrias olim quae verteret arces: The Relative Pronoun quae refers here to the offspring. Normally, we would understand this as ‘who’, but Latin has a clever trick of changing the Mood of a Verb to achieve various effects. Done in conjunction with the Relative Pronoun, as here, it can express Purpose. Therefore, quae verteret is understood as to overthrow. olim at some time Tyrias arces Tyrian citadels. She had heard that an offspring was being drawn to at some time overthrow Tyrian citadels. You may remember that the Carthaginians came originally from Tyre in Phoenicia.

hinc populum late regem belloque superbum venturum excidio Libyae: The Muse continues narrating what Juno had heard. (Whom had she heard this from? That is one of the great mysteries of the Aeneid). hinc from here venturum would come populum a people regem ruling (this is actually a poetic use of the word ‘king’, but we must understand it as ruling) late widely -que and superbum proud (or arrogant, it all depends on your point of view) bello in war excidio for the destruction Libyae of Libya. Libya was the region of North Africa in which the Tyrians had settled and founded Carthage.

sic volvere Parcas: This concludes what Juno had heard. sic thus Parcas the Parcae volvere were unrolling. The representation of Fate in the Aeneid is somewhat fluid. The Parcae, for example, are three sisters, Clotho (Spinner), Lachesis (Measurer) and Atropos (Inevitable) who collectively spin the lives of women and men. Are we to believe them also responsible for the rise and fall of world powers?

 

id metuens, veterisque memor Saturnia belli,
prima quod ad Troiam pro caris gesserat Argis—
necdum etiam causae irarum saevique dolores       
exciderant animo: manet alta mente repostum
iudicium Paridis spretaeque iniuria formae,
et genus invisum, et rapti Ganymedis honores.                                lines 23-28

 

id metuens: metuens fearing. id this. We will hear of other reasons why Juno is forcing Aeneas to suffer, but it behoves us to keep the destined destruction of Carthage in mind.

veterisque memor Saturnia belli: Fearing this -que and; there are further reasons why Juno is upset. First, however, we are reminded of her impressive lineage; Saturnia daughter of Saturn. Saturn was Juno’s father, supreme among the previous generation of gods until Jupiter, Juno’s brother and husband, usurped his throne. The Adjective, memor remembering, is now employed to describe Juno. Twenty lines ago it was used to describe her anger. Remembering what? Remembering the veteris ancient belli war.

prima quod ad Troiam pro caris gesserat Argis: Another Relative Pronoun; the war quod which gesserat she had waged prima as leader ad Troiam at Troy pro on behalf of caris Argis [her] dear Argos. Argos was a city in Greece, another location considered sacred to Juno. In many cases, where individual Greek cities are named, Virgil means Greece more broadly.

necdum etiam causae irarum saevique dolores exciderant animo: The first word is really two smashed together; nec nor dum yet etiam also causae the causes irarum of [her] anger -que and saevi [her] fierce dolores sorrows exciderant had fallen out animo from [her] mind. Virgil takes us back, to the causes of anger and fierce sorrows that predate (and perhaps explain) the Trojan War.

manet alta mente repostum: manet there remains repostum stored away alta in her deep mente mind. This is only half a sentence. What follows are brief illusions to three memomories, each stored up in Juno’s deep mind, and each a cause of her anger.

judicium Paridis spretaeque iniuria formae: First Cause. iudicium Paridis the judgement of Paris -que and iniuria the insult spretae to her spurned formae beauty. A famous episode from the broader story of the Trojan War; the Trojan prince Paris is approached by three goddesses, Juno, Minerva and Venus, and tasked with choosing the most worthy (or beautiful, depending on the version). He chooses Venus and is rewarded with the love of Helen, which indirectly starts the war. Juno’s anger, moreover, outlasts the destruction of the city.

et genus invisum: Second Cause. et and invisum the hated genus race. Juno already had it in for the Trojans. According to legend, Dardanus, the founder of Troy, was the son of Jupiter, Juno’s husband, and Electra. This was reason enough.

et rapti Ganymedis honores: Final Cause. et and honores the honours rapti of snatched Ganymedis Ganymedes. Ganymedes was the brother of the current Trojan king. When both were young, Jupiter, in the form of an eagle, carried Ganymedes to Mount Olympus and made him his cup bearer. Juno had wanted this honour to stay with their daughter, Hebe.

