Tuesday, September 25, 2012

Tantum . . . Quantum in Catullus 87

Written and Researched by Matthew Winter Latin translations by Matthew Winter   

LXXXVII. ad Lesbiam:

NVLLA POTEST MVLIER TANTVM SE DICERE AMATAM
     VERE QVANTVM A ME LESBIA AMATA MEA EST.
NVLLA FIDES VLLO FVIT VMQVAM FOEDERE TANTA
     QVANTA IN AMORE TVO EX PARTE REPERTA MEA EST.

"No lady can assert that she is as truly loved
as my Lesbia is loved by me.
No greater confidence was ever in any agreement
as was in your love, obtained from my part."

In Catullus 87, we see the repetition of tantum . . . quantum twice in the four lines Catullus dedicates to his mistress, Lesbia. This particular construction is not obscure from Catullus' poems, but the double construction accents the comparisons Catullus was trying to verbalize. Written on losing faith in Lesbia, E.T. Merill commentaries that Catullus 87 could be the completion of Catullus 75, another poem on his affections of Lesbia—Catullus wrote a great volume concerning love in general and this proves to be no exception. 

Tantum and quantum are quantitative adjectives however conveying a sense of what a descriptive adjective would carry. We would most precisely translate tantus (as it, with quantus, can completely decline), as "of such size; so great, so much". Quantus would translate "how great; how much/many; of what size/amount/degree/number/worth/price"—proving to be more descriptive, but never more important than tantus. When tantus and quantus are paired together, however, their literal translation can alter significantly. Basically, tantus . . . quantus translate "as much . . . as". We can dissect the Latin above to achieve a more, literal meaning to what Catullus' was saying.  

"Nulla potest mulier tantum se dicere amatam / vere"Mulier, with nulla, is the subject of the verb potest; with the complementary infinitive dicere, also part of an indirect statement construction; est is implied with amatam, and tantum links to it. "Quantum a me Lesbia amata mea est"Lesbia with mea is the subject of amata . . . est; quantum modifying the phrase. The phrase could be translated, "No lady can assert that she is as truly loved as my Lesbia is loved by me." Through the effect of the perfect passives, the indirect statement and the use of tantum . . . quantum, we are brought to the conclusion that Catullus loves his mistress so much, no other woman could say she is loved.

"Nulla fides ullo fuit umquam foedere tanta"Nulla fides is the subject of fuit, with tanta modifying it. Ullo foedere can be translated "in any pact/agreement". "Quanta in amore tuo ex parte reperta mea est". Quanta is the subject of reperta . . . est; and the rest comprise prepositional phrases (mea with ex parte). The phrases could be translated together as "No greater confidence was ever in any agreement as was in your love, obtained from my part."

Notice the particular construction of "...tanta / Quanta..." in lines 3-4. It appears in Catullus 37.11-14, although tanta and quanta are in different case, number and gender:

puella nam mi, quae meo sinu fugit,
amata tantum quantum amabitur nulla,
pro qua mihi sunt magna bella pugnata,
consedit istic.

"How I see it, (my) girl, who flees from my lap, (is) loved as much as none will be loved, for which great battles have been fought, she settles there, in this affair." Catullus compares his love for Lesbia as tantus (so much) contrasted with the love some people will never experience. The line is paralleled so carefully (a sort of chiasmus, perhaps?), it is a delicate piece of poetry.

Catullus will forever remain a grand contemporary in Latin literature, as his poems are always beautiful and unique Perhaps this ode tries to attempt the great love Catullus shared with Lesbia, greater than we had expected.

REFERENCES

Catullus, works accessed from The Latin Library. #37 and 87. Accessed September 25, 2012.

E.T. Merill, editor. "Catullus' Carmina". Catullus 37 and 87. Accessed September 25, 2012.

Whitaker, William. "Words". Entry, "tantus" and "quantus". Acessed September 25, 2012.

