By Ronnie Ancona
This is often the 1st publication aimed particularly at preserving lecturers modern on contemporary advancements in Latin scholarship. Edited through Ronnie Ancona, a classics pupil with services in pedagogy, it positive aspects contributions by way of tested experts on all of the 5 Latin authors. every one essay combines theoretical fabric with Latin passages in order that teachers can see how essentially to use those easy methods to particular texts.
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Extra info for A Concise Guide to Teaching Latin Literature (Oklahoma Series in Classical Culture)
We therefore circulated a few possible options, one of which was to replace the Catullus-Horace Exam with an Ovid or CatullusOvid test. Coincidentally, two of the members of the Test Development Committee were vocal Ovid enthusiasts, and were sure that an Ovid syllabus could be both appealing and successful. But the reaction to this idea was far from well received; in fact, the committee received several letters from long-time AP Latin teachers who vehemently protested the very thought of an AP Ovid exam.
It also deserves our immediate attention because it so perfectly typifies Hinds’ “shallow and over-explicit” category, so long at the heart of modern assent to Ovid’s continuing exile; and, as will become evident, it simultaneously allows us to consider how violence informs Ovid’s imagined erotic world. Let us begin with the opening couplet: 30 Barbara Weiden Boyd Militat omnis amans, et habet sua castra Cupido; Attice, crede mihi, militat omnis amans. 16 From the very first line, this poem announces its contrary nature, with the pairing of love and war, a pairing as old as ancient literature itself.
Where our instinct may be to turn away in disgust from what we see as a particularly compromising self-revelation, it may be more appropriate to think of ourselves as targets of a provocation. Another similarity between cc. 10 and 11 takes us in a different direction. Love poetry, we tend to think, centers on two people. But if we look more closely, many of the love scenarios in Catullus are triangles rather than duos. In cc. 5 and 7, for instance, the disapproving and the jealous busybodies are an essential component in the dramatis personae of Catullus’ love.