Latin – Emma Williams: Latin tutor

Embracing your Latin roots

On my reading list for some time has been Alex Quigley’s Closing the Vocabulary Gap. Quigley is an English teacher, a blogger and the author of several books on how schools should go about closing the literacy gap between “word rich” and “word poor” students – those with high levels of literacy and a huge mental word bank compared to those without. His work ties in with other reading I have done about the literacy crisis in the USA and the debates that have raged in this country and in America about how we teach children to read.

I didn’t necessarily expect to find an empassioned defence of my subject embedded in a modern book about the wider and more fundamental issue of children’s literacy, but find it I did. Quigley, it seems, is a believer in Latin (and Greek!) for all. In the third chapter of his book he outlines precisely the ways in which children who already struggle with reading are further impoverished by the difficulties that they face when presented with texts of an increasingly academic nature. He explores the fact that technical and scientific terminology is so dominated by Latinate words that there really does become a case for teaching these word-patterns explicitly in the classroom: “teaching with etymology in mind is therefore a reliable and helpful tool, not just for English teachers, but also for every classroom teacher. In fact, it may prove more valuable for teachers of maths, science and geography, given the narrower roots of their subject specific language.” To find the case for this being made in such a book was exciting enough, but I nearly fell out of my chair when I read the next paragraph:

“You could rightly ask, why aren’t ancient languages like Latin on the curriculum for all? Why do we still perceive the powerful roots of our language as exclusive to the few who already prove word rich? Here, we could also speculate about how useful it would prove for English teachers to learn an ancient language as part of their professional development and enrichment.”

Not only is Quigley suggesting that ancient languages have a valuable place in a modern curriculum, he is even suggesting that teachers of English would all benefit from studying an ancient language. This is music to my ears and if I’m honest (sorry, English teachers) I have never understood how anyone goes on to study English literature at a higher level without such knowledge. I’ll take just one example: if you think you understand Milton, but you haven’t read Virgil in the original Latin, then – I hate to break this to you – but you don’t fully understand Milton; you’re missing out on the richness of what he is attempting to do, because you lack that frame of reference.

Quigley goes on to argue that children who are not taught explicitly about etymology are being shut out of “a wealth of intriguing knowledge”. He also points out that the kind of cultural capital afforded to children with a knowledge of Latin and Greek is one of the fundamental divides between the advantaged and the disadvantaged.

This is genuinely exciting. It is widely accepted (and not incorrect) that the traditional arguments from the past that “Latin makes you clever” are simply not evidence-based; studying Latin and Greek makes you good at Latin and Greek, it doesn’t necessarily gift you with transferrable skills beyond that knowledge-base. However, Quigley presents the case for ancient languages by highlighting the importance of the academic vocabulary which is required in order to access all subjects beyond the very basics; it is something of a clincher for those of us who still believe in the value of ancient languages, and really does make the case for the academic advantage that Latin and Greek affords its students.

Quigley explores further the fact that Latin remains the preserve of the elite and is still considered by many to be appropriate only for high-attaining students, despite the evidence gathered by Arlene Holmes-Henderson from Classics for All that an exposure to Latin in fact has a greater impact on students with low literacy levels than it does on those who are already highly literate. When you think about it, this makes perfect sense. Children who are already highly literate, who are exposed to a wide range of reading at home and who have articulate discussion modelled for them from a young age will always be fine; it is for those students for whom this is not the norm that we should be concerned, and the teaching of Latin absolutely has a place in our quest to close this advantage gap.

I picked up Quigley’s book with the intention of enriching and updating my knowledge of how children acquire vocabulary, and I still expect to learn much in this area as I work through the second half. It has been a lovely surprise and an added bonus to find the case for Latin as a subject made so clearly in a book that has been hailed as essential in education’s work towards opening the doors of opportunity for our most vulnerable and disadvantaged students. I am very glad to have spent 21 years in the state sector, building up the numbers of students for whom an exposure to this valuable subject was an opportunity and a right. Until Latin is a normalised part of the curriculum in a greater number of state schools than the current dismal figures, it and all of its advantages will remain the preserve of the elite.

Is it really too easy?

