30.03.27: Topic / Level 4; transport [3]: wheeled vehicles (3) currus [ii]

The divine status which the chariot could represent is illustrated by Ovid as he describes the chariot of the Sun. Phoebus has been warning Phaethon not to drive the sun chariot because the task is too dangerous. After finishing these warnings, he still reluctantly leads his son to the chariot.

[1] Fīnierat monitūs; dictīs tamen ille repugnat

• he had finished the warnings; but he (Phaeton) resists his words,

[2] prōpositumque premit flagratque cupīdine currūs.

• persists in his purpose, and burns with desire for the chariot.

[3-4] ergō, quā licuit, genitor cunctātus ad altōs / dēdūcit iuvenem, Vulcānia mūnera, currūs.

• Therefore, delaying as long as he could, the father leads the youth up to the lofty chariot, the gift of Vulcan.

[5-6] aureus axis erat, tēmō aureus, aurea summae / curvātūra rotae, radiōrum argenteus ordō;

• The axle was of gold, the pole of gold, the wheelrim of gold; the row of spokes of silver;

[7] per iuga chrȳsolithī positaeque ex ōrdine gemmae

• Chrysolites and gems placed along the yoke in order,

[8] clāra repercussō reddēbant lūmina Phoebō.

• gave a bright light from the reflected sun.

Note the following poetic features:

[i] metre: dactylic hexameter

(1) Fī-nĭ-ĕ | (2) rāt mŏ-nĭ- | (3) tūs; dīc- | (4) tīs tă-mĕn | (5) īl-lĕ rĕ- | (6) pūg-năt

(1) prō-pŏ-sĭ- | (2) tūm-quĕ prĕ- | (3) mīt flā- | (4) grātquĕ cŭ- | (5) pī-dĭ-nĕ | (6) cūr-rūs.

Dactylic hexameter comprises two possible rhythmic patterns:

[ — ◡ ◡ ]: dactyl; fī-nĭ-ĕ | rāt mŏ-nĭ- |

[ — — ]: spondee;  | -tūs; dīc- |

Each single pattern is known as a foot, six of which appear in a line, hence hexameter.

[ii] vowels lengthened by position:

Fī-nĭ-ĕ | rāt mŏ-nĭ- | tūs; dīc- | tīs tă-mĕn | īl-lĕ rĕ- | pūg-năt

prō-pŏ-sĭ- | tūm-quĕ prĕ- | mīt flā- | grātquĕ cŭ- | pī-dĭ-nĕ | cūrrūs.

Line 1: The /a/ of fīnierat is not naturally long, but in poetic metre, vowels are lengthened before 2 consonants:

fī-nĭ-ĕr- | āT Mŏ-nĭ - |

Similarly:

[l1] īL-Lĕ rĕ - |

[l2] prō-po-si-tūM-QUe

[l2] flā- | grāT-QUĕ cŭ-

[l7] gēM-Mae

[iii] elision: the vowel of -que is dropped before the vowel of the following word:

pēr iŭ-gă |  chrȳ-sŏ-lĭ- | thī pŏ-sĭ- | tāe-qu[e] ēx* | ōr-dĭ-nĕ |  gēm-māe | [*i.e. positaequ’ex]

[iv] poetic plurals: the use of a plural to refer to a singular noun is a feature of CL poetry, creating a more elevated tone

[ll3-4] ad altōs … currūs; the adjective clearly marks the noun as plural although only one chariot is being referred to

Compare line 2: flagratque cupīdine currūs where the same noun is being used as a genitive singular

flagratque cupīdine currūs | and burns with desire for the chariot.

[l4]: mūnera (rather than the singular mūnus)

[l8]: lūmina (rather than the singular lūmen)

As you explore Classical Latin poetry in greater depth, you will come across specific terms to describe poetic devices. There are many such terms and it is advisable to note them when they occur since they are consistently used. Two of them are in Line 5:

aureus axis erat, tēmō aureus, aurea summae / curvātūra rotae,

[i] asyndeton: the omission of conjunctions

[ii] polyptoton: words derived from the same root are used together i.e. aureus / aurea

Both features allow for a rapid accumulation of images, emphasising the quantity of gold and mirroring the way in which Phaeton’s eyes dart about upon seeing this treasure.