[5] video: Vincent’s complete recitation with lines scanned and key points noted.
Take away:
dactyl(ic)
spondee
anceps
hexameter
/i/ + V: either ia / io or i-a / i-o
diphthong
long by nature i.e. always long in any form of written or spoken Latin
long by position: [i] VCC; [ii] V+X[ks] i.e. becomes long in verse
elision: -(V) ͜ V- / -(V) + (h)V
[3] Elision
[l.5] Īn cāe-¦ l(o) ͜ ūt tēr- ¦ rīs fī- ¦ āt tŭ-ă ¦ clā-ră vŏ- ¦ lūn-tās [īn cāe-loūt]
[i] -V ͜ V- i.e. a vowel at the end of a word and a vowel at the beginning of the next word are usually elided; the term is elision, and you can see that the end vowel is not scanned as it is either generally omitted when speaking or spoken rapidly together with the next vowel so that it forms one syllable:
[l.8] Īn-nŭ-mĕ- ¦ r(a) ͜ īn-dūl- ¦ gēns ēr- ¦ rō- rīs ¦ dē-bĭ-tă ¦ prā-vī [-mĕ-¦ r’īn-dūl-]
[ii] Elision also occurs when the following letter is /h/ [V + hV]; /h/ is considered silent
[l.6] Vī-tā- ¦ līsqu(e) ͜ (h)ŏ- dĭ- ¦ ē sānc- ¦ tī sūb- ¦ stān-tĭ-ă ¦ pā-nĭs [līs qu’ŏ-dĭ-]
[4] Reciting the verse
It’s all very well talking about long and short syllables – but how are they actually said? Any poem in whatever language is open to interpretation, including the mood in which it is spoken, its pace and what the speaker wishes to emphasise. But you need to start somewhere to get the basic rhythms. The opening lyrics of “Paperback Writer” by the Beatles is comprised almost completely of crotchets (a single beat) and quavers (half a beat). Imagine you’re back in Primary Music class! Clap your hands, kids …
one ¦ and a ¦ two ¦ and a ¦ three ¦ and a ¦ four
Omit the first and last words:
(Dear) ¦ Sir or Ma-dame will-you read my book-it took-me years to write, will-you take-a (look)?
Image #2: The notation is from the sheet music; the Beatles ‘play around’ a little with some of the rhythms when they sing it, but you can hear the long and short beats in the same way that you can hear the long and short syllables of the Latin work. Don’t sing it – say it, while tapping a pencil on the table. Then keep tapping that pencil and say the Latin line, and you’ll be getting pretty close to a Roman.
[2] Identifying long and short vowels
A syllable is defined as long or short dependent upon the length of the vowel sound. How do you know if a syllable is long or short? There are two important terms to note:
[i] long by nature i.e. the vowel is always long – not only in poetry – for example:
[l.2] NŌ-mĭ-nĭs ¦ Ō-rĀ- ¦ mūs vĕ-nĕ- ¦ rĀ- tiŌ ¦ sĀnc- tĭ- fĭ- ¦ cĒ-tŭr
Diphthongs are always long, for example:
[l.1] cĀE-lī
[l.4] rĕ-¦ clĀU-dăt
[l.9] Ēt nōs ¦ hĀUt ă-lĭ-¦ tēr cōn- ¦ cē-dĕ-rĕ ¦ fŌE-nŏ-ră ¦ nōs-trīs
[l.10] Tē-trī ¦ sĀE-vă prŏ- ¦ cūl tēmp- ¦ tā-tiō ¦ dĀE-mŏ-nĭs ¦ āb-sĭt
[l.11] ĀE-quĕ mă- ¦
[ii] long by position; this is a crucial feature of Latin poetry:
Where a vowel is followed by two consonants [VCC] – even if those consonants are split between words –the vowel becomes long; there are exceptions but it is important to become familiar with this idea since it is an integral part of the rhythm.
