Descriptions:
Video Description
In this lesson, Ammon Hillman walks Madalena through the genitive absolute, the construction he says Galen loves to use. The recipe is easy to spot: a noun in the genitive plus a participle in the genitive, sitting on their own instead of agreeing with the rest of the sentence. He translates it with the pattern with the blank having blanked, and shows how the same little block can become when something happened, although something happened, or because something happened, depending on the context around it.
The vocabulary opens by treating words as living things, not labels. Tuchē (τύχη), usually called fortune, is traced to the verb tunchanō (τυγχάνω), to happen, and the lesson points out that the Greeks heard fortune as feminine, a lady, not a foggy concept. Kairos (καιρός) is shown to mean due measure or proportion first, and only later opportunity, which is why Hippocrates can call the right moment in an illness a kairos. Aphron (ἄφρων), foolish, is broken into the alpha that means without and phren (φρήν), the midriff, the seat of the appetite.
The lesson then spells out a cycle from Greek vocabulary: koros (κόρος), abundance, breeds hubris (ὕβρις), wanton violence or outrage, and hubris summons atē (ἄτη), infatuation that punishes as it ruins. Hillman also walks through the temporal clauses built on epei and hote (ὅτε), after and when, and through the -mi verb endings that keep changing vowel grade. The point of the hour is that translation is arithmetic: identify the construction first, then work the words.
Full Video Transcript
Okay, that makes sense.
Somebody said profanity and I showed up. Oh God. Oh God. Gorgeous. Let me interrupt you. I’m sorry. It sounds like your conversation was cool. Madelena, how are you doing?
Pretty good.
Okay, how do you feel after your exam and after having read Unit 11 and worked on Unit 11?
uh good good that’s it just good no no cosmic weight oppressing you that there was so much
material in this chapter i still i need help a little bit with um let’s see uh the genitive
absolute i don’t really understand that quite yet and i didn’t um get to memorize all the vocab
but other than that i read through everything and i worked on some exercises so that’s a perfect
place to start is with the genitive absolute we’ll go to vocabulary quick but um yeah they’ve packed
a lot of grammar into this one and we’re going to look at a few kind of unique constructions
the genitive absolute is important because um some authors love to abuse it and
And it’s usually the smarties.
So Galen, for example, he’s using that thing all the time.
So, yeah, it’s a tool.
It’s just another tool in the belt.
Another thing for them to create these ridiculously complex sentences with, right, that we can go through.
Before we go to vocabulary, I want to give you your time’s worth.
and i want you to go directly to the readings you know because we need some we need something
did you get you probably i you didn’t get a chance to look at these because i wanted you
to focus on i didn’t look at them yet no fantastic
no that’s all the more reason right for us to look at them let’s just warm up with one of these
readings now um you’ve got agathon on page 330 uh 335 notice we’re where we are you’re on page
300 and something right more of ariston let’s just go with a i want you to read this fifth
century tragic poet and i know you’re looking at it for the first time yeah and i want you just
this is 333. Right? Oh, God. Let’s give him a shot. See what we’ve got. Go ahead.
Okay.
Yeah. Look at it. It’s kind of sounds funny, doesn’t it? Just reading it sounds funny.
Oh, God, it’s kind of melodious.
Okay, well, I’m stalling for you.
Look at the verbs.
That’s a nice one.
Look at it.
Principal parts are pretty good, except for, look at it’s perfect.
That doesn’t, to me, that doesn’t look real perfectly.
Right?
Can’t you reduplicate something here?
Right?
Stergo.
Notice the vowels.
The vowel change from the epsilon to the omicron and the perfect.
I just want you to see that.
Switches back.
Something’s going on with this thing’s perfect, right?
Please start noticing.
We need to start noticing some of that stuff.
And it means to be content with.
Yeah, to acquiesce in, to love.
um it’s one of our words for love that that moron oh who is that who is that modest moron who wrote
the four loves what was it c.s lewis yeah c.s lewis right who pretended to know greek but didn’t
right he was not he was no i’m serious he was not a classicist he did not have this training
right he had what all the school boys had and he thought that specially qualified him
to tell you about no no no he’s still he’s not a reader of ancient greek watch
2k what is 2k it’s fortune fortune yeah okay so look just let’s take a walk through it you know
the verb is esterksa and they have a note by the way they have a note so look at the bottom
this is a gnomic heiress expressing a timeless general truth look at that look at that the
a gnomic heiress okay now if you translated this openly are you going to be able to see that
they’re going to have to put a note there look it’s so the what the greek is doing is so complex
they got to note something that it’s going to normally you’re going to skip this right but it’s
there in the greek a gnomic heiress don’t forget that it’s an heiress that expresses a timeless
General truth. Oh God. Okay. See the appendix 733. Go to page 733. Boom. Boom. You see where
this stuff takes us? Boom. Obtained accusative subject. Accusative, accusative. Where’s the
nomic heiress in here? Did I go to the right page? No. I said to go to page 730.
probably we’re 733 boom boom boom but why did it land here that’s just oh god i have some kind of
curse you know boom boom boom oh my god you like listen i’m i’ve got my old man cane here just give
me a second okay now where’s our gnomist gnomic heiress where is it kind of factual conditional
there it is okay a nomic heiress is an heiress expressing a general truth
a nomic heiress governs primary sequence and look what they do they give us a present general
conditional what’s our present general it does does right with a known heiress replacing the
present indicative in the hypothesis god now now i’m serious are you going to analyze this
right now just think for a minute just think for a minute when you’re when you’re doing your work
realize you’re you’re being required madeline to do things that somebody in biblical studies
is never going to have to do right we’re trying to identify trying to identify a gnomic heiress
okay okay i like how they say pay the penalty
right they’re giving justice they’re giving justice right
save someone does this thing what happens right
notice how it’s he pays the penalty not he paid the penalty yeah if if you are trying
to pilot ancient greek off of the tenses you’re going to wreck your ship it’s just the way it is
you have to recognize this is a conditional sentence and it’s going to have specific
rules then okay plus it’s got a plus we have a purpose clause yeah pinned it to it isn’t that
nice okay he pays the penalty why because it we’re we’re telling you something that is
a general truth a reality of life and so we’re expressing that in the present so let’s go back
to our example on page 333 which is exactly half of 666 and we’re gonna say tech name to
go ahead translate this fucker all right um two k’s a lady by the way
it’s feminine um yeah no no not just because the now it’s feminine no touche touche is a lady nice
fortune yeah right skill you’re a barbarian and when you see fortune you you think of a concept
if you were a singing greek and you see fortune you’re thinking of a lady
it’s yeah it’s it’s i’m trying to you try to communicate this to people and they don’t
they don’t get it um until you until it’s battered you so much in the creek that all of a sudden
the concepts become individuals they become like living entities anyway um yeah okay so what do
you think look tech name looks like a nominative case that’s good looks like an accusative yeah
we’re good you’re good do this thing okay so skill loves fortune and fortune skill yes 100
100 skill loves fortune it makes sense yeah yeah you’re reading great yeah reading greek put up
2k i want to see 2k here oh god that’s so true yep i want to see it too yes
god what i just said was this verb that they missed
yeah i said poor tunjano put a little bit of the in put a little bit of the in in there sound when
when you get the gamma and the he together?
Tunghano.
Yeah, I said poor Tunghano,
because that’s the verb that Tihye is derived from.
What does it mean, the act?
The act of a god.
You thought it was chance or some shit like that, right?
The act of a god.
Wait a minute, what is Tunghano then?
Go right to the verb, Madalena,
whenever you’re trying to figure out
what the hell a word actually means,
go to the verb right away,
that it’s drawn from so a we have just happen to be at a place happen to one happen to be
something that comes to one’s lot number four under five actually neuter part
is the neuter participle of the fourth prince the third principle part is
it’s a second heiress okay so this is we’re gonna get into the participle of that second
heiress and what is it when you just take this verbal thing this action and you create a noun
out of it right yeah something is happening what is happening what is the perhapsitude
right the perchanciness what is actually happening okay so thank you take that now
and now you’re gonna want to now you’re gonna want to say what is well okay what is 2k then
that happening that perchancing put it into skin right it becomes your action your action and
notice that the very first word here under a in greek is too high right after tail going to go
too high diamond by the act of a god how did it happen by the act of a diamond okay
Tuhe is, look at number two, Anangkaya Tuhe, Anangkaya Tuhe.
Who is she?
It’s a way of referring to Anangke, Anangke, or necessity, and you see they also put their
fate.
Oh, nice.
All right.
Anangke.
