Set Texts – Emma Williams: Latin tutor

A general lack of guidance

I struggle to understand why so little guidance is given in many schools about how students should go about the process of learning. To be clear, I’m not talking about school assemblies on “study skills”, which I realise that most teenagers will zone out during. No, guidance needs to come directly from each individual classroom teacher, the subject expert; it also needs to be explicitly taught, modelled and demonstrated on a regular basis. Schools need to agree what methods they are going to recommend and this needs to be reflected right across the school in all subjects, tailored specifically to what works best in each academic discipline.

Startlingly often, students are still being told: here is your Latin set text, now off you go and learn the first section. I was guilty of this in my first few years of teaching — rote-learning comes relatively easy to me and I didn’t really comprehend the fact that most students need to be shown how to go about engaging with the process of committing something to memory. Furthermore, I was working in a very high-achieving grammar school, where we were not really encouraged to support students proactively with their learning; it was assumed that all the students in the school could cope well in academia without such support. This was a foolish assumption, but it was the one we were subliminally encouraged to make.

When it comes to the literature element of the Latin GCSE, whether or not a student knows the translation of the set text off by heart and whether they can relate that knowledge to the the Latin version in front of them is without doubt the single most important differentiator between a student’s success and failure in the exam. Despite this inescapable fact, few Latin teachers appear willing to dedicate classroom time to the learning process, so wedded are they to the conviction that students can manage the learning in their own time. Many of my tutees have been told time and again that they don’t know the text well enough, that they need to learn it, that they need to spend more time doing so. Yet when I ask them, “what methods have you practised in class?” they stare at me, blankly. I have come to realise that most students are not being taught how to learn things off by heart, beyond the most rudimentary of suggestions.

Now, I am not naive. Having taught in secondary schools for 21 years, 13 of those years in a comprehensive setting, I am more than well aware of students’ uncanny ability to claim that they have “never been taught” something that they have in fact been told on multiple occasions. However, the extreme cluelessness of so many of my clients when it comes to what to do and their apparent awe when they are taught some very basic methods such as colour-coding and the first-letter technique do leave me increasingly convinced that many classroom teachers are simply not dedicating enough (or in some extreme cases any) classroom time to learning methodologies. I’ll bet most of them are doing what I used to do in my first few years of teaching — giving students a few bullet points of advice on how to go about learning the texts, then assuming that those students will remember this going forward. But why do we believe such nonsense? We would not (I hope) present them with the endings of the 1st declension in one lesson then assume that they will remember those endings for the rest of time — so why on earth should that be the case when it comes to study skills?

One possible reason is teachers’ anxiety about time. One of the greatest strains that GCSE Latin teachers are under is time pressure. Very few schools offer enough space on the timetable for our subject and I am fully aware that making it through both set texts within the time available is a mammoth task. I rarely finished the second set text prior to the end of March; on the few occasions that I managed to do so, it was real cause for celebration. Yet despite this, as my career progressed, I allocated an ever-increasing amount of classroom time to teaching students how to go about the learning process and also to giving them short bursts of learning time to actually get on with it in silence. Any spare few minutes that I found myself in possession of at the end of a new section or a new concept, I would allow them to bow their heads and spend 10 minutes using the first-letter technique to get a few sentences of the text under their belts. I wonder whether classroom teachers are afraid of allowing students this time, as if it somehow undermines the important of our teaching role. I used to remind students that I was painfully aware how much pressure I was putting them under, asking them to rote-learn a new chunk of text almost every single week. So part of the deal I made with them was that — whenever I could — I would let them have a few minutes of classroom time to kick-start the process.

The benefits of allocating this time are twofold. Firstly, it literally does get the children started on the process and is an opportunity to remind them once again of the methods that have been recommended: I used to put them up on a summary slide, even when they could all recite the methods without hesitation. Secondly, while students are studying, a teacher can circulate the room and check whether they are actually using the recommended methods — there will always be a few determined recalcitants, who claim that the recommended methods “don’t work for them”. This is when a teacher needs to be strong. The evidence for what works and what doesn’t work in terms of how we learn is overwhelming, and unless that child can perform perfectly in every test you give them then they need to get on board with the methods.

As for what the methods should be, I recommend a variety but one is definitely stand-out brilliant and so far has worked for every student I have ever met. So if you haven’t read my old post on how to use the first-letter technique then do so straight away — you will never look back! For broader guidance on effective study I would recommend looking at the work of Dr. Paul Penn, Professor of Psychology and author of The Psychology of Effective Studying. His book is fantastic, as is his YouTube channel.

GCSE Latin set texts – why students struggle

Few things risk being so damning as the insight of a one-to-one tutor. As an ex-classroom teacher myself, I am painfully aware just what a difficult job teaching is, and how it is entirely possible to leave some students behind, despite your best efforts. It is from this perspective that I come to this topic.

It is obvious and undeniable that many of the students I work with have been well-taught: they have simply lost their way or misunderstood for a variety of complex reasons. Others, I must confess, I do wonder what’s been happening in their classroom. Whatever the truth of the situation, once a student has indeed lost their way with their studies, it can be a Sisyphean endeavour for them to rejoin the road to success without support. As I write these reflections on what the students I am paid to help have missed and misunderstood about set text work, it is in the full consciousness that there will have been some members of my own classes over the years that became lost by the wayside. A classroom teacher who can claim otherwise is a rare creature indeed.

Set text work remains one of the biggest challenges that students face when they reach GCSE level in their Latin studies. Suddenly, there’s a whole new world of real, unedited Latin in front of you, some of it in verse. The expectation we place upon students to cope with this is frankly mind-boggling. Imagine asking a student of French to study Molière, Maupassant or Descartes at GCSE level: this is what we are asking students to do in Latin. The whole thing is frankly ridiculous, and I have written before about what a pointless exercise the whole business is, but given that the exam boards resolutely refuse to change their approach, we’re stuck with it. What follows are some observations about students who struggle with this element of the exam.