[l.2] The verb ŌrĀmus has two vowels that are long by nature – they are always long. However, -mus is usually short, but in the verse, because it is followed by two consonants, it becomes long: ō-rā- ¦ mŪS ͜ Vĕ-nĕ- [VCC]
All the capitalised vowels in bold are normally short, but here they are long [VCC]:
[l.1] genitor (/o/ usually short) > gĕ-nĭ- ¦ tŌR ͜ Rĕ- [VCC]; in (/i/ usually short) > ĪN ¦ Vēr [VCC]
[l.3] ĪN ͜ Nō- ¦ bīs Pă- tĕr ¦ ĀL-Tĕ tŭ- ¦ ī: trĀN- ¦ QU-ĪL-Lă-quĕ ¦ mŪN-Dō
[l.5] fīat (/a/normally short) > fī- ¦ ĀT ͜ Tŭ-ă
[l.11] tol-lat (/o/ normally short) > tŌL-Lat
[iii] V + X: a vowel followed by /x/ becomes long since /x/ is composed of two consonant sounds /ks/:
[l.7] mox (normally short) > tŭ-ă ¦ mŌX [V + /ks/]
Some basics of Latin poetry were first discussed here:
04.09.25: The best place to start Latin poetry is … in a cave! [2]; some basics concerning Classical Latin poetry
https://www.facebook.com/groups/latinforstarters/posts/774016828542921/
[i] In print, you will either come across completely unscanned versions of verse or, as I have written below, edited texts with naturally long vowels marked (see the next post: identifying long and short syllables)
Sīdereō genitor residēns in vertice caelī
Nōminis ōrāmus venerātiō sānctificētur
In nōbīs Pater alte tuī: tranquillaque mundō
Adveniat rēgnumque tuum lūx alma reclaudat
In caelō ut terrīs fīat tua clāra voluntās
Vītālisque hodiē sānctī substantia pānis
Prōveniat nōbīs; tua mox largītiō solvat
Innumera indulgēns errōris dēbita prāvī
Et nōs haut aliter concēdere foenora nostrīs
Tētrī saeva procul temptātiō daemonis absit
Aequē malīs tua nōs in lūcem dextera tollat
[ii] A fully scanned version would have this or a similar format:
l.1: Sī-dĕ-rĕ- ¦ ō gĕ-nĭ- ¦ tōr rĕ-sĭ- ¦ dēns īn ¦ vēr-tĭ-cĕ ¦ cāe-lī
l.2: Nō-mĭ-nĭs ¦ ōr-ā- ¦ mūs vĕ-nĕ- ¦ rā- tiō ¦ sānc- tĭ- fĭ- ¦ cē-tŭr
l.3: Īn nō- ¦ bīs pă- tĕr ¦ āl-tĕ tŭ- ¦ ī: trān- ¦ qu-īl-lă-quĕ ¦ mūn-dō
l.4: Ād-vĕ-nĭ- ¦ āt rēg- ¦ nūm-quĕ tŭ- ¦ ūm lūx ¦ āl-mă rĕ- ¦ clāu-dăt
l.5: Īn cāe- ¦ l(o) ͜ ūt tēr- ¦ rīs fī- ¦ āt tŭ-ă ¦ clāră vŏ- ¦ lūn-tās
l.6: Vī-tā- ¦ līs-qu(e) ͜ (h)ŏ-dĭ- ¦ ē sānc- ¦ tī sūb- ¦ stān-tĭ-ă ¦ pā-nĭs
l.7: Prō-vĕ-nĭ- ¦ āt nō- ¦ bīs; tŭ-ă ¦ mōx lār- ¦ gī-tiō ¦ sōl-văt
l.8: Īn-nŭ-mĕ- ¦ r(a) ͜ īn-dūl- ¦ gēns ēr- ¦ rō-rīs ¦ dē-bĭ-tă ¦ prāvī
l.9: Ēt nōs ¦ hāut ă-lĭ-¦ tēr cōn- ¦ cē-dĕ-rĕ ¦ fōe-nŏ-ră ¦ nōs-trīs
l.10: Tē-trī ¦ sāe-vă prŏ- ¦ cūl tēmp- ¦ tā-tiō ¦ dāe-mŏ-nĭs ¦ āb-sĭt
l.11: Āe-quĕ mă- ¦ līs tŭ-ă ¦ nōs īn ¦ lū-cēm ¦ dēx-tĕ-ră ¦ tōl-lăt
As an example. The links below are to a poem V by Catullus:
[i] The first link takes you to a completely unscanned version
http://rudy.negenborn.net/catullus/text2/l5.htm
[ii] The second takes you to a scanned version
http://rudy.negenborn.net/catullus/text2/sc5.htm
[1] Metre
References are made here to long and short syllables; that is discussed in the next post
Vincent describes the verse as dactylic hexameter:
(1) a dactyl is a long syllable followed by two short syllables: — UU
Line 1: SĪ-DĔ-RĔ- ¦ ō gĕ-nĭ- ¦ tōr rĕ-sĭ- ¦ dēns īn ¦ vēr-tĭ-cĕ ¦ cāe-lī
(2) Two short syllables can equal one long syllable i.e. — UU = — — ; a combination of two long syllables is known as a spondee
Sī-dĕ-rĕ- ¦ ō gĕ-nĭ- ¦ tōr rĕ-sĭ- ¦ (2) DĒNS ĪN ¦ vēr-tĭ-cĕ ¦ cāe-lī
Combinations, six feet of six dactyls or spondees, is known as hexameter.
[1] Sī-dĕ-rĕ- ¦ [2] ō gĕ-nĭ- ¦ [3] tōr rĕ-sĭ- ¦ [4] dēns īn ¦ [5] vēr-tĭ-cĕ ¦ [6] cāe-lī
(3) The last syllable of a line can be long or short; this is usually indicated by X i.e. — X; a syllable of this type is called an anceps
[i] In the first line, the final syllable is long:
Sī-dĕ-rĕ- ¦ ō gĕ-nĭ- ¦ tōr rĕ-sĭ- ¦ dēns īn ¦ vēr-tĭ-cĕ ¦ cāe-LĪ
[ii] In Line 2 the final syllable is short:
Nō-mĭ-nĭs ¦ ōr-ā- ¦ mūs vĕ-nĕ- ¦ rā- tiō ¦ sānc- tĭ- fĭ- ¦ cē-TŬR
When a poem is scanned, sometimes no mark is given above an anceps because it makes no difference.