Now, if you see that name Anangke, you’re going to know, that’s, you’re going to recognize
because you’ve been reading Orphic Fragments, which you can access. You, right now, can access
those. Yeah. So, I mean, if you turn to those, you’re going to find her, Ananke. Notice it’s
capitalized. And she is that lover of Eros. You remember, the universe only exists when Ananke
and eros become separated there’s a process of creation that happens between a non-k and eros
that makes this dimension i don’t understand it but whatever okay fine right regarded as an agent
or caused beyond human control fortune providence faith look at how many well is it providence
It’s probably, you know, providentia.
That’s a fucking Latin term, right?
Anyway, fortune and fate, right?
What’s your chance?
What’s the thing that you do?
It is your success or your ill success.
Your life is a record of some sort of ill fortune or good fortune, right?
Isn’t it neat?
I mean, it’s weird the way that they think.
You know what I mean?
Quality.
Look at number four.
The quality of the fortune or fate
may be indicated by an adjective, right?
Okay, and then they give you a gazillion fucking examples.
Right, look at the, just down here at the bottom.
Sorry to curse so much.
I hope your kids can’t hear me.
Tu che agathe.
Good.
Tu che agathe.
Boy, you’ve got them on a good,
on a good schedule.
Good for you.
Yeah, thanks.
Yeah, that takes discipline. No, I’m serious. That takes discipline to do that. Right?
Yeah.
That good fortune. That good fortune, right?
Here’s the genitive. You can use it with genitive of possession. That’s right.
Look at now here. Oh, God. Good fortune, destiny, almost, almost equals a daimon, right?
So when Socrates talks about his daimon, his personal daimon, that is his touche.
Wow.
Is that a different entity?
No.
He and his daimon are one.
But as Socrates says, his daimon will tell you, I mean him, it’ll tell him when he’s doing wrong.
So that is his fortune.
the manifestation of that daimon is his being, right? So there’s a lot of, once you start
reading a lot of these Greek authors who were obsessed with what touche is, all of a sudden
it becomes, you know, it becomes clear to you as you’re translating. Look here at the bottom.
Do not skip. I know we’re spending a lot of time on this, right? But do not skip over these
astrological uses or whenever it says pythag because that shit is popular as hell we’ve got
a ton of literature a ton of literature right so we know it’s influential we know it’s influential
incredibly influential and look at number uh five the astrological uses who is touche she is selene
she’s selene yeah isn’t that isn’t that nice okay so next time you’re reading this is vettius valens
a roman um astrologer and you’re saying wait a minute why are they quoting roman astrologers
who are writing in latin um because astrology is greek and they’re going to be using all the greek
terms, right? It’s just the way it is. Agatha Klairos, the Klairos of the moon, that lot,
right? What is that? You can have Agatha and Kaka. Anyway, number six, Pythagorean, it’s the name for
seven. It’s the name for seven. Did you know that chance, the events that happens when you and your
daimon come together, did you know that that is the number seven? Have you read the theology of
arithmetic? Not yet. Not yet. Okay. If we want to understand the Bible, we’re going to have to
understand the Pythagorean theology of arithmetic. So someday I want you just to put a pen in it.
And someday I want you to come back to that text and read why, no, God, should we, if I had it
right i’ve got it burgundy it’s my burgundy little theology of arithmetic okay if i’ll look for it
and next time i will bring it and i will read you how the number seven is composed and it will blow
your mind and um you won’t you’ll be like oh god i never thought about the universe like this
right um but there you go maybe one of the voices in your head can get off its butt
and bring us the theology of arithmetic the pythagorean theology of arithmetic um i’m just
kidding guys i bet there’s a i bet there’s a text for it though no let’s not let’s get back to the
work just kidding voices now look you translated greek right um on yeah let’s go underneath that
is another one but let’s go we need to get to the we need to get rolling go to the vocabulary
and can you read through the vocabulary from unit 11 this is page 324 can you just read through it
sure all righty hey hey i i i i always i tios i tia i tion responsible for guilty of idea ideas
responsibility guilt cause yeah that’s a very very important word didn’t sound like it but it is
the good they taught you cool a kus a kus a kusomai a kus uh kusa kekoa a kusane
be spoken of notice in parentheses it’s telling you it’s telling you in parentheses it takes an
accusative right of the thing heard or a genitive of the person heard so it’s going to throw you
every once in a while that this verb is taking an accusative or a genitive so just realize that
extremely common also thank etiology from the word above it let’s go to auto look what they
gave you next autos alte alto and they tell you you can use this as an attributive you can use
it as a predicate right it’s a pronoun adjective pronoun okay good we’ll look at how i love we’ll
at how it’s used i’m sorry keep going what is afron senseless foolish what does that mean foolish
yeah what is something that’s foolish unwise perhaps yeah can you be a little more like
what do you mean oh without without your mind yeah afron without afro writing maybe
no oh that’s a good guess right that’s a good guess but no in this case this is a different
root midriff it’s your area of your passion it’s the place where your bodily appetites are like
hunger that’s what your frame is it’s where your hunger is so why did i say this what’s the
Oh, because the vocabulary here, when we’re back to vocabulary, is afron, and that fron is the
frayn, right? The vowels are changing, right? But it’s the same root. Oh, look, Gordon, I’m going
to sodomize you. Afron, foolish, without that frayn. So, okay, yeah, without that place where
your hunger comes from. It’s not quite what you thought it was, is it? See what I mean,
Madelaine? We’re off just a little bit. We can put general definitions up there like foolish,
but foolish doesn’t tell you anything about what your frayn is. And your frayn is that center,
your midriff. It’s right above, they said, I was just coincidentally reading this last night.
it was it’s right above your liver isn’t that nice so if you want to understand where your
center of passion is where all that’s coming from where your hunger is coming from it’s coming from
above your liver and if you don’t have that because it’s all this word is this adjective
if you don’t have that you put an alpha privative on the front of it all of a sudden you’re something
else now for now you can think senseless or foolish but the more you see this word afron
you’re going to build a definition of it you’re going to say oh yeah yeah okay that’s what it
means good okay i’m sorry to interrupt go do paulo please paulo paulo
how to throw or hit with an object
how to throw or hit with an object
that’s a different that’s a different verb but they put it under there they put it under there
like it is part of Dekomai. It’s just Dekomai plus Apo. So you can receive something, or
you can receive something Apo. And when you put the Apo in there, it means look, they
put favorably to accept, right? Willingly. Oh, God. And then they say that you can add
the prefix ace and it means into it good keep going in tausta here there or then it be done
after when whenever it hipta seven and thank goodness hepta never changes its forms right
it says it’s indeclinable it’s not it’s always going to appear their numbers this numeral system
they’ve got it’s always going to appear the same indeclinable hepta that’s all you just like hex
for six now you gotta just remember hepta for seven have the court having seven strings right
eros eratos love kairos right moment alos callus beauty key rooks k rukos herald bano
Before we go on, before we go on, let me interrupt and say, you said kairos was the right moment.
Kairos, what is a right moment in your mind?
um present i don’t know kairos um okay here it is uh measure proportion fitness distinction
point beyond measure it’s your due measure yeah your due measure you got what was right your
fitness is what is your proportional reality you have received what is your due measure this
is your season right when you when you go temporal with it look at number three when you go temporal
and it says more frequently which means they’re they’re taking this concept of do measure
and they’re booting it they’re combining it with time to come up with this idea of what i think is
most telling opportunity oh nice opportunity they’re they use this word in the medical field
You’ll notice Hippocrates’ aphorisms, H-P-A-P-H.
They use this in the medical field to indicate the exact critical time in a disease when treatment will turn the tide.
So your opportunity in medicine, and there’s a very famous Hippocratic saying that your opportunity is fleeting.
You have to grab it at the right time.
You have to know what your kairos is, right?
You have to know your times.
Look at in the plural, number four here.
Hoi kairoi, the times.
That is the state of affairs.
Yeah.
What is the, what are the kairoi right now?
What are the state of affairs?
Are we in danger, right?
