CHAPTER I

Passage:
Here is a map. It is a small map, but the lands are big. The map is good. Europe and Africa
and Asia are continents. There are beautiful lands in Europe, in Africa, in Asia.
Look at the lands in Europe. Britain, Gaul (France), Germany, Spain, Italy, Greece are in
Europe. Look at the islands: Sicily, Sardinia, Corsica, Crete, Cyprus. Where are the islands?
They are in the Mediterranean Sea. Are the islands big? Yes, the islands are big. The
Peloponnese is almost an island. Spain, Greece, Italy are big peninsulas. Rome is in Italy.
Look at Africa. Look at the lands in Africa: Mauritania, Numidia, Libya, Ethiopia, Egypt,.
Carthage is in Africa. In Africa Dido, the Phoenician queen, lives and reigns.
Look at Asia, Look at the lands in Asia. The lands in Asia are Asia Minor, Armenia,
Mesopotamia. Arabia, Syria, Phoenicia. Look at the small island in Phoenicia. It is a beautiful
island – Tyre. Europa, the girl in the first story, lives in Phoenicia. Is the island big? The
island is not big; it is small.

Ex. 1
1. Hīc est charta. 6. Sicilia nōn est paenīnsula [Est īnsula]
2. Charta nōn est magna. [Est parva] 7. Carthāgō est in Āfricā
3. Terrae nōn sunt parvae. [Sunt magnae] 8. [Ita,] Āfrica est magna.
4. Ītalia et Graecia sunt in Eurōpā. 9. Phoenīca est in Asiā.
5. Ītalia et Graecia nōn sunt īnsulae. 10. Eurōpa in Phoenīcā habitat.

Ex. 2
1. Terrae sunt parvae. 6. Rēgīnae sunt pulchrae.
2. Chartae sunt bonae. 7. Terrae sunt magnae
3. Īnsulae sunt pulchrae. 8. Fābulae sunt pulchrae.
4. Paenīnsulae sunt magnae. 9. Puellae sunt pulchrae.
5. Puellae sunt parvae 10. Īnsulae sunt magnae.

Ex.3
1. Spectāte terram pulchram. 6. Spectāte Phoenīcam pulchram.
2. Spectāte magnam īnsulam. 7. Spectāte magnam Graeciam (Magna
(īnsulam magnam also possible but an Graecia was a name applied to areas of
adjective of size or number normally Greek settlement in coastal areas of
goes before its noun) southern Italy.)
3. Spectāte puellam parvam. 8. Spectāte magnam chartam
4. Spectāte rēgīnās pulchrās 9. Spectāte parvās īnsulās.
5. Spectāte parvās paenīnsulās
.
Ex. 4
1. Ītalia est in Eurōpā. 4. Phoenīca est in Asiā
2. Rōma est in Ītaliā 5. Graecia est in Eurōpā.
3. Carthāgō est in Āfricā,

Ex. 5
1. Īnsula est parva
2. Ītalia est magna.
3. Parva īnsula (OR Īnsula parva)est pulchra.
4. Sicilia est magna īnsula (OR īnsula magna)
5. Suntne īnsulae parvae? Nōn sunt parvae
CHAPTER II

Passage: (Verbs could be translated as past tenses also as they are `historic present’).
Europa is a beautiful girl. Europa lives in/on Tyre, an island in Phoenicia. Agenor is a
Phoenician king and Europa is his daughter. Europa plays with her Tyrian friends. The girl-
friends of Europa love the girl and Europa loves her friends.
Jupiter is a god. The god Jupiter lives on Olympus. Once he looks at the land of Phoenicia. He
looks at the girl Europa and loves her. The god wants the girl.
But Europa is timid. So Jupiter transforms himself into a beautiful bull. Europa looks at the
strange bull for a long time. Europa’s friends are timid. Who is the bull? The bull plays with
the girl and her friends. Europa plays with the bull. Now the bull is not a stranger; the girl is
not timid. The bull is now a friend. The bull carries the girls on its back. Now it carries
Europa on its back. The bull flees with the girl on its back and carries her to the island of
Crete. The god and the girl live in Crete. The island is in a new land. The new land is now
called Europe.
The poet Ovid tells the story of Europa and the bull.

Ex. 1
1. Eurōpa [est puella pulchra.] 5. Iuppiter [sē in taurum pulchrum trāns-
2. [Eurōpa] in Tyrō [habitat]. (With names fōrmat.)
of cities and small islands, Latin normally 6. Iuppiter [Eurōpam dēsīderat.]
used a special case called the locative 7. Taurus/Iuppiter [cum puellīs lūdit.]
without a preposition (see page 262), so 8. Ita. [Taurus est timidus]
the strictly correct answer here is `Tyrī’) 9. [Deus et puella] in īnsulā Crētā
[habitant].
3. [Iuppiter est] deus. 10, Poēta Ovidius fābulam dē Eurōpā et
4. [Iuppiter] in Olympō [habitat.] taurō nārrat.

Ex. 2
1. Amīcae sunt pulchrae. 4. Fābulae sunt novae
2. Tabulae sunt novae. 5. Rēgīnae nōn sunt timidae.
3. Fīliae sunt timidae,

Ex. 3
1. Puellae taurum spectant, (The girls look at the bull).
2. Amīcae puellam amant (The friends love the girl)
3. Poētae fābulam nārrant (The poets tell the story)
4. Amīcae fugitant, (The friends flee).
5. Amīcae sunt timidae. (The friends are timid)
6. Rēgīnae in Graeciā rēgnant (The queens reign in Greece).
7. Deus et puella in Eurōpā habitant. (The god and the girl live in Europe)
8. Puellae fābulam dēsīderant (The girls want the story).
9. Fīliae in īnsulā habitant (The girls live on the island).
10. Terrae novae sunt pulchrae (The new lands are beautiful).

Ex. IV
1. rēgīnae 2. poētae 3. puellae 4. īnsulae 5. Terrae

Ex. V
1. Ōlim est puella pulchra.
2. Eurōpa in Phoenīc(i)ā habitat.
3. Iuppiter puellam pulchram dēsīderat.
4. Deus sē in taurum trānsfōrmat/mūtat
5. Taurus cum Eurōpā fugitat.

Ex.6
fīlia/fīlius daughter/son; loyal and obedient to a parent
poēta poet
amat love; connected with love
dēsīderat desires; desire (n. and v.)
fugitat flees; one who flees
lūdit plays; make someone believe something false (i.e. play a trick on their mind)
nārrat tells; something thatistold, the act of telling (a story etc.)
portat carries; able to be carried
spectat looks; something out-of-the-ordinary for people to look at
trānsformat changes, transforms; transform
timida timid
novus new; unlike what went before
CHAPTER III

Minerva is a goddess. She is the goddess of wisdom. She is also the goddess of spinning
(literally: wool). Arachne is a girl. She is a girl skilled in spinning. She forms beautiful
pictures in tapestries. Minerva lives with the gods on Olympus. Arachne lives in a small house
in Lydia.
Arachne is proud because she forms beautiful pictures. Often the nymphs of the forest watch
while the skilled girl winds the wool into a ball and forms pictures in tapestries. The pictures
are beautiful. The pictures tell stories about the life of farmers and the life of the inhabitants
of Lydia.
The nymphs love the girl’s pictures and praise the girl. They also praise the goddess and
shout: `Who is your teacher? Certainly Minerva gives the pictures and the stories to you.
Does Arachne work well because she is skilful? The girl does not work well because she is
[Link] works well because Minerva is [her] teacher. Minerva teaches you well.

I
2. Arachnē est puella.
3. Minerva in Olympō habitat.
4. Arachnē in casā parvā in Lydiā habitat.
5. Minimē. Nōn deae sed nymphae spectant.
6. Minimē. Nōn agricolae sed nymphae spectant.
7. Ita, Arachnē est superba.
8. Ita, Arachnē pictūrās dē vītā incolārum fōrmat.
9. Ita, nymphae pictūrās puellae amant.
10: Nymphae clāmant: `Certē Minerva tibi fābulās et pictūrās dat.

II
A
2. Minerva nōn est dea sapientiae.
3. Arachnē nōn in casā parva/in casā parvā nōn habitat/
4. Arachnē pictūrās pulchrās nōn fōrmat.
5. Nymphae pictūrās nōn spectant.
6. Agricolae pictūrās pulchrās nōn amant.
7. Incolae deam nōn amant.
8. Arachnē fābulās nōn nārrat.
9. Dea nōn hīc/hīc nōn habitat.
10. Arachnē deam nōn laudat.
B
5. Nympha pictūrās nōn spectat.
6. Agricola pictūrās pulchrās nōn amat.
7. Incola deam nōn amat
9. Deae hīc nōn habitant.

III
1. Hīc sunt magistrae. 6. Hīc sunt nymphae perītae.
2. Hīc sunt fābulae. 7. Hīc sunt magistrae perītae.
3. Hīc sunt casae parvae. 8. Hīc sunt pictūrae puellārum.
4. Hīc sunt puellae superbae. 9. Hīc sunt fīliae deārum.
5. Hic sunt silvae pulchrae. 10. Hīc sunt casae pulchrae.

IV (Order of adjective and noun in each pair can be reversed)

2. Agricola pictūram pulchram spectat. 7. Agricola Lȳdiam pulchram spectat.
3. Agricola deam perītam spectat. 8. Agricola silvam magnam spectat.
4. Agricola casam parvam spectat. 9. Agricola Minervam superbam spectat.
5. Agricola magistram perītam spectat. 10. Agricola lānam parvam spectat.
6. Agricola nympham pulchram spectat.

V
1. Arachnē pictūrās pulchrās fōrmat.
2. Fābulās dē agricolīs/fābulās agricolārum nārrat. (the alternatives with the genitive in 2, 3
and 4 are possible but less likely than the wording with dē and the ablative)
3. Nymphae fābulās dē Minervā/fābulās Minervae amant.
4. Fābulae dē vītā incolārum /fābulās vītae incolārum Lȳdiae nārrant,
5. Minerva est magistra tibi. Tē bene docet.

[Link]
CHAPTER 4

But Arachne does not have wisdom. She denies [that] Minerva [is] her teacher. The rash girl
praises herself and shouts: `I form pictures and stories better than Minerva. Nobody is my
teacher. I do not summon Minerva. Nobody teaches me. I teach myself.’
The goddess Minerva imitates/ takes on the form of a woman and walks on the earth. She
tries to teach the rash girl. She said: `Pride is dangerous. Experience teaches [so]. But
Arachne again asserts, `I form pictures better than Minerva. The goddess should contend with
me. I should show my pictures to the nymphs and the goddess should show her pictures. Now
I summon/call Minerva. Contend with me!’
Minerva is angry. She shows that she is a goddess (literally: herself to be a goddess).
`Arachne, you are foolish. I am trying/tried/ have been trying to teach you , rash girl,’ she
said, `but you are still proud. I must teach you [a lesson]. Bring the looms here, please,
nymphs!’

Ex.1
1. Arachnē sapientiam nōn habet.
2. Arachnē deam nōn laudat.
3. Arachnē clāmat:`Fōrmō pictūrās fābulāsque melius quam Minerva.’
4. Ita. Minerva fōrmam fēminae simulat.
5. Minerva in terrā ambulat.
6. Ita. Minerva puellam docēre temptat.
7. Ita. Experientia est magistra bona.
8. Arachnē dīxit: `Fōrmō pictūrās melius quam Minerva.’
9. Ita. Minerva est īrāta.
10. Minerva dīxit: `Portāte, nymphae, tēlās hūc, quaesō.

Ex. II
A
habitō portō dō spectō habeō dēbeō
habitās portās dās spectās habēs dēbēs
hábitat portat dat spectat habet dēbet
habitāmus portāmus damus spectāmus habēmus dēbēmus
habitātis portātis datis spectātis habētis dēbētis
habitant portant dant spectant habent dēbent

Note the short a and e before final `t’ and before `nt’ in every verb, and the short vowel
throughout dō in every form except 2nd. Pers. Singular,
B
vocō vocāre vocāvī vocātum habitō habitāre habitāvī habitātum
clāmō clāmāre clāmāvī clāmātum dēbeō dēbēre dēbuī dēbitum
respondeō respondēre respondī respōnsum

Ex.3 A
1. We carry, we are carrying, we do carry; you (sing.) carry, are carrying, do carry; I carry, am
carrying, do carry; they carry, are carrying, do carry.
2. He/she/it praises, is praising, does praise; they praise, are praising, do praise; I praise, am
praising, do praise; we praise, are praising, do praise.
3. He/she/it forms, is forming, does form; we form, are forming, does form; you (plr.)form,
are forming, do form; you (sing.) form, are forming, do form.
4. We are, you (plr) are, he/she/it is, I am, they are, you (sing.) are.
[Link] (sing.) love, are loving, do love; they love, are loving, do love; he/she/it loves, is
loving, does love.
6. You (plr.) give, are giving, do give; they give, are giving, do give; we give, are giving, do
give; you (sing.) give, are giving, do give [N.B. das in the book should be dās!]; I give, am
giving, do give; he/she/it gives, is giving, does give.
7. I have, am having, do have; we have, are having, do having; they have, are having, do
have; you (sing.) have, are having, do have.
8. I deny, am denying, do deny; we deny, are denying, do deny; they deny, are denying, do
deny; you (plr) deny, are denying, do deny.
9. They shout, are shouting, do shout; we shout, are shouting, do shout; you (sing.) shout, are
shouting, do shout; h/she/it shouts, is shouting, does shout.
10. He/she/it teaches, is teaching, does teach; they teach, are teaching, do teach; I teach, am
teaching, do teach.; you (plr) teach, are teaching, do teach.

B
1. docēre I want to teach
2. simulāre The goddess tries to take the form of a woman.
3. certāre Arachne should not contend with the goddess.
4. respondēre We ought to reply
5. docēre The goddess Minerva ought to teach the proud girl.

C
1. Amant, portat, laudāmus, sumus, docēs
2. Sunt, portant, habētis, habētis,.
3. Est, clāmat, habeō, habeō, sum, dant.
4. amat, docēmus, habēmus, amantne, dēbēmus
5. negās, labōrant, laudāmus, fōrmat, est.

Ex4
A
1. puellae Minerva gives wisdom to the girl.
2. deae The girl gives a picture to the goddess.
3. Minervae The nymphs give looms to Minerva.
4. tibi Who is your teacher?
5 fēminae The farmer gives land to the woman.
6. agricolīs The goddess gives land to the farmers.
7. fēminīs The nymph tells a story to the women.
8. terrae The farmers give a name to the land
9. incolīs The goddess gives houses to the inhabitants of Lydia.
10. puellae The teacher gives wool to the girl

B
2. dē vītā about the life
3 cum Minervā with Minerva
4 in Lȳdiā in Lydia
5 dē pictūrīs about the pictures
6 dē agricolīs about the farmers
7 in fōrmā in the form
8 dē terrā about the earth
9 cum nymphā with the nymph
10 in terrā in the earth

Ex V
1. Casa est parva, sed [est] pulchra..
2. Puellae sunt īrātae dē fābulā.
3. Fābulae sunt novae.
4. Parvīs puellīs (OR Puellīs parvīs) fābulās // Fābulās parvīs puellīs nārrāmus. (The indirect
object tends to precede the diirect one in Latin (as in most languages) but this is not a hard-
and-fast rule)
5. Minerva in terrā in fōrmā fēminae ambulat (OR fōrmam fēminae simulat et ambulat).
6. `Nēmō est mihi magistra;[ego] mē doceō,’ dīxit Arachnē
7. Dea puellam temerāriam (OR temērariam puellam) docēre temptat.
8. Experientia docet.
9. Dea mihi pictūrās suās (dē)mōnstrāre dēbet.
10. Minerva puellam docēre dēbet.
11. Incolīs Lydiae casās dare dēbēmus. (The verb dō, dare, dedī, datum is slightly irregular
and has a short `a’ throughout, except in the 2nd. person (`you’) singular)
12. Dā, dea, mihi sapientiam (OR sapientiam mihi)
13. Quid/Quod, parva puella, est tibi nōmen (OR nōmen tibi) ?
14. Labōrāte, agricolae, mēcum.
CHAPTER V

Minerva and Arachne were working well. First Minerva was gathering /began to gather the
wool into a ball. She began to form /was forming beautiful pictures about the good deeds of
the gods. The pictures told/were telling about the life of the gods on Olympus. Then Arachne
started to gather the wool. But Arachne began to form stories about the bad deeds of the gods.
Certainly the goddess’s pictures were beautiful; the girl’s pictures were beautiful as well.
The farmers and nymphs and the inhabitants of Lydia were watching while the girl and the
goddess were working. The nymphs loved the girl’s pictures and stories; they especially loved
the long story about the carrying off of Europa by Jupiter. But Minerva was very angry and
did not like the stories about the evil deeds of the gods.
And so Minerva changes/changed the girl into a spider. First the girl is/was small; then she
is/was smaller; finally she is/was very small. Arachne tries/tried to kill herself and hangs/hung
on a cord. But Minerva has/had pity and prevents/prevented the girl from killing herself.
`Hang for ever,’ she said. Thus the goddess teaches/taught the girl and the spider hangs for
ever on its thread.
N.B. The present tense is often used for narration of events in past time, hence the alternative
translations. The imperfect can refer to persisting feelings or actions, the starting of actions
or their repeated occurrence in the past.

Ex 1
1. Minerva [prīmō lānam glomerābat].
2. Minimē. [Pictūrās dē factīs bonīs deōrum fōrmābat.]
3. Ita, sunt pulchrae.
4. Arachnē [deinde lānam glomerābat]
5. Ita. [Pictūrās dē factīs malīs deōrum fōrmābat.]
6. Ita. Fābulam amābant.
7. Minimē. [Minerva fābulam et pictūrās nōn amābat.]
8. Ita, mōnstrābat.
9. Arachnē sē necāre temptat.
10. Poēta Ovidius [ fābulam nārrat. ]

Ex. 2
A
1. mōnstrō I show/am showing/do show 6. temptās you try, are trying, do try
2. fōrmāmus we form, are forming, do form 7. spectat, he looks, is looking, does look
3. nārrat she tells, is telling, does tell 8. estis you are
4. docētis you teach, are telling, do tell 9. portant they carry, are carrying, do carry
5. dant they give, are giving, do give 10 dēbēmus we must, are having to, do have to

B
1. mōnstrābam I was showing, showed, did show, used to show
2. fōrmābāmus we were forming , formed, did form, used to form
3. nārrābat she was telling, told, did tell, used to tell
4. docēbātis you were teaching, taught, did teach, used to teach
5. dabant they were giving, gave, did give, used to give (notice the short stem vowel)
6. temptābās you were trying, tried, did try, used to try
7. spectābat, he was looking, looked, did look, used to look
8. erātis you were, used to be
9. portābant they were carrying, carried, did carry, used to carry
10. dēbēbāmus we were having to, had to, did have to, used to have to
Other possible translations, according to context, include `began to…’ and `kept on…ing.’

C
1. mōnstrābamne was I showing? 6. temptābāsne? were you trying?
2. fōrmābāmusne? were we forming? 7. spectābatne? was he looking?
3. nārrābatne? was she telling? 8. erātisne? were you?
4. docēbātisne? were you teaching? 9. portābantne? were they carrying?
5. dabantne? were they giving 10. dēbēbāmusne? did we have to?
Notice that the addition of the –ne changes the stress pattern. The whole unit is treated like
one word and so the final syllable of the verb, which is now a penultimate one ending with a
consonant, is stressed according to the usual rule.

III
2. Nārrāte, poētae… 4. Salvēte, deae!
3. Respondēte, magistrae… 5. Valēte, nymphae pulchrae.

IV
2. Spectābam deam pulchram. 6. Spectābam Minervam deam. .
3. Spectābam pictūram magnam. 7. Spectābam casam parvam.
4. Spectābam amīcam bonam. 8. Spectābam puellās bonās
5. Spectābam nymphās silvae pulchrās 9. Spectābam amīcās bonās
(OR ..nymphās pulchrās silvae) 10. Spectābam magistram perītam.
Note that silvae is genitive singular (`of the wood’) so does not change.
Ex. V
1. Pictūrae dē deā erant pulchrae.
2. Puellae fābulās pulchrās amant.
3. Poēta Ovidius dē deā et puellā / dē deā puellāque nārrat.
4. Arachnē quoque fābulās dē deā nārrat (with quoque in this position the meaning is that
Arachne as well as other people tells the stories about the goddess; if quoque goes after deā
it means that she tells story about the goddess as well as about other topics. Note that quoque
goes after the item focused on and that it does not normally come last in a sentence.)
5. Puella temerāria erat superba.
6. Minerva erat īrāta quod Arachnē fābulās dē factīs malīs deōrum nārrat/nārrābat
(using the imperfect here would suggest that Arachne habitually told such stories or that
she kept on for a long time).
7. Fābulae poētae erant longae.
8. Minerva dīxit : `Tē docēre temptō’
OR `Tē docēre temptō,’ dīxit Minerva.
OR `Minerva `Tē docēre,’ inquit, `temptō.’
9. Minerva fōrmam puellae superbae mūtat/trānsfōrmat.
10. Arachnē nunc est arānea et in fīlō suō aeternō (OR in aeternum) pendet
(although it is not the phrase given in the chapter, in aeternum would be more usual
here because aeternō could be misinterpreted as an adjective agreeing with fīlō!)
 CHAPTER 6

The poet Ovid tells a story about the goddess Latona and the woman Niobe. Niobe, the queen
of Thebes, was proud. She was proud because she had seven sons and seven daughters. She
used to praise herself and her children. `The reason for my pride is not the power of my
family and friends but the fame of my children.’
The goddess Latona also had famous children. Her son was Phoebus Apollo and her daughter
was the goddess Diana.
Manto was a woman of the town of Thebes. Manto had a lot of wisdom. She used to walk in
the streets of the town and advise the women in this way: “Give gifts to Latona and also to the
children of Latona, Phoebus and Diana. Latona is the goddess of women.” So the women of
Thebes decorate/decorated the altar of the goddess in the temple; there they give/gave gifts to
the gods and goddesses and incense to the sacred flames,
See! Beautiful and proud Niobe was walking with the women on a street in the town
(literally: in the town’s street). She stands/stood [still] and looks/looked around with proud
eyes; she calls/called the women of Thebes and cries/cried: `Why do you pray to Latona? No
one prays to me. I am descended from famous grandparents (literally: the daughter of famous
grandfathers). I am the queen of the palace of Cadmus. I am beautiful, worthy of [being] a
goddess. But I am especially blessed because I have seven boys and seven daughters. Ask
now the cause of my pride. Why does Latona take precedence over me? Latona has only one
son and one daughter. Fortune gives/gave me seven. Women, pray to me, not to Latona. Give
gifts to me, not to Latona”
And so the women of Thebes started to give presents to the queen, not to Latona.

I
1. Ita.
2. Ūnum fīlium habet.
3. Ūnam fīliam habet.
4. Dīānā (fīliae is dative here)
5. Phoebus [Apollo]
6. Ita. Erat superbissima.
7. Quod septem fīliōs et septem fīliās habēbat.
8. Ita. In prīncipiō Lātōnae dōna dant. (This question refers to the situation before Niobe’s
speech to the women)
9. In viā/viīs oppidī [Thēbārum]
10. Niobē dīxit ita: `Date dōna mihi, nōn Lātōnae.’
II
Sing Plr Sing Plr Sing Plr
Nom via viae flamma flammae fāma fāmae
Acc viam viās flammam flammās fāmam fāmās
Gen viae viārum flammae flammārum fāmae fāmārum
Dat viae viīs flammae flammīs fāmae fāmīs
Abl viā viīs flammā flammīs fāmā fāmīs

Nom oculus oculī fīlius fīlīī līberī

Acc oculum oculōs fīlium fīliōs līberōs
Gen oculī oculōrum fīliī fīliōrum līberōrum
Dat oculō oculīs fīliō fīliīs līberīs
Abl oculō oculīs fīliō fīliīs līberīs

Nom puer puerī dōnum dōna Phoebus

Acc puerum puerōs dōnum dōna Phoebum
Gen puerī puerōrum dōnī dōnōrum Phoebī
Dal puerō puerīs dōnō dōnīs Phoebō
Abl puerō puerīs dōnō dōnīs Phoebō

Nom templum templa fīlia fīliae causa causae

Acc templum templa fīliam fīliās causam causās
Gen templī templōrum fīliae fīliārum causae causārum
Dat templō templīs fīliae fīliābus causae causīs
Abl templō templīs fīliā fīliābus causā causīs

N.B. The vocative (the case for addressing someone) is normally identical with the
nominative, but 2nd. declension nouns change –us to -e and –ius to –ī (e.g. Marce, ubi es?
Marcus, where are you? Fīlī, cāvē! Son, be careful!). The 1st declension nouns fīlia and deā
have Dat/Abl plural in –ābus to distinguish them from fīlius and deus.

III
A
1. temptant they try 11. circumspectant they look around
2. ambulant they walk 12. habent they have
3. mūtant they change 13. docent they teach
4. dant they give 14. ōrnant they decorate
5. glomerant they wind into a ball 15. stant they stand
6. sunt they are 16. negant they deny
7. dēbent they must 17. ōrant they pray
8. certant they contend 18. praestant they surpass
9. mōnstrant they show 19. clāmant they shout
10. simulant they pretend 20. habitant they live, dwell

B
1. temptābat he/she was trying 11. circumspectābat he/she was looking around
2. ambulābat he/she was walking 12. habēbat he/she was having
3. mūtābat he/she was changing 13. docēbat the/she was teaching
4. dabat he/she was giving 14. ōrnābat he/she was decorating
5. glomerābat he/she was winding into a ball 15. stābat he/she was standing
6. erat he/she was 16. negābat he/she was denying
7. dēbēbat he/she was having to 17. ōrābat he/she was praying
8. certābat he/she was contending 18. praestābat he/she was surpassing
9. mōnstrābat he/she was showing 19. clāmābat he/she was shouting
10. simulābat he/she was pretending 20. habitābat he/she was living
Notice short vowel in dabat.
C
1. portābam 2. mūtābat 3. nārrābāmus 4. erant 5. es
6. dabant 7. habitāmus 8. ambulābātis 9. habeō 10.. ōrnant
11. ōrāmusne 12. mūtābat 13. circumspectat 14. habēbant 15. mōnstrābāmusne?
16. ōrnāre dēbet 17. dare dēbēmus 18. docēbam 19. ambulāre temptābant 20. erat
N.B. The English simple past (`he changed’ etc.) could also be translated by the Latin present
tense.
Notice short vowel in dabat.

IV
A Niobē habēbat (Niobe had)….
1. ūnum fīlium ūnam fīliam N.B. Numbers 1-3 and multiples of 100 or
2. duōs fīliōs duās fīliās 1000 are declined. Others have only one
3. trēs fīlīōs trēs fīliās form.
4. quattuor fīliōs quattuor fīliās
5. quīnque fīliō quīnque fīliās
6. sex fīliōs sex fīliās
7. septem fīliōs septem fīliās
B
Nom fīlius bonus fīliī bonī fortūna bona fortūnae bonae
Acc fīlium bonum fīliōs bonōs fortūnam bonam fortūnās bonās
Gen fīliī bonī fīliōrum bonōrum fortūnae bonae fortūnārum bonārum
Dat fīliō bonō fīliīs bonīs fortūnae bonae fortūnīs bonīs
Abl fīliō bonō fīliīs bonīs fortūnā bonā fortūnīs bonīs

Nom templum magnum templa magna

Acc templum magnum templa magna
Gen templī magnī templōrum magnōrum
Dat templō magnō templīs magnīs
Abl templō magnō templīs magnīs
Ex. V
1. Dīāna erat fīlia Lātōnae.
2. Niobē septem fīliās habēbat.
3. Niobē septem fīliōs quoque habēbat.(quoque must go in this position as the sons are the
additional item)
4. Phoebus erat fīlius Lātōnae.
5. Niobē erat superba quod septem fīliōs et septem/septemque fīliās habēbat.
6. Lātōna ūnum fīlium et ūnam fīliam sōlum habēbat..(OR .. sōlum ūnum fīlium et ūnam
fīliam.. in which case sōlum could be interpreted as an adjective agreeing with fīlium rather
than as an adverb.)
7. Lātōna erat īrāta quod Niobē Phoebō et Dīānae dōna dare negat/negābat.(dōna could also
go before Phoebō, and Phoebō Dīānaeque could replace Phoebō et Dīānae)
8. Niobē dīxit: `Ōrāte mē, fēminae Thēbārum; dōna mihi, nōn Lātōnae date.’ (. `Mē ōrāte’ is
also possible, as is putting dōna immediately before date.)
9. Niobē dīxit: `Fortūna mihi est bona.’ (putting mihi at the end is not wrong, though there’s a
tendency for it (and tibi) to go earlier in the sentence).
10. Ecce, Niobē est rēgīna in rēgiā Cadmī.
 CHAPTER 7

The goddess Latona was very angry. She summons/summoned her children, Phoebus and
Diana, and tells/told a long story about the proud woman. The mother said thus: “The people
do not honour my temple. The people’s deed is wicked. O Phoebus and Diana, my children,
help me!”
Then Phoebus said: “Enough! A long complaint means [literally: is] a delay for punishment!”
Then quickly Diana and Phoebus flew/fly through the air to the queen’s palace.
There was a level field near the walls of the palace. Here, while the sons of the queen
are/were exercising their horses, Phoebus kills/killed the seven sons. He kills/killed the boys
with his arrows. The report of the evil deed and the tears of the friends tell/told the story of
the disaster to the queen (rēgīnae here is dative; it cannot be genitive as the friends are not
hers but her sons’). “O Latona,” said Niobe, “I have seven funerals, but I still have more than
you. I still have seven daughters.”
Now Latona was angry again. She calls/called her daughter, Diana, [and] `Help me, Diana,’
said Latona. And Diana kills/killed six daughters. Now Niobe sees the power of Latona.
Niobe begs/begged with many tears for the life of the last daughter. `Leave one, [who is ]also
the youngest.’ She cries/cried. But Diana also kills/killed the last one with an arrow. While
Niobe is weeping/was weeping, she freezes/froze into a statue; still now her tears are flowing.

I
1-5: Own answers (with (nōn) habeō / habēmus)
6. Ita.
7. Nōn habeō (unless you happen to be an archer!).
8. (Nōn) habeō
9. (e.g.) Aliquandō (= sometimes) habeō.
10. Nōn habeō/Nūllās fīliās habeō/ Ūnam habeō etc.

II SINGULAR PLURAL
1
parvus parva parvum parvī parvae parva
parvum parvam parvum parvōs parvās parva
parvī parvae parvī parvōrum parvārum parvōrum
parvō parvae parvō parvīs parvīs parvīs
parvō parvā parvō parvīs parvīs parvīs
2
longus longa longum longī longae longa
longum longam longum longōs longās longa
longī longae longī longōrum longārum longōrum
longō longae longō longīs longīs longīs
longō longā longō longīs longīs longīs
3
meus mea meum meī meae mea
meum meam meum meōs meās mea
meī meae meī meōrum meārum meōrum
meō meae meō meīs meīs meīs
meō meā meō meīs meīs meīs
4
ultimus ultima ultimum ultimī ultimae ultima
ultimum ultimam ultimum ultimōs ultimās ultima
ultimī ultimae ultimī ultimōrum ultimārum ultimōrum
ultimō ultimae ultimō ultimīs ultimīs ultimīs
ultimō ultimā ultimō ultimīs ultimīs ultimīs
5
prīmus prīma prīmum prīmī prīmae prīma
prīmum prīmam prīmum prīmōs prīmās prīma
prīmī prīmae prīmī prīmōrum prīmārum prīmōrum
prīmō prīmae prīmō prīmīs prīmīs prīmīs
prīmō prīmā prīmō prīmīs prīmīs prīmīs
6
multus multa multum multī multae multa
multum multam multum multōs multās multa
multī multae multī multōrum multārum multōrum
multō multae multō multīs multīs multīs
multō multā multō multīs multīs multīs
In the plural multus = many

III
A
Acc vītās bonās amīcōs bonōs dōna sacra
Gen vītārum bonārum amīcōrum fāmōsōrum dōnōrum sacrōrum
Dat vītīs bonīs amīcīs fāmōsīs donīs sacrīs
Abl vītīs bonīs amīcīs fāmōsīs donīs sacrīs
Note this is in the British order!
B
1. sagittīs: Phoebus and Diana were killing the children by means of their arrows.
2. verbīs superbīs: Latona spoke to the women with proud words
3. fābulā: The poet is teaching the children by means of a story.
4. lacrimīs; Latona asks with her tears for punishment of the proud woman.
5. oculīs: Niobe begs for the life of her last daughter with her eyes.
6. oculīs superbīs: Niobe looks around with proud eyes.
C
1. fēminae 2. puerī 3. Phoebe, 4. popule5. mea fīlia/fīlia mea

IV
2. Date, fēminae superbae, dōna deīs.
3. Spectāte, amīcī, ruīnam meam.
4. Rogāte, agricolae, vītam longam
5. Ōrāte, popule, dōnum sapientiae.
6. Date, rēgīnae, equōs incolīs Thēbārum.
7. Stāte hīc, nymphae pulchrae, mēcum

V
1. Lātōna līberōs [suōs], Phoebum et Dīānam [Phoebum Dīānamque], convocat (convocābat
is possible but would mean that she started to call them or that the calling was a long process
)
2. Dīxit: `Fīliōs et fīliās [fīliōs fīliāsque] fēminae superbae necāre dēbēs.’(you could put dēbēs
at the start for emphasis and put superbae before fēminae if you preferred).
3. Phoebus septem fīliōs sagittīs [suīs] necat (less likely: necābat)
4. Dīāna sex fīliās sagittīs [suīs] necat (less likely: necābat)
5. Niobē vītam fīliae ultimae [OR ultimae fīliae] rogat/ōrat (less likely: rogābat/ōrābat)
6. Factum malum prohibēre temptat.
7. Sed Lātōna etiam īrāta erat.
8. Dīāna ultimam fīliam [OR fīliam ultimam] necat (less likely: nēcābat)
9. Dum Niobē lacrimat, congelat / Niobē, dum lacrimat, congelat.
10. Etiam nunc lacrimat.
CHAPTER 8
Passage
There was once a beautiful nymph. The nymph’s name was Syrinx. She lived in Arcadia. A
hundred gods and satyrs loved Syrinx, but Syrinx did not love them. Although Syrinx loved
the other nymphs and the goddess Diana, she nevertheless fled from gods and satyrs. She used
to hide in the shady, dense forest.
Syrinx said, `I will devote my life to Diana. No man, no god will have me.’
However the god Pan, whilst he is/was wandering in the forest, sees/saw Syrinx and at once
loved her. Pan said: `I will love you forever.’ [But] Syrinx replied, `I will be a nymph of
Diana for ever.’ [Here, as often, autem does not really need to be translated].
Then the wretched nymph quickly flees/fled across the fields and through the woods until she
sees/saw the bank of a stream (literally: `of waves’). The stream prevented flight. Syrinx thus
begs/begged the nymphs for help. `Change my form, kind nymphs!’ The nymphs turn/turned
her into papyrus reeds on the bank.
However Pan thinks/thought he is/was holding Syrinx in his arms; in his arms he holds/held
not her but papyrus. While poor Pan is/was breathing across the reeds, they give/gave a sound
of complaint. Finally Pan said, `I will have a union with you. Syrinx will remain [i.e. will still
be with me]’ And he joins/joined seven reeds with wax. Thus Pan forms/formed the pan-pipes
and gives the pipes the name `Syrinx.’

I
1. Erat nympha.
2. Minimē. [Amat cēterās nymphās et Dīānam.]
3. In silvā [umbrōsā et dēnsā sē cēlat]
4. Pān [eam maximē amābat.]
5. [Dīxit,] `Aeternum tē amābō.’
6. Undae [fugam prohibēbant]
7. Nymphae [fōrmam mūtant.]
8. Papӯrōs [habēbat]
9. Fistulam [fōrmat].
10. Syringa [est nōmen septem papӯrīs].

II
ager plānus (V. plāne) agrī plānī vir bonus ([Link]) virī bonī
agrum plānum agrōs plānōs virum bonum virōs bonōs
agrī plānī agrōrum plānōrum virī bonī virōrum bonōrum
agrō plānō agrīs plānīs virō bonō virīs bonīs
agrō plānō agrīs plānīs virō bonō virīs bonīs
nympha pulchra nymphae pulchrae deus miser deī /dī miserī
nympham pulchram nymphās pulchrās deum miserum deōs miserōs
nymphae pulchrae nymphārum pulchrarum deī miserī de(ōr)um miserōrum
nymphae pulchrae nymphīs pulchrīs deō deīs/dīs
nymphā pulchrā nymphīs pulchrīs deō deīs/dīs

puer parvus ([Link]) puerī parvī

puerum parvum puerōs parvōs
puerī parvī puerōrum parvōrum
puerō parvō puerīs parvīs
puerō parvō puerīs parvīs

III
A
vocābō erō dabō vidēbō habēbō laudābō s
vocābis erās dabis vidēbis habēbis laudābis
vocābit erat dabit vidēbit habēbit laudābit
vocābimus erāmus dabimus vidēbimus habēbimus laudābimus
vocābitis erātis dabitis vidēbitis habēbitis laudābitis
vocābunt errant dabunt vidēbunt habēbunt laudābunt

stō, stābis, stābit, stābimus, stābitis, stābunt

B
2. eritis you will be 3 manēbunt they will stay 4. habēbimus we will have
5. dabunt they will give 6. amābunt they will love 7. cēlābitis you will hide
8. mūtābitis you will change 9. dēvovēbimus we will devote 10. vidēbimus we will see

IV
decem vīgintī trigintā quadrāgintā, quīnquāgintā, sexāgintā, septuāgintā, octōgintā, nōnāgintā,
centum
2. - trīgintā puerōs.
3.- quadrāgintā papӯrōs.
4. - quīnquāgintā agrōs
5.- sexāgintā satyrōs
6.- octōgintā nymphās
7 – nōnāgintā casās
8.- centum līberōs
9.- decem magistrās
10. – septuāgintā virōs

V
1. Syringa, nympha pulchra, in Arcadiā habitābat.
2. Deōs satyrōsque [Deōs et satyrōs] nōn amābat ;
cēterās nymphās et deam Dīānam sōlum amābat.
3.`Nūllus vir mē habēbit.’ dīxit. `Dīānam sōlum amābō.’ [OR sōlam
Dīānam, in which case sōlam would be an adjective rather than an
adverb]
4. Pān Syringam amābat et dīxit [dīcēbat]: `Aeternum [aeternō] tē
amābō.’
5. Syringa per silvās et agrōs [silvās agrōsque] fugitat.
6. Pān papӯrōs in bracchiīs tenet.
7. Dum trāns papӯrōs suspīrat, [papӯrī] sonum querellae dant. [ The
subject in the second clauses could be omitted here as it is clear
from the context]
8. Pān papӯrōs cērā coniungit.
9. Ita/Sīc Syringam aeternum /aeternō habēbit.
10. Pān fistulam fōrmat et [fistulae] nōmen syringam dat. [ The
dative in the second clauses could be omitted here as it is clear
from the context]

VI (Accented syllable in red)

a mā bat um brō sa
vi dē bant fu gi tā bat
Dī ā na ` ha bē bō
 CHAPTER 9

Often poets invoke the Muses while they tell stories. “Tell, o Muse, the story about the nymph
Callisto and about her son, Arcas.
“Look at the stars in the sky, said the Muse. Behold seven stars, the Greater Bear, and seven
other stars, the Smaller Bear. The Greater Bear is Callisto and the Smaller Bear is Arcas, her
son. On account of the anger of the queen of the gods, Jupiter transformed the nymph and her
son into stars in the sky.
Callisto was a nymph whose form was beautiful. She lived/used to live/was living in Arcadia.
While Jupiter was looking after the woods and fields in Arcadia, a country dear to the god, he
saw the beautiful and shapely/pretty nymph and at once fell in love with her. Certainly
Callisto was shapely.. A pin held back her clothing and a band held back her
free-flowing/careless hair. Callisto used to wander through the woods with Diana and the
other nymphs. She carried a javelin and arrows.
Once Callisto was alone and lying asleep on grassy ground; Jupiter saw her. The nymph was
pleasing to the god. “Certainly Juno will not see me here,” he said, “or if she does see, there
are delights which are costly but worth the cost.” At once Jupiter assumed the form of Diana
and thus approached the nymph secretly. Thus Jupiter was the winner but Callisto, the
wretched nymph, avoided the familiar woods and her familiar friends and the goddess Diana.

