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Transcript: 20260418-Ancient Greek Intensive Course - Part 8
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>> All right. You there, Madelaina?
Are you shocked that I'm on time? Oh my god. >> Oh, yeah. No, I'm not. Never mind. I'm on time. >> [laughter] >> Yeah. Wizard time.
All right. You know what we did today? We looked at the middle voice. That's the big thing that we did for today. But you did some translations. And I want to look at your perfect your perfection of modern Greek, please.
Okay. Right to the
Nothing like jumping in there. Jumping in there right from the start. Where did our What page are those on? Uh 188, I think. I did the right ones. Earlier. Uh-huh. All right. All right. Now, I'm going to shut up and let you just do some reading and translation.
Okay. So, 456
The The old men are twice children. Perfect. Perfect. Why don't you read it in Greek, just so we can hear it? >> Oh, sorry. Dis paidis hoi gerontes. Very nice. Yeah, those old Those old coots are twice children. Yeah. Does that make sense? Kind of, yeah. I It makes sense like um uh behavioral-wise, yeah.
Okay. Fantastic. Good. Good. Good. Okay, 348. What do you think of that one? Um
Uh I thought that one was was okay. Um
Yeah. So So So, 456 456 you thought was easy. Or did it take you a while to figure that out? I mean, it was fairly easy cuz it was only four words. But I mean, it took uh a minute for me to do 782. I'm still not like quite sure on that one. But um the first two were um fairly easy. I I mean, I read about the the toy um in the chapter, too. So uh Okay.
Okay, good. Good. Okay, good. So, let's hear what you got for 348. Okay. totes tuches toy metabolous
Polous eche
Um chance
Tastes tuches Um chance uh cha- changes
Yeah. So >> And so you know changes what Yeah, I don't know. Uh it was hard cuz I was like confused about No, that's okay. Just take it. Just go a little bit slower. There's something goofy up here at the front. Just the definite article the ta the ta and then followed by a genitive tastes psyche of the soul. So, it's saying the thing of the soul. Yeah. This is how the >> Always with the thing. Yeah. The thing of the soul. Okay. Yeah. The The deal of the soul
Is that eche it has metabolous polous many changes, yeah. Mhm. Yeah. So, the way the soul works, that's really what they do. When they put that definite article on there, it's a neuter. It's just by itself. Mhm. >> the way of something or the the thing of the matter is, right? To pragma is sometimes So, a lot of people say that ta is from the to pragma. And pragma just means a happening or an event. You know, there's the thing. To pragma tastes tuches. The thing about
The thing about chances eche >> Okay. It has polous metabolous. It has many changes. >> Many changes. Okay. Yeah. I I thought eche was clinging to or to be next to Oh, wait. So, that was That's just with genitive then. Right. >> Yeah, it just says echo is just to hold or possess. And while you're there looking at it, look at the future. You can have a hexo. All of a sudden you get a rough breathing. Or you can have a skeso, which doesn't look anything like hexo,
Right? But nevertheless, yeah, you've got a future. Now, this verb, they give you an aorist eschon. But um you're going to find that it's mostly in the present mostly in the present. Like here it's eche. It's just present, right? Um cuz it's just the verb to have. So, yeah, okay. Okay. Okay, good. Yeah, chance has many changes. Yeah, good. How about 782?
What you do with that iatros? Don't you like that word iatros? What is that? >> Iatros doctor. Yeah. So, your iatrogenic diseases are the ones that are caused by the doctor himself. >> [snorts] >> Isn't that neat? Iatros
Estin holologos
Anthropo- anthropois kakon
Um su- suches gar outos monos
Eche kophismata
Yeah. Yeah. Okay, good. Uh So, I wrote um
Is being it is was Yeah, was es- estin. Um
Is being a doctor for humanity's evil. Yeah. Yeah, good. Good, right? It kind of makes sense, doesn't it? Does it make sense to you? Yeah. Um and then >> You do that wonderfully. Good. Keep going.
And then um that a- that alone outos monos
Oh. Eche uh has Right? To Yeah, have. Mhm. Has um relief
For the soul. Yeah, it's the relief for the soul. Yeah. That's the only sort of relief that you're going to get is that logos. Right. Okay, whatever. You Menander, you're so You're so dark, you know?
It's just the way the way is. Now, look what you did. That's four lines of Greek. You just read it. You got it You got it squared away. You didn't have any major problems. Um how long did that take you? Um probably like
30 40 Minutes. 30 40 minutes. My god, you're flying. That's fantastic, right? No, that's fantastic. That's you know, people should see that Okay, look at that. That's real Greek and you are reading it, right? So, good good. Now
This one at the bottom from Aeschylus, I didn't tell you to read it, but I just want you to look at it. Okay.
Aimen gar elprak simon idea theou.
Yeah. Oh, by the way, I'm getting my I'm getting my new uh cable and my internet installed and it'll be a landline, so I won't have any I won't have any satellite interruptions after tomorrow. I shouldn't. We'll see. We'll see what happens. We'll see, right? That's cool. >> So, here's here's Aeschylus. Yeah.
>> Yeah. >> Aimen gar elprak simon. What does that prax simon look like?
Um prax
It's from the verb pratto. Pratto praxo epraxa is the third principal part, so >> Yeah. It's definitely an aorist. Yeah, there you go. There you go. It's definitely an aorist. Okay. Yeah. [clears throat] And Imen Imen. Uh-huh. Is that aorist?
Looks so optative, doesn't it? Yes. It Is it third uh third plural? Yeah, uh is it? Imi icei third plural. Imi icei >> Imen. Imen, yeah, so that'd be first plural. Yeah. First plural. There you go. There you go. And look, it's got an A and a gar in it, right? Aimen gar elprak simon idea theou. Okay, let's use this Let's use this entire class as a way of bringing Aeschylus to life. This is Aeschylus, right? What is the Look at that prax simon and these uses
Of the optative. Can we go to Um I want to go to the new optatives that we've got on on page first one there wins. The I almost beat you. Uh-huh. There it is. >> [laughter] >> Okay. >> Aimen Oh, wait, the 174.
174. Look, we've got an optative in that. Let's just Let's just start playing with the optatives that they've given us. Oh, yes. We've got new ones for this chapter. We've got new ones for this chapter and I just want you to look >> [snorts] >> just like you can have a subjunctive that's independent, right? You can also have an optive optative that is your main verb, right? It uses your main verb. >> Yeah. And they give us a couple of types here, the optative of wish, which has that A gar.
Yeah. >> Yeah. A gar. Yeah. >> Yeah. And independent optative Oh, can I turn that off? I'm going to turn that phone off. An independent optative without any introductory word or introduced by A gar or Aitha expresses the speaker's wish, hope, or prayer. Now, I know that's a lot like the hortatory subjunctive. May we go do something, right? Yeah. Right? Let's go Let's go do something. Hortatory, let's go do something. It's very similar to this. Look how they translate this.
Paoimen te mache. Right? May we stop the battle? May we stop the battle? Right? If only we may stop the battle or I wish that we may stop the battle. >> [laughter] >> Look at how they're trying to They're really trying to focus on the fact that it's a wish. It's slightly different from the subjunctive.
Right? Slightly different. It's truly wishing. Yeah, it's like trying to invoke trying to invoke this thing. Right? Cuz we want to stop the battle, so paoimen. May we stop? Yeah, may we stop te mache, the battle. Okay. And then the it it's got a may as a negative, right? Yeah. >> May they not free the bad people, right? Aigar me lousen tous kakous.
Good. Okay, we've got that one, the optative of the wish and we've got the potential. Potential optative and this one's weird. Just look at the bottom line and see that it can be translated as may, might, could, would. And you're going to say, "Wait a minute, well, how how do you know the situation?" Just remember it's trying to create the idea of potentiality.
So, on their example on 175, paoimen paoimen an te mache, we may, might, could, would stop the battle, right? Oh god, seriously? So, that's like the same Mhm. Go ahead. Same ending as what we're looking at. Right. We've got a We've got an optative here and we have an A gar. Don't we have an A gar here? Mhm, yeah. Look, notice they say the easiest way of distinguishing the optative of wish from the potential optative is the presence or absence of the particle on. The potential optative will always have
On. The optative of wish will never have it. Oh god. So demanding with their you know, with their ways. Okay, there's That was two optatives. I just wanted you Before we do the vo- the vocab before you do the vocab, I just wanted you to see Look, when it comes to the twists and gymnastics of what we're going to do in this unit um they're going to give us another uh kind of independent use of the subjunctive \\{{}slash} optatives. Here, it's the optatives. So, you're going to get these sprinkled in every once in a while. Now, there's a whole bunch of
Grammar other than that. But I want you to go to the vocabulary and I want you to just read it read it to me and just I want you to read the word the entry, the whole entry in Greek, and then I want you just want you to tell me what it means in English. Like like I'm sitting to you listening to you learn your vocabulary. Okay.