Saturday, May 26, 2012

Ææus, a, um: the Magic Arts and Spells of Circe

Written and Researched by Matthew Winter Latin translations by Matthew Winter 

Expanding from moly, molyos, the magic herb Ulysses used against Circe, this particular Latin adjective completes Circe's obsession with magic arts: Ææus, a, um. Being the only Latin word starting with "æ" doublets except for Ææa, an island in the Tyrrhenian Sea where Circe abodes, Ææus is one which particularly describes the magic arts and spells of Circe—the Greek goddess of magic and sorcery. But, its translation ability is far from exhausted, as Virgil and Ovid both use the word to describe some aspect of Circe's mischief. Lewis and Short's A Latin Dictionary defines Ææus as "belonging to Æa, in Colchis, Colchian" (as Circe was previously in Colchis) and "belonging to Circe; magic arts, such as Circe practiced; magic words, charms and spells". The Dictionary does list one more definition, this one concerning Calypso, who was much like Circe when it came to magic. It describes Calypso becasue she too took residence in Ææa.

Circe Offering the cup to Odysseus by John William William Waterhouse
Dissecting the first example we see this magical adjective used, Virgil incorporates the word to describe the residence of Circe, as it pairs up with Circae (as seen below) to describe insula. Because of the insertation of the word Circae, we should not translate Æææque "belonging to Circe", but more in a rather ambiguous sense, like "magical", which still describes some aspects of Circe. 

ante et Trinacria lentandus remus in unda
et salis Ausonii lustrandum nauibus aequor
infernique lacus Aeaeaeque insula Circae,
quam tuta possis urbem componere terra
. (Virgil,
Æneid, 3.384-387)

"And before the oar, bending under strain, in the Trinacrian wave
and the sea of Ausonii fit to be purified, in boats on the high seas
and of the infernal lake and Circe's magical island,
which you can construct (your) city on its safe soil." 

Although this is a small excerpt from Book Three of the Æneid, much happens before and after that will tie together the meaning of this sentence. After Caelano threatens Aeneas, he has nothing left to do but consul a prophet, and Helenus is a prime option; he is the son of king Priam and Queen Hecuba of Troy and not surprisingly the twin brother of Cassandra, the prophetess. Although it is only speculation, Cassandra taught everything she knew concerning prophecy from Apollo to her brother and he, therefore, became a prophet and was always correct in predictions. However, everyone believed him unlike Cassandra. For those who appreciate Latin word trivia, this example of Ææus is rather special: it is the one of the rare instances which any Latin word begins with three "æ" diphthongs (as it is seen here in genitive singular)! In fact, the entire word (pardon the enclitic -que) is comprised of the symbol, repeated three times respectively.

Like Virgil, Ovid uses Ææus in the same manner that he did—relating it Circe and her magical abilities. Without the enclitic however (like Virgil's), Ææus here is comprised of only three diphthongs, and is parallels the usage of Virgil in this manner.

diligis hanc unam, nec te Clymeneque Rhodosque
nec tenet Aeaeae genetrix pulcherrima Circes
quaeque tuos Clytie quamvis despecta petebat
concubitus ipsoque illo grave vulnus habebat . . .
(Ovid, Metamorphoses, 4.204-207)

"You esteem this one; neither yourself and Clymene and Rhode nor
the most beautiful mother of the magical Circe of each holds yours, 
Clytie, although having been despised, kept on seeking
to lie with you and was holding a painful wound of love there."

Held within the story directly after the famous one of Pyramus and Thisbe, this passage is included in a story Leuconoë shares. Preceding this passage of text reprinted and translated above, Leuconoë is speaking of the adultery of Venus and Mars, and after she is finished, Venus revenges and speaks her mind. She is speaking about Sol, god of the sun, and his affairs (for it was he who was the first immortal to have claimed the "illegal" intimacy between Venus and Mars). Thanks to Leuconoë's story, we have another use of "Circe's adjective".

From Ovid's Amores, we develop the sense of Circe's magic, her "magic arts". Ovid is digressing about his lover and how he wished he [himself] could be a present for her—rather than the ring he gave as the present instead. It is quite an interesting parallel Ovid achieves as he wishes, through the magical arts of Circe, he [himself] could become a present for his girlfriend.

o utinam fieri subito mea munera possem
    artibus Aeaeae Carpathiive senis!
(Ovid, Amores, 2.15.9-10)

"Oh, if only I could unexpectedly be made my gift
    by the the magic arts, as Circe practiced, or of an old man of Carpathos!"  

In this next elegy, Ovid is writing to literally 'curse' an old woman who he overhears to be instructing his mistress in courtesan arts. He is describing here what this woman is able to do, and it is easy to see that she is very conversant in the arts of Circe. Peculiarly named Dipsas after a venomous snake which venom provokes thirst after its bite, perhaps this woman was "questionable", making Ovid concerned for his mistress.

