Latin – Page 2 – Emma Williams: Latin tutor

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.

A section of the painting “Echo and Narcissus” by John William Waterhouse; it is held at the Walker Art Gallery in Liverpool

The use of the historic present in Virgil Aeneid VI: 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!!

Last week I examined the prose texts currently being studied in the overwhelming majority of schools – Sagae Thessalae and Pythius. I started with the prose texts because the student enquiring asked specifically about the Sagae text, plus the prose exam is imminent, on May 26th. From my work with a wide range of tutees it seems that there is a more even split between students who are studying the Virgil text and those who are studying the Amor texts – Echo & Narcissus plus the three shorter poems – so I am going to look at both selections. This week my attention is turned to the Virgil.

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 blog post from last week.

Examples of the historic present in Virgil Aeneid VI

The first thing to note is that much of the whole text is written entirely in the present tense, where Virgil is describing what this area of the Underworld looks like or when he is using direct speech, both of which occur throughout the selections on the specification. It is only the examples I highlight below that should be classified as historic present.

The first concrete example of the historic present occurs after Virgil has begun to describe the events observed by Aeneas in the past tense in lines 313-314, then suddenly switches into the present in lines 315-316:

navita sed tristis nunc hos hunc accipit illos,
ast alios longe summotos acrcet harena.
But the grim boatman takes now these, now those,
while others he pushes away, driven off far from the sand.

Virgil has already created a sense of pathos in the previous lines, describing the souls begging to be allowed across the Styx; here the arbitrary and callous nature of Charon is heightened by the historic present verbs.

The next example is in line 384, where the continued journey of Aeneas and the Sybil is given in the present tense, which then switches back to the past narrative in the lines that follow:

ergo iter inceptum peragunt fluvioque propinquant.
Therefore they continue the journey [they had] begun and approach the river.

In line 387 Charon’s aggressive greeting to Aeneas and the Sibyl is also introduced in the historic present:

sic prior adgreditur dictis atque increpat ultro
First he addresses them thus with words and rebukes them spontaneously.

The next example occurs in line 407 where Charon has been affected by the Sybil’s response:

tumida ex ira tum corda residunt.
Then his heart calms down from its surging anger.

Charon’s immediate response is then enlivened by a series of numerous historic present verbs in lines 410-413:

caeruleam advertit puppim ripaeque propinquat:
inde alias animas, quae per iuga longa sedebant,
deturbat, laxat foros. simul accipit alveo
ingentem Aenean.
He turns around his dark blue craft and approaches the riverbank, then he drives away the other souls , who were sitting along the long benches, and he clears the gangways; at the same time he receives mighty Aeneas into the boat.

The description of Aeneas climbing into the boat then reverts to the past tense narrative, before the next action of Charon in line 416:

incolumes vatum virumque … exponit
He puts ashore both the priestes and the hero, unharmed.

The next example is not until line 703 where Aeneas catches sight of the more pleasant aspects of the Underworld:

interea videt Aeneas
Meanwhile Aeneas sees …

This is done again in line 710 when Aeneas’s response to the sight of numerous souls is one of strangeness and fear:

horrescit visu subito …
Aeneas shudders at the sudden sight …

The promotion of the verb and the use of the adverb subito further heightens the vividness of this descrption.

The actions of Anchises where he takes hold of Aeneas and leads him to a position where he can better see the march of future souls is the final use of the historic present, in lines 753-754:

dixerat Anchises natumque unaque Sibyllam
conventus trahit in medios turbamque sonantem,
et tumulum capit …
Anchises had spoken and he takes his son and the Sibyl alongside him into the midst of the assembly and the murmuring crowd and chooses a mound …

The soul of Anchises with Aeneas and the Sibyl at the entrance to the underworld; by Biagio Manfredi — *Getty Images*

OCR Latin GCSE language – exam technique

GCSE candidates for 2023 are facing their first exam on Tueday May 16th. I have written recently on specific aspects of the paper, in particular the grammar questions and the derivatives question, but this is a generalised post about how to approach the examinantion as a whole.

The Latin language paper is one of the few examinations in which most students will not be under time pressure. Obviously there are always exceptions, and I have had some students who are exceptionally cautious or methodical in their approach find themselves run out of time – but this is very rare. Most students finish the paper early and many finish it within around half the time that is allocated to them. This can lull students into a false sense of security, and there have been few experiences more frustrating in my time than watching students close their paper and choose to spend their remaining time sparing into space. Examiners are not stupid, and the time allocated to candidates is done so for a reason. There is a great deal of time allocated to the language paper because a high degree of accuracy is demanded in order for students to perform exceptionally well.

So what should candidates be doing with all of the spare time that they will – as a general rule – have on their hands? Here are my key bits of advice.