Perhaps the most striking thing I notice about some students’ understanding of the literature is the fact that those who are struggling with the set texts cannot articulate the very basics of what they are about. Teachers are often under enormous time pressure when it comes to the huge swathes of literature they must plough through, and – as a result – they often dive straight in to working through the text line by line, and do not find the time to ensure that their students understand the basic meaning and purpose of the text.

Currently, this is manifesting itself most strikingly with the Virgil text prescribed last year and this year for OCR (selections from the opening of Aeneid 1) and the Love & Marriage texts for Eduqas. For one student studying the latter, it took me more than one session with her to establish which texts she was studying, so non-existent was her grasp of what had been covered. With the Virgil, teachers have a particularly difficult task: how much to tell students who may have little to no knowledge of epic and/or mythological stories in general? Aside from this, however, is notable that not one single student that I have worked with during the last 18 months has had even the slightest inkling of an idea that Carthage had significance for a Roman audience. I find this genuinely sad. I cannot think of anything more important than explaining to them that the Carthaginian empire was a rival superpower that the Romans had overturned some 150 years before Virgil was writing. In a series of three conflicts between Rome and Carthage, Rome was ultimately victorious and utterly destroyed Carthage in 146 BCE. While the wars themselves were history to someone writing in Virgil’s time (the 1^st century AD), the experience and trauma of these conflicts, especially the long and harrowing campaigns of Hannibal, were a central and formative part of Roman collective memory and crucial to their self-definition. The Carthaginian Wars quite literally defined them as indefatigable warriors and the global superpower of their age.

Beyond this surely fundamental understanding of why Virgil is banging on about Carthage at the start of his epic work, no student that I have worked with understands or can define what an epic work is. I cling to the notion that they must have been taught this, but I can only assume that they are given this information in lesson one and that their teachers then assume that it has stuck. Such things are crying out to be used as a regular Do Now or similar quick retrieval task: what is an epic? Who was Homer? How is Virgil imitating him? A student should be able to tell us that an epic is a lengthy poem, written to be publicly performed, and focusing traditionally on tales of battle and self-definition; they should also understand that the gods and destiny play an important role in epic and that epic is a genre that evolved through the Greek oral tradition and that Virgil is doing something rather special by canonising this into a definitive Roman origin story in Latin. These basic notions really need to be revisited regularly to ensure that students remember them.

Beyond the fundamentals, the biggest mistake made by classroom teachers in my experience is their excessive focus on style, over and above teaching students how to learn the text. At this point, we come to the crushing reality and the reason why I believe that set text work is such a monumentally pointless waste of students’ time: the Latin is too hard for GCSE-level students to grasp in full, meaning that their only option is to rote-learn the text in English. Few classroom teachers labour under the illusion that this is not the case, but few also realise just how much guidance students need in order to do this necessary and time-consuming task successfully. When I was teaching, I learned to drill students on the best methodology for rote-learning, modelled it for them and then gave them short bursts of classroom time to start doing so, while I monitored them. It was essential, in my view, for me to see it demonstrated that students had understood the methods I had shown them and were trying them out. Students can be remarkably stubborn when it comes to study skills, and unless it is literally demonstrated to them that a method works, they will ignore your advice and go it alone. As a result, they will fail. Students who have been shown how to learn the text successfully come to realise that the demonstrated methods work and will stick with them.

The final issue with classroom set-text teaching arises out of a combination of two issues I have already raised: teachers being under time pressure to push ahead with the text line by line, combined with an excessive focus on stylistic features. What this means is that teachers generally introduce a new bit of text and talk about its stylistic features at the same time. The reality for novices is that this will be impossible to follow. My advice to students is always to attempt to get ahead of the class with the rote-learning, so that they are looking at a section of the text that they understand when their teacher starts talking about style. This gives them a better chance of following what the teacher is saying. When I was in the classroom, I would take the students through the meaning of the text and set them to learn it before I said anything about its stylistic features. It worked infinitely better than expecting them to follow what I was saying when working through a new bit of text.

Fundamentally, classroom teachers must remind themselves that students can achieve around 80% in the exam with only the haziest of grasps when it comes to the stylistic features of the text. The vast majority of their marks come from knowing the text, and yet this aspect of their studies is given the least amount of focus in the classroom. In their anxiety to help students with the most difficult aspects of the examination, many classroom teachers overlook the low-hanging fruit: how to help them to achieve the bulk of their marks.

Fake news: ancient style

The notion of “fake news” is generally considered to be a feature of the modern world. Yet, while the proliferation of false narratives and the digital means to both invent and spread them at high speed is indeed a modern problem, the issue of fake news is not in itself entirely new.

I have recently been ploughing my way through the four new Latin set texts listed by OCR for GCSE examination in 2026 and 2027. One of the prescriptions included two prose texts, one a letter by Pliny the Younger and another an extract from Attic Nights by Aullus Gellius. Both stories involve wild animals and I was vaguely familiar with both of them, indeed the one by Aullus Gellius is quite remarkably famous. Pliny claims that his story about dolphins is “true, but very similar to fiction” — the modern saying “stranger than fiction” would perhaps express the sentiment he is going for. He claims that the source of his story is unquestionably reliable and there is good reason to believe that the source is Pliny the Elder, who was the younger Pliny’s uncle and in many ways a father to the younger Pliny. Pliny the Elder tells a very similar story in his own work, so it seems plausible that the passionate academic and naturalist was indeed the source of this story. A shame, because the story is clearly hugely exaggerated.

The tale reports that a city in the province of North Africa had a large estuary, which the locals used for fishing, sailing and swimming. One day, some boys in the lake were joined by a dolphin, who engaged with them and played. So far, so plausible: dolphins are indeed famously intelligent and sociable and there are many documented modern accounts of dolphins playing with humans in the water. The truth of the story is stretched somewhat when the dolphin takes a boy on his back and carries him out to sea, but even this I could just about accept. What I cannot accept is that eventually the dolphin becomes so enamoured with the boy that he regularly hauls himself out of the water to spend time with him on land, returning to the water only “when he gets too hot”. No, Pliny, that didn’t happen. Fake news.