I
1. Est nympha/Ursa Maior.
2. Est Arcas
3. Propter īram rēgīnae deōrum.
4. Certē est fōrmōsa/ Ita
5. Fībula [vestimentum retinēbat]
6. Vitta [capillōs retinēbat]
7. Iaculum et sagittās [portābat]
8. In terrā herbōsā
9. Iuppiter [nympham spectābat]
10. Iuppiter [erat victor]

IIA
cūrāvī - cūrāvistī – cūrāvit - cūrāvimus – cūrāvistis – cūrāvērunt
ēvītāvī - ēvītāvistī - ēvītāvit - ēvītāvimus - ēvītāvistis – ēvītāvērunt
tenuī - tenuistī - tenuit - tenuimus - tenuistis - tenuērunt
habuī - habuistī - habuit - habuimus - habuistis - habuērunt
IIB
2. exercuimus 3. habuērunt 4. iacuistis 5. prohibuimus 6. retinuērunt 7. portāvimus
8. appropinquāvērunt 9. tenuistis 10. dēbuērunt.

III
1. suum 2. eius 3. eius 4 eius 5. eius

IV
once at once so/thus very greatly certainly also/even/still
(and)then again not very little here also
finally often thus for ever well there

V
1. `Stellās spectāte/vidēte,’ dīxit Mūsa.
2. Ursa Maior est Callistō, ōlim nympha pulchra.
3. Ursa Minor est Arcas, fīlius eius.
4. Iuppiter nympham et fīlium [nympham fīliumque] in stellās propter īram rēgīnae deōrum
trānsformāvit/mūtāvit [you can add eius after fīlium (thinking of Arcas as purely the nymph’s
son rather than as Jupiter’s), as the passage does, but it isn’t really necesssary; propter....
deōrum can go at the front also]
5. Callistō in Arcadiā, terrā deō cārā, habitābat/habitāvit (The imperfect is a little better here)
6. Iuppiter nympham pulchram/fōrmōsam vīdit/spectāvit et statim eam [eam statim] amāvit.
7. Fībula vestīmentum [eius] [retinēbat] et vitta capillōs neglectōs retinēbat.[The first
retinēbat is best left out and the object is then governed by the final one]
8. Iuppiter nympham videt dum [ea/illa] in somnō iacet et Callistō est grāta deō.
9. Iuppiter fōrmam deae Dīānae simulāvit et nymphae/ad nympham appropinquāvit.
10. Callistō amīcās [suās]et silvās nōtās ēvītāvit/ēvītābat/fugitābat/fugitāvit.
 CHAPTER 10

Juno the queen of the gods was very angry. She waited for the suitable time for punishment.
When the boy Arcas was born to the nymph, Juno said, `There is no reason for delay. See my
injury [i.e. the wrong done to me], adulteress! But Jupiter is not here. He will not save you. I
will change your beautiful form.’
She spoke and took hold of the nymph’s hair (literally `hairs’) and threw her down (literally:
`prone’) onto the ground. When the wretched Callisto was holding out her arms as a
suppliant, the arms began to grow rough with shaggy hair. No words remained in the nymph;
only a harsh voice. Callisto is (or `was’ – this is historic present) a bear [could also be
translated `she-bear’ since ursa is feminine; the default word for bear is the masculine ursus]
but human feelings remain in the bear.. A! How many times did she wander in fields once her
own! A! How many times did she, terrified, flee from men and wild animals in the woods,
[though] herself an animal.
See! Arcas, after thrice five [fifteen] years, almost a man. He is a hunter and is often present
in the woods. While he is hunting wild animals Arcas sees a bear. The bear is Callisto and she
recognizes her son. Arcas evades her unmoving eyes and tries to kill the bear with a javelin.
But almighty Jupiter was kind to his son. He prevented matricide. He transported the bear and
her son into the sky [as] neigbouring stars [i.e. constellations]

I
1. Iūnō. 2. Arcas. 3. Iuppiter 4. Minimē.
5. Est rauca. 6. Sunt sēnsa hūmāna in ursā, neque tamen [`but not’] in ursīs.
7. Minimē. Erat territa. 8. Arcas, fīlius eius. 9. Quīndecim annōs habēbat/nātus erat.
10. Iuppiter.

II
dedī, dedistī, dedit, dedimus, dedistis, dedērunt.
stetī, stetistī, stetit, stetimus, stetistis, stetērunt
iūvī, iūvistī, iūvit, iūvimus, iūvistis, iūvērunt
respondī, respondistī, respondit, respondimus, respondistis, respondērunt
mānsī, mānsistī, mānsit, mānsimus, mānsistis, mānsērunt
vīdī, vīdistī, vīdit, vīdimus, vīdistis, vīdērunt

III
Gen: pretiōrum idōneōrum Dat: pretiīs idōneīs Acc: pretia idōnea Abl: pretiīs idōneīs
IV
1. Arcadia est deō cāra Arcadia is dear to the god.
2. Iuppiter est fīliō [suō] benignus. Jupiter is kind to his son. [possessive adjective is
optional]
3. Callistō est deō grāta. Callisto is pleasing to the god.
4. Arcas est nymphae cārus. Arcas is dear to the nymph.
5. Fābulae sunt līberīs grātae. Stories are pleasing to children.

V
1. `Figūram/fōrmam pulchram tuam mūtābō,’ dīxit Iūnō. [Or: Dīxit… ]
`…’ inquit `….’ [The verb inquit (the other forms are inquiunt (3rd. pl.) and inquam
([Link].)) can only be used inside the quotation, not before or after it]
2. Ubi Arcas nātus est [Cum Arcas nātus est], Iūnō figūram/fōrmam nymphae
mūtāvit/trānsfōrmāvit.
3. Sōlum/Sōla vōx rauca et sēnsā hūmāna manēbant/mānsērunt
4. Callistō supplex bracchia tetendit.
5. Callistō perterrita, nunc animal ferum, virōs et animālia ēvītāvit/ēvītābat/fugitābat/fugitāvit.
[N.B. animal is a neuter noun]
6. Arcas nunc quīndecim annōs [ter quīnque]habet/ nātus est.
7. Paene vir est. [Order can vary]
8. Ursam iaculō [suō] necāre temptāvit.
9. Arcas est vēnātor in silvīs Arcadiae.
10. Iuppiter mātricīdium prohibuit et ursam fīliumque in caelum, stellās vīcīnās, trānsportāvit.

VI
a ni mal re ti ne ō in iū ri a [n.b. the second `i’ is a consonant] mā tri ci di um
brac chi um tem po ra Iup pi ter ter ri tus
 CHAPTER 11
The power of heaven is immense and has no end. Whatever the gods order is done/is a fact.
Do you doubt [this] students? I will tell about two trees, about a linden and an oak in Phrygia.
The story is true, I myself have seen the place; not far off is a pool, once land full of men,
now water [literally `waves’] full of fish. Here [hūc = to this place, hither; hīc = in this place]
Jupiter came and Mercury, carrier of the caduceus [herald’s staff – see illustration in the
Powerpoint] also came with his father. The gods had assumed/imitated the form of men and
were walking in the land of Phrygia [literally `in the land Phrygia’]. They asked for rest [ie. a
chance to rest; the noun requiēs, requiētis has a regular 3rd declension accusative requiētem
but the shortened requiem is more common] ] in a thousand houses, but a thousand houses
were closed [i.e. the people inside shut their doors on the travelers]
However, one small house was open. Pious Baucis and old Philemon lived here; the two were
the entire household. The two were both the slaves and the masters.
When the gods entered the small house, old Philemon told the gods to sit down; Baucis
prepared wine and food (meat and radish and eggs). She also prepared the table, but the table
was not level: one leg [literally `limb’] was not long enough. However, by means of a piece of
pottery, the table was made flat. The old people were kind to the strangers, and gave the
greater part of their food and wine to the gods.

I
1. Minimē. [Est immēnsa]
2. Poēta nārrat.
3. Iuppiter et Mercurius.
4. In Phrygiā/Nōn procul ā stagnō / Prope stagnum.
5. Ita. Est vēra. [Give the answer according to the passage, not according to reality!]
6. Minimē. Simulat fōrmam virī.
7. Minimē. Populus nōn erat benignus.
8. [Pia] Baucis et senex Philēmōn benignī erant.
9. Baucis [cibum et vīnum] parāvit.
10. Unum membrum nōn erat satis longum.

II
A
pater, patrem, patris, patrī, patre (pl.) patrēs, patrēs, patrum, patribus, patribus.
arbor, arborem, arboris, arborī, arbore, (pl.) arborēs, arborēs, arborum, arboribus, arboribus
pars, partem, partis, partī, parte (pl.) partēs, partēs [or partīs], partium, partibus, partibus.
fīnis, fīnem, fīnis, fīnī, fīne [or fīnī] (pl.) fīnēs, fīnēs [or fīnīs], fīnium, fīnibus, fīnibus
victor, victōrem, victōris, victōrī, victōre (pl.) victōrēs, victōrēs, victōrum, victōribus,
victōribus.

B (The alternative forms of the accusative plural of i-stems and of the ablative singular of
nouns with identical nominative and genitive singular have been added for completeness but
the book’s authors do not expect students to memorize these at this stage.)
1. pater noster patrēs nostrī 2. parva arbor parvae arborēs
patrem nostrum patrēs nostrōs parvam arborem parvās arborēs
patris nostrī patrum nostrōrum parvae arboris parvārum arborum
patrī nostrō patribus nostrīs parvae arborī parvīs arboribus
patre nostrō patribus nostrīs parvā arbore parvīs arboribus

3. fīnis bonus fīnēs bonī 4. longa pars longae partēs

fīnem bonum fīnēs/fīnīs bonōs longam partemlongās partēs/partīs
fīnis bonī fīnium bonōrum longae partis longārum partium
fīnī bonō fīnibus bonīs longae partī longīs partibus
fīne/fīnī bonō fīnibus bonīs longā parte longīs partibus

5. victor ferus victōrēs ferī

victōrem ferum victōrēs ferōs
victōris ferī victōrum ferōrum
victōrī ferō victōribus ferīs
victōre ferō victōribus ferīs
Note that fīnis is both masculine and feminine, so fīnis bona etc. would also be possible in 3.

III
1. Patrem bonum habeō. I have a good father.
2. Parvam arborem habeō. I have a small tree.
3. Minimam vōcem habeō I have a very small/quiet voice. [It should be vōx, not vox!]
4. Fābula fīnem bonam habet. The story has a good end.
5. Piscēs/piscīs bonōs habēmus. We have good fish/fishes
6. Pater meus est senex pius, My father is a pious old man.
7. Dī longam requiem/requiētem The gods wanted a long rest.
dēsīderābant.
8. Multum vīnum/vīnī habēmus. We have a lot of wine. [It is possible to us the partitive
genitive as well as the accusative here]
9. Deum Mercurium vīdī. I saw the god Mercury.
10. Duo advenae sunt in oppidō Two strangers are in the town.
11. Dominum benignum orāmus. We beg the kind master.
12. Pater noster est in caelō, Our father is in heaven.
13. Servum pium vocāmus. We call the pious slave.
14. Multum cibum/cibī dēsīderāmus. We want a lot of food. [It is possible to us the partitive
genitive as well as the accusative here]
15. Longam mēnsam habēmus. We have a long table.
16. Maximam vōcem dēsīderāmus, We want a very loud voice. [It should be vōx, not vox!]
17. Longum piscem in fīlō tenēs. You are holding a long fish on the line.
18. Arborem pulchram cūrō. I’m looking after the beautiful tree.
19. Magnum stāgnum videō. I see the large pool.
20. Vīnum bonum parō. I prepare good wine.

IV
1. ūnam 2, quattuor 3. septem 4. duōs 5. duo 6. quīnque 7. quīnquāginta
8. trigintā quīnque 9. centum 10. septem…septem

1. Potentia caelī fīnem nōn habet.

2. Vōbīs fābulam dē duōbus senibus narrābō
3. Est fābula vēra quod/quia [ego] ipse locum vīdī
[ego is not essential here as the notion of `I’ is included in the verb]
4. Stāgnum nunc est plēnum piscium/piscibus
5. Iuppiter et fīlius Mercurius ad locum/locō appropinquāvērunt et
(re)quiētem/requiem in mīlle casīs rogāvērunt/rogābant [The Imperfect could be used here to
emphasise that they kept on asking; appropinquo [= ad + propinquō] and most verbs with a
preposition or particle prefixed can normally be used with the dative so locō is an alternative
to ad locum.]
6. Sōlum una parva casa/Ūna parva casa sōla erat aperta rēgī deōrum.
[The adjective agreeing with casa could be used as an alternative to the
adverb sōlum]
7. Philēmōn advenās sedēre iussit.
8. Baucis duōbus deīs/dīs cibum et vīnum dedit.
9. Mēnsa nōn erat plāna quod/quia ūnum membrum non erat satis longum.
10. Duo senēs deīs/dīs benignī erant et eīs partem maiōrem cibī et vīnī
dedērunt.

VI (Despite what the book says, the `Rule of the antepenultimate’ is not quite `invariable’
because a short penultimate syllable can be accented in 2nd. declension vocatives and
contracted genitive singular forms ending in –ī (e.g. Vergilī) but it does apply to almost
everything else, including all the words in this paragraph).
Potentia caelī est immēnsa et fīnem nōn habet. Quicquid dī (deī) imperant, factum est.
Dubitātisne, discipulī? Nārrābō dē duābus arboribus, dē tiliā et quercū in Phrygiā. Fābula est
vēra. Ego ipse locum vīdī; nōn procul est stāgnum, terra ōlim plēna virōrum, nunc undae
plēnae piscium. Hūc Iuppiter vēnit et Mercurius caducifer cum patre suō quoque vēnit. Deī
fōrmam virōrum simulāverant, et in terrā Phrygiā ambulābant. Requiem in mīlle casīs
rogābant, sed mīlle casae erant clausae.
 CHAPTER 12

But after dinner the two, the old man and his spouse, saw a miracle. Wine and food were still
in the bowls! Pious Baucis and fearful Philemon were/are afraid and pray/prayed to the gods.
The two old folk had a goose; Baucis and Philemon tried/started to try to catch the goose and
kill it as a sacrifice to the gods. However, the goose fled to the gods who said: `Do not kill the
goose. We are gods, Jupiter and Mercury. We must destroy the evil town. But to you we will
give a reward.
Juppiter transformed the evil city into a pool and the impious men into fish; but he
transformed the house of the two pious people into a temple. He said to the two old people:
“What do you want, righteous old man and pious woman?” The old people replied: “We want
to be priests in the temple of Juppiter, and since we have had many happy years together
(literally: `between ourselves’) we want to die at the same hour.
And so Philemon and Baucis were guardians of the temple as long as they lived. But once
when the two old people were standing in front of the temple, Philemon saw his spouse sprout
leaves and Baucis saw Philemon sprout leaves. `Farewell, darling,’ (literally: `spouse’) said
Philemon, [and] said Baucis; then a tree hid [their]mouths. Jupiter had transformed them into
trees. Still today these trees stand in Phrygia in front of the temple of Jupiter; I myself have
seen them. Many pray in the temple and strangers are always well received. The names of
Baucis and Philemon are well-known in this land.

I
1. Philēmōn et Baucis [mīrāculum vīderunt]
2. Vīnum et cibus etiam erant in crāteribus.
3. Deī [Iuppiter et Mercurius ansērem servāvērunt]
4. Iuppiter et Mercurius.
5. Quod oppidum erat malum / Quod hominēs oppidī erant impiī.
6. Quod Philēmōn et Baucis advenās bene recēpērunt / Quod Philēmōn et Baucis erant
benignī advenīs/deīs (Masculine plural benignī is used for a combined masculine and
feminine subject).
7. Sacerdōtēs in templō Iovis esse et eādem hōrā morī.
8. [Custōdēs sunt] Philēmōn et Baucis.
9. [Est] Stāgnum.
10. [Arborēs] sunt Philēmōn et Baucis.

II
sacerdōs pius – sacerdōtem pium – sacerdōtis piī – sacerdōtī piō – sacerdōte piō
sacerdōtēs piī – sacerdōtēs piōs – sacerdōtum piōrum – sacerdōtibus piīs – sacerdōtibus piīs
(N.B. In the vocative singular pius changes to pie)

ānser ferus –ānserem ferum –ānseris ferī – ānserī ferō – ānsere ferō
ānserēs ferī – ānserēs ferōs – ānserum ferōrum – ānseribus ferīs – ānseribus ferīs
(N.B. In the vocative singular ferus becomes fere)

coniūnx beāta – coniugem beātam – coniugis beātae – coniugī beātae – coniuge beātā
coniugēs beātae – coniugēs beātās – coniugum beātārum – coniugibus beātīs – coniugibus
beātīs

nōmen nōtum – nōmen nōtum – nōminis nōtī – nōmine nōtō – nōmine nōtō
nōmina nōta – nōmina nōta – nōminum nōtōrum – nōminibus nōtīs – nōminibus nōtīs

III
1. Videō deōs appropinquāre 2. Hōram fugere/fugitāre videō 3. Videō Iovem esse rēgem
deōrum.
4. Baucidem esse arborem videō. 5 Multī vident cēnam esse bonam.
6. Senēs vident cēnam manēre 7. Senēs vident ānserem fugere/fugitāre ad deōs
8. Dī vident bonōs esse laetōs. 9. Dī vident senēs esse advenīs benignīs.
10. Philēmōn videt Baucidem frondēre

IV
[Link]ō templō 2. post cēnam 3. trāns campum/campōs 4. dē vītā/vītīs
[Link] silvā/silvīs 6. advenīs/advenā 7. in silvam/silvās 8 inter arborēs 9. in crāteribus
10. sine hominibus

V
1. Philēmōn et Baucis post cēnam mīrāculum vīdērunt.
2. Crātēr etiam erat plēnus cibī [Ablative cibō is also possible here, but
less likely]
3. Suum ūnum ānserem necāre dēsīderābant, sacrificium deīs/dīs. [if sōlum
is used here it would have to go between suum and ānserem as otherwise the
meaning could be `only their goose’]
4. Deī/Dī hominēs impiōs in piscēs/piscīs et oppidum in stāgnum
mūtāvērunt/trānsfōrmāvērunt.
5. Deī/Dī senēs rogāvērunt, `Quid dēsīderātis.’
6. Duo senēs respondent: `Eādem hōrā morī dēsīderāmus.’
7. Deī/Dī parvam casam in templum mūtant/trānsfōrmant.
8. Philēmōn et Baucis sunt custōdēs templī .
9. Advenae semper sunt bene receptī in templō.
10. Duae arborēs prō templō Iovis stant, custōdēs Philēmōn et Baucis.
 CHAPTER XIII

Narcissus was a handsome and proud young man. He thought/used to think he was most
handsome (literally: `He thought himself to be most handome’) Although many [women] (the
ending –ae on multae shows that they were female) had loved
/fallen in love with the young man, still (literally `however’) he loved nobody except himself.
When the nymph Echo saw Narcissus in the forest, she at once fell in love with (literally:
`loved’) the youth. Echo still had both a body and a voice, but her voice was strange/new.
Because Echo had wronged (literally: `harmed’) Juno, the queen of the gods, with a trick, the
nymph was not pleasing to Juno. Juno said, `You will not have wronged me without
punishment (literally: `harmed’).’ Echo has a voice but can only respond/reply. She can report
the words of others but she does not have her own words.
Once Narcissus is/was hunting/following (historic present) wild animals in the woods and
mountains with the other young men. By chance he wanders/wandered alone and Echo
followed the youth secretly. Night approaches/approached and hides/hid obscure forms in the
forest.
`Who’s there,’ asks/asked Narcissus. `Who’s there?’
`Is there,’ replies/replied Echo.
`Come,’ shouts/shouted Narcissus in a loud (literally: `big’) voice.’
`Came!’ [literally `I came’] replies/replied Echo and the wretched nymph tries/tried to hold
the proud youth in her arms.
`Stop,’ shouts/shouted Narcissus, `I’ll die before I will give myself to you!’ (literally `will
have given’)
`I will give myself to you’ (literally: `will have given’) resounds/resounded wretched Echo.
In shame she hides/hid herself – in woods, in mountains, in caves – until her shape is very
small. Only a voice remains/remained.
Still today this voice remains. If you [will] have wandered in mountains and caves and [will]
have shouted `Echo, Echo’, shouted, Echo will make your words resound (literally: `will
resound your words.’)
But Narcissus did not escape (literally: `did not flee’) the power of love. Once in the water
(literally `waves’) of a river he saw himself, a most handsome youth, and fell in love with
(literally: `loved’) his own image/the image of himself. When he tried to touch the image, the
image fled. Finally he realized that he himself was the image. With tears he disturbed the
waters of the spring.. The image fled again; love devoured the young man’s body; neither
strength, nor colour, nor appearance remained.
`Farewell,’ said Narcisssus, and lay down on the bank of the river. `Farewell.’
`Farewell,’ resounded Echo.
The sisters of Narcissus prepared to bury the body of the youth who they had loved. But in
place of the body there remained only a flower – the flower called narcissus with white
leaves.

I.
1. [erat] iuvenis fōrmōsus et superbus.
2. Nēminem praeter sē [amābat.]
3. Quod [Echō]Iūnōnī [dolō] nocuerat.
4. Minimē. [Nōn erat grāta Iūnōnī]
5. Minimē. [Sōlum verba aliōrum reportāre/resonāre potest]
6. In silvīs et montibus.
7. Quod Narcissus eam nōn amābat/Quod verba sua nōn habēbat/Quod iuvenem tenēre nōn
poterat.
8. In silvīs, montibus, spēluncīs [sē cēlāvit].
9. [Narcissus]Sē, [iuvenem fōrmōsissimum ][imāginem sui/suam][vīdit]
10. Flōs appellātus Narcissus.

II.
A
rēgnāveram rēgnāverō parāveram parāverō
rēgnāverās rēgnāveris parāverās parāveris
rēgnāverat rēgnāverit parāverat parāverit
rēgnāverāmus rēgnāverimus parāverāmus parāverimus
rēgnāverātis rēgnāveritis parāverātis parāveritis
rēgnāverant rēgnāverint parāverant parāverint

habitāveram habitāverō vīderam vīderō

habitāverās habitāveris vīderās vīderis
habitāverat habitāverit vīderat vīderit
habitāverāmus habitāverimus vīderāmus vīderimus
habitāverātis habitāveritis vīderātis vīderitis
habitāverant habitāverint vīderant vīderint

docueram docuerō mānseram mānserō

docuerās docueris mānserās mānseris
docuerat docuerit mānserat mānserit
docuerāmus docuerimus mānserāmus mānserimus
docuerātis docueritis mānserātis mānseritis
docuerant docuerint mānserant mānserint
fueram fuerō tetigeram tetigerō
fuerās fueris tetigerās tetigeris
fuerat fuerit tetigerat tetigerit
fuerāmus fuerimus tetigerāmus tetigerimus
fuerātis fueritis tetigerātis tetigeritis
fuerant fuerint tetigerant tetigerint

B
2, errāverant 3. vīderant 4. amāverant 5. fuerant 6. nocuerant 7. mānserant
8. clāmāverant 9. fuerant 10. vīderant

C
1. clāmāveritis…..respondēbit 2. responderit…vidēbitis 3. fuerint…erunt
4. āfueris…reportābō 5. narrāverit…erit

III
A
rēx bonus* parva soror flūmen pulchrum nox longa
rēgem bonum parvam sorōrem flūmen pulchrum noctem longam
rēgis bonī parvae sorōris flūminis pulchrī noctis longae
rēgī bonō parvae sorōrī flūminī pulchrō noctī longae
rēge bonō parvā sorōre flūmine pulchrō nocte longā

rēgēs bonī parvae sorōrēs flūmina pulchra noctēs longae

rēgēs bonōs parvās sorōrēs flūmina pulchra noctēs longās
rēgum bonōrum parvārum sorōrum flūminum pulchrōrum noctium longārum
rēgibus bonīs parvīs sorōribus flūminibus pulchrīs noctibus longīs
rēgibus bonīs parvīs sorōribus flūminibus pulchrīs noctibus longīs

*Vocative singular: rēx bone

B
2. cārissima 3. īrātissima 4. superbissima 5. piissimus 6. piissima
7. sanctissima 8. nōtissima 9. stutltissima [Link]

IV
1. potest 2. potest 3,. potest…potest 4. possum 5. Potesne 6. possunt7. potest
8. possunt 9. possunt 10. possunt
V
1. Narcissus pulcher/fōrmōsus [Pulcher/Fōrmōsus Narcissus] nēminem
praeter sē amābat [amābat, not amāvit, is better here as the reference is to
Narcissus’s continuing condition]
2. Ēchō vōcem adhūc habēbat.
3. Iūnō erat īrāta; nympha nōn erat eī grāta [grāta eī].
4. Narcissus cum cēterīs/aliīs iuvenibus in silvīs montibusque [et montibus]
errābat.
5. Ēchō iuvenem vīderat et amāverat [amāveratque].
6. Ēchō sōlum respondēre potest ; sōla/sōlum verba Narcissī [verba
Narcissī sōlum] reportāre potest. [sōlum here is an adverb, sōla a
neuter plural adjective]
7. Nympha misera in spēluncīs sē cēlat dōnec fōrma est minima. [the
reflexive pronoun sē is needed here because cēlāre, unlike English `hide’,
cannot be used intransitively]
8. Sī Narcissus in flūmen spectāverit, sē sōlum vidēbit. [Accusative flūmen
because `in’ really means `into’ here]
9. Imāgīnem tangere temptat [tentat].
10. Sorōrēs [eius]flōrem prō corpore vident.

Etymology

vox populī vōx + populus, voice of the people Monterey mōns + rēx mountain king
amorous amor involving (sexual) love nocturnal nox (active) in the night
colour color colour; spelunkers/speleology spēlunca cave explorers/study of caves
corporal corpus bodily sorority soror women’s group in a university
floral flōs to do with flowere tangible tangō touchable
imagination imāgō power of picturing new obscure ōbscūrus not clear
things in the mind
juvenile iuvenis involving young people Nemo nēmō nobody
 CHAPTER 14

Daphne was the first love of Phoebus (i.e. Apollo). The anger of Cupid gave love to Phoebus.
Proud Phoebus had seen Cupid with arrows and had said: `What business do you have
(literally `What is there for you’), boy, with arms and arrows? Arrows are mine. I am able to
give wounds to enemies. You should be content with loves.’
The son of Venus replied: `Your bow, Phoebus, pierces all things, but my bow pierces you.’
and in his bow Cupid placed (literally: `held’) two arrows: one arrow puts love to flight; the
other produces love. The latter (literally `this one’) is sharp, the former (literally `that one’) is
blunt. The god Cupid pierces the maiden with the blunt arrow, Phoebus with the sharp one.
Phoebus loves, Daphne flees from the name of love. She loves only to wander through the
woods with Diana and the other nymphs.
Often the nymph’s father, a river god (literally `god of a river’), said: `You should have a
husband.’ Often he said: `You should have children.’ But beautiful Daphne begs/begged
(historic present) [her] father this: `Dearest father, give me this gift – that I be a maiden for
ever (literally `me to be a perpetual maiden’ – accusative and infinitive construction, the
regular way of turning a statement into a noun clause ) The father gave this gift to [his]
daughter/
However Phoebus loves/loved the maiden and the flames of love grow/grew in the god. The
god sees/saw the maiden and praises/praised her head, hair, eyes, praises/praised her fingers
and hands and arms. Daphnē however does not stay. She flees into the woods.
`Stay, nymph! I am not an enemy, Nymph, stay! Love is the cause of my grief. You do not
know that I am Phoebus (literally: `me to be Phoebus’). Jupiter is my father (literally; `is
father to me’). I am the god of the sun, of music, of medicine, of the arts.’
Daphne had fled again. Phoebus again went after the maiden (literally: `sought’). He tried to
conquer her. Daphne saw the waters of her father’s river and said: `Give me help, father, if
you can, change my form.’
At once [her] father changes/changed her beautiful arms into branches. Daphne, the shapely
maiden, is/was now the laurel, a beautiful tree. Phoebus gives/gave kisses to the tree and
says/said: `If you cannot be my wife. You will certainly be my tree; you will stand first on the
heads of the kings and leaders of Rome.’

II
1. Daphnē [erat prīmus amor Phoebī].
2. Cupīdo [Phoebō amōrem dēdit].
3. Quod Phoebus dīxerat `Quid est tibi, puer, cum armīs et sagittīs/Quod Phoebus eum
dērīserat (`had mocked him’)
4. Altera est acūta, altera est obtūsua (`one… the other’ – thinking just about the two he used
on that occasion) OR Aliae sunt acūtae, aliae sunt obtūsae (`some……others’ - thinking
about his whole stock!)
5. Minimē. Fīgit acūtam sagittam in Phoebum.
6. Deus flūminis [est pater nymphae]
7. Ita. [Laudat fōrmam nymphae]
8. Est fīlius Iovī, deus sōlis, mūsicae, medicinae, artium.
9. Ita. Dat auxilium.
10. Ita, pater mūtat fōrmam eius. Ita, Poebus etiam eam, nunc laurum, amat.

II
A
crēscō crēscis crēscit crēscimus crēscitis crēscunt
crēscēbam crēscēbās crēscēbat crēscēbāmus crēscēbātis crēscēbant
crēvī crēvistī crēvit crēvimus crēvistis crēvērunt
crēveram crēverās crēverat crēverāmus crēverātis crēverant
crēverō crēveris crēverit crēverimus creritis crēverint

dō dās dat damus datis dant

dabam dabās dabat dabāmus dabātis dabant
dedī dedistī dedit dedimus dedistis dedērunt
dederam dederās dederat dederāmus dederātis dederant
dederō dederis dederit dederimus dederitis dederint
(Note the short `a’ where other 1st conjugation verbs have a long vowel.)

respondeō respondēs respondet respondēmus respondētis respondent

respondēbam respondēbās respondēbat respondēbāmus respondēbātis respondēbant
respondī respondistī respondit respondimus respondistis respondērunt
responderam responderās responderat responderāmus responderātis responderant
responderō responderis responderit responderimus responderitis responderint

petō petis petit petimus petitis petunt

petēbam petēbās petēbat petēbāmus petēbātis petēbant
petīvī petīvistī petīvit petīvimus petīvistis petīvērunt
petīveram petīverās petīverat petīverāmus petīverātis petīverant
petīverō petīveris petīverit petīverimus petīveritis petīverint

faciō facis facit facimus facitis faciunt

faciēbam faciēbās faciēbat faciēbāmus faciēbātis faciēbant
fēcī fēcistī fēcit fēcimus fēcistis fēcērunt
fēceram fēcerās fēcerat fēcerāmus fēcerātis fēcerant
fēcerō fēceris fēcerit fēcerimus fēceritis fēcerint

B
2. faciēbat 3. spectābat 4. stābat 5. docēbat 6. iubēbat 7. manēbat 8. tangēbat
9. petēbat 10. crēscēbat

C
2. dīxerant 3. dederant 4. tenuerant 5. fēcerant 6. vīderant 7. mānserant
8. iusserant 9. ōrāverant 10. iūverant

III
magnus amor coniūnx mea soror tua nōmen fāmōsum
magnum amōrem coniugem meam sorōrem tuam nōmen fāmōsum
magnī amōris coniugis meae sorōris tuae nōminis fāmōsī
magnō amōrī coniugī meae sorōrī tuae nōminī fāmōsō
magnō amōre coniuge meā sorōre tuā nōmine fāmōsō

magnī amōrēs conugēs meae sorōrēs tuae nōmina fāmōsa

magnōs amōrēs coniugēs meās sorōrēs tuās nōmina fāmōsa
magnōrum amōrum coniugum meārum sorōrum tuārum nōminum fāmōsōrum
magnīs amōribus coniugibus meīs sorōribus tuīs nōminibus fāmōsīs
magnīs amōribus coniugibus meīs sorōribus tuīs nōminibus fāmōsīs

caput meum hostis novus

caput meum hostem novum
capitis meī hostis novī
capitī meō hostī novō
capite novō hoste novō (OR hostī novō)

capita mea hostēs novī

capita mea hōstēs (or hostīs) novōs
capitum meōrum hostium novōrum
capitibus meīs hostibus novīs
capitibus meīs hostibus novīs
IV
1. Nōs 2. Tū 3. Ego 4. Is/Ille/Hic 5. Eī/Illī/hī 6. Vōs..eī/illī/huic
7. Ea/illa/haec…eīs/hīs/illīs 8. Ea/illa/haec… nōbīs 9. Ea/Illa/Haec.
10. Id/Illud/Hoc … eōs/illōs/hōs

V
1. Cupīdō Phoebō prīmum amōrem / amōrem prīmum [eius] dedit. [eius (of him) is not really
needed as it can be understood from the context]
2. Phoebus Cupīdinem cum arcū sagittīsque/arcū et sagittīs spectāverat.
3. Fīlius Veneris Phoebō dīxerat: `Sagitta mea/mea sagitta tē fīgere potest.’
4. Cupīdō duās sagittās in arcū [suō] tenet/habet; altera/ūna est acūta, altera [est] obtūsa
//altera acūta, altera obtūsa est OR duo tēla...tenet/habet; alterum/ūnum est acūtum, alterum
[est] obtūsum//alterum acūtum, alterum obtūsum est.
5. Daphnē cum Dīānā et amīcīs/ Dīānā amīcīsque [suīs/eius] in silvīs errāre sōlum amat. [the
possessive pronoun or adjective [eius/suīs] could be omitted; if kept, eius would be `of
Diana’, suīs `of Daphne’].
6. Pater nymphae est deus flūminis.
7. Nymphae dōnum – eam esse virginem perpetuam - dat [the accusative is used because the
whole clause is an expansion of dōnum, object of dat]
8. Phoebus Apollo est deus artium, mūsicae et medicīnae ; est etiam deus sōlis/est deus sōlis
quoque.[etiam comes before and quoque after the item which they focus on]
9. Daphnē ad flūmen/flūvium fugitat/fugit et auxilium ōrat.
10. Pater virginem in arborem trānsfōrmat/mūtat, laurum Phoebō cāram. [All names of trees
are feminine]

Etymology

ōsculum kiss virgō, virgin, maiden

dolor, sorrow vulnus, wound
ars art crēscō grow
hostis enemy trānsfigō pierce
dux leader petō, seek, go for
(Italian word derives from accusative (`petition’ is from 4th part, petītum)
ducem)
manus hand
 CHAPTER XV

Pyramus, a very handsome youth, and Thisbe, a very beautiful maiden, occupied
neighbouring houses. They were lovers and [their] love grew with time. [their] parents tried to
prevent the love of the two young people. But love made a way. There was a crack in the wall
of [i.e. between] the houses which nobody had seen for [literally `through’] many years. The
lovers had first seen this crack (what does love not sense?) and made a channel for speech
[literally: `path of voce’]. Pyramus use to stand on this side, Thisbe on that and through the
crack they murmured sweet words. At night they said `Goodbye’ and gave kisses from both
sides.
Then Pyramus and Thisbe, the two lovers, have/had a plan. At night they will/would try to
deceive their patents and leave their homes. When they have/had [literally `will have’] left
[their] homes and the town they will/would meet at the tomb of Ninus under a tree. The tree is
a mulberry, very heavy with white fruit, close to a spring.
First Thisbe arrives/arrived and sits/sat under the tree. See, [there] comes/came a lion which
wants/wanted to drink the waters of the spring. , Because recently the lion had killed an
animal, blood was on its face/mouth. Far off Thisbe sees/saw the lion and flees/fled into a
dark cave. When she flees/fled, she leaves a garment/covering which the lion tears/tore with
[its] bloody mouth.
Now Pyramus came; he saw the tracks of the lion and Thisbe’s [Greek genitive ending]
bloody garment/covering. Very miserable he said, `One night will have seen the death of two
lovers. You were most deserving of a long life. I am the cause of your death [ego is used for
emphasis here; normally sum alone would be sufficient]. I told you to come by night to a
dangerous place (plural for singular, as often in poetry) and I did not come here earlier. O
come, lions devour my body! But it is cowardly just to wish for death!’ He carried Thisbe’s
garment/covering to the tree, gave kisses and tears; he cried out, `I also will seek death; and
so he killed himself with his sword.’ He lay under the tree and and pulled the sword out from
the wound. The blood spurts/spurted up onto the grass like a spring/fountain; when it
touches/touched the root of the tree, it makes/made the white fruit purple.

I
1. Pyramus est iuvenis pulcherrimus/fōrmōsissimus. Thisbē est virgō/puella
fōrmōsissima/pulcherrima.
2. In domibus vicīnīs [habitābant]…
3. Parentēs [amōrem prohibuērunt]
4. In pariete domuum.
5. Nocte fallere parentēs et domum/domōs/domūs relinquere temptābunt.
6. Ad tumulum Ninī sub arborem/arbore convenient [stictly speaking, to elicit an answer with
sub plus the accusative (implying motion towards a detination) the question word should be
quō (=to where, wither) rather than ubi (`at which point?’). With an ubi question, the
ablative arbore might be more suitable.]
7. Thisbē [prīmō vēnit].
8. Leō [quoque adest]
9. Leō vēlāmina/vēlāmen ōre cruentō laniat/laniāvit OR Leō aquam fontis bibit/bibit.
Thisbē in spēluncam obscūram fugit, vēlāmina/vēlā[Link]/relīquit.
10. Cruor [colōrem] mūtāvit/mūtat.