"Ornate snail-eating snake (Dipsas catesbyi) in Yasuni National Park, Ecuador." An example of a snake which belongs to the genus Dipsas. (Wikimedia Commons)
illa magas artes Aeaeaque carmina novit
inque caput liquidas arte recurvat aquas;
scit bene, quid gramen, quid torto concita rhombo
licia, quid valeat virus amantis equae
. (
Ovid, Amores, 1.8.5-8)

"This woman is conversant of the magic arts and incantations of Circe
and by her skill, a mouth [of a river] bends back the flowing water;
she knows well, which herb, which excited thread to the winded 
magician's circle, which poison of a mare having affection, might be powerful." 

Concerning the fluidity of such arts in Roman Culture (like Dipsas here), William B. Batstone writes on the passage, "Ancient magic was frequently, if not predominantly, used for amatory and aphrodisiac purposes. It was a fairly conventional theme in Roman poetry, and the powers here attributed to Dipsas are the standard ones." Not only was sorcery and magic arts practiced, but many were quite fluent in its manners; hence Ææus was a good investment for word-choice as it quickly spoke what the author wanted.  

References Sited 

Batstone, William W. "Notes [for Ovid's Amores 1.8]. Accessed May 25, 2012 from Diotima.

Lewis, Charlton T.; Short, Charles. A Latin Dictionary from Perseus Digital Library. Entry: ææus. Accessed May 24, 2012.
 
Publius Ovidius Naso. Amores. 2.15.9-10. Accessed May 24, 2012 from the Latin Library. 

Publius Ovidius Naso. Metamorphoses. 4.204-207. Accessed May 24, 2012 from the Latin Library.
 
P. Vergili Maronis. Æneid, 3.384-387. Accessed May 24, 2012 from the Latin Library.

Wednesday, May 23, 2012

Mōly, Mōlyos: Ovid and Pliny's "Magic Herb"

Written and Researched by Matthew Winter Latin translations by Matthew Winter

Lewis and Short's A Latin Dictionary entries mōly, mōlyos as a neuter third-declension noun with two appropriate definitions: according to how it is used by a different author. Two Latin authors have used this obscure botanical word, Ovid and Pliny, and each prospect a different plant. "A plant with a white flower and a black root" (as used by Pliny) and "another plant, a kind of nightshade" (used as well by Pliny). Although the definition does not use Ovid's interpretation, it is assumed that he used moly in a more general sense, as would be defined "a magic herb (particularly fantastical but perhaps not)". A full declension table (lacking the Vocative case) is shown below; it is declined based on similar third-declension Greek-borrowed nouns that decline differently than "normal" nouns.   

mōly
mōlyēs
mōlyŏs
mōlyĕōn
mōlyī
mōlyibus
mōlyn
mōlyīs
mōlyë
mōlyibus

To portray moly used in the more "ambiguous" sense, Ovid provides us with a clear example on how this rare noun was used. Ovid, here, parallels the story of Ulysses giving to Circe a "magic herb" from Homer's Odyssey.

pacifer huic dederat florem Cyllenius album:
moly vocant superi, nigra radice tenetur;
tutus eo monitisque simul caelestibus intrat
ille domum Circes et ad insidiosa vocatus
pocula conantem virga mulcere capillos
reppulit et stricto pavidam deterruit ense
. (Ovid, Metamorphoses, 14.291-296). 

"Cyllenius (Hermes), who brings peace, had given this man (who is Ulysses*) a white flower:
The gods call [it] "moly", being supported by a black root;
at once, that prudent man entered the house of Circe with it ("moly") 
and admonition of the gods, and having been called to the hazardous cup,
[Circe] endeavoring to fondle his hair with a twig,
he pushed back and with a drawn-tight sword, frightened away the panic-struck [Circe]."

The snowdrop -- perhaps moly?

In this passage, we note that Ovid is in a way "quoting" the Odyssey (as mentioned earlier), as he retells the story of Ulysses and Circe, and how he [Ulysses] used the "moly" against Circe. It happens that Cyllenius (who apparently is Hermes, or the Greek messenger god) gives Ulysses a "magic herb" with a white flower, florem album (line 291) and black root, nigra radice (line 292). To explain why Ulysses would use the "moly" against Circe, we must first understand the entirety of it. Lines 223-319 tell of Ulysses and Circe, and a good portion of it is told by Marcareus, a companion of Ulysses who warns Aeneas not to approach Circe (and the passage above is part of his dissertation).

