I'm really sad at how much Latin I've managed to lose since my school days. It's really an incredible language and this stack exchange post shows some of that versatility.
Because the words in Latin contain dense grammatical information in their spelling, you can be much more flexible with word order.
This gives classical poets the ability to do crazy things with word ordering to create "word pictures" where the structuring ordering of the words conveys some additional meaning. This can be done in English too, but classical Latin is almost made for it.
For example, Catulus 85:
"Ōdī et amō. Quārē id faciam fortasse requīris.
Nesciŏ, sed fierī sentiō et excrucior."
The translation Wikipedia gives is:
"I hate and I love. Why I do this, perhaps you ask.
I know not, but I feel it happening and I am tortured."
But there is so much brilliance in the structure of the poem that translation cannot really encapsulate. The last word "excrucior" (I am crucified) references a relationship between the structure of the first and second line. Each verb on the first line has a "mate" on the second. For example: odi (I hate)<->excrucior (I am tortured), requires (you ask) <-> nescio (I know). If you draw lines connecting these mates to each other, they form a number of crosses - referencing the "crux" in "excrucior". The poem literally depicts the torture instrument that is Catulus' love.
Even more remarkably, this poem follows a strict metrical standard dictating the order of long and short syllables: https://en.m.wikipedia.org/wiki/Elegiac_couplet and it achieves this meter in part due to the use of elision in the opening of the poem, where two vowel sounds get merged due to the ordering of words. "Odi et Amo" is read as "Odet Amo" as the the love and hate crush together and evoke that sense of pressure and torment that underlies the couplet.
Classical Latin had so much capacity for structural complexity that is really remarkable. It's not just that you can say more stuff with less words, but that the allocation of information in the grammar allows for entirely different expressions than you could make if word order dictated meaning.
Great comment! For anyone looking to learn a bit more about this, the "crossing" technique described above is called "chiasmus": https://en.wikipedia.org/wiki/Chiasmus
Another famous example is "Vivāmus, mea Lesbia, atque amemus" from Catullus 5 (there are several instances of it in this poem, in fact).
And, of course, speaking of Lesbia (traditionally identified as Clodia Metelli, otherwise known as Quadrantaria), one should mention her “sparrow” mentioned in Catullus 2: https://www.historytoday.com/archive/natural-histories/catul.... Reading that article again I saw a tidbit I missed before: “As Richard Hooper has recently pointed out, ‘in Egyptian hieroglyphics the determinative for “little, evil, bad” was … śerau, the sparrow’”. And so it is: https://commons.m.wikimedia.org/wiki/Category:Sparrow_(hiero....
Not parent but yes; related meanings (e.g. hate/torture, ask/know) and typically same part of speech (e.g. both verbs or both adjectives), and the lines having similar (but here reversed) sentence structure (another commenter posted the wiki link to Chiasmus which goes into more detail.
The structure we see here is
x0 and y0, ...z0 /
z1... y1 and x1.
Exactly this! It gets even cooler in this example too because the meter for "Odi et amo" elided to "Od'et amo" directly parallels the scansion for "excrucior" (long syllable, short syllable, short syllable, long syllable). So the two concepts that start and end the poem (love+hate, and torture) are also linked by how they are pronounced. Incidentally, that linkage is also the message of the poem itself.
These two lines are basically just Catulus' being a complete show-off. And IMO, some of Ovid's work makes Catulus look like a bit of an amateur by comparison.
Classical latin poetry is like 10% being able to write down clever ideas and 90% showing off your grasp of grammar and vocabulary such that you can pose and solve incredibly difficult linguistic puzzles. I think Sanskrit is pretty similar in this respect too.
Completely agree. Catulus was sort of a talented incel-type imho. I remember his work being way more fun to read and translate but Ovid was obviously more brilliant and...poetic.
The more elaborate books of the Bible, like Isaiah/Yeshayahu and Psalms/Tehillim, make use of this kind of structure a lot in the original. You can easily find "triple chiasms" with structure ABCCBA. I don't know why this isn't emphasised usually.
Catullus of course is one of the masters. There is also the "da mi basia mille deinde centum..." that has the structure of an abacus
I'm curious about why you've added what I assume are stress marks in the Latin. I studied it (admittedly, a while back) all my way through school and have never once seen this used, including in this poem. In no way a criticism of me trying to make a thing about it - is it an American thing?
Honestly they were just there in the Wikipedia text I copied. I've seen them in more modern texts to help with pronunciations and translation (if I recall correctly some words have different meanings depending on the length of the final vowel but that can normally be determined from context). Romans sometimes used the apex to denote long vowels which would have otherwise been ambiguous but I think it wasn't as commonplace as in textbooks today.
They’re length markers. There’s also the rarely used ˘ to show that a vowel be read short instead of long.
At least in my gymnasium in Switzerland we had the length markers for all the words, from the very beginning, and in all texts we read and all grammar forms we learned.
No, not in inscriptions! (Even though inscriptions did in fact use length markers, there’s the superlong I for example.) When we transcribe actual Latin text we make some changes.
The actual inscriptions use heavy abbreviations, which we resolve in our text. And then we also disambiguate V into v and u. And as a bonus we often add the length markers.
6 years of Latin in school (only two years ago), at least officially a Latinum (German proof of knowing Latin) - and I don't understand a single sentence. Granted, I never had to learn understanding spoken language, but still.. Maybe it's time to reactivate what's left of my knowledge
Latin has a great introductory textbook called Lingua Latina per se illustrata by Hans Ørberg. I only got through the first book, so I'm no expert, but this is the one everybody recommends. And it's really neat: there is no English in the book at all, it's all Latin from page one, building up from really simple words and grammar in a logical way.
Because the words in Latin contain dense grammatical information in their spelling, you can be much more flexible with word order.
This gives classical poets the ability to do crazy things with word ordering to create "word pictures" where the structuring ordering of the words conveys some additional meaning. This can be done in English too, but classical Latin is almost made for it.
For example, Catulus 85:
"Ōdī et amō. Quārē id faciam fortasse requīris.
Nesciŏ, sed fierī sentiō et excrucior."
The translation Wikipedia gives is: "I hate and I love. Why I do this, perhaps you ask.
I know not, but I feel it happening and I am tortured."
But there is so much brilliance in the structure of the poem that translation cannot really encapsulate. The last word "excrucior" (I am crucified) references a relationship between the structure of the first and second line. Each verb on the first line has a "mate" on the second. For example: odi (I hate)<->excrucior (I am tortured), requires (you ask) <-> nescio (I know). If you draw lines connecting these mates to each other, they form a number of crosses - referencing the "crux" in "excrucior". The poem literally depicts the torture instrument that is Catulus' love.
Even more remarkably, this poem follows a strict metrical standard dictating the order of long and short syllables: https://en.m.wikipedia.org/wiki/Elegiac_couplet and it achieves this meter in part due to the use of elision in the opening of the poem, where two vowel sounds get merged due to the ordering of words. "Odi et Amo" is read as "Odet Amo" as the the love and hate crush together and evoke that sense of pressure and torment that underlies the couplet.
Classical Latin had so much capacity for structural complexity that is really remarkable. It's not just that you can say more stuff with less words, but that the allocation of information in the grammar allows for entirely different expressions than you could make if word order dictated meaning.