By David John Weber
This can be a finished, nonformal description of a Quechua language of important Peru, incorporating either structural and sensible insights. themes comprise: the demographic state of affairs, an creation to the syntax, notice and suffix periods, morphology, case kin, passives, major words, relative clauses, enhances, adverbial clauses, reduplication, query formation, negation, conjunction, evidential suffixes, the subject marker, idioms and formulaic expressions, phonology, and personal loan procedures.
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Additional info for A Grammar of Huallaga (Huanuco) Quechua (University of California Publications in Linguistics)
2). These exiled delatores continue the circulation between native and foreign begun in the previous poem, where foreigners became Romans in and through the amphitheater: the opposite is now the case. Furthermore, the exiled Romans, for whom the arena comes to represent the deserts and beaches (arenae) to which they will be relegated, are the inversion of the Cilicians whom the amphitheater drenches with the “showers” of their native land: Turba gravis paci placidaeque inimica quieti, quae semper miseras sollicitabat opes, traducta est +getulis+ nec cepit harena nocentis: et delator habet quod dabat exilium.
Nepos can’t quite have the book because it belongs to posterity, whereas Quintus can’t have the book because Martial doesn’t have it himself. 48 Of course, all this is disingenuous, an elaborate means of fobbing Quintus off. The allusion to Catullus tells Quintus that if he doesn’t think Martial’s trifles are something (compare Catullus’s namque tu solebas / meas esse aliquid putare nugas, c. 3–4), then the author has no reason to grant him a dedication. It is characteristic of Martial that the best measure of what Quintus thinks of his nugae is whether he would be prepared to buy them.
The informer, a fugitive, is banished from the Ausonian city: you can chalk that up to the emperor’s expenses. 28 As we shall see, it was not unusual for punishments and executions in the arena to be staged as mythological events, but in this case Martial has made his own, irreverent, connection between myth and spectacle. The informer figures as an anti-Aeneas, reversing the direction of the Trojan’s exile and inverting his pietas. It is the emperor who shoulders the pious burden (impensis, 2).