COMPLETE Messalina Annotations - Entire Text

Style and content annotations for GCSE OCR Latin Literature Messalina text, all in one package to make use of spaced repetition. Passage section given at start of first flashcard

(1-8) “Messalina novo et quasi insano amore incensa est”

Not her first affair, ‘insano’ and ‘incesna est’ use hyperbole to exaggerate lust

(1-8) “iuventis Romanae pulcherrriumum”

superlative used to show beauty of Silius

(1-8) “ita exarserat”

extended metaphor of burning

(1-8) “…nobilem feminam…”

Status highlighted to show outrageous Messalina and Silius’ behaviour is

(1-8) “martrimonio eius exturbat liberoque adultero potiretur”

balanced phrase, nouns bold, verbs italics; use of paradox, as Silius is free, highlights Messalina’s deception of Claudius

(1-8) “neque Silius flagitii aut periculi nescius erat”

litotes, double negative used to create positive, negatives also show poor behaviour

(1-8) “sed intellixit exitium, si abnueret, fore certum…”

enclosing word order used

(1-8) “nonullam facinoris celandi spem esse”

litotes, lit. not none, enclosing word order emphasises lack of hope; also use of variartio, previous use of flagitii instead of facinoris

(1-8) “se manga praemia accepturum”

enclosing word order emphasises rewards coming under his control

(1-8) “igitur placuit neglegere futura et praesentibus frui”

Chiasmus - ABBA order of infinitives with objects - juxtapose present and future to emphasise different approach taken to each

(8-17) “illa non furtim”

litotes, not secretly but should have been, Tacitus disapproves/criticises M.

(8-17) “sed multis…”

adversative conjunction shows contrast in how M. should behave (secretly) with how she actually behaves; multis emphasises number of companions

(8-17) “venitat domum, egredienti adhaeret, dat opes honeresque”

(double) chiasmus, verbs and nouns are juxtaposed to give emphasis to the phrase and highlight M.’s unsuitable behaviour; note ‘venitat’ is in the frequentive form to emphasise how often she visits, and is a historic present, making it more vivid

(8-17) “paratus principis apud…”

plosive alliteration emphasises unusual situation, shows Tacitus’ disgust; asyndeton shows how actions run into each other, suggesting haste or M.’s desperation

(8-17) “at Claudius matrimonii sui ignarus”

Short sentence - emphasises Claudius’ surprising ignorance; ‘at’ signposts adversative change, highlights the rift between C. and M.

(8-17) “versa est. Silius sive fatali insania an ispa…”

sibilance creates harsh sound, indicating the danger of the situation

(8-17) “pericula remedium immentientium periculorum”

polyptoton, different forms of the same word, used to emphasise the danger present no matter their choices

(8-17) “abrumpi dissimulationem urgebat: quippe non expectandum”

Use of passive forms obscure the agent, showing the unwillingness of Silius to take responsibilty for his actions

(8-17) “dum princeps senesceret”

Silius thinks the affair will last a long time, or the opposite. Disrespectful to the emperor to suggest carrying on indefinitely behind his back

(8-17) “opes honores… paratus… matrimonii… faciliatatem adulteriorum… libidines… insania” etc

Use of abstract nouns throughout this part of the text shows the lack of clarity and concealment, and shows uncertainty

(17-26) “nuptiis…matrimonii… nupitarum”

variatio - multiple words for marriage echo the multiple marriages themselves (C/S) and appears both at the start and end of the texts, showing focus of this passage on marriage

(17-26) “qui insidiis incautus sed…”

repeated phrase “in” knits phrase together - in is often used in a military sense for an attack, links to themes of plotting

(17-26) “Messalina, non amore in maritum”

T. tells us this to remind us it ‘should’ be the reason for her heisitation

(17-26) “sed verita ne Silius summa adeptus se sperneret”

Sibilance shows how hostile T is to Silius gaining power, and shows his distaste for the characters

(17-26) “sed tandem persuasum”

Short phrase (‘ei’ and ‘est’ omitted) places emphasis on final word due to abrupt end of sentence - passive form of ‘persuasum’ emphasises that M. is not in control of the decision

(17-26) “nomen enim matrimonii concupivit…”