Is there some kind of advantage for us or are we in, what are our odds?
all of that from this one concept of proportion right you and i don’t associate proportion with
opportunity i know you think just like i do that those are two different concepts
for the greeks those are related when you take kairos and inject it into time you get
opportunity not proportion not what you and i consider proportion your opportunity is your
proportion i please explain that oh god okay so kairos back to the back to the text back to the
text kairos the right moment season opportunity window of opportunity yeah yep yep okay and
oftentimes greek is going to do that it’s going to do that with another of your words that you’re
seeing here at the bottom today hubris right yeah they put insolence what the is
insolence because every student sees this has a different understanding of what insolence is what
is insolence what were you thinking when you were thinking about it uh i well i don’t really know
what insolence is but i assumed it was like some sort of in capability or yeah now it’s
be so insolent you don’t want to be insolent right it doesn’t sound like something you want to be
being insolent as you can see in a here insolence is in there right on the first line being
insolent is a form of wanton violence wanton is without any sort of suppression or control
right wanton is um wanton violence is violence with license okay violence the ability when
ahud barack did what he did to virginia that was hubris okay that was that is the perfect example
of hubris hubris is originally with the greeks a charge it is an official charge i am charging you
with hubris. When you walk up to your neighbor and punch him in the face, that’s hubris. What
gives you the license to be violent in that way? You are insolent. This stuff comes from your pride.
It’s only pride. Would you think you were better than your neighbor? You can walk up and punch him
in the face. You can’t do that. It’s an outrage. Look at number two. It’s an outrage. Look at
number, English two or Arabic numeral two, an outrage on the person, especially violation or
rape. And they start talking about the gunaikon. Rape itself is hubris. You can translate hubris
as rape, right? It is in law, a term covering all the more serious injuries done to a person.
all right what look at the bottom what is an hubris days i’ll just click on this one so it’ll
go back up to the top what is an hubris days it’s a violent wanton licentious insolent man
all right look at number two underneath especially it’s opposed to the saffron
that person with prudence right that person who has the frayn who is engaging the frayn
is not lustful or lewd or insolent or rapey right yeah so you can see it’s a whole and don’t
also don’t miss pride right they’re joining pride and arrogance is often joined with hubris
it’s only excessively arrogant people who believe they can be hubristes and get away with it yeah
so all of that is tied up in your one word for oops there’s my tlg boop there’s my septuagint
where is the where did i put my oh god i’ve lost the oh no it’s not don’t show my email if you get
where’d it go there it is fantastic insolence so now do you have kind of a better idea of what
hubris is yeah yes arrogant prideful violent uh violence yes let me tell you let me tell you
the secret physics of life and we’ll take a break okay the secret physics of life but this is
important lexical work you need this okay so that’s why i’m bothering to give it to you
there’s a course of events that happens naturally it is a cycle that starts with
chorus that chorus that abundance of goods that abundance of material things that abundance
leads to hubris, like a disease. It infects the person. A person who suddenly has a whole
bunch of things becomes hubristes. They gain the perception that their license
is such that they can wantonly violate other people. So they get this hubris and they begin
to exercise that hubris and the more chorus that is given to them the more hubris they express
and that hubris finally leads to the third element of the universe which is ate ate and i want to
put ate up here because she is gorgeous oh god chorus hubris and ate produces this goddess
look at this i love this bewilderment and infatuation isn’t that cool that those are
those are now we’re trying to define a concept with multiple english words right from what we’ve
read right this is the it’s infatuation caused by blindness or delusion and then they specify
sent by the gods blah blah blah but then they say ate personified the goddess of mischief
author of rash actions. Notice that she’s coupled with Erinus, the fury. Ate is a sister to the
fury, right? Now, she isn’t just that source of conflict, that mischief. She is also the
consequence, right? She is the reckless guilt or sin. She’s the bane, the ruin. So the ill
fate of the individual. It’s something that you’re going to have to pay. Ate is going
to collect. But I just wanted you to see with number two, she becomes that thing that she
is punishing, right? Reckless guilt or sin. It’s like people were saying, look, there’s
a there’s a very simple universe out there and what we have to do is show you how the physics
work somebody gets a lot of things they become insolent against other people and that becomes
their bane how are you gonna pull that out of these words man how are you you got to realize
that’s what and when when a biblical scholar comes along and doesn’t read any of this and
doesn’t know any of this how the fuck are they going to translate properly they’re not they can’t
okay all right um let’s take a 15 minute i want to take a 15 minute to the top of the hour
clear your mind and i want to start with the uh genitive absolute and i want to look at some
structural i want to do some structural stuff and then we’re going to jump to the exercises and
just try to hammer it in see what we can see what we can make stick i’m glad that you’re
you’re i’m glad that you’re enduring thank you yeah i enjoy it yeah do you really are you really
enjoying it yeah for sure okay okay with a fair amount of pain there can still be joy right
Yeah, there’s both, but…
Yeah, excellent, excellent, good, good, good.
I like to remind my students to look in the mirror and say,
you know, it is still inspiring you,
despite all of the repetition and all of the work
and all of the muscle building and whatnot.
Fantastic, okay, I’ll shut up.
Yeah, the inspiration’s overwhelming.
Oh, good, fantastic, good, good.
i’m going to tell people that okay talk to you yeah thanks pete all right let’s go back to page
317 and just walk through to make sure we’ve got everything down um look at the verbs they
tell us partial deponents right they’re just going to be they’re going to have middle passive forms
right middle passive looking forms partially sometimes active sometimes middle passive right
good akuo is one of them akusomai is its future look at that oh god it’s partially deponent no
big deal that’s all i just want to introduce you to the term deponent right the adjective
look at just look at how it’s you know you’ve got its morphology there and i don’t expect that
you’re going to be have any problem with you so do you see those i’ll toss out no no problem
right look at how just look at how it’s used at the bottom of the page
the same poet toys out toys ergos by the same deeds so we’ve got it there right
attributive position turns it into the same what about the predicate position look at the predicate
on the next page 3 3 18. that’s outside of the article it’s got nothing to do with the article
right the poet the poet himself then it becomes a self once you put it in the predicate position
it becomes self and that’s what i’m most familiar with i didn’t know about like the same list yeah
Good. Yeah. Yeah. Attributively, it’s the same, right? The very, the very person you and I are
thinking about, it’s the same, it’s the same dude, right? That’s when it’s in the attributive
position. Yeah. Good. The hoi, poi, tai, ao, tai, right? Oh, God. Are they masculine or feminine?
and they’re masculine the poets themselves plural number three standing by itself as a pronoun
now look at how it’s used as a pronoun it by del summon yeah we educated out on it’s just a pronoun
him you know yeah just a pronoun he she or it who is it right out on okay look at the one at the
very bottom. They wrote a book, right? It’s already in there. The nominative doesn’t, okay,
we don’t need to worry about that. Doesn’t need to express. That’s something modern Greeks do
differently. Look at temporal clauses on page 319. Look at those temporal clauses. Just take a
right-side view, you’ve got one, two, three, four examples that ends on page 322.
That last example on 322 is a future more vivid, right? Look down at how it’s translated. Look at
the examples on 322 of that future more vivid temporal clause.
After he is sent to the island, after he is sent to the island,
he will teach the citizens.
Oh, God, what is going on?
I thought with my conditionals I could use translation formulas and whatnot.
Hang on a second.
hang on a second we’re in a world of temporals do you understand we’re in a world where we’re
going to be determining which clause comes before at the same time or after is the main clause
oh god it’s a whole different it’s a whole different ball game did you realize as you’re
reading this that it was a little bit um did you get that feeling you should have gotten the feeling
you got when you’re reading about conditionals to start with okay there’s this there’s a skeleton
here right what do you what do you think let’s go back to page 319 and just look at what a temporal
clause is temporal clauses are dependent clauses introduced by temporal conjunctions for example
after a while or until they indicate a relationship in time between the action of the dependent clause
and that of the main or independent clause so that’s what i was just trying to say
talking about actions as being simultaneous to that main verb right or whether they took place
or and they give you prior action you’re faster than most so you probably i’m probably you know
um no i mean it helps to understand when you does it okay okay fine then we’ll keep going but if if
if i’m slowing you down you need to tell me um so they define for us prior action simultaneous
and subsequent right yes just look at the first example number one past definite temporal clause
The temporal clause uses the past tense of the indicative, but the main clause is also
a past tense of the indicative.
Give me an example.
Epe or epe, they win after, plus the past tense of the indicative is your prior.
That’s going to set up your prior universe.