II
A
PRES IMPERF FUT PERF PLUPF FUTPER
petō petēbam petam petīvī petīveram petīverō
petis petēbās petēs petīvistī petīverās petīveris
petit petēbat petet petīvit petīverat petīverit
petimus petēbāmus petēmus petīvimus petīverāmus petīverimus
petitis petēbātis petētis petīvistis petīverātis petīveritis
petunt petēbant petent petīvērunt petīverant petīverint

PRES IMPERF FUT PERF PLUPF FUTPER

fugiō fugiēbam fugiam fūgī fūgeram fūgerō
fugis fugiēbās fugiēs fūgistī fūgerās fūgeris
fugit fugiēbat fugiet fūgit fūgerat fūgerit
fugimus fugiēbāmus fugiēmus fūgimus fūgerāmus fūgerimus
fugitis fugiēbātis fugiētis fūgistis fūgerātis fūgeritis
fugiunt fugiēbant fugient fūgērunt fūgerant fūgerint

PRES IMPERF FUT PERF PLUPF FUTPER

sentiō sentiēbam sentiam sēnsī sēnseram sēnserō
sentīs senbtiēbās sentiēs sēnsistī sēnserās sēnseris
sentit sentiēbat sentiet sēnsit sēnserat sēnserit
sentīmus sentiēbāmus sentiēmus sēnsimus sēnserāmus sēnserimus
sentītis sentiēbātis sentiētis sēnsistis sēnserātis sēnseritis
sentiunt sentiēbant sentient sēnsērunt sēnserant sēnserint

B
PRES IMPERF FUT PERF PLUPF FUTPER
relinquit relinquēbat relinquet relīquit relīquerat relīquerit
quaerō quaerēbam quaeram quaesīvī quaesīveram quaesīverō
faciunt faciēbant facient fēcērunt fēcerant fēcerint
pervenīmus perveniēbāmus perveniēmus pervēnimus pervēnerāmus pervēnerimus

III
2, vidēbit 3. veniet 4. nocēbit 5. faciet 6. relinquent 7. necābit 8. erunt
9. mūtābit 10 dēvorābit.

IV
1. hīc 2.hūc 3. hinc…illinc 4.ōlim [Link] 6. prior 7. deinde 8. Procul
9. statim 10. Dēnique

V
1. Pӯramus Thisbēn amābat/amāvit sed parentēs amōrem [eōrum] prohibēre
temptāvērunt/temptābant. [amābat is better as it’s a continuing state]
2. Per fissum in pariete dīcēbant/loquēbantur
3. Casās/Domōs/Domūs vīcīnās tenuērunt/tenēbant/habēbant/habuērunt.
4. Cōnsilium habent: domōs/casās [suās] nocte relinquent et
sēcrētō convenient.
5. Parentēs [suōs] fallent et urbem relinquent.
6. Sub arborem ad tumulum Ninī convenient.
OR Ad arborem tumulō Ninī vīcīnam convenient.
OR Ad tumulum Nīnī sub arborem convenient
7. Thisbē prīma (prīmō/prīmum) venit et leōnem videt.
8. Thisbē fugit et vēlāmen/vēlāmina relinquit. [in the passage the plural
vēlāmina is used for the singular, as frequently happens in poetry]
9. Leō vēlāmen/vēlāmina ōre cruentō laniat.
10. Pӯramus, ubi/cum vēlāmen videt, est miserrimus et sē gladiō [suō] necat
[ubi is slightly better because there is a suggestion of a causal relationship
here and so cum would normally be used with the subjunctive which we
have not yet covered]

Etymology
Fissure, domicile, gladiator, itinerary, leonine, parents, temporary, convention, imbibe,
request, relinquish, optative, sentiment, radical (?)
 CHAPTER 16
See, Thisbe comes/came out of the cave. She searches for/searched for [her] lover with her
eyes because she wants/wanted to tell him [literally: `tell to him’] about the dangers. She
sees/saw the place and the shape of the tree, but the colour of the fruit makes/made her
uncertain. While she hesitates/hesitated, she sees in the grass under this tree the bloody body
of Priamus. With many tears the frightened maiden cries out thus: `Pyramus, who snatched
you away from me? Pyramus, Pyramus, answer, your dearest Thisbe is calling you (literally:
`is naming you’).’
At Thisbe’s name. Pyramus opened his eyes; then he closed them again in death.
When Thisbe saw her veil/garment and Pyramus’s sword, `Your [own] hand,’ she says/said,
‘and your love killed you! I also have love and hand (literally: `to me also are love and
hand’). I will send myself into death; if I was the cause of your death, I will also be your
companion in death (literally `the companion of your death’). O, poor parents, grant (literally:
`give’) us this gift. Place in this one tomb us who love joined together, who one hour joined
together (i.e. who died at (almost) the same time in a similar way). But you, tree, must have
(literally: `have!’ (imperative) )always purple fruit, as a memorial to two dead lovers
(literally: `monuments of two dead lovers’).’
While she says/was saying this, she kills/killed herself with Pyramus’s sword. Both the gods
and [their] parents heard these words, for the colour of the fruit of the mulberry tree is not
now white but purple when it has ripened thoroughly. The ash of the two lovers rests/rested in
one urn.

I
1. Quod dē perīculīs nārrāre dēsīderābat (dēsīderat is possible but less likely as it does not
match the tense of the question).
2. Minimē. Sunt purpurea.
3. Pӯrāmum [in herbā vīdit]
4. Thisbē clāmat: `Pӯrame, quis tē ā mē rapuit?
5. Oculōs aperuit.
6. Vēlāmina sua et gladium Pӯramī vīdit.
7. [Sē] Requiēscere/esse in ūnā urnā cum Pӯramō / Pōnere in ūnō urnō eōs quōs amor
coniūnxit /Cinerem duōrum amantium in ūnā urnā requiēscere (It’s better to use the infinitive
– with or without an accusative subject – in this kind of sentence)
8. Habēre pōma purpurea, [monumenta duōrum amantium mortuōrum.]
9. Gladiō Pӯramī sē necāvit
II
A
1. Haec 2. Hic 3. Hunc 4 . Hōs 5. Hanc 6. Hoc [Link] 8. Hanc [Link] [Link]
B
1. Ille 2. Illa 3. Illud 4. Illum 5. Illam 6. Illud [Link] [Link]ō 9. illōs 10. illōs

III
1, Pōnite. 2. Pōne 3. Audīte 4. Legite 5. Aperī 6. Claude 7. Audī 8. Scrībite
9. aperīte [Link]

IV
PRES IMPERF FUT PERF PLUPF FUTPER
mittō mittēbam mittam mīsī mīseram mīserō
I send I was sending I will send I (have) sent I had sent I will have sent
legunt legēbant legent lēgērunt lēgerant lēgerint
they read they were reading they will read they (have) read they had read they wil have read

pōnit pōnēbat pōnet posuit posuerat posuerit

h/she places he/she was placing he/she will place he/she (has) placed he/shr had placed he/she will have placed

audīs audiēbās audiēs audīvistī audīverās audīveris

you hear you were hearing you will hear you have heard you had heard you will have heard

V
1. Thisbē Pӯramō dē hīs perīculīs nārrāre dēsīderat.
2. Ubi/Cum colōrem pōmī / pōmōrum videt, dubitat.
[The `o’ in pōmum is long but is it wrongly shown as short in line 2 of the
passage]
3. Corpus cruentum (Cruentum corpus) Pӯramī videt.
4. Pӯramus oculōs iterum nōn aperuit.
5. Thisbē dīxit, `Hic magnus amor tē necāvit.’
6. `Comes mortis tuae erō.’
7. `Ō parentēs miserī, nōbīs hoc dōnum date.’
8. `Cinerem nostrum (Cinerēs nostrōs) in ūnā urnā (in ūnam urnam) pōnite.
[The accusative ūnam urnam is theoretically a bit better because placing involves
movement, not just static position but in sentences of this kind the Romans did in fact more
usually use the ablative; cinis can be put in either singular or plural]
9. Deī (Dī) verba puellae/virginis audīvērunt, et parentēs cinerem/cinerēs in ūnā urnā (ūnam
urnam) posuērunt.
10. Color pōmī/pōmōrum mōrī semper est purpureus.
 CHAPTER 17
Perhaps you have heard of the maiden who used to defeat men in a running contest. That
story is not [just] rumour, for Atalanta did beat them. People used to say that she was as
famous for her beauty as for her feet [i.e `the speed of her feet’]
When this maiden wanted to know about a husband, the oracle replied: `Flee from a husband,
Atalanta. You should not have a husband; he/it will be death for you.’ The terrified maiden
lives/lived in the forest unwed and puts to flight the crowd of suitors with these harsh words:
`I will not be a wife, unless first beaten in a race. Compete against me (literally `with me’)
with [your] feet. I will be given as a wife as a prize to the victor,. But death will be the reward
for the slow ones. Let this be the rule of the contest!’
However to the contest came a rash crowd of suitors whom such great power of beauty and
love had brought to boldness. [In English the `crowd of suitors’ has to come immediately
before the relative pronoun (whom) which refers to it but in the Latin turba procōrum can be
separated from quōs because its masculine accusative plural form shows it can only refer to
that phrase, not to any other nouns in the sentence] Hippomenes had also taken his seat as a
spectator of the race; he had condemned (i.e. `criticised’) the suitors: ‘Is a wife sought
through such great dangers?’ (i.e. ` is it reasonable to try to find a wife in such a dangerous
way?’). But when he saw the beauty and the body of the girl (i.e her beautiful body – this kind
of phrase is known by the Greek term hendiadys (`one through two’), where two separate
nouns really refer to one and the same thing.) `Forgive me you who I blamed. I did not yet
know the rewards’ (literally `rewards’) she is indeed beautiful. I, too, am captivated by
Atalanta’s beauty.’ While he praises/praised [her], the fires of love grow/grew; he wishes for
victory for the girl (i.e. he wants the suitors in the current race to be defeated so he himself
will still have a chance to win her.) `Why don’t I try my luck in this contest?’ (literally `Why
is the luck of this race not tried by me?’). God/A god will help one who loves.’ While he
watches/watched, the maiden flies/flew on winged foot (ie, she seems to be really flying).
Although she seems/seems to go no slower than a Scythian arrow still Hippomenes
marvels/marveled more at the maiden’s beauty. Atalanta reaches/reached the finish; the
trumpet sounds/sounded, Atalanta is/was crowned as victor, the penalty of death is given to
the defeated youths.
Hipomenes, however, not deterred, prepares/prepared himself for the contest.. He asks/asked
Atalanata: `Why do you look for an easy victory. Compete with me! If I am the victor
(literally `If I will be’) it will be no shame (literally `it will not be for shame for you’) to be
beaten by me. My father is great Megareus, whose grandfather is Neptune, king of the
waters.” While he is/was saying that, the king’s daughter looks/looked at him and is/was
uncertain (literally; `doubts’) whether she prefers/preferred to be defeated or to win. She
says/said these words: `What god orders him to seek a wife? I am not worth the price, if I am
any judge (literally: `with me as judge’). But he is still a boy. It is not the youth [himself] that
moves me but his age. Hippomenes, get away from danger while you can (literally: `leave
dangerous places.’) You should be loved by a better girl. But why, however, should I care
about you ? (literally: `why is there a care of you to me?’). I am not to blame (literally: `The
blame is not mine.’) O, poor Hippomenes. You deserved to live (literally: `you were worthy to
live’) Thus the maiden hesitates - she is in love but she does not realize it (literally: `she
loves, but does not feel the love’).

I
[Link], audīvī
[Link]ē, superābat enim Atalanta.
3. Quod ōrāculum ita dīxit: `Nōn dēbēs coniugem habēre; erit mors tibi.’
4. In silvā vīvit.
5. Atalanta dabitur praemium victōrī, mors erit praemium tardīs [The question should be Quid
est lēx certāminis?]
6. Turba temerāria procōrum vēnit.
7. Potentia fōrmae amōrisque eōs (=them) addūxerat / Quod Atalantam amābant.
8. Prīmō (at first) eam nōn amat, procōs enim damnāvit. Posteā (afterwards) tamen valdē
amat.
9. Dīxit: `Ego quoque fōrmā Atalantae capior.’
10. Procōs superat, deinde Hippomenem videt et amat, sed amōrem nōn sentit.

II
laudātur laudābātur laudābitur
He/she is praised he/she was beig praised he/she will be praised
moveor movēbar movēbor
I am moved I was beig moved I will be moved
vincuntur vincēbantur vincēntur
They are conquered They were being conquered they will be conquered
petimur petēbāmur petēmur
we are sought for we were being sought for we will be sought for
scītur sciēbātur sciētur

B
1. You were being praised 6. They are sent/are bein sent
2. He is warned/is being warned 7. You will be heard (sing.)
3. They will be captured 8. You are heard/are beig heard (sing.)
4. We were being conquered 9. I am called/am being clled.
5. You will be loved (sing.) 10. I will be sent.
C
1. amāmur 6. monēbāris (this imperfect form would more usually be
translated `you were being warned’)
2. necāberis/necābiminī 7. capiar
3. vocābantur (more usually 8. capior
`they were being called’)
4. audiēminī 9. mittēbāmur (more usually `we were being sent’)
5. laudātur 10. mittentur

D
2. portātur 3. petitur 4. ēvītātur 5. ēvītātur 6. corōnātur [Link] 8. movētur
9. nārrātur 10. fōrmantur 11. vincuntur 12. nārrantur 13. corōnantur 14. parātur
15 petuntur 16. amantur 17 mūtātur 18 laudantur 19 cēlantur 20 dntur

III
2, ēvītārī 3 vastarī 4 corōnārī 5audīrī 6 vidērī audīrī 7 scīrī 8 petī 9 vincī
10 movērī 2 quem

IV
2 quem 3 quae 4 quam 5 quā 6 cuius 7 quae 8. Quod 9 quam 10 quōrum 11 quam 12
quī 13 quam 14 quae 15 quae

V
1. Audīvistīne / Audīvistisne dē illā virgine/puellā [clārā] Atalantā? / dē
Atalantā, illā virgine/puellā [clārā]? [The word illā could also be used
without clārā, since ille alone may mean that famous one]
2. [Illa] virōs [in] certāmine cursūs superāvit/superābat [The perfect
superāvit is better here since the use of the indefinite article in the
English implies a contest on one particular occasion rather than a
continuing series.]
3. Haec/Ea estō lēx certāminis/cursūs
4. Sī nōn vīcerō/superāverō, erō uxor/coniūnx victōris/victōrī. Sed sī vīcerō/superāverō,
procus necābitur/interficiētur/occīdētur. [The future perfect is used for a result that has to be
achieved before the prize or penalty is given]
5. Hippomenēs spectātor procōs damnāvit/damnābat/damnāverat, sed ubi puellam
vīdit/vidēbat, fōrmam/pulchritūdinem [eius] laudāvit/laudābat. [The pluperfect for the first
verb would be possible but not likely]
6. Hippomenēs lēgem certāminis/cursūs scit, sed vincere/superāre temptābit;
tanta est potentia amōris.
7. Atalanta dīcit: `Possum[ne] vincī/superārī an vīncam/superābō?’
[When exclusive alternatives are given in the form of a question, an is
normally used rather than aut or vel]
8. Dīcit, `Aetāte [eius] nōn ā/ab puerō moveor [With a passive verb, an English phrase with
`by’ must be translated by the ablative alone if the result is produced by something inanimate
but by ā/ab plus ablative if there is a human agent.]
9. Vērē eum amat sed amōrem [suum] nōn sentit.
10. [Ō] Miser Hippomenēs, discēde dum potes. [Relinque cannot be used here unless a direct
object is added – relinque certāmen.]
 CHAPTER XVIII

Now the people and her father demand the promised race. Now Hippomenes calls on/invokes
Venus in this way: `O goddess Venus, help the fires of love which you have given.’ Venus,
influenced and moved by these prayers, gives assistance without delay.
There is a field in the best part of the island of Cyprus which is sacred to the goddess Venus.
In the middle of the field stands not only a temple but also a tree on which are golden
branches and golden fruits (pōmum is often translated `apple’ but can refer to any kind of
fruit). By chance Venus was carrying three fruits plucked from this tree which she gave to the
young man. `The fruits are very beautiful,’ says Hippomenes, `but how can I win with the
fruits (i.e. `how can fruit help me to win’). The goddess taught him the use of the fruits.
Now finally the trumpets sound in chorus which give the signal for the race (literally `of the
race’). The two runners seem to fly across the top of the course (i.e. the end futhest from the
finishing line). The spectators shout: `Run, Hippomenes, go, go, hurry without delay! Now
you will win!’ The hero rejoices; the maiden secretly rejoices also. The maiden can easily
overtake him; often she hesitates, often unwillingly leaves him behind. The finishing line is
far away. Hippomenes is tired. Now he throws one of the three fruits given by Venus.
The maiden looks at the golden fruit which has been thrown and wants it. She leaves the
course and grabs the fruit with her hand. Because Hippomenes meanwhile overtakes her, the
spectators shout and applaud (literally: `give applause’)
Again she runs quickly, again she leaves the young man behind her back. Again Hippomenes
overtakes the maiden delayed by the second apple. But again Atalanta easily passes him. The
last part of race is here. The tired hero can hardly run. `Now,’ he says, `be near, adored
goddess, author of love,’ and he throws the third fruit at an angle into a field. The maiden
seems to hesitate. She wants to go after the fruit which is in the field but she does not want to
leave the course. Venus wins. The maiden runs into the field and Venus makes the fruits
heavier. On account of the costly delay, the maiden is beaten.
However, the hero neither gave gifts to Venus nor placed incense on the altar of the goddess.
Venus, therefore, who was very angry, transformed the two lovers into lions.

I
1. Cursum prōmissum [poscunt].
2. Deam Venerem [invocat].
3. Ita [, addūcēbātur]
4. In mediō agrō in optimā parte īnsulae Cyprī.
5. Tria pōma aurea dat et ūsum pōmōrum docet.
6. Cornua signum dant.
7. Dēsīderābant Hippomenēn/Hippomenam/Hippomenem vincere. [The only accusative form
of the name found in classical latin literature is Hippomenen (the regular Greek form) but,
with Greek 1st declension nouns in –ēs borrowed into Latin, the –am is also often used and
such nouns are also sometimes treated as if they were 3rd declension, which would mean an
accusative in –em as used in the textbook.]
8. Pōma iacit quae Atalanta dēsīderat
9. Hippomenēs [eam in mātrimōnium dūxit] (Note missing macrons in mātrimōnium in the
book)
10. Quod Hippomenēs neque dōna eī/venerī dedit neque tūra in ārā deae posuit.

II
A
1. mūtō, mūtāre, mūtāvī, mūtātum 6. moveō, movēre, mōvī, mōtum
2. resonō, resōnāre, resonāvī, resonātum 7. dūcō, dūcere, dūxī, ductum
3. parō, parāre, parāvī, parātum 8. videō, vidēre, vīdī, vīsum
4. superō, superāre, superāvī, superātum 9. iaciō, iacere, iēcī, iactum
5. dēsīderō, dēsīderāre, dēsīderāvī, dēsīderātum 10. audiō, audīre, audīvī, audītum

B
1. mōta 2 iactum 3 dēsīderātum 4 parātum 5 audītīs 6 resonāta/sonita
7 superāta/victa 8 mūtātī/trānsfōrmātī 9 superātam/victam 10 missum

III
1. Quis 2 Quem 3 Quis 4 quō 5 Quī 6 Cuius 7 Quibus 8 Quis 9 quō
10 Quem/Quōs (the latter is more appropriate as the anticipated answer is in the plural)

IV
1. Quod 2 Quae 3 Quae 4 quō 5 Quem 6 Quam 7 Quae 8 Quō 9 Quae
10 quae

V
1. Hippomenēs auxilium Veneris, deae amōris,/auxilium Venerem, deam amōris, rogat/ōrat.
[Verbs of asking/begging etc. can be used with `double accusative’ for thing
wanted and person it is wanted from]
2. Venus, precibus iuvenis mōta, auxilium prōmittit.
3. Venus iuvenī tria pōma aurea ab arbore sacrā suā carpta dedit.
4. `Quōmodo haec pōma, etsī/etiamsī pulcherrima/formōsissima sunt, mē (ad)iuvāre
possunt?’ dīxit Hippomenēs. [If inquit is used, it must be placed inside the quotation]
5. Populus vidētur dēsīderāre Hippomenēn esse victōrem /Populus Hippomenēn victōrem esse
dēsīderāre vidētur. [Hippomenam, with the normal Latin accusative ending, might possibly
have been in use with a Greek noun in –ēs, but only the Greek accusative form Hippomenēn
is found in the texts at [Link] ]
6. Quod/Quia populus nōmen herōis clāmat, virgō/puella sēcrētō/sēcrētē gaudet.
7. Hippomenēs pōma longē [et]oblīquē iacit et Atalanta cursum relinquere dēbet.
8. Atalanta tertium pōmum in agrum iactum vīdit dēsīderāvitque/dēsīderābatque OR vidit et
dēsīderāvit /dēsīderābat. [`which was thrown into a field’ could also be translated with a
relative clause and a full verb – quod in agrum iactum erat –but this requires the pluperfect
tense of the passive voice which the textbook only introduces in chapter XX]
9. Mora pretiōsa iuvenī victōriam dedit, quī praemium [suum] abdūxit.
10. Venus duōs amantēs in animālia trānsfōrmāvit/mūtāvit quod Hippomenēs eī/sibi dōna nōn
dederat. [If the quod clause is regarded as expressing Venus’s own thought, `to her’ should be
expressed by the reflexive pronoun sibi even though Venus is the subject of the main clause,
not this subordinate [Link], in that case, it would be better to use the subjunctive
(dedisset) which the book has not yet covered.]
 CHAPTER 19
Midas, the great king of Phrygia, did not have great wisdom. Because Midas had been kind
to the god Bacchus, Bacchus gave him a gift. `Whatever you want,’ said the god, `I will give
to you.’ The king therefore asks/asked in this way: `Whatever I touch (literally: `will touch’)
with my body, change that/it into gold, please. This [is what] I most greatly desire.’ This gift
the god gave to the kng, but he was very sad because he had asked for/sought such a gift.
However, the king, not sad but very happy, eagerly tries/tried out the new/strange gift. He
touches/touched one thing after another (literally `one thing and the other’); he scarcely
believes/believed [his] luck. It is/was true. When he plucks/plucked a green branch from a
tree, Midas holds/held a golden branch in [his] hand. A rock also touched by his hand is
turned into gold. Bread (literally `gifts of Ceres’) when grasped is turned into gold. Besides,
an apple, which he picked from a tree, is now a golden apple. Whe he places [his] fingers on
the high door-posts in the palace, the posts are seen/seem to shine. When he washes his hands
in liquid water (literally: `waters’), the water is changed into liquid gold. All things touched
by his hand are changed into gold by the golden force (Engish versions of the story normally
use the phrase `golden touch’)
When Midas had rejoiced enough, slaves placed in front of him a table loaded with meat and
the gifts of Ceres. Midas tried to touch the food with eager tooth, but [his] teeth touched hard
gold. When Midas tried to drink water and wine, liquid gold flowed into his mouth. The
things which previously seemed advantageous now seemed disadvantageous.
Terrified, wretched Midas now hates/hated (ōdit is actually a perfect form (from ōdī) but has
present meaning and in the passage is used as an historic present) what he had desired, and
wants to remove this gift. He can/could drink no water, he can/could eat no food. With his
hands stetched [out] to the sky, he prays/prayed/begs/begged in this way: `Give forgiveness,
kind father, we have sinned/done wrong [the royal `we’, meaning just Midas himself], but
remove his ruinous gift.’ Kind Bacchus says: `Go to the river near to Sardis and take
[literally: `pluck’] the road into the mountains of Lydia as far as the source of the river. Wash
your head and body. At one and the same time wash yourself in the waters and wash [away]
the crime.’ [literally: `At the same time wash…., at the same time wash…’]
After hearing these words [literally: `with these words heard’], the king went to the river in
Lydia, and washed [his] body. When the king first touched the river, the golden force (i.e.
`golden touch’) passed over from the human body into the river. Even now, the land of Lydia
is golden, [with] the waters having been carried over into the neighbouring fields.

I
1. Minimē. [Magnam sapientiam nōn habēbat.]
2. Midae [dōnum dedit]
3. Est laetissimus.
4. Dōnum nōvum [temptat]
5. Ūnam et alteram rem [tangit]
6. Postēs altōs [tangit]
7. Servī [mēnsam parāvērunt]
8. Dūrum aurum tangunt.
9. Minimē [neque bibere neque edere potest]
10. Caput corpusque in flūmine lavat,

II
2. Dōnō datō 3 Pōmō tāctō 4 Verbīs audītī 5 Deō mōtō 6 Rēge mōtō

III
A
1 laudō, laudāre, laudāvī, laudātum 2 vocō, vocāre, vocāvī, vocātum
3 spectō, spectāre, spctāvī, spectātum 4 teneō, tenēre, tenuī, tentum
5 habeō, habēre, habuī habitum 6. moveō, movēre, mōvi, mōtum
7 dūcō, dūcere,dūxī, ductum 8 mittō, mittere, mīsī, missum
9 petō, petere, petīvī, petītum 10 faciō, facere, fēcī, factum
11 fugiō, fugere, fūgī, fūgitum 12. Audiō, audīre, audīvī, audītum
13 sentiō, sentīre, sēnsī, sēnsum 14 veniō, venīre, vēnī, ventum
15 dō, dare, dedī, datum

B
2 Manēte 3 Petite 4 Ēvītāte 5 Carpit 6 Facite 7 Dūcite 8 Habēt 9 Docēte
10 Audīte

IV
A
N(V) vīta vītae ramus (rame) ramī ager agrī
Ac vītam vītās ramum ramōs agrum agrōs
G vītae vītarum ramī ramōrum agrī agrōrum
D vītae vītīs ramō ramīs agrō agrīs
Ab vītā vītīs ramō ramīs agrō agrīs

N(V) puer puerī oppidum oppida rēx rēgēs

Ac puerum puerōs oppidum oppida rēgem rēgēs
G puerī puerōrum oppidī oppidōrum rēgis rēgum
D puerō puerīs oppidō oppidīs rēgī rēgibus
Ab puerō puerīs oppidō oppidīs rēge rēgibus
N(V) color colōrēs hostis hostēs ūsus ūsūs
Ac colōrem colōrēs hostem hostēs/hostīs ūsum ūsūs
G colōris colōrum hostis hostium ūsūs ūsuum
D colōrī colōribus hostī hostibus ūsuī ūsibus
Ab colōre coloribus hoste/hostī hostibus ūsū ūsibus

N(V) rēs rēs Note that –i stem nouns like hostis always have –ium in the
Ac rem rēs genitive plural. They may have –īs in the accusative plural
G reī rērum and (if the nominative and genitive singular are identical)
D reī rēbus may also have ablative singular in –ī. Neuter nouns in –e, -al
Ab rē rēbus and –ar always have ablative singular in –ī and nom/acc pl.
in –ia. 3rd decl. adjectives normally have genitive singular in –
ium, ablative singular in –ī and neuter plural nom. and acc. in-ia. They may have m/f acc. pl.
in –īs.

B
2, Amīcī puerōrum sunt dēfessī. 3. Lēgēs hominum bonōrum sunt certae.
4. Cīvēs tālēs lēgēs nōn ēvītant, 5. Animālia silvārum in montibus nōn habitant.
6. Diēs longissimī sunt in Iūniō. 7. Rēs optimae nōn sunt facilēs.
8. Cornua signum dant. 9. Ducēs omnium (of all) nōn sunt patrium familiārum.
10. Haec flūmina nōn sunt longa. OR Ducēs omnēs (all) nōn sunt patrium familiārum
Note the two possible answers in mumber 9 because omnis could be either nominative or
genitive singular.

V
1. Bacchus rēgī stultō Phrygiae vim auream magnā cum maestitiā/trīstitiā dedit.(OR: Bacchus
maestissimus…)
2. Midās autem/tamen erat laetissimus et omnia in rēgiā in aurum
mūtāre/trānsfōrmāre temptābat/temptāvit/temptat. [The imperfect tense is probably better
here because it conveys the sense of Midas starting to use his gift or continuing
to use it for a long time]
3. Rāmus viridis ā rēge tāctus nunc est aureus.
4. Saxum et pōmum vī aureā trānsfōrmantur/mūtantur.
5. Aqua quā Midās manūs lavāre temptat splendēre/radiāre vidētur.
6. Rēs quae secundae vidēbantur nunc adversae sunt.
7. Sed ubi/cum servī/ministrī mēnsam cibō vīnōque / et vīnō onustam prō rēge
pōnunt, neque edere neque bibere potest. [Strictly speaking `servant’ (free person working for
money) should be minister (the ministers in a government are so called because originally
they were the king’s servants) and `slaves’ servī but, as people waiting at table normally
would be slaves the latter word is acceptable.]
8. Midās, cibō nunc aureō (OR Cibō nunc aureō, Midās) edere nōn potest.
9. Manūs ad caelum tendit et veniam ōrat/rogat. (OR Manibus ad caelum tentīs, veniam
ōrat/rogat).
10. Bacchus eum iubet ad flūmen in Lӯdiā īre et sē in aquīs [eius] lavāre
11. Agrī Lӯdiae nunc/iam sunt aureī, vī aureā in aquās flūminis portātā.
 CHAPTER 20

Afterwards Midas lived/used to live in the woods where he worshipped Pan, but even now he
showed himself to be stupid/showed that he was stupid. At that time the King of Phrygia
lacked both wsdom and judgement (literally: both wisdom and judgement were lacking for
the King of Phrygia).
There is in Lydia a high mountain, Tmolus by name, on the summit of which Pan used to sing
his songs to the nymphs, while he blew on [his] pan-pipes joined together with wax. His
songs were indeed very beautiful and pleasing to the nymphs and to Midas, who praised the
god very greatly. Proud Pan (or: Pan proudly – Latin often uses an adjective where English
would prefer an adjective) spurned/despised the songs of Apollo, the god of music. He called
Apollo to a contest under Tmolus, god of the mountain, as judge.
The old man therefore sat as judge on his own mountain and freed his ears from the trees. He
looked at the god Pan and ordered him to sing with these words: `In the judge there will be no
delay’ (i.e. `I’m ready so any delay will be your fault’). Because Midas happened to be
present (literally – by chance was present), he had heard the song that Pan’s pipes were
producing (literally – sounding). The king marveled very greatly at this barbarous song,
which was most pleasing to him. When Pan’s song was finished, holy Tmolus turned his face
to the face of Phoebus, who wore laurel on his head and a long garment dyed with Tyrian
purple. In his left hand he hld a lyre decorated with jwels and ivory (literally with Indian teeth
(literally: elephant tusks), in his right hand the pick. Then Phoebus rose and touched the lyre
with his well-trained finger (literally: taught finger). He began to sing his song. After hearing
the song (literally: with the song heard (ablative absolute)), the judge ordered Pan to put
down his pipes before the lyre (literally: to the lyre).
But the judgement of the sacred mountain Tmolus, which was pleasing to all, was not
pleasing to Midas, who speaks/spoke (historic present) thus: `The judgement is unjust.’
Apollo does not/did not allow such ears to retain human shape. He makes/made the same
longer and full of hairs; he gives then the power of movement (literally: he gives them to be
able to be moved). Midas, condemned in one part of his body, wears the ears of an ass
although the other parts are human (literally: of a human being).
Afterwards, Midas tries/tried out of shame to hide his ears with a purple turban, but the slave
who cut [his] long hair had seen [his] ears. He (literally: the same) was afraid to tell of the
things which he had seen but could not restrain himself. Therefore he digs/dug out [a hole in]
the earth, into which he murmur in a low (literally: small) voice about his master’s ears he
had seen (literally: the seen ears of his master). After replacing the earth (literally: with the
earth replaced), the slave silently went away (literally: the silent slave went away). But the
quivering reeds which grow/grew in the ground re-send the buried words, because moved by
the wind they murmur about the ass’s ears.
Ex. I
1. [Deum] Pānem [colēbat].
2. Minimē. [Eī dēsunt et sapientia et iūdicium.]
3. Nymphīs [cantābat]
4. Apollinem/Phoebum [vocat].
5. Tmolus, deus montis [est iūdex].
6. Pānis [carmen est prīmum]. Ita, est pulchrum.
7. Ita, est decorāta gemmīs et dentibus Indicīs.
8. Phoebus/Apollo [est victor]
9. Midās [iūdicium vocat inūstum].
10. Aurēs asellī gerit [N.B. when quō modō is written as one word, the final vowel is
normally shortened – quōmodo]
11. Purpureīs tiārīs [aurēs cēlat].
12. Servus quī capillōs Midae resecat/resecābat [aurēs videt]
13. Minimē. [Sē retinēre nōn potest/poterat].
14. In terram dē auribus dominī murmurat.
15. Harundinēs [fābulam murmurant].

II
A
1. cantat cantābat cantābit cantāvit cantāverat cantāverit
cantātur cantābātur cantābitur cantātus est cantātus erat cantātus erit

2. submittit submittēbat submittet submīsit submīserat submīserit

submittitur submittēbātur submittētur submissus est submissus erat
submissus erit

3. retinet retinēbat retinēbit retinuit retinuerat retinuerit

retinētur retinēbātur retinēbitur retentus est retentus erat retentus erit

4. colit colēbat colet coluit coluerat coluerit

colitur colēbātur colētur cultus est cultus erat cultus erit

5. audit audiēbat audiet audīvit audīverat audīverit

audītur audiēbātur audiētur audītus est audītus erat audītus erit

6. gerit gerēbat geret gessit gessus erat gessus erit

geritur gerēbātur gerētur gestus est gestus erat gestus erit
B
1. līberātus sum līberātus es līberātus est līberātī sumus līberātī estis līberātī sunt.
2. vīsus sum vīsus es vīsus est vīsī sumus vīsī estis vīsī sunt
3. repositus sum repositus es repositus est repositī sumus repositī estis repositī sunt
4. retentus sum retentus es retentus est retentī sumus retentī estis retentī sunt
N.B. With a feminine subject the termination would be –a, -ae in the singular and plural
respectively, and with a neuter one –um, -a

C
1. factum est 2. dīcta sunt 3. audīta est 4. territus est 5. nārrāta est 6. relīcta erat.
7. mūtātum erat 8. cantātum erit. 9. sonātus/sonitus est. 10. cēlātae sunt

D
1. they try 6. he/she/it was rising
2. we were fearing 7. we will speak
3. we spoke/have spoken 8. he (has) feared
4. you (plr.) had allowed/suffered 9. you (sing.) were trying
5. you (sing.) have risen/rose 10. you (plr.) suffer/allow

III
1. is/hic/ille 2. id/hoc/illud 3. eum/hunc/illum 4. quam 5. eīs/hīs/illīs
6. eī/huic/illī 7. eī/huic/illī 8. eōs.hō[Link]ōs 9. eius/huius/illīus 10. quōs eī.hī/illī
Note that hic and ille, though normally translated `this’ and `that’, can also function as
simple personal pronouns.

IV
1. Nothing is really needed here but, if the speaker wants to emphasise that Pan was singing
his own songs, sua (neuter accusative plural) could be used
2. sē 3. sē 4. suōs could be added but, again, nothing is really needed
5. suum is possible here but not actually necessary.

V
1. Midās, etiam/adhūc stultus, satyrum Pānem nunc/iam colit. [strictly speaking, the Greek
accusative Pāna should be used here but the Romans quite often used their own terminations
instead.]
2. Pān [sua] carmina pulchra nymphīs in [monte] Tmōlō cantat/canit.
3. Apollinem ad certāmen carminum vocat.
4. Tmōlus iūdex certāminis nōminātus est.
5. Iūdicium Apollinī datum est.
6. Quod Midās iūdicium iniūstum [esse] dīxit/nōmināvit/affirmāvit, aurēs [eius] in aurēs asellī
mūtātae/trānsfōrmātae sunt.
7. Midās, poenā Apollinis sēnsā, aurēs [suās]cēlāre temptābat/temptāvit/cōnābātur/cōnātus
est. [`poenā ab Apolline sēnsā would mean `after Apollo had sensed the punishment’]
8. Aurēs ā servō quī capillōs [eius] (re)secābat vīsae erant.
9. Servus terram effōdit et/ terrā effossā fābulam in terram susurrāvit/murmurāvit.[Ablative
absolute can be used in place of terram effōdit et but ths is not very elegant as the word terra
is alos used in the same sentence. Another possibilty would be servus in terram effossam
sussurāvit]
10. Harundinēs in illō locō crēscēbant /crēvērunt, et [harundinēs] ventīs mōtae fābulam dē
Midā et auribus [eius] / fābulam Midae et aurium [eius] nunc nārrant. [The use of dē and the
ablative is more idiomatic than a genitive after fābula]
 CHAPTER 21
Passage
Hymen is/was called (historic present) by the voice of Orpheus to [his] wedding with
Eurydice. That god of marriage was present, but he brought neither happy words nor a lucky
[Link] torch which he held gave no fire (literally: `fires’). The marriage had an unhappy
ending, for after being married, Eurydice, while she was walking (literally: `is walking’ ; dum
is normally used in the present tense even when the main verb in the sentence is past) through
the grass (literally: `grasses’) with a crowd of companions, having been bitten in the foot by a
snake (literally: `the tooth of a snake having been received into her foot’), died/dies (the verb
form occidit can be either present (and thus in this context historic present) or perfect).
Orpheus, after he had mourned the death of Eurydice enough in the air above (literally:
`upper breezes’), dared to descend to the Styx (the river that was supposed to surround the
Underworld) and find her among the shades/spirits/ghosts. He approached Proserpina and
Pluto, who held the kingdom of the shades (literally `holding the kingdom…’ ) and says/said
(historic present); “O gods placed under the earth, I did not descend to here because I wanted
to see Tartarus nor to conquer the dog Cerberus, the huge monster.1 The cause of [my]
journey (literally: way, road) is [my] wife whom a serpent killed and [from whom] he took
away/stole the years ahead (literally: `growing years’). I tried to bear the bitter wound, to live
without my wife, but Love won. This god is well known in the world above (literally: `on the
upper shore’); perhaps you have heard of him here. If the story of the abduction [of
Proserpina by Pluto]2 is true, Love also joined you together. I beg [you], rewrite the fate
(literally - `reweave the fates’) of Eurydice. We owe all things to you; we all hasten to one
end;. This is the final home; you hold the longest-lasting kingdom (literally: `longest
kingdoms’). When Eurydice has spent (literally: `will have spent’) her rightful years, she will
be yours (literally: `for you’; dative of possession). We request this gift; but if the fates deny a
reprieve for [my] spouse, I am sure to remain here (literally: `it is certain for me to remain.)
Rejoice in the death of two.”
The bloodless souls listened/kept listening to him saying such things and wept/weeping (use
of the imperfect here emphasizes that his speech went on for a long time). Tantalus did not
seek the water; Ixion’s wheel was stunned/shocked; Sisyphus sat on his rock. Even the Furies
(literally `Kindly Ones’ - the standard euphemism for these avenging deities) did not hold
back their tears and neither King Pluto nor his wife Proserpina could deny his request
(literally `could deny to him begging’); they called/call (historic present) Eurydice.
She was among the recent (i.e. `recently-arrived’) spirits and walking at a slow pace from her
wound. Rejoicing, Orpheus received/received (historic present) her but on this condition

1
Orpheus is presumably referring to the story of Hercules who, as one of his Twelve Labours, was
required to capture Cerberus and bring him to the world above.
2
This legend is the subject of Interim Reading IV on page 297. The PowerPoint PLUTO ET
PROSERPINA is downloadable from the bottom of [Link]
(literally `by this law’) of Pluto’s: he must not look back at Eurydice until he had (literally:
`will have’) gone out of the huge cavern of Avernus; otherwise the gift would (literally:
`will’) be void.
Hard and dark and bitter was their journey in total silence (literally `through dumb silences’ –
plural of silentium, -ī n). The top of the cave was not far off. Orpheus, fearful (literally:
`fearing’) and eager, greatly wanted to look back; lovingly (literally `loving’) he turned back
his eyes and immediately she slipped/fell back. Stretching out his arms and striving to grasp
her, [the] unhappy [man] held nothing except air. Descending again she said a last `farewell’,
which Orpheus scarcely heard (literally - `received with his ears’), and Eurydice returned
again to the same place.
Orpheus was stunned by the double death of his wife. Charon held him back, begging in vain
and wanting to cross the River Styx again. However, he sat for seven days on the bank
without food. Tears and sorrow were the food of his soul. Then, saying that the gods were
cruel, he took himself back home, and never afterwards sought the love of other women.

