Descriptions:
Video Description
This session is partly an exam, and the testing is done on structure, not memorized gloss. Ammon Hillman has Madalena find the main verb in a long sentence before she translates a word, because finding the verb is what unlocks the whole shape. They work a genitive absolute, with the soldiers standing, and a fear clause that turns mē (μή) into lest, then move into the opening lines of Euripides’ Medea, where the nurse speaks of children leaving the running track and young minds that do not yet love to feel pain.
The reading of Apollodorus continues with the Titans and the sky. Ouranos, they say, first held power over the whole cosmos, and Gaia bore the Hundred-Handers, who each carry a hundred hands and fifty heads, and then the Cyclopes, each with one eye in the forehead. Prometheus, after fashioning people from water and earth, stole fire and hid it from Zeus in a fennel stalk, narthēx (νάρθηξ), for which he was nailed to the Caucasus while an eagle ate his liver by day and it grew back by night.
The grammar then does what Hillman calls filler: the verb to be, eimi (εἰμί), the enclitics that lean their accent onto the word before them, the personal pronouns, and indirect statement. The same sentence can be reported with hoti (ὅτι), with an infinitive and an accusative subject, or with a participle, and he marches through he says that, he thinks that, and he announced that so the three patterns sit side by side. The lesson ends on the noun naus (ναῦς), ship, and the reminder that Homer will show forms the grammar book does not list.
Full Video Transcript
I’m sorry. It takes so long. Oh, how are you doing? How are you doing? You had two more units to do. How does it feel?
All right. Feels good.
Good. I got your last email and I was very, very delighted by it. Yeah. You know, that’s a switching to the actual Greek is such a dramatic difference from struggling through the exercises, which are crazy contortions.
you know meant to push you meant to push you to the limit so yeah no once you get in that greek
and you feel oh wait a minute i’m getting a gripper on this yeah that’s way better that’s
way better okay we’ve got a lot of work to do tonight so here’s yep here’s what i want to do
i want to go to your review okay and i i want to put it up go to page 419 here move okay i can
take over 419 starting there at the translations um i want you to pick uh well let me ask you this
first okay let’s see there were a couple here that were really good examples that i wanted to show
you okay there’s uh look at number six okay they tell you that’s a genitive absolute there in the
bottom let’s try to translate this together did you get to this one or no uh yeah okay so go ahead
and read it and tell me what you got okay it is
ton polemion in taus, in, in, in tatui, um, their standing, um, of the enemies, um, in,
in there, we stopped them. Okay. Okay. Um, let’s look at a couple of things real quick.
Where is your genitive absolute? Your genitive absolute is stanton ton polemion.
yeah so you’re going to want to use the translation formula with the blank having blanked
with those soldiers standing okay there and palsamatha you got the rest right we stopped
we ourselves stopped right up until this location good i just want you to see the
genitive absolute for the stanton ton polomon okay since since those soldiers you know stopped
over there we stopped ourselves in that spot all right okay so it’s just it’s just trying to let
you know hey this is how genitive absolute works okay i’m gonna grade these so i want you to do
number nine is a fear clause fear clause yeah yeah let’s do that one it’s got some tough verbs
in it okay um we are not being afraid um that they might escape all evil they have done yeah
let’s break it down go a little bit slower right there’s your main verb then you get a fear a fear
clause is always going to have that may in it right we were afraid lest or that last yeah
lest what lest they is escape they might escape yeah escape some notice right and who is it that
we’re afraid is going to escape the who’s the subject here it’s got to be poiesantes because
that’s nominative plural right yeah so is that um doing doing evil yeah we were afraid that
those doing evil would escape yeah would escape okay yeah evade everybody’s the process there is
really everybody’s notice right because you’re um that’s who’s being evaded right fantastic
good i wanted you to feel that here’s uh let’s go back up number three a please oh adelphi
pauson ton de ton ice cron zografon
um yeah uh so oh brother it doesn’t make a lot of sense but
uh stop uh good this shameful writing the the young
um i didn’t do this one but uh oh well that’s good you told me you’re doing it at sight look so
fantastic and for two reasons you jumped on it uh in sight and you’re doing pretty good well