Now they’re just saying, look, here’s the conjunctions that you can use to set off this
temporal reaction so honestly as we’re looking at this trying to figure out how to translate these
the first thing you need to do is define which conjunction is being used so that you can put it
into its overall scheme does that make sense yeah what is a scheme what is a scheme am i
screen sharing with you yes okay what is a scheme it’s the form shape or figure isn’t that gorgeous
just look it over for a minute just look it over and tell me what kind of vibes it gives you the
scheme of things it’s like um envisioning a shape yeah you’re bearing what kind of bearing do you
have madeleine like a bearing like a creating or like holding on to do you have the air of an
artist is that what your bearing is do you what’s your character yeah in what in what way do you do
things your fashion or your manner right what is madeleine’s character if we had to sit down and
figure that out. Yeah, good. Yeah, nice. Gorgeous. Yeah, right? Bacchic. Look at number seven,
though. Your scheme is also a figure in dancing. It’s a gesture in dancing. Postures, positions,
and then all of a sudden you’re into geometry and phases of the moon. What’s your aspect? What is
Madalena’s aspect. Okay. Do you see how each word just kind of blossoms into a whole? That’s what
the Greek is allowing us to do. And part of that, part of that doing is working through their
concepts of temporal clauses. And we’re on the first one, this past definite, past definite
temporal clause, and I see that they can use epe or epede, after or when, right? For prior action,
prior to the main verb. Simultaneous action is hote, when. Hote, when. Let’s look at the examples
on 320. Epe topiblion egrapsen, tus politas e didaxen. That rhymes in English. What happens?
Where’s the main clause? Don’t try to translate it. Just say, okay, what the hell? They’re
talking about temporal clauses, you know, as being a type of subordinate to some kind
of main clause. Well, where’s our main clause here? Just look for the main clause. Something
that can stand alone. It doesn’t need anything else. It makes sense all by itself. And you
get tus politas e didaxen.
He, she, or it, taught the citizens.
That’s finished.
That can be a complete sentence.
He taught the citizens, right?
But after he wrote the book, it’s not a complete sentence.
It’s not a complete idea.
So it’s a dependent clause, and it’s just setting for you the temporal nature.
What is it?
after he wrote the book he taught the citizens because he was writing the book at a prior time
at a time prior to the main verb to the action that we’re all sitting here watching like a movie
right god seriously people yeah try that try the next one you read the next one and identify for
me well no it’s the same look at it’s the same main clause right tus politas et didax and he
taught the citizens now you’re used epi and it’s when when he was sent to the island he taught the
citizens right oh god after he was sent to the island he taught the citizens seriously when am
i how am i going to be able to differentiate these things right when you’re in the middle
of combat it’s going to be a little bit easier than it looks so if action those are all prior
right if the action that you need is simultaneously you’re going to use that little
hotay hotay right when it works in english too hotay to biblion agrafen when he wrote when he
wrote the book or when he was in the process of writing the book he taught the citizens that’s
simultaneous, right? Simultaneous. Good, good, good, good, good, good. Okay. That’s our past
definite temporal clause. Look at the next one, our present general temporal clause. And you’re
going to be tempted to say, well, it’s like a present general. I want you to make those
connections now, but I want you to notice how those conjunctions create really the focus of
the sentence, right? The reason this is such a big deal is because the clause is taking over
saying, Hey, I’m going to put us all into a specific time zone. We’re going to talk about
actions that are before and during and after the main verb. Okay. I’m sorry. I’m, I’m, I’m giving
it too much emphasis. Um, look at the present general. What kind of temporal conjunctions do
use use epa don after when or whenever plus an aorist subjunctive plus an aorist subjunctive
see how all of a sudden again you’re not going to be able to do the tenses all that easily right
you’ve got to you’ve got to think about which one this is that’s why we’re flipping so much in this
book back and forth you’re doing the exercises as you’re doing those you should be flipping back to
these saying which goddamn temporal clause is being used here right always identify it by its
conjunction here they’re using epa don and they’re using hotan for simultaneous action right when or
whenever okay here’s some examples here examples of present general temporal clauses with prior
action and was simultaneous prior action a paid on a stain a son pimp say to
spoli toss did ask a he teaches the citizens that paid on whenever pimp say
he sent yeah yeah yeah it’s prior tell me how that is prior please explain to
me whenever he is sent to the island he teaches the citizens yeah so the
the hypothesis is present so it’s but then what happens before that main verb is the clause it’s
saying that yeah whenever he sent to the island that’s happening before that’s just he’s got to
make his way there he’s got to arrive from the other before he can do whatever he can do it’s
so he is sent and then the simultaneous is also present right good like when he’s writing
good good good good good good um and then they jump to a past general okay again look at the
temporal conjunctions epe epe de and jote right oh god and what are they taking once the prior
action takes an aorist optative oh no now i gotta remember my optatives now right
the simultaneous action takes present aorist optative oh am i gonna remember that oh god no
either choose between the two why because you’re gonna want to talk about the actions
aspects. Good.
Prior. Let’s look at prior.
Epe est eneson
pimthei. Oh, love that
thing. Beautiful opposite.
Raitus politas
et didasken.
Excuse me.
He taught those citizens
epi. When what?
Pimthei.
He was sent. Est eneson.
Good. We’re just kicking
it into the prior.
kicking it into the prior but we have to use an optative now don’t try to make sense of it right
notice if you’re if you’re translating because you know i’m emphasizing some things you’re like
you know what that doesn’t matter right you know but it does because if you’re translating this
out in the field and you pick this you pick this line up you see that optative you’re trained to
think okay what kind of optative is this is it in a conditional is it in a is it an optative of
Wish, what is it?
If you don’t notice that temporal conjunction sitting there,
you’re going to panic,
and you’re going to try to make it into some kind of conditional,
no, uh-uh, right?
Notice that temporal conjunction and say, okay,
they’re establishing whether it’s prior or simultaneous, right?
Whenever he was sent to the island, he taught them.
Look at the simultaneous.
Whenever he was writing, whenever he was writing,
grafoi
eddaskin
it’s all because of that main verb
man, we’re having to push that
we’re having to push that action around
whenever he was writing
a book, he taught the citizens
whenever he was writing a book
he used to teach the citizens, right?
okay, good
fantastic, okay
I won’t
jump to the
translation of the exercises
until we look at the exercises
and start identifying temporal conjunctions.
It’s really, look at page 322
and just look at the temporal conjunctions we’re using.
Epe, Don, and Hotan.
Uh-oh.
We’re using those repeatedly.
We’re going to have to determine.
But this time we’re using an aorist subjunctive.
Okay, cool.
And a present or aorist subjunctive, right?
Aorist as opposed to present or aorist.
okay don’t don’t freak about it that’s why you come back to these charts and personally
i think the textbook would be better off if they had created then a chart like they did on page 97
for temporal conjunctions they did on 97 for the conditional sentences right why didn’t they do the
same thing i think they’re starting to get lazy and say hey that’s okay um and then we’ve got
i made my own you made your own i wrote them down like that that is awesome that is awesome
so you’re employing the whole writing game as well yeah for memorizing yes good good that’s
the way now you wrestled with the genitive absolute right i don’t know what’s really
going on here is that you said you didn’t did you say you didn’t do you dislike the genitive
absolute is it some kind of some kind of what no i just don’t understand how to identify it
okay really yeah that’s really remediable you can you could easily find these things
because of their genitival nature oh god you’re gonna love it no you’re gonna love it but i want
you to actually read um again because i know you’ve already read it read that first paragraph
the circumstantial that one okay the circumstantial participles already introduced agree with
nouns or pronouns expressed or implied whose case is determined separately by their function
in a sentence. So look at the examples, right?
Thuon ho hereos
hupotudemu dimatai. Sacrificing
the priest is honored by
the dame. Sacrificing the priest
is honored by the dame. Good. No problem.
