Cambridge Latin Course Unit 4 University of Cambridge School Classics Project Frontmatter More Information

Cambridge University Press 978-1-107-66082-3 – North American Cambridge Latin Course Unit 4 University of Cambridge School Classics Project Frontmatter More information

Cambridge Latin Course Unit 4 Teacher's Manual

FIFTH EDITION

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Information on this title: education.cambridge.org The Cambridge Latin Course is an outcome of work jointly commissioned by the Cambridge School Classics Project and the Schools Council © Schools Council 1970, 1982 (succeeded by the School Curriculum Development Committee © SCDC Publications 1988).

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Contents

Preface 4 Scope and sequence 5 Introduction 7 Stages 35–40 7 Stages 41–48 9 Teaching method 9 Time allocation for Unit 4 15 Correlation of Unit 4 with the National Latin Exam 16 Supplementary materials (including audio) 16 Stage commentaries 17 Stage 35: rūs 18 Stage 36: recitātiō 27 Stage 37: cōnsilium 38 Stage 38: nūptiae 54 Stage 39: studia 68 Stage 40: iūdicium 80 Stage 41: Bīthȳnia 96 Stage 42: carmina 111 Stage 43: ūnivira 127 Stage 44: Daedalus et Īcarus 139 Stage 45: Lesbia 151 Stage 46: clādēs 166 Stage 47: lūdī 175 Stage 48: Nerō et Agrippīna 186 Language information 201 Linguistic synopsis of Unit 4 202 Appendix A: Diagnostic tests 205 Appendix B: Select bibliography 213

PREFACE It is almost fifty years since the University of Cambridge School Classics Project (CSCP) began to research and develop “materials and techniques which will accelerate and improve pupils’ ability to read classical Latin literature and widen their knowledge of classical civilisation.” This Fifth Edition of the Cambridge Latin Course therefore builds on half a century of experience in researching, trialing, developing, and improving what is now the world’s leading Latin program. The Course was last revised in the late 1990s and the Fourth Edition has served teachers and students well for many years. A new edition will always present authors and editors with opportunities for development and change. On this occasion, following extensive discussion with teachers, we have chosen to: • improve the physical layout of the material, increasing the page size to allow new vocabulary to be glossed alongside, rather than below, the reading passages. This layout has been found to improve students’ reading fluency as it enables them to find glossed vocabulary more quickly and to return to their place in the reading material more easily; • shorten the Course very slightly, primarily by gently trimming the reading passages, but also by occasionally removing a whole story, to take account of a slight reduction in teaching time; • increase female representation within the story line, notably by introducing Lucia, a daughter for Caecilius and Metella. Where appropriate, the cultural material has also been reviewed to reflect recent research on women’s lives in the Roman world; • introduce color into the line drawings. Our aim is to portray more accurately the physical appearance of the Roman world and help students to realize that the ancient world was a world full of color. Teachers who have used previous editions of the Course will note how heavily the Fifth Edition relies on the work done by earlier authors and editors. The previous work of Clarence Greig, Jill Dalladay, Roger Dalladay, Robin Griffin, David Morton, and Pat Story remains very much at the heart of this edition: most of what you will read, both in the student texts and in the teacher manuals, was originally their creation. Colleagues in the USA and Canada, particularly Martha Altieri, Pat Bell, Sarah Bjorkman, Ginny Blasi, Joe Davenport, Stan Farrow, Donna Gerard, William Lee, Clyde Lehmann, and Mark Pearsall have provided many insights, both into the development of the North American Fourth Edition and into the range of educational environments in which it is now used. It has been a source of great pleasure and learning to observe so many diverse and interesting lessons, from as far afield as Seattle, Boston, and San Antonio, and to talk with students and teachers in classrooms across North America. Much of the work of the CSCP team takes place in a small attic in Cambridge, often quietly and usually without notice. It therefore gives me particular pleasure to have the opportunity to thank publicly my many colleagues who have together created this Fifth Edition. Ian Colvin, Martin Dawes, Christine Delaney, Bar Roden, Sukey Sleeper, Hannah Smith, Tony Smith, and Laila Tims have all played important roles in the revision process. Dr Maria Kilby deserves a special note of thanks for her careful research, particularly in the areas of color and female representation, her untiring attention to detail, and her very good humor over many years. Special thanks are due also to Ben Harris, Classics editor at Cambridge University Press, who has gone far beyond the call of duty to deliver this edition, and whose patience and composure appear to know no limit. Few publishers would take the time to visit classrooms across North America, build real friendships with teachers, and understand their needs and their varying situations. Ben has done us a very great service and we are deeply indebted to him. Finally, we would all like to thank the many teachers and students from around the world whose thoughts, ideas, and experiences shape and inspire everything we do. R. W. Griffiths, Director Cambridge School Classics Project