Ex.I
1. Hymēn [vocātur].
2. Quod est deus mātrimōniī.
3. Dente serpentis in pedem receptō [occidit]
4. Ad Stygem [dēscendit].
5. Amor [omnia vincit].
6. Ita[, eōs vīcerat]
7. Domus ultima est sub terrā/inter umbrās/rēgnum Plūtōnis.
8. Eurydicēn [vocant].
9. Nōn dēbet Eurydicēn respicere dōnec speluncam Avernum exierit [; aut dōnum erit vānum]
10. Nōn potest [ad eam nōn respicere]

[Link]
A
vocāns vocātus vocātūrus vocandus
calling hacving been called about to call to be called, about to be called
mittēns missus missūrus mittendus
sending having been sent about to send to be sent, about to be sent
sentiēns sēnsus sēnsūrus sentiendus
feeling having been felt about to feel to be felt, about to be felt

B
1. having been found 6. occidēns = dying/falling 11. following
 occīdēns = killing
2. carrying 7. trying 12. speaking
3. about to receive 8. about to weep/mourn 13. going away
4. returning 9. going back (accusative) 14. having been loved
5. looking back 10. about to carry away 15. about to give

Ex. III
A
[Link]: Orpheus īnfēlīx Voc. Orpheu īnfēlīx This noun belongs to the Greek 3rd
Acc Orpheum/Orphea īnfēlīcem declension and can be used with
Gen Orpheī/Orpheōs īnfēlīcis the Greek endings (shown in red) or
Dat Orpheō/Orpheī īnfēlīcī with those of the Latin 2nd. decl. Note
Abl Orpheō īnfēlīcī that eu in the nom. and vocative is a
diphthong and that the ablative only
has a Latin ending as this case has
been lost in Greek.

2. Nom. canis ingēns canēs ingentēs Although the nom. and gen. of canis
Acccanem ingentem canēs ingentēs look like those of an i-stem (`SeXy’)
Gencanis ingentis canum ingentium noun, it has only consonant stem
Dat canī ingentī canibus ingentibus endings (only –e in abl. sing. and
Abl cane ingente canibus ingentibus and –um (not-ium) in gen. pl

3. Nom. fātum acre fāta acria

Acc. fātum acre fāta acria
Genfātī acris fātōrum acrium
Dat, fātō acrī fātibus acribus
Abl. fātō acrī fātibus acribus

4. Nom. coniūnx amāns coniugēs amantēs

Acc. coniugem amantem coniugēs amantēs/amantīs
Genconiugis amantis coniugum amantium
Dat, coniugī amantī coniugibus amantibus
Abl. coniuge amantī/amante* coniugibus amantibus
*The present participle, like most 3rd declension adjectives, normally takes i-stem endings, but
the ablative singular may be –e instead of –ī if referring to an action at a particular tiem
rather than to an enduring state.)
5. Nom. digitus scrībēns digitī scrībentēs
Accdigitum scrībentem digitōs scrībentēs/scrībentīs
Gen. digitī scrībentis digitōrum scrībentium
Dat. digitō scrībentī digitīs scrībentibus
Abl. digitō scrībentī/scībente digitīs scrībentibus

B
1, cantāns 2. cantantis 3. cantantī 4. cantantem 5. cantante (or cantantī)
6. cantantēs/cantantīs 7. cantantibus 8. cantantēs 9. cantantibus 10. cantantium

Ex. IV
2. necāta 3. vocātus 4. receptō 5. inventā

Ex. V
1. Hymēn (in) mātrimōniō/ad nūptiās/ aderat/adfuit sed ōmina erant/fuērunt īnfēlīcia.[The
verb adsum (be present) can be used with a dative, ad plus accusative or in plus ablative
case. The first of these constructions has been used most frequently for the last seven years in
the Nuntii Latini bulletins but I’m not sure of the statistics for classical Latin]
2. Serpēns pedem Eurydicēs/Eurydicae ambulantis momordit.[ Eurydicēs is the Greek
genitive form, often used also by Latin poets and also in the textbook reading passage. The
Roman poets also sometimes used the Latin 1st declension genitive ending –ae for this kind of
noun]
[Link] deīs/dīs carmen querellae/querēlae cecinit/cantāvit et (illī/eī/hī) virō gaudentī
nūptam reddidērunt. [A plural pronoun subject for reddidērunt could be added but it is not
essential as the plural verb makes it clear the subject has changed. It would also be possible
to delete the et and replace it with the relative pronoun quī]
4. Orpheus nūptam (suam) respicere nōn dēbēbat. [It is not essential to include the possessive
adjective if the meaning is clear without it]
5. Orpheus sē retinēre nōn poterat et coniugem/uxōrem (suam) oculīs amantibus respexit.
 CHAPTER XXII

Passage3
The sun had three times completed the year and Orpheus had shunned all love of women,
whether because his first love had turned out badly or because he had given a pledge to his
wife. However a passionate desire to join themselves to the bard seized/was seizing many
women. Some spurned by him felt very hurt (literally: grieved greatly), but especially the
Maenads (frenzied followers of the god Bacchus).
While with his very sad and very sweet song the bard Orpheus indeed moved the forest, wild
animals and hard stones, behold, an angry and maddened crowd of Maenads, their breasts
covered with fleeces, saw him from the mountain. One of them (literally `One out of whom’;
Latin can use the relative pronoun to refer back to a word used in a previous sentence)
says/said (historic present; the verb ait (two syllables), like inquit/inquiuut, can be separated
from its subject by the first of the words in the quotation), `See, see, this is our despiser,’ and
sent a spear into the face of the bard of Phoebus. But the spear itself, captivated by the bard’s
song, arrived harmlessly (literally: `without a wound’). A second woman throw a stone,
which, sent into the air, was overcome by the voice itself and the lyre and lay before
Orpheus’s feet like a suppliant.
But in fact (this is the normal meaning of sed enim, literally `but for’) their anger grows/grew
(historic present) and maddened Erinys (one of the Furies) reigns/reigned (historic present).
All the missiles, moved by Orpheus’s song would have been (literally `might be going to be’)
harmless; but the great noise of the very angry, shouting women and [their] drums and pipes
and horns defeated the sound of the lyre. Then finally the stones grew red with the blood of
the bard. And first the birds and the wild animals fled and the Maenads seized the bard and
form/formed a circle (historic present – literally `turn/turned thmselves’) around Orpheus as
dogs are accustomed [to do] when they have found a deer, [their] prey. They attack the bard
and hurl spears and stones and branches torn away from a tree.
Most wretched Orpheus, stretching out his hands and begging tried in vain to move the
Bacchantes with his voice; in their extreme insanity (literally: `most insane’) they tore him
apart. Through the very mouth (O Jupiter) which had overcome rocks and the minds of wild
animals, his soul departed into the winds.
Orpheus, the very sad birds, the crowd of wild creatures, the hard stones, the forests bewailed
you. The tree bewailed you, with its foliage positioned/dropped as if torn hair. They say that
for that man’s sake the rivers rose higher with their very many tears and the nymphs had
black garments and dishevelled hair.

3
This passage is adapted from lines 1-66 of Bk XI of the Metamorphoses. For a discussion of Ovid’s
treatment of the myth, see A. H. F. Griffin, `A Commentary on Ovid "Metamorphoses" Book XI’
Hermathena No. 162/163, (Summer and Winter 1997), pp. 1, 4-285, 287-290
([Link] )
His limbs lay/lie (historic present like most of the verbs in this paragraph) scattered in many
places – the river Hydrus receives/ received his head and lyre. Whilst it swam/swims (historic
present) on top of the water, the lyre gives/gave a very sad song and the banks
respond/responded. Finally, leaving the river (literally `with the river having been left’), on a
foreign shore lies/lay his head, which a wild serpent was about to bite. But Phoebus is/was
present and turns/turned the serpent into a rock.
The shade of Orpheus went under the earth (literally: under lands) and recognized the places
which he had seen before. Searching through the fields of the dutiful (the Elysian Fields
where the souls of the virtuous were thought to remain), he found Eurydice. Most eagerly he
grasped her in [his] arms. Here now the two walk side by side (literally `with joined steps.’
Orpheus can now safely look back at his Eurydice.

Ex. I
1. Quod prīmus amor male ēvēnerat vel/aut quod fidem Eurydicae/coniugī dederat.
2. Silvās, animālia fera et saxa dūra [cēpit.]
3. Quod ab Orpheō repulsae erant.
4. Hastam et saxum [iēcērunt]
5. Minimē [eō nōn nocuērunt] Note noceō takes the dative (`do harm to’)
6. Maenades[, postquam clamōrēs, tympana, tībiae et cornua sōnum lyrae vīcērunt,] Orpheum
lacerāvērunt.
7. Per ōs eius [, quod saxa et animōs animium fera vīcerat].
8. Avēs, animālia fera, saxa dūra, silvae/arborēs, flūmina et nymphae [eum plōrāvērunt]
9. Phoebus [serpentem in saxum mūtāvit]
10. Eurydicēn [quaerit]

[Link]
A
[Link]āns vocātum vocātūrum vocandum
calling having been called about to call to be called, about to be called
2. docēns doctum doctūrum docendum
teaching having been taught about to teach to be taught, about to be taught
3. agēns āctum āctūrum agendum
doing having been done about to do to be done, about to be done
4. fīniēns fīnītum fīnītūrum fīniendum
finishing having been finished about to finish to be finished, about to be finished
5. capiēns captum captūrum capiendum
taking having been taken about to take to be taken, about to be taken
6. mittēns missum missūrus mittendum
B
1. vocāre vocārī vocāvisse vocātum esse
to call to be called to have called to have been called
vocātūrum esse vocātum īrī
to be about to call to be about to be called
2, docēre docērī docuisse doctum esse
to teach to be taught to have taught to have been taught
doctūrum esse doctum īrī
to be about to teach to be about to be taught
3. agere agī ēgisse āctum esse
to do to be done to have done to have been done
āctūrum esse āctum īrī
to be about to do to be about to be done
4. fīnīre fīnīrī fīnīvisse fīnītum esse
to finish to be finished to have finished to have been finished
fīnītūrum esse fīnītum esse
to be about to finish to have been finished
5. capere capī cēpisse captum esse
to take to be taken to have taken to have been taken
captūrum esse captum īrī
to be about to take to be about to be taken
6. mittere mittī mīsisse missum esse
to finish to be sent to have sent to have been sent
missūrum esse missum īrī
to beabout to send to be about to be sent
,
[Link]
1. datūrus est 2. necātūrae errant 3. exitūra erat 4. cantātūrus erat
5, nārrātūrus/nārrātūra erās or nārrātūrī/nārrātūrae erātis

[Link]
A
1. amoenus, -a, -um amoenior, -ius amoenissimus, -a, -um
2, clārus, -a, -um clārior, -ius clārissimus, -a, -um
3. fortis, -e fortior, -ius fortissimus, -a, -um
4. magnus, -a, -um maior, -ius maximus, -a, -um
5. bonus, -a, -um melior, -ius optimus, -a, -um
B
1. amoenissima 2. clārior 3. Fortissimī 4. Maior 5. Minor
6. Optima

C
1. Fortissimē 2. Optimē (this word is the idiomatic translation for both of the english
phrases in brackets) 3. optimē..pessimē 4. clārissimē 5. Maximē

V
1. Multae fēminae ab Orpheō repulsae vātem amāre dēsīderābant/dēsīderāvērunt/
cupiēbant/cupīvērunt,.
[Link] Maenades īnsānae eum/illum omnibus tēlīs/armīs quae invenīre poterant
occīdere/necāre/interficere maximē temptāvērunt/temptābant.[Maenades has a short final
vowel instead of the long one regularly found in 3rd declension nominative/accusative plural
because the noun retains its Greek ending]
3. Etiam tēla/arma vōce et lyrā [voce lyrāque]Orpheī capta sunt/capiēbantur, sed clāmōrēs
fēminārum sonum carminis [eius/illīus/huius] superāvērunt/vīcērunt.
4. Tōta/omnis nātūra mortem vātis Phoebī, quī ā Maenadibus īnsānissimīs
interfectus/necātus/occīsus est//ā Maenadibus īnsānissimīs interfectī/necātī/occīsī,
plōrāvit/plōrābat. [OR vātis Phoebī plōrāvit/plōrābat, quī ā Maenadibus īnsānissimīs
interfectus/necātus/occīsus est.]
5. Sed Orpheus sub terram iterum dēscendit et Eurydicēn suam invēnit; iam/nunc
eam/illam/hanc tūtō respicere poterat/potuit. [ Eurydicēn is the Greek accusative form, often
used also by Latin poets and also in the textbook reading passage. The Roman poets also
sometimes used the Latin 1st declension genitive ending –am for this kind of noun]
 CHAPTER XXIII

Passage

Aeson was once king of Thessaly but his brother, who was called Pelias, wanting to obtain the
kingdom/kingship expelled Aeson from the kingdom. Besides, Pelias, the wicked man,
attempted to kill [occīdere = to kill, contrasting with occidere, `to fall, die’ ] Aeson’s son,
Jason by name but Aeson’s friends, making up a story, announced to him that the boy was
already dead. Some days later, a messenger faithful to the new king [who had been] sent to
Delphi [the name is 2nd. Declension plural, plain accusative is used for motion towards a city
or small island] returned [;literally `brought himself back’ – referō, referre, rettulī, relātum]
to his master, to whom he announced an oracle. The Pythia (for this is the name of the
priestess at Delphi [Delphīs is identical to the dative/ablative plural but is normally clased as
the locative case when used in this way]) had given out that there was no danger [literally `to
be no danger’] at that time but that the king should fear a man wearing only one shoe
[literally `dressed with only one shoe’; induō can mean both `put on/wear’ (with the item of
clothing as object) and `dress’ (with the wearer as object)]
A few years later, when Jason, with the other shoe lost, wearing only one (literally `dressed
with only one’) reached Pelias’s palace, the king himself at once realized the danger, for he
retained the memory of the oracle. He therefore sent the young man to Colchis, in which
place there lived a certain king, called Aeëtes, who possessed a golden fleece. For this fleece
had once been left in the kingdom of Colchis by Phrixus, after he reached that place on a
golden ram.4 Because the journey to Colchis was extremely dangerous, Pelias ordered Jason
to make this journey, for he hoped that he would die on this journey (literally `him to be going
to perish’ – intereō, interīre, interiī, interitum).
But (autem is a very weak connective and you could in fact also just omit it in the translation
or use `now’ or `by the way’) Jason did not want to go without companions; for which reason
he chose fifty very brave men, among whom were Orpheus and Hercules. These men with
Jason within a short time went on board the ship built by skilled Argus and set sail (literally
`untied [the ship]). After many days and many dangers, by the help of the gods the Argonauts
(for they were named thus from the name of the ship, which was called Argo [a feminine
Greek noun with accusative Argo and genitive Argūs] reached Colchis.
Then the Argonauts, with many dangerous things accomplished, disembarking from the ship
[notice that English can use a present participle in –ing for an action earlier than the action
of the main verb but Latin, more logically, has to use the perfect participle ēgressī (literally

4
Phrixus and his sister Helle had fled from Greece on a golden, flying ram sent by their mother, the
goddess Nephele, so they could escape a plot by his wicked stepmother. Helle fainted, fell off and
drowned in the Dardaneles, afterwards known as the Hellespont (`Helle’s sea’). Phrixus reached
Colchis and presented the fleece to Aeëtes after sacrificing the ram itself to Zeus.
`having disembarked’)] took themselves to the palace where Aeëtes lived. But when they
demanded the golden fleece of Phrixus from him, he at first denied that he would ever hand
the golden fleece to anyone, but then gave the condition on which he would hand over the
gift. If Jason, yoking two bulls together ploughed a certain field and sowed the teeth of a
dragon (literally; `with two bulls joined, will have ploughed a certain field and will have
sown’), the fleece woud (literally `will’) be handed over to him. But this task was extremely
dangerous, because the bulls breathed fire from their mouth and armed men were created
from the sown teeth, but the young man, not suspecting anything was wrong (literally `not
thinking the thing to be bad’), did not know this [literally: `these things’ (neuter plural)]
But Aeëtes had a daughter, by name Medea, who was going to be of great help to Jason
[literally: ``be for great help to Jason’].

Ex. 1
1. Quod rēgnum obtinēre cupiēbat/volēbat.
2. [Nōmen erat] Iasōn.
3. Nōnnūllīs post diēbus/Postquam amīcī Iāsonis nūntiāvērunt eum mortuum esse.[Actually
the position of the phrase nōnūllīs diēbus at the beginning of the sentence inI the passage
suggests that the return of the messenger, rather than his departure, was at this time. For the
latter meaning the more natural word order would be: Nūntius rēgī novō fidēlis Delphōs
nōnūllīs post diēbus missus ad dominum sē rettulit.]
4. [Pythia ēdiderat nūllum esse perīculum eō tempō, sed] rēgem vērērī dēbēre iuvenem ūnō
calceō indūtum.[It is common both in short answere and in regular prose to use an accusative
and infinitive clause with the verb of saying or thinking not actually written but understood.]
5. Ūnō calceō sōlum indūtus erat.
6. Aeētes, rēx Colchidis [, velere pōtiēbātur.
7. Iter ad Colchidem facere [iussit]. (Or, as the story implies this, Vellere aureō ā Colchide
auferre)
8. Argus [nāvem aedificāvit]
9. Quīnquāgintā [virōs fortissimōs dēlēgit]
10. Minimē. [Auxiliō deōrum pervēnērunt]
11. Prīmum negābat sē ūllī vellus aureum umquam trāditūrum/daturum esse.
12. Lēgem dēdit quā vellus trāderētur OR Sī Iāsōn duōbus taurīs iūnctīs agrum quendam
arāverit atque dentēs dracōnis sparserit, vellus eī trādētur. [This sentence is given in the
passage in direct rather than indirect speech because in the latter the future perfect in the sī
clause would have to be changed into the pluperfect subjunctive, a tense you have not yet
covered: Respondēbat/Respondit sī Iasōn duōbus taurīs iunctīs agrum quendam arāvisset
atque dentēs dracōnis sparsisset, vellus eī trāditum īrī (OR fore ut vellus eī trāderētur)]
[Link] A

1. mīrātur mīrābātur mīrābitur

he/she/it wonders he/she/it was wondering he/she/it will wander
mīrātus est mīrātus erat mīrātus erit
he (has) wondered he had wondered he will have wondered,
(in the perfect tenses mīrātus would have to become mīrāta for a feminine subject)

2. vērēntur vērēbantur vērēbuntur vētitī sunt vēritī erant

they fear they were fearing they will fear they (have) feared they had feared
verītī erunt
they will have feared (change to vēritae in perfect for a feminine subject)

3. morimur moriēbāmur moriēmur mortuī sumus mortuī sumus

we die we were dying we will die we (have) died we had died
mortuī erimus
we will have died (feminine in perfect: mortuae)
This verb is in the mixed (3½) group (morior, morī, mortuus sum) but in older writers 4th
conjugation forms in –ī are sometimes also found (e.g. morīmur); the future participle
is irregular: moritūrus.

4. potiminī potiēbāminī potiēminī potītī estis

you possess you were possessing you will possess you (have) possessed
potītī erātis potītī eritis (feminine: potītae)
you had possessed you will have possessed
The verb often means `take possession of’

IIB
1. mīrāns mīrātus mīrātūrus mīrārī mīrātus esse
wondering having wondered about to wonder to wonder to have wondered
mīrātūrus esse
to be about to wonder

2. vērēns vēritus vēritūrus vērērī vēritus esse

fearing having feared about to fear to fear to have feared
vēritūrus esse
to be about to fear
3. moriēns mortuus moritūrus morī mortuus esse
dying having died about to die to die to have died
moritūrus esse
to be about to die

4. potiēns potītus potītūrus potīrī potītus esse

possessing having possessed about to possess to possess to have possessed
potītūrus esse
to be about to possess
N.B. The present participle is a third declension adjective (moriēns, morientis etc.) while the
other participles are on the bonus (2-1-2) pattern (e.g. mīrātus, -a, -um). When the perfect
and future participles are used as part of an infinitive their endings still have to be changed
according to context.
Deponent verbs do not have infinitives or participles with passive meaning. The gerundive
(e.g. mīrandus, vērendus), which was listed (but not discussed) with other participles on
page185, DOES have passive meaning in a deponent verb but is not classed as a participle in
most course books and so is not included in the answers here.

IIC
1. he/she was fearing 6. she spoke/has spoken
2. they have gone out/they went out 7. having gone out
3. you (plr.) are wondering 8. he/she was possessing/taking paossession of
4. you (have) possessed 9. I was wondering
5. he had died/was dead 10. we will have feared

IID
1. dant…admīror 2. vērēbātiur/vēritus est 3. iūngere/coniūngere dēbēbat/dēbuit
4. locūtus est 5. potītus est (less likely: potiēbātur)

Ex. III
7. esse 8. fugere 9. esse (present infinitive because the sailor was present at the time the
report was made) 10. appellātōs/vocātōs esse.(Argonauta is masculine) 11. timēre 12.
adfutūrum esse
13. adesse 14. adfuisse 15. adfutūram esse (nāvis is feminine) [Link]āre
17. amāre 18. adesse 19. adfuisse. 20. adfutūram esse 21. potītum esse
[Link]
1. Pythiam 2 sē (referring back to Aeetes, the subject of the verb of saying, so reflexive)
3. eum/ilum/hunc (referring to a person other than the subject of the sentencce)
4. amīcōs Aesonis 5. quemquam (rather unfair as the pronoun is not discussed in the body
of the book; it is, however, included in the grammatical appendix (p.426) and on slide 70 of
LATIN PRONOUNS).
6. illās/eās fēminās 7 nāvem 8 mē 9 vōs (it can’t be tē because of the plural ending –ōs)
10. sē (referring back to Jason himself)

Ex.V
1. Frāter Aesonis rēgnum dēsīderābat/cupiēbat sed Aesonem nōn necāvit/interfēcit/occīdit.
2. Fīlium rēgis necātūrus/interfectūrus/occīsūrus erat sed nūntiī nūntiāvērunt puerum iam esse
mortuum.
3. Iāsōn tantum/sōlum ūnō calceō indūtus erat OR sē sōlum/tantum ūnō calceō induerat OR
tantum/ūnum calceum induerat quod alterum āmīserat. [the verb induō actually means either
`clothe/ cover with’(with the person in the accusative (or nominative if the verb is passive)
and ablative of the item of clothing, footwear etc.) or `put on’ (with the item of clothing in the
accusative). It therefore needs to be put in the pluperfect when describing what someone was
wearing at a point in past time. The normal translation of `wear’ would be gerō – so `he was
wearing one shoe’ would be literally ūnum calceum gerēbat ]
4. Negat Iāsonem quīnquāgintā [virōs] fortissimōs dēlēgisse/ēlēgisse/lēgisse.
5. Post multōs diēs/Multīs post diēbus Iāsōn et Argonautae ad/in Colchidem
pervēnērunt/advēnērunt.
6. Deinde Argonautae ēgressī [sunt et] ad rēgiam sē (OR sē ad rēgiam) contulērunt.
7. Aeëtes dīxit, `Vellus hāc lēge trādam.’
8. Sī hunc agrum arāveris/arāveritis et dentēs dracōnis sparseris/sparseritis OR Sī, hōc agrō
arātō, dentēs dracōnis sparseris/sparseritis, tibi/vōbīs vellus aureum dabō. [`you’ could be
taken as either singular or plural but singular is more likely as the king will have concerned
himself principally with Jason as leader.]
9. Nesciēbant/Nescīvērunt hoc opus/pēnsum/negōtium perīculōsissimum futūrum esse.
[Although the reading passage uses the perfect tense for a similar sentence, imperfect would
be more natural because not knowing something is normally a continuing state]
10. Paucīs post annīs / Post paucōs annōs rēx ōrāculum quod sacerdōs dīxerat/ēderat in
memoriam redūxit/redēgit. OR ōrāculī… meminerat [The verb memini (see section 190,
p.378-9) often takes the genitive and is used only in the perfect, pluperfect and future perfect
tenses with present, perfect and future meaning respectively. The relative clause (`quod…
ēderat’) could also be placed after the main verb]
 CHAPTER XXIV

Passage

Meanwhile Medea, the daughter of the king, was not able to overcome madness and love with
reason. “In vain, Medea, you fight back: some god or other (literally: `I do not who which
god’; the masculine nominative singular of the interrogative adjective is normally quī but the
form quis (the regular interrogative pronoun) is sometimes used adjectivally also and is
especially common in this phrase with nesciō ) is opposing.,” she says, “unless this is what is
called being in love (literally: `to love’). Why do father’s commands seem harsh to me? They
are very harsh. Let him not die, the youth who I have just begun to love (literally: `whom just
now I love’). What is the cause of such great fear? Let the flames of love be extinguished.
What am I to do? For a strange force weighs me down against my will (literally: weighs down
unwilling me), and desire urges one thing, [my] mind (i.e. reason) another: I see the better
[course] and approve it, I follow the worse one. Why, [as a] maiden and daughter of a king do
you love a foreigner and desire a spouse from a strange land? This land also can give [you] a
spouse. Let him live or let him die; it is up to the gods (literally: `in the gods’). Yet let him
live! For what [crime] has Jason committed? Certainly the courage of the youth has moved
my heart (literally: `my breasts’ (plural for singular rather than `breasts’ – pectus is
frequently used figuratively in this way for both sexes).
But unless I help him (literally: `will have brought help’ – tulerō from ferō, ferre, tulī,
lātum). the bulls will breathe fire from their mouth onto him, or he will meet come up against
armed enemies created from the earth, or he will be given to the greedy dragon. If I allow this
(literally: `will allow’), then I will confess that I was born from a tigress and have a heart of
stone (literally: `to have been born from a tigress and to have iron in the breast’). I cannot
watch him perishing: I cannot urge the bulls onto/against him. May the gods grant better
things! Will I betray5 my father’s (literally `parent’s’) kingdom and will some stranger or
other be saved by my help? Perhaps he, safe through me, will set sail (literally `give sails’)
without me and will be the husband of another while I am abandoned to punishment.6 If he is
able to that and place another over over me, let the ungrateful man die! (Notice that the verb
is occidat (from occidere, die, fall, set), not occīdat (from occīdere, kill)). But I do not think
he will do these wicked and evil things (literally: `him to be about to do these….’). Let him
give a promise in advance, before I give (literally `will give’) him help, and let the gods be
witnesses! Jason will always owe his life to me (literally `owe himself to me’), [and] he will
5
The ending- am is used in the 3rd. conjugation for the 1st person singular of both the future and the
subjunctive so Trādamne could also be translated but the unambiguously future servābitur later in the
sentence makes this very unlikely here.
6
The present tense (relinquor) here is needed because of the conjunction dum which is not normally
used with other tenses. Without dum, Latin grammar would require the future, which is what Ovid
himself uses at this point – poenae Mēdēa relinquar (Metamorphoses, 7:41), `I, Medea, will be
abandoned to punishment.’
marry me. Then among the Greeks and throughout their cities I will be honoured [as his]
saviour.
So, borne away (participle is from auferō, auferre, abstulī, ablātum) by the winds,7 am I to
leave/shall I leave (subjunctive or future) [my] sister, and brother and father and gods and
native land? Father certainly [is] savage, certainly my country is barbarous. But [my] brother
is still a boy and my sister stands by me, and a very great god is inside me! I will not be
leaving great things, I will be follwing great things. I will be honoured as [as] saviour of
Greek youth and I will know a better land. I will cultuvate the arts of more civilized cities
and, with the son of Aeson as my spouse, I will live happy (English would prefer `happily’)
and dear to the gods.
Oh poor me, why do I fear dangers? They say that in the middle of the waves/sea mountains
come up against each other and Charybdis destroys ships and Scylla is dangerous to sailors. I
fear nothing, safe in the arms of Jason, whom I love. If I fear anything at all, I am afraid
about my spouse only.8

Ex, I
1. Erat fīlia rēgis [Aeëtae] (Aeëtēs is a Greek 1st. declension noun but used with a Latin
ending in the genitive).
2. Quod deus obstābat/obstat. (Imperfect is probably better here, but historic present is also
possible).
3. Sēnsit amōrem esse furōrem/malum/novam vim.
4. Taurī ignem ex ōre spīrābunt in eum, aut concurret hostibus armātīs tellūre creātīs, aut
avidō dracōnī dabitur. (fiet is from the irregular verb fiō (be made, become, happen), which
serves as the passive of faciō (see pages 335-6))
5. Fatēbitur sē dē tigride nātam esse et ferrum in pectore habēre. (In the qestion patiētur
Iāsonem nocērī is ungrammatical because noceō does not take an accusative in the active
voice so cannot be changed into an ordinary passive with the original object as new subject,
which would become accusative again in reported speech.. Instead, nocērī has to be used
impersonally (-`harm to be done’) with the dative: patiētur Iāsonī nocērī.)
6. Honōrābitur servātrīx iuvenum Graecōrum, terram meliōrem nōscet, artēs colet
oppidōrum hūmāniōrum et, coniuge Aesonide, fēlīx vīvet et dīs cāra.
OR (using indirect statement) Dīxit sē honōrātum īrī servātrīcem iuvenum Graecōrum,
terram meliōrem nōtūram, artēs cultūram oppidōrum hūmāniōrum et, coniuge Aesonide,
fēlīcem vīctūram esse et dīs cāram

7
Notice how this phrase in English needs to be placed at the beginning of the sentence so that it cannot
be interpreted as applying to Medea’s family and country. In the Latin, ventīs ablāta can only be taken
with Mēdēa because both participle and noun are in the nominative..
8
Medea presumably means that she is afraid for Jason because of the dangers he must face. However,
the Latin dē coniuge (like the English translation) might also imply that she is still afraid he might
betray her.
(No need to include all of the points in your answer, but the verbs all need to be switched to
the 3rd, person)
7. Ventīs ablāta navigābit.
8. Quod salva erit in bracchiis Iasōnis quem amat.
9. Dē coniuge sōlō timet.
10. Nōn dēsīderat familiam et patriam suam trādere, et putat Iāsonem sē fortasse relictūrum
esse.

Ex. II (note that there are usually alternative translations possible for any subjunctive form)
A
4. moneant let them warn/advise
5. faciāmus let us do/make 13. neget let him deny
6. audiāris you may be heard 14. loquātur let him speak
7. doceāminī you may be taught 15. sīs you may be
8. vocent let them call 16. possit let him/her be able
9. dūcāmur let us be led 17. faciam let me do/make
10. mīrer let me wonder 18. iubeāmus let us order
11. vereātur let him/her fear 19. mittat let him/her send

B (Subjunctives in red)
repugnās repugnēs obstat obstet vocātur vocētur
amo amem exstinguantur exstinguentur faciam faciō
gravat gravet amās amēs dēsīderās dēīderēs
dent dant arbitror arbitrem det dat
stat stet amō amem
(The subjunctive stet (`Let it (i.e the original) stand’) is (or was) used to undo a correction or
alteration you have just made when proofreading on hard copy)

C
1st conjugation
repugnem repugnēs repugnet repugnēmus repugnētis repugnent
repugner repugnēris repugnētur repugnēmur repugnēminī repugnentur
2nd. conjugation
videam videās videat videāmus videātis videant
videar videāris videātur videāmur videāminī videantur
rd
3 . conjugation
vincam vincās vincat vincāmus vincātis vincant
vincar vincāris vincātur vincāmur vincāminī vincantur
There is no 4th conjugation verb in the passage (!) so here is a third conjugation one in-iō.
This verb (faciō, facere, fēcī, factum) has an irregular passive in the present stem tenses, as
noted in the answers to Ex, I above:
faciam faciās faciat faciāmus faciāmus faciant
fīam fīās fīat fīāmus fīāmus fīant

Ex. III
1. Dent puellīs dōna.
Let them give gifts to the girls.
2. Quid faciat Iāsōn, sī taurī flammam ex ōre spīrātūrī sunt?
What is Jason to do, if the bulls are going to breather fire from their mouth?
3. Vīvāmus, mea Lesbia, atque amēmus! (The first line from a famous poem by Catullus)
Let us live and love, my Lesbia.
4. Hoc sit quod amor vocātur.
Let this be [that] which is called love.
5. Quid vocētur hoc malum factum?
What will this evil deed be called?
6. Nē iussa patris mihi dūrissima videantur. (although the English has `seem’, the nē shows
the authors want us to use the subjunctive here: `Let the orders of [my] father not seem very
harsh to me.’ )
7. Nē iam dubitēmus, nisi vērēmur.
Let us not hesitate now, unless we are afraid.
8. Falsī utinam vātēs sīmus.
May we be false prophets.
9. Ita doceāminī
Thus may you be taught.
10. Nē putēmus Iāsonem haec scelesta ac nefāria factūrum esse.
Let us not think think Jason will do these wisked and unspeakable things.

Ex. IV
1. Mēdēa pūtat Iāsonem amāre eam. (Unless the authors of the book have made a mistake,
this means that he loves another woman. If the reference is to Medea herself, not eam but sē
would be needed, and the resulting sentence would be ambiguous: Medea thinks Jason loves
her (Medea) OR Medea thinks Jason loves himself.
2. Aeëtēs pūtat Iāsonem moritūrum esse. Aeetes thinks Jason will die.
3 Iāsōn scit vellus esse in rēgnō Colchide. Jason knows the fleece is in the kingdom of Colchis
4. Iāsōn pūtat Mēdēam esse pulchram. Jason thinks Medea is beautiful.
5. Mēdēa crēdit nesciō quem deum obstāre. Medea thinks some god or other is opposing.
6. Pūtantne fēminae sē vēritūrās esse? Do the women think they will be afraid? (The perfect
participle of timeō (timēre, timuī) is not found in Latin literature; if it did exist, it was
probably *timitum, and the future participle would thus be* timitūrus, -a, -um)
[Link] fēmina dīxit Iāsonem moritūrum esse. That woman said Jason would die.
8. Scīvit enim rēgem vellere aurō potīrī/habēre.
For he/she knew the king possessed the golden fleece.
9. Poēta dīxit fīliam rēgis amāre iuvenem fōrmōsum.
10. Quam ob rem dīxistī eam dē hīs rēbus locūtam esse?
For what reason did you say she had spoken about these things?
11. Negō virginem amāre advenam. I deny that the maiden loves the stranger.
12. Nauta nōn pūtat dūcem suum taurōs vēritūrum esse.
The sailor does not think his leader will fear the bulls.
13. Dē mortuīs nihil nisi bonum dīcāmus. Let us say nothing except good about the dead.
14. Nē ūllus crēdat sē esse laetiōrem/fēlīciōrem aut sapientiōrem quam tē..
Do not let anyone believe that he is happier or wiser than you.

V
1. Etiam maiōra et meliōra [facta]patriae nostrae/prō patriā nostrā faciāmus. [facta is not
really necessary as the adjectives themselves can mean `greater and better things.’]
2. Possit fīlia rēgis amōrem [suum] ratiōne superāre/vincere.
3. Nē dīcant iussa patris meī nimis dūra vidērī. [or use the simple comparative dūriōra]
4. Paucīs post diēbus / Post paucōs diēs/Paucōs post diēs Argonautae sēnsērunt Mēdēam
magnum amōrem dūcis ipsōrum / suī habēre. [In the accusative and infinitive construction the
reflexive possessive adjective suus is regularly used to refer back to either the subject of the
reporting verb or to the subject of the infinitive. Because here suī could equally plausibly be
taken as referring to either Media’s own leader or the argonauts’s leader, the use of the
genitive plural of the emphatic pronoun ipse, which can only refer to the plural Argonautae,
is preferable. The textbook has eōrum, which would normally refer only to people who were
the subject neither of the reporting verb nor the infinitive.]
5. Negāvit sē puellam pulchriōrem umquam vīdisse / Dīxit sē fīliam pulchriōrem numquam
vīdisse
6. Nisi auxilium/opem [at]tuleris/[at]tuleritis/ [af]ferēs/[af]ferētis, omnēs moriēmur. [The
future perfect or future would be most likely here and either ferō or afferō could be used for
`bring’]
7. Prīmum/Prīmō fidem /prōmissum det et deōs testēs convocet/ēvocet/arcessat.
8. Negābō quemquam / ūllum fidēliōrem esse quam tē /vōs. [OR Dīcam nēminem fidēliōrem
esse quam tē /vōs ]
9. Putet nēmō sē posse sine poenā amīcōs [suōs] trādere/prōdere
10. Neque sinant/permittant parentēs ipsī [facta]scelesta/mala neque committant/faciant.
CHAPTER 25: JASON’s LABOURS

Medea now went to the ancient altars of Hecate so that in the forest she might learn secret
spells/songs/chants and magic arts. Now she was strong and love had receded, but when she
sees/saw [historic present] Jason, the flames of love returned because that day the son of
Aeson was so handsome that you could forgive Medea for loving him [The imperfect
subjunctive is used here either because of sequence of tenses (fuit….possēs) or because the
scene is imagined as being present (videt, not vīdit) and the imperfect is used not to refer to
the past but to indicate something contrary to present fact – the reader is not actually at the
scene so he cannot see Jason or forgive Medea. The English past tense is used in exactly the
same way, e.g. `If they were here now, they could help us’] She was looking [at him] and
keeping [her] eyes fixed on his face. Jason began to speak and took [her] right hand and
promised marriage so that she would give [him] help. Medea says/said [āiō does not have a
perfect tense so the historic present always has to be used] with many tears. `What am I to
do? I see that I am going to save him by my help. Saved/As he has been saved, let him give
and keep promises. He [literally `this person’] swore on the sacred objects of Hecate, the tri-
form goddess. She [literally `that person’, i.e. Medea] gave magic plants and magic
spells/songs/chants to him and Jason went back happy into the house [literally `covered
buildings’ – plural for singular, unless the author is thinking of Jason as living in a palace
complex viewed as a collection of separate buildings].
The next day the peoples converged /came together on the sacred field of Mars; the king
himself sat in the middle wearing a purple garment and conspicuous with his ivory sceptre.
See, the bulls began to approach/were approaching, which breathed out so much fire [literally
`such great fires’] that plants/grass touched by it/them [literally `by the fires’] caught fire.
However Jason went to meet them. The Argonauts, seeing the terrible bulls, were afraid, but
the son of Aeson was aware of neither fire [literally `fires’] nor smoke [literally `smokes’,
`fumes’]. The drugs were so powerful [literally `were able so much’] that without fear he
placed the heavy yoke on the shoulders of the bulls with his strong right hand and ploughed
the field with the iron plough.
The men of Colchis were amazed [deponent perfect (`they wondered’), with the past tense
marked by the perfect participle and the auxiliary verb in the present tense], the Argonauts
rejoiced [deponent perfect of semi-deponent verb gaudeō] with shouts. Then he took serpent’s
teeth from a bronze helmet to scatter them onto the fields. The ground softened the seeds [i.e
the teeth] and the teeth started to grow so quickly that they became they became [fierent is the
imperfect subjunctive of the irregular verb fiō which serves as passive of faciō, meaning `be
made, become, happen’] new/strange bodies of men/human bodies. What was [even] more
wonderful, each man was holding weapons. The Greeks were afraid seeing so many men and
so many weapons; Medea, who had made him safe, when she saw one youth being attacked
by so many enemies, grew pale and, suddenly[turning] cold, sat without blood [more
idiomatic English - `and, suddenly turning cold, sat with her blood drained fom her face’;
English would also prefer the main verb `grew’ to have its subject nearer to it: `When Medea,
who had made him safe, saw one youth being attacked…, she grew pale..’ ]
But Jason threw a rock onto [his] enemies so that they he could turn the fight away from
himself [ā sē] onto the men themselves [in ipsōs]. All fell after receiving [literally `through’]
many wounds; the Greeks rejoiced and Medea also, as she gave thanks to the spells and the
gods, the authors of them [The participle agēns is singular, showing that it is Medea who
thanks the spells; in English we need a clause (`as she gave thanks’) to make this clear.].
It remained/remains [historic present] to give sleep with herbs to the ever-watchful dragon,
who was the terrible guard of the golden fleece. Jason sprinkled him with Lethean waters and
three times said words producing calm sleep [literally `calm sleeps’] so that sleep might come
into the eyes of the dragon. The hero son of Aeson was in possession of the golden fleece.
Proud of his booty and taking with him also the one who had made the booty possible
[literally `the author of the booty’, i.e. Medea], herself another [item of] booty, he returned to
Greece the victor with his new wife, escaping the anger of [her] father.