[iii] Note that /i/ when it is with another vowel e.g. -iō- or -ia- can, depending on the rhythm, be [a] similar to English /y/ and not scanned separately, or [b] a separate vowel sound
[a]
[l.2] vĕ-nĕ- ¦ rā- tiō [imagine ve-ne-¦ ra-tyo (or -tjo- as written in some scans)]
[l.7] lār- ¦ gī-tiō
[l.10] tēmp- ¦ tā-tiō
[b]
[l.4] the /i/ is scanned as an independent vowel: Ād-vĕ-nĭ- ¦ āt i.e. it is pronounced distinctly seperately from the following /a/
[l.6] sūb- ¦ stān-tĭ-ă
[l.7] Prō-vĕ-nĭ- ¦ āt
Vincent recites the Pater Noster of Juvencus (c. 330 AD)
[l.1] Sīdereō genitor residēns in vertice caelī │ Creator / Father sitting in the starry summit of heaven
[l.2] Nōminis ōrāmus venerātiō sānctificētur │ May the reverence of (your) name, we pray, be sanctified
A prayer by its nature is often expressing what someone wants to happen e.g. in English “May he rest in peace”. In Latin this is conveyed by the subjunctive, and the verse contains many examples of it: sānctificētur: May (the reverence of your name) be sanctified.
[l.3] In nōbīs ¦ Pater alte ¦ tuī: tranquillaque mundō │ Father on High, (bring) peaceful things of yours / your peace in us and in the world
pater alte: vocative case < altus, -a, -um: high
[l.4] Adveniat rēgnumque tuum lūx alma reclaudat │ May your kingdom come and the nourishing light disclose.
Adveniat rēgnum … tuum: May your kingdom come; subjunctive
lūx alma reclaudat: may the nourishing light disclose
[l.5] In caelō ut terrīs fīat clāra voluntās │ In heaven as on earth (the lands) may your will be made / become clear
fīat clāra voluntās: May (your) will become clear; subjunctive
[l.6] Vītālisque hodiē sānctī substantia pānis │ And today the vital substance of the holy bread
Note the word order:
(1) Vītālisque hodiē (2) sānctī (1) substantia (2) pānis
(1) (and) the vital substance (2) of the holy bread
Because of the case endings, Latin words – especially in verse – are often not written together; in poetry this is known as hyperbaton; a writer may do this to conform to the rhythm and / or to create a particular effect e.g. to emphasise certain words or ideas or, in this line (I suspect), to produce alliteration (the repetition of the same initial sound, usually a consonant) i.e. sānctī substantia (pānis)
[l.7] Prōveniat nōbīs; tua mox largītiō solvat │ May it come (forth) to us; may your generosity soon bestow it
[l.8] Innumera indulgēns errōris dēbita prāvī │ Indulging (i.e. being lenient towards / pardoning / forgiving) the countless debts of wicked error
Again, note the word order as an example of hyperbaton (see the note to l.6)
(1) Innumera ¦ indulgēns ¦ (2) errōris (1) dēbita prāvī
indulging ¦ the (1) countless debts (2) of wicked error
And again, you see the word order manipulated to create alliteration: Innumera ¦ indulgēns; the repetition of vowel and consonants extends throughout the line:
Innumera ¦ indulgēns ¦ (2) errōris (1) dēbita prāvī
For reference, there are three terms used to describe this poetic device:
However, they rarely appear in such strict divisions, but, like line 8 above, as a combination of devices. One example alone from our era shows how effective such poetic devices can be, an example of sheer genius: excerpt from the “Witch’s Rap” in the Sondheim musical Into the Woods. The Baker’s father steals from the Witch’s garden; note how she growls, hisses, fumes and spits her words!
Greens greens and nothing but greens! / Parsley, peppers, cabbages, and celery, / Asparagus and watercress / And fiddleferns and lettuce. / He said "Alright!" / But it wasn't quite. / Cause I caught him / In the autumn / In my garden one night!
You’re not often going to come across such relentless intensity, but it’s useful to know the terms when instances of such poetic devices occur.
[l.9] Et nōs haut aliter concēdere foenora nostrīs │ no differently than we grant debts to our own (people) [i.e. we do not treat others using different terms]; Compare ll8-9 with the standard version of the prayer (Church of Scotland): Forgive us our debts / as we forgive our debtors
The same lines from the Book of Cerne (9th century): Forgive countless debts of our wicked errors, / no different than we pardon our debtors.
