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© New Zealand Qualifications Authority, 2011. All rights reserved.No part of this publication may be reproduced by any means without the prior permission of the New Zealand Qualifications Authority.

Level 3 Latin, 201190508 Translate and analyse familiar literary Latin

passage(s) from Virgil

9.30 am �hursday 2� November 2011am �hursday 2� November 2011 �hursday 2� November 20112� November 2011 November 2011 Credits: Six

Check that the National Student Number (NSN) on your admission slip is the same as the number at the top of this page.

�here are two passages from Virgil in this booklet. Choose ONE passage, and answer BO�H Part A and Part B for this passage.

You must complete Part A. For Part B, choose �WO of the four questions to answer.

If you need more room for any answer, use the extra space provided at the back of this booklet.

Check that this booklet has pages 2 – 20 in the correct order and that none of these pages is blank.

YOU MUST HAND THIS BOOKLET TO THE SUPERVISOR AT THE END OF THE EXAMINATION.

ASSESSOR’S USE ONLY Achievement Criteria

Achievement Achievement with Merit Achievement with Excellence�ranslate into English, demonstrating an understanding of the passage(s).

�ranslate into English, demonstrating a detailed understanding of the passage(s).

�ranslate into English, demonstrating a comprehensive understanding of the passage(s).

Analyse aspects of the passage(s).

Analyse in detail aspects of the passage(s).

Analyse comprehensively aspects of the passage(s).

Overall level of performance (all criteria within a column are met)

You are advised to spend �5 minutes answering the questions for your chosen passage in this booklet.

INSTRUCTIONS

Choose one of the two passages, and answer both Part A and Part B for this passage:EITHER: Passage One – Aeneid IV, lines 151–172 (page 2)OR: Passage �wo – Aeneid IV, lines 58�– 606 (page 10).

You must complete Part A (�ranslation). For Part B (Analysis), choose �WO of the four questions to answer.

EITHER: PASSAGE ONE

PASSAGE ONE

Aeneid IV, lines 151–172

postquam altos ventum in montes atque invia lustra, ecce ferae saxi deiectae vertice caprae decurrere iugis; alia de parte patentes transmittunt cursu campos atque agmina cervi pulverulenta fuga glomerant montesque relinquunt. at puer Ascanius mediis in vallibus acri gaudet equo iamque hos cursu, iam praeterit illos, spumantemque dari pecora inter inertia votis optat aprum, aut fulvum descendere monte leonem. interea magno misceri murmure caelum incipit, insequitur commixta grandine nimbus, et Tyrii comites passim et Troiana iuventus Dardaniusque nepos Veneris diversa per agros tecta metu petiere; ruunt de montibus amnes. speluncam Dido dux et Troianus eandem deveniunt. prima et Tellus et pronuba Iuno dant signum; fulsere ignes et conscius aether conubiis, summoque ulularunt vertice Nymphae. ille dies primus leti primusque malorum causa fuit; neque enim specie famave movetur nec iam furtivum Dido meditatur amorem: coniugium vocat, hoc praetexit nomine culpam.

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170

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Part A: Translation

�ranslate the section of the passage in bold (lines 151–159) into English.

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Part B: Analysis

Answer any �WO of the following four questions. Do NOT repeat information between answers.

EITHER: QUESTION ONE: SETTING AND STYLE

(a) (i) Where are the altos montes (line 151)?

(ii) Who are the Tyrii comites (line 162)?

(iii) Why is the use of the word Tyrii appropriate for referring to these people?

(iv) Who is the nepos (line 163)? Explain both sides of his father’s ancestry (Dardanius and Veneris).

(b) (i) Explain in detail EI�HER how Dido is dressed for the hunt, OR the appearance of Aeneas, as described immediately before this passage.

(ii) Later in Aeneid IV, Mercury meets with Aeneas. Describe in detail what Aeneas is wearing, and why Mercury is so surprised at his appearance.

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(c) Identify at least FOUR different linguistic, stylistic, or poetic devices found in Passage One.Explain in detail how Virgil may be using EACH device to enhance his poetry.

Do NOT repeat material from other answers.

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AND / OR: QUESTION TWO: SCANSION AND METRE

(a) (i) What does the quantity of the final -a of commixta (line 161) tell you about its case?