The tale by Aullus Gellius is the one about Androcles and the lion, a famous story about a man who escapes the dreadful fate of being killed by wild beasts for the entertainment of the Roman crowd. When Androcles is approached by the lion, it turns out to be the very same lion that he had helped with an injury and befriended whilst fleeing cruel treatment by his master, again in the province of North Africa. The story was later adapted and turned into a Christian triumphalist tale, with various versions popping up and placing a different protagonist at the centre of the lion-taming. The whole story is beyond ludicrous, but Aullus Gellius claims that his source (who is named as Apion Plistonices, a Hellenised Egyptian and the author of a work on all things Egyptian) “saw the event as an eyewitness” in the city of Rome. The event he claims to have seen was the lion refusing to attack Androcles, which in fact was not uncommon in wild beast hunts. The animals were starved but terrified and their handlers had little to no idea how to look after them. Most of them died en route from Africa and those that did survive usually had to be goaded into attacking their victims. So, the notion of a lion not leaping enthusiastically on its prey is perhaps entirely plausible; however, the idea that it “gradually and calmly approached the man as if recognising him, then moved his tail in the manner and way of dogs showing affection” does not sound in any way plausible to me.

There is no doubt that authors in the ancient world struggled with a significant amount of ignorance, thus they were vulnerable to fake news just as much as we are. Ironically, their vulnerability to fake news and propaganda was perhaps caused by the exact opposite problem to the one that we face: in the ancient world, news spread incredibly slowly and came largely through word of mouth. Was it easier for an emperor to maintain an aura of mystique when nobody saw him, except perhaps as an etching on a coin? Certainly, we have evidence that emperor worship was more common in the distant provinces, places where the reality of the man would never be seen.

Obviously, it was not just the way that news was proliferated in the ancient world that was the problem, it was their relative ignorance when it came to matters of science. While philosophy, studied and practised rigorously by many academics in the ancient world, was the mother of science and Aristotle is rightly hailed as the father of the scientific method, he and other philosophers had little past knowledge to build upon in the field of biology. While the ancient thinkers made quite remarkable observations in the fields of what we would now call mathematics and astronomy, they really were a right bunch of dullards when it came to biology, I’m afraid. I would strongly advise you not to take any of their health advice, particularly when it comes to female biology!

One of the most depressing things about the ancient philosophers is how tightly constrained they were by their own cultural blindness. For me, it is a sobering lesson that even the most brilliant minds in the history of time have been deadened by their cultural milieu. Take someone like Aristotle: I would argue that his intellect is one of the greatest that man has ever seen. His fascination with everything, his breadth of knowledge and interests, his capacity for learning, his ability to understand that morality is complex and nuanced (something really not grasped by any of his philosophical predecessors) and his tentative forays into what we would call the scientific method, all of these things and more make him a genuine phenomenon. Yet this man argued doggedly that some people are “natural slaves” and wrote a whole treatise on what a jolly good idea slavery was. Slavery in the ancient world wasn’t really questioned by any of the great thinkers. Some, particularly the Stoics, argued against the cruel and unusual treatment of slaves, but none really made the case that slavery in and of itself was an aberration of morality. This, more than anything, should prove to us that people are always at the mercy of the time in which they are born: however great their intellect, it remains very difficult for them to leap outside of the assumptions that they have been presented with as the cultural norm.

One of the many reasons for studying the ancient world is to be able to view a whole society through a dispassionate lens. It is much easier, for example, to talk about the concept of slavery when you are talking about something that happened in a society that existed 2000 years ago, whose ills do not feel like your responsibility on any level. It is much safer than discussing the much more recent transatlantic slave trade, for example, indeed I know plenty of modern historians who do not consider it to be an appropriate topic for younger students: it is, quite simply, too raw. Further than this, what few people seem capable of grasping is that the ancient world should give us cause to reflect on our own ignorance. If some of the greatest minds that have existed since the dawn of time could get some things so spectacularly wrong, then what concepts are we failing to grasp? What will our successors be horrified by in the future? What will they laugh at? How will we seem uninformed? What are our inevitable blind spots? What, indeed, are we lying about?

Photo of a recent anti-Trump protest at LA International Airport by Kayla Velasquez on Unsplash; nice to see the correct use of the subjunctive on a placard!

Who needs decent resources?

It is an absolute miracle. For the first time in the history of the subject, a publisher has produced a complete Anthology, containing all of the OCR GCSE Latin set texts for examination in 2027 and 2028. In an unprecedented move, someone has had the ground-breaking idea of actually publishing the resources that OCR wish teachers to teach and children to study. Such radical thinking can only be attributed to a stroke of genius.

Previously, it may surprise non-specialists to know, only some of the GCSE Latin literature texts were published in a modern format and only some of those publications were formally ratified by OCR. What an incredible leap of imagination it must have taken for the intelligentsia behind the wheel at OCR to think of the idea of a published Anthology of all the texts that they have selected, in the fancy modern format of a book! To be fair, they have been very busy coming up with their dramatic new rebrand, an imminent name switch from “OCR” to “Cambridge OCR”, billed in an email they sent me this week as “an exciting change”. Fundamentally, it means that a group currently called OCR, which stands for “Oxford, Cambridge and Royal Society of Arts” will now become “Cambridge Oxford, Cambridge and Royal Society of Arts”. I hope that’s clear.

Anyway, back to the majestic leap of imagination that is the new Latin Anthology. Not only has someone printed the texts out, they have even glued the pages together! It really is quite the thing. And get this. You can buy it through the publisher, you can buy it through bookstores, you can even buy it on Amazon! Did you know that you can purchase books on Amazon? Imagine my excitement. What relief and joy this publication will bring! Obviously, it will be aimed at students, will it not? Or perhaps aimed rather at teachers, as a complete preparation tool? I was breathless with anticipation. However, within five minutes of glancing through my much-anticipated purchase, it became apparent that this Anthology was an attempt at both of these things and a success at neither.