Aischos, aischa aischon ugly, shameful.
Allos, alle, allo another or other.
Aneu without. Did I say that right? Yeah, aneu aneu. Notice that it takes a genitive. Takes a genitive. You got to have a genitive with it. So, without something in the genitive. Good. Gramma, grammatos
Letter of the alphabet, plural refers to documents. Yeah, isn't that nice? So, in the singular, it can be a letter. It can be a letter or in the plural, it can be, you know, something that's written. Right? So, it's a bunch of whole bunch of letters. Um good. Grammar from our gramma, right? Good. Yeah. Graphe, graphes
Indictment.
Look at how they jump. Look at how they jump from something simple like a letter to all of a sudden now What is a writing? It's an you know, what kind of writing is this graph? Cuz that's the root that we're using in these It Well, it's an indictment. Like something really specific, right? Your graphe is your indictment. Oh god, yeah, I'm telling you um Greek made that the legal world um possible. Right? Okay, sorry. Keep going.
>> [Clears throat] >> Delos, dele, delon clear, visible. Adelos, adelon
Unclear, uncertain. Egar is a particle introduces optative wish.
Eithe is a particle introduces optative wish. Ekei is an adverb meaning there in that place. Ekeinos, ekeine ekei Sorry. Ekeinos, ekeine, ekeino, that.
Yeah, notice with the word ekeinos the the one the adverb right above it, right? Is just the first part of it. Right? You just added nos, ne, no to it, right? And it means that, so ekei by itself just as it's still like you're pointing to something that, but it's it's a place, there, in that place. Yeah. Yeah. Good.
Leader. Hegemonos is the leader. Klepto. Klepto, eklepto, klek kleklopsa,
Klek klek lopsa, klek klek klek lemai.
Eklepthein. To steal. It's pretty >> Yeah, good. Don't be a klepto, right? Yeah. Klep >> Notice Notice how Notice how that fourth principal part that you um noticed was a phi and not a psi. Notice that switch. We're having that switch again. So, it's not you know, this the first principal part has the pi and the tau. Right? Those transform with the sigma into the psi. Right? So, okay. Um what about the klek lopsa? Now, I want you to have that transformation but with a rough
Breathing or some pop pop of wind, it'll the pi tau will turn into a phi. So, yeah. It's it's uh you know, it's kind of uh patterns. A lot of whole a whole bunch of different patterns. Anyway, go ahead. What's a klep deis? Um klep deis kleptos. Thief. Klope, klopes, theft.
Good. Now, notice. Don't let that Let's not miss that lesson. Klep deis with an epsilon is the one who's doing the action of the klepto. So, klep deis, one who does it. So, a thief. Klope, when you just change the vowel and put a first declension noun ending on it, all of a sudden you've got the act itself, theft.
Yeah. >> So, switching a vowel takes you from the one who does it to the thing that it is. All right? Notice how the vowels just tune. When that [\\h__\\h] when that [\\h__\\h] on Danny Jones said the vowels um matter, he's not he's he's working outside of the Greek roots. He's got too much of that stupid that stupid crap jammed in his head from the [\\h__\\h] Germans doing the Indo-European crap. And he's not paying attention to the fact that this is the same root, klept and klope are the same
[\\H__\\h] root. Okay? Right? [laughter] Uh-huh. Right? So, okay. Anyhow, leipo, what is Do leipo and it's the first leipo leipso lelipon leleloipa.
Uh le leleimai [snorts] eleiphthein eleiphthein. >> Good. To leave mean to leave behind. >> Good. Notice that the third principal part is edgy. What the hell's going on? That doesn't fit our pattern. It should be something like a leipsa or something like that. What's What's going on with the ending? Why does it have an on on the ending? That looks That looks imperfect, not aorist. Well, it's something called a second aorist. Oh, second aorist, then. >> Yeah, it's got these imperfect looking endings. Right? And it doesn't look like an aorist, yet it is an aorist.
So, second aorists are going to bother us. We're going to have to pay attention when we get them. Good. Keep going. Oon. Postpositive particle for then, therefore.
Uh poema [clears throat] poematos is poem. Mhm.
Rhetor rhetoros public speaker. Rhetorike rhetorikes rhetoric.
Soi soizo. So so. Esosa seste soska. Sesomai or sesom. Wait. Sesosmai or sesomai. Esosain is to save. Good. And I want you to notice that you said the you pronounced the iota subscript on the front of the the first uh principal part, soizo. And this is the I think this is one of the arguments that you have to hear that. Right? So, watch what's And that's exactly right. I I like this one because I think that this word shows that you have to You have to hear that iota subscript. But look at the zeta in the first principal part,
Look what happens to it in the second. It softens into a sigma. Right? And when it does, the iota is lost. So, there's some good stuff going on here. Look at the aorist, esosa. That looks pretty aoristic to me. Aoristic, yes. Mhm. But when you get to the perfect, sesoka, that's that's fine. I'm good with that. Um sesosmai
In the fifth principal part or sesomai. So, look, there's an extra sigma that creeps in there. We're bringing sigmas. So, sometimes all this is doing is saying, "Look, there's two six principal parts." Sometimes it has the sigma, sometimes it doesn't. Right? Again, these are just all complications cuz if we have to identify these words in order to translate them, you know, we got to know Look, there are variants like this, right? Oh god, it seems seems like so many so many rules to learn. Look underneath it though, that that verb to save, and we get a word that for you is
Very important for the Bible. [\\h__\\h] all the voices in your head. This is the one for you, soter. Soteros. Right? Look at that. Oh god. Now, look at the Mhm. Mhm. The That's what Jesus is right there. And look, the concept is already in Attic Greek centuries before Jesus comes. It's not new.
Right? It has very specific meanings that it developed over time. So, I just want you to take a take a gander at that. If you plug soter, this is the one that we'll plug in for our search. Um
Tell me if you can see.
Tell me Now, this is going to pack your brain. But I want you to read through this. And just tell me what the hell what the hell is a savior? >> [sighs] >> Mhm.
Deliverer, a preserver from disease. Of a philosopher, guide. Epithet of Zeus, as Zeus. Mhm. To whom a person is they forward for sacrifice. Harbors.
Notice it's a lot of Zeus soter. Right? So, and we got to remember that when they say Zeus, we think of the Greek male god, Zeus. They didn't. They thought of um God in general. Theos, just like you would think of Zeus pater. Right? Like this is the father god of the group. So, this father god, this general god, can be a soter. That's an epithet. Notice which kind of gods can be which epithets, and all of a sudden you get kind of a better picture of what they're doing.
Yeah. Cuz under B, you're going to see it's an epithet of Apollo and Hermes and Asclepius.
Apollo and Hermes and Asclepius, that's all those people associated with the caduceus, at least. Right? Is there Like is there anything all those gods do? Yeah, there is. They're all the conveyor of the power of the serpent. Look underneath that. You've got Tuche, third line from the bottom in that paragraph B, you've got Tuche soter. Tuche soter. Tuche soter.
Isn't that nice? And what do they say that's for? That's for sotera. Wait a minute, there's a feminine There's a feminine form of this? Yes. Yes, there's a feminine form. There's a female savior? Oh my god.
I saw that. >> god. I want to click on that one. Let's see what the Look at the Victorian short shorted it just a little bit, but Look, sotera. Right? Now, they're going to say feminine of soter. Well, it um this could be the original, and soter could be the could be the um um type that was added. Frequently as an epithet, let me show you what I mean. Over protecting goddess Tisha. That's the old Dorian Tuche. Prime, you know, we're talking primordial divinities here. Look at after that famous famous
Right? She we know what is famous? She's in that earliest line of oracles baby. You can't you can't have her Artemis Artemis Rhea. Okay, once you get to Rhea you should and Artemis Yeah, and Cora Cora too
Who is the queen of the underworld. Once you get to there you should say okay, I'm I'm as far back as it goes and I can tell this because look what the Athenians are doing at Eleusis with their worship. This is the divinity that they're worshipping there. So it's a protecting goddess that goes back all the way to um
The Cora, the queen of hell herself, [clears throat] the one we invoke every year to Eleusis to rise from the dead. The resurrection divinity. Okay, so now you know what a savior is. Oh and look number two is just coincidental. It's also an antidote.