1st word is ‘nomen’, emphatic position, shows that M. is more concerned with the title of marriage than the marriage itself - prefix ‘con’ emphasises this idea

(17-26) “sacrificii gratia Claudius”

piety of C. contrasts with the disrespect of Messalina, these words have religious overtones which emphasise this disrespect

(17-26) “cuncta nuptiarum sollemnia celebrat”

harsh ‘c’ sound used to convey the big celebratory occasion, historic present also used to paint vivid image

(27-38) “igitur domus principis inhorruit”

Personification of house makes description more vivid, M’s behaviour is so bad that even the house shakes in disapproval

(27-38) “timuerunt ne res verterentur”

fearing clause, using passive, agent is unclear and mysterious, reader intrigued

(27-38) “spem tamen habebant, si Claudio de atrocitate…”

Positive emotion (hope) used to describe a negative outcome for M, shows moral ambiguity, very strong word choice - ‘atrocitate’

(27-38) “…Messalinam posse opprimi sine quaestione damnatam;”

Balanced placing of names stresses that the reaction of Claudius will determine Messalina’s fate - passive inf. obscures N.’s actions

(27-38) “sed periculum esse ne ille defensionem audiret, neve clausae aures etiam confitenti non essent”

M getting a chance to defend herself should be good, shows lack of due process - metaphor of ‘neve clausae’ (ears can’t close physically) and the use of a present participle wihout a noun, ‘confitenti’, emphasises the action

(27-38) “paelices largitione et promissis perpulit”

plosive alliteration shows Tacitus’ disgust for corruption

(27-38) “ad genua Caesaris provoluta…”

supplication (grasping knees), mercy should be shown - shows how she fears his reaction of this information

(27-38) “Messalinam Silio exclamat”

Silius is dative, marriage happening to him, M is in charge; ‘exclamat’ in emphatic position at the end of the phrase

(27-38) “haec confirmante, Calpurnia cieri Narcissusm postulat”

Hard ‘c’ sound alliteration emphasises the accusatory mode of speech - present tense is used (bold) to show these things happening together and now, making it more vivid

(39-49) “qui ‘discidiumne tuum’ inquit ‘novisti?’”

Exaggeration, divorce requires Claudius’ consent - possessive adj. emphasises impact on Claudius, question requires response from C. makes it more dramatic

(39-49) “Silii vidit populus et senatus et milites”

Mentions Silius not M. makes C. more angry; tricolon emphasises amount of people who witnessed this event, polysyndeton further shows this

(39-49) “tenet urbem maritus”

Inverted word order - emphasises that this is Silius not Claudius, stresses this is happening now by bringing the verb forward

(39-49) “non solum rumour interea, sed undique…”

Change of scene before we hear Claudius’ response, rapid, tense and builds suspense - phrasing also emphasises how many different rumours/messages are reaching M.

(39-49) “qui Claudium omnia cognovisse”

First word of phrase emphasises role of Claudius, shows Messalina’s anxiety about his reaction, shows exaggeration by messenger

(39-49) “et venire promptum ultioni”

Shows bad outcome for M. allowing us to imagine her anxiety

(39-49) “igitur Messalina Lucullianos in hortos, Silius dissimulando metui ad forum digrediuntur”

balanced phrases show their different destinations, prefix ‘di’ means ‘in different directions’ placing further emphasis on their split. Different places could also hint that M. and S. have different personalities, not well matched

(39-49) “quamquam res adversae consilium eximerent”

M. is running out of time but still makes a bold plan, shows an admirable character trait?

(39-49) “ire obviam et aspici a marito statim consituit”

Pleonasm (more words than needed) emphasises the act of meeting, alluding to physical attraction - here ‘marito’ refers to C. not S. contrast with earlier in the passage

(39-49) “quod saepe ei fuerat subsidium”

Implication this has worked for her before in prior affairs, shows how Claudius is weak to M.’s charms

(39-49) “misitque ut Britannicus et Octavia”

M. using strategy to manipulate C. - kids will not have mother if she is killed - but the fact that she had to ‘send instructions’ shows she is not with her kids (where T. thinks she should be)

(39-49) “in complexum patris irent”

Britannicus and Octavia have to be ordered to hug Claudius (their father) - shows their distant relationship

