̽��ֱ�� of Cambridge - Latin

New Cambridge Latin course reflects diversity of the Roman world

ta385 — Mon, 11 Jul 2022 10:41:49 +0000

Breaking news from 79 CE: Caecilius has a daughter. Barbillus is a Greco-Syrian man of colour. Enslaved people aren’t always happy. Metella is reading in the atrium.

These statements may read like indecipherable babble to some, but for students of Latin, they are among the most notable changes in the new edition of the Cambridge Latin Course: the leading textbook in the ancient language.

̽��ֱ��course, a mainstay of Latin learning in British schools since the 1970s, has something nearing cult status with its fans. Its vivid stories, beginning in Book One with the adventures of a Pompeiian family featuring Caecilius, his wife, Metella, son, Quintus, and cook, Grumio, have inspired fan fiction, artistic tributes and even a cameo on Doctor Who.

̽��ֱ��newly-published fifth edition represents one of the most significant new editions in its 50-year history. It draws on a wider range of sources and on new scholarship to give a more accurate, evidence-based picture of the classical world. In doing so, it better prepares students to engage with classical works and to think critically about the past, while addressing concerns raised by teachers, academics and students about the representation of women, enslaved people, and minorities in the Roman world.

While the original cast are as central as ever, new characters have been introduced, stories rewritten and features updated. Women have greater prominence (Caecilius has a new daughter called Lucia, for example), readers learn more about the lives of enslaved people, and the multicultural reality of Rome’s vast, intercontinental empire is represented in greater detail.

̽��ֱ��course, written by the Cambridge Schools Classics Project at the ̽��ֱ�� of Cambridge, has been informed by a fact-finding exercise in 2018 which involved school visits, surveys and interviews with hundreds of teachers and pupils, confirmed other long-held doubts about representation in the course books, prompting a more thorough reassessment.

Caroline Bristow, director of the Cambridge School Classics Project, said: “ ̽��ֱ��aim has always been to introduce students to the complexity of the Roman world and get them to think critically about it while learning Latin. That prepares them to engage more thoroughly with authentic classical sources. ̽��ֱ��feedback we got told us we weren’t doing enough in that regard.”

Girls were especially keen to see more of the female characters – many had already started inventing their own backstories for them.

̽��ֱ��stories in the new edition are, as ever, rooted in historical research, but expand women’s roles and devote more attention to their lived experiences. Lucia, for example, is being pushed into an arranged marriage in Book One. Caecilius also hires a female painter, Clara, to introduce students to the fact that poorer Roman women had to work as well as men.

Bristow said: “We wanted to provide students with a more rounded picture of people and events, while ensure the stories remain historically grounded. We’ve done that by drawing from that wider range of sources and events.”

This also helps to address the challenges that inclusion, access and minority representation can present for Classics educators. In particular, research highlights the imposter syndrome that people of colour feel when encountering the inaccurate, but standard, depiction of Rome as predominantly white. Other studies have shown that without being prompted to see diversity, even students of colour automatically make this assumption about the Roman world – a finding backed up by teachers’ experiences in the classroom.

Responding to this, greater attention was given to cultural diversity in the new edition. For example, Barbillus, a wealthy Greco-Syrian merchant character, features more prominently and is clearly presented as a person of colour. His early presence in the stories is partly intended to challenge another general misconception, that such people were always enslaved.

Jasmine Elmer, a Classics educator and media personality whose work focuses on trying to broaden access to, and understanding of, the ancient past, was one of several experts who reviewed the new edition. “We’ve tended to take an all-white view of an empire that clearly wasn’t,” she said. “If you’re a person of colour, it’s natural to wonder whether people like you were even there. ̽��ֱ��new course seems to be braver about those issues. It doesn’t run away from complicated subject matter; it turns it into teaching points.”

Enslaved characters were, in earlier editions, sometimes depicted in simplistic terms: as “happy”, “hard-working” or “lazy”. In the new edition, slavery is now depicted through the eyes of its victims, focusing on their anxieties and gruelling lives.

Other changes reflect developments in historical scholarship since the series was last updated. Ingo Gildenhard, a Professor of Classics at Cambridge, advised the production team on a section on gladiators in Book One. Traditionally, gladiatorial combat has been presented as a strange, bloodthirsty aspect of Roman culture. Without ignoring its horrors, modern research nonetheless shows the reality was more complex: arena combat also stirred Roman audiences because it reinforced key contemporary values, such as martial prowess.