(ii) If the first four feet of a line of dactylic hexameter contain ten syllables, how many spondees must there be in those four feet (assuming there are no elisions)?

(iii) Mark in the quantity of each of the four syllables of petiere (line 16�).

p e t i e r e

(iv) Virgil has syncopated (contracted) the form of ulularunt in line 168. How would this word normally be written?

(b) (i) Scan line 165 below, marking in the length of syllables, metrical feet, any elisions and the main caesura.

s p e l u n c am  D i d o   d u x   e t   Tr o i a n u s   e a n d em

(ii) Scan line 169 below, marking in the length of syllables, metrical feet, any elisions, and the main caesura.

i l l e   d i e s   p r i m u s   l e t i   p r i m u s q u e  m a l o r um

(c) (i) Analyse line 169 below. Insert an ‘x’ above the line to mark in the metrical ictus and ‘/’ to mark in the word accents or word stresses of the line.

i l l e   d i e s   p r i m u s   l e t i   p r i m u s q u e  m a l o r um

(ii) Comment on the scansion of lines 165 and 169, suggesting how Virgil may be using the metre or other poetic devices in each line to enhance the meaning.Do NOT repeat material from other answers.

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AND / OR: QUESTION THREE: ACCIDENCE AND SYNTAX

(a) Give an example from Passage One of:

(i) a present participle:

(ii) a deponent verb:

(iii) a fourth declension noun:

(iv) an impersonal verb:

(b) (i) Identify the case, number, and gender of acri (line 156).

(ii) Identify the tense, voice, and form of misceri (line 160).

(iii) Identify the principal parts and gender of iuventus (line 162).

(iv) Identify the tense, voice, and mood of fulsere (line 167).

(c) Identify fully and explain the grammar of:

(i) decurrere (line 153)

(ii) fuga (line 155)

(iii) aprum (line 159)

(iv) leti (line 169)

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AND / OR: QUESTION FOUR: ALLUSION AND CHARACTERISATION

(a) (i) How does Virgil portray Ascanius in lines 156 –159? Quote the Latin and translate.

(ii) How does this contrast with the mood created in lines 160 –161?

(iii) Immediately after this passage, Dido’s deeds are reported throughout Africa. Who tells on her, and whom does this person tell, causing Jupiter to intervene?

(iv) �he words specie and fama (line 170) are significant. How has Dido been using these for protection against her surrounding enemies?

(b) Comment in detail how Virgil uses references to natural and supernatural phenomena in this passage. What mood does he create by doing this? How is he parodying a Roman rite?

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(c) Virgil writes in line 172 that Dido coniugium vocat, hoc praetexit nomine culpam. Discuss in detail what Dido’s culpa is, and the extent to which she is guilty of wrongdoing.

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OR: PASSAGE TWO

PASSAGE TWO

Aeneid IV, lines 584 – 606

et iam prima novo spargebat lumine terras Tithoni croceum linquens Aurora cubile. regina e speculis ut primam albescere lucem vidit et aequatis classem procedere velis, litoraque et vacuos sensit sine remige portus, terque quaterque manu pectus percussa decorum flaventesque abscissa comas “pro Juppiter! ibit hic,” ait “et nostris inluserit advena regnis? non arma expedient totaque ex urbe sequentur, diripientque rates alii navalibus? ite, ferte citi flammas, date tela, impellite remos! quid loquor? aut ubi sum? quae mentem insania mutat? infelix Dido, nunc te facta impia tangunt? tum decuit, cum sceptra dabas. en dextra fidesque, quem secum patrios aiunt portare penates, quem subiisse umeris confectum aetate parentem! non potui abreptum divellere corpus et undis spargere? non socios, non ipsum absumere ferro Ascanium patriisque epulandum ponere mensis? verum anceps pugnae fuerat fortuna. fuisset: quem metui moritura? faces in castra tulissem implessemque foros flammis natumque patremque cum genere exstinxem, memet super ipsa dedissem.”

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595

600

605

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Part A: Translation

�ranslate the section of the passage in bold (lines 586 – 59�) into English.

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Part B: Analysis

Answer any �WO of the following four questions. Do NOT repeat information between answers.

EITHER: QUESTION ONE: SETTING AND STYLE

(a) (i) Who is departing in line 587? �o where is this person setting sail?