The first thing to note about the publication is the distinctly bizarre “endorsement statement” from OCR (soon to be Cambridge OCR) at the beginning. It states that while “the teaching content of this resource is endorsed by OCR” (for which I read that they’ve managed to select the correct bits of the text) we are told that “all references to assessment, including assessment preparation and practice questions of any format/style, are the publisher’s interpretation of the specification and are not endorsed by OCR.” Erm, okay. There follows some further language of accountability avoidance that goes on for quite some time, but the general gist is a clear and rather anxiety-inducing attempt by the board to distance themselves from the statement printed on the front cover, which is that the book is “endorsed by OCR”. Does this even happen in other subjects?! Maybe it does, but it seems distinctly odd. Either the book is endorsed or it isn’t, surely?

Things then get worse. The preface and “how to use this book” both seem to slide and shift constantly between the implication that the resource is aimed at teachers for preparation purposes and that it is aimed at students as a workbook. The result of this apparent attempt at dual purpose (or perhaps confusion/indecision as to the purpose at all), is unsurprising: the Anthology fails in its attempt to achieve either of these things. Whether this is the fault of the publisher or the authors is impossible to tell, but it really is a tangible fail.

So far, I have only worked through the Virgil text (extracts from Book II of the Aeneid), and I am already half way to despair. Firstly, despite its promise in the preface to students and non-specialist teachers that the book “aims primarily to help readers understand what the Latin means” there is one rather glaring omission. The authors do not provide an English translation of the texts. For the love of God, why not?! As a friend and fellow tutor put it to me in a message last week, “If [OCR are] going to be so picky as to what they allow … they might as well provide [a translation] and put everyone out of their misery.” Exactly this. In mark schemes over the years I have frequently seen phrases such as “do not accept [perfectly legitimate translation of the word in my reasonably well-informed opinion]”. So, teachers are still expected to somehow divine what it is that examiners will and will not consider to be an acceptable translation of every single word and phrase in every single text. It is genuinely exhausting and I simply do not understand why we have to play this game every single year. Just give us the translation that you approve of, for crying out loud.

The authors’ (or perhaps OCR’s) decision not to provide a translation causes further, compounding inadequacies in their notes, since they frequently fail to give sufficient thought to their suggestions for the translation of individual words. For example, they suggest the translation “waves” for both undas and fluctus, when those two words occur very close together and surely need differing translations to avoid confusion and to mimic the original Latin; in the same lines, the authors provide “raised” for the participle arrecta, then “rise above” for superant, which comes very soon after it. Following their instructions, this would render the lines:

pectora quorum inter fluctus arrecta iubaeque
Their chests raised above the waves and their blood-red crests

sanguinae superant undas.
rising above the waves.

Not only does this fail to do Virgil any kind of justice, it lacks clarity for the novice reader. The authors’ failure to sit down and decide how they would render a full and competent translation of the lines in their entirety (a task which will be asked of the 16-year-old novices who will be examined on this text) leads inevitably to some thoroughly confusing suggestions on their part for the translation of individual words. This is merely one example, but I found multiple cases throughout the Anthology which evidenced this lack of coordinated thinking.

In addition to the conspicuous omission of an approved translation and the knock-on effect that this has on the notes, the notes are disappointing in other ways. While some of them provide useful textual support, there have been times when I have wanted to wail in frustration. My exasperation stems from the authors’ palpable lack of clarity about the purpose of this Anthology, their inability to decide their target audience. Here is just one example of what I mean: at the end of the first section of the Virgil text, Aeneas claims reluctance to recount the painful story of how the Greeks sacked Troy. He says, quamquam animus meminisse horret luctuque refugit, incipiam: “although my mind shudders to remember and recoils in grief, I shall begin.” I would love someone to explain to me the purpose of the facing note in the Anthology, which relates to the final word of this section: it says, “what tense is incipiam?” Ugh. Obviously, I can tell you what tense incipiam is, because I am a Latin teacher: I do not need help with recognising the future tense. But if I were needing help with this (for example, if I were a student, or if I were a non-specialist who was wrestling with the material), then what is the point of asking me a question to which I may not know the correct answer? This is exactly the kind of infuriatingly pointless annotation that is useful to precisely nobody. For a subject expert, it is superfluous; for a novice, it is maddeningly unhelpful.

I am honestly quite a cheerful person, with a positive outlook. Yet, with so many people in institutions that have power and influence over my own working life so unrelentingly mediocre at what they do, it is becoming increasingly difficult to remain sanguine.

What GCSE students don’t know about the Aeneid

Since last week, when I wrote again about the power of one-to-one tutoring, I have had even further cause to reflect on its essential benefits.

It would come as shock, I suspect, to most classroom teachers, the extent to which students forget, misinterpret or loftily ignore what they have no doubt been taught in school. I say “no doubt” because I refuse to believe that students have never been taught the basic background to the texts that they are studying, despite their protestations.

What does happen, I believe, is that teachers over-estimate students’ ability to absorb and remember complex material. It certainly came as a shock to me when I started to read more about how memory works (a criminally overlooked field of study in my training) and came to realise just how much repetition is required for students to grasp the basics. In this blog post, I plan to outline the opening few lines of one of the current OCR set texts and explore the things that have puzzled, baffled and troubled the students I have worked with this year. I hope that this will enlighten readers as to the extent that some students struggle with complex material.

