DO THE FOLLOWING: Pick up one of each handout on your way into class

1. DO THE FOLLOWING: Pick up one of each handout on your way into class

2. Some definitions manēre maneō discipulus A few basic rules for deciding where to put the accent: • Go to the 2nd to last syllable (accent likes to be here) • If the syllable is long the accent will stay there • If the syllable is short the accent will move one to the left

3. Some definitions NOT LONG manēre maneō • Some other things to keep in mind: • Accent will always be within the last 3 syllables of a word • If the word has only two syllables, the accent automatically goes on the first of the two syllables discipulus A few basic rules for deciding where to put the accent: • Go to the 2nd to last syllable (accent likes to be here) • If the syllable is long the accent will stay there • If the syllable is short the accent will move one to the left

4. READING CATULLUS OUT LOUD PRAECEPTA: Working INDIVIDUALLY, annotate the section of text you have been assigned by following these steps: • Complete your work in PENCIL - this will allow you to make corrections more easily • Underline the second to last syllable • Decide whether the syllable is long or short • Place the accent mark using a small dash [‘] above the syllable that should be accented

5. c. 72 Dīcēbās quondam sōlum tē nōsse Catullum, Lesbia, nec prae mē velle tenēre Iovem. 2 dīlēxī tum tē nōn tantum ut vulgus amīcam, sed pater ut gnātōs dīligit et generōs. 4 nunc tē cognōvi: quare etsī impēnsius ūror, multō mī tamen es vīlior et levior. 6 quī potis est, inquis? quod amantem iniuria tālis cōgit amāre magis, sed bene velle minus. 8

6. IT’S TIME FOR METER

7. Rhythm and Words Can you hear any consistent rhythmical themes and patterns in these songs? • T. Puente • C. Orff • Nas • Panjabi MC • Satie/C. Debussy • J. Cuba

8. Rhythm and Words For all the history of grief An empty doorway and a maple leaf For love The leaning grasses and two lights above the sea - A poem should not mean But be Could words, if placed in the right combinations, make rhythmical patterns of their own? Yeah, yeah, I’ma up at Brooklyn, now I’m down in Tribeca Right next to De Niro, but I’ll be hood forever I’m the new Sinatra, and since I made it here I can make it anywhere, yeah, they love me everywhere Runnels, which rillets swell,Must be dancing down the dell,With a foaming headOn the beryl bedPaven smooth as a hermit's cell;Each with a tale to tell,Could my Love but attend as well

9. QUESTIONS 1 – 2 SHOULD NOW BE COMPLETED Basics building block for Roman poetry: syllables • Each poem written in Latin holds an established rhythm that we will call “meter” • These meters that Roman poets used were formed from patterns of long syllables and short syllables • Now for some important definitions:

10. Basics building block for Roman poetry: syllables 3. Now for some important definitions: LONG SYLLABLES: 1.) contain a vowel that is naturally long. This includes any of the diphthongs in Latin (ae, au, ei, eu, oe, ui) examples: • puell-ā as a noun in the ablative case • puell-ae as a noun in the genitive singular, dative singular or nominative plural • others: puer-ōs, aest-as, ten-ēs, laud-āb-ās 2.) contain a vowel that is followed by two consonants examples: • mag-istr-um • others: port-a, bonus puer (bonus on its own would be short, but the “s” at the end of bonus and the “p” at the start of puer count as two consonants, therefore making the -u- in this circumstance a long syllable)

11. Basics building block for Roman poetry: syllables 3. Now for some important definitions: LONG SYLLABLES: 1.) contain a vowel that is naturally long. This includes any of the diphthongs in Latin (ae, au, ei, eu, oe, ui) examples: • puell-ā as a noun in the ablative case • puell-ae as a noun in the genitive singular, dative singular or nominative plural • others: puer-ōs, aest-as, ten-ēs, laud-āb-ās  2.) contain a vowel that is followed by two consonants examples: • mag-istr-um • others: port-a, bonus puer (bonus on its own would be short, but the “s” at the end of bonus and the “p” at the start of puer count as two consonants, therefore making the -u- in this circumstance a long syllable)

12. Basics building block for Roman poetry: syllables 3. Now for some important definitions: SHORT SYLLABLES: 3.) contain a vowel that is naturally short, or in simpler terms anything that is not long examples: • mort-is • others: id, regit, minima, pius

13. Elegiac meter – part 1 (hexameter) Two of the poems we have read from Catullus to this point (c.72 and c.85) have been in a meter called ELEGIAC COUPLET. In a visual format it looks like this: = long syllable = short syllable = syllable which can be either long or short ˉ ˘ x

14. QUESTIONS 4 – 5 SHOULD NOW BE COMPLETED Elegiac meter – part 1 (hexameter) 4. In order to understand elegiac meter as a whole, we first need to solidify our understanding for the first half of this metrical pattern. Here it is: • Notice that for this half of the meter there are six feet. It is for this reason that it is described with the title “hexameter” • Because a long syllable takes twice as long to pronounce as a short syllable, one long syllable can take the place of two short syllables. This is why a long syllable has been written above the two short syllables in these feet of the hexameter.