(49-59) “atque interim, tribus omnino comitatibus”

word choices gives impression that these things are happening in real time, precise detail makes it more vivid

(49-59) “tam repens erat sollitudo - postquam per urbem pedibus”

subject postponed to convey the isolation, plosive alliteration shows T.’s disgust for M.’s desperation/actions

(49-59) “vehiculo, quo purgamenta hortorum”

associates M. with rubbish, low opinion of her, hyperbaton used (change in word order for emphasis) to emphasise the [rubbish] cart

(49-59) “nullam misericodriam civibus commovit quia flagitiorum deformitas”

multiple forms of alliteration - m sound conveys pity, to emphasise that there is none, and harsh c alliteration shows the lack of mercy; last two words have many syllables, emphasises her bad behaviour

(49-59) “Claudii clamitabatque ut audiret Octaviae et Britannici matrem”

Repeated syllable emphasises the repeated shouting, indirect command shows her desperation, and by focussing on her role as mother she avoids being seen as his wife, which would draw attention to the adulteries

(49-59) “Narcissus tamen obstrepuit…”

short clause shows his abrupt interruption, possibly improper that a freeman should be shouting at the empress, shows M.’s fall from grace; sibilance in this phrase shows conflict

(49-59) “simul, codicillos libidinum indices…”

Legalistic touch shows N is being thorough, by handing over a tablet he is blocking C’s view of M. This presents C as vain, shallow and easily manipulated by M’s physical beauty

(49-59) “…quibus visus Caesaris adverteret”

Claudius is in oblique (not nom.) cases in this section, he is passive, N taking the initiative, he does not speak or act

(49-59) “nec multo post urbem ingredienti offerebantur liberi”

historic present (makes more vivid), subject postponed to create suspense, emphasises subject

(49-59) “sed Narcissus amoveri eos issuit”

Passive verb shows how children are passive, pawns in this situation, Narcissus portrayed as in control and ruthless in preserving his own power

(60-69) “mirum inter haec silentium Claudii”

Enclosing word order places ‘mirum’ in emphatic position, stresses how remarkable it was. Claudius in oblique, shows he is subordinate

(60-69) “omnia liberto oboediebat”

Assonance of o sound, like a dark oath of allegiance, use of ‘liberto’ emphasises N.’s low status as an ex slave, makes scene more shocking

(60-69) “praemonente Narcisso princeps pauca verba”

plosives show Claudius spitting out these consonants (reflects his real stutter), prefix ‘prae’ emphasises strong warning to the soldiers, shows how Claudius is inarticulate throughout this section

(60-69) “continuus dehinc clamor militum nomina reorum et poenas flagitantium”

hard c sound emphasises shouting, anger of soldiers makes Claudius look indifferent, alliteration of m/n shows anger, enclosing word order of ‘militum…flagitantium’ used to delay last word, emphasising their demands

(60-69) “ut mors acceleraretur”

‘mors’ (death) is the subject of the verb, shows S.’s focus on death, death is in charge

(60-69) “in hortis prolatare vitam”

historic infinitives used to make scene more immediate and vivid

(60-69) “componere preces, nonulla spe et ira”

foreshadows her imminent death, petition unlikely to succeed, use of litotes, T leaves it ambiguous whether M is optimistic or delusional

(60-69) “tantam superbiam”

inserted to justify her murder, a Roman reader would be reminded of the last king of Rome, Tarquinius Superbus, so named because of his excessive pride, for which he was driven out of Rome

(60-69) “ac nisi caedem eius Narcissus properavisset vertisset pernicies in accusatorem”

sibilance throughout sentence shows T.’s disgust, Narcissus as the accuser shows it is him who is responsible for this, not C. - without him M would have likely succeeded

(70-79) “nam Claudius domum regressus”

contrast this with Messalina, who is unable to go back home, gone too far, repetition of Claudius in this early part of the section shows how he is starting to take charge again

(70-79) “cena vinoque incaluit imperavit ut femina misera”

multiple meanings to ‘incaluit’ - body literally heated slightly by food & wine, but also metaphorical, feels warmer towards M. and feels amorous; sad m sound also repeated in this phrase

(70-79) “ad causam dicendam postridie adesset.”