One of this year’s texts is taken from Virgil’s Aeneid Book 1. It starts at line 13, so as close to the beginning of the text as one could wish for. This potentially makes for a much easier life than the times when a set text has been taken from Book 10 or Book 12. One would have thought that it would be an easy task to get students to comprehend the basic facts of what the text is about and its core purpose. Well, one would have thought wrongly. With only one exception, the students requesting my help with the Virgil text this year have not been able to define what an epic is, nor were they able to say what Virgil’s purpose was in writing the Aeneid. Most of them swore blind that they’d never been taught the definition of an epic. Beyond this, they have all been baffled to the point of total and utter confusion as to who the Trojans were and what on earth they had to do with the Romans and their self-definition. So, let’s look at some extracts from the opening lines of the text and see in more detail what’s been troubling my charges.

urbs antiqua fuit, Tyrii tenuere coloni,
There was an ancient city, [which] Tyrian settlers inhabited,

Karthago, Italiam contra Tiberinaque longe
Carthage, opposite Italy and the far-distant mouth of the Tiber,

ostia, dives opum studiisque asperrima belli;
rich in resources and most formidable in the practices of war;

Out of those who have requested help with the Virgil, most of them were unable to tell me where Carthage was and why it’s described as a formidable stronghold. None of them – genuinely no exceptions – understood the historical fact that the Romans had destroyed Carthage over 100 years before Virgil was writing. While I would not for one moment expect any of them to have detailed knowledge of the three Punic Wars, I was a little surprised that none of them seemed to be conscious of the fact that Virgil was writing in a world in which this rival superpower had been razed to the ground decades earlier, and that this was a crucially important part of how the Romans defined themselves. Does it seem likely that this was never mentioned by any of their teachers? I think probably not. Is it likely, however, that this was perhaps mentioned once in the first lesson and then rarely – if ever – reiterated? That, I’m afraid, seems plausible. I think teachers need to think very hard about what’s happening in the first couple of lessons of set text work. When you present the students with the text, their minds are completely preoccupied with the length of it and how on earth they are going to cope with learning it; they are thus even less likely to absorb any background information you’re giving them.

Very few students were able to tell me what the Tiber is (a river in Rome, as iconic to the Romans as the Thames is to Londoners) and none of them seemed to understand how Carthage is “opposite” Italy. Carthage lay on the other side of the Mediterranean sea, located on the coast of north Africa, in what we now call Tunisia – indeed, it kind of bulges out into the sea and looks to be the bit of land mass in Africa that is closest to Italy. Perhaps it is because my own sense of direction and general geography is so embarrassingly poor that I always look all of these places and features up on a map and contextualise them for myself in detail. Do teachers assume that their students’ knowledge of geography is as sound as their own? Maybe so, and if so, I guess my advantage is that my own geography is so awful that I assume absolutely nothing! Anyway, the text and the description of Carthage continues:

quam Iuno fertur terris magis omnibus unam
[one] which Juno is said to have cherished more [than] all [other] lands,

posthabita coluisse Samo; hic illius arma,
valuing [even] Samos the less;

Now we’re getting on to the meat of the text and what Virgil is building up to in this opening section. He sets out to explain why Juno, the queen of the gods (most students didn’t know that, by the way), has a massive beef with the Trojans. Here, he highlights the fact that Juno values Carthage even more than Samos. What’s he on about? My students didn’t know. Samos, an island off the coast of modern-day Turkey, was the birthplace of Juno and a centre of her worship. The fact that she values it less than Carthage highlights the importance of Carthage to her and hence her overwhelming desire to protect it. This is why Virgil mentions Samos.

progeniem sed enim Troiano a sanguine duci
But indeed she had heard [that] a breed [would] arise from Trojan blood,

audierat, Tyrias olim quae verteret arces;
which would one day overturn the Tyrian stronghold;

hinc populum late regem belloque superbum
from this would come a nation, wide-ruling and superior in war,

venturum excidio Libyae: sic volvere Parcas.
for the destruction of Libya: thus were the Fates unrolling.

I have asked all of my students to tell me who “the breed that would arise from Trojan blood” are, which could absolutely come up as a one-mark question in the exam. Until I explained, very few of them understood that it was the Romans. They seemed genuinely unsure about the point of the Aeneid‘s opening, which is to highlight how difficult the goddess Juno made it for the Trojans to make it to Italy, which was their destiny. Why were they headed to Italy? Again, when asked, students had not grasped the fact that Aeneas and the rest of the Trojans were refugees, survivors of the Trojan War and in search of a new city now that theirs had been destroyed. It seems remarkable given current events in both Europe and beyond that students seem to find this resonant fact so easy to forget. Has the analogy with modern refugees setting sail across dangerous waters ever been drawn for them? I do hope that is has, but again, maybe that’s happened only once. Students had failed to grasp that the Trojans are trying to get to Italy and that Juno is trying to prevent this because she is trying to prevent the Roman empire from existing and thus to prevent the destruction of Carthage by the Romans. Now, here’s what’s really interesting: I have explained this multiple times and in multiple ways to several different students individually, and most of them have really struggled to grasp it. I suspect it’s partly because they are having to think about multiple timelines and this is difficult for younger people; I also think it might have something to do with the fact that some of what they are being told is historical fact and some of it is legend – they genuinely find it difficult to get a handle on what it all means and how it fits together. I am still thinking about how it could be better explained in the future, since it’s clearly a lot more difficult to understand than those of us who are subject experts realise.

necdum etiam causae irarum saevique dolores
not even now had the causes of [her] resentment and bitter griefs

exciderant animo: manet alta mente repostum
left [her] heart: deep in her mind remained the far-off

iudicium Paridis spretaeque iniuria formae,
judgement of Paris and the insult of her beauty scorned,

et genus invisum, et rapti Ganymedis honores.
and her enmity towards the tribe and the honours paid to the stolen Ganymede.