4 Preface

SCOPE AND SEQUENCE Stage Name Cultural context Main language features 35 rūs Country villas: location and Indirect statement (present main verb and architecture, leisure pursuits, present active infinitive). economic advantages. 36 recitātiō Public readings: description Present subjunctive. and purpose, advantages and Word order in poetry (separation of nouns and disadvantages. adjectives). 37 cōnsilium The emperor’s council. Indirect statement (present main verb and perfect The senatorial career. active infinitive). Indirect statement (present main verb and perfect passive infinitive). 38 nūptiae Marriage: preliminaries, legal Indirect statement (present main verb and future forms, the wife’s position, and some active infinitive). evidence of married relationships. Perfect subjunctive. Indirect statement (present main verb and present passive infinitive). 39 studia Authors, readers, and listeners: Fearing clauses. publication and bookshops; Word order in poetry continued (one noun + patronage and imperial influence; adjective phrase next to another; one noun + the interrelation of rhetorical adjective inside another). education and Roman literature. 40 iūdicium Roman law courts, the conduct of Indirect statement after verbs in the past tense. cases, and an assessment of Roman Gerundives with ad to express purpose. justice. 41 Bīthȳnia Government of the Roman Gerund with ad to express purpose. provinces. Present subjunctive passive. cum (= since, although); + indicative. 42 carmina Latin poetry. Conditional sentences. Time chart of authors and fīō. historical events. Word order in poetry continued (one noun + adjective phrase interlaced with another). 43 ūnivira Divorce and remarriage. Imperfect subjunctive passive. Gerund: genitive and ablative. Position of verb of speaking, asking, etc., with indirect statement and question.

Scope and sequence 5

44 Daedalus Icarus in art. Historical present. et Īcarus Ellipsis (omission of verb from one of two clauses). Syncope (-ērunt to -ēre). 45 Lesbia Catullus and Lesbia. Hortatory and jussive subjunctives. Lyric poetry. Relative clauses with antecedent deferred or omitted. Dative of disadvantage and advantage. 46 clādēs Roman letters. Pluperfect subjunctive passive. Conditional clauses with pluperfect subjunctive. Ellipsis (omission of esse). 47 lūdī Homer’s chariot race (Iliad XXIII). Ablative meaning in or from without preposition. Poetic plurals. 48 Nerō et The emperor: his work, helpers, Direct and indirect deliberative question. Agrippīna succession, and worship. Historical infinitives. Perfect subjunctive passive.

6 Scope and sequence

INTRODUCTION This manual provides guidelines for teaching Stages 35–48 as well as information about the text and illustrations in the students’ book. The aims and principles of the Cambridge Latin Course, teaching methods, and the planning of the Course as a whole are explained in the Unit 1 Teacher’s Manual.

Stages 35–40 Stages 35–40 in Unit 4 bring to a close the episodic, Latin historical novel which began with Stage 1 in Unit 1. Quintus, Caecilius’ young son who survived the eruption of Vesuvius (AD 79) has traveled and matured enough by Stage 40, some eight years later (AD 87), to testify for the prosecution against Salvius in a senatorial trial in Rome. When the prosecution is successful and Salvius exiled, the Emperor Domitian promises Quintus his support ad honōrēs petendōs (Stage 40, damnātiō, lines 13–14, p. 90). It is, in fact, the Emperor Domitian who provides the chief link between the various events of Stages 35–40. He is referred to with disgust but also with fear by Lupus and Glabrio, the letter writers in Stage 35. He is praised extravagantly by Martial in one of his epigrams (Stage 36). He chairs a council meeting in Stage 37 to decide on the future of Agricola’s command in Britain. He coerces Flavius Clemens into a marriage for Clemens’ daughter with a much older Sparsus (Stage 38), while simultaneously adopting Flavius’ two sons, whose progress with their tutor, Quintilian, he tests in Stage 39.