Do you understand what’s going on there? The thuon is in
the masculine nominative singular right yeah yeah good and why because oh here else is right
so it’s got to be the same look at the next one lucentis right set free released
nevertheless we do not sacrifice twice the always to the gods and then they stretch that out into
all released never although released nevertheless we do not sacrifice to the gods okay notice
they’re now they’re going to tell you exactly what i just said the thuan agrees
with hereaus right it agrees with the subject of the sentence right so go to the next next page
to describe a circumstance involving a person or thing not otherwise connected with the rest
of the sentence they put that in italics it’s the most oh no 223 oh doc is back there he is
oh man i apologize it was the ever since we got the new 5g installed they changed the outlets
around and so we always forget to plug in our equipment i apologize not that we were just
getting into the really interesting genitive absolute italics on 323 yeah yeah it’s involving
you know the genitive absolute just has to involve a thing not a person or thing not otherwise
connected with the rest of the sentence and that’s the key that’s the real cheat the thing to learn
about the genitive absolute it’s just completely detached right it’s a phrase and they say here
it’s going to consist of a noun or a pronoun plus any modifiers and a part and a participle
all right and they’re going to be in the genitive case they’re going to be in the genitive case all
right that’s pretty much it that’s what you have to realize it’s a completely disconnected piece
of information that helps to explain what’s going on and they took they tell you that the term
absolute in case the noun a pronoun the genitive absolute has no direct grammatical relationship
to any other word in the sentence objects of the participle retain their usual case let’s take a
look so um just stop right there and just say okay do we have some genitives here yeah we do
right that is yep that is as well okay so this is a priest in the genitive and there is sacrificing
right the priest sacrificing the goat and then we get the main clause
demosthenes is honored by the people right so it’s literally with the priest
sacrificing a goat with the blank blanking. That’s what you need to think. That’s kind of
the formula that you need to think of when you think of a genitive absolute. Look at the second
one. Luthenton ton filon, right? With the beloved or with the friends, Luthenton released. With the
blank blanked right i used to memorize this one with the blank having been blanked right
our friends released nevertheless all right we don’t sacrifice to the gods all right okay
it’s a genitive absolute it’s trying to explain to you right to describe a circumstance involving
a person or thing not otherwise connected with the rest of the sentence it’s completely
independent grammatically has nothing to do right but it’s going to explain it’s going to explain
the environment so you can see why galen loves to use these things because he loves to put extra
emphasis on what’s going on around the main verb under these circumstances this drug does this and
that right so he’s using those goddamn genitive absolutes all the time it’s his favorite
it like now wait a minute though how do we actually translate it how do we refine how do
how do we do we refine it so we know what the author was trying to describe in the circumstances
that’s what this paragraph answers like other circumstantial participles the genitive absolute
can have a temporal concessive or causal relationship to the main verb adverbs or
other words accompanying the participle the main verb can make the relationship clear
genitive absolutes can often be expressed by clauses in english like while the priest was
sacrificing although our friends were released right look at all the different ways just in
english right yeah the city saves literally that’s the genitive absolute here with the city saved
with the city saved something happened the priest sacrifice so when the city was saved
the priest sacrifice that’s temporal although the city was saved the priest sacrifice that’s
concessive because the city was saved the priest sacrifice that’s causal yeah the genitive absolute
can express temporal causal and concessive forms it’s trying to tell you right this is
is this is trying to say look the genitive absolute is there to better determine the context
it’s so strong it can substitute for a protest of a conditional you can just slam one in
to the protest of a conditional right yeah this need not saved we will not sacrifice if the city
is not saved we will sacrifice see how you can you can take that genitive absolute and just
create for yourself a
prothesis for a conditional.
If the
blank, if whatever, if the city
is not saved, if the bird
doesn’t fly, if you’re just creating
those circumstances
of a prothesis, the
if part of a conditional.
Okay.
Love it. Love it.
And so, you know, it’s an
extra tool in our arsenal
to
But to really try to make things, try to make things clear.
So on the rebound, what are we looking for?
Looking back here, we’re looking for some kind of verb that’s been participialized into a genitive form.
And then we’re going to be looking for another genitive that’s the subject of that verb.
Okay, that’s what we’re going to be looking for in that genitive absolute.
And we’re going to know that we can use it in one of those three ways.
When, although, or because.
When, although, or because.
If you want to just stay general, you’ll be safest.
Notice they say here in the black, the city saved.
With the city saved, the priest sacrificed.
Okay?
If you want to keep it just general like that, you’re going to hedge your bets.
Right?
That’s what I’ve kind of been doing when I was working through the exercises.
Yeah. And that’s why they put this helpful, helpful little comment. Context will help to
determine the meaning, right? So if you just want to stay general with the blank, having blank,
when you come across a genitive absolute, you’re just going to think, I’m going to get a couple
of genitives. One’s going to be a verbal form. One’s going to be a subject. And what I’m going
to do is I’m going to say with the blank, having blanked, right? If you want to stay general,
you’re gonna you’re gonna uh you’re gonna be able to weasel out of a lot of problems okay
how do you feel having done all of that chapter how do you feel i like that i like this uh this
job do you like the setup it feels pretty good okay are you ready for some way over packed
sentences that are they’re just ridiculously ridiculously um too much can we just before
we do that can we before we jump into the exercises and really hit it and try to get her
try to get our muscles up there can you just can you just throw kai roman up there he was a
fourth century tragic poet okay okay fourth century tragic poet yeah and he said hop onto nikai kai
help me to translate that real greek um uh so every win every victory
every win um
it makes it like uh yes
right look it up in the back find it in your lexicon
hapas hapanta hapon let’s see let’s see where’s it oh god i left mine on the other side you got
a head start today so hapas first one to hapas gets spanked the other one oh god damn it i beat
well i know it means all oh cruz beat us right yeah right
76 what’s the difference between ha punta and just punta here in your example i’m trying to ask
it’s it’s like a it’s like a little emphasis little quite all as opposed to all but that
doesn’t like a subject to me so don’t make that the subject if either nikai or
the subject uh-huh um so so the ministry see is is it saying like let’s turn around
no let us strafe it’s a fee on the in there looking at it like it’s obscene no it’s a fee
it’s just a
first principle part
so the fortune
changes
and
the win
Nikai
with that little Yoda subscript
yeah it’s from Nikai
so it’s Nikai plus A
so it’s a third person singular
present so just like
metastrophe
same subject
they win
No, no, it’s the same subject as your Metastrefa.
Read it backwards.
Read it completely backwards.
I’m sorry.
I should have told you, like a good devil, read it backwards.
So, fortune changes and wins all.
Yeah, conquers all.
Yeah, fortune turns around, alters, right, and conquers everything.
You realize that’s completely backwards, right?
Yeah.
Yeah, so, and this is Kairoman, this is a tragic poet. So this is a quote from the stage, a quote from the stage. So your audience is listening to this music backwards. Think about that, right? Because the singer is saying, hapanta first.
so what is it with directional directional translation right everything in english is
built upon direction it’s linear it’s subject verb object that’s the order that it must be in
and that is a forward you know our engine is facing forward and we pull forward
this is completely backwards for us to linearly understand it this is completely backwards
so either they’re reading this backwards or they’re not linear and it and it turns out
it turns out there’s a lot of um there’s several advantages to not being linear for example
the first and the last thing you see have the greatest impact and what you see is everything
and fortune 2k and everything it’s what it’s all about right so people don’t understand that that
there is a there is something non-linear going on here and unfortunately when we translate it
we’re using our linear operating system to do it so we’re supposed to be being triggered by 2k
right yeah okay excellent excellent okay let’s go back to these crap exercises and see
um is there any one that you wanted to they aren’t crap exercises they’re just so contorted
that it’s like uh it’s asking you to do a entire routine you know each one is a routine
let’s start at the end with the okay ugliness of the the ugliness and the stupidity my god of these
people it’s so negative okay sorry go ahead 26 let’s try that one if you haven’t gotten that far
don’t worry okay all righty kai is wrong is wrong toy kai afron totus yes yes
lose a poppin say right look at this look at the this is just okay this is just fantastic
this is just fantastic where are you going to start here i mean get appreciate some of the
architecture yeah all right we got some kai kai we got a kai kai both both of those are good
you know what i mean we’ve got a participle ace dexamenon that’s nice got a verb oppo pimpsi
looks like that’s our gotta be our main verb doesn’t it but what is it
and then pimps i put together what’s that ending look like does that look indicative
subjunctive, optative? I think it’s, I don’t know. Is it optative? Log it in to LSJ. What kind of
optative? What kind of optative do you think it is? Present, aorist, what do you think? I thought
it was aorist. Aorist, optative. Okay. If it’s an aorist optative, how are you going to use it
there. Can you see the my screen? Oh, shit. Yeah, look at this. There’s your you see your
aorist optative, you’ve got a third singular aorist optative active, right? Good, good, good,
but you notice that it can also be a second singular aorist imperative middle.
oh yeah middle which is what we have been dealing with in this chapter right yeah so go back to page
um go back to page uh uh uh uh first one there is the winner oh my god page 309 page 309
oh nice there it is yeah yeah second singular aorist imperative middle yeah do it in the
middling voice do it in the middling voice have them educated for themselves you know what i mean
hey you it’s second singular so hey you oh you so you um yes you have no it’s an imperative
it’s an imperative so turn it into a command tell them to do it uh send it send apple
send away apple pimple oh yeah for la from send away yeah send away now all you now go back to
the beginning just line everything up where are we sending away send away what send away ice crone
yeah yeah something filthy something filthy and afron your shame yes uh
yeah afron is uh that foolish yeah yeah something shameful and foolish right
and it’s they’re both in the accusative case so okay send away something shameful and foolish
and then we get the article of what this shameful or foolish thing is it’s tall and then they kick
us in the balls with another article of twos what the fuck what’s the tall going with what is this
full and foolish thing you gotta skip over the two seconds because then you get a prepositional
phrase a stain like you gotta stop over it’s uh the toes gone with uh the uh was it the
participle maybe yes ace
yeah so it’s it’s the one who the one who did what the disgusting and shameful what
Aesthexamenon, the disgusting and shameful one who received tus ecthrus.