Messalina to be present in person, this is what Narcissus fears

(70-79) “quod ubi Narcissus audivit et languescere iram redire amorem vidit,”

N. is the subject for the next 5 lines, back in control, pair structure (inf. + acc.) and asyndeton emphasise the logical progression of events

(70-79) “timebat, si moraretur, propinquam noctem”

Economical phrasing, 2 different objects of the same verb (noctem/memoriam) gives a sense of speed to the events, N.’s thought process is shown in the subj. suggesting options or possibilities, threatening sound created through m/n alliteration

(70-79) “et uxorii cubiculi memoriam;”

circumlocution, form of euphemism, reader left to assume what happened in the bedroom - irony, Narcissus doesn’t want to admit the full danger to himself

(70-79) “igitur prorumpit denuntiatque cenurionibus et tribuno”

Use of strong verbs and prefixes strengthens them further, variartio and polysyndeton emphasises how much action N. takes

(70-79) “ita imperatorem iubere”

Omission of ‘dixit’ creates a faster more exciting pace, intriquing the reader, also obscures N. as the originator of these orders; polyptoton with imperative emphasises orders being given, assonance of ‘i’ sound links the orders to the emperor, ‘iubere’ an example of variartio

(70-79) “missus quoque unus e libertis”

Verb promoted to emphatic starting position and ‘est’ ommitted to give a faster, more exciting pace

(70-79) “is raptim in hortos praegressus repperit Messalinam, humi fusam”

Creates excitement in 3 ways, 1. uses word for quickly (raptim), 2. prefix meaning before/ahead (prae), 3. object postponed after verb. Note plosive p sounds and rolled r sound throughout, creating a hostile atmosphere. Last word emphasises M.’s hopelessness

(79-89) “adsidebat mater Lepida, quae florenti filiae”

verb is the first word, unusual, emphasising the unusual situation between M. & L. - also emphasis how close the mother is; end of sentence lit means “flourishing daughter”, but we know she is about to die (not flourishing), irony used, fricative alliteration also creates mystery (why has Lepida returned?), relationship emphasised by use of nouns

(79-89) “sed supremis eius necessitatibus”

sibilance shows T.’s disgust at the immoral pair

(79-89) “ad miserationem versa suadebat”

sibilance evokes an image of whispering, close to ear, emphasises harsh advice, idea of manipulation being involved

(79-89) “ne percussorem opperiretur”

use of negatives in this part of passage shows T.’s disgust at the situation, no way out for M. - assonance of dark ‘or’ sound shows her imminent death, links this proper death to the assassin

(79-89) “transiisse vitam neque aliud quam mortem decoram”

emphatic position at start emphasises idea her life has passed, juxtaposition of life and death, alliteration of m/n - mournful and threatening sound produced

(79-89) “sed nihil honestum inerat Messalinae animo, per libidines corrupto”

assonance of ‘i’ sound emphasises her lack of honour, T. unable to avoid including an unneccessary phrase to discredit her, we see T.’s judgement of her in her final moments

(79-89) “lacrimae et questus inriti effundebantur”

extra detail, ‘complaining’, gives insight into formatting, Messalina presented as passive, not in control (crying and complaining are suspects)

(79-89) “pulsae sunt fores, adstititque tribunus”

Force used, creating fear/drama - ‘adstititque’ contrasts with first word of passage, we can visualise their position

(79-89) “tunc primum Messalina fortunam suam intellixit ferrumque accepit”

Shift in the narrative, highlighted by first word, use of ‘fortunam’ is ironic, M. does not have a good fortune, we see M’s thought process and then action, use of poetic word instead of ‘gladius’ increases the drama

(79-89) “quod frustra iugulo aut”

long run up to her death shows panic and uncertainty, pathos about this - can’t even achieve her own death

(79-89) “pectori per trepidationem admovens, ictur tribuni transigitur”

plosive alliteration shows M’s hesistation and panic, followed by abrupt 3 word description of the execution with the alliteration of ‘tr’ adding rhythm and pace to these sudden events

(79-89) “corpus matri concessum”

Another short 3 word clause, after lengthy descriptions of her final hours T. disposes of her in 6 terse words, which is emphasised by harsh alliteration. Use of mother instead of Lepida reminds the reader of her lack of affection for M. and M. herself is only referred to as a ‘body’ - she is lifeless and dehumanised.