 

his accensa super, iactatos aequore toto
Troas, reliquias Danaum atque immitis Achilli,
arcebat longe Latio, multosque per annos
errabant, acti fatis, maria omnia circum.
tantae molis erat Romanam condere gentem!                                 lines 29-33

 

his accensa super: A new sentence with accensa enflamed describing Juno. Enflamed his by these things super in addition. In addition, that is, to the Trojan War and the destined destruction of Carthage.

iactatos aequore toto Troas, arcebat longe Latio: Enflamed by these things arcebat she was keeping away Troas the Trojans iactatos tossed about toto on the whole aequore sea longe far Latio from Latium. Latium, remember, is the region in Italy where Aeneas will found Lavinium.

reliquias Danaum atque immitis Achilli: A bleak description of the Trojans. They are the reliquias Danaum leftovers of the *Danaans (*another word for Greeks) atque and immitis Achilli of fierce Achilles. Achilles was, of course, the most formidable warrior of the Greeks.

multosque per annos errabant, acti fatis, maria omnia circum: -que and errabant they* were wondering (*the Trojans) per throughout multos many annos years acti driven on fatis by the Fates circum around omnia every maria sea.

tantae molis erat Romanam condere gentem! erat it was tantae of so great molis a burden condere to found Romanam gentem the Roman people! This is the end of the poem’s introduction. The next line begins the narrative proper.

reading Virgil, if you cannot read Latin yet : I of III by Anthony Gibbins

At the end of last year, I was playing around with a model for introducing the Aeneid to folks who can’t read Latin yet. I don’t have time to pursue this hoc tempore at this time, but I thought I’d share the format in case anyone else sees value in it. No doubt they could do with an edit, but I will present them as is. Over three posts I will cover lines 1-49. nb: Contrary to custom, I will post them UNDER the picture and translation. They are quite long.

‘A thief or thieves?’ Monas asks. ‘Yes,’ the woman responds. ‘The thief, having placed [my] suitcase in a dumpster, fled.’

 

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,

inferretque deos Latio, genus unde Latinum,

Albanique patres, atque altae moenia Romae.                                 lines 1-7

 

arma virumque cano: The poet introduces his theme in the broadest sense. cano I sing of. But of what does he sing? He sings of two things, conjoined by placing –que and after the last. The first is arma military arms (and by Metonymy war). The second is virum a man. I sing of arms and a man. As we will come to learn, the man is Aeneas. The wars are those of Italy and Troy.

Troiae qui primus ab oris Italiam Laviniaque venit litora: The Relative Pronoun qui who refers to Aeneas. A man who venit came. And he came primus first. He came ab oris Troiae from the coasts of Troy Italiam to Italy –que and Lavinia litora to the Lavinian shores. If you don’t know the story, Aeneas was a Trojan refugee who found a new home in Italy. He built a city named Lavinium, and one day his descendants would found Rome.

fato profugus: This phrase describes Aeneas. He is profugus an exile fato due to Fate.

multum ille et terris iactatus et alto: Aeneas is referred to by the Pronoun ille he. He was iactatus tossed about. And he was tossed about multum a lot. Where did this happen? It happened in two locations and Virgil uses the expression et…et… to make this clear. The repetition of et and has no exact parallel in English, so it is often translated both…and…. Back to the story. He was tossed about et terris both on lands et alto and on the deep. The deep, as in English, is a reference to the sea.

vi superum: He was tossed about vi by the force superum of those above. Those above are the gods.

saevae memorem Iunonis ob iram: And he was tossed about ob on account of memorem the unforgetting iram anger saevae Iononis of savage Juno. Juno, of course, is the queen of the gods.