>> [Laughter] >> Oh yeah. Right? So notice that it is a specific drug. Your savior is a at least one that they had a specific name for they called it the savior. Right? And not just a masculine savior but a feminine savior. I would say there's far more evidence that the savior is feminine. Um if you look in the at the first savior because if you look in the if anybody ever asks you about that um just tell them look at the Orphic hymns. And look at how these goddesses who were part of this mystery that they are the original saviors. Anyway, this is you
Know, this is 600 700 years before Jesus. So this this stuff has already been well established. Yeah. >> Right. Yeah. Yeah. Isn't it nice to have be a protecting goddess? Isn't it nice to look a protecting [laughter] goddess? What is What is that? Right? Like even Athena is up there. Mhm.
Gorgeous. Aristophanes in the frogs here. When you're talking about Demeter. So if you didn't think it was part of the mystery, you're totally off. Now if you're a Christian and you're just reading Soter or Soter in a Christian text, you're not going to understand. Right? You're not going to have any of this background, right? Mhm. Yeah. Yeah, fantastic. Okay, let's go back to the text. Oh, let's do this real quick. Are you
>> [Sighs] >> Look at this. Look at this text that we're talking about. Can you see all this Greek on your Mhm. Yeah. screen? Oh god. I'm loving this. Where's my pager? I want it the next page over has a bunch of Oh, I went way too far. You got to love this though. Plagos and Zeus. Oh look here's Alexander. Why are they talking about the Dioscuri and Alexander and the Hilaria and Phoebus Apollo.
Oh god. Who's Phoebus' daughters? Oh people. Phoebus' daughters are all look. Who are the gods? This is you're going to be reading these a lot. Here the Hoy the old school boy. You you just saw that they were associated with the um with the savior, the title of savior, right? So every time we read about them, you're going to notice certain things about them and you're going to notice things about other gods that also have that also have characteristics, right? Um that also have epithets.
Right? Oh god. Oh god. I'm looking for Look here's Cadmus. Let me see. I'm looking for epithets as we do this, right? That's all. Look. Look. Look. Look. How far did I have to go? Right? Who This isn't Yeah, this isn't really an epithet but this is the Zeus who is the Soter. This is him right here. And I just want you to notice I just want you to notice Aetha. Look at this we got we've got some wishing going on. >> [laughter] >> Oh. Look at this. Where are we? Look at the Where are we?
Iona. Right? Um I'm telling you you're going to develop a technical vocabulary. A technical vocabulary. Can you take me back to the book? A technical vocabulary that um is going to reach into these texts. Who the hell was that? That was change That was John Tzetzes. Right? That's all. And he's a Byzantine. He's one of those guys that that [\\h__\\h] Here bring me up. Let me just bring up myself.
>> [Sighs and gasps] >> John is one of those scolias that that [\\h__\\h] that I'm waiting to shred. I'm waiting to kill him. This is the one thing in my life that I'm I have done. I've come to this moment just for this mortal combat.
Ow. For the sake of mother Greek. And um this is the kind of stuff that he was dismissing. So that Greek text that I just showed you is a commentary of a Byzantine and when I say Byzantine that's just the period and it's the way the language is going to, right? The Byzantine Greek that is what's dom- dominating the world. So that Byzantine Greek is it takes on its own flavors and it has its own ins and outs and there's a whole bunch of scholars who try to elevate the language and this dude is one of them.
And it is John Tzetzes and he is writing a commentary on the most difficult ancient work there is. Everybody knows this. It's not new. It's called Lycophron's Alexandra. And it talks about how um it is the doesn't talk about anything. It is the prophetic voice
Of Cassandra. It's the voice of the young girl who was the prophet who was abducted by the [\\h__\\h] Agamemnon. Taken back and killed in Greece by the Dracaena.
So um her prophecy is laid out. It's like this work is it purports to be a song of hers. Of Cassandra's. So um what she is doing in the song is so confusing to all of us that it requires men hours and hours and hours of commentaries
To explain what is this word? You will have two lines and you'll have three or four words that she is making up there in her song. Now some people say well this is Lycophron and he is actually inventing this and other people will say wait a minute. This is this is written at the time that the museum is at its peak and these scholars like Lycophron they have access to all of these books. Right? So they are just taking from these older sources. So Lycophron then is doing something where her pro-
Prophetic song becomes so complex none of us can read it. None of us can read it. I'm telling you you need a commentary with it. So in antiquity there were many people that wrote commentaries of Lycophron because it was so infamously difficult.
Wow. That's awesome. So that thing that you and I were just looking at is one of those commentaries. And in it today I just found I never knew this. I never knew this. I just found it today. He says Telemachus if I could take you back to that narrative we could just translate together. It's gorgeous. Telemachus the son of Odysseus, right? Nobody's going to know this but you and me. Right. Telemachus the son of Odysseus
Um had a an affair with the daughter of Circe. Mhm. Telemachus murdered Circe for what she did to Odysseus.
So um Circe's daughter who had the affair with him she then killed him. She then killed Telemachus. So it's explaining it's explaining how the death of the son of Achilles took place and everything, right? Um and it's attributing it. Now, and he's telling us this from ancient sources. He's not making this up, right? This is what's so valuable about the scholias. They are reading documents that we no longer have access to. So, it's it's a huge like treasure of information. Sometime in the past, they thought that Telemachus was murdered after he murdered Circe.
Very strange, isn't it? Yeah.
That is really interesting. But, the ladies win in the end because they murder because um, they killed him. Right? So, Mhm. She has a right. >> [laughter] >> Wow. Yeah. Um, okay. Let me give you your break. I'm going to um, tonight I want to do until 30 minutes after. And in the meantime, um, what I'd like for you to be doing is to be preparing um, vocabulary from all seven. Could you just review for me the vocabulary from all seven units? And we will have an exam coming up.
>> Okay? So, I mean, we need to take another one already. Can you believe that? Okay. Let me give you some time off. What I want you to hit is vocabulary. I'm going to come back and I'm going to hit you on your vocab. Okay. All right. Cool. Okay. See you. See you.
>> Look at the scholias. Hey Madalena, I'm sorry to interrupt, guys. I'm sorry to interrupt. Can somebody get Madalena a message? I meant 30 minutes to study for a quiz on vocabulary. So, we'll meet at 15. 15 after and it's all the vocabulary that she's had. Can somebody get her that message?
Fantastic. Thanks. We're on it. We're on it. We're on it. All right. Thank you, Chris.
>> All right. All right. Madalena, we need to do a little quick vocabulary quiz just to keep you on your toes. Make sure you're assimilating all of this. So, hang on. Chewy, I want you to share it uh, now. Go ahead.
Okay, so just check out your screen. Yeah. And tell me what that bottom second to where the bottom word is choros. What is that? Choros?
Chorus. Good. Chorus, fantastic. How about above that? Charis, charitos. What kind of noun is that? Um, it's uh, grace. Good. Yeah, that I'm just I'm just asking you what for meanings. How about phalanx above that? Phalanx. Phalanx. Phalanx, but it's a line of battle, right? Well, you're look you're thinking of phalanx, phalanx. This is Oh, it's phalanx, phalanx.
>> [Gasps]
>> From the from the verb phylatto. Remember what phylatto means? >> Oh, yes. Um, uh, uh, guard, right? A guard, fantastic. What is on this page? What is sophia? Uh, wisdom. Good. And a pragma, what is a pragma?
Is that a letter? It's a thing. It's a thing. They give you deed or affair. Um, and then thing. I think it's easiest just to remember pragma as a thing. A thing, good. How about this noun here on the page? Nux in the middle. Nux, nux dos. Night.
Night, good. How about um, the verb koluo? Um, uh, uh, koluo is to hinder, right? Good. Dulos, what's a dulos? Uh, the beos, uh, it's a slave, right? It is a slave, good. Dulos, doulos is a slave. And if you douleuo, you act a slave. Good. How about some, what is a gnome here at the top? Gnome. Uh, uh, is is that his opinion, right? Yeah, some kind of judgment, some kind of thinking process that you got going on in your thinking bag. Geron, geron, that's an old dude, right? Yeah.
Yeah, okay, good. Good. Just hang on. Sit there with me. We're just doing this the old-fashioned way. Oh, god. This is low-tech, right? This is low-tech. Um, >> [clears throat] >> how about the the verb platto? What is that? To hurt or harm. Good. Right? To strike. How about gay?