The Emperor Domitian The Emperor Domitian was an absolutist, who held all the political power in the Roman empire. Although some noblemen complained among themselves about the constraints his power imposed on their ambition, they publicly went along with his policies for better or worse. Others disagreed with him publicly and brought on themselves political and economic ruin, deportation, or even execution. As students study the various events narrated in Stages 35–40, they should consider some of the moral choices that faced Romans in public life during Domitian’s dictatorship. The emperor was not so successfully dominant in his private life. In AD 70, he married Domitia, the daughter of the Emperor Nero’s most famous general, Gnaeus Domitius Corbulo; thus her name was the feminine form of her father’s nōmen. When Domitian divorced Domitia in AD 83 because of adultery (see Unit 3, Stages 33–34), he took his niece, Julia, into the palace as his mistress. The next year, AD 84, although he accepted his wife back, there is no indication that he banished his mistress–niece, and the three perhaps lived together in an uneasy ménage à trois. Eventually Julia died because of an abortion which Domitian is said to have forced on her (Suetonius, Life of Domitian 22), but later after Domitian had been assassinated and cremated (Suet. Dom. 16–17), his ashes were secretly mixed with hers in a tomb inside the temple of the Flavians (Suet. Dom. 17), a temple perhaps identical with the temple of Vespasian and Titus in the Forum of Rome (see photograph and map of Forum in Unit 3, p. 160). Domitia survived him, but although she bore him a daughter and son (Suet. Dom. 3), the son had died early, and Domitian had been forced in AD 90 to adopt two distantly related boys to ensure that a family member would succeed him (Suet. Dom. 15). But these adoptive sons, whose official names were Vespasianus and Domitianus (Suet.

Introduction 7

Dom. 15) are not heard of after Domitian’s death in AD 96. Domitian’s successor, Nerva, appointed emperor by the senate, was not a member of the Flavian family, and so this dynasty came to an end.

List of events in the reign of Domitian Listed below are various events in the reign of Domitian. They are correlated with the dates we have imagined for the stories in the latter part of Unit 3 (Stages 29–34) and the initial part of Unit 4 (Stages 35–40): AD 81 Stages 29 and 30: Domitian ascends throne; dedicates arch to his deified brother, Titus. 82 Stages 31 and 32: Domitian accepts first of seven successive consulships; Flavius Sabinus is consul. 83 Stages 33 and 34: Usipi (a Germanic tribespeople) rebel against Romans; Paris dies and the Empress Domitia is divorced. Stages 35 and 36: Domitian has Flavius Sabinus executed; takes Sabinus’ widow, Julia (daughter of Emperor Titus and thus Domitian’s niece), as mistress; celebrates triumph over Chatti (Germanic tribespeople); has three Vestal Virgins executed; Martial has been living in Rome since AD 64. 84 Stage 37: Agricola and Romans win battle over Caledonii (a Scottish tribespeople) at Mons Graupius; Domitian recalls Agricola; assumes title “Germanicus;” takes back Domitia as wife. 85 Domitian becomes censor for life; begins military campaign against Dacians (a Romanian tribespeople). 86 Consulship of Salvius (?); campaign against Dacians ends in disaster; Martial publishes Book I of his epigrams. 87 Stage 40: Salvius is put on trial (?). 88 Domitian holds secular games; Saturninus, Roman governor of Upper Germany, rebels; Domitian becomes increasingly dictatorial and cruel; political spies and trials proliferate. 89 Domitian has philosophers deported. 90 Stages 38 and 39: Domitian declares Flavius Clemens’ two young sons as heirs; appoints Quintilian as their tutor; has chief Vestal Virgin buried alive. 91 Glabrio and Trajan (future emperor) are consuls; Domitian forces Glabrio to fight in arena, then has him deported. 93 Agricola dies; Domitian begins “reign of terror;” has younger Helvidius Priscus executed. 95 Domitian has philosophers deported for the second time; Flavius Clemens is consul; Domitian has Clemens tried and executed; has Glabrio executed in exile; has Epaphroditus executed. 96 Domitian is assassinated (see diagnostic test 3); Nerva (an elderly senator) ascends throne; senate declares damnātiō memoriae of Domitian. Note. Some earlier Stages were also set in the reign of Domitian: Unit 2, Stages 17–20, in AD 81; Unit 2, Stages 13–16, in AD 82; Unit 3, Stages 21–28, in AD 83.