Teaching materials in the new edition draw attention to that more nuanced perspective. “It’s essential that instead of brushing aspects of Roman culture under the carpet, we look at it in the round,” Gildenhard said. “Part of this is about empowering teachers with new scholarship they might not have encountered. It’s also about inviting students to think critically about the past and its relationship to the present. That’s a valuable skill whether or not you end up doing Latin long term.”

Pupils and teachers have tested the new edition and responded positively. One young reviewer told the team: “I like that Lucia is educated, but I would like to know whether she actually wants to marry or not.” Of Clara, another commented: “It’s good that Caecilius is hiring women”.

Bristow said: “We sometimes get told that children just want to learn the language, study the amazing things Romans did and dress up as gladiators,” she said. “There’s lots that was inspiring, but this was a complex world. We’re teaching children to be Classicists. We’re not teaching them to be Romans.”

This story was first published by Cambridge's Faculty of Education.

̽��ֱ��latest edition of the leading Latin course has been designed to more accurately depict the roles of women, minorities and enslaved people in the Roman world.

It’s essential that instead of brushing aspects of Roman culture under the carpet, we look at it in the round

Ingo Gildenhard

Characters from the Cambridge Latin Course, Book One

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First performance in 1,000 years: ‘lost’ songs from the Middle Ages are brought back to life

sjr81 — Sat, 23 Apr 2016 13:09:39 +0000

‘Songs of Consolation’, to be performed at Pembroke College Chapel, Cambridge on April 23, is reconstructed from neumes (symbols representing musical notation in the Middle Ages) and draws heavily on an 11th century manuscript leaf that was stolen from Cambridge and presumed lost for 142 years.

Saturday’s performance features music set to the poetic portions of Roman philosopher Boethius’ magnum opus ̽��ֱ��Consolation of Philosophy. One of the most widely-read and important works of the Middle Ages, it was written during Boethius’ sixth century imprisonment, before his execution for treason. Such was its importance, it was translated by many major figures, including King Alfred the Great, Chaucer and Elizabeth I.

Hundreds of Latin songs were recorded in neumes from the 9th through to the 13th century. These included passages from the classics by Horace and Virgil, late antique authors such as Boethius, and medieval texts from laments to love songs.

However, the task of performing such ancient works today is not as simple as reading and playing the music in front of you. 1,000 years ago, music was written in a way that recorded melodic outlines, but not ‘notes’ as today’s musicians would recognise them; relying on aural traditions and the memory of musicians to keep them alive. Because these aural traditions died out in the 12th century, it has often been thought impossible to reconstruct ‘lost’ music from this era – precisely because the pitches are unknown.

Now, after more than two decades of painstaking work on identifying the techniques used to set particular verse forms, research undertaken by Cambridge ̽��ֱ��’s Dr Sam Barrett has enabled him to reconstruct melodies from the rediscovered leaf of the 11th century ‘Cambridge Songs’.

“This particular leaf – ‘accidentally’ removed from Cambridge ̽��ֱ�� Library by a German scholar in the 1840s – is a crucial piece of the jigsaw as far as recovering the songs is concerned,” said Dr Barrett.

Part detective, part musical time traveller, Barrett’s scholarly groundwork has involved gathering together surviving notations from the Cambridge Songs and other manuscripts around the world and then applying them to the principles of musical setting during this era.

“After rediscovering the leaf from the Cambridge Songs, what remained was the final leap into sound,” he said. “Neumes indicate melodic direction and details of vocal delivery without specifying every pitch and this poses a major problem.

“ ̽��ֱ��traces of lost song repertoires survive, but not the aural memory that once supported them. We know the contours of the melodies and many details about how they were sung, but not the precise pitches that made up the tunes.”

After piecing together an estimated 80-90 per cent of what can be known about the melodies for ̽��ֱ��Consolation of Philosophy, Barrett enlisted the help of Benjamin Bagby of Sequentia – a three-piece group of experienced performers who have built up their own working memory of medieval song.

Bagby, co-founder of Sequentia, is also a director of the Lost Songs Project which is already credited with bringing back to life repertoires from Beowulf through to the Carmina Burana.

Over the last two years, Bagby and Barrett have experimented by testing scholarly theories against the practical requirements of hand and voice, exploring the possibilities offered by accompaniment on period instruments. Working step-by-step, and joined recently by another member of Sequentia, the harpist-singer Hanna Marti, songs from ̽��ֱ��Consolation of Philosophy have now been brought back to life.