Gay. Good. And you know what thanatos is? Death. Good. And hippos? A horse, mare. Good. And here, this one's not easy. Kindunos, what is kindunos? Um, uh, um,
A danger. Good. Danger. And the lithos is the stone, right? How about here at the bottom? How about here? Now, notice you're you're going through an exercise by having to jump back and forth to the Greek. Right? So, look at the verb at the bottom. Patho, what does that mean? Um, what?
Uh, patho.
I don't remember at the second. Patho. >> Yeah. Okay. Okay. Get it stuck in your head, right? Think persuasion. Right? Yes. Is that the root of faith, right? Yes, good. Good. Good. Good. Good.
Take seven times. Seven times, I'm telling you. Um, here's that verb that you and I were talking about earlier. Pratto, praxo, epraxa. Right? So, okay, to do something, they're just going to give you a general definition of do or fare. Okay, fine. Um, what is the What's macros versus micros? What's the difference? Macros is uh, tall,
Large, and micros is small. Good. Good. Good. Good. Good. Fantastic. Let's do one more chapter. I just want to make sure cuz as we're going into the exam, um, you're going to have to have all of this vocabulary cuz that's all they make the reviews and the practice and the exams on is this vocabulary.
So, let's do this one more chapter as a quiz. Notice that you're doing really really well, right? You're not missing stuff. Okay, [snorts] what's something that's agathos? Agathos? Good. Good. Good. Good. Good. Axios, axios. What does that mean? That's an adjective. If you're axios, what are you? Worthy. Worthy, exactly. What is an arche?
Arche, um, um,
Uh, is that beginning ruler or empire, right? It can be. It's also the It's also the start of everything, right? It's that Yeah, good. It has to do with both beginning something and rulership. So, it's kind of like, mhm, okay. Um,
Uh, gephyra. I hate this word. What is a gephyra? Um, gephyra. Oh, uh, this one always trips me up. It's um, >> [snorts]
>> Is it bridge? Yes, it is. Good. Good. And the verb didasko, what am I doing if I didasko you? Teach. Teach. >> Good. And I know that's my favorite, the word dike. What is dike? Just, justice. Justice, perfect. Okay, now all that tells me of what we just did is that you have um, been studying your vocabulary. So, I'm not going to waste any more time on that. So, but I want you to know um, the speed at which you're going to memorize vocabulary is good
Because we are about to come up on the unit exam. So, um, it's going to be really Oh, let's do a couple of these. Did Okay. We No, that's unit You don't want to do that. >> [laughter] >> I don't have like, all right, I can try. No, unit 10. Come on. Tell me to get bent. Okay, here we go.
Right? Oh god, what page we're on? Like 180? I want to go to the Oh god, find the How did I get there? Go It's not funny. Don't laugh. Go back to the Okay. Mhm. Unit 7 Oh Oh, there's the page I want. I want to start off with this chart. Madalena Okay. On page
It's a little ways in. It's at the end of the middle voice section. It's on page 168. Go to 168 at the bottom. Where it gives you the summary of the middle voice. Right? The easiest way to remember the middle voice is not to read the pages [clears throat] that preceded this. Cuz they'll give you a You know, it's a really detailed description of subject, verb, and object, and how that works. Okay, fine. Then they give you a little summary and give you examples of the active
Voice verbs that you've gotten, and then their middle voice. What does their middle voice sound like? So, I think that's the easiest way to learn them is just looking at the examples here. So, archo and it takes a genitive means to rule when it's the active voice. I rule over somebody in the genitive. I rule over those people and they're in the genitive case. What the middle voice takes a genitive as well, archomai, but it means to begin. Yeah. So, when you rule something for yourself, for your own advantage, you
Are starting something. That's how That's how they're thinking. Okay, that doesn't help me a lot with middle voice, right? Look at the second one, grapho, to write. What does it mean to write when in the middle, when you write for yourself? Look at the last definition again, indict.
All right? When you cause somebody to be written for your own advantage, you are indicting someone. Yeah. Yeah, okay. It's a cross of It's a cross of straight up just grammar and law. Right? It's It's really neat. Okay, didasko in the active is to teach. Didaskomai cause somebody else to be taught. All right? So, you're teaching or you're causing somebody to be taught, you're educating, right? Okay. What about su- sacrificing? Well, you sacrifice in the active. Look what happens in the middle. You cause a sacrifice to be made. Okay, that still
To me sounds like thuo. Right? When I say thuo, you know, I sacrifice. It still It sounds exactly like I cause a sacrifice to be made. It's That's [\\h__\\h] It's the same thing. What's the real middle voice nuance that we want? Well, it means to consult the gods. Ah!
Okay. To consult the gods. Now, I mean, think about this. There's Those are two totally different translations. When I go from active to middle, I can really screw up my translation if I don't realize what the verb is doing. Here, it has to do with a consultation of the gods. Why? Because you are burning substances that you are inhaling. You are doing it for yourself. You are consulting the gods when you smoke
A substance, a drug, you're entering into a state of consultation with the invisible demons. Right? So, um that's why thuo is the middle voice. Does that make sense? Or that's how it's used in the middle. Mhm. Yeah, it makes sense. Okay. Okay, fantastic. Luo to free,
Right? Or luomai to cause someone to be freed or to ransom. All right? So, you're really doing this for yourself. You're bringing back someone. You're ransoming. Paideo, teach or educate, right? Cause somebody to teach you to be educated, to be taught or educated. Pauo, to stop, or pauomai
Cease. Look at the intransitive form, cease. I cease, right? Mhm. When you stop someone, including yourself, you are transitively acting. So, transitive, you're going to act on something else. Intransitive, you're not going to act on anything. You're just going to be doing it for yourself. So, when you stop oneself, that's an transitive process. When you cease from doing something, that's an intransitive cuz you're not acting on anything. Does that make sense? Yeah.
It's the difference between transitive You're going to see those two terms, transitive and intransitive. If you just think of it this way, if you're transitive, you're going to have a direct object. Right? >> Okay. Good. Here's peitho, to persuade. Now, watch what happens. It becomes obey in the middle voice. Peithomai, I obey.
It's kind of It's I don't know. It's kind of neat. For some reason, it takes a dative. Notice that it takes a dative. You are obedient to someone or something. Yeah. >> You You obey. Yeah, kind of neat. Tatto. Oh god. To drop in order. It really should be tasso, but whatever. Tattomai, I fall into order of battle. All right? I order for my own sake, so I'm getting in order in battle. You can guard something in the active. Look at the in the middle, phulattomai.
I am on guard against. Mhm. All right? I'm doing I'm doing it for myself. Basically, when you see those middle endings, and you're going to say, "Wait a minute, they look passive, too." When you see those middle passive endings, that's what they're going to call them from now on in the book, middle passive endings. When you see those, you've got to shift to the perspective of the subject of the verb. Switch to that thing's perspective
And realize that thing is doing it for itself. Now, why were the Greeks so interested in the fact that you can do an action on somebody else, you can have an action done on you, or you can do something for your own advantage? Why divide the world up? Because your entire Greek verb world is divided up into those three groups. Mhm. So, as you're translating, you're going to be noticing exactly how much
The focus becomes the speaker or the person doing the verb. All right? The the subject of the verb, I should say. You're going to notice You're going to be like, "Why? Why is there so much subject?" All of these particles that we've got, all of these particles are meant to help us understand what the subject is thinking, doing, feeling, etc. It's a very unique perspective. You do not have it in English. So, it's something that's going to It's going to have to It's going to have to seep into your
Brain. Okay. All right. Does that all Is that all good with the middle? You feel okay? It looks like a passive. Yeah. Yeah, let's just Let me just do a little bit of the morphology before we just before we just uh abandon it, right? Let's see. Here you go. Look at these forms. All right? Here. This is the future middle. Right? Future middle, paideusomai.
Paideuse paideusetai. It's just the mai sai tai metha stha ntai endings. And what does it mean when we say paideusometha? We will educate with our own advantage in mind. >> [laughter] >> For ourselves, yeah. Isn't that weird? Like, why? Why just not Why not just say, "We educate someone"? Because the Greek wants you to know that the action of a verb can confer an advantage or a disadvantage.