then take your time and put it together good uh okay um so you’re right so far you’re right so
far with that pow song right that’s an imperative yeah stop that wretched zografon that wretched
painter painter yeah yeah life life writer jump to the end jump to the end and see epideic noumenon
yeah right life writer epideic noumenon right it’s in the accusative just like zografon so it’s
telling you what that zografon is doing is the zografon is epideic numenon it’s i don’t know
so stop that that outrageous painter who’s who’s showing what uh skill uh-huh you can say the art
yeah and who’s he showing him to toys net always the young yeah right
okay i guess you should stop him
okay what are they telling you that’s an imperative plus a supplementary participle
with powell to stop somebody doing something right to stop him who’s he’s showing those
things right keep him from showing those poor kids that art man it’s it’s gross right apparently for
whatever reason it’s just an exercise look at b may pow say a prohibitive subjunctive
says prohibitive subjunctive underneath it then you got a supplementary participle with power my
so may pow say all right ozografe so oh painter yeah don’t what don’t stop
mm-hmm don’t stop what ek didaskon um displaying no this is didasko this is
to teach to teach don’t stop teaching the young yeah yeah there you go see how that says don’t
stop oh painter teaching the young right okay good look perfect 100 on that one right fantastic
Now I want you to go to page 423, and I want you to number 8, okay?
So you can see similar structure and whatnot.
So take two minutes now or five minutes, whatever.
Read it to yourself and do it like it’s an exam.
Okay.
I don’t know what the word length and weight means or what the word is for that one.
page 404 is the vocab list yeah give it a minute it may jar itself loose too okay where are you
thinking where are you uh what’s spitting is there anything catching you um yeah a little bit
um well i was thinking um that is something like you you do not you’re not fearing or you do not
fear um the try you were afraid that not try the mayu is that not you were afraid
okay that those doing bad might not escape notice of yeah yeah okay now almost one slight
slight um switch here yeah you were afraid you were afraid yeah you were afraid that you might
not escape the notice all right now it’s somebody’s notice that you’re escaping but
just keep that for now that you might not escape the notice right and what are you doing doing
caca okay doing bad things to the citizens right you so you were afraid that you might not escape
their notice doing bad things to the citizens yeah right see how it’s just a slight yeah change there
yeah lanzano oh god what are we practicing that whole escape somebody’s notice right
hot fear claws okay okay um now go to and i’m gonna finish your exam but i want to go first
to the mattia and i want to read the mattia what page was that on
458
I’m sorry what page
458
Was it that far back
458
I’m trying something new tonight
Just to see where
I’m trying to assess you
In a different way so just bear with me
It’ll all come together don’t worry
It’s all work out so
It’ll all be good for you
Now as if this were a test
Because these are the tests that you’ll be getting
In the future
yeah as if this were a test i want you to look at the first lines of the trophos the trophos that
nurse right yeah and i will i want you to say um that’s three lines i want you to say them like
it’s a sentence that they’re quoting but i want you to use the vocabulary okay and give me a
translation can you do that we’ll do my best okay you did get a chance to look at this right
yeah good fantastic go for it
but these children um okay uh
from having stopped running or coming yeah let’s just stop there because you’re perfect so far
right having stopped
what is that
they tell you it’s a circular
racer
they’re coming from the
from the track
school just let out
and their nurse
is guiding them back home
is what’s going on
right so they
they’ve ceased
from the track
they’re coming away from the track
and they don’t consider the mother’s evil or bad yeah right they don’t it’s not in their minds
they’re thinking about coming home from their school right
for young minds don’t suffer for love that’s close that’s close one switch something around
that young mind
not for not love or feelings yeah doesn’t love i’ll doesn’t love uh suffer to suffer right
Yeah, good, good. I want you to see that that’s the infinitive for feline, right? Love to do something. Good. Fantastic. So you made sense of those lines, right? Using the very same kind of testing principle, tell me in that sentence that ends in the first word on the first line, I mean, on the third line, that long sentence, where’s the main verb?