Ex.I
1. [Est] in silvā.
2. Carmina sēcrēta et artēs magicās [quaesīvit]
3. Quod illa diē Iāson/fīlius Aesonis/Aesonidēs tam fōrmōsus erat.
4. Mātrimōnium [prōmīsit]
5. Vestimentum purpureum gerit et sceptrum ebrneum tenet/sceptrō eburneō est nōtus.
6. Taurōs iungere, agrum/agrōs arāre et dentēs serpentis spargere [The first or both first and
second tasks could be expressed as ablative absolutes: Taurīs iūnctīs, agrō arātō/agrīs arātīs
dentēs serpentis spargere.]
7. Quod ignēs [ex ōre] efflābant.
8. Dentēs serpentis [spargere dēbet.] Virī/Hominēs armātī [dē sēminibus sparsīs crēscunt].
Saxum in hostēs iacit ut bellum ā sē in ipsōs converterent.
9. Herbīs [dracōnī pervigilī somnum dare potest]. Or Eum aquīs Lēthaeīs sparsit et ter dīxit
verba somnōs placidōs facientia. [Presumably the herbs had been aded to the Lethean waters
or were scattered as he recited the spell]
10. Mēdēam ipsam [spolium alterum aufert]

Ex. II
A
1. spectārem, spectārēs, spectāret, spectārēmus, spectārētis, spectārent
spectārer, spectārēris, spectārētur, spectārēmur, spectārēminī, spectārentur
 monērem, monērēs, monēret, monērēmus, monērētis, monērent
monērer, monērēris monērētur, monērēmur, monērēminī, monērentur
mitterem, mitterēs, mitteret, mitterēmus, mitterētis, mitterent
mitterer, mitterēris, mitterētur, mitterēmur, mitterēminī, mitterentur
cuperem, cuperēs, cuperet, cuperēmus, cuperētis, cuperent
cuperer, cuperēris, cuperētur, cuperēmur, cuperēminī, cuperentur
invenīrem, invenīrēs, invenīret invenīrēmus, invenīrētis, invenīrent
invenīrer, invenīrēris, invenīrētur invenīrēmur, invenīrēminī, invenīrentur
essem, essēs, esset, essēmus, essētis, essent (`to be’, no passive)

2. mīrārer, mīrārēris, mīrārētur, mīrārēmur, mīrārēminī, minārentur (deponent)

gaudērem, gaudērēs, gaudēret, gaudērēmus, gaudērētis, gaudērent (`to rejoice’ – no passive)
sequerer, sequerēris, sequerētur, sequerēmur, sequerēminī, sequerentur ( deponent – notice
that a 3rd conjugation deponent verb does not form itsimperfect subjunctive from its own
infinitive (sequī) but from what the active infinitive would be if the verb had one(*sequere)
potīrer, potīrēris, potīrētur, potīrēmus, potīrēminī, potīrentur (deponent)
pōnerem, pōnerēs, pōneret, pōnerēmus, pōnerētis, pōnerent
pōnerer, pōnerēris, pōnerētur, pōnerēmur, pōnerēminī, pōnerentur
discerem, discerēs, disceret, discerēmus, discerētis, discerent
discerer, discerēris, discerētur, discerēmur, discerēminī, discerentur

B
1. hortor 6. sequēmur
2. sequeris 7. potītī/potītae errant
3. mīrābāmur 8. secūtī.secūtae sumus
4. gāvīsī sunt (gaudeō - semi-deponent) 9. mīrātus erat
5. mīrāminī 10. secūtī/secūtae erunt

Ex. III (You are told not to use infinitives here, but the infinitive would normally produce
more natural English. You can also tranalate using `so that…could’))
1. dūceret He/she came (so) that he might marry me (lead me into marriage)
2. docēret He/she came (so) that he might teach me.
3. vidērent They came (s) that they might see me
4. necārent/occīderent/interficerent They came (so) that they might kill the king
5. auferrent They came so that they might carry off the golden fleece.
6. spectāret He/she came (so) that he might watch me
7. vidērent He came early in the morning so that the soldiers might not see him (N.B. māne,
early in the morning v. manē, stay!)
8. fruerentur They came (so) that they might enjoy the music (really an unfair question! The
3rd declension verb furor, which is used with the ablative, is not mentioned until page 350 and
it is not included in the vocabulary at the end.)
9. docērem I came (so) that I might teach you a new language
10. discerēs You came (so) that you might learn a new language,
11. delectārēmur We came so that we might enjoy ourselves (The literal translation nōbīs
fruerēmur is not really idiomatic so the passive of dēlectō (`I delight’) is preferable)
12. necāret/occīderet/interficeret Jason came so that he might kill the dragon.
13. spectārētis You came (so) that you might watch the bulls.
14. docērēs I came (so) that you might teach me a new language.
15. daret (note the short `a’!) Medea begged/prayed to the goddess (so) that she might give
help.
16. daret We prayed to Bacchus (so) that the god might give us help.

Ex. IV
1. Tot hominēs et tot arma vidēbat ut magnopere timēret. (OR tantōs .. .tanta)
He saw so many men and so many weapons (such large men and such large weapons..)
2. Ita/Sīc dīxit ut omnēs hominēs pallērent
He spoke in sch a way that all men grew pale.
3. Tantum opus habuit ut nōn fīnīre posset.
He had so much work that he could not finish it.
4. Tantus timor fēminīs erat ut illae in casīs remanērent.
The women had such great fear (Literally `There was such great fear to the women’) that they
remained in their houses.
5. Tanta tempestās coepit ut nautae in terrōre clāmārent.
Such a great storm began that the sailors cried out in terror.
6. Mēdēa tantum amōrem habuit ut Iāsonem iuvāre nōn recūsāret.
Medea had such great love that she did not refuse to help Jason.
7. Taurī tantōs ignēs efflābant ut herbae ardērent,
The bulls used to breathe out such great fires that the grass/plants caught fire
8. Tam celeriter hominēs crēscēbant ut statim pugnāre inciperent.
The men were growing so quickly that they at once started to fight.
9. Dracō tam horrendus erat ut omnēs adīre metuerent.
The dragon was so terrible that all were afraid to approach.
10. Mēdēa ita Iāsonem amābat ut patrem suum trāderet.
Medea so loved Jason that she betrayed her father. (Better Latin here would probably be
Iāsonem adeō amābat ut… The adverb adeō is regularly used with verbs in the sense of `so
much’)
V
1. Mēdēa tantum amōrem habuit/habēbat ut patrem [suum] trāderet.
2. Iāsōn sē Mēdēam in mātrimōnium ductūrum esse prōmīsit ut [ea] auxilium [sibi] daret.
[sibi in a subordinate clause can refer back to the subject of the main clause as well as to the
one of the indirect clause itself]
3. Mēdēa spectat gaudetque [OR spectat et gaudet] dum Iāsōn tauros ignem/ignēs efflantēs
[OR taurōs, quī ignem/ignēs efflant,] iungit.
4. Postrēmō/Dēnique Iāsōn tam fortis erat ut dracōnem pervigilem in somnum pōneret et cum
vellere et uxōre novā, Mēdēā, vēla daret / ēnāvigāret [vēla dō (sail away) is not given in the
vocabulary at the back but the phrase is used in chapter 24; ēnāvigō is a literal translation
but a rather rare word]
5. Iāsōn dentēs dracōnis in agrō sparsit sed mīrātus est cum dentēs in [virōs] armātōs
crēscerent/crēscēbant [although the book itself recommends the use of the indicative here, the
subjunctive (crescērent) would normally be used when causation as well as pure coincidence
in time is involved;an alternative would be to use ubi, which always takes the indicative]
 CHAPTER 26: FACTA MAGICA MĒDĒA

In Greece the fathers and mothers bring gifts for their recovered sons, but Aeson is absent,
who is now/already close to death and worn out from [his] many years. Then the son of Aeson
speaks thus: `O wife, to whom I confess I owe my safety, if your spells/charms can do this
(for what can they not [do]?), take away from my years and add the years taken away to my
parent/father (ie.` to my father’s).’ and he did not hold back tears. Medea, moved by the
[filial] piety/dutifulness of the request (literally: `of the one asking’) and says, `So you think I
can transfer your lifespan? Hecate forbid! [literally: `Let Hecate not permit this!]. What you
ask is not right (literally: `You do not seek right things’). But I will try to give a greater gift,
Jason. I will attempt by my art to give him a longer life without taking away your years
(`literally: with your years not recalled’ – ablative absolute), if the triform goddess will just
help me.’
After three nights, when the horns of the moon came together so that Diana might look upon
the earth (literally: `the lands’; ut..spectāret could also be interpreted as a result clause
rather than a purpose clause: `so that Diana looked…) at her fullest, Medea, bare-footed and
with clothing open and hair (literally: `hairs’) [freely-]flowing, goes out of the house/[her]
home and walks alone (literally: `carries steps’) through the mute silence (silentia (from
silentium. –ī n) is plural for singular) of midnight. All people and flying creatures (volucris
(literally `flying thing’) is often a synonym of avis but can be wider in meaning) and wild
animals are sleeping deeply (literally: `heavily’); the stars in the sky glitter alone, stretching
out her arms to which, Medea three times turns/turned round (literally; `turned herself’;
convertit can be either present or perfect), three times sprinkled magic waters on her head
and three times prayed to/begged the goddess with great cries..
`Most faithful Night’, she says, `and golden stars and moon and you, triform Hecate, who
aid my magic arts with your spells/charms/incantations, by your help (vestrō shows Medea is
now again addressing Night etc, instead of just Hecate as in the relative clause with singular
iuvās) I summon the winds and move the clouds; I overcome serpents and move rocks and
woods; I command mountains to tremble and ghosts to come out from tombs. You also, moon,
I drag out of the sky. Now I need juices through which old age may return into the flower [of
youth] and recover [its] first years (subjunctives expressing purpose). And you will give those
juices to me! For not in vain do the stars glitter and not in vain is the chariot drawn by winged
dragons here.’
See, the chariot is here sent down from the sky and as soon as she climbs (ascendit is both a
present and a perfect tense form but must be present like the previous and the next verb) into
it (literally: `into which’) she is swept away (literally: `seized’) to the tops of the mountains
where magic herbs grow. After nine days and nine nights, with the herbs collected (ablative
absolute), Medea returned in the chariot drawn by the winged dragons; the dragons, just
touched by the scent of the herbs, laid aside the skins of old age. In front of the folding doors
of the palace, she built two altars, one on the right (literally: `in the right-hand part’ –
ablative for location without any preposition, as often in poetry) for Hecate and another on
the left for Youth (i.e. youthfulness personified as a goddess). After performing these sacred
actions/after making these sacred objects (taking hīs sacrīs factīs as ablative absolute - `with
these sacred things done’; alternatively the phrase could be taken as dative `for these sacred
deeds’, i.e. for the deeds she was about to perform) she digs (effodit, historic present;
however as the text in the book is un-macroned, it could equally well be interpreted as the
perfect tense effōdit, `dug’) a great ditch. Then she plunges a sword into the throat of a black
sheep and fills the ditch with [its] blood. Next she adds bowls of wine and milk and asks the
king of the shades/ghosts with his abducted spouse (i.e. Pluto/Hades and
Proserpina/Persephone) not to hasten the death of the old king (literally: `that they might not
hasten’ - this construction, described on pages 290-91 of the book and illustrated on slides 5-
11 of the SUBJUNCTIVE USAGE Powerpoint) is more usually known as indirect command
and is similar to the use of the subjunctive in purpose clauses).
Then she ordered to be brought to the altars the worn out body of Aeson which (in English
we have to put `body of Aeson’ after `altars’ to make the reference of the relative pronoun
clear but in Latin the neuter quod clearly refers to corpus, not to the feminine plural arās)
she puts into a deep sleep (literally: `into full sleeps’) on the grass/in the herbs. She ordered
the son of Aeson to go far from here and the priests far from here and to remove their profane
eyes; Medea then, with her hair [freely] flowing in the manner of the Bacchantes goes round
the twin altars and sprinkles the old man three times with flame, three times with water, three
times with sulphur.
Meanwhile after the brass pot has been placed on the fire (literally: `with the brass pot
placed on the fire – ablative absolute) the strong medicine boils/is boiling and becomes/is
becoming white with foam. She adds seeds and flowers and bitter juices and stones sought in
the far East. Besides, she throws into the brass pot wings and flesh (plural carnēs for singular
carnem, or the meaning is `pieces of flesh’) of flying creatures and the thin skin of a serpent
and eggs and the head of a bird. When these things and a thousand others without name have
been mixed together (literally `with these things…mixed’ – ablative absolute), Medea
stirs/mixes all in the brass pot with a branch of olive. See, the branch first becomes green; in a
short while it puts out leaves and suddenly is heavy with green olives. As soon as she sees this
(literally: `Which things (Quae) as soon as she sees’; Latin regularly uses a relative pronoun
without combining clauses into a single sentence), Medea draws a sword (literally `with
drawn sword’ – ablative absolute or ablative of instrument) and cuts the old man’s throat;
Medea pours out the old blood so that she can refill him with new juices. After Aeson drinks
these (literally `Which after Aeson drinks…) either through his mouth or his wound, [his]
beard and hair (literally: `hairs’) recover [their] black colour. The paleness goes away and
[his] limbs become strong. Aeson marvels that he is again a young man.

Ex I
1. Quod iam mortī vīcīnus est atque dēfessus multīs annīs.
2. Eī longiōrem vītam dedit/dare cōnāta est.
3. Hecatē [carminibus Mēdēae adiuvat].
4. In montibus summīs crēscunt herbae magicae.
5. Est currus dracōnibus pennātīs tractus/Dracōnēs pennātī currum trahunt,
6. Hecatae et Iuventūtī [ārās cōnstrūxit].
7. Ramō olīvae [herbās miscuit]
8. Prīmō viridis fit, brevī tempore frondet et gravis est viridibus olīvīs.
9. Aut ōre aut vulnere [sūcōs] bibit.
10. [Barba capillīque colōrem recipient et]iuvenis fit.

[Link]

A
vocāverim vocāvissem vocātus sim vocātus essem
vocāverīs vocāvissēs vocātus sīs vocātus essēs
vocāverit vocāvisset vocātus sit vocātus esset
vocāverīmus vocāvissēmus vocātī sīmus vocātī essēmus
vocāverītis vocāvissētis vocātī sītis vocātī essētis
vocāverint vocāvissent vocātī sint vocātī essent

NOTE: As well as having a different form from the indicative future perfect in the first person
singular, the perfect subjunctive active often has long vowels in the terminations where the
rules of Latin phonology allow it (marked above). However, in practice the poets made these
vowels long or short as it suited them!. In both indicative and subjunctive, the passive tenses
would have endings –a and –ae (plural) with a femine and –um and –a with a neuter subject.

B The book does not give any translation equivalents in this chapter for the perfect
subjunctive but, as will be explained in class, it can be used with ut in result clauses so it is
translated with `that’ here:
1. that he/she/it escaped 6. that he/she/it refilled
2. if he/she/it had escaped 7. if he/she/it had refilled
3. that we arrived 8. that he/she/it sends/may send
4. if we had arrived 9. that he/she/it sent
5. that he/she/it refills/may refill 10. if he/she/it had sent

Ex. III (sample answers)

1. Crēdō tibi I believe/trust you 6. Pareō eīs I forgive them
2. Ignōscō vōbīs I forgive you (pl.) 7. Pesuadeō eī I persuade him/her
3. Imperō tibi I order you 8. Placeō eīs I please them
4. Noceō nōbīs I harm us 9. Serviō tibi I serve you
5. Parcō eī I spare him/her 10. Studeō vōbīs I study you

Ex. IV
1. Iāson mīlitibus praedīxit ut pugnārent.
2. Praesum discipulīs.
3. Praesum exercituī
4. Praefēcit mīlitibus Marcum.
5. Praestat omnibus.

V
1. Mēdēa patriam relīquerat et patrem trādiderat (OR: patriā relictā patrem trādiderat but this
is less good as leaving her country does not actually precede betraying her farther ) ut Iāsonī
sē coniungeret (OR: Iāsonī nūberet) [The phrase in mātrimōnium dūcere is use only of a
man marrying a woman; nūbō, -ere, nūpsī, nūptum (which is not given in the textbook) is the
most frequent word for a woman marrying a man.]
2. Post longum iter (OR: Longō itinere factō) Iāsōn et Mēdēa ad Graeciam
rediērunt/revēnērunt/revertērunt et Mēdēa Aesonī iuventūtem [eius] redidit.
3. Mēdēa duās ārās aedificāvit, ūnam/alteram ([in] dextrā parte Hecatae et alteram [in] sinistrā
parte Iuventūtī. [`one…..the other’ can be expresses by alteram…alteram]
4. Mēdēa sanguinem/cuōrem novum in Aesonem (OR (less likely): Aesonī - dative without
any preposition) infūdit et hōc modō eī iuventūtem [eius] reddidit.
5. Mēdēa amīcitiā falsā prōmīsit Pelian renovāre/reddere/restituere et fīliābus [eius] persuāsit
ut eum [re]secārent.
6. Mēdēa, fīliā rēgis Corinthiī et fīliīs suīs quoque necātīs/occīsīs/interfectīs [OR: postquam
fīliam rēgis Corinthiī et fīliōs suōs quoque necāvit/occīdit/interfēcit], in currū serpentibus
pennātīs tractō ad rēgiam Aegeī fūgit. [Notice that in a postquam clause, the perfect rather
than the pluperfect is normally used and that the clause itself frequently comes immediately
after the subject of the main sentence (Medea, after she killed…, fled to the place..’; Latin
also prefers to use the adjective Corinthius (`Corinthian’)rather than the genitive Corinthī
when describing an individual)
INTERIM READING III: FACTA MALA MĒDĒAE

Now so that she can inflict punishment on (literally:` take punishment from’) Pelias’s family,
Medea simulates a false quarrel with her husband Jason and flees as a suppliant to the palace
of Pelias. His (literally: `whose’) daughters receive her with great joy since the king himself is
an old man. Within a short time (ablative is used both for specifying a point in time and for
the length of time within which something happens) she snared the daughters with false
friendship and while she tells the story of Aeson’s restored youth, she givs them the hope that
their father can grow young again through the magic art (the use of suum here is a litle odd
because a reflexive possesive adjective agreeing with the subject of an accusative and
infinitive clause would normally refer back to the subject of the main sentence (i.e Medea!)
and one has to imagine the words eīs spem dat as equivalent to spērant (`they(the daughters)
hope’). This works more smoothly in Ovid’s original (Bk VII, l.304) which has spēs est
virginibus (`The maidens have hope that..’)). And they ask for this and order a price without
end to be given (This presumably means `order her to be given an unlimited price’ or `order
her to name any price’). `So that there may be greater confidence in this gift,’ she says, `let
the leader of the [flock of] sheep be brough so that through my medicine it can become a
lamb.’ When this has been brought at once (literally: `with this brought at once’, ablative
absolute). Medea cuts [its] throat with a sword and immerses the body in the brass pot.
Suddenly in the middle of the brass pot bleating is heard and without delay it turns out as a
lamb which looks for its mother.
The daughters of Pelias were amazed after they themselves had seen the promised miracle;
then indeed they ask most strongly for the gift. After three nights, the daughter of Aeëtes
placed on the fire a brass pot full of water without magic herbs. Now a death-like sleep was
holding the body of the king when the daughters entered the king’s bedroom with Medea and
walked around the bed: `Why do you now hesitate?’ says Medea, `send out his blood with
[your] swords and I will refill the body of [your] father with the blood of youth. [Your]
father’s life is in your hands.’ On hearing these words (literally: `with these words heard’ –
ablative absolute), each dutiful daughter performs an evil deed. However because none is
able to watch her own blows, they turn their eyes [away] to make blind wounds with their
right hands. He however, flowing with blood, attempts to get up and stretching out his arms
between so many swords says, `What are you doing daughters? Why are you sending [your]
father to [his] death?’ Their spirits fell and their hands also. But Medea took away [any] more
words from the throat of the king (i.e. stopped him saying anything further) and immersed the
body in the hot water. In this way, Medea persuaded the daughters of Pelias that they should
kill their own father.’
If she had not gone into the air on the winged serpents, Medea would not have escaped
punishment (plural for singular). She fled (assuming the author intended fūgit rather than
fugit (historic present)) high above the mountains and towns as far as Corinth. In this
(literally: `which’) city after many years Jason was seeking another wife. The son of Aeson
hoped to marry the daughter of the king of Corinth so that (thus he said) he could make a safe
home for Medea and [their] two sons. Medea does not bear this wrong without anger and sent
to the daughter of the king magic clothes and a crown with poison which the daughter
unaware put on. Immediately she and her father who tried to save her were on fire all over
their bodies. Then Medea, after setting fire to the palace and killing her sons with her own
sword, fled to Athens and the palace of Aegeus; thus with the chariot drawn by winged
serpents she escaped the arms and anger of Jason (assuming again the author intended fūgit
and effūgit rather than fugit and effugit (historic present))
CHAPTER 27: THESEUS TROEZĒNE

Theseus was the son of Aegeus, king of the Athenians. Aethra, daughter of the Troezenian
(Troezēnius, -a, -um) king, was his mother (literally `mother to him’). He also is traditionally
said (literally `is handed down’) to have been the offspring of Neptune; on account of which
Theseus was called the Neptunian hero, and always worshipped the god of the sea. At
Troezen, therefore, he spent his childhood (literally: `boyish/childish age’) in the palace of his
mother and grandfather Pittheus; for his father had returned to Athens. But Aegeus when
departing from Troezen had hidden his sandals and sword under a great [Link] had given an
order to Aethra that she should send (imperfect subjunctive in indirect command clause)
Theseus [when] a young man to him in Athens (literally`to him to Athens’, an additional ad
not being needed with the name of a city). `When the boy grows so strong that he can remove
(present subjunctive in result clause) the stone, send him to me so that he can show (present
subjunctive in purpose cause) himself to his father.’ When the time came (literally: `was
present’), Aethra led the child to the rock. The young man asked why Arethra was taking
(imperfect subjuctive in reported question) him there. Then [his] mother revealed the story
about Aegeus. Although it was a very difficult task, Theseus, after removing the stone
(literally: `with the stone removed – ablative absolute’) took the sandals and sword. Wearing
the sword (literally: `dressed with the sword’), Thesus prepared himself to set out for Athens
(literally: `that he mght set out’ –imperfect subjunctive in purpose clause).
[His] grandfather Pittheus, having tried hard to persuade him that he should make (imperfect
subjunctive) the journey by sea, offered him a ship; Theseus, however, wanting to make
himself similar to his relative Hercules (literally: `similar of Hercules’; Latin could use either
dative or genitive case with similis), decided to go via the isthmus (i.e. the isthmus of Corinth
between northern Greece and the Peloponnese) so that he could free (imperfect subjunctive)
the peoples from danger; for he knew that region was full of monsters and robbers
On the first day, Theseus overcame the club-bearing offspring of Vulcan9; afterwards he
always carried that man’s club as a memorial of his first victory. Then he killed Sinis who had
misused his great strength (literally: `having used his great strength badly’) [and] who was so
strong that he could (imperfect subjunctive – result clause) bend pines to the ground. Letting
go of the pines (literally `with the pines released’ – ablative absolute) he used to hurl mens’
bodies a long way (literally: `widely’) through the air. Theseus killed him by the same
method. .
Following the route along the coast, Theseus came to some high mountains. For he
knew in what place the robber Sciron lived and on which rock he sat. This robber used to
order travelers to wash his feet (literally: `that they should might wash his feet’ – imperfect
subjunctive in purpose clause); but when they were bending down (literally: `inclining
9
This son of Vulcan (Hephaestus) was known as Periphētēs or Coryphētēs
themselves’) to do so (literally: `that they might do so’) he sent them down into the sea with a
blow from his foot (literally: `of his foot’). In the sea, a huge turtle used to devour them.
However, Theseus refused to wash Sciron’s feet. He lifted him up from the rock and threw
him into the sea (literally: `Whom (Sciron) having been raised up from the rock he (Theseus)
threw into the sea.’) Near Eleusis, the hero killed a wild pig, so that the farmer in that place
could now plough (imperfect subjunctive in purpose clause; the nunc perhaps makes a result
clause more natural but there is no `signpost’ word like adeo or tam) his fields in the
coutryside free from care. Other tyrants and robbers were overcome by Thesus, among whom
was Procrustes, who was frightening the inhabitants near Athens. The tradition is that
(literally: `it has been handed down that’) he had an iron bed in which he used to place all
travelers, If any traveler was too long (literally: `longer’), he cut [off] either his head or his
feet. If anyone was too small (literally; `smaller’), Procrustes used to stretch him so that he
would fit the bed (imperfect subjunctive in purpose clause). The son of Aegeus killed
Procrustes in the same bed.
Many poets tell how Theseus overcame (perfect subjunctive in reported question) other
robbers and monsters and in which regions peoples offer public vows to the very brave hero.
He had become a hero, a worthy son to the king of the Athenians.

Ex. I
1. [Erat] Aegeus, rēx Athēniēnsium.
2. [Erat] Aethra, fīlia rēgis Troezēniī.
3. Neptūnus [quoque trādēbātur fuisse pater eī]
4. Troezēne [crēscēbat]
5. [Soleās et gladium] sub magnum saxum [ cēlāvit.]
6. [Dēbēbat] magnum saxum removēre.
7. Quod cupiēbat similem Herculis/Herculī sē facere et populōs perīculō līberāre. [similis can
be used either with the genitive or dative case]
8. Arboribus curvātīs et solūtīs, eum per āera iēcit.
9. Longiōrēs secābat, minōrēs tendēbat ut eōs lectō aptāret.
10. [Ad urbem] Athēnās

Ex. II
(For example) :

Pres Imperf. Perf. Plupf

ACTIVE aptem aptārem aptāverim aptāvissem
PASSIVE apter aptārer aptātus sim aptātus essem
ACTIVE persuādeās persuādērēs persuāserīs persuāsissēs
PASSIVE persuādeāris persuādērēris persuāsus sim persuāsus essēs
ACTIVE dīmittāmus dīmitterēmus dīmīserīmus dīmīsissēmus
PASSIVE dīmittāmus dīmitterēmur dīmissī sīmus dīmissī essēmus
ACTIVE suscipiātis susciperētis suscēperīmus suscēpissētis
PASSIVE suscipiāminī susciperēminī susceptī sītis susceptī essētis
ACTIVE offerant offerrētis obtulerint obtulissent
PASSIVE offerantur offerrentur oblātī sint oblātī essent

Ex. III
A (Examples)
Nesciō cūr bellum gerant Nesciēbam cūr bellum gererent
Nesciō quōmodo bellum gerat Nesciēbam quōmodo bellum gereret
Nesciō ubi bellum gerātis Nesciēbam cūr bellum gererētis

B
1. Scīvi quis esset pater Thēseō.
2. Scīvī quis esset māter eī.
3. Scīvī quis quoque trāderētur fuisse pater eī.
4. Scīvī ubi Thēseus crēsceret,
5, Scīvī in quō locō Aegeus soleās et gladium cēlāverit/cēlāvisset.*
6. Scīvī quid dēbet Thēseus facere ut soleās et gladium carperet.
7. Scīvī cūr Thēseus dēsīderāret iter facere per isthmum.
8. Scīvī quōmodo necāverit/necāvisset Thēseus Sinem.*
9. Scīvī quōmodo Procrustēs peregrīnātōrēs cūrāret.
10. Scīvī ad quem urbem Thēseus profiscerētur.
* The perfect tenses might be changed to pluperfect to emphasise that the actions of Thesues
were further in the past than the past knowledge of them.

Ex. IV
3. domum ībam.
4. in Atticā habitābam
5. Rōmam ībam.
6. domī habitābam.
7. rūrī.habitābam.
8. Troezēne habitābam.
9. Rōmae habitābam,
10. Thēbīs habitābam.
Ex.V
1. Aegeus, rēx Athēniēnsium/ Athēnārum, erat pater Thēseō/Thēseī, et Aethra, fīlia Pittheī,
erat māter eī/eius. [Either dative or genitive can be used to express these relationships].
2. Neptūnus quoque ā multīs poētīs dīcitur/trāditur/fertur fuisse pater eius/eī.
3. Thēseus Troezēne/Troezēnī crēvit/crēscēbat sed, ubi erat/cum esset iuvenis validus/fortis,
saxum quod soleās gladiumque patris tegēbat remōvit et Athēnās profectus est. [Or use
ablative absolute: saxō...remōtō, Athēnās profectus est. If cum is used, the subjunctive would
be more likely than the indicative because of the causal connection]
4. Thēseus populum Corinthium/populum isthmī ā mōnstrīs et tyrannīs līberāre volēbat
[Corinthius, rather than Corinthiacus (given in the vocab at the back )is the more usual word
for someone from Corinth]
5. Sinis magnīs vīribus [suīs] utēbatur/ūsus est ut pīnūs/pīnōs ad terram curvāret/inclīnāret.
[pīnus has both 2nd. and 4th. declension forms]
6. Scīrōn peregrīnātōrēs/peregrīnōs qui sē inclīnāre dēbēbant ut pedēs eius lavārent
necābat/interficiēbat/occīdēbat/necāvit/interfēcit/occīdit
7. Procrustēs hospitēs suōs ut lectō [suō] aptārent tendēbat/tetendit.
8. Etiam hodiē poētae nārrant quōmodo
Thēseus isthmum [ā] periculīs līberāverit.[perfect subjunctive]
9. Thēseus mātrem [suam] rogāvit cūr [sē] ad saxum dūxisset [The pronoun object inside the
question clause could be omitted but, if it is supplied, the reflexive sē is used as the sentence
reproduces the thoughts/words of Theseus himself.]
10. Aegeus Thēseum rogābit quōmodo Athēnās vēnerit. [perfect subjunctive]
 CHAPTER 28 : THESEUS AT ATHENS

While Theseus is/was growing up (dum norrmally requires a present tense whtever the actual
time reference) in Troezen, Aegeus receives/received (historic present) Medea into his
kingdom, to which she flees/fled (historic present) in the chariot drawn by winged serpents
aftr she had set fire to the palace at Corinth and killed her own sons with a sword. Aegeus
accepts/accepted her and [mere] hospitality was not enough, but he made a marital
arrangement with her (literally `joined himself to Medea by an agreement of a marriage-
bed), for he hoped that he would father a son through Medea’s art. He has not found out/does
not know/did not know that Theseus is still alive (the perfect tense cognōvit (iterally `has
found out’) is equivalent to `he/she knows’ so in narration using the historic present can also
be the equivalent of `did not know’)
Ad now Theseus is/was here, a son unknown to his father, who had pacified the isthmus
between the two seas by his courage, However (literally `but however’) Medea recognised
him as soon as he reached the city ; consequently (literally : `on account of which thing’), out
of evil jealousy (literally : `evil and jealous’), she persuaded Aegeus that he should invite
Theseus to the palace so that he could be killed. When the latter (hic, literally `this’, is used
for `latter’ as this involves reference to the nearest noun) was coming (imperfect subjunctive
is used with cum (as a conjunction meaning `when/since/although’ ) when there is an
implication of a causal connection, not just mere coincidence in time) into the banquet, she,
mixed poison into wine, which she gave to Aegeus so he himself could give (subjunctive in a
relative clause expressing purpose) it to his unaware son/the son he did not know (ignārus
can mean both `unknown’ and `unknowing’). This fatal poison, which Medea had brought
with her, was once made from the white foam (plural for singular, or equivalent to `splashes
of foam’) with which Cerberus sprinkled the fields as he barked (literally `with his barkings’)
while Hercules was bringing him from the Underworld (present tense aufert with dum even
though real time is past). Theseus had already taken the given cup in his unknowing (or
`unrecognised’, or translate `unknowingly’ ) right hand, when his father recognized the
symbols of his own family on the ivory ornamentation of [his] sword and hurled the cup away
from Theseus’s mouth. However, Mēdēa, chanting magic spells, escaped death in a mist
(literally `with the mists moved’, ablative absolute) when she saw her crime was revealed
(literally `saw her crime to lie open’; cum clause with subjunctive as the knowledge that she
was exposed caused Medea to flee).
But the father, although he was glad at his son being found safe (context shows cum
means `although’ here), was amazed that he had almost committed a great crime. The gods
(irregular plural from deus) prevented him from killing his own son (literally `prevented
whereby he had not killed’; the conjunction quīn is frequently used in this way with verbs of
preventing, hindering and doubting but an imperfect subjunctive would be more usual. The
pluperfect is presumably used here to emphasise A.’s escape from becoming a person who
had killed his own child) he therefore lights (probably historic present, though the form
accendit (<accendō, accendere, accendī, accēnsum) can also be perfect, c,f, English `put’,
`hit’ etc.). the altars of the gods with fires. No day is considered (literally `carried’) more
clebrated than that one at Athens. Father and people celebrated the hero with songs. “You,
greatest Theseus (the vocative form is Greek with `eu’ forming a diphthong as in the
nominative; in other cases the `e’ forms a seprate syllable and regular 2nd. declension case
endings are added) are loved by all the inhabitants of the Isthmus. The safe route now lies
open to travellers. If we want to count both your good deeds and your years, the deeds
outnumber the years. For you, bravest one, we have undertaken public prayers, for you we
drink a cup of wine (bibimus could also mean`we have drunk’ but this is less likely in the
context).
The palace at Athens resounds with applause and the prayers of the people. Nor is there
any sad place in the whole city. However (for there is no pleasure without care), Aegeus was
not able to rejoice greatly at recovering his son safely (literally `with his son received/taken
back’, ablative absolute); for Minos was preparing war. This son of Juppiter and Europa
although he is/was strong in soldiers (literally `by soldier’), although he is/was strong in
ships, was, however, strongest in his paternal anger, because [his] son Androgeus had been
killed as a guest in Athens. Hear how this happened; in the kingdom of Aegeus there was a
white bull which Hercules had transported to Greece from Crete. This bull, which breathed
out fire, had killed many men and devastated the fields. Many young men attempted to kill it,
among whom was Androgeus, son of Minos, but [it was] in vain. Finally, however, Theseus
seized the bull by its death-bearing horns and dragged it throughthe streets of Athens to a
temple where he killed it (literally `this’) as a sacrifice to the gods. Since Androgeus had been
killed (pluperfect subjunctive with cum) after being sent (literally: having been sent) into
danger by Aegeus, Minos now prepared war. Minos also ordered seven youths and seven
maidens to be sent for to him in Crete (literally `to Crete’) so that they could be sacrificed
(imperfect subjunctive in purpose clause) to the Minotaur. This (literally: which) double-
formed monster, a bull with the head of a man, the son of Pasiphae and the white bull, lived
under the palace in a labyrinth.10

[Link]
1. Fīliōs suōs [necāverat.]
2. Quod spērābat sē arte Mēdēae fīlium prōcreātūrum esse.
3. Thēseum venēnō necāre temptāvit.
4. Quod Aegeus Thēseum recognōvit.
5. Signīs generis suī [in ōrnamentō eburneō gladiī fīlium recognōvit]

10
In classical art, the Minotaur was commonly represented as a man with the head of a bull.
6. Accendit ārās deōrum ignibus.
7. Certissimē [dignus est fī lius rēgis esse]
8. Quod [fīlius]Androgeus [ut hospes] Athēnīs interfectus erat.
9. Erat fīlius Mīnois et ut hospes Athēnīs aderat.
10. Ab Herculē ā Crētā in Graeciam portābātur/portātus est [Both in the question and the reply
the perfect tense is more appropriate]
OR Hercules eum ā Crētā in Graeciam portāvit.

Ex. II
1. Since these things are so, Minos wants to make war.
2. Although Aegeus was happy because Theseus was there, he was still amazed because he
had almost killed his son.
3. When he had entered the palace, Theseus recognized his father.
4. When she had placed poison in the cup, Medea gave it to Aegeus.
5. Since Theseus wished [himself] to be similar to Hercules, he wanted to go via the isthmus.
6. Although Theseus recognized his father, yet Aegeus still did not recognize his son.
7. Since/When Theseus was present in his father’s kingdom, there was great joy in the city.
8. Since Medea had poison with her, she was easily able to place this in the cup.
9. Although Theseus was Aegeus’s son, nevertheless the king stil did not know about his son
10. Whenever Medea saw a stranger, she was afraid.