That is what the middle is all about. It's telling you the disadvantages for me or the advantages for me. Good. Wow. >> [clears throat] >> So, there are some forms, and then, you know, you can have >> Very specific. Yes. Yes. Yes, what do you think of that? It's a kind of a weird way to think, no? Yeah. Yeah. I mean,
I I that's really important. If you're sitting there doing something for yourself, >> [sighs] >> I think I should know if it's for if it's for your advantage. I, as a listener to your speech, should know if what you were doing is for your own advantage. It's like a weird preoccupation with the ancient Greek, but they use it artistically. It's used beautifully. Yeah, okay, good. So, okay, look, we've got Here's the aorist middle. Right? Amen o ato on page 166. She can still see this, right?
Amein auto, ametha aste anto. Right? Okay, that's that looks nice middle for me. I like it. What is epide osamen? The first person singular. I educated for myself. Right? I had someone educated for myself. I did it for myself. Okay, you've seen all of these and you're such a good student. Um I don't think that you had any problems. Look at the subjunctive. Subjunctive, same thing. It's just the endings my say type but the vowels are long. Yeah. Right? No problem. Okay, so look, you're getting all that. I don't need to Okay.
Beat it up like that. That's Um go to this page 169. Do you understand that there is a thing called a second aorist? Yeah. And it's got forms. It's got forms that are going to look unlike the actual aorist. So they give you the form lepo here, the verb lepo. To leave somebody behind. You abandon somebody. Lepo's like abandon. Right? So lepo in the aorist is elepon. Yeah. Right? And it it it's going to have endings
That look like this. That are irregular. Mhm. They look like What do they look like? Here the Here the active and the middle forms. Look, elepon, elepes, elepe. That looks like an an imperfect. It looks like an imperfect. Elepomen, elepete, elepon.
So your second aorist looks like an imperfect but it's an aorist. So elepon can't be translated I was leaving someone behind. I was abandoning. That doesn't work. It has to be I abandoned. Okay. Yeah. And elepomen.
Wha How the hell would you translate elepomen?
Um I We We abandoned. Wait, no. >> No, not not omen, omen but omen [snorts] in the middle, the first person singular. >> Yeah. Okay, omen. Um it would
I I left. I abandoned for myself. Yeah. What the hell does that mean? Right? Yeah. Leave for Leave for myself. Left for Left for yourself. Yeah. Right? I guard for myself. I am in guard against. I abandoned for myself.
It's just, you know, it's with the rest of the sentence it'll be easier but I just I want you to see this. They're not easy. It's not like it's it's not always intuitive. Like if we just put up that word abandon. Here, I'm going to look it up in the LSJ. Okay. And let's look at how it's used cuz they will tell us the differences in its active and middle forms. They'll tell us, right? Lepo lepo, here it is.
Mhm. To leave. Okay, fine. We need that. To quit in the old sense like to quit your business, to leave behind. Yeah. Right? To leave behind. Look but Look at to be um to spare. To leave behind, to spare, to forsake. Then in math it can be to lose or drop something, i.e. to have something subtracted from it. Interesting. So lepo in math is subtracting. And when you start reading mathematical text, you got to learn all this stuff for the first time. You're like, wait a minute, what?
So you're leaving something behind from this number and it gets you a lesser number. Right? Oh, it's subtraction. It's subtraction. But look, it can be used intransitively. When you leave something behind, you are missing something.
It's an intransitive use. It doesn't have an object. Right? I left behind my dinner in the gutter after I drank too much, right? I left it behind. I left behind the dinner. But here you can use it where it's this weird like amorphous Well, I just something's gone.
Right? [laughter] Yeah. Do you see how it's a it's it's really a matter of exposing yourself to these sources. Right? Passively. Passively to be abandoned. Right? But it can also mean to like linger.
Wait, what? Yeah, it can be like something You're expressing an absence but the absence has to do with the speaker. So there is an a need or a necessity for something. There's lingering absence.
>> [Sighs] >> It can go so far as to being inferior. I'm inferior, right? Yeah. >> [sighs] >> Nice. Okay. So the way that those verbs work, bring me back up the textbook, please.
I'm sorry, Sue. You can go get your work done. Cuz if I've got the textbook on, I can That's your work. The bathing of the snakes. Aw. Everybody's getting a bath. Hi, guys.
You have to keep your ball pythons hydrated when you're living in a dry climate, you know. Yeah. Cuz they they need the water. They need the water. Oh, do you want No, we'll get it all. Here.
They They just ate so he's not going to he's not going to want to be too active and I don't want to jostle him, make him puke or anything. Okay, let's Let's go to Here's the aorist subjunctive. You saw those. Same thing. Got the long vowels. No problem. Okay. Um let's go to the next grammar just to get you There's two There's charts on here that they put on sideways. Oh, yes. Yeah, and it's the ble- I believe it's the principal parts. Yeah, it's all the principal parts
Of the verb and it tells you everything that that principal part can do. Right? So, okay. That's nice. It's nice for you to come back to this and look at it and say You don't need to memorize this. You don't need to try to It's just showing you. Look at at all the different types of verb stuff that you can get. You know, like out of that first principal part you get the present active, middle, and passive, the subjunctive
Present active, middle, and passive, the optative active, middle, and passive. Right? So you go, "Okay, yeah, and it's got an infinitive, too." Right? You've got It's got an imperfect, right? And then you look at the future, the second one. Oh, it's only got the future indicative, right? So, okay.
Yeah, kind of at a distance you can see what everything can do. That's not bad. Okay, you're smarter than I am so you're going to get that stuff quick. You We've got the optative of wish and the potential optative. If we see an on if we see an on, we're going to know it's a potential optative. If we see an a- a gar then we have to ask ourselves Mhm. Could it be a poten- Could it be this wishing optative that we've got? Yeah, okay. Um before we go on to the demonstratives
Yeah. >> Cuz that that and those mixed conditionals are really the two biggies that we have to finish. Go to the end of the chapter where the quote is of Aeschylus now. Yeah. And I want us to consider I want us to try to translate this thing. It is on page 188.
I see an A and a gar but I also see proxaimen is some kind of aorist optative, right? So I've got A plus an optative there. I've got A plus an optative. I really could have just have a conditional. I don't have to have some kind of weird you know, this is not a This is doesn't have to be a wishing. Right? This can be just a conditional. So but look, the second half, eite theou, that doesn't look like any other It doesn't even have a verb. Um there's a phenomenon
Yeah. There's a phenomenon here that's going on that um you have can mix conditionals. You can take the protasis off of one and add um a command or something different to the apodosis and get your um sentence. So everything is not as clean as I made out to you before. So I want you to be flexible with this one. I want you to treat it like a conditional. I want you to treat it like a conditional and I want you to say, "Okay, we've got an A plus an optative.
If there's a verb to be, it would be in the present in that other one. So, let's just try to work it out. Let's see what you can do with this, right? Yeah. Um
So, proclitic uh
So, it would be uh
So, is it uh is it is it second?
Um second aorist? No. No. Or is it >> Which one? Proclitic? >> uh proclitic, yeah. Yeah. >> Sorry. It's just an aorist optative. >> Oh. Okay. So, uh so that is um
To do affair, so that would be uh we
>> [Snorts] >> uh
So, which conditional would this be for a protasis? A plus the optative. We could have uh We could have on page 97, we could have a future less vivid. The should would. The should would or we could have a past general.
Right? It would be the did did. So, what do we need in the the apodosis? We don't have even have a verb there. If If this were a future less vivid, we would have to have an optative plus an on. Now, that's too much for an invisible verb to be cuz that's all we've got is an invisible verb to be. You can't kick it into the say, "Well, it's actually an an optative or subjunctive with an on." No, no, no, you can't do that. You just have to say
There's an invisible verb. So, in that Yeah. >> past in that past general, that's an A plus an optative followed by an imperfect. >> imperfect You could have an imperfect verb to be here or you could have a present verb to be. So, how are we going to translate this? That's a did did, right? Right? If we did anything well, if we did anything well cuz proclitic
[clears throat]
>> Well. Yeah. Yeah. If we did anything well, it it was the it was the it was the cause of the gods. It was the responsibility They're the ones who actually ended up doing it, right? Uh-huh. God. It's a right? What is this thing? Is it a perfect conditional? No, it's a conditional that's been screwed with. Right? And it's not showing all of it. >> Yeah, right. So, yeah. This is the way Greek is going to work and you're going to have to be >> Yeah.
