275 - the bluish-green (cerulean) brother of Jove is Neptune, god of the sea

276 - synecdoche - roof is used to refer to the home of Neptune as a part for the whole

277 - Neptune’s speech reflects one Jove gave not long ago in The Metamorphoses in both structure and language. Jove’s speech explained why the humans needed to be eradicated, and Ovid uses Neptune’s speech to draw a parallel between the two brothers. Ovid is arguing that they are tyrants, as shown through his use of the word ‘tyrannus’ and the tone of Jove’s previous speech; there is no room for debate in their meetings, and their actions are harsh

280 - besides being a metaphor, the use of reins to describe rivers also references the belief many Romans shared that rivers were horses controlled by the gods

282 - dēfrēnātus, dēfrēnāta, dēfrēnātum - unrestrained

283-284 - Neptune was often called the “Earthshaker”. His actions here reflect that by showing the power of his trident and oceans in shaking the ground

285 - campus, campī, m - flat ground/plain

285 - exspatiāta is a word which is extremely rare. It is possible Ovid invented this word himself for special effect, since the rarity emphasizes the tragedy because of the uniqueness of the language used to describe it

286-287 - the use of excessive -que endings, especially at the end of line 286 and start of 287, constitutes a polysyndeton. Ovid uses these conjunctions to emphasize the scale of destruction of the flood, since this part of the story is describing the objects destroyed by it. The conjunctions give this segment a jumpy, chaotic feeling

286 - satīs is the perfect passive participle of serō and is not the same as satis

287 - synecdoche - roofs are used once again to refer to a whole building, this time referencing holy temples

289 - indēiectus, indēiecta, indēiectum - undemolished

289 - early caesura - this caesura puts emphasis on the injustice of the flood, drawing attention to the evils of it by separating that segment from the rest of the sentence

290 - turris, turris, f - tower

290 - early caesura - this one comes very early after the previous one, confirming that these are intentional. This caesura serves to emphasize the waves of Neptune, since it isolates the section focusing on their height, isolating their magnitude

291 - tellūs, tellūris, f - earth/soil

292 - dēsum, dēesse, dēfuī, dēfutūrus - to be wanting/lacking

292 - pontō - this a dative with compound verbs working with derant

293 - cumba, cumbae, f - skiff

294 - nūper - recently, not long ago

300 - typically, modern societies do not imagine seals as “deformed”. For Romans, this was likely different because they did not have the same experience with the animal. Where today we can go to a zoo and see a seal, for the average Roman citizen they would simply hear stories about the animal, leading to their society interpreting the animal as a fat, deformed creature

301 - the use of multiple -que endings, especially around urbēsque domōsque, is a clear polysyndeton. Here, Ovid uses this poetic device to emphasize the scale of events happening; this is a climax in the story because it represents the first time the reader experiences the new, post-flood world. Ovid conveys this through the conjunctions which give the text a disordered, energetic feeling

302 - the Nereids were a group of 50 sea nymphs who worked for Neptune. They’re often depicted as riding seahorses

302 - delphīn, delphīnis, m - dolphin

302 - enjambment - the Nereids, the subject of the previous line, appear as the first word in this line, and this is done to emphasize the spectacle of the previous line. Even these mythological creatures are impressed by the flood’s destruction

302 - there’s an early caesura in this line for the same reason Ovid uses enjambment; it emphasizes the Nereids and their reaction

303 - rōbur, rōboris, n - an oak tree

304 - nō, nāre, nāvī - to swim

305 - Ovid regularly uses the metaphor of lightning to represent the strength of the boar’s strike (for example, book 8 line 289)

306 - crūs, crūris, n - leg

306 - prōsum, prōdesse, prōfuī, prōfutūrus - to be useful/do good

307 - quaesō, quaesere, quaesīvī/quaesiī, quaesītum - to beg/seek

307 - sistō, sistere, stitī, statum - to place oneself/to stabilise

308 - lassātus, lassāta, lassātum - tired

310 - chiasmus - this sentence has ABBA word order. Ovid likely does this to emphasize the power of the waves against the mountain tops, since this word order puts emphasis on the direct object

310 - Ovid uses the language of “new” waves hitting nature to establish the conclusion of this metamorphosis. He often uses the word “new” to describe a metamorphosis