First priority is to go back to the start of the examination and check the bits of the paper that you found easy and did quickly, which is most likely to be the simple comprehension questions in Section A. This is where you are most likely to spot minor errors. Use the time to check your work and look for minor slips such as translating a singular as a plural or vice versa – these kids of errors will lose you marks that you are perfectly capable of scoring.
Return to the derivatives question. This question asks you to define the derivative as well as to give one. Check whether you have chosen the best possible example of a derivative, by which I mean whether have selected one that you can define. For example, in the specimen paper the examiner asks for a derivative from the word credo (I trust or believe) and almost all students immediately plump for credit, which is actually really tough to define in relation to the meaning of the original Latin word; much better to select credible, which defines as believable, or incredible, which you can define as unbelievable. Using the spare time that you have to think of a better derivative could win you an extra 2-4%.
Check your grammar questions. Some of them have more than one possible answer, so check that you have chosen the most solid answer that you are definitely sure of. Check and double check that you have answered all parts of each question as accurately as you can.
Check your answers to the comprehension in Section B and return to the parts of the translation in Section B that you got stuck on and give it a little more thought. Staring at a sentence you find difficult and don’t understand may be a waste of time and may cause you stress, so don’t stare at it for longer than a couple of minutes. If you’re really stuck that’s okay – the exam is designed to really test you and you can still score a top grade without understanding every line.
Finally, if you have checked and double checked everything in the examination and are 100% sure that you have done your most accurate best, now is the time to consider answering the alternative optional question. Most students choose (or have been trained) to do the grammar questions and miss out the English into Latin. If you have spare time following all your checks there is no reason why you cannot answer the English to Latin questions as well: the examiner will mark both options and you will be awarded with whichever gains the highest mark. Remember, however, that this is the very last thing that you should do when you literally have nothing else to check, as it is always a potential waste of your time – you can’t be credited with marks for both options!

Always remember that a few marks here or there can make the ultimate difference between one grade and another. It’s a myth that examiners pool together the papers and re-examine those that are very close to the boundary – teachers do this during the mocks and did this during the pandemic. Examiners do not. It is a purely mathematical game of number-crunching and if you come out just one mark below the grade boundary then that’s how it is. So trawl through you answers and celebrate any mistakes that you find – it could just make the difference in the end.

Derivatives

It was the year 2000, I was an NQT and I was standing in front of a class, teaching a subject I had not trained in, perhaps rather less well-prepared than I should have been.

The class were reading The Turn of the Screw, a novella I felt reasonably confident I could bluff my way through for half an hour, but the inevitable happened – I was presented with a word I had never seen before. The governess in the novel was describing how much the children in her care were absorbed in their imaginary games and how they would assign to her a role in their game that was befitting of her position – “a happy and highly distinguished sinecure.” I had never seen the word sinecure before.

Given my knowledge of Latin, alongside the context of the passage, I was able to deduce that sinecure meant something that required little effort: sine in Latin means “without” and cura means “effort, care or worry”. This is just one of a thousand ways that a knowledge of Latin can help widen your scope as a reader – it can help you to deduce the meaning of a word you have never met before.

Most students find derivatives much more difficult than adults imagine, and this is something I have only come to realise in recent years. The derivatives question in the OCR GCSE language paper is worth 4 marks – that’s 4% of the whole paper – yet most classroom teachers (and I include myself in this) have not prepared students well for it. It is easy to assume that students will be able to do the question without any support or guidance, but in my experience the marks that students score in this element of the paper do not bear out this assumption.

I’ll be honest – I don’t like the derivatives question and I don’t think it should be there in its current form. The question significantly advantages students who have read more widely, students who like and respond well to reading and who have been exposed to a lot of challenging books from a young age. Yet even they sometimes struggle with the question unless they are prepared for it.

The GCSE question in its current form looks like this: students are asked to state an English word which derives from the Latin and to define the English word. It is the latter that even strong readers can struggle with, given that parts of speech are no longer something which their English teachers will be making much reference to. Asking students of 16 years to give a dictionary definition of a word is a fair bit more challenging than one might assume. The question always gives an example to show students what to do, but they still need to practise it.

I used the above example this week with a very intelligent and very well-read student. His mother is an English teacher. He could not come up with a derivative for annos – fascinatingly, he came up with annular, a word which I had never heard of, but which derives in fact from the Latin for ring (anulus, also spelled annulus, meaning “small ring”). The word therefore means “ring-shaped” and I believe that he knew the word because he does astronomy! He could not think of the word annual and only recognised it when I gave him examples of it in compound words such as biannual. The second word in the question gave him no problem and he confidently both named and defined sedentary; but in my experience this is very unusual for a 16-year old, as most of them have not heard of this word and are more likely (if they can come up with anything at all) to draw on their studies in geography or chemistry and come up with sediment.

Common Entrance papers in the past have taken a slightly different approach to derivatives questions. They used to say something like “explain the connection beteeen the Latin word sedebat and the English word sedentary“. This at least gave students the derivative rather than expecting them to come up with it, but it still advantaged strong and/or experienced readers because they were still going to struggle if they had no experience of the English word.

In terms of how students can get better at this question, I’m afraid I feel a little dismal about it because “read more widely” is advice that they need to have been given from an age when really responsibility lies not with them but with their parents or guardians. The extent to which children struggle with this question is just one tiny example of how important reading is and how much advantage it gives to those whose parents have had the money, the time and the education to promote its importance at home.

I certainly recommend to all GCSE students that they get hold of a copy of Caroline K. Mackenzie’s GCSE Latin Etymological Lexicon. The book works through the whole of the GCSE vocabulary list and explores suggested derivatives for each word, so it is definitely worthwhile as a supplement volume for students who want to gain mastery in this part of the exam.

One thing I would recommend from experience is that students come back to the derivatives question during the spare time that almost all of them have at the end of the language paper. Many students plump for a poor choice of derivative, my favourite example of which is when shown a Latin word such as audivit (he heard) and asked to give a derivative, nine times out of ten they will say “audio”. Now, audio is in the English dictionary. But can they define it? Of course they can’t. Much better to give the matter some more thought and come up with audition, audience or audible, all of which are likely to be words that they know and can define.