Ex. III
1. at home – domī habitābam ad īnsulam ībam
2. in the coutry(side) – rūrī habitābam Athēnīs habitābam
3. at Athens – Athēnīs habitābam. in Crētā habitābam
4. in Rome – Rōmae habitābam domī habitābam
5. in/on Crete – in Crētā habitābam in Graeciā habitābam
6. in the city – in urbe habitābam domum ībam
7. (to) home – domum ībam rūrī habitābam
9. to Athens – Athēnās ībam Carthāgine/Carthāginī habitābam
10. at Carthage – Carthāgine habitābam Thēbīs habitābam

Ex IV
I do not love you, Sabidius, and I cannot say why.
Only this I can say: I do not love you

Ex.V
1. Mēdēa Thēseō venēnum pōculō vīnī/per pōculum vīnī dare cōnāta est/cōnābātur.
2. Cum Aegeus fīlium [suum] recognōvisset, statim eum [id] bibere prohibuit//statim
prohibuit quīn biberet. [The construction with quīn, though used in the reading passage, is
normally only used after a negative main clause]
3. Mēdēa, carmen suum malum canēns/cantāns, in currū serpentibus pennātīs tractō effūgit.
4. Thēseus laudābātur/laudātus est quod erat fīlius rēgis et [quod] isthmum [ā] multīs et
magnīs perīculīs/multīs perīculīs magnīs līberāverat. [The English order multīs magnīs
perīculīs would seem rather awkward in Latin.]
5. Rēgnum Athēnīs, tamen, nōn erat laetum quod Athēniēnsēs bellum cum Crētā/contrā
Crētam timēbant
CHAPTER 29: THESEUS IN CRETE (n.b THĒSEUS CRĒTAE should be THĒSEUS IN
CRĒTĀ . The title in the book is ungrammatical as the locative case should only be used with
the names of small islands; Rhodes (544 sq. miles) was normally regarded as the largest
small island so Crete (3,219) is definitely excluded)

Neptune, god of the sea, had given a beautiful white bull to Minos so it could be sacrificed to
himself (imperfect subjunctive in purpose clause, with reflexive pronoun sibi referring, as is
usual in a clause giving someone’s thoughts, to the subject of the main sentence, viz.
Neptune)’ but the bull was so beautiful that Minos himself kept the bull (subjunctive in a
result clause). Neptune, who wanted to punish the king, made Pasiphae, his wife, fall in love
with the bull (literally: `brought it about (fēcit) that Pasiphae fell in love (imperfect
subjunctive in result clause)’); the adulteress had deceived the savage bull with wood (i,e, a
wooden device) so that she carried a grotesque (literally : `discordant’) foetus in her womb
(subjunctive in what is probably a result clause but might also be interpreted as one of
purpose). While Minos was waging war (a dum clause requires present tense although time
reference is past), the scandal in his family (literally `of the family’) had grown and the
queen’s disgraceful adultery was apparent through the two-formed monster. Minos decided to
remove this shame from [his] marriage-chamber and to hide it in an elaborate home under the
palace.
Daedalus, who was most famous in the art of building, constructed this labyrinth so it
could lead the eyes (an alternative meaning of lūmen, lūminis n) into error through the many
turnings of its various paths. Not otherwise does the [river] Meander play in the Phrygian
fields and flow this way and that on its changing course (literally : `flow and flow back with
ambiguous gliding down’); running into itself, it leads its uncertain waters now towards [its]
source, now towards the open sea. There are so many rooms, there are so many ways that
Daedalus himself can scarcely return to the threshold (present subjunctive in result clause)
So great is the deceitfulness of the building.
There (literally : `in which’) Minos had hidden the twin form of bull and young man and
twice the monster had fed on the blood of Athenians because of the death of Androgeus.11
However the third drawing of lots (for the young Athenians sent to Crete had been chosen by
lot) brought (literally : `gave’) death to the Minotaur. For Theseus, although he was the king’s
son, nevertheless decided to to sail among the other youths so he could free his country from
the terror of the Minotaur (imperfect subjunctive in purpose clause). If the ship should return
after the Minotaur had been killed (literally : `with the minotaur killed’, ablative absolute), it
would travel with a white sail ; [if it should return] after the young people had been killed
(literally : `with the young people killed’, ablative absolute) [it would travel] with a black

11
There are different vesions of Androgeus’s death in the ancient sources, with some authors
suggesting he was deliberately killed because Aegeus suspected he would join Theseus’s half-brother
in a rebellion.
sail. (The present subjunctives reveniat and naviget are used here in a `remote’ or tentative
future conditional) This is to be the signal for Aegeus.
When the ship was arriving in Crete (imperfect subjunctive in cum clause with element
of logical connection) the royal family came down to the shore so that it could see the
Athenian youngsters. Minos, who had heard about the deeds and parents of Theseus, now saw
how handsome and brave the hero was. ‘Is Neptune really the sort of father who would help
you ? ‘ said Minos and threw a ring from his finger into the sea. ‘Bring this ring back to me as
a sign of your divine father.’ Theseus, who added courage (or, perhaps, `virtue’) to bravery
(presumably meaning simply that he was exremely brave), praying to all the gods and greatly
(i.e. especially) to Neptune dived into the sea (literally: `submerged himself into the sea’) ;
soon he returned with the ring, given him by Nereus.
Ariadne, the daughter of Minos, who had watched all these actions, immediately fell in
love with Theseus. When/Although all the Athnians were abandoning hope of escaping, the
royal maiden gave new hope. (cum clause with the imperfect subjunctive). For she looked for
Theseus and proposed to him a plan through which they both might escape (relative clause of
purpose with imperfect subjunctive). First she gave the hero string and a sword (others say he
had secretly retained his father’s sword); then she taught him a way out of the labyrinth which
had been built by Daedalus. She said that he should tie to the doorpost the string, which
Theseus could roll out (imperfect subjunctive both to express purpose and because this is a
subordinate clause inside a reported statement,) while he approached (subjunctive because
the clause is within reported speech, present tense because dum is being used) the Minotaur.
After he had killed the monster with a sword (literally: `with the Minotaur killed’, ablative
absolute), the string should be wound up by Theseus (the gerundive glomerandum expresses
necessity and the person on who the obligation falls has to be in the dative), who could then
lead out all [his] friends (imperfect subjunctive in a relative clause of purpose). For such a
great favour, the son of Aegeus promised that he would marry her and bring her to Athens as
his wife. By the help of the maiden the difficult door was found again by Theseus. With
these things done (ablative absolute), Theseus sailed from Crete with [his] companions and
the king’s daughter.
After abducting Ariadne (literally `with Ariadne seized’, ablative absolute) the son of
Aegeus immediately set sail for the island of Dia/Naxos. On this (literally: `which’) island
some say Theseus abandoned the maiden; others say Ariadne was left on the shore by the
hero, whom a sudden storm carried off as he was boarding the ship. To the deserted maiden
making many complaints (literally: `complaining many things’) Bacchus brought love and
help and placed the crown from Ariadne’s forehead in the the sky so that as a perennial star it
might become famous (foret = futūrum esset, `might be going to be’, roughly equivalent to
esset on its own as the imperfect subjunctive itself often refers to a point in the future relative
to the time of the main verb in the sentence). Either by chance or by the will of the gods,
Ariadne became the wife and priestess of Dionysus. (Dionysus was an alternative name for
Bacchus)

I
1. Neptūnus [taurum eī dōnāverat].
2. Quod taurum eī nōn sacrificāverat.
3. Effēcit ut Pāsiphaē, uxor Minōis, taurum amāret.
4. In labyrinthō sub rēgiā/rēgiam [mōnstrum cēlāre cōnstituit]
5. Daedalō [opus labyrinthum aedificandī] dat.
6. Nōn est facile quod labyrithus lūmina/oculōs in errōrem vāriārum viārum multīs flexibus
dūcit.
7. Sorte lectī sunt.
8. Nāvis vēlō albō navigābit.
9. Thēseus Mīnotaurum fīlō et gladiō superāvit.
10. Ariadnae auxiliō effūgit.

II
1. Pāsiphaē erat rēgīna quae erat adultera.
Pasiphae was a queen who was an adulteresss.
2. Mīnōtaurus erat mōnstrum quod Mīnōs sub rēgiam cēlāvit.
The Minotaur was a monster which Minos hid under the palace.
3. Daedalus erat artifex cui Mīnōs opus labyrinthum aedificandī dedit.
Daedalus was the artist to whom Minos gave the task of building the labyrinth.
4. Iuvenēs quī cum Thēseō navigāvērunt fortēs amīcī in itinere fīēbant.
The youths who sailed with Theseus bécame strong/brave friends on the journey.
5. Īnsula ad quam iuvenēs navigāvērunt erat Crēta.
The island to which the youths sailed was Crete.
6. This sentence is improperly formed because pāscō is used with the person or animal
receiving food as direct object (as in English `The king fed the monster with human flesh’) not
with the food itself as object of an active verb or subject of a passive one (as in English
`Minos fed them to the monster’ or `They were fed to the monster’) The answer the authors of
the book had in mind woud be: Mīnōtaurus cui iuvenēs pastī sunt sub rēgiā in labyrinthō
habitāvit. However, a better sentence would be: Mīnōtaurus quī iuvenibus pāstus est sub
rēgiā habitāvit. `The Minotaur who was fed with the youths lived under the palace in a
labyrinth,’
7. Ariadna statim Thēseum amāvit cui fīlum et gladium dedit.
Ariadne at once fell in love with Theseus, to whom she gave string and a sword,
8. AriadnaThēseum docuit cōnsilium quō labyrinthus aedificātus erat.
 Ariadne taught the plan on which the labyrinth had been built.
(Thēseō in the book’s sentence is a mistake because doceō is used with the accusative of the
person taught, not the dative,
9. Neptūnus erat pater quī fīlium iuvāret.
Neptune was the kind of father who helped his son (Note the subjunctive!)
10. Aegeus erat pater cuius fīlius ad Crētam navigāverat.
Aegeus was the father whose son had sailed to Crete.

III
1. Minos sent ships to Athens to carry the youths to Crete.
Mīnōs nāvēs Athēnās mīsit quae iuvenēs ad Crētam portārent.
2. It was necessary for Aegeus to send youths to be sacrificed to the Minotaur.
Aegeum iuvenēs mittere oportuit quī Mīnōtaurō sacrificārentur.
(sacrificērentur in the book is a typo)
3. Ariadne gave Theseus a string so that he coud be led out of the labyrinth.
Ariadna Thēseō fīlum dedit quō ē labyrinthō ēdūcerētur.
4. The tired people sail to the island of Dia to sleep.
Dēfessī ad īnsulam Diam navigant in quā/ubi dormiant.
5. It is necessary for Theseus to sail with a white sail so that Aegeus can know his son is safe.
Thēseum navigāre vēlō albō oportet quō Aegeus fīlium salvum esse sciat.

IV
1. This is an animal which you see in the wood,
Hoc est animal quod in silvā videās
This is the kind of animal which you see in the wood.
2 The oak is a tree which does not grow in Africa.
Quercus est arbor quae in Āfricā nōn crēscat.
(Quercus is feminine so quī in the book is wrong)
The oak is a kind of tree which does not grow in Africa.
3,Theseus is a hero who you find in this story.
Thēseus est hērōs quem sōlum in fabulīs inveniās
Theseus is the kindof hero that you only find in stories.
4. Ariadne was a daughter who was not faithful to her father.
Ariadna erat fīlia quae nōn esset fīdēlis patrī.
Ariadne was the kind of girl who was not faithful to her father.
5. This is a story which is not believable,
Haec est fābula quae nōn crēdibilis sit.
This is the kind of story which is not believable.
V
1, oportet 2. licet 3. libet 4. libet 5, oportet

VI
1. Dum Mīnōs bellum gerit, mōnstrum in uterō uxōris/coniugis[eius] crēscēbat/magnum
fīēbat [There is no need to use magnum if crēscō is employed]
2. Neptūnus fēcit/effecit ut Pāsiphaē taurum amāret quod Mīnōs eī nōn sacrificāverat.
3. Cum Mīnōs opprobrium/pudōrem thalamī cēlāre iam nōn posset, fēcit/effēcit ut Daedalus
labyrinthum sub rēgiā aedificāret/cōnstrueret [or Daedalum coēgit labyrinthum
aedificāre/cōnstruere or Daedalum coēgit ut labyrinthum aedificāret/cōnstrueret]
4. Virginēs et iuvenēs [or virginēs iuvenēsque] quī nūllam spem effugiendī habēbant[or quī
spem effugiendī non habēbant or quīs/quibus nūlla spēs erat effugiendī ] novēnīs annīs
Mīnōtaurō trādēbantur ut cōnsūmerentur [or just trādēbantur (`were handed over’); pāsco (I
feed) canot be used here because it is used with the person or animal receiving food as its
object, not the food itself ]
5. Thēseus cum aliīs iuvenibus nāvigāre cōnstituit ut patriam [suam] līberāret.
6. Cum Thēseus ad/in Crētam pervēnisset, Mīnōs virtūtem fortitūdinemque eius
experīrī/temptāre/probāre temptāvit/cōnātus est [for `try’meaning `attempt’ use temptō or the
deponent cōnor, for `test’ either temptō or experior.] et spērābat/spērāvit eum in marī
submersum moritūrum esse [literally `submerged to be going to die’; or, since submergere on
its own often means `drown’ rather than just `submerge’, eum sē in marī submersūrum esse,
with a reflexive construction, or fore ut in marī submergerētur, with the use of the short
future infinitive fore (< futūrum esse. `to be going to be[the case])]
7. Fortūnātē/Fēlīciter deī/dī Thēseum (ad)iūvērunt (or Thēseō auxilium dedērunt et
effēcērunt/fēcērunt ut Ariadnē/Ariadna hērōem amāret,
8. Ariadna Thēseō fīlum dedit quō per multās viās caecās labyrinthī iter/viam/exitum
invenīret.
9. Aut forte aut voluntāte deōrum/deum, Ariadna in īnsulā Diā relicta est ubi/quā sacerdōs
Bacchī facta est.
10. Eheu/Infēlīciter, Thēseus domum vēlō albō nāvīs [or vēlō albō in nāvī [suā]] nōn ērēctō
nāvigāvit.
 CHAPTER 30: THESEUS THE KING

Passage:
When Thesesus was returning to Greece (imperfect subjunctive in cum clause), either over-
excited (literally: moved, disturbed) by the thought of his father’s joy, or forgetful of the king
(oblītus is a deponent perfect participle from oblivīscor with genitive of object), he did not
adorn the ship with a white sail; Aegeus, who saw the black sail from the citadel threw
himself into the sea and died. The sea was named (literally `used to be named, began to be
named’) the Aegean because of this king and [his] sad ending.
So Thesus became king after Aegeus’s death (literally: `with Aegeus dead’, ablative absolute)
and as a wise leader gave good (literally `lucky`) guidance and just laws to the Athenian
people over many years. At the time Athens was considered the home of liberty, the first city
of the whole world. Athens did not now have to send lamentable tribute to Crete. The temples
are/were crowned (hist. present) with flowers; the people honour/honoured (literally honours
as populus is singular) Minerva with Juppiter and the other gods, whose temples they
decorate with blood offered/vowed and gifts given and with incense.
The name of Theseus had been spread through the Greek cities and other peoples begged for
his help in great dangers. Calydon, a neighbouring city, humbly sought his assistance
although it had a brave/strong leader [in] Meleager. The cause of [their] seeking was a huge
boar, which monster had destroyed the fields and shepherds and dogs and hunters of Calydon.
The people fled and did not think they were safe until they were within the walls of the city.
(imperfect subjunctive because the clause is inside indirect statement or because it refers to
the purpose in the inhabitants’ mind) Calydon begged Theseus to kill this boar and put an end
to the terror (literally `that he might..’; imperfect subjunctive in an indirect request) The hero
conquered the boar with many companions among whom were Jason and Pirithoüs and the
maiden huntress Atalanta and the Calydonian hero, Meleager himself.
Others asked the son of Aegeus to give assistance [imperfect subjunctive in an indirect
request], especially the seven chieftains who waged war against the Thebans, whose king
Creon had forbidden them to bury the bodies of the slain. The vanquished implored Theseus
to compel the Thebans not to do this thing (literally `that he might..’; imperfect subjunctive in
an indirect request). He not only brings/brought help, but also wisely (literally: `wise’)
forbade his soldiers to destroy the captured city; after the dead had been buried (literally:
`with the dead buried’, ablative absolute) he established peace in the whole country/earth.
He also received fleeing Oedipus in [his] exile when this wretched man, now blind, was
wandering with his two daughters. Theseus brings/brought (historic present) friendship to
Hercules after he in madness (literally: `raging’, `being in an insane fury’) had killed [his]
wife and children and afterwards returned to sanity of mind. The son of Aegeus, having
always admired Hercules, even after so great an evil deed persuaded him not to kill himself
(imperfect subjunctive in an indirect command clause; the sē in such clauses could in theory
refer to Theseus himself as subject of the main clause as well as to Hercules but the context
makes the meaning obvious). With Hercules as his companion, Theseus is traditionally said to
have waged war in the land of the Amazons. When he was returning to Athens he brought
with him Hippolyta, queen of the Amazons, who, greatly loved, bore a son Hippolytus.
However this unforunate woman was killed in battle fighting alongside Theseus.

I
1. Quod Aegeus, [postquam vēlum atrum vīdit, sē in mare iēcit et] mortuus est.
2. Iūra iūsta [dedit]
3. Quod ingēns sūs agrōs et pāstōrēs et canēs et vēnātōrēs Calydōnis vastāverat.
4. Quod rēx Creon eōs vetuerat corpora interfectōrum humāre.
5. Oedipum fugientem [recēpit.]
6. Cum duābis fīliābus [suīs errābat].
7. Uxōrem et līberōs [suōs necāvit]
8. In bellō quod Thēseus in terrā Amāzonum gessit.
9. [Nōmen erat] Hippolytus.
10. Pugnāns iuxtā Thēseum in proeliō necāta est.

II
A
1. Rēx imperāvit populō ut mortuōs suōs humāret.
2. Rēx imperāvit cīvibus ut vītās bonās agerent.
3, Rēx imperāvit Orpheō ut Thēbīs excēderet,
4. …Herculī ut poenās prō furōre daret.
5. …Pirithoō ut Hippodamīam in mātrimōnium dūceret.
6. …Herculī nē sē necāret.
7. …Oedipō ut in exsiliō errāret.
8. …septem prīncipibus contrā Thēbās ut domum īrent.
B
1. Rēx imperat populō ut mortuōs suōs humet.
The king orders the people to bury their dead
2. Rēx imperat cīvibus ut vītās bonās agant.
The king orders the citizens to lead good lives.
3. Rēx imperat Oedipō ut Thēbīs excēdat.
The king orders Oedipus to leave Thebes
4. …Herculī ut poenās prō furōre det.
…Hercules to pay the penalty for his madness
5. …Pirithoō ut Hippodamīam in mātrimōnium dūcat.
…Pirithoüs to marry Hippodamia.
6. …Herculī nē sē necet.
…Hercules not to kill himself
7. …Oedipō ut in exsiliō erret.
…Oedipus to wander in exile
8. …septem prīncipibus contrā Thēbās ut domum eant.
…the seven chieftains against Thebes to go home
C
1. Rēx iussit populum mortuōs suōs humāre.
2. Rēx iussit cīvēs vītās bonās agere.
3, Rēx iussit Orpheum Thēbīs excēdere,
4. …Herculem poenās prō furōre dare..
5. …Pirithoum Hippodamīam in mātrimōnium dūcere.
6. …Herculem vetuit sē necāre. (in classical Latin vetō was normally used instead of iubeō …
nōn)
7. …Oedipum in exsiliō errāre.
8. …septem prīncipēs contrā Thēbās domum īre.
Note how in all these sentences you simply remove the persona ending from the end of the
imperfect subjunctive to change it into the infinitive.
D
1. Rēx petīvit ā populō ut mortuōs suōs humāret.
2. Rēx petīvit ā cīvibus ut vītās bonās agerent.
3, Rēx petīvit ab Oedipō ut Thēbīs excēderet,
4. …ab Hercule ut poenās prō furōre daret.
5. …ā Pirithoō ut Hippodamīam in mātrimōnium dūceret.
6. …ab Hercule nē sē necāret.
7. …ab Oedipō ut in exsiliō errāret. (ab is needed before a vowel)
8. …ā septem prīncipibus contrā Thēbās ut domum īrent.

III
vult volēbat volet voluit voluerat voluerit
nōn vult nōlēbat nōlet nōluit nōluerat nōluerit
māvult mālēbat mālet māluit māluerat māluerit
fert ferēbat feret tulit tulerat tulerit
All of these verbs add the infinitival suffix –re (becoming –le by assimilation in the first
three) without any linking vowel: velle, nōlle, mālle, ferre.
IV
1. cum lēgēs bonās dedisset 2. cum bellum fīnīvisset 3. cum suem necāvisset 4. . cum
Hippolytam in mātrimōnum dūxisset 5. cum pācem fēcisset

V
1. Cum Aegeus mortuus esset, Thēseus, fīlius [eius], rēx factus est.
2. Thēsus cīvibus Athēniēnsibus/Athēnaeīs lēgēs bonās dabat/dedit et eīs/hīs/illīs
persuāsit/persuādēbat ut in pāce vīverent. [Imperfect dabat wold be more likely as the process
went on over many years; persuāsit would be more appropriate if we assume the persuasion
was accomplished successfully at one particular time, persuādēbat if the citizens had to be
constantly re-persuaded. For referring to the people of a particular city an adjective was used
rather than the genitive plural of the noun (Athēnārum)]
3. Septem [prīncipēs] contrā Thēbās eī persuāsērunt ut sibi in bellō [suō] auxilium daret/opem
ferret,
4. Thēseus Amāzonas/Amāzonēs [as this is a Greek word the accusative 3rd. declension plural
in –as can be used instead of -ēs] superāvit/vīcit et// Amāzonibus superātīs/victīs ūnī ex eīs
persuāsit ut nūpta/uxor/spōnsa [sua] Athēnās redīret. [spōnsa = fiancée rather than wife]
5. Thēseus sciēbat Amāzonas/Amāzonēs, quae essent fortissimae, nōlle rēgīnam suam
abīre/excēdere. [Subjunctive for the relative clause as it is part of what Theseus knew]
INTERIM READING IV: PLŪTO ET PRŌSERPINA

First Ceres moved the earth aside with a plough, she first gave crops and gentle nourishment
(literally `foods’, `nourishments’) to the lands, first gave laws; all things are the gifts of Ceres.
I must sing a song about Ceres (literally: `A song about the goddess must be sung by me.’). If
only I could say things worthy of the goddess. Certainly the goddess is worthy of a song.
The vast island of Sicily lies on the body of the giant Typhoeus and presses [upon him]
as he (literally `who’) often fights and tries to rise. Huge Etna presses [his] chest (literally:
`chests’); on his back, he vomits flames from [his] mouth and ashes whilst the other
mountains press other parts of [his] body. Sometimes with great force he tries to rise and to
roll the mountins down from his body. Then the earth trembles and the king (Pluto) himself is
afraid12 that, after the earth has been split, light may reach into the kingdom of darkness and
frighten the trembling shades there. Fearing this (literally: `fearing this thing’) Pluto had gone
out from his dark kingdom on his chariot drawn by black horses (literally: `of black horses’)
to inspect the Sicilian lands. While the gloomy king was exploring the island, Venus sitting on
her mountain sees/saw (historic present) him. Calling her winged son, the goddess said: `Take
those weapons, Cupid, with which you overcome all, and send your swift arrows into the
breast of the god. You reign over the gods (literally: `those on high’) and Jupiter himself and
the god of the sea. Why does Pluto evade your power? On earth and in heaven the strength of
love is being diminished. Do you not see that Minerva and Diana and all the nymphs flee
from me? Ceres’s daughter also will be a virgin if we allow [it]. But for me and for your own
kingdom, you should join the goddess to her paternal uncle.13
[Thus] said Venus; he opened his quiver and from a thousand arrows he placed a very
sharp one in his bow. He bent his pliant bow and struck Pluto in the heart with the sharp
arrow, Not far off is a lake where the songs of swans are heard. The forest crowns the
waters with its foliage; it is ever-lasting spring. Whilst Proserpina is/was playing there
(literally: `in which [place]’) and picking either violets or white lilies and filling her tunic
with the, flowers, at almost the same time she is/was seen by Pluto (literally: `having been
seen by Pluto’), loved and seized. Thus is the power of love.
The terrified goddess shouts/shouted with sad face to her mother and companions (but
more often to her mother) and because her clothing is/was torn, the collected flowers, as her
tunic had been loosened, fell [down]. Such was her simplicity, that this loss produced
maidenly sorrow.
The abductor drives [his] chariot across the lake and pool and encourages/encouraged

12
The verb timet (fears) has been substituted for terret (frightens), which does not make sense here.
13
The translation assumes that Venus is refering to Pluto as Proserpina’s patruus (paternal uncle) since
he was the brother of Proserpina’s father, Jupiter. As Ovid elsewhere describes Venus herself as
Jupiter’s daughter, she might here be calling Pluto her own patruus, but this is less likely. Another,
better-known origin myth for Venus is that she was born of the foam from the severed genitals of Zeus’
grandfather, Uranus.
his team (literally: `chariots’), by calling each [horse] by name. In the middle of her pool, the
nymph Cyane, by whose name the pool was called, most famous amongst the Sicialian
nymphs, appeared and recognized the goddess. `You will go no further (literally: `and you
will…’),’ she says/said, `You cannot be Ceres’ son-in-law against her will. Proserpina should
have been asked for, not seized.14 Anapis fell in love with me, but I, however, married after
being pleaded with and not, like her, after being terrorized.’
She spoke and steretching out her arms in different directions stood in the way. But
Pluto did not restrain his anger and struck the pool with his sceptre. The earth made an open
path into Tartarus and received the chariot into the middle of a crater. However Cyane
grieving both for the abducted goddess and for the scorned rights of her spring bears/bore her
injury with silent mind and is/was turned totally into tears. Into the very waters of which she
had been the nymph is/was Cyane transformed. You would see her limbs go soft; her bones
and greenish-blue hair and fingers and legs and feet become liquid; after this, her shoulders
and back and chest depart into the icy waters; finally clear water replaces the living blood;
nothing remains which you could touch.
Meanwhile, the daughter of Ceres was sought by her frightened mother in all lands.
Dawn and Evening saw her searching. She took in her two hands burning pines from Etna;
without rest she wandered through the lands seeking her daughter from sunset to sunrise. It
would take a long time to say (literally: `long delay to say’) through which lands and which
sees the goddess wandered. Finally she makes/made for Sicily again; while she
searches/searched, she comes/came to Cyane; although the nymph, who had been turned into
water (literally: `waters’) wanted to tell everything, still both mouth and tongue were absent
for the one wanting to speak (i.e. she had neither mouth nor tongue). However she gave a
sign (literally: `signs’): the familiar tunic of Proserpina floating (literally: `swimming’) on top
of the water. Then the goddess tore her hair and struck her breasts with her palms. She still
does/did not know where her daughter is. Then she accuses all the lands and calls them
ungrateful and not worthy of the gift of crops. Before other lands, she especially condemned
Sicily in which she found the tunic and traces of her daughter, she laid waste the fields and
the plants and animals and cattle. Eager birds pick the seeds.
Then the nymph Arethusa raised (literally: `carried’) her head out of the water and
moved her hair from her forehead to her ears and said: “O mother of an abducted daughter
and of crops, cease your immense labours. The unwilling earth merited none of this (literally:
`merited nothing’) and is not deserving of such heavy punishments. Save these lands. Whilst I
was flowing underground by the River Styx, your Proserpina was seen by my eyes. She is
indeed sad and still not free from fear (literally: `and not even till now unterrified’) but she is
nonetheless the very great queen of the dark realm, nonetheless the wife of the king of the
underworld.
14
The infinitive esse (needed to complete the sense of potes) is in Ovid’s original text but omitted in
the textbook.
 As she heard these words the mother was like a rock, the goddess was struck by anger
and fear. She goes/went on her chariot (literally: `chariots’) to the heavenly shores; there she
stood before Jupiter with her hair disheveled. “For the sake of my daughter I have come as a
suppliant to you, Juppiter,” she said, “and for the sake of your daughter: if you have no
consideration for the mother, let the daughter move her father. See, the daughter long sought
has now been found, if being more certain of the loss can be called finding or if knowing
where she is amounts to finding her (literally: `if you call to lose more certainly to find, or to
know where she is to find her‘). Let Pluto give her back. We will bear the fact that she was
seized if only he returns her. Nor does your daughter deserve a bandit for a husband.”
Jupiter replied “Your daughter is the common care for me with you, but if you are just
willing (literally: `if it pleases’) to give things their proper names, this deed is not an injury
but love. Nor will that son-in-law be a cause of shame for us, if you, goddess, are only willing
[to accept him]. Apart from everthing else (literally: `If the other things were to be lacking’)
how great a thing it is to be the brother of Jupiter. But if you desire a separation so much
(literally: `if such a great desire of separation is for you’), let Proserpina seek the sky again,
but on this fixed condition that (literally: `if’) she has touched no food with her mouth there.
He had spoken and Ceres is/was certain of bringing out (literally: `to Ceres to bring out
was certain’) her daughter [from the underworld]; the fates do/did not permit [this], since
Proserpina had eaten. Whilst she was wandering in the well-tended gardens, she had plucked
a pomegranate from a curving tree and pressed seven seeds in her mouth.
But Jupiter as mediator between his brother and his sad sister15 divides/divided the year
on an equal basis: now the goddess, belonging to both kingdoms (literally `common of the
two kingdoms’), spends six months with her mother, six months with her husband. The
appearance both of her face and her mind is changed while she is with her mother. The
Proserpina who seemed sad to Pluto is now happy, just as the sun which had been covered
before by dark clouds, now comes out from the clouds and gives light to the earth.

15
The Romans believed Ceres was a daughter of Saturn (Cronos) and thus Jupiter’s sister as well as
Proserpina’s mother by him.
CHAPTER XXXI – BELLUM TRŌIĀNUM: SACRIFICIUM ĪPHIGENĪAE

Paris, son of Priam king of Troy, brought a long war upon his country when Helen had been
carried off. A thousand vessels and all the Greek tribes sworn together (i.e. after swearing to
fight together) pursue. Nor would punishment have been delayed (literally: `would be going
to be delayed.’ dīlātā foret (< dīlāta futūra esset) is here an alternative to the more usual
pluperfect subjunctive dīlātā esset), if the savage winds had not made the seas impassable and
the land had not held the ships at Aulis. Here according to ancestral custom when they had
prepared a sacrifice for Jupiter, as the altar began to glow from the lighted fires, the Greeks
saw (the synocapated form vīdēre (=vīdērunt) is distinguished from the infinitive (vidēre) by
the long first vowel) a snake in the tree which stood next to the sacred altars. There was a nest
with eight birds at the top of the tree, which the serpent seized with eager mouth and the
mother flying around her doomed offspring (literally `injuries’, `losses’). The augur says, `We
will win, Greeks; rejoice! Troy will fall if we are able to bear a prolonged war (literally `long
delay of war’).’ He interprets nine birds as meaning nine years of war (literally `into nine
years of war’).
But Neptune remains violent in the waves and does not carry them to war (literally `does not
carry wars across’). There are those who believe (subjunctive in relative clauses of
characteristic - `there are such people as believe’) Neptune is sparing Troy ( because he had
made the walls for the city) and that the anger of the virgin goddess (i.e. Diana) must be
placated (gerundive showing obligation) with the blood of a virgin. If the Greeks sacrifice
(literally `will have sacrificed’) Iphigenia the daughter of Agamemnon, the winds will move
the ships.

As the pain of one man reached all the Greeks, the long expected winds were either non—
existent or adverse for the fleet, and the dreadful prophecy (literally `prophecies’)orders
Agamemnon to sacrifice his innocent daughter to savage Diana. The father refuses this and is
angry with the gods themselves and in a king there is nevertheless a father; I turned with
words a parent’s gentle nature towards the public good (literally `public advantages’): I
pleaded (literally `held’) a difficult case unde a biassed judge. However the public interest
and his brother (i.e. Menelaus, husband of Helen) and the supreme command entrusted to him
(literally `the highest part of the entrusted sceptre’; summa is nominative (the ablative form
summā given in the footnote in the book is a mistake) and the perfect participle datī agrees
with the genitive sceptrī) move (literally `moves’, with movet agreeing with the nearest
subject) him, so that he weighs his reputation against the shedding of blood (literally `weighs
fame with blood’; Agamemnon decides that his reputation as an effective commander is more
imporrtant than avoiding his daughter’s death). I am sent also to her mother, who did not
have to be urged but deceived with a trick. But if the son of Telamon had gone, the sails
would even now be without their winds.

Ulysees’ plan was deceitful. If Clytemnestra sent her daughter, the chieftain Achilles would
marry her. The mother happily (literally `happy’) sends Iphigenia so that her daughter may
become the wife of the famous hero of the Greeks.
... after the common good (literally `cause’) overcame family obligation (pietās is not simply
`piety’ in the religious sense but duty towards family etc.) and the king the father, and
Iphignia, with her attendants weeping, stood before tha altar about to give up her pure blood,
the goddess was overcome and she cast a cloud before [people’s] eyes and amidst the
ceremony and the crowd at the sacred rite and the voices of those praying, she is said to have
exchanged the Mycenean girl for a substituted deer.

The thousand keels receive winds from the rear and after suffering many things (perpessae is
the perfect participle of perpetior, a compound of the commoner patior, pati, passus sum)
take possession of the Phrygian sand.

Ex. I
1. [Coniūnx est] Helena
2. Priamus [est pater]
3. Est coniūnx Menelāō, [rēgī Spartae] (This Greek name retains a long `a’ before the 2nd.
dec. endings)
4. Agamemnon [rēx Mycēnārum]
5. Ducēs omnium gentium Pelasgārum/Graecārum/Danaōrum (gēns (gentis f) has a
monosyllabic nominative singular and a stem ending in two consonants so is an i-stem noun
with genitive plural in –ium)
6. Quod saevī ventī aequora invia fēcerant/Quod ventī aut nūllī aut classī contrāriī erant
7. Mīlle [ratēs]
8. Serpentem/dracōnem [vīdērunt]
9. Novem [annōs erit bellum.] (The war is normally said to have lasted 10 years but the tenth
year was not actually completed)
10. Ut coniūnx Achillis/hērōis praeclārī Danaōrum fīat/Quod crēdēbat Achillem eam in
mātrimōnium ductūrum esse.
11. Ulixēs [ad Clytemnēstram mittitur]

II
1. If Caesar is present, it’s fine. Sī Caesar venit, est bene,
2. If Caesar was present, it was fine. Sī Caesar veniēbat, bene erat.
[Link] Caesar is present [will be present], it will be fine Si Caesar veniet, bene erit.
4. If Caesar is present/has been present, it will be fine Sī Caesar vēnerit, bene erit.
5. If Caesar were/were to be/should be present, it would be fine. Sī Caesar veniat, bene sit.
6. If Caesar were present, it would be fine. Sī Caesar venīret, bene esset.
7. If Caesar had been present, it would have been fine. Sī Caesar vēnisset, bene fuisset.
8. If he/she loves [will love] me, he/she will be faithful.
9. If he/she loved me, he/she was faithful.
10. If he/she loved/were to love/should love me, he/she would be faithful
11. If he/she had loved me, he/she would have been faithful.
12. If you see me, I greet you.
13. If I see [will see] you, I will gett you.
14. If he/she sees [will see] you, he/she will greet you.
15. If he/she saw/were to see/should see you, he/she would greet you.
16. If I saw/were seeing you, I would greet/be greeting you.
17. If I had seen you. I would have greeted you.
18. Unless the winds move/are moving, the ships cannot sail.
19. Unless the the winds were moving, the ships could not sail.
20. Unless the ships move [will move], the ships will not be able to move.
21. Unless the winds move/have moved, the ships will not be able to sail.
22. Unless the winds moved/were to move/should move, the ships would not be able to sail.
23. If I am [will be] king, I will give money to the poor.
24. If I were/were to be/should be king, I would give money to the poor.
25. If I were king, I would [Link] giving money to the poor.
26. If I had been king, I would have given money to the poor.
27. If I were you, I would go/would be going home.

III (Own examples)

IV
trimeter tetrameter pentameter hexameter.

iamb: ˘ ˉ dactyl: ˉ ˘˘ trochee: ˉ ˘ spondee ˉ ˉ anapest: ˘ ˘ˉ

The Metamorphoses is written in hexameter verse.

ˉ ˘ ˘/ ˉ ˘ ˘/ ˉ ˘ ˘/ ˉ ˘ ˘/ ˉ
ˉ ˘ ˘/ ˉ
ˉˉ/ˉˉ /ˉˉ/ˉˉ/ ˘
A casura (break between words in the middle of a foot) has to occur in the third or (less often0
second or fourth foot of a hexameter. Occasionally, thedactyl in the fifth foot is replace by a
spondee.
Chapter XXXII

This [report/rumour] had made known that the Greek ships were approaching with a strong
army (literally: `strong/brave soldier’) and the enemy’s arrival under arms is/was not
unexpected (literally: `nor unexpected is the enemy present in arms’); the Trojans
prevent/prevented access and guard/guarded the shore, and they realized at the cost of much
bloodshed what the Greeks were capable of (literally: `sensed through great blood what the
Greek right hand could [do]’), and now the Phrgian shores were red [with blood], now
Neptune’s offspring, Cygnus, had given a thousand men to death, now Achilles in [his]
chariot was pressing upon the army and, searching through the ranks for either Cygnus or
Hector, came upon Cygnus (Hector’s death had been postponed until the tenth year): than…
having urged on his horses, he directed [his] chariot towards the enemy and brandishing his
quivering missiles in his arms he said: `Whover you are, young man, have as consolation in
death (literally: `consolation of death’) the fact that that you have been butchered by the
descendant of Aeacus, Achilles’ (the perfect subjunctive (sīs iugulātus) is used because the
clause is equivalent to reported speech). The hero spoke thus: a heavy spear followed [his]
words (literally `voice’) but, although there was no fault in his well-aimed (literally:
`certain’) spear, the hurled iron was in no way lethal (literally: `however, nothing of death
flew with the hurled iron’). `Son of a goddess (literally: `[you who are] born from a
goddess’), for we got to know you beforehand by [your] reputation,’ said he, `why are you
amazed that I am unwounded?’ (literally: `Why did you wonder that a wound is absent from
us’) (for Achilles was indeed amazed). `Neither this helmet which you see nor the shield, the
burden of my left hand, are of help to me (literally `are for help to me’ – double-dative
construction giving the role or effect of something with regard to a particular person). They
are only for show (literally: `decoration/beauty is sought from them’). Mars also is
accustomed to take [up] arms for this [reason]. If the function of this protection is removed
(literally: `will be removed’), I will still go away unharmed. It is something not to be the son
of a Nereid but [of the one who] controls Nereus and [his] daughters and the whole sea.’16 …
fear seizes/seized him, and before his eyes swim/swam shadows and as he steps/stepped
backwards in the middle of the field a stone blocks/blocked his way (literally:`a stone
blocked [him] bearing his turned steps backwards in the middle of..’). 17 Cygnus was thrown
to the ground with his body bent backwards over this (quem super = super quem, referring to
the stone). Achilles turns/turned him over with great force and pins/pinned him to the ground.

16
The Nereids, among whom was Achilles’s mother, Thetis, were the daughters of Nereus, a sea god
who was himself the eldst son of Pontus (the sea) and Gaia (the earth).
17
Achilles, unable to harm Cygnus with spear throws, had previously dismounted from his chariot,
used his sword to dent his opponent’s helmet and shield, then struck him repeatedly with his own
shield and sword hilt.
He drags/dragged the straps of his helmet……. He was preparing to strip [his] defeated
[opponent] of his arms; he sees the arms left on their own; the god of the sea changed the
body into a white bird, whose name he recently had [ie, cygnus, swan]

I
1. Fāma [fēcerat nōtum Grāiās adventāre ratēs]. (As fāma in the text does not have an intial
capital it is not personified so one would have expected quid rather than quis in the
question!)
2. Minimē. [Nōn inexspectātus adest]
3. Troēs [aditum Graecōrum prohibent]
4. Cygnus [prōlēs Neptūnia, eōs mortī dederat]
5. In decimum annum [dīlāta est]
6. [Sōlāmen est] quod ab hērōe praeclārō/ab Achille Aeācide iugulātus sit (notice that the verb
has to be changed to 3rd. person and that the note in the book wrongly makes the first vowel of
sōlāmen short)
7. Quod Cygnus est fīlius Neptūnī.
8. Decōrī/Propter decōrem [scūtum portāvit]
9. Victum spoliāre parābat.
10. In cygnum [Neptūnus corpus contulit.]

II
1. Neptūnus sēnsit cūr fīlius suus imortālis esset.
2. Cygnus nōn sēnsit in quō locō morerētur
3. Troēs nōn sēnsērunt quō modō Graecī bellum gererent.
4. Achillēs mīrātus erat cūr hasta sua nīl mortis portāret/portāvisset
5. Vōs omnēs scīvistis cūr Cygnus in cygnum mūtārētur/mūtātus esset.

III
1. Scrībitō, discipule!
2. Cantātōte mēcum.
3. Venītōte, adōrēmus.
4. Gaudētōte, discipulī; lūdus fīnītus est.
5. Datō dōna deīs.
6. Amātō, nōlītō pugnāre. (or) Facitō amōrem, nōn bellum.