One of the many joys of tutoring is the time and space it affords you to check out whether a student understands basic concepts. This does not only mean basic academic concepts, such as the differnce between the subject and the object; it also means looking at some of the ostensibly simplest sorts of questions on the exam papers and making sure that they know how to go about them.

Teachers of Latin GCSE are under enormous pressure to get through the syllabus content in the time they have available. Latin classes – certainly in state schools – often start from a position of disadvantage, having already had a limited number of teaching hours at Key Stage 3; some GCSE classes even start ab initio. The exam board then demands that a huge amount of complex material is covered, including a ludicrous amount of real Latin literature. The reality of this means that class minutes are at a premium, and teachers will move rapidly over basic concepts and may even assume that simple questions are understood and do not require practice. Often, as a direct result of this, key marks are lost due to small misconceptions or a lack of clarity in a student’s mind when it comes to how to approach such questions.

This week I finally got around to reading the Examiners’ Report from 2023 and their comment on the derivatives question really leapt out at me. It said, “this question is designed to be accessible to candidates of all abilities, and most scored at least 2 marks.” Personally, I find this utterly delusional on the part of the examiners. How, pray tell, is a question accessible to all candidates when it relies on a breadth of literacy and general knowledge not covered in the syllabus itself? And how is a score by many of 50% on this question indicative that it was indeed accessible? The comment is simply astonishing and I’m afraid it betrays yet again how out of touch the world of Classics is with reality. I have worked with a variety of students who have been scuppered by the derivatives question and their struggle is due to one or more of the following reasons:

Students do not know their Latin vocabulary well enough to be able to access the question. You can’t come up with a viable derivative if you don’t know what the Latin word means. This is more complex than it perhaps sounds, as the word is often presented in a form that is different from the one they have learnt e.g. dabat from the verb do), meaning that candidates who find the subject challenging will probably struggle to recognise it.
Students are EAL (English as an Acquired Language) and lack the breadth of English necessary to succeed in this question. They may be performing outstandingly well in the subject, but they have not yet come across the word regal or sedentary.
Students do have English as their first language but are not widely read, meaning that they struggle to come up with derivatives; they might recognise one when it’s pointed out to them, but they find it difficult to reach for one. This means that students for whom reading is modelled and encouraged at home are at a huge advantage, which is one of the main reasons why the examiners’ assertion that this question is “accessible” really grinds my gears.
Students have simply not been taught how to approach this question, or if they have been shown how they have not practised it at length. Teachers rarely spend a significant amount of time doing so because they assume (like the examiners do) that the question is easy. Plus, as I mentioned earlier, it may be time they do not have. In my experience to date, the best schools practise deivations from the very beginning of Key Stage 3, and this is certainly the best way to embed the knowledge for GCSE.

Some students really do have no problem with the derivatives question, and when that’s the case I leave them to it. These students are always highly literate and usually well-read. Unlike them, many students need to be shown multiple examples of derivatives and time needs to be invested in guiding them through the vocabulary list looking for such derivatives – the examiners even recommend this in their notes, yet still cling to the delusion that this question is highly accessible. Believe me, any question that cannot be done without detailed, explicit, one-to-one guidance from an expert is not accessible; teachers do not have time on the curriculum to prep for this question adequately.

Another question that many teachers lack the time to focus on and tend to assume the students will cope with just fine is the 10-marker in the literature papers. Because the question is open-ended and requires no knowledge of the Latin, this question really is accessible in the sense that even students who have struggled with the material should be able to do it; I say “should” because once again there is some guidance required. Students tend to apply what they have been taught about answering other types of questions (even in other subjects) to the 10-marker and this can lead them down the wrong path; answers need to be full of quotations/references but not to the Latin, to the text in translation. There is also no requirement for detailed analysis. I have written about this in more detail here. The 10-mark question makes up 20% of each literature exam: that means it makes up 10% of a student’s entire result – way more than the difference between two grades. It’s definitely worth spending some time on!

It’s a real joy as a tutor to be able to dive into the basics and make sure that students are well-prepared for what they face when it comes to exam time. Questions that the examiners and teachers assume are easy usually are so once you know how to approach them, but it’s that assumed knowledge that I’m interested in. Once a student has been gifted with said knowledge, that’s when they can start to fly.