15. QUESTION 6 SHOULD NOW BE COMPLETED Elegiac meter – part 1 (hexameter) 5. When a poet writing in Latin wanted to make a poem in this meter, they had to pick words that would fit within any one of the possible combinations that the metrical pattern allows. 6. This means each syllable in a hexameter has to have the value of long ( ) or short ( ). Let’s give it a try together: Dīcēbās quondam sōlumtēnōsse Catullum [c. 72.1] • Where are the long and short syllables for those not already indicated for us? • How many metrical feet do we have in the line above? • Where do we draw the line for each metrical foot? ˉ ˘

16. Elegiac meter – part 1 (hexameter) 5. Now try some on your own. NOTE: each line will have exactly 6, full metrical feet. No more, no less and certainly no incomplete or “half” feet. Nūllī sē dīcit mulier mea nūbere mālle [c. 70.1] Dīcit; sed mulier cupidō quod dīcit amantī [c.70.3] dīlēxī tum tē nōn tantum ut vulgus amīcam [c. 109] ?

17. QUESTIONS 7 – 11 SHOULD NOW BE COMPLETED An important rule for scanning Latin poetry: ELISION 6. Did you run into any problems with the last one? • It is because one of the syllables in this line bleeds into the other with the result of reducing two syllables into one. This is called: ELISION • It happens all the time in poetic language. Take for example rap and other music lyrics: Roc boys in the buildin’ tonight Oh, what a feelin’I’mfeelin’life You don’teven gottabring yapaper out Immabe on the next level Immabe rockin’over that bass treble Immabe chillin’with my muthamuthacrew Immabe makin’ all them deals you wannado

18. An important rule for scanning Latin poetry: ELISION This means that the line which wouldn’t scan before, now will: dīlēxī tum tē nōn tantumut vulgus amīcam, [c. 109.3] • Notice that when two vowels elide the first of the two vowels drops and is absorbed into the succeeding vowel. • When reading it out loud, it would sound like “tant’ut” • With the elided vowels, the line now scans SO HOW DO I KNOW WHEN TWO VOWELS ELIDE?

19. QUESTIONS 12 – 14 SHOULD NOW BE COMPLETED An important rule for scanning Latin poetry: ELISION WHEN ELISION HAPPENS: Examples: • bonum ōmen • parvī haedī • unaaestas • multaehōrae

20. Putting it all together: scansion of a hexameter Now that you know all the necessary steps, practice scanning one more hexameter (c. 84) Ōdī et amō. Quārē id faciam, fortasse requīris? Nesciō sed fierī sentiō et excrucior.

21. QUESTIONS 15 – 16 SHOULD NOW BE COMPLETED Elegiac meter – part 2 (pentameter) 7. So far we have only been scanning the top half of each couplet. This is because the bottom half of an elegiac couplet has a different pattern. Here is what it looks like: • How is this similar to the hexameter we have just examined? • How is it different?

22. Elegiac meter – part 2 (pentameter) As we scan the examples below, follow these steps: 1.) note where there are vowels that are long by nature 2.) scan the line for elisions and mark them appropriately 3.) determine whether the remaining syllables are long or short 4.) mark where the metrical feet occur Nūllī sē dicit mulier mea nubere mālle quam mihi, nōn sī sē Iuppiter ipse petat. Dicit; sed mulier cupidō quod dīcit amantī, in ventō et rapidā scībere oportet aquā.

23. Elegiac meter – part 2 (pentameter) As we scan the examples below, follow these steps: 1.) note where there are vowels that are long by nature 2.) scan the line for elisions and mark them appropriately 3.) determine whether the remaining syllables are long or short 4.) mark where the metrical feet occur Hūc est mēns dēducta tuā mea, Lesbia culpā atque ita sē officiō perdidit ipsa suō ut iam nec bene velle queat tibi, sī optima fīās, nec desistere amāre, omnia sī faciās.

24. Why bother with meter? Does it really matter? Scan the first line of this couplet (c.72.1) Dīcēbās quondam sōlumtēnōsse Catullum, Lesbia, nec praemēvelle tenēre Iovem. 2 • Are the words in this line mostly … slow ( : spondee) or quick ( : dactyl)? 2. How could playing with the speed of the words in this particular line contribute to what Catullus is saying in this line ?