You're going to have to be flexible yourself or Right. you know, we're going to get we're going to get pinched. Yeah, it's not a wish. It's still got that A guard, but it's not a wish, right? So, we have to play with it >> Yes. see what kind of structure, right? We're dealing Yeah. Okay. Okay. >> I was trying to figure out what wish Where's the wish? Is it making Is it making its way into the braino? Yeah, yeah. Okay. Go to the exercises on page 186
Before we get to the before we get to the demonstratives. Look at number
Um one, please. Number one. Okay. And you see the A guard nuktos te kai hemeras ekeinoi ge hoi agathoi phylakes
E phylattoien to. So, there is a nice optative, right? Phylattoien to. >> Yeah. Phylattoien to, yeah. Right. And it's a main so to method unto ending. So, it's going to be that middle passive looking ending, isn't it? >> yeah. Uh-huh. >> So, we have to pay attention. We have to pay attention to this one, right? We have to see what's going on. Okay, so it so A plus an optative.
Yeah. Okay. A plus an optative. But I don't see I don't see any sort of All I see after that is a purpose clause. Right? Wait a minute. Is this w- We're mixing things up. We're doing something. Right? So, see how The only reason I'm bringing you to this is just from a basis of analysis. When you're looking at something to analyze the Greek, the first thing you're looking for is structure. And if you look at this sentence, you're going to see some Okay, well, it could be that A could be
The conditional or it could be part of that oh, that wishing thing. Right? So, if I don't see an apodosis here, instead I see a purpose clause, um I'm going to try here. Don't watch out, sweetie. I'm going to try to and you got to take him. I'm going to try it first as maybe an independent subjunctive uh independent optative. Let me see if it works as an ind- independent of optative. And so then I try it. Okay. M- Maybe it's maybe it's a wish. If only
For the night and day these good guardians would guard us well. Sorry, would guard the thieves well. hos in order that may klepsoisin they may not steal to argurion the silver to demo of the people.
Right? So, look, it works there. It works there as that wishing subjunctive I mean that wishing optative, right? Optative of wish. So, as you're examining sentences to translate, don't be afraid to say, "Okay, this one it didn't work out as a conditional. I tried it, didn't work out, so I'm going to try it this way." Okay. What you're going to find, and this is what comes out in the appendix, is that there are all sorts of substitutions that can be made. There's all sorts of mixed conditionals and substitutions.
The language is very flexible, and the only reason we taught you that the the chart that's on page 97 is to give you a general idea of what can happen, what is possible. Okay. All right, let's go to finish up the grammar real quick, and then I'm going to give us a break, and we'll do some exercises. Um if you've got time. Okay. Let's Okay. Uh adverbs. We'll start with adverbs on page 178.
Adverbs. Most adjectives form adverbs by adding the ending omega sigma. Right? What What does it say though? It says you have to use the stem. You got to drop the ending off the genitive singular. That's what you got to do. And then you add the omega sigma. So, axios, the adjective for worthy, if you want to say you're doing something worthily or with worthiness,
Then you you create oxios. Oxios with that omega. kakos kakos kake kakon means bad. Something is bad. Chop off the ending and add omega sigma. Badly. You just basically are turning your adjective into an adverb. Notice adverbs in omega sigma accented on the ultimate always have a circumflex. See, these things are easy to spot when they have that final accent cuz they're always circumflex. Okay. That was simple to understand. Now, I want to do go to the thing that's not so simple. This is on page 176.
Conditional sentences with relative protases. So, you notice I've just been screaming about how you can take these conditionals, you can mix them. Okay, this is one thing you can do. You can take >> Yeah. You can take the protasis, the if clause, and you can turn it into a relative. A relative. Right? You create a relative protasis. Let's just look at the example. Look at the first one they give you at the bottom under future more vivid conditional sentence with a relative protasis. Look at it.
Instead of your a on plus your optative, you're going to have a relative plus I mean your a on plus your subjunctive. Instead of having your a on plus your subjunctive, you're going to have a form of the relative plus on plus a subjunctive. So, the example they give you is hon on aste naison
Pempo men. How do you just translate that much? pempo men, right? We're We're sending somebody. Hon, whomever
We send to the island ekeinos that person paideutai will be educated. Now, look at the apodosis. It's still got a future just like the future more vivids do in their apodosis. Right? But instead of that a on plus the subjunctive, you have just substituted a relative pronoun. So, instead of saying if somebody does something, then they will do something, you're saying whoever does something will do something. Does that make sense? Uh-huh. Okay. Whomever we send and the reason it's whomever there is notice the hon in the Greek is in the accusative case.
It's in the accusative case. So, you know it's acting as the object. It's the thing that we are sending. Whomever we send. Does Is that clear? We're sending a whomever. Mhm. Now, in order to really let this sink in, I'm going to continue with the other examples of conditionals with with substituted protases. But what I want you to do is I want you to go back to the relative pronoun in six and I want I want you to look at its forms. Cuz if you don't know these
For the exam, it's going to screw you in like really bad ways. Let me show you what I mean. If you get the page before I do this. >> Absolutely. Hon. It's fantastic. >> 142 142 43
142 143, Okay. I know. I know.
What's Oh, nope. Nope. There it is. Okay. Fantastic. Look at that chart hos hou hoi hon and recognize again that that is the nominative genitive dative and accusative. The nominative would be whoever does something. Whoever goes to the store will get a prize, right? That is one of these substituted future more vivids, okay? Now, with a genitive, you can do the same thing. Right? Um
The um Technically, it's whose ever right? So, whose ever brother this is gets a prize. Will get a prize, right? Whose ever, right? The person that this belongs to. The dative, to or for whom, okay? Can also be by whom. Right?
To whomever this was written they will blah blah blah. Right? And then the accusative hon, whomever was blank blank blank, that person. Good. I just want you to notice that, right? If it's a feminine, you're If it's a feminine, you're going to be using a hay. The article has to agree. It has to agree with its antecedent in number and gender. And then its case is determined by whatever it does. Good. Again, just look at that example in English underneath to reinforce. agathos poietes
Hos. See the hos there? That's the nominative. Yeah. Right? Who egrapsen he's going to be doing the the verb. Who wrote? Good. The man is good who wrote the book. Yeah. Good. Fantastic. Fantastic. It gets Okay, now back to our back to our examples. Okay. Now, as I'm going back, you you tell me how this is these mixed conditionals are sinking in. Is that Is that pretty pretty good for you? It does. >> Yeah. Mhm. I just so fast, huh? Okay. Well, that's makes things easy.
>> [Sighs] >> Go right now. Right now, I want you Okay, 787. Right now, I want you to skip ahead since you are getting it. I don't want to hold you back. I don't want you to go to before we even look at the sentences in the book, I want you to go to the review. Okay. >> which is on page um 189
Is it? No, 190? 191? Yeah, 191-ish. Yeah. Okay. Notice in the review, I want I'm going to jump to the sentence, but notice in the review they say this is a type of, you know, exercise. For each of the following nouns, provide the proper form of the article. Okay. >> Nice. Okay? So, here you're matching You're matching those articles with your nouns.
And so, what is it doing? It's forcing you to say um look, number 14, mousai. Right? What case is that? Well, it's nominative plural, right? So, fantastic. What's that nominative plural um article, right? Oh god. Right? Put it up there. Give it to me, right? So, that This is something that goes works well on exams, but not on an exam like we're giving. But I want you to know that that's the kind of thing that you should be doing. Right? That's the kind of thing you
Should be able You should be able to do that. So, I just want you to know that. Be aware of it. Look at number two. Translate indicatives and infinitives. Look, all they're giving us is a whole bunch of different types of verbs. That's it. Whole bunch of different types of verbs. Look at number four. klepsosin.
Oh god. Right? What is it What What do I have to do? Identify the first principal part. It's the same thing you and I are doing when we translate sentences. You're just finding You're identifying the verb. keklophas Is that from klepto? If you forget that's from klepto, you're screwed. Right? Well, it's it's got a repetition of its first consonant, so I'm going to guess that it is a perfect. Yeah, it turns out it's perfect, right? Right? Oh god. os a omen ate asi, right? It's an os, so it's that second Okay.
Anyway, all I'm saying is what you and I have been drilling together from the sentences you could put on an exam and make people do. Okay. Go to section three, translation. Look at that first sentence and look at the parentheses underneath it. I want you to find the deliberative subjunctive that is there. Do you see a deliberative subjunctive? As you Read it to Read it out loud and then tell me yeah, you get what's going on. Uh sois te
Thusometha. Yeah, ometha. Uh an anelo aigon. Yeah, that's that anelo that takes the genitive that means without. Good. Good. What What do we do with the thusometha? Um
Oh, I have to go back to that because I need a refresher on the on on the deliberative. Um Yeah. Think of it as a question. Notice that it's got a question on there. You don't need to >> Yeah, you're right.