oh it’s uh isn’t it it’s an invisible b isn’t it is there no other one but the
that’s a participle so that’s not going to be our main verb okay um then it would be uh
how about stay who see i was gonna say that but i didn’t know yeah you should have right
right because that’s your stay who that’s your verb good and it’s just a present indicative
active right how about this second sentence that’s on the third line near god frontis
where’s the main verb yeah it’s uh it’s um okay nope that’s the infinitive okay
can’t be the main verb the infinitive can’t be the main verb
um good right doesn’t i mean love right it’s just love yeah and yeah phileo so yeah good
just a present indicative right um now without translating look at lines 49 to 52 the first
sentence ends with the semicolon you caca right our question so where’s the
main verb and I don’t care about what how to translate I just want the main
verb um excuse me no excuse me that’s a participle all right so let’s find
something then is anything look like it’s in the indicative any kind of see
what i’m doing these are all greek verb or words that you’ve never seen so now you just have to
look through it you have a limited vocabulary but you got to look through it despite that and you
got to find the verb that’s all we’re practicing on doing a structure yeah try again where’s it
anything else in there you’ll kick yourself when i tell you
there you go there you go that’s the standing yeah it’s from histami right so yeah good
there’s a there’s a gorgeous histami just sitting there trying to be invisible now in the last line
of that set which one of those is looks like it can be the verb and that’s a question by the
i read it like it was a statement but it’s a question um okay um
okay infinitive infinitive from lepo so it can’t be the main yeah i wish yes
you got it you got it for felling right yeah good turn the page to 459 go to the bottom line 59
i mean it’s it’s at the top in the paragraph but it’s on line 59 of the paragraph so it’s
it starts out upo god which one of those those uh words is the verb
yep power tie you got it you got it uh yeah so not not yet has the wretched woman ceased from her
she doesn’t stop now from her going from her morning right which is curious because a goyce
is a magician right so medea’s medea’s doing things you’re gonna you’re gonna pick up little
things like that that okay this word tags her as a magus right so okay power tie good and then
let’s see do we have uh on line 56 you see that first word on 56 you go yeah what is that i um
for i it’s like yeah it’s the personal pronoun i right personal pronoun good and
And ex-bebeca, ex-bebeca, right?
From ex-bino.
So there’s a verb there.
Good.
And you got a hoste following that.
Good.
Structure.
Finally, okay.
Here’s what I want to do.
I want to go back to one more sentence, and then I’m going to say let’s take a break.
And this one is, there is a good.
how about number i want to give you a good one because i want it to have a good structure and
so just give me a second okay number 14 okay i think i’m gonna can i interrupt for a second
yeah do me a guess tell me what um or no tell me um this is a particular type of construction
so make sure you’re identifying it step back from translating and just make sure you can tell me
yeah this is a blank and it’s you know made off of blank and blank you know okay sorry keep going
let me know when you’re ready okay what’d you get okay the the men not doing good oh women
some might teach the kids good through nature oh no did we do the wrong ones what this is page 424
i’m so sorry send me straight to bed all right okay i’m so sorry i should have said something
to you i didn’t realize okay all right yeah um look at look at number 14 we can go back to that
one if you want but look at number 14 this one looks easier than that it’s a specific it’s a
specific construction i want you to look at it and tell me what kind of sentence it is and then
translate it for me i’m sorry give it it’s 14. give it a shot on 14. okay i bet okay it’s good
for you anyway to do x degree so good job yeah thanks so it’s a a plus um oites heiress and then
arised on so it would be like a a past contractual is that right no do not
translate as the past contractual look at okay do I ate again and plot oi men
notice there’s an on as well so yeah those are not heiress subjunctives those
are what um optatives yeah so translate them as a plus optative optative plus on okay which
you may remember which one that is it’s my favorite if that helps uh visualized
good so translate it like a future less vivid okay so so the good but the good should i don’t
what they do is right now it’s a second person plural from ditto me