Oh, welcomed.
Who welcomed what? Those ecthrus.
You’re my enemy if you’re ecthros.
Oh yeah, ecthros, I always remember that because it’s like ecthros, hatred or enemy, right?
uh okay so welcoming so uh welcome the enemy who welcomed the enemy a stain oikian in the house
into his you can say his house there right it’s presumably his house into his house and what did
he welcome them in as tus filus as friends as friends fuck that guy right apple pimps i said
Right. Good. Good. Now look at number 25. 25 is a question. 25 is a question. I’m looking for a
question. Look, I’m not even, all I’m doing is scanning it, right? And I’m teaching you to do
the same thing. I’m not even trying to translate right now. The first thing I see is the A-U on
the end because my eyes scan the whole thing and I see the A-U question mark. Oh, we’ve got a
question mark right but i noticed the on there’s an on there ox oinman oxy oinman oh this is
looking yeah what kind of verb is oxy oinman oinman ois ois
is it that one um yeah could be an optative there couldn’t it now watch this
plug it into lsj and i want you to be doing this yeah
just confirm it first plural present optative active fantastic what kind of optative do you
think we have here god it makes my mind it makes my mind just jump because now we can get several
we can get several things going on here it’s a question you know what i mean yeah could be one
of those goddamn potential optatives yeah all right oops what if it’s one of those a plus
optative optative plus on situations could be something like that i don’t know okay what about
oxy and test looks like we’ve got a looks like we’ve got a participle in there it’s not a genitive
absolute it’s not in the genitive case so yeah okay let’s go to a verb let’s go to our verb and
say oxyoyman what are we going to do with that um so we got to see that it like what uh maybe
what person it’s in so it’s like third right yeah well if if we then well if it’s um i don’t know
is it a then is it the we have to just identify like what the um conditional is right it’s a it’s
a present uh present optative yeah yes our first person so you’re wrestling with it right you’re
wrestling with it it’s like lifting those weights you’re wrestling with this trying to figure out
what’s going on you know your main verb where’s your how do we do the construction of oxy ointment
on the i don’t see that this is a conditional yet i’m not thinking that way at all so what can we
what can we figure well with an on that’s got to be that potential objective which is back on page
175 and if you’re looking at page 175 you’ll see they’re translating that potential as may might
could or would may might could or would and we know that this is a question yeah uh-huh so try
that so make it that first person plural that we go ahead i should try a should or could so
well first of all it means to be worthy right i’m sorry say that again does it mean to be worthy
Yes, deem worthy.
Axio.
So,
may I be
may I be
worthy?
Yeah, may, might, could,
would.
May, might, could, would.
Should we
deem
the
sophrona?
The wise?
Wise?
okay worthy of something should we deem them worthy kaku kaku’s evil yes so we’ve got a
something like should we yeah should we deem the wise worthy of evil okay a or not a or not
Now, now the problem is we’ve got this participle, oxyuntis.
We’ve got a participle that seems to be substituting for something, right?
This could be a conditional that substituted out a participle, right?
oxygen test since we deem the ice khan the shameful woman worthy of kalu all right of what
is good right should we deem the wise woman worthy of evil or not okay don’t try to make
don’t try to make like two right but this could be a conditional disguise right we’ve got an
optative with an on in the hypothesis and we have a substituted participle in the protest or if clause
has a substituted participle right so something followed by an optative plus an on could this
be an a plus an optative being substituted out for the participle yeah it really is a should
would originally right right if we should deem the horrible woman worthy of good would we then
deem the wise woman worthy of evil or not right okay that’s all it’s trying to show you there
remember you can substitute things you can get that whenever you see that optative with an on
you know that you’re either in that world of the potential or you’re in that world of the future
less vivid right they’re both we we both trans we translate them both as woods you would do
something right okay yeah good good oh god we got a hoya oh yeah we got a hoya and the one above it
oh god this is gonna be okay 24. read it to me let’s do it another another repetition on this
one okay hoya tondemon pays us the atal tain tain i tion i tion ho an air in
yeah good
so yes yes good keep going and um oh the pace sauce is a verb and means to persuade
right and but it’s it’s describing the people people look like they’re an object there yeah
yeah so
wrestle with it isn’t it fun i love the sound of students wrestling with creek it’s gorgeous
yeah no i can hear you it’s music that’s invisible music it’s more than visible music yes
yeah i wish i was wish i could have all my vocab down though but um
um so so all that means like because or further or good for the reason that uh the
people were persuaded i persuaded um look at my screen can you see my am i sharing with you
yeah i think i am okay so for patho to persuade notice like you i think you identified it already
is just the second just the heiress just the heiress but i do want you to notice that it is
also a participle yes i it’s got the us on it so yeah which so it it can be a nominative masculine
singular right okay i just want you to notice that as you’re translating it but um again that’s why
why I want you to start using the LSJ as a tool when you’re coming across verbs
that have multiple assignments you can say which one you can say okay I’m gonna
try it like this I’m gonna try it like this good so it would be like persuaded
people yeah okay because the persuaded people no it’s still you as the subject
because look he’s addressing he’s addressing oh yeah yeah and main on is gonna blow your mind
that one is not a plug in that what what kind of what is main on for fuck’s sake main on yeah
it’s not what you think it’s not what you think watch okay um look it’s an imperative
it’s an imperative
right
aorist imperative
one time action
especially it’s a one time action
it’s a second singular
imperative
so again it’s you do
something
you do something
so this whole sentence is addressing
you
it’s addressing you
you persuaded
because you persuaded the demos right all right oh an air oh dude oh guy yeah okay because you
did that main on stay stay and like good or city stay in the city good yeah no stay in the city
polis all right you got it hey dude right because you did this stay in the city
on account of this for this reason on account of this thing on account of this reason stay in the
city oh god okay right all they’re doing is they’re strutting their use of imperative right
that’s all that’s all okay let’s go to 23 let’s do one one more actually take a 10 minute let’s
say it’s uh nine it’s eight after my time take a 10 minute break take a 10 minute break and i want
to do more exercises but i want to do the ones that you got through and had questions on or that
you had a chance to take it if you had any if you had any time to take one i did one through five
and then 15 is 17. okay so we break for 10 we come back and we do one through five any of those that
you want to do you just randomly pick whichever one you want to start out with and strike your
ship you know what i mean try it yeah all right yes you will you will you will it’s the exercises
we hate them but okay let’s do it i’ll see you in 10 minutes it’s uh uh 19 after okay
i’ll be there at 19 all right okay where do we start madelaine all right um oh maybe like two
and four okay two and four and the first thing i see in both of them is some kind of temporal
conjunction correct yep okay take me back to the page it’s on please uh temporal temporal
conjunctions what page do we start on it’s on page 318 17 uh 318 which one is this uh what do
you want two or four first you can do two first two okay which temporal conjunction are we using
let’s see that’s our for number two or four which one are we doing two or two yeah so yeah goldfish
memory of a goldfish me or you no me me um
would be um aerosol optative so right um yeah i think it’s like a past general temporal
okay if it’s a past general using hote we’re indicating simultaneous action with the main
verb right yeah and what is our main clause supposed to be in a past general it’s supposed
to be an imperfect indicative is that what we’ve got where’s our main verb um
in the clause you mean or in the whole sentence yeah so the hotel at the front the hotel at the
front indicates this is uh we’ve got some kind of temporal clause so the temporal clause is itself
yeah right okay so there’s there’s our temporal now we have to have a main clause somewhere so
So the rest of this is going to include our main clause.
So just look for your verb, ho thuga teres, ho poton te sofronon, kai ton dikaion panton,
nope none of that, ukti maste, there it is, there it is, ukti maste.
So just identify eti maste.
What is that?
Ukti maste, like I haven’t been heard or been here.
What tense is it?
Um, hang on, hang on, LSJ, you don’t know, or you’re not, you just think it can be a
couple, couple of them.
Oh, God damn it.
Why are they not cooperating?
Sometimes they don’t.
Okay.
Anyway, we’re not going to be able to use this time.
Go ahead.