It just so happens that Marcareus, after encountering Circe and accepting a drink which is described as a blend "of malted barley, honey, strong wine, and curdled milk, to which she [Circe] secretly added juices, that its sweetness would hide" (Translation by A.S. Kline). He drinks it greedily, and describes what happened. The "dread goddess touched the top of our hair with her wand, and then (I am ashamed, but I will tell you) I began to bristle with hair, unable to speak now, giving out hoarse grunts instead of words, and to fall forward, completely facing the ground. I felt my mouth stiffening into a long snout, my neck swelling with brawn, and I made tracks on the ground, with the parts that had just now lifted the cup to my mouth. I was shut in a sty with the others in the same state (so much can magic drugs achieve!)"

But Hermes protected Ulysses with this herb, so that he could safely restore his friends. Ovid's Metamorphoses is basically a book of transformations, and this particular story was retold because of the humiliated change Marcareus and his companions went through. Webster's 1913 Dictionary describes moly as an English noun. It's definition: "a fabulous herb of occult power, having a black root and white blossoms, said by Homer to have been given by Hermes to Ulysses to counteract the spells of Circe."

Pliny the Elder, as recorded in Naturalis Historia, describes moly to be principally the same plant as Ovid represented it to be, with the black root and white blossoms. "... sive moly" (Pliny, Naturalis Historia, 1.41). "Or moly". The word here was submerged at the end of a long list of (perhaps) plant names, as most of them were unknown(!). 

*We learn that it is Ulysses from a previous part of the story. 

References Sited 

Lewis, Charlton T.; Short, Charles. A Latin Dictionary from Perseus Digital Library. Entry: mōly. Accessed May 23, 2012.

Pliny the Elder, Naturalis Historia. 1.41. Accessed May 23, 2012 from Perseus Digital Library.

Publius Ovidius Naso. Metamorphoses. 14.291-296. Accessed May 23, 2012 from the Latin Library

Webster, Noah. Revised Unabridged Dictionary. Entry: moly. Accessed May 23, 2012

Sunday, May 20, 2012

Gurges, Gurgitis: Polysemous Yet Specific

Written and Researched by Matthew Winter Latin translations by Matthew Winter

When searching for a Latin word to translate as “sea”, one would most plausibly resort to using the frequently-employed pelagus or mare, alternative words designating “the sea” or “ocean”. But, if you wanted a rather matchless and peculiar sounding word, gurges would fit the bill not only because of its idiosyncrasy, but on account of its exclusive set of possible translations no other word possesses. Not only does its meaning incorporates the “sea”, but also a wide range other maritime constructions, such as a “whirlpool” and “great abyss”—gurges does truly charter an ensemble of translations that are fitting to be used at any occasion.

As recorded in Catullus’ Carmina 65, Catullus, coping with the recent death of his brother, writes to friend Hortalus (or styled Ortalus in the poem) on his brother’s current death—as we are able to see how he died—gurges portrays that Catullus’ brother died from some naval accident or perhaps drowning(?), as the Latin shows. “namque mei nuper Lethæo in gurgite fratris / pallidulum manans alluit unda pedem / Troia Rhœteo quem subter litore tellus / ereptum nostris obterit ex oculis” (Catullus 65.5-8). “For in fact, a pouring wave recently flowed past the somewhat-pale leg of my brother in a whirlpool in Lethæus, which beneath the Rhœtean seashore, Trojan dry-land crushed him, having been snatched away from our eyes.” Catullus was very piquant in choosing such a word to portray what he felt described the situation best.

We see this stimulating, maritime noun used as it most commonly is used—gurges, however when examined completely in Latin literature, will translate much beyond the limits that Catullus used it. Cicero cleverly employed the use of gurges in this oration: “...cuius ego imperium, non Aplium vallum contra ascensum transgressionemque Gallorum, non Rheni fossam gurgitibus illis redundantem Germanorum immanissimis gentibus obicio et oppono...” (Cicero, In L. Calpurnium Pisonem, 33 (excerpt)). “...to which supreme power I object and oppose: not against a risen, line of palisades of the Alps and a violation of the Gauls, not [against] the overflowing canal of the Rhine with whirlpools; [against] those monstrous nations of the Germans...” 