yeah to give yeah that’s yeah to give um so the good give to the gods and that they would guard
them they would guard them well almost would you got the wood from the should wood claws right but
put in a shirt and make it second person plural the if clause if you if you should okay there you
go yeah if you should give good to the gods no no not to the gods yeah no it’s not to the gods
that’s oh oh yeah yeah yeah yeah just evocative if you could if you should give
don’t you feel like you’re at the end of the battle and you’re like oh god no i just can’t
hold it right if you should give good things oh gods you would do you would do well okay
Okay. So that was a should would conditional future less vivid. You got on the second try,
right? Okay. Here’s what I want to do. After testing you, I see the particulars of what you
need work on, but I also see that the most important thing that you’re doing is focusing
on structure i’m going to stop sharing and the most important thing you’re doing is focusing
on structure so the fact that you can go and find the verb at all in the first place is huge
because i know once you find the verb you can figure out the structure of the entire sentence
it’s just a matter of time of developing that so we are working on getting that base done
all of the material into in the next two lessons is obvious stuff that you really should have
already been giving but they’re just filling in little tiny details there’s nothing big about
verbs there’s nothing big there’s no big point of grammar that you’re going to be learning
all it all we’re doing now for the rest of the book is filler we’re just filling in like today
you’re going to learn the forms of the verb to be do you really need to have the forms of the
verb to be? No, you don’t. But if you want to emphasize them, there they are. And so it’s stuff
like that and the personal pronouns. Okay, so you’re still in the 88 to 90-ish range. And I can
see now from testing you, I can see we’re stretching the limits of how much we’re packing in. We need a
little more review. We need more time to review, right? And we’re not going to have it. So this is
a serious consideration in my head i’m drunk i’m we’re suffering in performance a little bit
due to the fact that we don’t have enough time to get all to go over this and re-emphasize it
you don’t have time to reread the last two units right so okay all right i’m gonna read through
two more units with you not read through them but just pick out the big things that you need to
learn yeah okay the big things that you need to learn and all i want you to do is cognitively
kind of process moving through the material i don’t want you to say okay i’ve got another
paradigm to learn i want you to say oh look at this paradigm it looks similar to things that
i’ve seen before so it’s not really that much that new okay take uh five minutes let’s just
take five minutes because we don’t keep you up too late tonight and do the um we’ll do the
the big hits of 15 and 16 all right now i know you’d rather stab yourself in the eye than continue
right i know all that hope and all that hope and joy that you achieve through reading apollo doris
so fluently and enjoying that is all dashed to pieces with another day of greek it’s just the
way it is it’s don’t try not to take it too seriously serious because look what you’re
doing madeline your your brain is pushing against it it’s pushing and pushing and pushing and
pushing and it’s trying to assimilate it so the very fact that it’s doing work is where you get
the that’s where you get the real benefit right i mean can you can you really grade how well
some somebody is working out yeah you can say they’re getting to certain levels but all of that
workout is good so don’t don’t feel you know like oh god i gotta do more of this yeah look how easy
this is gonna be go to go to unit 15 the first page i’ve got it on my screen share see this chart
for the interrogative right pronoun and adjective all right so tis t is how we say it tis t
and look at the masculine feminine forms tis tenos tini tina that’s nice looks just like a
third declension noun doesn’t it and then in the plural tines tino tc tinas those don’t or those
really are not new forms that you’re learning okay it’s just a way to ask a question it’s an
interrogative who or what right tis who who’s going to do something that’s super straightforward
and then unfortunately they give you a bunch of stupid um accenting rules i don’t want you to
worry about that i just want you to see how this thing works look at these examples tinas
epimsate, right? The tinos is asking the question, right? It’s in the accusative case,
so we’re going to translate that whom, W-H-O-M. Whom did you send? Epimsate, nice eris there.