Oh, it’s, uh, it’s, uh, Eris, um, uh, uh,
and great asaste so it’d be like um yeah etimaste etimaste okay what is its first principle part
it’s timao right as a matter of fact we have timao back on page boom go there it’s why we
flip because if you see it it sticks if you don’t it doesn’t go back to the previous i think it was
yeah just the previous team should just be in 10. no tomorrow was nine tomorrow was nine go back to
nine boom boom and go to page three two thirty three oh yes so present subjunctive middle
no not that present because look it doesn’t have an augment that that present subjunctive’s got no
augment but here we go yeah so match it to match it to something it’s imperfect right
imperfect middle passive so yes indeed we do have a temporal conjunction whose main
verb is in the imperfect and that is what we’re looking for back on what is this page again i’m
sorry i’m flipping back and forth back on 330 okay so let me just get my bearings okay so we have a
nice imperfect in the main clause what is in our temporal clause we’re expecting an
aorist optative is that what we have in boy oite yes yes yes that meant that means that
you may have done okay just don’t try to define it don’t try to define it okay right all we’re
doing is saying which kind of temporal do we have here we’ve got a past general so our haute clause
is telling us that the action is simultaneous oh so it’s oh it’s um go back to page 321
321
yep it’s simultaneous to the imperfect
yeah okay what is the imperfect
you were being honored or you were honoring in the middle okay let’s just make it a passive
you were not being honored okay oh yeah i didn’t i didn’t even i couldn’t read my handwriting
oh oh good so you probably got it before okay good okay so if so if it’s in the past you were
not being something we just have to make the hotei simultaneous so make it like it
So, Etima says, have being honored, right? Is that what you said?
No, it just translated as a perfect. I mean, it’s an imperfect, right?
An imperfect.
Go to page 321.
And look at how they’re using those imperfects, right?
eddie duskin he taught he taught so they’re going to be doing the simultaneous um using the same
whenever he was writing he used to teach so apply that here all right whenever whenever
whenever they were doing i’m sorry they were honored yeah well it’s not they though what is
the oi te oi me ois oi oh uh oi te oi so it’s second person second person you made you may
i’ve been whenever you were doing
uh-huh ice craft uh shameful stuff shameful stuff yes now stop there and don’t worry about
the feet on hot and for now daughters hey ladies oh daughters whenever you were doing that
you were not being honored yeah you see how it goes along that’s that stupid temporal
is saying hey i’m hitching a ride on the time of the of the main verb simply because of the
haute the haute is drawing me in to make forced me to do this when you were doing shameful things
yeah yeah so you were not being honored now just fill in the blanks
right by the right the wise right kaiton dikayon panton and all the ends of the just and all every
um well they heard evil right uh-huh good and they throw on a participle at the end
What are you doing, daughters?
Yeah.
Hearing poorly.
Kakos is your adverb there.
Since you can’t freaking hear.
Again, this is, you know, we’re having to read a lot because all they’re doing is packing this.
They’re just packing it down.
Okay.
Do the next sentence.
stick I own brought to sign oxy or theta Tim A’s so we see her yeah go ahead
justice has not been guarded where’s your main verb XE XE good and now
identify it what is it uh satay is a um is it i wonder why they’re not cueing those oh well
sometimes lsj okay what verb is it from well it doesn’t worthy of to i thought this one was one
of the new ones right so new endings we gotta identify it or we’re not gonna know how to
translate it right yeah so okay c o theta oxy what about that ending the a to ending what can that be
on on page 311 you know they’re they’re emphasizing these freaking imperatives right
so on page 311 under the aorist imperative passive on the way right side of the page i see that we’ve
got one example of it there a to there that it’s a second person plural imperative an aorist
imperative but it’s passive that’s why it’s got the theta there because the sixth principle part
of oxy is aches yeah it’s not excess yeah yeah yeah so it’s an aorist passive imperative okay
so it would be like let so i i wrote um so let them think worthy no it’s a it’s a be worthy
oh be worthy okay yeah be worthy be worthy of teammate be worthy of honor right now we can add
the participle, pratousai, it’s nominative, so it’s the daughters, doing, dikaya, just
things, axiotheta, times, doing just things, be worthy of honor, right?
So if you want to hedge your bets again with the participle, just doing just things, it
It sounds kind of, because you are doing just things or by doing just things, right?
Be worthy of honor.
You want to, the participle there is setting up for you the circumstances of what’s going on.
Because you’re being, doing things that are just, right?
You’re, now you can be worthy of honor.
So be worthy of honor.
Yeah, right.
just trying to practice that imperative there and these imperatives you know we didn’t go over the
morphology together but they’re all there on page 311 they’re all there look at those endings and
if you ever see the s they or the s stone and you think wait a minute this isn’t a it looks like a
participle but it’s not really and it’s got an s though ending well yeah that’s because it’s a
third singular present imperative, right? Present imperative, right? Be that thing.
It’s in the middle or passive. So, okay. Good. Now you said you wanted, oh God,
you threw us number four again. Okay. What kind, what kind of temporal is this?
This crazy long sentence, this three lines and then a fourth, another sentence taxed on for
third and fourth that’s ridiculous okay what kind of temporal you got
your conjunction is hotan so right so as i’m looking through look where can this freaking
hotan be it can only be it’s isolated in certain places right so it’s got to either be that present
general or it’s got to be that future more vivid hmm what’s its verb doing hotan plus what
yeah what’s that
yeah just what kind of her is it indicative what is it um i’m trying to figure that out
Trying to figure that out. Good.
Grafo. Grafo, grapso, e grapsa.
Ge grafa, ge gramae, e graphein.
What is the grafosi doing? It’s in that first principle part.
Yeah. Is it indicative or subjunctive?
I thought it was subjunctive. It is. So it’s a present subjunctive.
You’ve got whole time. Yeah, with a present subjunctive.
instead of an
instead of an aorist, right?
But that’s okay, because
for both of those temporals
in both the present general and the future
more vivid, that’s what it’s supposed to
be. It’s supposed to be hotan
with a present or an aorist subjunctive.
We have a present subjunctive, so
we’re all good. Now, in the present
general, what do we expect
in the main clause?
On page 320.
page 320 look at the present general and the main clause what do we have in the main clause
so photon plus present subjunctive no no no okay go to page 320 go to number two halfway down it
says present general this is what i’m looking at i’m sorry i should have been more specific
this is what i’m looking at it’s yeah that’s why i was reading right but what i’m asking you
What is the main clause?
What is the verb of the main clause?
Oh.
Now it says, you got it.
See where it says it’s the present?
Do you see where it says it’s the present indicative?
It says verb of the main clause and then apodesis in parentheses.
Yeah.
And then it says present indicative.
So we’re looking for a present indicative in our main clause of number four.
So is that what we have?
Yeah.
No, it is. Look at bulontai. Everything up to that comma is a part of the temporal clause.
Okay. Okay. That makes sense. I was just looking at the first five words.
I mean, they were there. Okay. Yeah. Yeah. Yeah. No. Yeah. I’m sorry. I’m trying. We’re
trying to analyze the whole structure of that first long ass sentence. Everything from the
hotan to the first comma on the second line, that is the temporal clause. The main clause is
following it, ubulontai. So ubulontai is indeed a present indicative. So that fits the pattern
for the present general on page 320. And if we go to page 322, it doesn’t fit the pattern
for the future more vivid because there the main clause has to be a future indicative
and we don’t have a future indicative we have put on time all right we have a present so we
have a present general temporal clause a present general right does does whenever somebody does
do something somebody else does something so that’s how we want to translate this okay now
gonna leave you alone and let you translate uh and this is misogynistic too by the way okay great
um oh yeah i see um what uh the book’s author no look at what is your subject hoy poeta um the
the poet good poets plural poets yeah um the poet’s book um nope try this try this try this
whenever the poets graphosy biblia was written whenever the poets write biblia it’s a it’s an
accusative it can be an accusative there whenever the poets write books good what are the books
about penny cockle about uh about evil and um foolish woman’s stolen mind about evil slow down
a little bit about evil and foolish women right and then we have a a participle following it clap
Klappdusson, Klappdusson, it’s genitive.
It’s genitive because Nikon is genitive.
So it is just telling you what kind of women are these.
These are the women who Klappdusson oinon.
Who steal wine.
Good, who steal wine and who pour you son, eisra.
Who do shameful things.
Yes, right.
Whenever the poets write books about those evil, foolish women
who steal wine and do shameful things,
they do not want.
They don’t want.
And who is the they?
It’s hoi nea neai.
The men don’t want.
To phulatain.
The youth don’t want to phulatain.
good to what guard yeah to guard what um the um remember what that normal says oh the law
good the laws plural the laws um of the of the citizens of the city that city there
the city okay yeah good good good good whenever the poets write books about evil and foolish women
who steal wine and do shameful things right the young do not want to follow the laws of the city
that’s just the way it works you write those books and all the young they don’t want to
follow the laws of the city okay good so nice temporal there you handled it you handled it
only because you figured out what it was first and then you went back then you went back and
and translated right okay now it’s leaving us with another sentence
What did you get for that?