multa quoque et bello passus: The Adverb quoque also suggests that there is more to come. Indeed, passus he suffered multa many things. et is a versatile Conjunction.  Here we might think of it as as well. He also suffered many things et bello in war as well.

dum conderet urbem inferretque deos Latio: He was tossed about and suffered dum until he achieved two things. Until conderet he founded urbem a city –que and inferret he carried in deos the gods Latio into Latium. Latium is the region in Italy in which he founded Lavinium. A distinction; the gods which he carried into Latium where not those same gods by whose force he was tossed about. They were gods without a home whom he was bringing with him from the ruins of Troy.

genus unde Latinum, Albanique patres, atque altae moenia Romae: Some crucial information concerning Lavinium and Latium. Virgil says of both unde from which [came] genus Latinum the Latin people –que and Albani patres the Alban fathers atque and moenia the city walls altae Romae of lofty Rome. Who are the Alban fathers? After the death of Aeneas, his son Iulus Ascanius will found a second city, called Alba Longa. It is in Alba Longa that Romulus and Remus, the legendary founders of Rome, will be born. Did you notice that alto/altae means both deep and tall? It’s not a big deal, don’t let it confuse you.

 

Musa, mihi causas memora, quo numine laeso,

quidve dolens, regina deum tot volvere casus

insignem pietate virum, tot adire labores

impulerit. tantaene animis caelestibus irae?                                                lines 8-11

 

Musa, mihi causas memora: Virgil calls on the Musa Muse. The Muses are believed to know the truth and to speak truth to poets. It is not uncommon to invoke them at the beginning of a poem. Muse, mihi memora recall for me causas the causes. Virgil wants to know the causes for something. Let’s read on.

quo numine laeso quidve dolens: This is not an easy expression, so we will just be super-literal; quo what numine divine majesty [of hers] laeso having been offended –ve or dolens grieving quid what. There is a suggestion here that perhaps Juno’s dignity has been offended or that she is grieving some hurt.

regina deum tot volvere casus virum, tot adire labores impulerit: And here it is. Muse, tell me the reason [why] regina deum the queen of the gods impulerit forced virum a man volvere to endure tot so many casus calamities [and] adire to take on tot labores so many labors.

insignem pietate: These two words belong in the previous section, but I moved them out to draw your attention. insignem distinguished is an Adjective describing virum. But distinguished for what? Distinguished pietate for his pietas. And what is pietas? It is an appropriate sense of duty towards homeland, family and even the gods. Why did the queen of the gods force a man distinguished for his pietas to endure so many calamities and take on so many labours? This is the question that the poet puts to the Muse.

tantaene animis caelestibus irae? The –ne at the end of the first word has no translatable meaning; it indicates that the sentence is a question.   [Are there] tantae such great irae angers animis caelestibus in celestial souls?

 

urbs antiqua fuit, Tyrii tenuere coloni,

Karthago, Italiam contra Tiberinaque longe

ostia, dives opum studiisque asperrima belli;

quam Iuno fertur terris magis omnibus unam

posthabita coluisse Samo; hic illius arma,

hic currus fuit; hoc regnum dea gentibus esse,

si qua fata sinant, iam tum tenditque fovetque.                               lines 12-18

 

urbs antiqua fuit, Karthago: Here begins the Muse’s response. fuit there was urbs antiqua an ancient city Karthago Carthage. The significance of this would be lost on no Roman. Carthage had been Rome’s opponent in trade, expansion and war for numerous centuries. It sat on the north coast of Africa and was a city said to be loved by Juno. And in 146BC (one thousand years after this story is set, and a century and a half before it was written) the Romans completely raised it to the ground.

Tyrii tenuere coloni: Tyrii coloni Tyrian colonists tenuere held [it]. Carthage that is. Tyre was a famous city on the coast of Phoenicia, modern Lebanon. How Phoenician colonists came to hold a city in North Africa, we will learn in Book II.