Here, Virgil lists the reasons that Juno has for hating the Trojans. It seems that students find this really difficult, too. This is perhaps because they must grasp two separate things: firstly, they must understand that Juno’s over-arching reason for hating the Trojans is that they are destined to give rise to the Romans, who will eventually destroy her beloved Carthage. They find this really difficult to grasp, as I explained above. In addition, they must also understand that Juno has some other more petty reasons for hating the Trojans, mentioned here by Virgil. She has a general enmity towards the tribe because it is descended from someone called Dardanus, who was the son of her husband Jupiter as a result of one of his numerous extra-marital affairs. Thus, the existence of the entire Trojan race was an insult to Juno. In addition (and this is the only story that most of the students seemed familiar with) there was the beauty contest between three goddesses that Paris, a Trojan prince, was given the dubious task of judging. His choice was ultimately the cause of the Trojan War, since the bribe he was offered by the winner (Venus) was the most beautiful woman in the world, which was Helen, who happened to be married to a Greek. Hence, when Paris claimed his prize, the Greek tribes waged war upon the Trojans. More importantly for our purposes, the fact that Juno was not selected as the winner of the contest was yet another slight against her by a Trojan. The third petty reason mentioned, the “honours paid to the stolen Ganymede” is all about Jupiter’s promiscuity again. Ganymede was a handsome Trojan that Jupiter took a fancy to and abducted, yet another insult to his wife. (Note: Ganymede was not, as one of my students was absolutely convinced of, a horse. Not that taking a fancy to a horse was beyond Jupiter, miind you, but that isn’t what happened in the story).

his accensa super, iactatos aequore toto
Inflamed further by these [things], she kept the Trojans [who were] left by the Danaans

Troas, reliquias Danaum atque immitis Achilli,
and by ruthless Achilles far-distant from Latium, storm-tossed in every corner of the sea;

arcebat longe Latio, multosque per annos
and for many years

errabant, acti fatis, maria omnia circum.
they wandered around all the oceans by an act of fate.

tantae molis erat Romanam condere gentem!
Such a great undertaking it was to found the Roman race!

Here, Virgil sums up his overall point: that it is Juno’s hatred of the Trojans and her fear of their impending destiny, which causes her to work against their journey and to thus postpone their fulfilment of fate. One of the final things that I have noticed students really struggle to grasp is that fact that Juno knows full well that she won’t succeed: as a goddess, she can see the past, the present and the future, and she knows that the destruction of Carthage by the Romans is fated and inevitable. Still, she’s going to do everything in her power to prevent, or at least delay, the inevitable. I find it interesting that young people should struggle to understand this very human kind of motivation – that we might still strive for something that we already know is doomed to failure in the longterm. I guess they haven’t had experience of it yet.

Before teachers feel too dismal, I should point out that I do tend to specialise in working with students who really struggle with the subject. That said, what has been interesting this year is that almost all of my students have struggled with this text, even the high-fliers. I hope that this post has given some food for thought. It is so easy to assume that students have understood what we have told them, so easy to imagine they are following what we say. Until we delve a little deeper – one of the immense joys of working one-to-one as I do now – we can delude ourselves that they have understood the point of a text and are following its meaning.

The role of the translator?

The festive season would not be complete without an EduTwitter bust up, and this year there was more than one. Pleasingly, the one that’s rumbled on the longest is a controversy surrounding Homer’s Odyssey, striking a rare burst of attention for Classics in the broader world of education. The debate started with some people arguing about whether school-teachers have or should have read or taught this text in schools. Quite why anybody cares remains a puzzle. After a few days, however, the row spread amongst a much wider audience and mutated into reactions to a recent translation from the original Greek by Emily Wilson, who in 2018 became the first woman to publish a full English translation of the Odyssey, to much fanfare.

Predictably, people’s reactions to Wilson’s translation fall into clear political camps. The Guardian hailed it as “groundbreaking” and a feminist interpretation which will “change our understanding of it forever” while critics more right of centre breathed anxiously in and out of a paper bag and muttered dire warnings about the decline of the West. It’s all very silly, but in amongst all the hysteria has been some unintentionally thoughtful commentary: sometimes, people don’t even realise that they’ve said something interesting while they are trying to score a political point. “The job of a translator is not to attribute postmodern ideas of sex oppression to a writer who has been dead for 3000 years” raged Charlie Bentley-Astor. Broadly, I don’t disagree with her, but I found myself pondering: what is the role of the translator, exactly?

Those who have not studied languages, particularly ancient languages, might find this question bizarre. The role of the translator, surely, is to reproduce the text as faithfully as possible in a different language? Well, yes. But you see, it depends what your priorities are and it depends what aspects of the text you believe are most important to remain faithful to. The spirit and mores of the times? The lyrical qualities of the original? Its readability? And what is the purpose of your translation? To support the study of the text in the original language? Or to open up the text to a wider audience, who will never have the chance to study it in the original Greek? These are just a handful of the questions that a translator must ask themselves. The translations that I produce for students who are studying a text in the original Latin are clunky and unsuitable for publication. This is because their sole purpose is to facilitate the students’ understanding of the Latin text in front of them, on which they will be questioned in an examination: I do not produce my work for the pleasure of a general audience, so I am not aiming at fluidity, readability or beauty, all of which are potentially important when publishing a translation for a wider readership, for people who want to enjoy reading a text for pleasure.

The power of the translator is immense, and those who are exercised by Wilson’s approach are upset by the fact that she has been credited with approaching the text from a more feminist standpoint, potentially imbuing it with a set of values that could not have been imagined by Homer himself. Yet I simply do not understand the hysterical reaction by some conservatives, who seem completely oblivious to the fact that this interpretative dance has gone on since the dawn of time. Every translator inculcates a text with his or her own priorities, and every translator knows that. If you are picking up a translation of an ancient text and you honestly believe that it will be giving you a faithful, full and accurate rendering of the original author’s meaning and intention then you are deeply naïve, for this is impossible. It is for this reason that I have never understood those who claim to understand the “word of God” when they have not studied their own religious texts in the original language in which it was written. So, Christians, off you go to learn Hebrew and New Testament Greek!

Let’s just take one very simple example of the problem. Imagine that I were producing a translation of Virgil’s Aeneid. How would I render the phrase “imperium sine fine”, which is what Jupiter states that he will grant to the Romans? The word imperium has multiple meanings and can be translated as “power”, “command” or “empire”. It had some quite specific and technical meanings in relation to the command that a general had over a region but was also tied up with the Roman belief that the expansion of their dominion was a fundamentally good and noble thing: this included the exercising of power over other nations and the geographical expansion of their borders. The phrase sine fine could be rendered “without end” or “without borders” – it refers both to the physical extent of the Roman empire and to their belief that their domination was not only unlimited in terms of their relationship with the world, but that it would be unlimited in time. The phrase is therefore deeply resonant in the Roman mindset – that their empire, their military might, their control over the world was divinely-granted: it had no borders and it would last forever.