That was confusing for me.
In fact, those who you don’t think worthy of a prize.
Yeah, where’s your verb?
Fuck this.
Where’s your verb?
Yeah.
um well is axios ate yeah what form is that oh let’s say day axio axio axio so yeah look at that
on the end of it yeah yeah what is that what kind of any that the air that errors good errors what
indicative subjunctive optative imperative what kind of mood is that
we trying are we trying to tell people not to do something may oxy o sata do not
yeah do not deem worthy do not it’s just uh telling us not to do something right
Do not deem worthy
Ekenus
Those knuckleheads
Right?
Athlon
You deem somebody worthy of something
Of prizes
Don’t deem those idiots worthy of prizes
In Toys Agosin
In the contest
In the contest
Oh yeah
I was like
Agosin
I’ll go seniors yeah yeah suffering right okay good um good good now notice as I’m scanning the
rest of the ones that you did oh here’s one here’s one number eight you did number eight right
oh ladies oh gunai oh god what do I want you to do is I want you to translate it I just want you
see it’s got a hotan yeah so right away right away you’re already thrown into the into the world of
the temporal i just want you to notice that look what they tacked on to the end we’re just looking
at structure look what they taxed onto the end a on guard look those bastards just put a
conditional right at the end they just right here we have an imperative may bale may bale
right nice and we’re going to tell somebody not to do something or we’re going to prohibit
something or something like that a on god now just translate i mean just identify it not translate
just identify what kind of conditional this is on plus what poises
looks like a subjunctive doesn’t it oh sure no yeah it does it does it looks like a subjunctive
an heiress from poyeo poyeo a poyesa is the is the heiress so we’ve got a we’ve got a nice
subjunctive. So we have an eon plus a subjunctive
followed by
pese. Pese.
Do you remember what pese is? We’ve got to figure out.
Yeah. Isn’t that
like persuasion? Yes.
Right? Oh, God.
Persuasion. Patho. Correct.
Right?
So what is this? It’s not a present.
It’s a…
Look at the
principal parts. Look at the principal parts
of patho. Oh, it’s a…
it’s got the sigma so it’s um with the future ending always a overnight right so yeah it’s
a future you got it so what is that aeon plus subjunctive followed by a future um a future more
correct amanda you got it see the circuits we’re already at my time 12 your time here i’m going to
stop sharing we’re at 12 your time right you must be totally freaking exhausted and my brain’s a
little fried right now okay we just went to the third hour you were able to get to the conditional
that was sitting there because that’s in your brain right despite the fact that you’re tired
it’s just the logic that’s ultimately going to bring it that’s the skill of translation it has
nothing to do with looking at a sentence and just blah blah blah blah blah blah blah blah blah
right you are analyzing it for its structure and then you are translating based on your analysis
and that’s why ancient greek is so difficult i should say that we have to do that simply because
greek is the way it is that’s how we have to think right you you could not run into this otherwise
So I love it.
I love the complexity.
You are doing, let me just say, you are doing absolutely splendid, beautiful job tonight
with breaking stuff down, figuring out which one of these stupid temporals it is.
I hate temporals because as soon as you get, as you’re reading a text, as soon as you get
to that temporal conjunction it it causes your brain to kick into a chronic mode and i don’t
think that i think when we when we’re raised with english i don’t think we’re we’re used to
going switching into modes now i think we’re just letting and we just suck it up as it comes in and
we just keep absorbing it and and we don’t we don’t tell our brain our brains don’t tell us
okay now we’re going to be concerned with um time as a part of the mechanics oh god i talk way too
much please talk for a couple of minutes so i can get some perspective yeah that’s crazy yeah i
it’s hard to figure out which one i still have to memorize those endings and and figure out
what’s what um when they’re all it’s like all blurring together at this point so it’s hard
for me without saying all of it like in front of me it’s hard to identify that all on the spot
it’s so many forms isn’t it it’s so many when the tlg says that there’s 1.5 million plus
unique word forms if you’ve ever taken ancient greek you realize there’s so much flexibility
in that word form that you can get all of these different types that I’m now going to have to
memorize and keep them in my, in my word bank. And the more, the more you read, the more you will
feel the subjunctive as opposed to saying, I know it’s got this form. You’ll feel the form because
it’s lengthened and you’ll say, oh, it’s lengthened and unaugmented. I know it’s kicking us into this
subjunctive right um that that kind of thing will come with more reading and more reading but right
now you have to memorize all those forms i don’t know how you can keep those in your head um
straight in a four-week program i don’t know how i don’t know how i’m trying my best
are you so you’re writing them down whatever you ultimately do i’m gonna use this with future
students so if you’re writing them down maybe that’s an additional way to to better cement
them in your brain i don’t know what do you what do you think yeah writing them down and then
creating like a mental map has been helpful yeah um mental map that’s perfect that’s what i needed
to hear mental map what about your oral uh vocal stuff do you do you shout out these things at all
are you using that side of things or are you relying mostly on writing well to get past the
verb uh initial um that was like what really helped me to memorize those but as everything’s
been piling on i haven’t been able to memorize much past like um you know okay in the middle
but um and vocab vocab is really easy i do that i just i basically just split a piece of paper
in half and write all of them on one side and then do it until i can audibly remember them
but forwards and backwards and yeah yeah you have no problem with vocabulary it’s just rare for you
to miss a word um which i don’t know when you’re memorizing is there anything you’re doing you say
you put half the page just cover half the page and do that that’s pretty standard you must just
have a good memory um to be able to retain that vocabulary yeah and and word associations maybe
but um yeah well if i’m picturing while i’m saying what the word is so if i’m picturing
something related to what it means and i can relate the english to the sound of what the
the word is in greek for example that the that word that means enemy or hatred that
in the beginning it’s like that sounded disgust so i that always helps me like trigger the memory
i guess right no i know what you’re doing it’s that a los cacos thing right when you hear that
cock you think bad when you hear the call you think good and they do they use this over and
over juxtapose these two things for some reason that kappa running into that kappa just because
of the way it’s formed phonetically or something in the mouth or something causes some kind of
right like the athros right that’s yeah right it’s also the same thing with the ice cross
it’s a little bit of that in there too so yeah i like that i like that um so keep it up whatever
you’re doing with the vocabulary otherwise um there’s a lot of forms and we may reinforce those
we’ll be reinforcing those with more reading for next time i want you to focus this is unit 12
all right and for unit 12 i want you if you can to go to i know this is gonna weird you out right
because look at this we’re already on page 350 right it’s a lot it’s a lot of text but in on
page 363 for this unit oh my god we get euripides from the bokai and i want you to be able to read
the bokai because if i showed you the first 10 lines of the bokai i would um wreck your world
i mean that’s just what the text does if you can read the bokai and um should we do do the
Sophocles, do just A and B.
I want you to do A and B.
Get them perfect.
A is super short.
B is only a couple of lines.
But do we need to do the Electra?
If you take a look at Electra
and for some reason you really want it,
we’ll do that one too.
But I may throw us the beginning,
the opening of Euripides.
If you do that section,
if you do those couple of lines of Euripides,
I’m going to open up the beginning of the play itself
and i want you to look at those lines um and it’s gonna it’s it’s gonna make the exercises
look silly first of all but they’re necessary and it’s going to open up you’re really gonna
love it right um yeah you’re gonna love it don’t read it before because i want to do it with you
okay uh unit 12 we’ll see you tomorrow and i will um tomorrow’s friday so i’ll send you a link for
a five minute lady babylon because the people want to know how you’re doing and etc good okay
yeah okay and you can have a speech you can have a speech ready or you can just say hey i’m back
and things are great it’s up to you okay thank you well okay at what time you know what i don’t
want to keep you late so i’m going to keep lady babylon tomorrow from seven to eight my time if
If we can start at like, let’s say 8.30, that’s 10.30 your time.
I can get us done by midnight so you can, you know, because I don’t want to, I’m aware of that.
Okay.
Okay.
Sounds good.
All right.
We’ll see you tomorrow.
Is that okay?
Does that work for you?
Because I can move Lady Babylon too.
I can do Lady Babylon later.
I mean, that’s good.
That’s fine.
Okay.
That’s fine.
Okay.
Good.
Cool.
Okay.
All right.
We’ll see you tomorrow then.
Thank you, thank you. Bye everyone. Goodbye
Source: Lady Babylon