(ii) What has just prompted the departure?

(iii) �o what act(s) may facta impia (line 596) be referring?

(iv) Dido asks herself, quem metui moritura? (line 60�). What action has she decided on, and how does she eventually achieve this?

(b) (i) When Dido says cum sceptra dabas (line 597), to what earlier event is she referring? Identify and explain the tone of her subsequent words in lines 598 – 599.

(ii) Dido makes a terrible curse at the end of this speech. Summarise and explain in detail any references in Dido’s curse to any historical events AND / OR any later events in the Aeneid.

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(c) Identify at least FOUR different linguistic, stylistic, or poetic devices found in Passage �wo.Explain in detail how Virgil may be using EACH device to enhance his poetry.

Do NOT repeat material from other answers.

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AND / OR: QUESTION TWO: SCANSION AND METRE

(a) (i) Circle the syllable on which the word accent or word stress falls in aequatis (line 587).

a e q u a t i s

(ii) If the first four feet of a line of dactylic hexameter contain ten syllables, how many spondees must there be in those four feet (assuming there are no elisions)?

(iii) Does the final -us of portus (line 588) scan as a long or a short syllable?

(iv) Virgil has syncopated (contracted) the form of implessem (line 605). How would this word normally be written?

(b) (i) Scan line 593 below, marking in the length of syllables, metrical feet, any elisions and the main caesura.

d i r i p i e n t q u e   r a t e s   a l i i   n a v a l i b u s ?   i t e

(ii) Scan line 59� below, marking in the length of syllables, metrical feet, any elisions, and the main caesura.

f e r t e   c i t i   f l a mm a s ,   d a t e   t e l a ,   i m p e l l i t e   r em o s !

(c) (i) Analyse line 593 below. Insert an ‘x’ above the line to mark in the metrical ictus and ‘/’ to mark in the word accents or word stresses of the line.

d i r i p i e n t q u e   r a t e s   a l i i   n a v a l i b u s ?   i t e

(ii) Comment on the scansion of lines 593 and 59�, suggesting how Virgil may be using the metre or other poetic devices in each line to emphasise Dido’s state of mind.Do NOT repeat material from other answers.

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AND / OR: QUESTION THREE: ACCIDENCE AND SYNTAX

(a) Give an example from Passage �wo of:

(i) an imperative:

(ii) a future participle:

(iii) a gerundive:

(iv) a verb in the future perfect tense:

(b) (i) Identify the tense, voice, and mood of sequentur (line 592).

(ii) Identify the case, number, and gender of citi (line 59�).

(iii) Identify the case, number, and gender of mensis (line 602).

(iv) Identify the tense, voice, and mood of exstinxem (line 606).

(c) Identify fully and explain the grammar of:

(i) pectus (line 589)

(ii) regnis (line 591)

(iii) subiisse (line 599)

(iv) fuisset (line 603)

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AND / OR: QUESTION FOUR: ALLUSION AND CHARACTERISATION

(a) (i) What is the relationship between Aurora (line 585) and �ithonus? Why is Aurora mentioned here?

(ii) What is significant about the use of the word advena (line 591)?

(iii) �o what act of pietas is Dido referring in line 599 (quem subiisse … parentem)?

(iv) �o what missed opportunity is Dido referring when she says non potui abreptum divellere corpus et undis spargere (lines 600 – 601)?

(b) Describe in detail the two myths Dido is alluding to in lines 600 – 602. What impression of Dido is Virgil trying to create by means of these allusions?

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(c) Is Virgil’s portrayal of Dido’s character in Aeneid IV consistent?• Discuss how Dido is portrayed in this passage, using Latin examples to support your

answer.• Choose �HREE other episodes in Aeneid IV in which Dido’s character is also

portrayed. For each episode, briefly outline the context, and explain in detail whether the portrayal of Dido’s character is consistent with her portrayal in this passage.

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QUESTION NUMBER

Extra space if required.Write the question number(s) if applicable.

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QUESTION NUMBER

Extra space if required.Write the question number(s) if applicable.

90

50

8

Acknowledgement

Material from the following source was adapted for use in this examination:

Virgil, Aeneid IV, from http://www.thelatinlibrary.com/vergil/aen�.shtml (accessed 8 August 2011).

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