Thusometha, are we to sacrifice? >> uh the the uh to the >> [sighs]
Yeah, without the goats. >> Yeah. Yeah, are we going to enter into a state of communication through sacrifice with gods if we don't have goats? Right? Look at the masses there and how that middle passive ending is working. Right? Right? Okay. Good. Good. Good. Good. What I want you to do though is I want you now to say Oh god. Um which chart? Go back in unit seven in this unit, show me where this form is. Thusometha.
Mhm. What page is it on? If I'm If I'm new to the class and I'm like, wait, where can I find this form?
Give me a page >> uh
It's uh 166. 166, okay. Wait for the old man catch up. Here we go. Here we go. I've still got vim and vigor even though I'm aged. Uh Okay, is it Is it in one sit No, what's Is it? One more. There we go. >> [laughter] >> Okay. People, look at the form here. Look at the form here and tell me. You see the ometh on the end. You see that middle passive form.
You see the middle passive form, but what's going on with the ending? It's being attached to the part that will tell you whether it is middle or passive because remember the third principal part of is the arist. active and middle The sixth principal part is the arist passive. So, is paidelos the sixth principal part or the third? Let me see if I can remember. paidelo paidelso epaidesa
Pepaideka pepaidemai epaidethan. So, it doesn't have the passive stem. So, it must be middle. That's how you're going to be telling the differences between the middles and the passives. Right? Because notice that notice that you can have a present passive without switching the stem. Right? But you cannot have an arist passive without switching the stem. You can't have a perfect passive without switching the stem. Right? That that it turns from the fourth to the fifth fifth principal part for the perfects if you're going to passive. So, it's always
That stem. When you're in the woods with the What the hell is this? A middle or a passive? Right? So, what do I want you to do? I want you to translate that one as a middle. Let's go back to the exercise. >> Okay. Where did it go? Yeah. 191
Yeah. 191
Boom. I hate using the flippy You know, the only reason I'm using the text and the digital text is because for this chapter my both of my current texts are have a hole apparently. Something happened. Yeah. Yeah. Right. Right? So, here's your deliberative subjunctive. Theois de
Thuso metha aneo aigon. Are we to sacrifice for our own benefit? Are we to enter That's why I said earlier. Are we to enter into the to >> enter into the visual Are we to enter into a state of communication with the gods? That's really what theois de thuso metha means.
Right? And because the person the editors Because the editor here is overly biblically influenced culturally, they put aneo aigone. They put goats there. Right? They shouldn't have done that. They Right? Because you are not entering into the communion with the goat. The The living sacrifice is not a communion sacrifice. It's a sacrifice
To acknowledge a a giving up of something in order to get something from the god. Right? That's totally different from entering into communication with the god. If I'm going to sit there and suck up the smoke and talk to god, I don't need a blood. Right? >> Yeah. So, it's a real it's a real to shed that blood is to show that you are giving up you're yielding a soul. Right? So, if I want to talk to the dead if I want to go through a necromantic
Ritual or I want to invoke some magic it may demand a a life sacrifice in order to make the operation work. But if I am just communing with the gods a i.e. prayer right? Then I'm going to be involved in sacrificing those those uh plants the botanicals mostly. Okay. Okay, anyway, fantastic. Look at number two and I just want you to look in the parentheses first before you even look at the Greek. Okay. >> What are they What are they giving us here? They're giving us a future less
Vivid Mhm. >> conditional sentence. Okay, what do I remember about future less vivid? It's the A plus the optative optative plus on and its translation formula is should would. So, this should be a should would sentence. Okay, fine. What else does it say in the parentheses? It says we've got an enclitic ge Right? It's the ge That just means the enclitic just means it's joining to the word that comes before it. You say a ek noige. ek noige Right? I mean, come on. Seriously? That's not a big deal. Then it says neuter plural subject with singular verb.
You've got a neuter plural subject with a singular verb. So, the neuter plural subject is on the bottom line at ta somata. ta somata That's neuter plural and it can be a it can be a nominative or a accusative. So, I'm going to assume it's the nominative. the bodies
Of good people That's what taton agathon somata. Do you see that? Uh-huh. Yeah. Okay. Then our singular verb is tapheie. tapheie Yeah. Yeah. You see how that's an optative third singular. >> Uh-huh. Yeah. Mhm. Good. And so, there we go. We got no problems. We got a plural subject that's neuter and it can take a singular verb. No problem. Finally, in the parentheses the last thing is a genitive of the personal agent. hupo
Kakon hupo kakon That's a personal agent. So, we're going to expect the passive. Right? And that's what we get in tapheie. Isn't tapheie passive? Right? What is tapheie? Oh, Let me examine. Terrible.
Well, yeah. What is tapheie? tapheie Yeah. What is it? Wait a minute. Didn't we just have a vocabulary quiz? Look at page 99. Look at page 99.
In the middle of the page very middle of the page we look at the verb thapto. thapso thapso ethapso >> bury Yeah. And then look, it doesn't have a perfect. There's no perfect. But it's got a perfect passive. Isn't that weird? And then etha phen and then etha phen is its arist passive. So, if you look at tapheie here, it's from it's from that sixth principal part. Right? Wow. Okay. Right? So, you can figure out that's a That's an optative an arist optative plus on. So, this is a real future less
Vivid conditional a should would. If these free people should guard the slaves the bodies of good men would be buried by the evil. evil Yeah. Yeah. The evil people assumed, right? Cuz Yeah, whatever. Okay. It's a should would.
Yeah. That's what's most important. It's a should would. Okay. Now, I'm going to give you number five. Number five, go down to it and I want you to teach it to me. All right. Tell me Tell me what it's got in it and how you're going to translate it and take your time. optative of wish uh dative with douleuo
And generic substantive. So, I'm just going to look at the verb and then it's douleuo doule douleuoimen me douleuoimen douleus me sou sou sou phois
Um How are we going to uh be enslaved? Um and it's uh
Um I think I'll Let me Let me double check. >> [gasps]
Look at the optative of wish part of it. Yeah. >> You know You know that verb is an optative of wish. How do we translate those optatives of wish? If you need to, jump back and and look at the example in English how they translate these. >> Yeah.
Yeah, so I'm I'm I might be
In enslaving >> Make it sound like a wish. Make it sound like a wish. >> if I >> [laughter] >> If I might I don't know. Um >> Yeah. May we not something or >> not I wish we'd wouldn't do something, right? It's a It's a It The optative here is just showing you that the person who's expressing this is doing it as a wish. May we not Oh God, if only we don't You can use if only for these, too, right? If only we don't
Serve what? Toys maze of voice. Um >> If only we aren't servants to what? wisdom to the maze of voice to the maze of voice unwise So, unwise? to the Yeah, to the unwise. There you go. There you go. Perfect. May we not be servants to the unwise, right? Right. Okay, now number seven. Before stopping to think about it, right? This Tell me Tell me really quick. I don't This time don't look at nominal sentence. Don't worry about dative of personal agent. You don't need to do it.
You don't need to look at any of that. >> look at it? Tell me, where's the verb of this Where's the verb of this thing? If Go ahead. pep hautai, right? Pep hautai is a verb, right? >> a verb and but it's a okay, almost like
Is it an invisible be in there? There's Yes, good. There's an invisible verb that's the main verb and the hoy The hoy is just a relative clause, right? Yeah. Uh-huh. It's just a relative clause. So, your main sentence is agathos akainos ho rhetor and there's a verb to be in there and the subject is ho rhetor. Yeah. Okay.
Um
Oh, that good speaker. Almost almost. How about How about this How about that speaker is good? Oh, I guess I didn't look at the at the um the ending on akainos. That speaker is good. Uh uh who
To or for whom >> or for whom
Pep hautai Um
Oh. Pep hautai. Does that look like a perfect tense to you? Looks like a perfect tense to me. Pep hautai. Yeah. Let's see. Um
Yeah. >> Maybe a perfect tense. >> It It's a Yeah, it is a perfect passive of a third um Yeah. third singular, right? So, good. It'd be um Oh, uh
To whose Did you say to whose speaking? Is that how that pronoun works? >> to or for whom When you see a dative relative pronoun, translate it as two or for whom. Okay.
Um uh the to or for whom um pat has been has been Good. >> has stopped Good. the battle Yes, for whom the battle has been stopped. >> Okay. Yes. [clears throat] Isn't that nice, right? The mache is still the subject of its clause, the battle. Pep hautai is its verb, has been stopped, and two or for whom. When you translate the relative pronoun, when you translate it in the nominative, it's who. When you translate it in the genitive, it's whose, w h o s e.