[l.10] Tētrī saeva procul temptātiō daemonis absit │ May the savage temptation of the foul demon be far away
(1) Tētrī (2) saeva [procul] (2) temptātiō (1) daemonis
(2) the savage temptation (1) of the foul demon
[l.11] Aequē malīs tua nōs in lūcem dextera tollat │ Equally may your right hand raise us / lift us up from evils into the light
tua nōs in lūcem dextera: your right hand …
To give you an idea of the direction in which this set of posts is going, the ability to scan a Latin poem and to analyse its effects are requirements of the UK A Level (post-16) Latin examination.
https://www.youtube.com/watch?v=3z_QAPB3XeA
Vīvāmūs mĕă Lēsbĭ[a] ͜ ātqu[e] ͜ ămēmŭs
rūmōrēsquĕ sĕnūm sĕvērĭōrŭm
ōmnēs ūnĭŭs aēstĭmēmŭs āssĭs
dā mī bāsĭă mīllĕ deīndĕ cēntŭm
deīn mīll[e] ͜ āltĕră deīn sĕcūndă cēntŭm
Deīnd[e] ͜ ūsqu[e] ͜ āltĕră mīllĕ deīndĕ cēntŭm
deīn cūm mīlĭă mūltă fēcĕrīmŭs
cōntūrbābĭmŭs īllă nē scĭāmŭs
aūt nē quīs mălŭs īnvĭdērĕ pōssĭt
cūm tāntūm scĭăt ēssĕ bāsĭōrŭm
(Catullus V)
Let us live, my Lesbia, and let us love,
and let us judge all the rumors of the old men
to be worth just one penny!
Give me a thousand kisses, then another hundred,
then another thousand, then a second hundred,
then yet another thousand more, then another hundred.
Then, when we have made many thousands,
we will mix them all up so that we don't know,
and so that no one can be jealous of us when he finds out
how many kisses we have shared.
The composer, Farya Faraji, makes the following comment: “In my opinion, the best place to start for reconstructing their music is the poetry: Ancient Roman poetry used the interplay of long vs short vowel lengths and stress accent to create rythmic effects to the poetry, not unlike modern rap does.”
And that’s where we’re going to start – not with Catullus, but with a verse from the 4th century. We’ll meet Catullus – and his fairweather friends – later. The following posts will look at the 4th century Pater Noster of Juvencus (recited by Vincent).
[1]
Fortūne [ML = CL: Fortūnae] plangō vulnera │ I lament the wounds of Fortune
stillantibus ocellīs, │ with dripping [flowing / tearful] eyes
quod sua michi [ML = CL: mihi] munera / subtrahit rebellis. │ because she rebelliously withdraws her gifts from me
vērum est, quod legitur │ It is true what is read
fronte capillāta / sed plērumque sequitur / [i] Occāsiō calvāta. │ [i] Opportunity has hair at the front, but generally a bald patch follows
“Opportunity is described as having hair only on the front of her head - she can be seized as she approaches, but once she has passed, a person grabs futilely at the back of her head.” (Betts)
calvātus, -a, -um: bare; made bald
capillātus, -a, -um: having hair
plangō, -ere, plānxī, plānctus [3]: bewail; lament; mourn
sequor, sequī, secūtus sum [3/deponent]: follow
stīllō, -āre, -āvī, -ātus [1]: drip; trickle
stillāns, stillantis: present active participle > ocellīs stillantibus │ with dripping eyes
subtrahō, -ere, -trāxī, -trāctus [3]: remove; withdraw
sua michi [dative] munera subtrahit │ She removes / takes away her gifts from me
[2] “In the second and third stanzas reference is made to the Wheel of Fortune, a common motif in the Middle Ages and often represented in art, where it was conceived as a primitive Ferris wheel accommodating four - one up, one down, one about to achieve prosperity, one about to be plunged into misery.” (Betts)
Note in this stanza the use of perfect passive participles and adjectives derived from them
ēlātus
coronātus
beātus
privātus
In Fortūn(a)e soliō │ On the throne of Fortune
sēderam ēlātus, │ I had sat [pluperfect tense] (having been) exalted (raised up; elevated) [perfect passive participle]
prōsperitātis ¦ variō / flōre [ablative] ¦ corōnātus; │ (having been) Crowned [perfect passive participle] ¦ with the many-coloured flower of prosperity
quicquid enim flōruī │ for however (in whatever way) I have flourished
fēlīx et beātus │ happy and blessed
nunc ā summō corruī │ Now I have fallen down from the top
glōriā prīvātus. │ (having been) deprived [perfect passive participle] of glory.
corruō, -ere, -uī, corrutus [3]: fall down
solium, -ī [2/m]: [i] seat; chair [ii] (here) throne
[i] sēderam ēlātus │ I had sat (having been) exalted (raised up)
The verb ferō (carry; bear), which will be discussed in greater depth in later posts, has unusual principal parts: ferō, ferre, tulī, lātus (why that happens will be explained)
lātus: having been carried
Those same principal parts will apply to compound forms of ferō:
ēlātus: having been lifted up
[ii] gloriā [ablative] prīvātus │ deprived of glory [literally: deprived from glory]
the ablative case can be used to express separation from something e.g. eōs timōre līberāvit │ he freed them from fear
[3]
Fortūn(a)e rota volvitur; │ the wheel of Fortune is turned
dēscendō minōrātus; │ I descend (having been) diminished
alter in altum tollitur; │ another is raised up on high
nimis exaltātus │ (having been) too exalted
rēx sedet in vertice │ the king sits at the top
caveat ruīnam! │ let him beware ruin!