Back to Basics

One of the best things about tutoring is the time and space to go back to basics. Many students come to me with a list of tricky constructions that they are struggling with, and without question I will address those things in the time I spend with them. More often than not, however, while the student may be requesting help with the ablative absolute or the indirect statement, what I discover is that they don’t even know their basic noun endings.

Over the years I have given a great deal of thought as to why this is so. The discovery – through tutoring – of just how many students this was true for certainly informed my own practice as a classroom teacher. I came to realise that the basics must revisited time and time again before students can claim full confidence and that this was true for all students, not just those that appeared to be struggling. So tutoring completely changed my approach in the classroom, for it gave the the realisation of just how much students naturally forget over time.

Given that Latin is a subject with which most people are unversed, I like to make analogies with subjects that are familiar to all of us. Imagine a child sitting their maths GCSE and trying to cope with the complexities of algebra and trigonometry. Then imagine that same child trying to sit their maths GCSE before they have fully grasped the meaning and process of addition, subtraction, multiplication and division. Maybe indeed you were that child. Maybe you were pushed through your GCSE or your O level with a shaky grasp of those basics. If you were that child, you will have been frankly terrified of maths as a subject and probably still believe that you’re “rubbish at maths”, all because nobody took the time to ensure that you understood the rudimentary basics. Remember how that felt? That’s what I’m talking about.

One of the first things I always check out when I meet a new student is whether they are confident with the order and meaning of the cases. You wouldn’t believe how many Year 10 or Year 11 students I have worked with who, when asked about this, have absolutely no idea. But what is the point of them learning their noun endings if they don’t know what those endings mean? So I start with a blank table and ask students whether they can tell me which case comes first and what the meaning of that case is. (Answer: nominative, and it’s the subject of the sentence). Most students who are taking GCSE are able to tell me this (although not all). Beyond that, many – not all, but the majority – start to fall apart from there. For example, they cannot remember whether the genitive comes before or after the dative and/or they cannot remember which one means “of” and which one means “to” or “for”. Immediately, therefore, we have a fundamental clue to what the underlying problem is with their approach to any Latin sentence: basically, in reality, they are guessing.

Delving into the gaps in a student’s knowledge like this is an enormous privilege and helping them start to plug those gaps is one of the best things about my job. All of these students have been taught these concepts before but all of them have forgotten that material. This is how memory works and this is why retrieval practice and revisiting past concepts in the classroom again and again is so crucial. Most classroom teachers, it seems to me, are still underestimating the importance of this and the extent to which even the highest of achievers need regular checks on their two times table interwoven with their introduction to the finer points of matrices. But the reality is that no matter how good the classroom teacher, no matter how solid and consistent their use of retrieval practice, there will still be some students who fall by the wayside; this may be due to illness causing absences or it may just be that they find it harder than the rest of the class. And that’s where tutoring comes in.

Sometimes people assume that repetition is boring and that working with lots of students on the same set of fundamentals would also be so. Nothing could be further from the truth. Every child is different and every child that is struggling in the classroom has their own personal and private worries; often a child has an instinct for the fact that they are missing some fundamental pieces of the puzzle but their situation has become so stressful that they feel unable to ask for help. Breaking down those barriers and helping them to grasp the core concepts and knowledge that they need in order to start succeeding is without a doubt the most rewarding thing that I could spend my time doing. Parents often tell me that their increased confidence and improving performance feels like a miracle.

So if your child is struggling with complex material, that is without doubt something which needs addressing. However, it may not be the case that the complex material is where we need to start. After many years of radio silence, I have recently taken up the piano again and am trying to re-learn some complex pieces that I could rattle off without hesitation at the age of 18. What I realised when I started at the music was that I have forgotten some of the most rudimentary bits of knowledge – when there are four sharps in the treble clef, what does that mean? I honestly can’t remember. So, before I can play with confidence, I will have to revisit some of those basics. I know that they will come flooding back, but the reality is that they need to be revised. So, back to basics I go. It will be worth it in the long-run.

What’s wrong with GCSE Latin?

Sometimes you have to step off the treadmill to reflect on what is wrong with the system. After 21 years of preparing cohorts of students for Latin at GCSE level, it has taken me a year or so off the hamster wheel to reflect upon what is wrong with it and how the examination at GCSE level is fundamentally flawed.