8 Introduction

Stages 41–48 From Unit 1, the aim of the Course has been to prepare students, in both language and cultural context, to read Roman authors. This goal is achieved in Stages 41–48, where the reading material consists of selections from a number of Roman authors, including Catullus, Ovid, Martial, Pliny, Tacitus, and Virgil, and is supplemented as in previous Units by language notes, language manipulation exercises, cultural material, and vocabulary checklists. The subject matter of the reading and cultural material includes the myth of Daedalus and Icarus and its treatment in art, Roman provincial government exemplified by Pliny’s Bithynia correspondence, the love affair of Catullus and Lesbia, the folktale of the widow of Ephesus, the eruption of Vesuvius, the murder of Agrippina, and the boat race in Virgil’s Aeneid with a translation of Homer’s chariot race added for comparison. The reading material has been selected, arranged in a sequence, occasionally abridged and (in the case of prose texts) adapted, in accordance with a linguistic scheme which continues and develops that of earlier Stages. With the introduction of the subjunctive passive forms into the reading material, the presentation of the main morphological features of the language is completed; the reading material also introduces most of the major syntactic points not already met and discussed in the Course, such as conditional clauses, the main uses of the gerund, and hortatory, jussive, and deliberative subjunctives. Also practiced are a number of other features, such as fīō, poetic plurals, the use of -ēre as a 3rd person plural perfect form, and the interlacing of pairs of noun + adjective phrases in verse.

Teaching method Initial reading and comprehension The basic teaching sequence suggested in the Unit 1 Teacher’s Manual (reading aloud by teacher, study by students, comprehension questions) continues to be appropriate for Stages 41–48. But it also remains important that this basic sequence should be frequently varied. For example, if the text is fairly easy, the teacher might read it aloud and pause after each word, phrase, or clause for volunteers to supply a translation, or might ask students to study the next sentence and put up a hand when they can translate it. In dealing with a harder passage, the teacher might first read the text to the class once or twice and give them a few minutes to study it further on their own, and then ask comprehension questions to be answered in writing and reviewed immediately by the students. The projection of the text onto the board makes it far easier to draw students’ attention to such features as word order, syntax, morphology, etc. The use of the “explorer” software on the Course website enables students to look up vocabulary and language points without losing their place in the text and significantly increases the pace at which the text can be read. Reading aloud by the teacher becomes especially important in Stages 41–48. The initial reading can help students to group the words correctly into phrases and clauses.

Introduction 9

This will be especially important in verse, where the word order may be unfamiliar and students may be troubled by a phrase or clause that overruns the line. For example, in lines 3–4 of Phaedrus (p. 124 of the students’ book): longēque īnferior agnus. tunc fauce improbā latrō incitātus iūrgiī causam intulit. a pause after incitātus and an absence of a pause after improbā will help the class to relate the participle correctly to fauce improbā. Students can sometimes achieve a surprisingly high level of comprehension by ear alone, listening to the teacher’s initial reading with their books shut, the meanings of new or crucial words being listed in advance on the board. The questions in the students’ book and in the online software are deliberately varied. Some are straightforward comprehension questions; others explore the content of the reading material more deeply, in the way described on p. 11 of this manual. Where both types of question appear in the students’ book, this is indicated by a division into A and B questions. There is a similar variety in the questions suggested in the Stage commentaries of the manual. The inclinations of teachers, the needs of students, and the time available will all affect teachers’ decisions about whether and how to make use of each set of questions, and when to supplement or replace them with their own. One point deserves special emphasis: very simple comprehension questions can often be a means of helping students through texts of considerable difficulty (for example, see pp. 113 and 115 of this manual on Catullus I and Catullus II). Students should be increasingly encouraged to support their answers to a comprehension question by quoting the relevant Latin. The quantity of vocabulary in some passages may cause problems, especially in verse texts; there is a danger that students’ initial exploration of the text may be continually interrupted by a search through the glossary for the meanings of new words, unguessable from the context because they are juxtaposed with other equally unfamiliar words. In such cases, it is better to reverse the usual principle that new words should be first met by students in a continuous context, and instead preface the reading of the passage with a study of the glossary, reinforcing the students’ grasp of the new words by encouraging them to recall related Latin words which they have met previously, or to suggest English words derived from those in the glossary. The reading material is designed to present students with a gradual progression of difficulty, but this aim cannot always be consistently realized. For example, it may happen that an otherwise easy poem, suitable for this Unit because of its intrinsic interest, may contain an exceptionally difficult couplet, which cannot be simplified by adaptation as a difficulty in a prose text can, nor eliminated by simple omission. The guiding principle for the teacher is to maintain momentum on first reading, lest the students lose sight of the text’s content through over-concentration on the linguistic difficulties. Students can sometimes be helped by a simpler or more familiar example of the feature that is causing the problem; for example, nōbīs fugiendum est might be quoted if students are struggling with an impersonal use of the gerundive. Sometimes, however, the simplest solution is for the troublesome phrase or line to be translated by the teacher; then, when the general sense of the whole poem or passage has been securely established, the teacher can return to the difficulty for proper explanation without having disrupted the continuity of the initial reading.