nam sub axe legimus │ for below the axle we read
Hecubam rēgīnam. │ Queen Hecuba.
axis, -is [3/m]: axle (of a wheel)
minōrō, -āre, -āvī, -ātus [1] (late latin): reduce; diminish
vertex, verticis [3/m]: (here) highest point; summit; top
caveat ruīnam │ let him beware ruin; subjunctive, known in grammar as the jussive subjunctive that forms a command / suggestion usually referring to a third person rather than directly addressing somebody
Hecuba: “The name of Hecuba was a suitable inscription for the axle as she was the supreme example of Fortune's malice. From being Queen of Troy, after its sack she suffered such misery as a captive of the Greeks that the gods, out of pity, turned her into a dog.” (Betts)
In the Mediaeval world, they knew that power did not last forever; unfortunately, some of our 21st century leaders think it does.
[1]
Fortūne plangō vulnera │ I lament the wounds of Fortune
stillantibus ocellīs, │ with dripping (flowing / tearful) eyes
quod sua michi mūnera / subtrahit rebellis. │ because she rebelliously withdraws her gifts from me
vērum est, quod legitur │ It is true what is read
fronte capillāta, / sed plērumque sequitur / Occāsiō calvāta. │ Opportunity has hair at the front, but generally a bald patch follows
[2]
In Fortūne soliō │ On the throne of Fortune
sēderam ēlātus, │ I had sat exalted (raised up; elevated)
prōsperitātis variō / flōre corōnātus; │ Crowned with the many-coloured flower of prosperity
quicquid enim flōruī │ for however (in whatever way) I have flourished
fēlīx et beātus │ happy and blessed
nunc ā summō corruī │ now I have fallen down from the top
glōriā prīvātus. │ deprived of glory.
[3]
Fortūne rota volvitur; │ the wheel of Fortune is turned
dēscendō minōrātus; │ I descend diminished
alter in altum tollitur; │ another is raised up on high
nimis exaltātus │ too exalted
rēx sedet in vertice │ the king sits at the top
caveat ruīnam! │ let him beware ruin!
nam sub axe legimus │ for below the axle we read
Hecubam rēgīnam. │ Queen Hecuba.
Mediaeval pronunciation:
[i] fortūne = fortūnae; spelling change to reflect pronunication shift of Classical Latin /ae/ > /e/
[ii] vulnera [vool-ne-ra]; all letter v’s in the text are pronounced as in Engl. very; CL did not have a /v/ sound but developed later; CL letter V represented a /u/ or /w/ but since this text is Mediaeval, the singers reflect the pronunciation change by this period; that pronunciation is also in Ecclesiastical Latin although this song is secular
[iii] michi = mihi
[iv] ocellīs: c + e as /che/ rather than CL hard /c/ [k]; similarly: dēscendō; vertice
[v] legitur: g + i as soft /g/ as in English /j/ rather than CL hard /g/ [as in get]; similarly: legimus; rēginam
Ōrdō Global Forest Watch annuam dē statū silvārum tropicālium relātiōnem nūper dīvulgāvit. Annō proximō ārea silvārum maior quam Belgium dispāruit. Silvae maximam partem dēlentur, ut alimenta, sīcut carō bovīna, oleum palmārum, socolāta prōdūcantur. Investīgātōrēs praecipuē propter silvās pluviālēs sollicitī sunt. Plūrimae silvae nātūrālēs caesae sunt in Brasīliā. In ultimīs silvīs Brasiliēnsibus vīvunt aborīginēs, quī numquam cum hominibus occidentālibus cōnsuētūdinēs habuērunt et silvīs dēlētīs habitātiōnēs perdunt. Magnus est interitus silvārum etiam in Columbiā, Boliviā, Āfricā occidentālī. In Ghanā et Lītore Eburneō etiam propter aurifodīnās et cultūram cacaōnis silvae caeduntur.
[i] What annual report did the organisation recently publish?
[ii] How is the previous year’s disappearance of forest emphasised?
[iii] What three specific foodstuffs are being produced? (3)
[iv] What specific type of forest worries researchers?
[v] Where are most forests being cut down?
[vi]
[a] Who lives in these forests?
[b] With whom have they never had contact?
[c] What are they losing?
[vii] Which region of Africa is affected?
[viii]
[a] Apart from Ghana, which other African country is mentioned?