Added Barrett: “Ben tries out various possibilities and I react to them – and vice versa. When I see him working through the options that an 11th century person had, it’s genuinely sensational; at times you just think ‘that’s it!’ He brings the human side to the intellectual puzzle I was trying to solve during years of continual frustration.”

While it’s unclear whether Boethius ever wrote Consolation’s poetry to be sung, the Roman philosopher recorded and collected ideas about music in other hugely influential works. During the Middle Ages, until the end of the 12th century, it was common for great works such as Boethius’ to be set to music as a way of learning and ritualising the texts.

There have been other attempted settings of ̽��ֱ��Consolation of Philosophy across the centuries; especially during the renaissance and the 19th century when melodies were invented to sound like popular songs of the day.

But it was the rediscovered leaf of the Cambridge Songs that allowed the crucial breakthrough in being able to finally reassemble the work as it would have been heard around 1,000 years ago.

Originating in the Rhineland in the first half of the 11th century, the Cambridge Songs makes up the final part of an anthology of Latin texts that was held in Canterbury before making its way to Cambridge ̽��ֱ�� Library by the late 17th century.

In 1840, a Germanic scholar cut out an important leaf and returned home. For 142 years, Cambridge presumed it lost before a chance discovery by historian and Liverpool ̽��ֱ�� academic Margaret Gibson in 1982.

During an unscheduled visit to a Frankfurt library, Gibson enquired as to whether they had any Boethius manuscripts and was told of a single leaf in their collections. Gibson immediately recognised the leaf as coming from a copy of Consolation and its likely importance for the number of neumes it contained.

Gibson then got in touch with Cambridge ̽��ֱ�� medievalist Christopher Page, then a PhD candidate, who realised this was the missing leaf from the Cambridge Songs and secured its return to the city nearly a century and a half after its disappearance.

“Without this extraordinary piece of luck, it would have been much, much harder to reconstruct the songs,” added Barrett. “ ̽��ֱ��notations on this single leaf allow us to achieve a critical mass that may not have been possible without it.

“There have been times while I’ve been working on this that I have thought I’m in the 11th century, when the music has been so close it was almost touchable. And it’s those moments that make the last 20 years of work so worthwhile.”

Saturday’s performance, 'Songs of Consolation from Boethius to the Carmina Burana', takes place at Pembroke College Chapel from 8pm-9.30pm. Tickets are £20, £15 (concessions) and £5 for students and are available from songsofconsolation.eventbrite.co.uk or from Pembroke College Porters’ Lodge.

An ancient song repertory will be heard for the first time in 1,000 years this week after being ‘reconstructed’ by a Cambridge researcher and a world-class performer of medieval music

There have been times while I’ve been working on this that I have thought I’m in the 11th century, when the music has been so close it was almost touchable.

Sam Barrett

Carmina qui quondam (excerpt) - Boethius, Consolation of Philosophy I:1

Cambridge ̽��ֱ�� Library

Detail from the Cambridge Songs manuscript leaf that was stolen from and then recovered by Cambridge ̽��ֱ�� Library.

̽��ֱ��text in this work is licensed under a Creative Commons Attribution 4.0 International License. For image use please see separate credits above.

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Opinion: ‘Difficult’ Latin risks remaining a qualification for elite pupils

Anonymous — Mon, 02 Nov 2015 12:20:21 +0000

In a recent column for ̽��ֱ��Telegraph, Angela Epstein branded Jeremy Corbyn as “too thick to be prime minister”. ̽��ֱ��basis of this accusation was the Labour leader’s two Es at A-level, among his other academic adventures. In a world where jobs are won on the basis of experience and networks, one might expect Corbyn’s A-levels – taken in the late 1960s – to be ancient history. Yet the fact this argument can be made in a national newspaper shows that school qualifications matter long into one’s life, and are expected to stand for something.

Indeed, qualifications matter so greatly that the Department for Education has for more than a year now been consulting teachers and other interested parties about the reform of GCSEs. ̽��ֱ��final stages of this reform is still underway, and the government is explicit about its intention to make these qualifications “more academically demanding and knowledge-based”.

A key shift in policy is the move to measure schools’ performance or progress primarily on the basis of the English Baccalaureate (EBacc), the achievement of pupils in English, maths, science, a language and history or geography – rather than English, maths and three other subjects, as has been measured previously.