10 Introduction

Exploration and discussion It has been a cardinal principle throughout this Course that the students should not only study the reading material from a linguistic point of view but also explore and discuss its content. In Stages 41–48, where original Latin texts take the place of “made-up” Latin, such exploration becomes especially important and rewarding. Often it arises naturally out of straightforward comprehension questions. The teacher might proceed from such questions as “What did X do at this point and what was Y’s response?” to more searching questions about the characters’ motivation and behavior, and, where appropriate, to further questions such as “Who do you think was right, X or Y?” A flexible approach is essential. Teachers will sometimes wish to place the emphasis on linguistic work, sometimes on literary exploration, sometimes evenhandedly between the two. It will also be necessary for them to select from the questions printed in the students’ book and suggested in the Stage commentaries, often replacing and supplementing with their own, as was suggested on p. 10 above in connection with initial reading and comprehension. Sometimes they will prefer to take time for thorough exploration of a particular poem or passage, and sometimes to push rapidly on. Few things could be more harmful than an attempt to work methodically through every point. In devising their own questions, teachers may wish to turn to the commentaries suggested in the notes which follow. Scholars’ essays and commentaries that consider the text from a literary point of view often suggest ideas for the teacher to explore with students. The question “How would you read this aloud?” can often lead to useful discussion. It introduces students in a practical way to considerations of tone by inviting them to consider (for example) whether a Catullus poem is intense or frivolous, or whether a chapter of Tacitus contains any variations in mood. Equally useful is the interpretative question “What does the writer mean?” For example, the class might be asked “Study Virgil’s phrase inhorruit unda tenebrīs and explain what was happening to the sea” or “Explain the comment attributed by Tacitus to Nero, illō diē sibi tandem darī imperium.” Other ways of sharpening the reader’s appreciation of a writer’s words include exploring the points of correspondence in a simile and examining the literal meaning of a word used metaphorically, through such questions as “What does Catullus mean when he uses the word ūror for his reaction to Lesbia’s infidelity? What does ūror mean literally? How is ‘being on fire’ an appropriate way to describe his feelings?” It is also worth exploring the effects which a writer achieves by such figures as alliteration, repetition, assonance, variation of word order, and antithesis. For example, Virgil, at one point of his boat race narrative, postpones the verb’s subject to the end of a long sentence, thus raising the tension by telling the reader (or listener) that one boat is in the lead, then continuing to describe the scene before revealing which boat it is; Ovid sometimes uses alliteration to point a climax in his story; Catullus often exploits antithesis to convey the conflict of emotions; Tacitus, at a key moment, uses a long sentence to build up a picture of calm serenity, then shatters the picture with violent action, described in a few terse words. Students might be asked “What is the effect of the alliteration, antithesis, etc.?”; but sometimes it is more profitable to put the question the other way around by asking “How does Ovid show that this is a crucial moment in the story?” or “How does Catullus make it plain that his feelings for Lesbia are now very mixed?”, thus allowing “alliteration,” “pairs of contrasted words,” etc. to emerge as part of the answer.