[b] What two reasons are causing the loss of forest in these countries? (2)
____________________
[i] the state of tropical forests
[ii] an area larger than Belgium
[iii] beef (1); palm oil (1); chocolate
[iv] rainforests
[v] Brazil
[vi]
[a] aborigines (indigenous peoples)
[b] Westerners
[c] their homes
[vii] West Africa
[viii]
[a] Ivory Coast
[b] gold mining (1); cocoa cultivation (1)
The organisation Global Forest Watch recently published its annual report on the state of tropical forests. In the previous year (2018), an area of forest larger than Belgium disappeared. Forests are largely being destroyed so that food products such as beef, palm oil, and chocolate can be produced.
Researchers are especially concerned about the rainforests. The greatest number of natural forests have been cut down in Brazil. In the remaining forests of Brazil live indigenous peoples who have never had contact with Westerners, and, as the forests are destroyed, they lose their homes.
There is also extensive destruction of forests in Colombia, Bolivia, and West Africa. In Ghana and the Ivory Coast, forests are also being cut down because of gold mining and the cultivation of cocoa.
A real challenge – but a rewarding one – is translating a song. Not only do you need to keep as close as possible to the original meaning, but also convey the rhymes, and the rhythms of stressed and unstressed syllables. Moreover, the “voice” of a Mediaeval writer should be respected. I have moved from the first post [step #1 translation] which gave a literal rendering, and notes to accompany the Latin original, to [step #2 translation] my own singable version. I’ve thrown in a few archaisms e.g. ‘a-going’, ’meetly’ (suitably; properly), ‘thou art (surrounded)’ together with a common habit in English poetry of losing syllables e.g. ‘am’rous’, ‘flow’ry’ and ‘pow’r’.
[V1]
tém-pŭs trán-sĭt gé-lĭ-dúm │Ícy̆ cóld’s ă-góĭng bý,
mún-dŭs ré-nŏ-vá-tŭr │ Ánd thĕ wórld’s rĕnéwed nŏw;
vérquĕ rédĭt flórĭdúm, │ Flów’ry̆ spríng ĭs grówĭng nígh,
fórmă rébŭs dátŭr. │ Év’ry̆thíng’s ĭn víew nŏw.
ávĭs módŭlátŭr, │ Bírdsŏng ís ă-sóundĭng,
módŭláns lĕtátŭr │ Jóyfŭllý rĕsóundĭng;
ávĭs módŭlátŭr, │ Bírdsŏng ís ă-sóundĭng,
módŭláns lĕtátŭr │ Jóyfŭllý rĕsóundĭng;
lŭcídĭór│ Ănd cléarĕr gróws,
ĕt lénĭór │ Ănd sóftĕr blóws,
ăér iăm sérĕnátŭr; │ Ă sóothĭng áir sŭrróundĭng.
iăm flórĕá, │ Nŏw blóssŏms spróut,
iăm fróndĕá, │ Ănd léaves sprĕad óut;
sĭlvá cŏmís dĕnsátŭr. │ Ĭn gréen thĕ wóod’s ăbóundĭng.
[V2]
[V3]
Tendit modo retia │ Now his nets he starts to spread;
Puer pharetratus; │ Boy, a quiver wearing,
Cui deorum curia │ Godly court lies overhead,
Prebet famulatus; │ Servitude declaring.
Cuius dominatus │ And his realm, a-snaring,
Nimium est latus; │ Is too much for bearing;
Per hunc triumphatus │ By the boy defeated,
Sum et sauciatus; │ And with wounds I’m greeted.
Pugnaveram, │ For I had fought,
Et fueram │ At first I’d thought
In primis reluctatus; │ There might be naught between us;
Sed iterum │ Yet now, once more,
Per puerum │ I’m thrown before,
Sum Veneri prostratus. │ The am’rous pow’r o' Venus.
The first song in the album entitled Carmina Burana: The Original Ones | Medieval Dances and Songs
Carmina Veris et Amoris: Songs of Spring and Love
https://www.youtube.com/watch?v=iq0nloMq6Nw&t=460s
Tempus transit gelidum (from the Codex Buranus c. 11th – 12th century)
Many Mediaeval songs are ‘wistfully’ performed – this one isn’t!
[i] The usual suspects turn up in the Mediaeval Latin pronunciation:
(1) ae > e
CL: laetatur; ML: letatur
(2)
c + e / i: as /ch/ (although there can be variants of that e.g. /s/ or /ts/)
lucidior: CL [lukidior]; ML [luchidior]
c + a / o / u retain hard /k/
carmina [karmina]; comis [komis]; cor [kor]; decore [dekore]
(3) g + e / i pronounced as a soft /g/ not hard
gelidum: CL [gelidum]; ML [jelidum]
igitur: CL [igitur]; ML [ijitur]
cingitur: CL [kingitur]; ML [chinjitur]
(4) gn as /ny/ or Spanish ñ
pugnaveram [punyaveram]
(5) v as /v/ and not as CL /u/
renovatur: CL [renouatur]; ML [renovatur]
[ii] Differences in Classical Latin long and short vowels – together with Classical stress rules – are thrown out in the rhythmic “Spring” cleaning!