Here, Cicero describes the Rhine River, which divides France from Germany, as an “overflowing canal with whirlpools”, creating a mental picture of a fierce and ravaging river. Perhaps Cicero used gurges to depict the river Rhine as savage as the Gauls and Germans themselves. As used by Ovid in Metamorphoses, gurges is seen to be chosen quite particular, as the poet captured the essence of the noun. “...lentisciferumque tenetur / Liternum multamque trahens sub gurgite harenam / Volturnus niveisque frequens Sinuessa columbis...” (Ovid, Metamorphoses 15.713-5). “...Liternus, bearing mastic trees, are keeping much and the hauling [River] Volturnus (keeping) sand beneath the pools of water and populous with snowy doves...” In this instance, Ovid uses gurges as a common noun with no complex meaning—you can translate it here as just “a pool of water” or perhaps “the river”, referring back to Volturnus.

Deviating from its common translations, gurges, in a new sense, situates itself under a rather chthonian viewpoint as it portrays a proper noun through use of it pairing with an adjective to create an “idea”. But although a seemingly unique way to translate this noun, when the entire scope of Latin literature is examined, it is easy to speculate that gurges is an annex of the sea and ocean—not like pelagus or mare—but in a darker sense. It speaks of bodies of water in line with “death”; it accompanies meaning for bodies of water of the underworld, as shown here. “at ille / iam sedet in ripa tætrumque novicius horret / porthmea, nec sperat cænosi gurgitis alnum / infelix nec habet quem porrigat ore trientem” (Juvenal, Satires, 3.254-7). “On the contrary, this man already encamps on the bank and the beginner shutters at the black ferryman (who is Charon), neither an unproductive alder (plant) trusts of the muddy, raging abyss (which is the Styx) nor holds the third part which might extend to the mouth (of the river, i.e., Styx).”

The River Styx, an etching by G. Doré

Psyche and Charon, oil on canvas by J. R. Spencer-Stanhope, Roy Miles Gallery, London

 By context, it is very apparent to see that the cænosi gurgitis is the Styx, not because of that being the only capable reference, but because of the other hints embedded in the text such as the porthmea, who is undoubtedly Charon (the ferryman who took souls to the Underworld—across the River Styx). Something similar to this construction (with gurges) occurs in Virgil’s Æneid. “hinc via Tartarei quæ fert Acherontis ad undas. / turbidus hic cæno vastaque voragine gurges / æstuat atque omnem Cocyto eructat harenam” (Virgil, Æneid 6.295-7). “From this source, [there is] a passage which does bring near to the waves of the Tartarean Acheron. 

In this place, a turbid whirlpool (which is the lake Avernus) seethes with filth in the monstrous watery-chasm and even in Cocytus it discharges violently all its grains of sand.” Although not speaking of the Styx, gurges is used to portray the River Acheron, another river in the Underworld—and the passage is quite violent, speaking of the “whirlpool” which vomits sand into the River Cocytus; geographically, the Cocytus and Acheron rivers meet at Lake Avernus in the underworld. So, on broader terms gurges can both refer to the vomiting Acheron and/or Lake Avernus (a “whirlpool”, because of vomiting Acheron).

One final example in correlating the use of gurges to translate as a Proper noun, or designate something particular by name, Juvenal again uses this word, but not in a Stygian or Cocytian sense. “veniet classis quocumque vocarit / spes lucri, nec Carpathium Gætulaque tantum / æquora transiliet, sed longe Calpe relicta / audiet Herculeo stridentem gurgite solem” (Juvenal, Satires 14.277-80). “The class will come wherever the prospect of profit will have summoned, and not a plant with narcotic juice of so great a size will jump across the Gaetulian Sea, but will distantly hear the gnashing sun in the forsaken Rock of Gibraltar from the Herculean sea.” Despite the fact that gurges is used in a subterranean sense at regular intervals, Juvenal decides in his fourteenth satire to relapse its general meaning  as “sea”, but when carefully used here, it gains a different sense. Paired with Herculeo, gurgite and Herculeo are simultaneously translated together with the definition of “the Atlantic ocean”, referring to beyond Calpe relicta, “the forsaken Rock of Gibraltar”. It is clever the way Latin authors paired up this noun to receive a greater meaning than gurges is capable alone!