Introduction 11

While students are still feeling their way with a new text, the teacher may often need to use “leading” questions such as “What words does Tacitus use to emphasize Nero’s terror?”, “Where in the poem does the angry tone give way to sadness?” When the students are more confident and experienced, they can be asked more open-ended questions such as “What impression does Tacitus give of Agrippina in this chapter?” or “Is there a change of mood at any point in the poem?” Some of these questions may have more than one possible answer; in such cases, teachers should not try to impose their own interpretation or that of an authority, but should encourage students to offer and defend their own opinions. Students should also be free to express their preference for one poem or passage over another. (This includes the voicing of unfavorable as well as favorable opinion; it is very good practice for a student who dislikes a particular poem or text to say so, and why.) Students often respond more fully to a literary text if it has some point of contact with their own experiences. They enjoy recognizing elements of a familiar situation, and sometimes sympathize closely with the writer or characters in the text. The teacher can do much to help students to spot analogies with their own experiences, often through his or her incidental comments (for example, “The Nicomedians gathered around and watched the flames, just like passersby stopping to watch a car wreck”). Direct questions about students’ personal experiences are rather more hazardous, but the teacher can often give the students an opportunity to draw on their own experiences without explicitly referring to them, through such questions as “Do you think the thing that really distresses Catullus is the feeling that he’s been a fool?” In exploring a Latin passage, it can be stimulating for the teacher and class if another teacher (not necessarily of Latin) joins them and takes part in the discussion. This has several advantages: it exposes the class to another source of adult opinion about the text they are studying; the visiting teacher can give an initial push to the discussion if students seem reluctant to volunteer their opinions; and the class are more likely to regard literary discussion as a worthwhile activity if they see two adults taking a serious and committed part in it. Once discussion has got under way and students are coming forward with their own ideas, the two teachers should withdraw from active participation and instead cochair the discussion. Translation is normally regarded as a means of testing linguistic understanding but it can also be a valuable tool in sharpening students’ appreciation of the text. The teacher might select a short portion of the text (e.g. a passage of Virgil from Stage 47) for intensive study, with class and teacher working together to produce the best possible translation as a joint effort. It is also useful for the class to look at one or more published translations (see p. 140 of the students’ book for an example), not because a translation can faithfully represent an original but because the teacher can often throw light on the characteristics of the Latin texts by asking such questions as “Which of these translations would give a more accurate idea of Virgil to a reader who didn’t know Latin?” This might lead to an attempt by students individually to produce their own English versions. Exploration should reflect the fact that Latin literature was written for reading aloud. It was suggested above that the teacher’s reading should play an important part in the students’ initial encounter with the text, and that the question “How would you read this aloud?” is a helpful introduction to such considerations as tone and mood, in both poetry and prose. In addition, work on any of the Stages could conclude with a reading

12 Introduction

of all or part of the text, either by the teacher (in which case students might have their books closed), or by members of the class who have each studied and rehearsed their allotted portion; this reading might then be recorded. After the students have had plenty of opportunity to listen to verse, they should be introduced to the ideas of syllable length and practice reading lines aloud (hexameters are probably the most suitable lines for the purpose). In due course, they can proceed to the principles of scansion and practice analyzing hexameters into feet, but this exercise should be seen as a reinforcement, not a substitute, for reading aloud and listening; awareness of meter comes more through the ear than the eye. Learning occasional portions of Latin verse by heart is particularly helpful for the appreciation of a poem’s rhythm; it also follows an important principle of the Course by directing students’ attention to phrases and sentences rather than individual words, and it powerfully consolidates their grasp of the language, since it is impossible to learn a passage by heart without understanding its meaning.