IV
A
Indicative
Present hortātur moritur
Imperfect hortābātur moriēbātur
Future hortābitur moriētur
Perfect hortātus est mortuus est
Pluperfect hortātus erat mortuus erat
Future Perfect hortātus erit mortuus erit

Subjunctive
Present hortētur moriātur
Imperfect hortārētur morerētur
Perfect hortātus sit mortuus sit
Pluperfect hortātus esset mortuus esset

V
1. Troēs/Trōiānī sciēbant/scīvērunt/sciērunt cūr Graecī/Grāī/Danaī ad lītora sua venīrent.
(Imperfect is more likely as the Greeks’ knowledge was a continuing state.)
2. Et Graecī/Grāī/Danaī et Trōes/Trōiānī lētō multa mīlia virōrum/hominum in hōc bellō
sanguineō/cruento dederant ( OR …Trōiānī multa mīlia virōrum/hominum ad mortem/mortēs
mīserant) (notice the use of the genitive with plural mīlia)
3. Cygnus nīl timēbat/nūllum timōrem habēbat quod sciēbat patrem [suum] esse deum
immortālem quī aequor/mare/undās regeret (subjunctive in the relative clause because it is
part of what Cygnus himself knew)
4. Māter Achillis erat dea Thetis et pater erat Peleus, Aeācidēs/fīlīus Aeācī
5. Cygnus, ubi/cum Achillēs victimam [suam]spoliāre temptābat, in cygnum [avem] mūtātus
erat. (OR use subjunctive suggesting a causal connection: cum Achillēs victimam spoliāre
temptāret)
CHAPTER XXIII: AIAX ET ULIXES

33a I am/was sent also to the Trojan citadel (literally `citadels’) [as] a bold speaker and the
senate-house of lofty Troy was seen and entered by me (dative of agent (literally `for me’)
used instead of the standard ā/ab plus ablative) and it (literally `that’) was still full of men;
unafraid, I pleaded the cause which Greece collectively (literally `Greece in common’, `public
Greece’) had entrusted to me and I accuse/accused Paris and demand/demanded back the
spoils and Helen and I [Link] Priam and Antenor together with him (literally: `and
Antenor joined to Priam’); but Paris and [his] brothers and those who helped him in the
robbery (literally: `who robbed under him’) scarcely held [back] their guilty hands (i.e. had
difficulty restraining themselves from attacking the ambassadors) (you know this, Menelaus),
and that was the first day I was in danger with you (literally: `the first light of our danger with
you’).
33b It would take too long to relate (literally: `it is a long delay to report’) what I did by
[my] advice and by [my own] hand in the long time of the war. After the initial clashes the
enemy kept themselves for a long time within the walls of the city and there was little full-
scale fighting (literally: `there was not any abundance of open warfare’, with the name of the
god of war representing war itself); finally we fought in the tenth year; what do/did you do in
the meantime, [you] who know nothing except fighting? What use were you? (literally: what
was your use?). For if you need to know my deeds, I laid/lay ambushes for the enemy, I
ssurrond/surrounded the fortifications with a trench, I console/consoled the allies so that they
can/could (subjunctive of purpose) bear with a calm mind the tedium of the long war, I
instruct/instructed [them] by what means we should be fed and armed (gerundive of necessity
with subjunctive for reported question), I am/was sent wherever I was of use (literally: `to
where use demands/demanded)

33c What of the fact that he himself also (et)runs/ran away? (literally, `what, that he also
flees?’ – quod is sometimes used as the equivalent of `(the fact)that’ introducing a noun
clause in English.) I saw, and it shamed [me] to see, when you were turning your back
(literally `giving your backs’) and preparing to sail away dishonourably (literally `preparing
dishonourable sails’); and without delay (literally `no delay’) [I said] `What are you doing?
What madness impels you, comrades to let go Troy when it is in your hands?’ (literally `to let
go captured Troy’), and what are you carrying home in the tenth year if not disgrace?

33d With such [words] and others, which sorrow itself had made me eloquent enough to utter
(literally: `into which sorrow itself had made me eloquent’) I brought back from the fugitive
fleet those who had turned away (āversōs could refer to their having turned away from the
conflict or to their turning back from their attempted flight). Atrides (ie. Agamemnon)
calls/called together the allies trembling with fear; nor even now does/did the son of Telamon
dare to open his mouth at all (literally `to gape anything’)… I rise and encourage the
frightened citizens against the enemy and restore [their] lost courage with my voice. From
that time, whatever that person can/could seem to have done bravely, is my [achievement], [I]
who brought him back when he turned tail (literally `who dragged him back as he gave his
backs’)

33e You may be angry with your companions and the king and me, harsh Philoctetes, you
may execrate me and pile curses on my head without end (literally `consecrate my head’, ie.
pray that some malevolent deity may take it?) and wish that I be given to you in your grief
(literally `me to be given to grieving you’) and [wish] to drink up my blood, yet I will
approach18 you and strive to take you back with me and I will take possession of your arrows
(may Fortune favour [me]) just as (tam…quam) I took possession of the Dardanian prophet
(i.e Helenus), whom I captured, as I uncovered the answers of the gods and the fate of Troy
(literally: `the Trojan fates’), as I seized the inner (i.e. concealed) statue of Phrygian (i.e.
Trojan) Minerva from the midst of the enemy. And does Ajax compare himself to me? To be
sure, the fates did not allow Troy to be captured without that statue:19 where is/was brave
Ajax? Where are/were the splendid (literally `huge’) words of the great man? Why are/were
you afraid at this point? Why does/did Ulysses dare to go among the guard posts and entrust
himself to the night and amidst savage swords to enter not only Troy’s walls but indeed also
the highest citadel (literally: `highest citadels’) and to snatch the goddess away from her
dwelling-place and to bring her, [once] seized, through the enemy [ranks]? If I had not done
these things, Telamon’s offspring would have carried in vain in his left hand the hides of
seven bulls.20 That night victory over Troy (literally: `of Troy’) was brought forth by me
(dative of agent (literally `for me’) used instead of the standard ā/ab plus ablative): I
conquered Pergamum (referring literally to the citadel of Troy but used often for the whole
city) then, when I compelled it to be conquerable

Ex. I
1. Ita vērō. Mittitur.
2. Parin accūsat.
3. Praedam Helenamque [reposcit]
4. Paris et frātrēs et quī sub illō rapuērunt [manūs nefandās in Ulixem pōnere voluērunt.]
5. Annō decimō [dēmum pugnāvērunt.]
6. Nōn cōnsōlātur [quod nīl nisi proelia nōvit.]

18
The verb aggredior/adgredior is probably best translated here as `appoach’, `go up to’ (its original
meaning) rather than as `attack’.
19
Illō refers to the statue (signum, -ī n), even though the nearest noun it could agree with is Āiax
20
Referring to the layers of leather which made up Ajax’s massive shield.
7. Nōluit [, Trōiā nōn captā, domum redīre].
8. Ita [, domum redīre voluit].
9. Fossā [mūnīmina cingit]
10. [Eōs docuit] quomodō alendī armandīque essent.

II
[Link] nautīs imperāvit ut classem pārent.
2. Priamus Achillī imperāvit ut corpus Hectoris redderet.
3. Laocoōn Trōiānīs imperāvit nē equum ligneum in urbem traherent,
4. Menelāus Paridī imperāvit ut Helenam redderet.
5. Hector coniugī [suae] imperāvit nē lacrimāret.
6. Iuppiter Agamemnonī imperāvit nē bellum Trōiānum gereret/
7. Ulixēs Aiācī imperāvit nē terga daret.
8. Ulixēs Philoctētae imperāvit ut arma Herculis Trōiam ferret.
9. Agamemnōn Achillī imperāvit ut servam (ancillam) trāderet.
10. Thetis Hephaestō imperāvit ut arma nova Achillī faceret.

III
There is a mistake in the example in the book. It should read Eam in mūrīs vīdimus because
location(ablative), not destination (accusative) is involved
1. Eum in currū vīdimus (We saw him in a chariot). Eundem (the same person/man). Hunc
(this person/this man/him). Ipsum (him himself, the man himself). Istum (that man
(pejorative))
2. Corpus eī dedit (He gave the body to him). Huic (to this man/to this person/to him). ipsī (to
him himself/to the man himself). eīdem (to the same man/to the same person) istī (to that
man/to that person – pejorative).
3. Achillēs id Priamō dedit (Achilles gave it to Priam). idem (the same thing). hoc (this/this
thing). ipsum (the very thing/the thing itself). Istud (that, that thing – pejorative).
4. Achillēs eōs concutit (Achilles strikes them). hōs (these/theme/these animals). eōsdem (the
same animals/the same ones). ipsōs (them themseleves/the animals themselves). istōs
(those/those ones - pejoratives
5. Ab eō arma portantur (Arms are carried by him). eōdem (the same man/the same person).
hoc (this person/this man/him.) ipsō (him himself/the man himself). istō (that person/that man
– pejorative)

IV
1. It is permited for me to smoke. Licet mihi fūmāre.
2. It is enjoyable for me to read and write. Mihi libet legere scrībereque.
3. It is not enjoyable for me to wage war. Mihi nōn libet bellum gerere.
4. It is allowed for them to enter the citadel. Licet eīs arcem intrāre.
5. It is not permitted for you to touch the statue of the goddess. Nōn licet tibi/vōbīs statuam
deae tangere.
6. Reply if it pleases you. Respondē(te) sī tibi(vōbīs) placet.

V
[Link]ēs Achillī persuādēre nōn possunt ut sē iterum/rūrsus proeliō committat/ut ad proelium
redeat/ut proelium iterum ineat.
2. Mors Patroclī Achillī persuādet ut dēmum/postrēmō/dēnique iterum/rūrsus pugnet.
3. Ulixēs cūriam Trōiānam/Trōiae intrāvit quae erat virōrum/virīs/hominum/hominibus plēna.
(senātum (senate) could also be used but cūriam, a word referring specifically to the
building, is probably better)
4. Postulāvit/Eīs imperāvit ut Graecīs/Danaīs praedam et Helenam/praedam Helenamque
redderent.
5. Āiax corpore, mente Ulixēs pugnat. (note use of chiasmus)
6. Dēmum/postrēmō/dēnique annō decimō bellī Agamemnōn, ā Iove iussus/iussū Iovis,
cōpiīs/mīlitibus [suīs] imperāvit ut domum redīrent.(The perfect participle from iubeō, iubēre,
iussī, iussum can be used as an alternative to the literal iussū (`by order’))
7. Āiax ad pārendum /pārēre sē (prae)parābat sed Ulixēs sociōs [suōs] monuit nē Trōiā nōn
captā discēderent,
8. Ulixēs Philoctētī persūasit ut arma Herculīs ad bellum Trōiānum/Trōiae
ferret/afferret/portāret.
9. Ulixēs nocte arcem Trōiānam/Trōiae intrāvit et signum/statuam/effigiem Minervae,
Palladium, abstulit.
10. Ulixēs ducibus Grāiōrum/Graecōrum/Danaōrum/Grāiīs/Graecīs/Danaīs persāsit ut sibi
arma Achillis darent.
CHAPTER XXXIV: BELLUM TRŌIĀNUM: TRŌIA CAPTA

…and Cassandra the priestess of Phoebus, dragged [away] by her hair, was stretching out her
unavailing palms to heaven (literally: `to the air’). The Greek victors drag [off] the hate-
creating prizes, the Dardanian (i.e. Trojan) women who while it is allowed have embraced the
statues of their ancestral gods and are holding onto the burning temples (literally: `the
Dardanian women having embraced (deponent perfect participle) the statues…. and holding
the burned temples’). Astyanax is hurled (literally: `sent’) from the (literally `those’) towers
from where he was accustomed often to see, pointed out out by his mother, his father fighting
for him and defending [their] ancestral kingdom (literally: `kingdoms’).21
“Troy, farewell, we are being snatched away” they shout; the Trojan women give kisses to the
earth and leave the smoking houses of their native land. Hecuba – miserable to behold –goes
last on board the fleet, having been found amidst the tombs of her sons: the hands of the
Greeks dragged her [away] clinging to the burial mounds and giving kisses to the bones, but
she took away (literally: took in) [the remains] of one and carried with her in her bosom the
ashes of Hector which she had taken. She left hair and tears on Hector’s tomb
There is a land opposite to Phrygiae, where Troy [once] was; the son of Atreus (i.e.
Agamemnon) had moored the fleet on the Thracian shore until the sea should be calm and the
wind more favourable (subjunctive because the change in the weather is anticipated or hoped
for by the Greeks rather than something guaranteed to happen). Here there emerges from the
ground split far and wide (literally: `broadly’) Achilles, as large as he used to be when he was
alive and, with threatening appearance (literally: `similar to someone threatening’) he was
bringing back his expression of that time when in his wildness22 he wrongly attacked
Agamenon with his sword (literally: `he went for Agamemnon with unjust sword’), 23 and he
said, `You are leaving without remembering me (literally `unmindful of me’; ’ meī is genitive
of object with the adjective), Achaeans (i.e. Greeks). Has gratitude for our (i.e. `my’) courage
been buried with me? Do not do [this]! And so that my tomb may not be without honour, let
the slaughter of Polyxena placate the shade of Achilles.’ (literally `let slaughtered Polyxena
placate the shade of Achilles’; plācet is the subjunctive present of the first conjugation verb
plācō (appease, placate) not the indicative placet (pleases)).24

21
Astyanax (whose name means `lord of the city’) was the son of Hector. Crown Prince of Troy and
Andromache, and thus second in line of succession to the throne.
22
The book’s footnote has `as a wild young man’ but Achilles’youth is not mentioned in the Latin.
23
Referring to the quarrel between the two men over Achilles’ concubine Briseis, whom Agamemnon
seized after he himself had been compelled by a plague sent by Apollo to return his own concubine, the
daughter of a the god’s priest, to her father. The soothsayer who had revealed the true cause of the
plague had spoken under Achilles’s protection, which roused Agamemnon’s anger against the latter.
Achilles was restrained by the goddess Athena from actually attacking the Greek commander-in-chief
but he then withdrew from the fighting. Although Agamemnon’s action had been high-handed, Ovid
feels Achilles had been at fault in threatening his overlord.
24
For details of how the sacrifice of Polyxena is treated by different Greek and Roman authors, see
[Link] In some sources, Achilles is said to have fallen in love
with her during the war and was then treacherouly killed by Paris when attempting to negotiate with
He spoke, and as the allies obeyed the pitiless ghost, the maiden, brave and unfortunate and
more than a woman is seized from her mother’s lap and led to the burial mound…
And as she saw Neoptolemos standing and holding the iron [knife], she said: `Thrust the
weapon into my neck or breast (literally: `Bury the weapon in/with my neck or breast’). There
is no [cause for] delay. And she exposed neck and breast simultaneously. Obviously Polyxena
would not wish to be a slave to anyone!
. . . . . . . . . . . . . .
. . . “if however the last words from my mouth (literally `of my mouth’) move you – a
daughter of King Priam, not a captive, asks you this – return my body to my mother free of
cost, and let her not redeem (literally: `buy back’) the sad right of burial with gold, but with
tears! Then, when she was able to, she used to redeem with gold also’ (literally `and with
gold’)25 She had spoken, but the people do/did not hold [back] the tears which she was
holding [back]; even the priest himself weeping and reluctantly plunged the knife into her
breast.

The Trojan woman receive the body and retell the story of the bewailed children of Priam and
how much blodshed (literally: ` how many bloods’) one house had borne. And they groan for
you, maiden, and for you, o [you who were] just a while ago called a royal spouse, a royal
parent, the icon of flourishing Asia. This mother pours sad tears into the wounds and covers
her mouth/face in kisses (literally: `covers kisses with her mouth’) and beats her breast
accustomed [to sorrow], and sweeping her white hair in the clotted blood she said more things
indeed but especially these [words] from her torn breast (i.e. from the breast she had herself
torn): “Daughter, [your mother’s] final sorrow – for what is left? – daughter, you lie [dead]
and I see your wound, my wounds: …you also have fallen by the sword (literally; `by iron’)
[though you are] a woman, and the same man did away with so many [of your] brothers and
with you, the ruin of Troy and bereaver of us [i.e. our family], Achilles: yet after he fell by the
arrows of Paris and Phoebus,26 `Now certainly’ I said, `Achilles does not have to be feared’;
now also I should have feared him;27 the very ashes of the buried man rage against (literally
`into’) this family, in the burial mound also we have sensed an enemy. I was fertile/fruitful for
Aeacides’ (i,e Achilles’) benefit! Mighty Troy lies [fallen].

Priam to marry her.

25
Referring presumably to the ransom of bodies of other fallen Trojans whilst Hecuba and Priam still
had royal resources at their hands.’
26
Paris had mortally wonded Achilles by shooting an arrow into his heel, the one vulnerable part of his
body. He was guided in this by Apollo (see the discussion of the varying accounts see
[Link] which also has the Rubens panting of the event
27
Literally: `for me (mī is a contraction of the dative mihi) Achilles was to be feared. The dative is
regularly used for the agent when the gerundive is used to express obligation.
1. There’s nothing about this in the chapter. In different ancient authors there are names of 68
sons and 18 daughters.
In capitulō nōn scrīptum est. In variīs auctōribus antīquos sunt nōmina sexāgintā fīliōrum et
duodēvīgintī fīliārum (vidēte [Link]
2. Cassandra [erat sacerdōs Apollinis]
3. Because she wasn’t willing to give him children/to bear his children.
Quod nōlēbat eī līberōs dare’līberōs eius parere (Notice the diference between pariō, parere,
peperī, partum(bring forth) and pāreō, pārēre, pāruī (obey).
4. Grāī/Graecī [victōrēs eās trahunt].
5. Astyanax is thrown from the towers by the Greeks.
Astyanax ā Graecīs/Grāīs/Danaīs dē turribus mittitur.
6. In the midst of the tombs of her sons/children.
In mediīs sepulchrīs nātōrum [inventa est.]
7. Kisses,
Ōscula [dedit]
8. In her bosom.
In sinū suō [cinerēs tulit.] (The basic meaning of sinus is fold or curve, and the meanings of
bosom, lap and bay berive from this)
9. Achillis [mānēs exeunt] (The singular exit in the book is a mistake as mānēs isused in the
plural even when referring to the spirit of only one person)
10. The sacrifice/slaughter of Polyena.
Polyxena mactāta [mānibus placet] (The question employs the usual dative (mānibus) with
placet, in contrast to Ovid’s own exceptional use of the accusative (mānēs))
11. Neoptolemus [eam necāvit]
[Link] an iron knife/weapon
Ferrō [eam necāvit]
13. Yes indeed, because even in the grave he is still a dangerous enemy
Ita vērō quod etiam in sepulchrō hostis adhūc est perīculōsus.
14. REPEATS PART OF 14!
15. It was completely destroyed.
Omnīnō dēlēta est.

II
1. Mihi scrībendae sunt litterae
2. Achillēs Hecubae nōn est metuendus.
3. Neoptolemō Polyxena nōn est necanda.
4. In hōc locō urbs est tibi condenda.
5. Populō crēdendum est verbīs Cassandrae (The impersonal crēdendum has to be used and
verbīskeptin the dative because crēdō is not a transitive verb)

III (Note that although functioning in some ways as a future passive participle the gerundive
more often carries the idea of obligation or of action simultaneous to the finite verb in its
clause and therefore mant grammarians do not describe it as a participle. I have used these
meanings in the table below)

ACTIVE PASSIVE
Present dāns, dantis doing _____
Perfect ______ datus, -a, -um having been done
Future datūrus, -a, -um, about to give dandus, -a, -um being given/needing to be
given

Present monēns, monentis warning _____

Perfect ______ monitus, -a, -um having been warned
Future monitūrus, -a, -um, about to warn monendus, -a, -um being warned/needing to
be warned

Present incipiēns, incipientis beginning _____

Perfect ______ inceptus, -a, -um having been begun
Future inceptūrus, -a, -um, about to begin incipiendus, -a, -um being begun/needing to
be begun

IV
1. ūnus equus 2. tribus sagittīs 3. (ā/ex) quīnque urbibus 4 ā duōbus virīs
5. ē decem domibus 6. in ūnā īnsulā [Link] centum mīlitibus 8. quīngentae urbēs
9. duodecim arborēs 10. trēs mūrēs caecī

V
1. Cassandra Trōiānīs dē bellō nārrābat/nārrāvit neque tamen eī/illī/huic crēdēbant/crēdidērunt
2. Parvus/Parvulus Astyanax dē turribus Trōiae/Trōiānīs ā Graecīs/Grāīs/Danaīs/Achīvīs
missus est.
3. Achillēs etiam ē sepulchrō/tumulō//etiam sepultus Hecubae erat metuendus.

CHAPTER XXXV: FILMING THE ODYSSEY

 Here are Greek vessels/urns – a mixing bowl (krater), water jar (hydria) and wine cup (kylix)
The artist paints the vessels in colours: he forms pictures about the gods and the Greek hero,
Ulysses.
Here is the goddess Minerva, here is the god Mercury, the god Juppiter with his thunderbolts,
the god Neptune driving his chariot across the sea. See the Greek fleet, [with] two-banked and
three-banked [ships],28 slaves pulling (literally: `leading’) the oars,29 chieftains hoping for a
favourable (literally: following) wind.
The sailors sail to an unknown land. There the Cyclops Polyphemus looks after [his] sheep.
Polyphēmus was a very cruel giant who had only one eye. Look – he is swallowing a sailor!
But wily Ulysseus stabs his one eye with a sharp weapon. Then he hides himself and his men
under the lambs. They escape!
Again the ships are carried across the sea by the winds to the land in which Aeolus, the king
of the winds, lives. Ulysses received the winds in a sack, the gift of King Aeolus. “Don’t open
this gift,” said Aeolus. Across a calm sea the ships almost reach the coast of Ithaca. But the
sack of winds is opened by the curious sailors. A great storm rages. See, Juppiter with his
thunderbolts; the fires flash. Neptune rises from the sea and the Greek fleet was wrecked
(literally: `broken’), struck by the god and the winds and the waves.
The barbarian Laestrygones also send the other ships down to the bottom of the sea; the ship
of Ulysses alone escapes. Now there approach the Harpies – dual-formed birds with the head
of a woman; then Ulysses orders himself to be tied to the ship whilst the the sailors, with their
ears plugged (literally: `closed’), escape the Sirens. Now Scylla, a sea monster with six heads,
plucks a sailor [from the ship]; here is Charybdis – why so gluttonous? – it devours and spews
out ships, waves, birds, the sea bottom, monsters.
But Ulysses escapes and reaches the island of Circe. Circe is an enchantress who has an evil
power; she turns men into pigs. See, now [they are] men, now pigs. But Ulysses hears of the
danger. The god Mercury helps him. Ulysses comes to the palace of Circe and and persuades
Circe to change the men, now pigs, into humans again. Circe wants to keep Ulysses and the
men, but they have to sail home.
This home is in Ithaca; in the palace of Ithaca the faithful Penelope weaves whilst her
husband roams for twenty years. The time is long; and many suitors want to marry Penelope
(literally: `lead P. into marriage’, the standard expression for a man marrying a woman). But
Ulysses is here! He kills all these men with arrows and greets Penelope, his faithful wife.
Minerva makes a sign: the end of the story.
The artist finishes the story.
Look at the stories on the vessels, students.

28
For the arrangement of the oars in a trireme, see TRIREME DESIGN
29
Though the situation might have been different in the bronze age, the warships of Athens in the 5 th
and 4th centuries B.C. and of Syracuse in the 3rd. were normally rowed by free men.
These moving scenes were made by students from Highland Park college; their teacher, Cyril
Miles, and her husband Arnold, made the film (literally: `moving picture’).
The Greek music was made on the Pan pipes (literally: `blown into the pipe’) by Mary
Johnson.
If you liked the film (literally `if the picture was pleasing to you’), applaud now!
CHAPTER XXXVI: AENĒĀS

36a But the Fates do not allow hope to be overturned also with the walls of Troy: the
Cytherian hero30 bears on his shoulders [its] sacred objects and another sacred object (sacra
altera is poetic plural for singular), [his] father, a venerable burden. From such great wealth
the pious/dutiful one chooses that booty and his Ascanius31 and over the seas with his fugitive
fleet… he enters the city of Apollo (i.e Delos) with his comrades accompanying. Then
Anius32received him in the temple and [his] home and showed him the city and the famous
shrines and the two trees once grasped by Latona as she was giving birth. After giving incense
to the flames and pouring wine onto the incense (literally: `with incense given… and wine
poured..’; ablative absolute).. they seek the royal residence (literally: `roofs’) and with high,
draped couches put in position they consume food (literally: `the gifts of Ceres’) and wine
(literally: `liquid Bacchus’, the name of the god being used as a substitute for that which he is
god of).

36b After they filled up the feast with such and other words (literally: `things said’), with the
table removed they sought sleep and with the day they rise and go to the oracle of Apollo
(ōrācula is plural for singular) who ordered [them] to seek their ancient mother and kindred
shores;33 the king follows them out and gives gifts (literally: `a gift’ – mūnus, mūneris n) – to
Anchises a sceptre, a cloak and quiver to his grandson (i.e. Ascanius) and to Aeneas a wine-
mixing bowl, which Ismenian Therses, as a guest, had once brought for him (ie. for Anius)
from the Aonian shores: Therses had sent it to him but Alcon from Hyle had crafted it and
engraved it with a long pictorial narrative.34 [On the bowl]There was a city, and you could
point out seven gates: these were in place of a name (i.e. they identified the city as Thebes,
famous for its seven gates) and they taught what it (i.e. the city) would become (foret is a
subjunctive form from fore, the future infinitive of sum);35 before the city the funeral
procession and the graves and the fires and the pyres and the matrons with their dishevelled
hair and exposed breasts (literally `mothers poured out with respect to hair and opened with
respect to breasts’; the perfect participles, normally passive, are sometimes employed by
30
Aeneas, son of Venus who was born near the island of Cythera and is often described by this
adjective.
31
Aeneas’s son, Ascanius, was later known as Julus and regarded as the ancestor of the Julian gēns.
32
Anius, the son of Apollo by a mortal woman, was the god’s priest as well as king of the island of
Delos in the middle of the Aegean. According to the legend, Latona (Greek Leto) had to give birth to
Apollo and Diana, her children by Zeus, on what was then a floating island because Juno (Hera) in her
jealousy forbade any fixed land to receive Hera.
33
The Italian shores are probably described as cognāta (related by birth) because Dardanus, the
ancestor of the Trojans, supposedly came from there rather than because of the new connection yet to
be established.
34
Aonia and Hyle were places in Boeotia, the region around Thebes. The adjective Ismenius refers to
the spring of Ismenos near the city, best known for its association with the Ismenian dragon killed by
Cadmus, the legendary founder of Thebes. (see [Link]
35
The reference is to the conflict between the sons of Oedipus for the Theban throne, the subject of
Aeschylus’s play Seven against Thebes.
poets as if they were transitive verbs) indicate the mourning.

36c Sicily: this extends (literally: `runs out’) into the seas in three promontories (penna is
literally `feather’, presumably used here in the sense of an extension)……. Scylla infests the
right side, never resting Charybdis the left: the latter sucks down seized ships and spews them
out; the former is girt around with wild dogs and even now bearing the face of a maiden, and,
if the poets have not left complete fiction (literally `all things made up’), also was a maiden at
one (literally `some’) time.

36d When the Trojan ships have escaped with their oars (i..e by rowing hard) from this (i.e.
Scylla) and greedy Charybdis, when they were already present near the Ausonian (viz. Italian)
shore, they are carried back by the wind to Libyan shores.36 There the woman from Sidon
receives him with her heart and home, not about to bear well the parting from her Phrygian
(i.e Trojan) husband;37 and on a pyre constructed under pretence of a religious ritual she fell
upon a sword (literally `upon iron’) and having been [herself] deceived, she deceived
everyone else (literally `all’).

36Va I sing of arms and the man who first from the shores of Troy came to Italy, a fugitive by
fate, and the Lavinian shores;38 much [was]39 he tossed about both on land (literally: `lands’)
and on the deep by the power of the gods because of the unforgetting anger of savage Juno,
suffered much also in war until he could found (subjunctive for anticipated future) his city
and bring [his] gods into Latium; from him (literally `from whom’; unde (usually translated
`from where’) can refer to a person as well as a place.) [came] the Latin race, the Alban
fathers and the walls of lofty Rome.40

36Vb Who would not know (present subjunctive nesciat emphasizes the impossibility of what
is hypothesized) of the Aeneid race or of the city of Troy and the acts of courage and the men
or the conflagration of so great a war. We Phoenicians41 do not have such hard hearts
(literally: `dull breasts’) nor so far from [our] Tyrian city does the sun yoke his horses (i.e.
36
Ausonia dervies from Ausones, an ancient Greek name for the inhabitants of central and southern
Italy. Libya refers to North Africa in general and particularly to Carthage, whose site is actually in
present-day Tunisia.
37
Dido, the supposed founder of Carthage, was the brother of Pygmalion, king of Tyre, but fled the city
after Pygmalion killed their own uncle, who was also Dido’s wife. She is here called Sidonian because
Sidon was another major Phoenician city. When Aeneas, who had become her lover, obeyed Juppiter’s
command to leave Carthage, she felt herself deceived and in turn deceived her own household by
pretending that the pyre was only intended to burn everything that reminded her of Aeneas.
38
The adjective Lāvīnia probably was meant to evoke both Lavinia, Aeneas’s future bride, and the city
of Lavinium which he founded in her honour.
39
Omission of the auxiliary verb in the perfect passive is common in both poetry and prose..
40
Aeneas’s son, Ascanius or Julus, founded the city of Alba Longa into whose royal family Romulus,
the founder of Rome, was later born.
41
Poenī normally refers specifically to the people of Carthage but is derived from the name Phoenīcē
and used here in the wider wense.
they are not totally cut off from civilization). Whether you chose Hesperia and the Saturnian
fields or the territory of Eryx and King Acestes.42 I will send you off with help and assist you
with [my] resources. Or (literally `and’) do you wish to settle together with me in this
kingdom (literally: `these kingdoms’)?
36Vc The city which I am establishing is yours; beach your ships; Trojan and Tyrian will be
dealt with by me with no distinction (mihi is dative of agent, which in prose is normally
employed only with the gerundive). And I wish that King Aeneas himself, driven by the same
South Wind (or, less likely, `driven by the South Wind to the same place’; eōdem would then
be an archaic dative (the later form of the dative was eīdem) expressing destination), could be
here (literally `might be about to be here’ (adfutūrus esset > adforet)); indeed, I will send out
trusted men along the shores and order them to search the far regions of Libya in case he, as
an outcaste, is wandering in any woods or cities.’

36Vd “Therefore, come now, young people, enter our home (literally `our roofs’); a similar
fortune willed me, tossed about through many troubles, finally to settle in this land: not
unaware of evil, I learn to help wretched ones.” Thus she recounts; at the same time she leads
Aeneas into her palace (literally: `into the royal roofs/buildings’).

36Ve Aeneas sends swift Achates ahead to the ships so that he can tell these things to
Ascanius and lead [the boy] himself to the city (literally `the city walls’); all the care of a dear
parent is centred on (literally: `stands in’) [Link] orders him besides to bring gifts
plucked from the ruins of Troy..
But Venus (literally: `the woman of Cythera’) turns over in her mind (literally: in breast’)
new strategems (literally: `arts’) new plans so that Cupid, changed in appearance and features
can come (present subjunctive) in place of sweet Acanius and with [his]gifts heat up the
queen to mad passion (the use of the present participle furentem would normally imply that
the queen was already maddened before Cupid began his work but by poetic licence refers to
its future result) and enfold fire in her bones.

36Vf Spirited Laocoön runs (dēcurrit could be either present or perfect tense) down from the
top of the citadel and [calls] from afar: `O wretched citizens, what great (literally: `so great’)
madness is this? Do you believe the enemy have been carried away (esse needs to be
understood with the participle āvectōs (from āveho, -ere, āvēxī, āvectum) to make a perfect
passive infinitive in the accusative and infinitife construction for reported speech), or do you

42
Hesperia is literally `land of the evening star’ (i.e. `western land’), which applied to Italy from the
Trojan perspective. Saturnia is another name for Italy, and more particularly for Latium (the region
around Rome) as Saturn (identified later with the Greek god Kronos) was supposed to have been the
first king of the latter. Eryx was the name of a mountain and city in western Sicily. Acestes, son of a
local river god and a Trojan woman, had welcomed Aeneas in Sicily and offered to let him remain in
his territory.
think that any gifts can be free from the tricks of the Danaans (i.e Greeks)? 43 Is this what
Ulysses is famous for (literally: `is Ulysses famous in this way’ – i.e. is he the kind of man
who does people favours without an ulterior motive?). Either the Achaeans (Achīvī is an
alternative form of Achaeī, who were strictly speaking a tribal division within the Greek
community but whose name came to refer to the Greeks in general) are hidden shut up inside
the wooden horse (literally: `the wood’) or this machine has been constructed [as a plot]
against our walls about to overlook our homes and come from above onto our city, or some
[other] deception lies hidden.: do not trust [it], Trojans.44 Whatever it is, I fear the Greeks,
even when (literally: `and’) bearing gifts.’

IA
1. Rēx militēs mīsit ut urbem servārent.
2. Rēx militēs mīsit quī urbem servārent
3. Rēx militēs mīsit ad urbem servandum/
4. Rēx militēs mīsit ad urbem servandam
5. Rēx militēs mīsit urbis servandae causā
6. Rēx militēs mīsit urbis servandae grātiā
7. Rēx militēs mīsit urbem servātum.

IB
1. Aenēās Achatēn mittit ut Ascanium dūcat.
Aenēās Achatēn mittit quī Ascanium dūcat
Aenēās Achatēn mittit ad Ascanium dūcendum.
Aenēās Achatēn mittit ad Ascanium dūcendum
Aenēās Achatēn mittit Ascaniī dūcendī causā
Aenēās Achatēn mittit Ascaniī dūcendī grātiā
Aenēās Achatēn mittit Ascanium ductum.
N.B. The gerund and gerundive constructions (bolded) are identical in this case because the
neuter accusative ending in the former and the maculine accusative singular in the latter are
both –um.
2. Venus Cupīdinem mīsit ut rēgīnam incenderet,
Venus Cupīdinem mīsit quī rēgīnam incenderet.
Venus Cupīdinem mīsit ad rēgīnam incendendum.
Venus Cupīdinem mīsit ad rēgīnam incendendam
Venus Cupīdinem mīsit rēgīnae incendendae causā

43
The Greeks were referred to as Danaī in memory of Danaus, who supposedly migrated from Egypt
to found the city of Argos in southern Greece,
44
Teucrī is another name for the Trojans as they were the people of Teucer, an early king of the region
in which the city stood. He was the father-in-law of Dardanus, after whom Trojans were also called
Dardanī.
 Venus Cupīdinem mīsit rēgīnae incendendae grātiā
Venus Cupīdinem mīsit rēgīnam incēnsum.
3. Polyphēmus saxum dīmīsit ut Graecōs necāret
Polyphēmus saxum dīmīsit quod Graecōs necāret
Polyphēmus saxum dīmīsit ad Graecōs necandum
Polyphēmus saxum dīmīsit ad Graecōs necandōs
Polyphēmus saxum dīmīsit Graecōrum necandōrum causā
Polyphēmus saxum dīmīsit Graecōrum necandōrum grātiā45
Polyphēmus saxum dīmīsit Graecōs necātum

45
The Roman in fact generally preferred to use the gerund rather than a gerundive phrase with two -
ōrum/-ārum endings. Thus, better style would probably be Graecōs necandī causā/grātiā
CHAPTER XXXVII

37a Said Achaemenides: “May I look upon Polyphemus again and those jaws dripping with
human blood if my home and Ithaca are46 dearer to me than this ship, if I honour Aeneas less
than my father, nor will I ever be able to be grateful enough, not [even] if I give (literally:
`will have given’) all [that I have]. The fact that I speak and breathe and see the sky and the
constellations of the sun (i.e. the constellations that the sun travels though), could I be
ungrateful and unmindful [of that]? It is due to him (literally; `he gave’) that this soul did not
come into the mouth of the Cyclops and now when I leave the light of life, either [I will be
buried] in a grave or at any rate not in that stomach (the Latin is a condensation of aut in
tumulō condar aut certē nōn in illā alvō condar).

37b What was (perfect fuit rather than erat because the focus is on the transformation at the
instant he saw the departure rather than on a persisting mental state) my state of mind
(literally: `What of mind (partitive genitive) then was to me’) – except that (literally: `if not
if’!) fear had taken all feeling and consciousness from me - when, left behind, I saw you
making for the deep sea. I wanted to cry out but I was afraid of betraying (literally `to
betray’) myself to the enemy; I saw [it] when he threw right into the middle of the sea an
immense rock torn from the mountain; I saw him again with his giant arm hurling enormous
boulders as if driven by the force of a catapult.47
37c He indeed wanders groaning over the whole of Aetna feeling for the trees (literally:
`woods’) with his hand and, deprived of sight (literally: `of light’) stumbles over rocks and,
extending his arms stained with gore towards (literally: `into’) the sea, curses the Achaean
(i.e. Greek) race and says: `O if [only] some chance48 would bring back for me Ulysses or
someone from his companions, on whom my anger could rage (referat is present subjunctive
for a future conditional/wish unlikely to be fulfilled) whose entrails I could eat (edam and the
other present subjunctives express purpose), whose living limbs I could tear to pieces with my
right hand, whose blood could flood my throat, and whose torn-off limbs could quiver under
[my] teeth.’
37d Death was before my eyes, ghastly horror seized me.
. . . . . . . . . . . . . . . . .
And hiding for many days and tembling at every sound and fearing death and eager to die,
warding off hunger with acorns and grass mixed with foliage, after a long time I saw this ship
from a distance and begged for refuge by gesturing, ran to the shore and moved [them to

46
The Latin has the singular est (is) agreeing with domus (home) leaving Ithacaque as something
tagged on rather than part of the joint subject of the clause..
47
This refers to the Roman siege engine, not to a hand-held catapult. The basic meaning of agō (agere,
ēgī, āctum) is `drive’ or `push forward’, although it is often equivalent to the English `do’
48
The basic meaning of cāsus is `fall, a falling’. For it’s use to mean `accident’ or `chance’, compare
the archaic English verb `befall’.
pity]: and a Trojan ship received a Greek,
37e He said that Aeolus ruled over the Italian sea [literally: `deep’], Aeolus the king confining
in a prison the winds; these shut up in ox hide, a memorable gift, the Dulichian leader (i.e.
Ulysses) had taken and with a favourable wind had voyaged (literally: `gone’ - īsse is a
contracted perfect infinitive from eō, īre, iī/īvī, itum) for nine days (literally:` lights’) and had
seen the sought for land; when the next dawn after the ninth was breaking (literally: `was
moving itself’), his companions had been overcome by envy and desire for loot; thinking
(ratōs (literally `having thought’) is a deponent perfect participle with active meaning) gold
[was inside] they had untied the bonds on the winds; with which (i.e. driven by which) the
ship had travelled back over the waters it had just come through, and returned to the harbor
(portūs is plural for singular) of the monarch (tyrannus originally just meant a sole ruler,
with no necessary connotation of oppression) Aeolus.49

I
1. In īnsulā Ithacā habitābat/Ithacae habitābat/Ithaca domus erat. (Because Ithaca was a small
island the locative (Ithacae) can be used)
2. [Polyphēmus] rictūs fluidōs hūmānō sanguine [habēbat.]
3. Aenēān [Achaemenidēs venerātus est.]
4. Inclāmāre [voluit Achaemenidēs] (The question should actually be Cum Achamenides
nāvem Ulixis alta petentem vidēret, quid voluit facere?)
5. [Nōn inclāmāvit] quod timuit hostī sē prōdere.
6. [Polyphēmus] scopulōs in mediās undās permittēbat/saxa iaculābat/tōtam Aetnam
gemebundus obambulābat.
7. Glande et mixtā frondibus herbā [famem pellēbat dum latet]
8. [Aeolus Ulixī] ventōs tergō bovis inclūsōs [dedit].
9. Sociī Ulixis [dōnum Aeolī aperuērunt.]
10. Quod mūnus aurum esse rebantur et cupīdine victī sunt.