To understand how the Latin GCSE fails our students, we first of all need to reflect upon what the purpose is of studying Latin – without this, the decisions made by the exam boards will seem even more incomprehensible than they actually are. First and foremost, forgetting any wild claims to promote excellence, increase vocabulary or whatever else we tell ourselves about our subject, the purpose of studying Latin is to train students to be able to read real Roman texts. This is the end goal and everything else is broadly irrelevant. This inescapable reality is – I believe – why both exam boards and QCA are so irrevocably wedded to the notion that students must study a substantial proportion of “real” Latin texts in order to gain a basic qualification in the subject.

Let us reflect for a moment on what this actually means. Unless a child has attended prep school and studied Latin from Year 5 or 6 onwards, students will have started Latin as a beginners’ subject in Year 7 and will be unlikely to have had more than one hour’s tuition per week in the subject. This may increase margially in Years 8-9, but not by much. Within that space of time, the exam boards are expecting a student entering Year 10 to be prepared to study real Latin texts, a frankly laughable notion. Imagine expecting a student of French to read and understand Voltaire or Maupassant during their GCSE course, when they are still wrestling with the fundamentals of the language.

The argument is often trotted out that modern language students have more to contend with, because they have to work on a wider variety of skills: Latin – being a dead language – does not require students to be tested on speaking or listening. Agreed, these skills take up a huge amount of teaching time for modern linguists that we do not have to dedicate when it comes to an ancient language. Believe me, however, this is more than made up for by the linguistic content required. My first Head of Department once quipped, when I mentioned to him that one of my Year 10 students had suddenly asked when we would learn to tell the time in Latin, that I should have replied “when you have learnt the pluperfect passive subjunctive.” He had a point. (He was right, by the way: the pluperfect passive subjunctive is required at GCSE). Rod, who had only ever taught French and German, had seen the list of grammatical constructions required for GCSE Latin and it never failed to astonish him.

Now that I am on the outside of the school system, working with a large number of GCSE candidates from a variety of schools, I am being exposed to a broad range of approaches from each school. Most of them do what I did and plough through as much of the GCSE language content as they can during the first two terms of Year 10, then start tackling the literature texts in the final term of Year 10 and throughout Year 11. This is the best we can do. I have come across one school that takes longer over the language then expects students to have gained enough linguistic knowledge to tackle the set texts very quickly due to their broader knowledge-base; this is frankly nonsense, given that the language required for the texts goes way, way beyond that required at GCSE for the language paper. Some schools start the texts immediately and encourage students to work on them from the very beginning, but this is rare.

For the unintiated, let us be clear: GCSE candidates do not have anything like the linguistic knowledge required to study the real Latin texts that are prescribed for the GCSE. The only way they can cope with and even borderline understand the texts is to learn the English translation off by heart, a simply mammoth rote-learning task. This is what I spend much of my time supporting students with as many are not given the tools and the skill-set to do this on their own.

This year I had something of an epiphany when working with a handful of independent students. Why do we do it? The requirements for Latin GCSE are so unrealistic that I would go so far as to say that the qualification is wildly inappropriate. My belief that this is the case means that I no longer encourage students to take the qualification as a supplementary subject: it simply is way too much to cope with on top of their regular studies. I do not say this lightly, not least because it will mean I miss out on a significant amount of potential tutoring work. But the truth must be told, and parents of students who have a desire to study Latin independently need to think very long and hard about the reality of what that means and whether they are prepared for the sheer slog that it will entail.

So long as the texts required for GCSE go far beyond the students’ linguistic skills, the only way to prepare for the examination will continue to be to learn the texts off by heart. I shudder to think the number of wasted hours that has been spent on this. One of my skills as a tutor is in helping students with this process, because there are indeed ways in which it can be made less arduous and more manageable. I shall continue to do this, to assist students in their quest to attain top marks in the qualification for which they have been entered. But really – what are we doing it for? Is it really the best way to prepare students for a future in the subject? I do wish QCA and the examination boards would take a long, hard and realisitc look at what they are demanding from 16-year-olds and face up to the reality that their examination in its current form is not really fit for purpose.

We’ve always done it this way

A few years ago I had something of an epiphany about why so many students struggle to translate the indirect command correctly. This is the kind of epiphany I am blessed with – nothing earth-shattering that will change the future of humanity as we know it; just a little tweak when it comes to how Latin might be best taught – we all need some kind of claim to fame.