Historical and cultural topics The exploration of historical and cultural topics which has featured prominently in earlier Stages should continue here. Such questions as “How were the provinces governed?”, “How did Roman emperors carry out their work?”, and “How did Romans get divorced and what was their attitude to remarriage?” arise naturally from some of the texts in Stages 41–48 and are pursued further in the cultural material. Other texts contain incidental references which can be followed up and explored; for example, Catullus’ poem about Egnatius mentions the noisy and emotional scene around the defendant in a law court; the laudātiō Tūriae refers to the proscriptions of the second triumvirate; and Virgil’s account of the boat race illustrates the practice of promising the gods a vōtum in return for the fulfillment of a prayer. A simple chronological framework for events and authors is provided by a time chart on p. 147. It is often possible to link a historical or cultural reference in the reading material with what the students already know, or to use it as a starting point for further investigation. The teacher can invite students to make deductions (“What is the Emperor’s main concern, judging from his reply to Pliny?”) or seek explanations (“Why was the freedman more ready than the commander of the praetorian guard to take on the job of killing Agrippina?”). At other times, questions can be more wide-ranging, encouraging students to draw on other evidence apart from the text in front of them (“What seems to you to have been the Romans’ attitude to the people they conquered?”). Other questions might focus on particular Roman concepts or values (“What do you think the writer means by fortūna or imperium?”, “Why is Tacitus so scornful of Nero?”) and comparisons can be drawn with the modern world; Turia’s attitude to her marriage, for example, can be contrasted with modern attitudes. High school students, no less than adults, are likely to be interested in personality and prepared to discuss the historical characters who appear in the text. Some of the teacher’s questions might aim to elicit a character sketch (“What sort of person does Pliny’s mother seem to have been?”); such questions, of course, can equally well be raised about fictitious characters, but when they are asked about real people, they acquire an extra dimension. Students can also be invited to comment on the characters’ behavior; Tacitus, with his penetrating and sometimes cynical insight into human psychology,

Introduction 13

and his habit of supplying two alternative explanations for an action, offers particularly fertile ground for discussing such questions as “What was Nero’s reason for acting like this?” This can lead in turn to the discussion of value judgment (“Was Vespillo right to reject his wife’s suggestion?”, “Were Pliny and his mother justified in lingering so long at Misenum?”). It is also educationally valuable for students to try to put themselves in the shoes of a historical character and imagine what it would have been like to be in his or her situation; for example, at various points in Stage 41, the class can be asked, “What would you have done if you had been Pliny? How would you have solved this problem?” Several of the texts, especially those which narrate historical events, provide opportunities for considering them critically as source material. Tacitus, for example, often offers scope for the question “How much of this narrative is statement of fact, and how much is opinion?” It could be asked of any historian or orator “Where do you think he got his information from?” or “How fair are his comments on this character?” Students are often good at detecting bias or special pleading. They are frequently exposed to political propaganda as well as advertising and are as likely to exhibit skepticism as naivety. A useful exercise is to ask them to write an account of an incident from a standpoint different from that of the writer (for example, “How would the friend of Pliny’s uncle have described the row which he had with Pliny and his mother?”).

Consolidation of linguistic points Consolidation continues to be essential. Regular review of previous language work not only refreshes the student’s memory but also indicates to the teacher which points have been forgotten or misunderstood. After a poem or passage has been read, explored, and discussed, the teacher will often wish to return briefly to one or two linguistic points and check that they have been understood, practicing them further if necessary; students will now be sufficiently familiar with the passage to be able to focus profitably on points of detail. Nouns and adjectives can be selected from the text by the teacher for assessing students’ recognition of case, number, and gender; substitution exercises and “question-per-line” activities of the kind described in the Unit 1 Teacher’s Manual can be carried out; parallel examples of language points can be cited and practiced. Some suggestions for consolidation are given in the Stage commentaries and collected examples of various linguistic points can be found in the Language information section of the students’ book. The following ways of consolidating a poem or passage after it has been read may also be helpful on occasion: 1 (Useful if time is short.) The teacher translates the passage aloud, but in order to maintain class alertness and participation sometimes reads a particular word or phrase in Latin and asks the class to supply the translation. 2 Students have books closed, and the teacher reads the passage aloud, pausing at times to check (by comprehension questions or requests for translation of the phrase or sentence that has just been read) that the story is being followed. With an able class, or an easy story, the teacher might sometimes omit a key word from the sentence and ask the class to supply either the missing word or its English translation. 3 A written assessment can be set on the grammar and/or content of the passage.