[iii] Interestingly: the song is for a female performer despite which her experiences with the boys are in masculine form!
fueram reluctatus │ I had been reluctant
sum Veneri prostratus │ I have been prostrated to Venus
[V1]
tém-pŭs trán-sĭt gé-lĭ-dúm │ The ice-cold season / time is passing
mún-dŭs ré-nŏ-vá-tŭr │ the world is (being) renewed
vérquĕ rédĭt flórĭdúm, │ and the flowering spring returns,
fórmă rébŭs dátŭr. │ form is given to things.
ávĭs módŭlátŭr, │ The bird sings, [modulor, -āri (1/deponent): sing; play a tune]
módŭláns ¦ lĕtátŭr │ while singing ¦ it rejoices. [CL: laetor, -ārī (1/deponent): rejoice; could also translate as a passive i.e. it is gladdened / made joyful]
ávĭs módŭlátŭr, │ The bird sings,
módŭláns ¦ lĕtátŭr │ while singing ¦ it rejoices.
lŭcídĭór │ Clearer
ĕt lénĭór │ and softer,
ăér iăm sérĕnátŭr; │ the air is made calm;
iăm flórĕá, │ now flowering,
iăm fróndĕá, │ now leafy / covered with leaves,
sĭlvá cŏmís dĕnsátŭr. │ the wood is made thick with foliage.
[V2]
Ludunt super gramina / virgines decore, │ Upon the grass the maidens play elegantly
quarum nova carmina │ whose new songs
dulci sonant ore. │ sound from a sweet mouth.
annuunt favore / volucres canore, │ The birds with good will and (with) singing nod approval [annuō / adnuō, -ere (3): nod assent / approval / consent]
favet et odore / tellus picta flore. │ and by its scent the Earth painted with flower(s) is favourable / looks kindly (on them).
cor igitur │ the heart, therefore,
et cingitur │ is both surrounded
et tangitur amore, │ and (is) touched by love
virginibus │ with maidens
et avibus │ and (with) birds
strepentibus sonore. │ humming with sound.
[V3]
Tendit modo retia │ Now he spreads the / (his) nets
puer pharetratus; │ the boy wearing a quiver [pharetra, -ae (1/f): quiver]
cui deorum curia │ to whom the court of the gods
prebet famulatus, │ offers servitude
cuius dominatus │ whose rule / absolute power
nimium est latus, │ is too much to bear [literally: is borne too much]
per hunc triumphatus / sum et sauciatus: │ through him I am conquered and injured
pugnaveram │ I had fought [pluperfect]
et fueram │ and I had been [pluperfect]
in primis reluctatus, │ at first reluctant [fueram reluctatus < reluctor, -āre (1/deponent): resist; I had resisted / fight back]
sed iterum │ but again
per puerum │ by the boy
sum Veneri prostratus. │ I have been prostrated to Venus [prōsternō, -ere, -strāvī, -strātus (3): overthrow; knock down]
Images: the original text (starting from the bottom of the first page)
Numerus rhīnocerōtum in mundō inter centum quīndecim et centum trīgintā mīlia esse cēnsētur. Populātiōnī imminent vēnātōrēs clandestīnī, habitātiōnēs rārēscentēs, inquinātiō morbīque. Ante duōs annōs plūs ducentī rhīnocerōtēs in Namibīā anthrace periērunt. In viridāriō natiōnālī Aethiopiae mēnse Aprīlī duodētrīgintā rhīnocerōtēs dē causā adhūc ignōtā mortuī repertī sunt.
[i] The total number of rhinoceros is estimated to be between:
A: 1,500 – 3,000
B: 105,000 - 113,000
C: 115,000 – 130,000
D: 30,000 – 50,000
[ii] In which order are the following causes of death referred to?
disease _____
loss of habitat _____
poaching _____
pollution _____
[iii]
[a] How many rhinoceros died from anthrax?
[b] When did these deaths occur?
[iv]
[a] How many rhinoceros died from unknown causes?
[b] Where did these deaths take place? (2)
[c] When did they take place?
____________________
[i] C
[ii]
disease: 4
loss of habitat: 2
poaching: 1
pollution: 3
[iii]
[a] more than 200
[b] two years ago
[iv]
[a] 28
[b] Ethiopia (1); national park (1)
[c] April
____________________
The number of rhinoceroses in the world is estimated to be between 115,000 and 130,000. The population is threatened by poachers, shrinking habitats, pollution, and disease.
Two years ago, more than 200 rhinoceroses in Namibia died from anthrax. In April, in a national park in Ethiopia, 28 rhinoceroses were found dead from a cause still unknown.
repost from: https://adckl.blogspot.com/2024/06/040724-tempus-est-iocundum-2.html
This is a ‘gentler’ version of the same song but still has that Mediaeval colour.
Note: for those who have been following the posts and / or the alternative site, every feature of Latin has been discussed before, and so this is a tremendous example of all the jigsaw pieces coming together.