Now I work solely as a private tutor I have the privilege of insight into how students are taught in a myriad of different schools. One consistent pattern is that the uses of the subjunctive are always taught in a particular order and most notably, the indirect command is consistently taught after the purpose clause. I think I know why this is and it’s for the same reason I did this myself for several years: it’s how it’s done in the Cambridge Latin Course. Even Taylor & Cullen introduce ut + subjunctive in this way: purpose clause first, followed immediately by the indirect command. But after my epiphany, I started to switch this around.

I have yet to come across a single student who has been taught the indirect command prior to the purpose clause unless they have been taught by me, and this is fascinating. Is it really the all-pervasive, insidious influence of the Cambridge Latin Course? Given that my focus for this piece is entirely on secondary schools and given that the majority of those still use (or have used) the Cambridge Latin Course over the years, I suspect it is. But I suddenly realised what a huge mistake it is to teach the purpose clause first: I realised that this is why students are so wedded to translating ut as “in order to” whenever they see it: because that is how they first see it and after that they can’t let it go.

So let me explain the alternative approach, which I started to use when I was still teaching in school and the approach I use to help my tuteees now with huge success. First of all, when I introduce the subjunctive, I do continue to teach the use of cum + subjunctive first, followed by the indirect question. This follows the pattern used by the Cambridge Latin Course and I think it is a good one: these two constructions both require no complexity when it comes to translating the tense of the subjunctive verb and are hence a good introduction to the uses of the subjunctive. I believe that at GCSE it is important to emphasise that there is nothing special about the way in which subjunctive verbs are translated in subordinate clauses; as soon as we get onto the indirect command and purpose clause the students have to learn to move beyond translating the tense of the verb in its literal sense, so they need to gain a little confidence first.

After I have taught the endings of the subjunctive and the first two uses as above, I then within one lesson (or tutoring session) introduce two uses of ut + subjunctive and explain that they are difficult to tell apart – I also explain that being able to differentiate between them is important for the grammar questions in the GCSE examination. I then explain that their default translation for ut should be “to” and explain the indirect command in detail: that the definition of a command-word is broad: begging, persuading or even asking counts as a command, as it basically includes any verb which is trying to get somebody to do something. I emphasise that the ut should always be translated as “to”. I show a few examples and reassure them that it is correct not to translate the tense of the imperfect subunctive – just translate the meaning of the verb after “to”, just as if it were an infinitive.

I then introduce the purpose clause and point out how similar it is as the ut can still be translated as “to”. I then exlain that the test to see whether or not it is in fact a purpose clause is to try out whether one can also translate ut as “in order to” or “so that he/they could”. If that’s possible, then it’s a purpose clause. I then spend the remainder of the session showing them a series of mixed examples and asking them to identify whether each sentence is an indirect command or a purpose clause. I stick almost exclusively to vocabulary required for GCSE and also provide vocabulary support to lighten their cognitive load – this is essential no matter what you are teaching.

Screenshot from one of my numerous presentations on this topic

One of the worst reasons for doing something is solely because we’ve always done it this way. In teaching it is always important to keep asking yourself why: why this topic? Why those things in that order? Why this? Why this now? If you don’t stop and ask yourself these questions on a regular basis, you end up doing things solely for the sake of it, solely because that’s what you’re used to and solely because it needs to be done at some point. Given how embedded the problem is that students regularly fail to recognise and translate the indirect command correctly, it is actually rather worrying that more teachers don’t seem to have asked themselves why this is. Pretty much every single student I meet, without fail, when presented with a simple sentence such as dux militibus imperavit ut oppugnarent will immediately say, “the leader commanded the soldiers in order to attack”. Perhaps more worrying, a large number of those students seem puzzled when it is pointed out to them that this translation doesn’t actually make a whole lot of sense. As a tutor, I have to break down their wedded belief that ut means “in order to” and explain why – most of the time = it actually doesn’t mean that at all.

Obviously there is third use of ut + subjunctive required at GCSE, which is the result clause. I teach this next but in a different session to emphsise that it works quite differently from the other two.