I would argue further that it is not only the layered meanings that such a phrase had for the Romans that have to be considered when translating this phrase now. As readers from a modern perspective, in the full knowledge of the decline and fall of the Roman empire, the phrase imperium sine fine has a poignancy for us that Virgil could not have imagined. This does not mean that its meaning to a modern audience does not have value – quite the opposite. There would be little point in the survival of ancient texts if they were not to strike resonances within us as a result of the changes that have taken place since they were written.

The importance of capturing the spirit of a text over and above remaining faithful to its construction is a challenge faced by those who convert a classic novel into a film or a drama. The 1992 film version of John Steinbeck’s Of Mice and Men, directed and produced by Gary Sinise and starring John Malkovich is – in my opinion – an absolute masterpiece of this spiritual capture. The opening scenes are entirely invented by the film-makers: a terrified woman in a torn red dress runs across farmland, then we see men on horseback who appear to be in pursuit of the woman’s assailant. Those of you who know the novel will understand exactly the background to George and Lennie’s situation that this represents and in my view it was a brilliant leap of imagination to transfer the information to film in this way.

Conservatives who fear “incorrect” interpretations of a text fail to understand that the enduring appeal of a text lies in its interpretation. Believe you me, Aristophanes did not have a feminist slant in mind when he wrote Lysistrata, a comic play poking fun at the incompetence of the Athenian political intelligentsia, who were doing such a God-awful job that even the women could probably do it better! That was the joke, for the Athenian audience. Yet Lysistrata is – inevitably – read and performed as a feminist play in the modern setting, and I have enjoyed productions that have rendered it thus. Thus, I do find myself chuckling at the rising hysteria expressed by many who seem so terrified by the fact that Homer has now been translated by a woman. I do wish they could understand that Homer will survive: he’s big enough and man enough to take it.

The best use of curriculum time

“Time is the most valuable thing a man can spend.”

Theophrastus.

On Wednesday, I had my regular fortnightly meeting with the new teacher who has taken over the teaching of Latin in the school where I used to work. This teacher is an ECT (in her first year of teaching) and while she will of course have a professional, in-house mentor to oversee her development within the school, the Head was conscious of and rightly concerned about the fact that she will have no subject expert in the building to offer her support. That’s where I come in. This week, I found my young protégé in a bit of a flap about one particular part of the language curriculum and since reflecting on our time together I realise that I was less helpful than I could have been. Rather than letting our conversation continue when it comes to the grammar at a granular level, what I needed to do was to get her to reflect on which aspects of the curriculum actually require the most time spent on them. Next time I see her, I shall do so.

One of the most frustrating things about leaving teaching is at last having the time to see and understand how one could completely re-write the curriculum to reflect more accurately the way that the exam papers are written. What those outside the profession will find difficult to understand is that it is left in the hands of often new and experienced teachers to design an entire curriculum to prepare for an exam they did not write. No real guidance is shared by the exam boards (and on the odd occasion when some guidance is offered, it is usually either unrealistic or unworkable in some or most settings). What we really need is for exam-setters to work alongside schools to build an appropriate curriculum, but that’s never going to happen.

As we talked, my instincts were telling me that this teacher was becoming unnecessarily bogged down by her worries about a particular construction and was planning to spend a huge amount of time on it. I need to make sure that she does not do this. The reason? Well, I have just reviewed the 8 separate past and specimen papers that we have from the exam she is entering her students for, and this particular construction appears either once or twice in each language paper. Around half of the time, its appearance is supported by comprehension questions, which guide the candidate towards the correct interpretation. The rest of the time, the examples used are almost exclusively ones which most students would be able to translate on instinct, even if they had never been taught the existence of this particular construction. Compare that to another kind of construction, which most teachers skim over very briefly, but which in fact appears multiple times in every single exam paper. Which would you focus on? Sounds obvious now, doesn’t it? But you wouldn’t believe how few teachers go through this thought-process when designing their curriculum and planning their lesson time.

Having made the switch from the classroom to private tutoring, I am in contact with dozens of students from multiple different types of schools. Something I have come to realise is that almost all teachers over-teach the aspects of the curriculum that they believe to be difficult. It is not that their beliefs are incorrect, but what they get wrong is the amount of curriculum time that they dedicate to these concepts as a result of their relative complexity. It’s a common assumption in education that one must spend more time on something because it is difficult. In fact, this must be weighed up against three crucial realities: firstly, the nature, knowledge and curriculum history of the students that we have in front of us; secondly, the amount of time that we actually have with them; thirdly – and perhaps most crucially – the relative weighting that this difficult concept carries when it comes to final outcomes. This requires an understanding of how much, how often and with how much depth that difficult concept is tested, as well as how many marks that testing carries. Once you start trying to balance this equation, it can lead to some surprising conclusions, which might not seem obvious to anyone but the most experienced in curriculum design.

If a concept or construction is so difficult that its full understanding will require multiple hours of curriculum time, yet that very construction is only likely to add up to three marks on one paper, which converts to 1.5% of the student’s overall score … is that concept actually worth teaching at all? It’s something to think about, at least. Perhaps one could teach it in a very condensed form, teach some broad strategies that work in the majority of cases and leave it at that. Certainly, what one should not do, is spend hours and hours of precious curriculum time trying to bring students to the point of full understanding whilst neglecting other concepts which we might consider simpler but appear multiple times on the paper and are thus integral to success. It simply isn’t the sensible approach, given the huge constraints that all schools face when it comes to curriculum time.