After being confronted with the many possible translations recruited from context or being understood, we can see the connection Catullus would have made (from the first example) when he wrote about the death of his brother. Catullus, being the clever poet that he is, used gurges not only to signify how his brother died, but as well make a connection that he is now in the Underworld as “a pouring wave recently flowed past the somewhat-pale leg of my brother in a whirlpool in Lethæus”. Lethæus is another word for the Underworld, so like Juvenal and Virgil, Catullus uses gurges here as another connection to the underworld—to display the mastery of his poetry. Although at times this word seems quite polysemous (variable in meaning), gurges is a noun that will always be specific—and will always be treasured as a “whirlpool” of meanings!

References Sited

Goold, G. P, editor. Juvenal, Satire 3. Fordham University Archives: The Loeb Classical Library, January 1999.  Accessed March 20, 2012 from

Hendry, Michael, editor. Juvenal, Satire 14. Curculio, 1998-2001. Accessed March 21, 2012

IntraText. Cicero, In L. Calpurnium Pisonem , 8. Accessed March 20, 2012

Kant, Larry. “The Interpretation of Religious Symbols in the Graeco-Roman World:  A Case Study of   Early Christian Fish Symbolism” (3 vols), “Chapter Three: Fish Symbolism in Early Christian Texts.” Yale University, 1993. Accessed March 20, 2012

Latin Library, the. Ovid, Metamorphoses. “P. Ovidi Nasonis Metamorphosen Liber Qvintus Decimus”. Accessed March 21, 2012

Latin Library, the. Virgil, Æneid. “P. Vergili Maronis Æneidos Liber Sextus”. Accessed March 20, 2012
Lewis, Charles T., Ph.D.; Short, Charles, LL.D. A Latin Dictionary. Entry: “gurges”. Oxford: Clarendon Press, 1879. Accessed March 20, 2012

William Whitaker’s Words. Entry: “gurges.”  University of Notre Dame, 1993-2007. Accessed March 20, 2012

Sunday, February 26, 2012

Estote: The Obscure Future Imperative of Irregular Verb Sum, Esse

The irregularities of irregular verb sum, esse do far surpass the regular conjugations of most Latin verbs; for it is true sum, esse does not retain a stem during conjugation, but its characteristic ‘es’ appears throughout most of its forms: including the imperatives (except for suntō, the third-person future imperative). Although rarely used, imperatives of sum, including this certain one, appear simultaneously in the wide collection of Latin literature, both classical and ecclesiastical, showing the diversity of its range and usage during the centuries of generations who spoke and wrote Latin. Estote, this imperative, shows command that implies something to be accomplished with a futuristic perspective, whereas its literal translation differs from its more idiomatic way of translation, which is simply just, ‘be.’ 

In the entire encompassment of Latin literature, estote most frequently appears in the Vulgate, being especially abundant in the New Testament. [In a search on the Perseus Online Digital Library, of the forty-eight search results for the term estote, twenty-eight search results were from St. Jerome’s Vulgate. Including the apocrypha, estote appeared in much of the New Testament (five times in the book 1 Corinthians; four times in Luke; three times in 1 Peter, Ephesians, James and Matthew; two times in Colossians, and once in Romans, Acts, Philippians, Jude, Galatians and 2 Corinthians) and some in the Old Testament, among others.] However, several classical authors are noted for use of this rare imperative. Publius Ovidius Naso (known as Ovid) uses estote in two samples of his writing—once in Metamorphoses and the other in Fasti. In Metamorphoses, perhaps his most illustrious literary masterpiece, Ovid writes:  

Hoc tamen amborum verbis estote rogati,
o multum miseri meus illiusque parentes,
ut quos certus amor, quos hora novissima iunxit,
componi tumulo non invideatis eodem.  
(Ovid, Metamorphoses; 4.154-157)

“Nevertheless, you shall be asked for this to the words of both this thing,
O my most wretched parents and of him,
So that you do not envy which certain love, whom the last hour joins
To be placed in the same tombs.”

Here, estote can be translated as most Latin authorities translate it. Allen and Greenough’s New Latin Grammar for Schools and Colleges translates estote as ‘be ye’ (you shall be), telling the reader to start paying attention to the upcoming words; if you substitute ‘be ye’ and replace ‘you shall be,’ you achieve the translation ‘you shall be introduced to etc.’ implying how the reader will be introduced to the next statements.