Animated slide which I use multiple times to remind students how to spot each clause

I then do lots of work on how to spot the difference between each of the three types of ut-clauses and I always word the question in the manner that they will face in the GCSE exam: why is oppugnarent in the subjunctive mood? The more they get used to the teacher or their tutor asking them this question, the easier the grammar questions will be for them. Some students have to be reminded that “because it’s used after ut” is not an answer to this question, as the examiner wants them to differentiate between the three clauses.

Defining your terms

This week I had a request from a client that made me reflect on how differently terms are used in different subjects, and how confusing this can be for all of us. At best it may mean that we are talking at cross purposes; at worst, it can mean focusing on areas that aren’t important, to the detriment of progress overall.

For much of my career I taught English language and English literature as subjects, as well as Latin. My first job indeed was advertised as “English with Latin” and for much of my career in schools around 50% of my timetable was filled with teaching English. It’s how one survives and earns one’s keep as a classroom teacher in a niche subject, especially in the state sector. English departments are always very large and always have a high turnover: consequently, there is always a little bit of room for you if you can offer it as a subject. This was how I was able to ring up a school which was advertising a very part-time Latin job and tell them that I needed a full-time job and could teach English up to GCSE. Did they have room for me in their school? Of course they did! Suddenly a role which was advertised as 0.4 became a full-time post overnight.

But back to defining our terms. Comprehension is an important skill in the subject English. Reading comprehension is used (for better or for worse) to test students’ ability to read and understand a lengthy passage of writing, extract key bits of information from it and assess its tone; they may also be asked to identify areas of bias or nuances which indicate the author’s viewpoint or opinion. Many students find comprehension remarkably difficult and as a strong reader myself I’ll be honest and say that I found this tricky to address; in my opinion, I was never a particularly brilliant English teacher because the material came so easily to me that I wasn’t very good at identifying the ways in which I could help those students for whom it was more of a struggle; Latin I had to work at, which makes me a better practitioner when it comes to teaching. But whatever my personal failings, there is no question that comprehension is a challenging and complex area in the teaching of English and it’s certainly a skill which students need to practise.

This, no doubt, is what led my client to request a focus on comprehension skills. But “comprehension” in Latin – by contrast to how this term is used in English – is an entirely different beast, certainly in the language paper at GCSE level. Students are not asked to sift a long passage for information, nor are they asked to identify connotations or empathise with the writer’s viewpoint. In Latin, the examiners direct the students to the information by quoting it, then basically ask them to translate what’s there. For example, the first sentence of a passage might be as follows:

Tarquinius erat rex Romanorum.
(Tarquinius was the king of the Romans).

The first “comprehension” question would then be:
Q1. Tarquinius erat rex Romanorum (line 1): who was Tarquinius? [2]

Not only does the examiner direct students to the relevant bit of the Latin by quoting it, they demand merely the ability to translate what’s in front of them. Comprehension is therefore not a complex skill which requires a great deal of repeated practice. Sometimes students need to be encouraged to take their time and ensure that they have written down everything that the mark scheme requires, but that is generalised exam technique – look at the number of marks and consider whether you have answered all aspects of the question. It’s not a unique skill in itself, like the process of comprehension is for students and teachers of English. Comprehension questions in the literature examination are also largely “say what you see” with the exception of those questions which ask about style – these, children do need repeated practice with. These areas I have addressed in more than one post in the past.

Another misconception which many people have is that “grammar” is something separate from “translation”. This really gets to the heart of Latin as a subject and belies why so many children need help with it. Grammar is not an optional bolt-on, it is the beating heart of how the language works. An extraordinary number of people will say when they get in touch with me that their child is “okay with translating” but “struggles with the grammar”. Sadly, this means that their translation will be based on guess work and indeed they may have got lucky to date – but as things get harder they will fall apart and find that they can comprehend very little of what’s in front of them.

Much of my sessions are spent asking students to justify their translation – when they tell me that rex Romanorum means “the king of the Romans” … was that a guess based on the fact that they know the vocabulary? Or can they identify the fact that Romanorum is genitive plural, which is why it translates as “of the Romans”? If they can’t do that, they will never be able to translate more complex sentences. My focus is therefore to present students with a variety of sentences using vocabulary that is familiar but to challenge them to identify and articulate the morphology and syntax that makes the translation work.