Each verse is only a couple of lines. I’ll begin with verse #1 [V1] and the refrain
[V1] Tempus est iocundum, ō virginēs, modo congaudēte vōs iuvenēs │ The time is pleasing, you virgins, just rejoice, you young men
congaudeō, congaudēre [2]: (Late Latin) rejoice; here it’s in the imperative / command form (talking to more than one person) i.e. gaudēte
Chorus: it has a very good example of different noun and adjective types working together
Ō, ō, tōtus flōreō! │Oh, oh, I am blossoming!
iam amōre virginālī tōtus ārdeō, novus, novus amor est, quō pereō. │ I’m totally burning with first love, it’s a new, new love from which I’m dying
But, here’s the grammar point to note
[i] iam amōre [3rd declension noun] virginālī [3rd declension adjective] tōtus ārdeō
[ii] novus, novus [1st/ 2nd declension adjective] amor [3rd declension noun] est, quō pereō
The adjective and the noun agree in gender, number and case but they retain their own endings.
Here are the rest of the verses:
[V2] Cantat philomena sīc dulciter, et modulāns audītur; intus caleō │The nightingale sings so sweetly, and it is heard singing, and I am hot inside
Note: passive
[V3] Flōs est puellārum, quam dīligō, et rosa rosārum, quam sepe videō; │ She is the flower of the girls whom I love, and the rose of the roses whom I often see
[V4] Mea mē cōnfortat prōmissiō, mea mē dēportat negātiō. │ My promise strengthens me, my refusal carries me away
[V5] Mea mēcum lūdit virginitās, mea mē dētrūdit simplicitās. │My virginity plays with me, my innocence pushes me down
Note: in some versions the ‘mea’ becomes ‘tua’ i.e. your promise strengthens me etc. I’m following the exact lyrics from the Youtube version.
Four 3rd declension nouns that always have the same type of stem change: -iō, -tās
[V6] Sile, philomēna, prō tempore, surge cantilēna dē pectore. │Be silent, nightingale, for a while, rise up, song, from (my) breast
[V7] Tempore brūmālī vir patiēns, animō vernālī lascīviēns. │In the winter time a man (is) patient, frisky with the breath of spring
2 adjectives to describe seasons
Note the regular stem changes of these types ending in -ns
patiēns, patientis [3]: patient
lascīviēns, lascīvientis [3]: frolicking; “frisky”
[V8] Venī, domicella, cum gaudiō, venī, venī, pulchra, iam pereō. │Come, maiden, with joy, come, come, beautiful (girl), I’m dying now
repost from: https://adckl.blogspot.com/2024/06/040724-song-that-wakes-dead-tempus-est.html
Codex Buranus (c.1230)
Tempus est iocundum
[v1] Tempus est iocundum, ō virginēs, modo congaudēte vōs iuvenēs,
Refrain
Ō, ō, tōtus flōreō!
Iam amōre virginālī tōtus ārdeō, novus, novus amor est, quō pereō.
[v2] Cantat philomena sīc dulciter, et modulāns audītur; intus caleō
[v3] Flōs est puellārum, quam dīligō, et rosa rosārum, quam sepe videō;
[v4] Mea mē cōnfortat prōmissiō, mea mē dēportat negātiō.
[v5] Mea mēcum lūdit virginitās, mea mē dētrūdit simplicitās.
[v6] Sile, philomēna, prō tempore, surge cantilēna dē pectore.
[v7] Tempore brūmālī vir patiēns, animō vernālī lascīviēns.
[v8] Venī, domicella, cum gaudiō, venī, venī, pulchra, iam pereō.
Imperātor Iapōniae Akihītō potestātem dēposuit. Kalendīs Maiīs Naruhītō fīlius maximus nātū illī successit. In Iapōniā Imperātor hīs ducentīs annīs numquam sē mūnere abdicāvit, sed petītū imperātōris Akihītō, quī octōgintā quīnque annōs nātus valētūdine labōrat, lēx mūtāta est. Dynastīa Iapōniae, quae potestātem inde ā quīntō saeculō tenet, est in mundō vetustissima.
[i] The article concerns:
A: a royal death
B: an abdication
C: a political overthrow
D: the birth of a son
[ii] When did this take place?
[iii] Who is the successor? (2)
[iv] When was the last time such a decision was taken?
[v] Who has made this request?
[vi] How old is he?
[vii] Why did he make this request?
[viii] What has been changed?
[ix] What two pieces of information are given about the dynasty? (2)
____________________
[i] B
[ii] May 1st
[iii] Naruhito (1); Akihito's eldest son (1)
[iv] more than 200 years ago / over 200 years previously
[v] the Emperor (Akihito)
[vi] 85
[vii] (suffering from) ill health / health reasons
[viii] the law
[ix] has held power since the fifth century (1); oldest in the world (1)
____________________
Emperor Akihito has abdicated. On 1 May, his eldest son, Naruhito, succeeded him. In Japan, no emperor has abdicated from office during the previous two hundred years, but at the request of Emperor Akihito, who at the age of eighty-five is suffering from ill health, the law has been changed. The Japanese dynasty, which has held power since the fifth century, is the oldest in the world.