Another verse from the Vulgate, although from the apocrypha, also shows the power of the future imperative of sum, esse. “Animæquiores estote filii et proclamate ad Deum erit enim memoria vestra ab eo qui ducit vos.” [Translated into Latin by Eusebius Hieronymus (St. Jerome), Editio Vulgata (the ‘Vulgate’), Baruch 4:27.] “Be sons of good courage and proclaim to God indeed, your remembrance will be from him who leads you.” The translation in sense of this apocryphal verse is self-explanatory, in that estote once again bears the highly literal translation of, ‘be (from this point on) sons of good courage, etc.’  

Estote also appears in other authors, such as C. Suetonius Tranquillus wrote in Vitellius.Nec ante in prætorium rediit quam flagrante triclinio ex conceptu camini, cum quidem consternates et quasi omine adverso anxiis omnibus: ‘bono,’ inquit, ‘animo estote!’” [C. Suetonius Tranquillus, Vitellius, Chapter 8, Section 2.] “First, he neither returned to the general’s tent until the dining-room was flaming because of the furnace’s catching fire, indeed, with consternation and just as if by an unfavorable omen, he said to everyone anxious, ‘be ye with a good mind!’” This translation is again straightforward; but, a different translation of estote can be found in Ovid’s Fasti

At quicumque nefas ausi, prohibere deorum
numine, polluerant pontificale caput,
morte iacent merita, testes estote Philippi
et quorum sparsis ossibus albet humus
(Ovid, Fasti, 3.706-709)

But mind you, whatsoever sinner dared, to prohibit in the divine will
Of the gods, they had profaned the head of the pontiff,
They lie down in death, (having been) deserved, destroy the witnesses of Philippi
And they whose bones, having been scattered, whiten the ground.

Here, we are exposed to another definition of the word estote. This word used above is not part of the irregular verb sum, esse, but rather another irregular: edo, ēsse. Although edo, ēsse has a wide scope of definitions, its two most general are ‘consume’ (as in the sense of ‘eating’ as well as ‘destroying’) and ‘destroy’ (as in to ‘demolish’); hence, in line 708 above, we can determine by context of the sentence that the witnesses of Philippi are destroyed, because of the reference to the bones on the ground. Estote (of edo, ēsse), in this context, is the same flavor of imperative as estote (of sum, esse)—both are future imperatives, introducing that the witnesses will be destroyed, etc.

With these examples, estote can either have two definitions—each separately different from each other. From sum, esse (the most common of the two), estote is correctly the second-person plural, future imperative, translating ‘you shall be,’ ‘be ye,’ or simply ‘be.’ Upon the imperative chart of sum, esse, esto (the singular, second-person future imperative) sits across from estote; by adding the ‘-te’ onto esto, signifies plurality. From edo, ēsse, estote has a variety of definitions. It too implies a futuristic twist onto the definition, whereas ēsse means (courtesy to William Whitaker’s Words) to eat/consume/devour; eat away (fire/water/disease); destroy; and spend money on food; then estote could translate, ‘you shall eat/consume/devour etc.’ or simply ‘eat/consume/devour etc. from this point forward.’ 

When you look at the similarities between sum and edo, the conjugations charts seem to appear identical. In the indicative, present tense conjugation of edo, the second-person singular and plural and the third person singular are exactly identical to sum, not to mention the imperfect subjunctive, where all the forms are the same. The imperative chart both are conjugated the same [the third-person singular imperative is eso, not at all identical to sum’s third-person singular imperative], but there is a difference. Because the infinitive of edo has the long ‘ē,’ (ēsse), that ‘ē’ is retained mostly throughout the conjugation tables, except for future and imperfect indicative active (edo has a passive system as well). Although estote is spelled the same and have the same macron over the ‘o,’ (estōte), context is definitely the answer in translating, but estote of sum, esse is far more common, as William Whitaker’s Words includes the ‘early’ sign next to the entry of estote as an imperative of edo, ēsse

When viewed in Latin literature, both classical and ecclesiastical, estote appears very rarely—mostly in the Latin Vulgate (which includes the apocrypha), and a few other classical works, such as Ovid and Tranquillus. Yet, it is true that estote is uncommon, as even Latin textbooks, like Wheelock’s Latin, do not include it—along with the other imperatives and participles (such as ens, entis) of sum. Even though estote and others of its kind are not taught and learned like other irregular forms, nevertheless the Latin literature of antiquity will always have a place for this obscure, future imperative: estote.