The tendency for teachers to labour what’s difficult is something which I share openly with my tutees. I am very careful not to criticise or undermine the school’s curriculum, but I simply explain that it is natural for teachers to spend lots of time on the things that they know are difficult as they are setting the bar high for their students. Children of the age that I work with are perfectly capable of understanding that this might be a noble and understandable approach, but is perhaps not the best strategy to help them if they are struggling with the basics. Even the most able students, who are aiming at the highest grades, can still be reassured by the knowledge that the most challenging aspects of the curriculum are of less importance than perhaps they thought they were; it actually frees them up to grapple with them, once they have been released from the anxiety that their full understanding of this concept is absolutely essential for success. Knowing that you’re working on something that might gain you an extra mark or two is very freeing, and it enables the students who are aiming high to make sensible decisions about how to spend their own time, which is often very stretched.

In Latin, it is not only the language paper that requires this frankness of approach and a realistic analysis of where one’s time should be directed. I have written before about the extent to which teachers over-teach the stylistic analysis of literature texts, when the overwhelming majority of marks are gained in the exam through students simply knowing the text off by heart. I emphasise this over and again to the students I am working with, many of whom come to me because they are scoring very low marks in this aspect of the examination. Students can score at least 80% by simply knowing the text like the back of their hand, so this should be the overwhelming focus of the lesson: despite this, I have so far come across only one school where I would say this is happening – where the focus is on drilling and making it clear to students that they must be learning the text in detail. I shall not name the school, but one thing I will say is that it is a very high-achieving school, where the Latin department produces results of almost exclusively 8s and 9s in the GCSE every single year: this goes to show that the school is not avoiding the trickiest concepts – there is no way a student could score a Grade 9 without getting a decent score in the style questions – but it shows that they understand how to balance their curriculum and focus their efforts on what gains students the biggest advantage. The emphasis must be on knowledge, with the complex skills being supplementary to that. The final clincher, which again I share with my students, is that the high-level questions become infinitely easier and more doable once you know the text. Thus, a student who has already gained a solid knowledge of the text that is in front of them has a much better chance of being able to understand and apply the ideas he/she is being taught to gain those elusive extra marks.

On bugbears and juxtaposition

An old Head of Department from many years ago used to start his Year 7 German course in the same way every year. Every year he would ask students to name any famous Germans they could think of. Every year he hoped to hear names like Michael Schumacher or Boris Becker, or perhaps one of the countless famous German composers from over the centuries. Every year he was given Hitler. It never seemed to occur to this lovely man that perhaps there was a better way of starting off his first German lesson. Something made him do the same thing over and again and I think a bit of him somehow relished the inevitable disappointment. We all have our crosses to bear in our chosen subjects.

For anyone who teaches or touches upon Roman culture, for us it’s waiting for the inevitable moment when a child will inform us that the Romans used to eat so much at their dinner parties that they would go and make themselves sick so that they could eat more. I’ve even overheard the guides at Pompeii help to perpetuate this myth by mischievously telling tourists that any random passageway that they can’t account for is a “vomitorium”, where guests would relieve themselves to create space for more gluttony. They know that this is nonsense. The confusion seems to have come from the word vomitorium itself (which actually was used by the Romans to refer to any passageway leading crowds out of a public building) combined with satirical pieces such as Trimalchio’s Feast, sometimes called The Millionaire’s Dinner Party, which describes the imagined excesses of dinner parties held by the nouveaux riches. We also have the disapproving remarks of authors such as Seneca, who wrote of slaves cleaning up the vomit of drunks at banquets and criticised what he saw as the excesses of Rome. It’s a depressingly familiar picture for anyone who has worked in a hotel or similar establishment in modern Britain; wealthy Romans were no more or no less gluttonous than the comfortably-off in any society, especially those societies which have alcohol at the heart of their culture.

Eye-roll inducing as this was, my personal bugbear of misinformation I simply cannot wait to hear is different. I tell myself I have to go there to prevent students from getting it wrong in their exams, but in truth there’s a bit of me that cannot resist it for my own torture. When working on the literature, I always ask every GCSE candidate what they think the term juxtaposition means. Almost without exception, students will tell me that the word means “contrast”. On an exceptionally good day, they will tell me that it means “putting things next to each other in order to create a contrast”. In actual fact, it means “putting things next to each other” and this may be done in order to highlight a contrast.

While I hate to be a massive Latin bore, I’m afraid this is yet another case where a simple knowledge of the Latin roots of words can help. To juxtapose has its origins in the Latin words iuxta (which means “next to”) and iungo (“to join”, also notable in derivatives such as join, conjunction, conjugation, conjugal) alongside the Latin word positus (“place” or “position”). It quite literally means “a placing next to”: there is no mention of the notion of contrast in the original etymological meaning of the word. The frequency with which the technique is used to highlight a contrast means that it is arguably justifiable to include this in the definition, but the etymological roots of the word really must be prioritised. Fundamentally, juxtaposition is placing a word or phrase next to another word or phrase, often but not exclusively to highlight a contrast.

Unfortunately, students (and teachers) Googling the word will find an avalanche of quotations using the word to mean simply and exclusively “contrast”. Just this morning I spotted a horrendous meme quoting American guitarist Dean Ween of all people: “the juxtaposition of fishing and touring couldn’t be greater”. Sigh.

Another part of the problem with this misunderstanding is that English really isn’t very good at doing juxtaposition. Our language requires too many supplementary words to make sense, plus we cannot muck about with word order in the way that Latin can without a serious change in meaning. Word order is sense-critical in the English language: “man bites dog” means the opposite of “dog bites man”. Latin, being an inflected language (i.e. one where the endings of the words dictate their meaning and role) has the advantage in that an author can place words next to each other with ease – certainly to highlight a contrast or frankly to do whatever he wishes.

The good news is that once a student realised what juxtaposition means it becomes much easier to spot in Latin. Once a student understands that it simply means placing words next to each other, they can assume that an author as adept as Virgil has always done so for a reason – it does not have to be limited to the concept of highlighting a contrast. An author may juxtapose a string of sounds, for example, or indeed words with a similar rather than a contrasting meaning. It’s entirely up to him.