It is important to be able to explain to clients how our particular subject may differ from areas in which they may be quite an expert, so that they can make more informed decisions about how and why their child needs support and the best ways to provide this at home. Pretty much everyone I meet wants to support their children in their studies, and giving them concrete guidance on how they can do so is one of the many pleasures of tutoring.

Critiquing literary criticism

As we approach the second and final GCSE literature exam and as I continue to work with a huge number of Year 11s preparing for the verse paper, I cannot help but feel a little depressed about how difficult students seem to find the process of stylistic analysis. There is no other area in which I have observed even the most brilliant of scholars to be floundering so badly. So what are we getting wrong when it comes to the teaching, or is this aspect of the exam just insurmountably difficult?

Before I make my observations I wish to say that I include myself and my own teaching in what I have to say. Throughout my career I have watched students struggle with this aspect of the examination, so my observations of my tutees who are now wrestling with this are in no way meant to imply that I think I was “getting it right” when I was at the chalkface – indeed what follows is definitely a criticism of myself and my own approaches. How I have tackled the teaching of literary criticism evolved and improved over the years and my focus now with tutees is different from how I might have approached the problem 20 years ago, but students in my class struggled just as much as I see my clients struggling now. I believe this is something that all of us in Classics education need to do better and the more I think about it the more I believe we are woefully lacking in ideas when it comes to what to do.

Below are a couple of key observations of what seems to happen in Latin classes (including my own in the past) and which I think might be compouding the difficulties that students have with this particularly challenging element of the syllabus.

First of all, many schools massively over-teach technical/rhetorical terms. This mistake is encouraged by the resources published by ZigZag, used in Classics departments across the country, which start the process of literary criticism with a baffling list of rhetorical devices which (it is implied) students must have a grasp of before they even embark on the process of responding to the literature.

A ZigZag resource I was sent for review started with 16 pages of explanation of various terms from anaphora to polyptoton, each with an accompanying activity. Students are expected to learn the meaning of all of these devices and then learn to spot them in the Latin. Full disclosure: I used to do this. Why? I have absolutely no idea. It was stupid. I probably did it partly because everybody else was doing it. Also, like many other Classics teachers, I rather like literary devices and personally gain quite a lot of geek-filled pleasure from spotting them in everyday language and popular music. He watches afternoon repeats and the food he eats is a zeugma in a song by Blur from the 1990s; you held your breath and the door for me is another great one in a song by Alanis Morisette. But do students need to know any of these stylistic terms to gain full marks in the literature questions? No, they don’t. A brief look at any mark scheme makes it clear that technical terms offer little advantage other than time-saving; if a student calls something an anaphora rather than just “repetition at the start of a line/clause” it won’t gain them any more marks. Furthermore, the mark scheme’s expectation is that students answer the question with a plausible response as to why the author did what he did, rather than simply play a game of spot-the-device. The examiner doesn’t want to see “there is anaphora in these lines”. What he wants to see is something like, “the repetition of ter … ter (three times … three times) at the start of these two lines highlights Aeneas’s desperation to embrace his father, which he tries to do in vain”. No technical terms are required – students must simply consider why Virgil chose to repeat the word ter at the start of the line. In my experience, teaching students to spot the technical devices is counter-productive: it makes them think they have made a valid point when they haven’t because they have used a clever word.

The second thing I think we get wrong is to give students too much complex information. Many of my tutees have admitted that their notes are so jumbled and full of information (and technical terms) that they can’t make any sense of them. To ask a 15-year-old to take clear, decipherable notes on such a complex topic which they will then be able to learn and apply in an examination situation is asking rather too much in my opinion. Allied to this is my belief that “learning the style notes” is simply not possible. There is way too much literature to make this a viable approach. Students instead must learn to respond to a section of the literature and say some sensible things about it under pressure.

In recent years I have tried to teach students to look for really basic techniques and encourage them to think about the author’s craft using a simple acronym: MRSVP

Meaning
Repetition
Sound
Vivid (= historic) present
Position

Meaning is at the top because students must always be able to tell the examiner what the word means (and therefore why the author has chosen to repeat it or promote it or whatever). However it is the other four points that students need to be using to be talking about style. They are things which are relatively easy to spot – is a word repeated? Has it been put at the start of a line or next to another word for a reason? Is there a sound repeated for a reason? These are the basic fundamentals of the kind of literary criticism that the examiner wants to see.