14 Introduction

Time allocation for Unit 4 Unit 4 should normally constitute, in a four-year sequence, the third year’s work, or Latin III. In a three-year sequence, students should finish Stages 35–40 toward the end of their second year and thus have more time in their third year to read Stages 41–48 and selections from authors of their choice or from a syllabus. However, if the choice of authors in Stages 41–48 matches local requirements for the final year of a three- year sequence, the entire Unit 4 could be handled as with the third year of a four-year sequence. At university or college level, Unit 4 could serve as a conclusion to the first year of study, providing a transition to reading complete Latin texts. Some of the following passages and exercises, marked with ** in the Stage commentaries in the usual way, might be omitted or read quickly by those whose time allowance is short. Stage 35 Exercise 2 Stage 36 epigrammata Mārtiālia (make a selection) Stage 37 amīcī prīncipis Stage 38 Pōlla amor et mātrimōnium Exercise 1 Stage 39 hērēdēs prīncipis II (lines 1–21) Stage 40 cognitiō (lines 28–35) dēspērātiō I dē tribus capellīs Stage 41 carcer I and II Stage 42 Mārtiālis II and III Ovidius Exercise 2 Stage 43 Tūria II and III Stage 44 Parts II and III Exercise 2 Stage 45 Poems III and V Stage 46 tremōrēs II (lines 14–22) tenebrae (lines 12–16) Exercise 3 Stage 47 Gyās et Cloanthus II victor I Exercise 3 Stage 48 īnsidiae II naufragium II When a passage is omitted entirely, the teacher will often need to give the class a brief summary of its content and/or pick out examples of any major new linguistic points for students to study.

Introduction 15

Correlation of Unit 4 with the National Latin Exam Many students take the Latin III–IV National Latin Exam (sponsored by the American Classical League and the National Junior Classical League) in early March of their Latin III year. Students in non-semestered courses who have reached at least Stage 40 can participate quite successfully. For further information about the National Latin Exam, back copies, and a syllabus, email [email protected] or write to National Latin Exam, University of Mary Washington, 1301 College Avenue, Fredericksburg, VA 22401.

Supplementary materials (including audio) The Course website (www.CambridgeLatinCourse.com) provides a wide range of material to support the Course, including: • interactive editions of the Latin stories and passages, for use by students when reading individually or in pairs, or to allow the teacher to display the story to the whole class; • audio recordings of the Latin stories; • interactive language manipulation activities; • digital vocabulary drills; • digital dictionaries; • printable study sheets to support the study of the stories, the language features, and the cultural topics; • web links to enable further investigation of the cultural and literary topic of each Stage. The system adopted by the Course for its audio materials is the restored pronunciation, and the rules for pronouncing all letters of the Latin alphabet according to this system are summarized in Sidney Allen’s definitive work, Vox Latina (Cambridge University Press, 1989).

16 Introduction

Stage commentaries These notes contain suggestions for planning and teaching Stages 35–48. Each Stage is prefaced by a summary of the content, which is followed by teaching notes for each section in the Stage. Stories that may be omitted (see p. 15 of this manual) are marked **. Teachers should feel free to adapt the advice given in the notes to suit their circumstances, either by using suggestions made in the Introduction or by substituting their own ideas. For further reading on the cultural context and visual resources consult the Bibliography (pp. 213–216). The notes on most reading passages in Stages 41–48 include a Vocabulary check, in which a variable number of words are extracted from the text and listed in the manual for teachers to practice (if they wish) with the class after the passage has been read. The class might have their books shut while practicing these words, or could have them open so that the context may supply a reminder of each word’s meaning. The teacher might also, or alternatively, wish to practice the words immediately before the relevant passage is read, to prepare the students in advance for their initial encounter with the text. The words selected are almost always words which occur in the Vocabulary checklists (occasionally others are included, such as words which happen to occur frequently within a particular Stage); a few fairly easy words are included, but the Vocabulary checks aim especially to practice words which, though common, are easily forgotten or confused. Sometimes an important but troublesome word which occurs in a number of consecutive reading passages is included in the Vocabulary check for each passage, so that repetition may assist memorization. Teachers are of course free to substitute other words of their choice, or indeed to ignore some or all of the Vocabulary checks altogether in favor of their own methods of practicing vocabulary with the class.

Stage commentaries 17