![]() Before encountering Ovid, pupils will still be mainly translating prose that has been edited for ease on the other hand, verse is almost impossible to alter or simplify in a similar way – save the excision of whole lines or couplets. ![]() The reality is perhaps more mundane: for many students at the end of Year 12 and the beginning of Year 13, the process of facing unadulterated Latin is a huge leap. Just a regular guy thinking about litotes. Another group will simply gesticulate with frustration at Ovid’s endless desire for cleverness: puns and paradox abound. Others will suggest the entirely new skill of scansion, an exercise that will initially blindside the less mathematical in the class. What, on the other hand, is so tricky about translating Ovid? Some will point towards the technical aspects: the consistent hyperbaton the truncated verb the absent esse. However, despite the initial reservations of our students, many of them will have been practising the skill of composition since they began their Latin careers: as a compound language, the years of reproducing their fundamental accidence and syntax allow them an immediate entry into this facet of A Level. At first glance, this makes little sense: Ovid’s verse is fairly limited in terms of syntax (and certainly in comparison to Livy), while the prospect of translating Latin into English fills many with dread. ![]() Even in departments that prepare their pupils for the rigours of examined prose composition at A Level, translating Ovid will be the hardest element of the course. ![]() For many students, tackling verse unseens will be their Everest. ![]()
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