What this shift appears to acknowledge by focusing on “academically demanding” subjects, is that grades at GCSE mean different things between different subjects. Not all GCSEs are directly comparable – and those which do not make it into the EBacc are understood to be absolutely “less demanding” as courses.

Certainly, this is backed up by research. In a working paper from 2006, Robert Coe of Durham ̽��ֱ�� undertook a study of GCSE subjects using a statistical model developed by Georg Rasch, a Danish statistician of the mid-20th century who specialised in psychometry. It was a comparison of the likelihood for success in different GCSE examinations, based on a pupil’s ability. Coe’s findings are graphically represented below:

Relative difficulty of grades in 34 GCSE subjects ordered by difficulty of grade C. Robert Coe, Author provided

̽��ֱ��general disparity between subjects is clear. But as Coe comments, one of the most striking things about this data is just how difficult Latin appears when compared to other subjects: it is about as difficult to get a grade C in Latin as it is to get a grade B in chemistry, or a grade A in sociology. One is further able to group subjects between those on the left-hand side of the median line – science, technology, maths and engineering subjects, languages and humanities – and those on the right-hand side, which are more vocational in character.

Degree of difficulty

It is important to remember that this is no reflection of any inherent easiness or difficulty in a subject: sociology would not exist as a degree or research specialism if one could not think about it on the same level as Latin or chemistry. What this data instead shows is that these GCSEs test different levels of skills, some of which may be more readily acquired in a lower number of contact hours and some of which take more time.

Pupil achievement appears to be measurable only in relation to the expectations for an individual exam, rather than across all GCSEs. As a result, these grade levels also reflect the typical profile of those taking these exams. In Latin, data from the Cambridge Schools Classics Project suggests that 97% of the candidates taking the examining body OCR’s Latin GCSE are in the top third of the national ability range. What this means is that a profile similar to the sociology GCSE would be useless for classing candidates.

What these profiles really reflect, however, are the groups one would have expected to take these subjects in the 1950s the peak of grammar school education. Vocational subjects, which one might imagine transplanted back into secondary modern schools, could be taught with the expectations of 16-year-olds mastering skills at one level down from the average grammar school student, studying the subjects on the left-hand side of this chart.

While both grammar school pupils and secondary modern pupils would have studied maths, history and other subjects now on the EBacc, secondary modern pupils would typically not have learned Latin: the preserve of those at grammar or fee-paying schools. Those at the top of their sets in these schools, hoping to gain entry into Cambridge or Oxford, would be the ones for whom it was most important to be qualified in Latin, which was a requirement for entrance into both of these universities until 1959.

Quod erat demonstrandum

Today, in spite of this legacy, it can no longer be assumed that the average Latin learner is at the top of the ability range for their school. Since 2000, the numbers of schools offering Latin has increased dramatically, with reportedly 50,000 pupils starting to learn the language each year. For what must be the first time in Latin’s history in the UK, the majority of schools offering Latin right now are non-selective state institutions. Yet, despite this, the numbers of entrants into the OCR GCSE qualification have declined steadily since 2000. We have a situation where more and more young people are interested in Latin and the ancient world, but ever fewer have a qualification to show for it that will survive the current reforms.

Latin has long been defended as a difficult GCSE on the basis of the challenge it offers to the brightest 16-year olds. But as long as qualifications matter, it should be a concern for us all that the middle-range of schoolchildren in this country are put into a situation whereby Latin is inaccessible to them if they want to achieve that “good” rating of A*-C on their CV and they don’t have the opportunity or time to join an after-school club.

If Latin continues to function as a badge of distinction for those at the very top – an A* more impressive than every other A* – then it is a subject that can never belong to everyone. It remains a tool for social elites, with resources of extra contact hours, study time and tutoring, to be classed on their own terms – to the detriment of those now interested in the subject who never had access to it at school before.

This is an edited version of a talk delivered by the author at the Cambridge Festival of Ideas.

Francesca Middleton, Lecturer in Classics (Greek), ̽��ֱ�� of Cambridge

This article was originally published on ̽��ֱ��Conversation. Read the original article.

̽��ֱ��opinions expressed in this article are those of the individual author(s) and do not represent the views of the ̽��ֱ�� of Cambridge.

Francesca Middleton (Faculty of Classics) discusses the reform of GCSEs and Latin's reputation as an academically demanding subject.

General Collection, Beinecke Rare Book and Manuscript Library, Yale ̽��ֱ��

Childrens talk, English & Latin : divided into several clauses

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