I am confident in my use of this method as a few years ago I shared it at a training day which was being run by an OCR examiner. Not only did he describe it as “brilliant” but he started using it himself – indeed, it was included in his materials at the next training session I attended. However, in my experience it is no silver bullet. I have taught the acronym to every cohort of students in my final years at the chalkface and they still found the process incredibly difficult. Now I have had time away from the chalkface to reflect, I think what I was getting wrong is not being explicit enough in training them in the process of “seeing” these things in a text. If I had my time again I would dedicate a part of a lesson to each individual device and give students multiple sections from the text and ask them to spot it – “which words are repeated in this passage?” or “find the historic present verbs in this passage.” I would then use that task – spotting one of the basic stylistic methods in a familiar passage – as a regular Do Now at the start of every lesson. Until they were frankly sick of it.

I think it was this lack of very explicit training that was the mistake on my part – finding examples seems such a simple task to a subject expert and we must remember that it is not: children need to practise how to do it. One of the most interesting things about teaching is the process of constant reflection and asking yourself how you could do something better; it is somewhat frustrating that these thoughts are coming to me with perhaps even greater ease now I have had some time away from the chalkface to reflect. I hope perhaps that others will read this and consider applying my ideas.

The use of the historic present in Echo & Narcissus: OCR GCSE set text

This week my blog continues to be inspired by a random question which was sent to me via WhatsApp by a student:

Hi! I’m doing my Latin GCSE next week, and I was wondering … how to recognize the historic present, as I’ve tried to simply learn the words … however thats not quite working and I was wondering if there were any specific sign posts to signify that it is the use of the historic present. Thank you!!

A fortnight ago I examined the prose texts currently being studied in the overwhelming majority of schools and last week I covered the Virgil text. Here I shall take a look at Echo & Narcissus, the longest text in the alternative verse selections for 2023 and 2024. For details on the historic present in general and why I believe that students find it trickier than we might imagine, please refer to my original blog post on the prose texts.

Examples of the historic present in Echo & Narcissus

The set texts opens with a historic present verb, although it is important to remember that this is not the beginning of Virgil’s narrative – the GCSE set text is an extract from a very long work called The Metamorphoses. Still, the very first word of our text is not only in the historic present but is a promoted verb: aspicit hunc trepidos agitantem in retia cervos: she catches sight of this man, driving frightened stags into his nets.
The next occurence of the historic present, when Ovid jumps out of his past narrative for effect is here: sequitur vestigia furtim: she follows his footsteps stealthily. The same verb is repeated in the same form in the line below – repetition occurs throughout the text and is part of the game that Ovid is playing with the idea of echo and reflection throughout the text.
The next clear example is when Narcissus first responds to Echo: hic stupet: he is amazed. His reaction continues in the historic present for this entire section, with dimittit, clamat, vocat, respicit and perstat all in the historic present, making vivid the young man’s bewliderment as he hears his words repeated back to him.
Echo’s joyful response to Narcissus also uses the historic present, when she acts out the words she is able to repeat (let us come together): et verbis favet ipsa suis: and she herself follows her own words.
When it comes to Echo’s response to her rejection, the entire passage which describes her feeling rejected, hiding in the woods, covering her face with leaves and wasting away into a non-corporeal entitry is all written in the present tense.
The poem slides back into the past tense briefly to describe Narcissus tiring from the heat and hunting, before jumping back into the present tense to describe him quenching his thirst at the spring and his second thirst (for his own reflection) coming upon him: dumque sitim sedare cupit: while he wishes to quench his thirst is the first example, then dum bibit (while he is drinking) and spem sine corpore amat (he falls in love with hope without substance). The present tense verbs then continue for the enstire description of Narcissus’s love for himself; many of them are repeated in different forms as Ovid plays around with the idea of reflection throughout this section. Ovid does not return to the past tense narrative until his exclammation irrita fallaci quotiens dedit oscula fonti: oh how often he gave kisses to the deceitful spring. He then returns immediately to the present tense when he returns to his game of reflection: quid videat nescit, sed quod videt: he does not know what he is seeing, but what he is seeing … and oculos idem qui decipit incitat error: the same delusion which deceives his eyes provokes them.