Cambridge Latin Course Book 1 Stage 10 Statuae Translation 〈Full Version〉

Syphax makes a statue of the god Bacchus out of flint. Caecilius, a rich man, buys the large statue. A slave carries the statue to Caecilius in the atrium. When he sees the statue, Caecilius is angry. "Damn you, Syphax!" he shouts. "Why do you make a statue of the god with a broken nose?" Syphax is upset. "Broken nose?" he says. "There is no broken nose. Look! The nose is excellent!"

Used for descriptions or actions that were happening over time. cambridge latin course book 1 stage 10 statuae translation

It seems you're looking for the translation of a piece from the Cambridge Latin Course Book 1, specifically Stage 10, which includes the story of "Statuae". I'll guide you through a general approach to translating this and similar Latin texts. Syphax makes a statue of the god Bacchus out of flint

For the translator: Do not rush the process sentences. The passive voice is the key to unlocking this stage. Focus on identifying who is performing the action (the "agent," usually marked by a/ab ) versus what is being acted upon (the subject). When he sees the statue, Caecilius is angry

Syphax makes a statue of the god Bacchus out of flint. Caecilius, a rich man, buys the large statue. A slave carries the statue to Caecilius in the atrium. When he sees the statue, Caecilius is angry. "Damn you, Syphax!" he shouts. "Why do you make a statue of the god with a broken nose?" Syphax is upset. "Broken nose?" he says. "There is no broken nose. Look! The nose is excellent!"

Used for descriptions or actions that were happening over time.

It seems you're looking for the translation of a piece from the Cambridge Latin Course Book 1, specifically Stage 10, which includes the story of "Statuae". I'll guide you through a general approach to translating this and similar Latin texts.

For the translator: Do not rush the process sentences. The passive voice is the key to unlocking this stage. Focus on identifying who is performing the action (the "agent," usually marked by a/ab ) versus what is being acted upon (the subject).