Since I began teaching a language, it’s been pretty hard letting go of the graduate school generic UbyD planning mindset, and spending less time working on administrator-desired posted Objectives (see Terry Waltz’s answer for this). These and various other educational processes sap our time that otherwise should be spent on honing our craft, and really, really getting to know our students and their needs. The hardest, but perhaps most fruitful thing to let go is the Lesson Plan, and just discuss something non-targeted in Latin. I know, it sounds crazy, right? Read on…
Latin and Teaching Latin
This website has mostly been dedicated to my work with Latin rhythms. Although I consider using them to be the most underrated practice to engage students, things-metrical take up a small portion of my classes.
For the past year, I’ve increasingly devoted my time to researching the TEACHING of Latin. When I’ve compiled enough info, and am confident in my practices, I will alter the course of this site more towards pedagogy and less towards theory. Topics will likely include:
– Standards-Based Grading
– Proficiency Scales (the END of the zero, and 100-point grading scale)
– Comprehensible Input (CI)
– Teaching Proficiency through Reading and Storytelling (TPRS)
– Practical uses of meter in the classroom (ie. “lesson plans” for the rhythmically-challenged)
Demonstration Video on Scansion
Supplement to the 2nd podcast on Rhythmic Fluency:
Rhythmic Fluency
The first two Rhythmic Fluency Podcasts were featured on Dickinson’s Latin Poetry Podcast. Here is the 3rd, as well as downloadable audio files and supporting blog posts. A link to my Lingua Latīna Poetry Card Game is at the bottom. Those who attended the 2015 CANE Annual Meeting, or ACL Institute workshopd will find all of these resources helpful:
Podcast Episode 1:
Dactylic Hexameter
Natural Accent
Podcast Episode 2:
Hendecasyllables
Simplified Scansion & Demonstration Video
Podcast Episode 3:
Choliambic/Scazon/Limping Iambics
Simplified Pronunciation
Also:
Lingua Latīna Poetry Card Game
Rhythmic Fluency Presentation (Power Point)
Why Accentuation (and ultimately, syllable quantity) Matters…
I recently took part in a great dialogue concerning scansion and pronunciation on LatinTeach. Aside from my beliefs of simplified versions of such practices, the following quote supports how I feel about natural accent in opposition to any practice that accents the ictus, as perpetuated by study of metrical feet. Sure, it’s from 1938 (Problems of the Latin Hexameter), but here’s what one F. Shipley has to say about Virgil’s verse:
“It was clear that he meant his lines to be read with their natural word-accents; that his caesurae were not artificial breaks at mere word-ends within the foot, but natural pauses; that ictus was more of an abstraction than a reality, and that if he recognized it at all as anything more than a purely theoretical marking of time intervals, it was entirely subordinated to the normal accent of words and phrases; and that if we read his verse with the natural accents upon the words, and with the pauses which sense or rhetorical and poetical emphasis demand, we need not concern ourselves with the so-called ictus or with the caesura as a mechanical device…”
Here is an example of the difference between the two…
ictus Ex.:
ARma viRUMque caNO troIAE qui PRImus ab Oris
natural accent Ex.:
ARma viRUMque CAno TROiae qui PRImus ab Oris
The latter has so much more life in it that I am amazed people still follow (or consider using) the former practice at all.
Scansion – Simplified
Traditional Scansion is a silly practice, especially in how it’s notated…the info is already there!!! So before you think I’m nuts, how many possibilities are there in terms of quantity? Two (long and short).
WHY NOTATE BOTH!?!?!?!…………..(if not long, it’s SHORT!)
(see the demonstration video here)
Continue reading
Scazon (Choliambic, “Limping Iambics”)
1 line:
4 lines:
Hendecasyllables
1 line:
4 lines:
Latin Poetry Rhythms – Dactylic Hexameter
Here is a “standard” line of Dactylic Hexameter, which happens to be one of the most recognizable openings; Virgil’s Aeneid (1.1):
arma virumque canō // Trōiae quī prīmus ab ōrīs