II
1. Sanguis est dēnsior aquā/quam aqua.
2. Amīcī sunt meliōrēs cognātīs/quam cognātī.
3. Cōnsilia tua sunt clāriōrēs lūmine/quam lūmen.
4. Nēmō est laetior mē/quam ego
5. Quis est crūdēlior tē/quam tū?
6. Quis est clārior Ulixe/quam Ulixēs?

49
There are links to translations of the original passages on Achaemenides in Virgil and Ovid see
[Link]
There is a complete translation and mythological index to Metamorphoses at
[Link]
7. Qud est cārius aurō/quam aurum?
8. Exēgī monumentum perennius aere/quam aes.
9. Verba eius dulciōra melle/quam mel erant..
10. Estne patria cārior vītā/quam vīta

III
1. Mihi loquī/dīcere libet.
2. Mihi rogāre licet.
3. Amīcōrum/Amīcōs oblīvīscī nōn oportet.
4. Abesse nōn mihi placēbat.
5. Bellum gerere mihi paenitet

IV
1. Amīcōrum [Link].
2. Inimīcōrum numquam oblītus est
3. Graecōrum meminerat.
4. Cibī vīnīque oblītī sunt.
5. Patriae oblītī erant.

V
1. `Polyphēmī et rictuum [eius] sanguine hūmānō fluentium/fluidōrum meminī’ dīxit
Achaemenidēs. (as usual, the possessive pronoun is not necessary when the context makes it
clear whose jaws were invovlved!)
2. Ubi nāvem vestram/tuam cōnspexī/vīdī // Cum nāvem vestram/tuam
cōnspexissem/vīdissem, voluī /volēbam inclāmāre sed timuī/timēbam (when a causal
relationship is present, cum in prose normally takes the subjunctive)
3. Polyphēmum saxa lacertīs gigantēīs iaculantem/iacientem /iactantem vīdī
4. Ad lītus cucurrī et vōs/tē ōrāvī ut mē, Graecum/Graium, in ratem/nāvem Trōiānam
acciperētis/acciperēs. (The accusative in nāvem is more likely because Achaemenides was
asking to be taken into the ship but ablative nāve/ nāvī etc. might also be possible)
5. Aeolus Ulixī ventōs, in tergō/tergore/pelle bovis inclūsōs, dederat (tergum can mean both
`back’ and `hide/skin’, tergus (tergoris n.) and pellis (pellis, f.) have only the latter meaning;
the accusative in tergum etc might also be possible, focussing on the action of placing them
into the bag rather than their continued presence within it) )
CHAPTER 38: CIRCE

38a “But then,” he said, “we came to the old city of the Laestrygonians;50 Antiphates was king
in that land. I was sent to him, with two companions (literally: `with an accompanying
number of two, and with difficulty was safety sought in flight by [one] comrade and me, the
third from among (literally: `out of us’) stained with his blood the unrighteous face/mouth
(plural for singular) of the Laestrygonian. Antiphates presses/pressed upon [us] as we fled and
urged/urges on his band; they converge and hurl rocks and beams and sink men and sink
ships. One [ship (the gender makes it clear the reference is to one ship, not one man)],
however, which was carrying us and Ulysses himself, escaped.51

38b Grieving because of the loss of a portion of our companions and having made many
complaints, we came to that land (plural for singular) which you are looking at far from here
(believe me, the island seen by me (the use of the dative mihi instead of ā mē to express the
agent of an ordinary passive verb is unusual though it would be standard with a gerundive
construction) should be seen [only] from a distance, and you, O most just of the Trojans, son
of a goddess, (for you should not be called an enemy, Aeneas, when the war is finished52) I
give my advice (literally `I warn/advise’) – flee from Circe’s coasts! After we had tied up our
ship on Circe’s shore, we also, remembering then Antiphtes and the cruel Cyclops, refused to
go [there]; but were chosen by lot to approach the unknown buildings:

38c…The lot sent me and faithful Polites and at the same time Eurylochus and Elpenor with
[his habit of drinking] too much wine and twice nine (i.e 18) comrades to Circe’s (literally:
`the Circean’) walls. As soon as we reached these (literally: which’; Latin can use a relative
pronoun to a noun in a previous sentence, where English has to use a demonstrative) and
stood on the threshold of the structure, a thousand wolves and mixed with the wolves she-
bears and lionesses produced fear [in us] by running up but none needed to be feared, none
was going to do us bodily harm (literally: `to make injury in body’ );

38d nay rather they even moved their happy tails through the air and fawning [on us]
accompany our footsteps until the servant girls receive us and take us through the halls roofed
with marble to [their] mistress: she its in a beautiful recess (in is omitted with the abltivve
here although it would be required in standard prose) on a ceremonial throne, and wearing a
gleaming robe is enveloped from above by a golden veil.53 At the same time, Nereids and
50
The singular Laestrӯgōn could refer to the Laestrygonians as a group, though the plural Laestrӯgo
-nes was more common. Roman authors sometimes located this people in Campania and sometimes in
Sicily.
51
Ulysses had sensibly moored his vessel outside rather than within the harbour.
52
The name of the god of war is here used to stand for war itself. In the same way, Vulcānus can be
used for fire, Venus for love, Bacchus for wine etc.
53
amictus (-ūs m) normally means cloak but it is perhaps better to follow the authors and take it here
nymphs who card (literally: `drag’) no fleeces with moving (literally: moved) fingers nor do
any weaving/spinning (literally: `lead the following threads’), arrange the herbs/plants and
separate in wicker baskets the flowers scattered randomly (literally: `without order’) and the
plants/herbs varying in [their] colours; she herself superintends the work which these do, she
herself knows what use there is in each leaf [and] which ingredients blend well together
(literally: `what harmony there is in he mxed things’), and attentively (literally `noticing’,
`attending to’) considers the weighed herbs/plants.

38e When she (literally: `this female person’) saw us, after greetings had been exchanged
(literally: `with greeting spoken and received’) without delay (literally: and not delay’) we
then accepted the cups from her sacred hand. As soon as we thirstily drained these with our
parched mouth and the terrible goddess had touched the top of our hair with her wand54 – it
shames me to recall it but I will (literally `both it causes shame and I wll report’;
alternatively, referam could be interpreted as present subjunctive rather than future tense - `It
shames me to recall it but let me do so’ ) - I began to grow rough with bristles, to be no longer
able to speak, to give out a harsh growl instead of words, and to bend forwards towards the
ground with my whole face,and I felt then my mouth growing into a big snout and my neck
(plural for singular) swelling with muscles and I made footprints with that part with which
the cup had just been taken up by me (dative for agent with passive verb instead of the normal
ā/ab plus ablative); and with those who had suffered the same things (so effective are the
drugs!) I am shut up in a sty and we saw that Euylochus alone had escaped being turned into a
pig (literally: `had lacked the shape of a pig’; caruisse is the perfect infinitive of the verb
careō, which takes the ablative); alone he had shunned the given cups; if he had not avoided
(vītāsset is an abbreviation of vītāvisset, pluperfect subjunctive used in a past contrary-to-fact
conditional) them (literally: `which’) I would now still (literally: `also’) remain (imperfect
subjunctive for present contrary-to-fact conditional) one part of the bristly herd and Ulysses
would not have come informed by him to Circe [as] avenger of so great a catastrophe.

38g Peace-bringing Mercury had given him (literally: `this man’) a white flower: the gods
call [it] moly, it is held by a black root. Safe through this and at the same time through
celestial warnings he enters Circe’s home and, called to the treacherous cups, repulsed her as
she tried to touch (literally `repulsed the one trying to touch) [his] hair lightly with her wand
and thoroughly terrified the frightened one with his drawn sword. 38h Then pledge(s) (fidēs
can be either singular or plural) and right hands were given and received into the marriage-
chamber (thalamō might be dative for destination or ablative without in for location or
ablative of instrument) he demands [as] the dowry of the marriage our bodies (i.e. lives). We

as veil
54
The scansion shows us that the adjective is dīra (not ablatice dīrā) and so goes with dea rather than
virgā.
are sprinkled with the better juices of an unknown herb and we are struck on the head
(accusative of respect with a passive verb – literally `we are struck with respect to the head’)
with a blow of the reversed wand and words are said contrary to the words said [before]. The
more she chants, the more raised from the earth by this we are lifted up and and the bristles
fall [away] and the crack leaves [our] cleft feet, [our] shoulders return and lower arms are
attached to our [upper] arms; we ourselves weeping embrace weeping [Ulysses] and we cling
to the leader’s neck, and did not speak any [other] words before ones testifying to our
gratitude (literally: `and did not speak any earlier words than ones testifying ourselves
grateful’; esse is understood with grātōs to make an accusaticve and infinitive for reported
statement.) A delay of a year held us there, and being present for such a long time I saw many
things, took in many things with my ears.

I
1. Antiphatēs [in terrā Laestrӯgonis rēgnābat].
2. Vīgintī duo [Graecī ad Antiphatem missī sunt].
3. Nāvis Ulixis [Laestrӯgones effūgit]
4. Terra/Īnsula Circēs/Circaeā [procul videnda est.]
5. Lupī, leae ursaeque [occursū metum fēcērunt]
6. [Rēgīna] in pulchrō recessū in soliō sollemnī [sēdit.] (The poet uses plain ablative but
when answering in standard Latin you should use a preposition)
7. Pōcula ā Circē data hausērunt et virgā eius in capillīs tāctī sunt.
8. Quod pōculum nōn sūmpserat//pōcula fūgit/vītāverat.
9. Mercurius [Ulixī flōrem album dedit]
10. Graecī s sucīs meliōribus sparsī et virgā conversā in capite percussī sunt, necnōn verba
contrāria verbīs priōribus dicta sunt.(This is a little tricky as to answer in a form precisely
matching the question you need to change the verbs into the perfect as well as changing the
person! Sticking to the words of the extract itself apart from changing to third person gives:
Sparguntur sūcīs meliōribus herbae, percutiunturque caput conversae verbere virgae,
verbaque dicuntur dictīs contrāria dictīs)

II
2. Amīcī servandī sunt Ulixī.
3. Vīnum Circēs bibendum nōn est Graecīs.
4. Terra Circēs ēvītanda est Trōiānīs.
5. Suēs in hominēs iterum mūtandī sunt rēgīnae.

III levō doceō sequor cōnor agō

Gen levandī docendī sequendī cōnandī agendī
Dat. levandō docendō sequendō cōnandō agendō
Acc. levandum docendum sequendum cōnandum agendī
Abl. levandō docendō dequendō cōnandō agendō

III
1. Sē cantandō dedit.
2. Discimus legendō
3. Venit/Vēnit ad iuvandum
4. Nūntium mīsimus ad dēlīberandum.
5. Audiendī causā in aulam vēnimus/venimus (vēnimus is perfect, venimus present tense)
6. Semper habet metum volandī.
7. Librum scrīpsit dē coquendō.
8. Rōmam vēnimus/venimus ad vīsitandum.
9. Odī movēre grātiā movendī.
10. In scholam Latīnam ad discendum vēnimus/venimus.

IV
2. Discimus librīs legendīs.
We learn by reading books (by books being read).
3. Vēnit/Venit ad hominēs iuvandōs.
He/she came/comes to help people (for the purpose of people being helped).
4. Nūntium mīsimus ad pācem petendam.
We sent a message/messenger to seek peace (for the purpose of peace being sought).
5. Causā mūsicae bonae audiendae in aulam venimus/vēnimus.
We come/came to the hall to hear good music (for the sake of good music being heard)
6. Semper habēmus metum malī factī videndī.
We always have a fear of seeing an evil deed (of an evil deed beung done).
7. Librum scrīpsit dē bonā vītā vivendā. He/She wrote a book about leading a good life
(about a good life being led).
8. Rōmam venimus/vēnimus ad lūdōs Rōmānōs videndōs.
We come/came to Romae to see the roman Games (for the purpose of Roman games being
seen).
9. Rōmam vēnimus/venimus ad pācem faciendam.
We came/come to Rome to make peace (for the purpose of peace being made)
10. In scholam Latīnam ad linguam discendam vēnimus/venimus.
We came/come to the Latin class/school to learn the language (for the purpose of the language
being taught.)
V
1. Antiphatēs ōs [suum] impium/scelestum/malum cruōre amīcī meī tinxit. (Or, using the
poetic plural for singular: ..ōra [sua] impia/scelesta/impia …)
2. Laestrӯgones nāvēs/nāvīs nostrās (sum)mersērunt et sōla nāvis quae Ulixem/Ulixēn
vehēbat /ferēbat/portābat effūgit. (Notice the alternatives of accusative plural in –ī for an i-
stem 3rd. declension noun and of Greek accusative singular in –ēn for Ulixēs (even though
this name is a Latin modification of the genenuinely Greek `Odysseus’)
3. Tē moneō, Aenēā, fuge/(ē)vītā terram Circae/Circēs/Circaeam quod/quia medicāmina habet
quae hominēs in suēs mūtāre/trānsfōrmāre possunt. (Notice that Circē can have a Latin
genitive in -ae or Greek one in –ēs and that the adjective Circaeus, -a, -um can also be used)
INTERIM READING V

Ceyx, the Thracian king,55 prepares to go to the oracle so that he can consult the sacred
prophecies.56 However before he left (relinquit in the text should really be discēdit (`departs)
as relinquō is only used with a direct object) he explains (literally: `tells’) about his plan for
the journey (literally: `plan of journey’) to his most faithful wife Alcyon. She was at once
chilled to the bone (literally: `for whom the bones received the cold’) and her face went pale
(literally: `paleness went over face’) and her cheeks becme wet with shed tears. Three times
she tried to speak; thee times tears blocked her dutiful complaints.
“What fault of mine,” she said, “has changed (literally:`turned’) your mind?
Where is the care for me (literally: `of me’) which used to exist (literally: `was accustomed to
exist'). Can you now be away carefeee leaving Alcyone behind? (literally; `with Alcyone left’
– ablative absolute). Does a long voyage now please you? Am I now dearer to you [when]
absent? But I have a thought, there is a route by land (literally: `through lands’) [That way] I
will not still be afraid and my care (literally: `cares’) [for you] will be free from fear. The
waters and the sad image of the deep sea frighten me. For I know the savage winds (I often
saw them [when I was] small in my father’s house).57 The more I know them, the more I think
they are to be feared (gerundive of obligation in an accusative and infinitive clause). But if
your opinion can be swayd by no prayers, dear husband, and you are determined to go
(literally `certain of going’, with gerund from eō, īre, īvī, itum), at the same time take me with
you (literally `take me up’) as well. Certainly we will be buffeted [by the winds] together.
Whatever happens (literally: `whatever will be’) we will be carried equally over the broad
waters.
With such words (literally: `things said’) and tears the husband is moved, for neither in
him is the fire of love less. But he wishes neither to abandon his proposed route nor to bring
Alcyone into danger; and so he says many consoling words in reply (literally: `he replies
many consoling things’). “Indeed every delay (i.e. time before we meet again) is long for us,
but I swear to you by (literally: `through’) my father’s fires58 that provided the fates let me
return, I will come back before the moon can twice complete its cycle (i.e. in two months; the
subjunctive impleat is used in a clause of anticipation, though indicative would also be
possible since the moon will definitely complet its cycles whether or not Ceyx returns).
Immediately Ceyx orders his ship to be brought out and launched (literally: the brought out
ship to be wet by the sea’) and to be fitted with naval equipment. When she saw this (literally:
`with this seen’ – ablative absolute) she shivered with fright and shed tears and gave

55
Thrācius (Thracian) is used mistakenly in the text for Trāchīnius (`of Trachis’)..
56
His destination was the shrine of Apollo in Claros on the coast of Asia Minor (modern Turkey) since
at that time the road to Delphi, a short distance overland from Trachis, was blocked by enemies.
57
Alcyone was the daughter of Aeolus, the god who kept the winds imprisoned in a mountain on his
island.
58
Ceyx’s father was Phosphoros (Latin Lūcifer), the morning star.
embraces and with a very sad face at last said `Farewell!’ and totally (literally: `with whole
body’) collapsed. Then she lifted her eyes and sees [her] husband standing in the curved ship
and waving to her (literally: `giving signals to herself with [his] hand). When she cannot see
(literally: `and does not see’) the sails she makes for the empty bed and places herself on the
mattress. The bed and the location renew her tears.
Meanwhile a great storm struck the ship on the first night. The sea began to grow white
with swollen waves. From every direction fierce winds wage war. The sailors tried to save the
fragile ship but in vain. Throughout the night (ablative instead of the normal accusative for
duration of a state of affairs) the men make noise with their shouting, the heavy sea with the
force of the waves (the singular unda referring to the sea in general, the plural undārum
retaining the literal meaning `of waves’), the air with thunder. You might believe the whole
sky was descending and the swollen sea rising into the regions of the sky (subjunctive of
possibility plus accusative and infinitive after a verb of believing). The ship was/has been
broken; Ceyx was/has been hurled into the sea. In Ceyx’s mouth there is none but Alcyone
and although he wants only her (literally: `one feminine person’), still he is glad she is not
there. He would also like to see again the shores of his native land and to turn his last gaze
(literally; `face, facial expression’) to home but (vērum (the neuter of vērus, -a, -um, `true’)
can be used as an alternative to sed) he does not know where it is. With the hand in which the
sceptre was accustomed to be held, he himself holds fragments of the ship. He calls upon his
father-in-law and his father,59 alas, in vain; but most on his lips (literally: `mouth’) is his wife
Alcyone. He calls on Alcyone by name and murmurs into the waves themselves as a great
wave sinks and overwhelms Ceyx’s head.
Meanwhile the daughter of Aeolus, unaware of such a great disaster (literally `of such
great evils’) counts the nights and now weaves clothes for him to put on, now some for her
herself to wear when he has returned (present subjunctives induat, gerat in relative clause of
purpose – literally `which he may put on’, `which she may wear’; venerit is future perfect –
literally `when he will have returned’). The pious woman (literally `that pious one’) used to
bring incense for all the gods, however before all others she worshipped the temples of Juno
and came to the altars on behalf of her husaband who was no more (literally `who was none’).
But the goddess no longer endures being petitioned on behalf of a dead person (literally
`for death’60) and sent Morpheus (the god of dreams) to unfortunate Alcyone in the guise of
Ceyx so that he can narrate the true occurrence (plural for singular) in [her] sleep.61 He
assumed (literally `came into’) the face of Ceyx and similar to a dead man he stood without
clothers before the bed of the wretched wife and said these things: “Do you recognize Ceyx
59
His father-in-law was Aeolus, god of the winds, and his father Lucifer, the morning star.
60
The book’s authors shortened Ovid’s prō functō morte (`for one who has experienced death’ - with
the perfect participle from fungor, fungī, functus sum – `be in engaged in, perform’) into just prō
morte when they should really have written prō mortuō (`for someone dead’).
61
In Ovid’s longer version Juno does not speak directly to Morpheus but sends Iris (goddess of the
rainbow) to Somnus (god of sleep). He then entrusts the mssion to Morpheus, his son, who the book
wrongly describes as the god of sleep.
(Cēӯca is a Greek accusative), most wretched wife, or has my face been changed by death?
Look, you will recognize/come to know [me] and will find instead of your husband your
husband’s ghost. Your prayers, Alcyone, brought no help for me (literally: `nothing of help’–
partitive genitive). I have died!
Alcyone groans, sheds tears and, seeking the body in her sleep, embraces the air and
cries out: “Stay! Where are you going away to? We will go together.”Because of her own
voice and the vision of her husband she rises from sleep. The servants, roused by the voice,
brought in light (intulērunt < inferō, inferre, intulī, illātum). After she does not find him
anywhere/at all (usquam has these possible meanings but not `ever’ as wrongly stated in the
book), she tears her clothing from her breast and says: `There is no Alcyone, none. She died
together with her Ceyx. He perished [as] a victim of ship-wreck. I saw and recognized him
and stretched out my hands to him as he left (literally; `towards the departing one’ – present
participle from discēdō), wanting to hold him back. It was a ghost, but also still the actual
ghost of my husband.”
It was morning; she goes out from the building (plain ablative giving the meaning
without use of ā/ab) and sadly (literally: `sad’) seeks again that place from which she had
watched him going (spectārat is contracted from the full pluperfect form spectāverat and
distinguished by the vowel in the last syllable from imperfect subjunctive spectāret). And
whils she delays there and while she is saying “Here he cast off the strong ropes, on this shore
(plain ablative for location) he gave kisses to me as he left”, she sees at some distance
(literally: `with a distant interval’) in the sea a corpse (literally: `I know not what corpse’), a
ship-wreck victim. “Alas, poor man, whoever you are, and alas, too, for your wife if you have
one (literally `and if there is any wife for you’). And now after the body was moved to the
nearby land and became identifiable (subjunctive clause of characteristic; `[such] that one
might recognise’), she recognized it: it was her husband! `It’s him,’ she cries out and tears
together her face, hair and clothing and stretching out her trembling hands towards Ceyx, she
says: “In this way, O dearest husband, in this way do you return to me?” Alcyone threw
herself into the sea. She started to fly through the air with newly created wings/feathers. As
she touched the bloodless body, after embracing his limbs with her new wings, she gave cold
kisses with her hard beak. Ceyx sensed this and and at last as the gods have compassion, they
are both changed into birds. They come together and become parents and for seven calm days
in the winter Alcyone sits on her nest (plural for singular) floating (literally: `hanging’) on
the sea. Then the sea is calm for Aeolus guards the wind and guarantees the safety of the sea
(literally `presents, furnishes’) for his grandchildren.62
62
The kingfisher or halcyon (Latin (h)alcēdō, alcēdinis or (h)alcyōn, (h)alcyonis from Greek
(h)alkyōn – the `h’ was added later in the mistaken belief that the word derived from Greek hals, `the
sea’) was thought to build its nest at sea during the seven days before and after the winter solstice,
when the waters were supposedly calm. Hence the expression `halcyon days.’ And the use of `halcyon’
in English with the meaning `serene’ or `untroubled.’ In fact, kingfishers nest in holes in river banks
and, although there are sometimes periods of calm during the Mediterranean’s generally stormy winter
weather, these do not last more than ten days.
CHAPTER 39

Aeneas enters places teeming with marshy water, the shores of Cumae, and the cavern(s) of
the long-lived Sibyl,63 and asks that he may come through the Avernan region64 to the Shades
of his ancestors (OR (with plural for singular) `to the Shade of his father’). But she raised her
head after looking at the ground for a long time (literally: `raised her countenance which had
delayed a long time on the ground’ with deponent participle (`having delayed’) and plain
ablative for location)65 and at last, inspired after the god entered her (literally: `with the god
received’ – ablative absolute) she said, `You seek great things, man most great through [your
own] deeds, whose right-hand has been tested (literally: `looked at’) by iron and devotion to
duty by fire. However, Trojan, set aside your fear: you will obtain what you seek and with m
as your guide you will get to know the Elysian dwellings and the last (novissima could be
translated in this way or, less likely, as `strangest’) kingdom of the world and the image of
your dear father (literally: `and the dear likenesses of your father’, with poetic plural for
singular and transferred epithet). No path is impassable to courage/virtue.”

39b She spoke and pointed out a branch gleaming with gold in Avernan Juno’s wood
(silvā is a plain ablative with locative sense) and ordered [him] to tear it from the trunk.
Aeneas obeyed and saw the strength/resources of fearful Orcus,66 his ancestors and the aged
Shade of great-souled Anchises; he learned also the laws of [different] places (OR `laws of the
place’ – plural for singular) and what dangers were to be undergone in new wars..

39c “Neither am I a goddess,” she said, “nor should you think a human person (literally:
`head’) worth the honour of sacred incense; and so that you may not be mistaken through
ignorance [I am telling you that] eternal and never-ending life (literally: `light eternal and
going to lack an end’ – with future participle of careō) was offered to me (literally: `started to

63
There are several candidates for identification as the Sibyl’s cave, the least known (but perhaps most
plausible being the system of underground tunnels near the ancient resort of Baiae discovered in the
1950s (see the account at [Link]
tunnels-at-baiae-56267963/ The cave now officially recognized as the `Antro della Sibilla’ , which is
nearer to Lake Avernus,was discovered in 1932 (see [Link]
sibyl-antro-della-sibilla). Also near the lake are the Grotta di Cocceio, a road tunnel from Cumae
constructed in 38-36 B.C. and in use till 1940 (see [Link] and
the Crypta Romana tunnel under the old city of Cumae built at the same time
64
The adjective Avernus, -a, -um can refer to the lower world generally but also specifically to Lacus
Avernus (now Lago Averno), near Cumae. This lies in a crater which was thought to be near the
entrance to the underworld and supposedly gave off poisonous fumes that killed any bird flying over it.
Avernus is from the Greek aornos,`birdless.’ Although thew shores of the lake itself are covered with
abundant vegetation, the neighbouring Phlegraean Fields do present a barren landscape with sulphurous
fumes emerging from vents in the rock.
65
Though morātam is strictly speaking a deponent participle with active meaning it is possible tha the
poet here thought of it as passive (`having been delayed’) so the meaning of the whole phrase woud be
`which had long been delayed by the earth’.
66
Orcus, one of the names for the Underworld, is etymologically connected with the Greek erkos and
has the root meaning of enclosure or confinement.
be given’) if my virginity had been surrendered to Phoebus’s passion (literally: `had lain open
to loving/ardent Phoebus’)

39d “While however he hopes for this (feminine accusative hanc referring to virginitātem),
while he wants to bribe me with gifts, he says, ‘Choose, Cumaean maiden, what you wish for:
you will obtain your wishes (literally: `wished for things’).’ I pointed to a heap of gathered up
dust and in my silliness (literally `silly woman’)requested that as many birthdays should
befall me as the dust had (subjunctive for a subordinate clause within a reported command)
grains; I forgot to ask (literally: `it fell out that I should ask’) also for continually young
years. However, he was offering (literally: `giving’) these to me and eternal youth if I would
consent to sex (literally: `allow/suffer Venus’): despising Phoebus’s gift (literally `with
Phoebus’s gift despised’ – ablative absolute) I continue to stay unwed; but now the happier
age has turned its back (literally: `given back’ (singular for plural)) [on me], and weary/sick
old age comes with trembling step, which must be suffered for a long time (gerundive
expressing necessity).

39e There will be a time, when the long day (i.e. `length of days’, `old age’) will make me
small from so great a size (literally: `body’) and limbs consumed by old age67 will be reduced
to a minimal load: and I will seem neither to have been loved nor to have peased a god [and]
Phoebus himself will perhaps either not recogise me or deny that [he ever] loved [me] (perfect
infinitive in reported statement but with the normal accusative subject (sē) omitted): all the
way to that point shall I be brought, changed [OR I will be reported to have changed all the
way to that point] and [to] be seen by none, but I will be recognized by [my] voice; the Fates
will leave me [my] voice.

I
1. [Est ]in lītoribus Cūmārum [locīs/ō fētō/īs palustribus undīs.] (If the descriptive phrase is
added, the case must be changed to avlative and a choice made to retain the poetic plural or
switch to the singular)
2. Aenēās ōrat ut sē ad mānēs paternōs per Averna dūcat. (The verb veniat has to be changed
as the subject is now Sibylla, and sē (referring back to Aenēās as subject of the whole
sentence) is need as direct subjunctive)
3. Aurō fulgentem rāmum [mōnstrāvit]
4. Umbram magnaninī Anchīsae/ Umbram patris [vīdit].
5. Minimē. [Est fēmina cuī deus vītam longissimam dedit.]

67
`consumed by old age’ is the right translation if the final word in the line is senectā (ablative of the
abstract noun senecta, -ae f, old age. The authors’ footnote on page 402 shows thety think the word is
senecta (i.e neuter nominative plural of senectus, -a, -um (old, aged) agreeing with membra. This
would imply a translation `consumed old limbs.’
6. Phoebus [Sibyllam] amāvit.
7. Rogāvit ut tot sibi nātālēs contingerent (OR ut Apollō tot sibi annōs daret) quot habēret
corpora pulvis. (Note the change of mihi to siibi in reported speech).
8. [Olblīta est] iuventam aeternam aeternam rogāre.
9. Minimē. [Sibylla innuba permanet.]
10. Vōx permanēbit.

II
Pres: hortātur Impf: hortābātur Fut: hortābitur Perf: hortātus est Plpf: hortātus erat
FutPrf: hortātus erit
Pres Subj: hortētur Impf subj: hortārētur Prf Subj: hortātus sit Plpf Subj: hortātus esset

Pres: sequere Impf: sequēbāre Fut: sequēre Perf: secūtus es Plpf: secūtus erās
FutPrf: secūtus eris
Pres Subj: sequāre Impf: sequerēre Perf Subj: secūtus sīs Plpf Subj: secūtus essēs

III
1. cōnābar 6. passus est
2. secūtus est 7. hortābitur
3. locūtī/locūtae sunt 8. sequēmur
4. cōnātus est 9. veritī/veritae estis
5. potiēmur 10. patiēbāminī

IV
1. Puerī venīte as mē.
2. Marce, manē in scholā.
3. Vergilī, carmina tua sunt dulcissima.
4. Mātrēs, audīte mea verba.
5. Nox, venī celeriter.

V
1. Aenēās antrum Sibyllae in lītoribus Cūmārum intrāvit.
2. Hērōs Trōiānus petēbat ut umbram patris/paternam (OR mānēs patris/paternōs) vīsitāret.
3. Sibyllā duce, Aenēās poterat imāginem parentis/patris cognōscere/agnōscere.
4. Nūlla via est invia hominī bonō.
5. Sibylla Aenēān/Aenēam iussit rāmum aurō fulgentem ā truncō arboris auferre/dīvellere
(OR Sibylla Aenēae imperāvit ut …..auferret/dīvelleret).
6. Phoebus Sibyllam amābat et volēbat, sī modo sibi amantī patēret (OR sī modo ipsī amantī
sē aperīret OR sī modo sibi amantī sē ipsam aperīret) eī lūcem aeternam dare. (If the verb
aperiō is used, the clause needs both a direct reflexive referring to its own subject (the sibyl)
and an indirect reflexive referring to the subject of the man verb in the sentence (Phoebus).
Instead of using the standard reflexive pronoun for both these functions, (i.e. sibi for Apollo
and sē for the sibyl.) Classical writers could avoid any ambiguity by using ipse for the
indirect role. Alternatively ipsam could be adeed to the second relative pronon and the
feminine ending would make the reference clear. However Juan Coderech is wrong to claim
that the sē plus ipse combination was regularly used for a direct reflexive in indirect speech.)
7. Sibylla tot annōs/nātālēs rogāvit quot sunt in cumulō pulveris sed oblīta est annōs
iuvenēs quoque rogāre.
8. Sibylla in diēs veterior/senilior atque minor facta est/fīēbat (The present stem
passive tenses of faciō are supplied by the irregular verb fīō but the perfect tenses are
formed regularly with the perfect participle.)
9. Etiam Phoebus Apollō ipse eam nōn iam amāvit/amābat.
10. Sōlum vōx [eius] manēbat/mānsit.
CHAPTER XL: AENĒĀS IN ĪTALIĀ

Aeneas gains.a home and the daughter of Latinus, not however without fighting (literally:
`without Mars’). War is undertaken with a ferocious race andTurnus rages for his promised
spouse.68 All of Etruria (modern Tuscany) converges on Latium and for a long time a difficult
victory is sought with anxious arms (i.e. people endurd hardship and anxiety in the fight).
Each side boosts its strength with foreign forces, and many watch/protect the Rutulians, many
[watch/protect] the Trojan camp, nor did Aeneas go in vain to Evander’s walls, for Pallas,
Evander’s son, was sent to fight in the war (literally `for the purpose of the war being
fought’)69

The war and each side has its gods [as supporters], and what is equal to gods – courage.
They wage war (plural for singular), and at last Venus sees the arms of her son victorious,
and Turnus falls.

40b He humble and in supplication extending his eyes and his beseeching right hand, says `I
indeed deserve nothing and do not plead for forgiveness; make use of your luck. If any
concern of a poor parent can move (literally: `touch’) you,70 I beg – for you, too, had such a
father [in] Anchises – [you to] have pity on Daunus’s old age and return me – or my lifeless
corpse (literally: body stripped of light’), if you prefer – to my own.
You have won and the Ausonians have seen me, defeated, streth out my palms; Lavinia is
your wife.”71 Rolling his eyes, Aeneas also held his right hand in check and now more and
more as he delayed the speech had begun to sway him (literally: `him (accusative eum or
Aenēān is understood from the accusative present participle cunctantem) delaying now and
now more the speech had begun to sway’) when the unlucky sword-belt appeared high on his
shoulder (i.e. when Aeneas noticed it) and the belt gleamed with the familiar studs of the boy
Pallas, whom Turnus had defeated and cut down (literally: `whom having been defeated
Turnus had laid low with a wound’ – victum agrees with quem and strāvit is from sternō,
sternere, strāvī, strātum) and [whose] enemy insignia he was wearing on [his own] shoulders.
Then Aeneas said: “It is Pallas, Pallas who offers you as a sacrifice with this wound and
exacts the penalty from your wicked blood.” Saying this, in hot blood he buries his sword

68
It had previously been arranged – or at least understood – that Lavinia, daughter of King Latinus of
Latium (the region around what was to become Rome) would marry Turnus, leader of the neighbouring
Rutulians. Latinus, impressed by the Trojan hero and influenced by an omen suggesting his daughter
should marry a foreigner, promises her instead to Aeneas and Turnus, who has the support of Latinus’s
wife, then mobilizes an Italian alliance against the newcomers.
69
The verb pungno is not used with accusative of the person fought against but can take an object like
bellum or pugna, hence it can be used in a gerundive clause.
70
I follw the book’s authors here in taking cūra parentis as referring to Daunus’s concern or care for
his son Turnus, but it might conceivably also refer to Turnus or even Aeneas’s care for Daunus
71
The extract here omits the line: ulterius nē tende odiīs.' stetit ācer in armīs (`Go no further with
hatred.’ [Aeneas] stood alert with his weapons),
(literally: `iron’) in his chest which was opposite him. And Turnus’s limbs are loosened in
cold and with a groan his spirit flees indignantly to the Underworld (literally: `for that one
limbs are loosened in cold and life with a groan flees under the Shades.’)

40e And now Aeneas’s (literally `Aenean’ with the derivative adjective Aenēius, -a, -um)
courage/virtue had compelled all the gods and Juno herself to finish [their] old anger (plural
for singular), when, with the position (literally: `resources’) of the growing Julus well
established, the Cytherian hero (i.e. Aeneas, whose mother had been born near the island of
Cythera) was ready for heaven.72 And Venus had gone round the goda and flinging 73her arms
round her father’s neck 74had said: `Father, [who are] never harsh to me, now, please
(literally: `I wish’) be very mild to me and to my Aeneas, who has made you a grandfather
from our blood, give as small a measure of divinity, most excellent one ( an allusion to
Jupiter’s title of Optimus Maximus) as you wish, provided that you give some [measure]!
Then her father says “You are [both] worthy of divine favour,75 both you who seek [it] and the
one on behalf of whom you seek: take what you wish, daughter!”

She washes away and dissolved (respersit is from respergō, -ere, respersī, respersum, which
normally means `sprinkle, spatter’) whatever had been mortal in Aeneas; the best part
remained to him. His mother anointed his purified body with divine perfume (literally:
`smell’) and touched his mouth (as foodstuffs are involved, `mouth’ or `lips’ is probably a
better translation than `face’ , which is another meaning of ōs) with ambrosia76 mixed with
sweet nectar and made him a god.

I
1. Latīnī [fīliā Aenēās potītur].
2. Minimē. [Nōn sine Marte eā potītur.]
3. Turnus [prō coniuge pactā pugnat.]
4. Pallas, fīlius Ēvandrī [ad bellum pugnandum missus est].
5. Aenēās erat victor (OR Trōiānī erant victōrēs). Turnus cecidit.
6. Pallantis [cingula Aenēās in umerīs Turnī vidit.]
7. [Ferrum/Gladium] Aenēās sub pectore Turnī condit.
72
According to the Roman historian Livy, Aeneas was worshipped in Rome after his death under the
title Jupiter Indiges. For further details see [Link]
73
The verb circumfundō, -ere, circumfūdī, circumfūsum basically mean `pour around’ but the
passive forms can be used like a deponent verb with the sense of `surround’, `press upon’ and then
takes an accusative or dative object,
74
On the usual account, Venus is a daughter of Jupiter’s father, Cronos, but an alternative version
makes her Jupiter’s daughter.
75
`Divine favour’ is probably the best translation of caelestī mūnere, the phrase used both in Ovid’s
original version and in the book’s main text, though `divine role/status’ might also be possible. The
authors inexplicably introduce an alternative phrase, caelestī nūmine (`heavenly godhead’, `divine
majesty’) in their own footnote.
76
ambrosia was the special food of the gods and nectar their drink
8. Venus [ōrāvit patrem fīliō vītam aeternam dare]
9. Iūnō [īrās veterēs fīnīvit]
10. Optima [pars herōī restitit.]
II (Examples)
1. Rectōrēs Pēkinēnsēs Sīvaeō iussa dedērunt.
2. Urbs cīvibus cāra est.
3. Aenēae gladius et scūtum sunt.
4. Hic puer magistrō laudandus est.
5. Salvius neque Britannīs neque Pompēiānīs crēdēbat.
6. Illō discípulo omnēs disciplīnae difficilēs sunt.
7. Estne hic liber usuī tibi?
8. Ubi urbem intrābam, Marcō occurrī,

III
1. Mihi ignōsce/ignōscite. 6. Tibi ignōscō.
2. Mihi crēde/crēdite 7. Tibi crēdō
3. Mihi cōnfīde/crēde/cōnfīdite/crēdite 8. Tibi crēdō/cōnfīdō
4. Mihi parce/parcite 9. Tibi parcam
5. Mihi servī/servīte 10. Serviam

IV
1. Servus dominō cāus est.
2. Puer magistrō grātus est.
3. Eurydicē Orpheō cāra est.

V
Aenēās Turnum quī balteum/cingulum Pallantis in umerō gerēbat interfēcit/occīdit/necāvit.
(OR: AenēāsTurnum balteum /cingulum Pallantis in umerō gerentem interfēcit etc.).
Turnus hunc amīcum hērōis Troiānī in proeliō interfēcerat/occīderat/necāverat et balteum
īnsigne vistōriae cēperat/abstulerat (Or use ablative absolute: Turnus hōc amīcō hērōis
Trōiānī in proelio interfectō balteum….) Quod/Quia Turnus hunc balteum/hoc cingulum
gerēbat, Aenēās eī nōn pepercit. Haec fābula apud Vergilium tibi/vōbīs est legenda.