When you translate it in the dative, it's two or for whom, always. And when you translate it in the accusative, it's whom, right? Because it's the object of whatever the verb is. It's just practice with these relative pronouns that are going to really that's going to really stick with this. Okay. I want you It's 9:20. It's 9:20. I want you to take a 10-minute break and then I just want you back for 15 minutes. Can I do that? >> Okay. Yeah. Okay. Okay. Okay, take a mental break. Get your mind off the game.
I'll see you at 30 for 10 minutes. I'll see you at 30 after. Okay.
Yeah. Fantastic.
I just want you to see with these conditional sentences. If you go back to page 176 and you look at the bottom of that page, and you look at future more vivid and you see the substitution. Just look at the Just look at the Greek hon an aste nason. We did this Whomever we send to the island, right? That person paidothesetai will be educated. Okay. That was our future more vivid. Turn across the page to to your future less vivid.
Look at the Just the Greek starting at hon aste nason. pem poimen Whomever we should send Whomever we should send You've changed to your future less vivid, so it's got to be a should would. Right? I just want you to realize all of the all of the types of conditionals that we have looked at that you have the main chart for on page 97, it's that architecture from page 97 that you'll be building on. And I know I've said I've said that, but I I need
To keep hammering it in because for all of these conditionals, that's what you'll be doing. You will be The first thing you'll do is you'll say, "Aha, this is a conditional with a substituted protasis. We have a relative in the protasis. So, I'm going to determine what kind of conditional this is. Ah, it's a future less vivid A plus optative optative plus on. Therefore, I'm going to translate it that way." I just wanted to kind of repeat that to you to get to get you to set that in your brain. Okay.
Um this is what we're going to do for tomorrow. We'll have the test for the first 45 minutes or so. Then we'll stop We'll stop after 45 minutes and I'll give you a 20-minute break and you'll come back
[clears throat]
And then we'll go on to the next unit. So, um it's a lot. Look, we did half [clears throat] of the review. You know, not even that cuz we did short sentences. I'm afraid you're getting shorted just a little bit, but what I'm pleased at is that you're able to keep up with both the vocabulary and the translation. All the translation we did today, including the actual Greek that you did, was fantastic.
All we have to do is get you to practice these structures so that we can certify you having been able to pass this section of the exam. That's all we have to do. I'm really worried because you're assimilating the stuff so quickly that I know that you're I I can't you I'm starting to lose the ability to lose to use what we're doing because you're getting so fast. Like normally right now, what I would do is having having gone through the chapter like that, the student would now have a whole
[\\H__\\h] ton of questions that we would need to flush out doing exercises. From looking at the exercises that you and I have just done, you seem to be assimilating it all a lot faster. So, I'm afraid that what we're doing is I I just happen to get a really, really good student for the intensive course, and that's why you're able to do this. So, I may have to put a caveat on it, and I may have to tell people, "Look, you know, um unless you can do like Madalena did."
So, because you're being so successful so far, I'm really impressed today that you're you assimilate the new material, and you're translating no problem. So, I want to know from you, what are you doing? Tell me. Just take 5, 10 minutes, and tell me what you're doing in this whole process. Um so,
I'm just memorizing and being consistent, I think, is the most important um aspect, and then just kind of um re- reinforcing the things that I don't understand uh or the concepts, and detaching the concepts from the translating sometimes in order to watch what's actually happen happening in in the grammar. So, and not not getting hung up by that, and also just mhm beating myself over with vocab, and the studying the endings and uh and mor- morphology and stuff, but um So, what are you How do you go about
Like um the next thing that you're going to study? So, you know what we're going to do tomorrow, and you know you're going to have to go over the exam. So, are you just going to Are you just going to say, "Okay, I'm weak in something?" Or what What do you So, I need to study vocab. I'm weak in this, so I need to What's your mental process during this whole thing? Just so for the future. I guess I am I am taking note of the areas that I'm extra weak at, which are
Um or or that I don't have completely memorized. Um and I think if we can if like I ask myself um how can I take the
Basically the the concepts and apply them, and if I can feel like I can teach myself, then it makes more sense, and it it becomes memorized easier. And also,
Like keeping keeping an open mind and being like willing to be wrong, and then just referring to what the charts say, and trying to um use rhythm and and music and um repetition, I I think. So.
Okay. Okay, that gives me some things to tell think about and tell students what the successful path entails. So, going over things, repetition seems to be a theme that you're that you're >> Yeah. Well, also well, I've I've been um like for the for the endings, the ten like the tense endings of and and all of that, I've I'll
Record myself saying them and put on a loop. Sometimes if I can't be in the textbooks, I'll be hearing it. I'll be hearing myself say things, and remember them. Sometimes I'll if I really can't remember something, and I'm like, "Oh man, I have 30 minutes till class, and I'm trying to memorize." I I'll put it even on a beat, and put it and listen it to it back at while I'm reading it sometimes, or um you know, doing stuff around the house. And Maddy, Maddy, does Does he know about the songs
That you did? I [laughter] made my I made some songs. Um but also also using movement along with this, so
So, if I Sorry. If I if I don't have songs on me, like I don't have my phone or something, sometimes I'll picture I can visualize fairly easy. So, I I I can picture the word in before me, and then I I can use movement to remember and use like word association associate and stuff. So, so you your process of committing all of this data to your memory involves vocalization, music,
Um are you writing down at all? Some students will write some down. >> Well, I I write So, what I what also helps is if I can consolidate all the information on one piece of paper, and then study the different areas and on the paper to remember. Like Oh yeah, like upper left corner, I remember this chart was here, and I can recite it now in my head because I can see it. Yeah. Okay. Okay, because typically,
Madalena, typically at this at this point, um the stuff isn't submitting so isn't cementing so solidly. I can tell that you're doing something to really work the memory. You're really doing something to get And like you said, you're talking about you use voice, and you're using the sounds. Right? You're making it music. Um maybe that is the key. Maybe that holds the key somewhere, because some students get it quick, and honestly, I am not one of the quick learners. I had to sit down I'm one of the writers. I had to sit
Down and write these things over and over and over again. I never talked it out to myself when I was learning it myself. I just did it really quick, and then mentally thought about it. So, your verbal engagement may be a step up. It may be something like it. >> Well, I thought also if it's a musical language,
That that perhaps will assist in my process with memorizing it. Yes. Are you saying you're smarter than me? That you figured it out and I didn't? >> [laughter] >> No. >> [snorts and clears throat] >> No. >> I think Yeah, I think you did. I think you just did, but I Yeah, but [laughter] I but I think you're right. I think you're right, and I think maybe we can attribute your quick pick up, cuz that's what you're doing. Right? This This is a phenomenally short period of time that you've picked up a lot. And when I do identifications with you,
You're able to pick it out at a point at a speed that your average person is not going to be working at. So, >> Yeah. I I realize I feel a little bit bad, honestly.
No no, as you keep as you're doing this though, I want you to bear in mind that I need to know what it is that are is the key to your success, so that I can spread that to other students. So, as you're learning it, kind of I don't know, pay attention, do do a little documentary in the back of your brain about how you're learning this. I That's really what I wanted to give you. Okay, whatever you're doing, keep doing it. Keep doing it. It's not going to get any
Harder. It's not going to get any harder. It's just going to be more of the same thing. Okay? >> Consistent. Yeah. Yeah. So, whatever you're doing, please keep doing it. I I want you to finish on your own. I want you to finish studying in the way that you think will be best for the exam. If you want to do a a few more sentences Mhm. before we jump into the exam tomorrow, I'm happy to do any, you know, like if you do a couple from the exercises or a couple from the review
That we didn't do, and you're like, "Hey, can we Can we do these together?" I'm perfectly happy to do that before you jump into the exam, okay? Okay. Mhm. Okay, do not read the next unit. All I want you doing is preparing for the for the exam. We will worry about the next unit after your exam. Okay. Okay. [laughter] All right. Any questions for me? Um I don't think so. Okay. Okay, keep up the good work. It's phenomenal. And tomorrow night, um I'll have Lady Babylon. Wait, today's
Wednesday. Thursday or Friday? If I The next time I have Lady Babylon, if we can start um like we did last time in a half hour after, that'll give me the time that I need. Okay. Okay, we'll be in touch. We'll be I'll see you tomorrow. Sounds good. See you. Yep. Thank you, Amon. Yes, thanks to everyone. Thank you. Yes, and you too. Thank you, Joey. Thank you, Madalena.