Italiam contra Tiberinaque longe ostia: The location of Carthage. longe far off contra opposite Italiam Italy –que and Tiberina ostia the Tiberian mouths. That is, the mouth(s) of the Tiber River, on which sits the Roman city.

dives opum studiisque asperrima belli: More on Carthage. dives rich opum of resources -que and asperrima very harsh studiis in enthusiasms belli of war.

quam Iuno fertur terris magis omnibus unam coluisse: The Relative Pronoun quam which is a reference to Carthage. Which unam alone Iuno fertur Juno is said coluisse to have cherished magis more omnibus terris than all lands.

posthabita Samo: posthabita Samo Samos having been held as inferior. Samos, an island off the coast of Asia Minor (modern Turkey), was home to one of the most famous temples of the ancient world, the Heraeum. Hera is the Greek equivalent of Juno.

hic illius arma, hic currus fuit: hic here illius arma her arms, hic here currus [her] chariot fuit used to be. I like to imagine that in Carthage there had been a temple where Juno’s weapons and chariot were on display, but I don’t know whether there is any suggestion of this among archaeologists or historians.

hoc regnum dea gentibus esse iam tum tenditque fovetque: iam already tum then dea the goddess que both tendit strives –que and fovet cherishes hoc this esse to be regnum a kingdom gentibus for the nations.

si qua fata sinant: And here is the rub. si if qua by any means fata the Fates sinant might allow (it).

opus est by Anthony Gibbins

opus est is a Latin idiom, and as an idiom it does not make immediate literal sense. The Noun opus means work. Cicero, for example, uses the expression opus quaerere to look for work. Ovid uses the following phrase to describe working in the fields; facere patrio rure opus to perform work in the ancestral countryside. Caesar, in his military writings, speaks of a place natura et opere munitus fortified by nature and labour.

opus can also describe the product of work. You would know the term magnum opus great work, defined by the Oxford Dictionary as a work of art, music, or literature that is regarded as the most important or best work that an artist, composer, or writer has produced. When Cicero speaks of the Silanionis opus he is referring to a statue created by Silanio. Elsewhere he says of a literary creation opus habeo in manibus I have the work in [my] hands.

And yet the expression opus est means there is need of.  It is usually partnered with a Noun in the Ablative Case that expresses the thing that is needed. For example, opus est auxilio there is need of help. One theory is that the expression really means there is work [to be done] with something. And if that is true, it would make sense to put the with something in the Ablative Case as this is one of the Ablative Case’s favourite jobs (often referred to as an Ablative of Instrument). There is work [to be done] with help, therefore, there is need of help. QED.

The final piece of this idiom is a Noun or Pronoun in the Dative Case, which expresses who has the need. Ravena says mihi opus est auxilio, which hyper-literally means there is to me work [to be done] with help. Of course, no one translating would ever write it like that; they would write I need help. But if you are reading Latin as Latin, you won’t be thinking about English.

A few examples to finish.

pauper sum. mihi opus est pecunia. I am poor. There is need to me of money.

ieiuna sum. opus est mihi cibo. I am hungry. There is need to me of food.

sitio. opus est mihi aqua. I thirst. There is need to me of water.

solitarius sum. opus est mihi amicitia. I am lonely. I need friendship.

iter longum erit. opus est nobis equo. The journey will be long. We need a horse.

‘I need your help,’ the woman says. ‘My suitcase full of money was stolen from me. I should like you to find the thief – or thieves – for me.’

 

Playing to Form by Anthony Gibbins

This seems to me the beginning of every detective story ever; although my ‘research’ consisted mainly of re-watching the first half hour or so of Rodger Rabbit. (I don’t think I’d seen it since it was on at the cinemas.) I don’t have too much to say about today’s page. I’ve already written a post on Ablatives of Manner, which you can read here. And Imperative Verbs, which you can read here. sedens sitting is a Present Participle, but I’ll have more to say about these another day. I do find the expression ianuam pulsat a little intriguing, only in as much as taken out of context it could be taken to mean punch the door. But I guess that doesn’t happen too often.

Suddenly, however, someone knocks on the door. Monas does not get up but sitting shouts ‘Come in!’ in a loud voice. A woman opens the door and enters.