Pempo, pemso, epimsa, nice eris. You sent who, right? You sent whom? Tinos epimsate? Who were
the people you sent, right? Whom did you send? Good. Look at the one underneath that.
Tina stratiotas epimpsate, right? Which of the stratiotas, which of the soldiers epimpsate
did you send? Which of the soldiers? These are all interrogatives. Tinas gunaikas epimpsate.
Which women did you send? See how it says literally, you sent which women? Epimpsate
tina’s gunaikos do you see that yeah i see yeah is that conceptually okay for you yeah yeah is it
is it really getting to be too much do you gotta let me know madalena because it i think it makes
sense no it makes sense oh so is it easy because you’re bored oh god okay look at the last one at
the bottom t a pimp sauce t that’s our that’s our neuter right what thing did you send you sent what
you sent what yeah yeah what you sent what did you send good okay the next one you have to learn
is the indefinite and the indefinite pronoun is only an an interrogative without its accent
all right so how does it work it doesn’t mean who or what it means someone or something it’s
indefinite indefinite someone or something and surprise surprise its forms just look like any
old third declension noun tis tenos tini tena again okay so we don’t have to worry we don’t
have to worry too much. This is easy stuff. Okay. Then we get to enclitics. And I’m going to tell
you one thing about enclitics. It’s all you ever need to know. Okay. These are words that get
attached to the word that comes before it. So it’s going to hand on its accent to that word that
comes before it. That’s it. That’s all you need to know. What are these enclitics? Ge, per, right?
And look at per, how per has a dash.
That means it doesn’t stand on its own.
It has to be attached to the word that it’s with.
So whatever it’s adding force to, you just tack on a per at the end of it.
Pote, at some time.
Poo, just some place.
Poo, some place.
Posse, some way, in some way.
Te and toy, let me tell you, you know, right?
They say toy, you know what I mean?
toy. So, okay. All right. Now, all these accents that follow, forget about that. I just want you
to know what an enclitic is. I don’t want you to memorize anything about it. Because in section 115,
we’re going to have finally the verb to be, Amy, right? And this, it’s important that you notice
the accent is over the second iota. It’s on the end of the word, Amy, because there’s also an Amy,
which means to go. Amy to go, Amy to be. I know they could have made it a little less confusing,
right? But they didn’t. Here are the forms of it. Notice that you’re only going to get it in
certain types, right? We’re only going to get a present and imperfect, the present subjunctive,
present optative, present imperative. Look at the present indicative. Amy, A-S-D, Esmond, Este,
ac. Amy, notice that it’s kind of a me verb, right? It’s got a me at the end of it. So
Amy, A-S-T. Is there any way to memorize this, you know, to cheat? Look at the plurals and
you get the min and the te that you expect for that first person and second person plural.
But the other forms are kind of, you know, unique. So you just have to remember, put
together in your head this one you do have to memorize amy a s d s man s d a c let me just hear
you run through it amy a s d s man s d a c amy a s d s man s d a s s c good amy i am a you are s d
he she it is s man we are s day you plural r and a c they are now you’re always going to see that
one maybe a little less i mean way less often but maybe the second most common one is the imperfect
next to it yeah and you’ll notice the forms are a a star ain amen a to a son again no rhyme or
reason these you just got to memorize and to be honest the one that you’re going to see most is
this one the ain the third person uh singular right there was always a narrative they like to
use this ain right in the beginning in rk ain was hologos right in the beginning was the logo so
that’s the one you’re going to see most if you memorize these two you’ll be well off then you
get the subjunctive and the optative, and just notice that the subjunctive looks like long vowels
by themselves. It’s just the ending of all of the verbs that we have been looking at. Look at it.
O, ace, a, omen, a to oce. You mean that’s the verb to be? So you mean all this time that I’ve
been doing subjunctives, all I’m doing is tacking on the verb to be on the end of it. Yep. Nice.
that’s cool nice right so okay that does that that makes you feel a little bit better like
the world is understandable right yeah yeah right you’ve got you’ve got greek depressive disorder
it’s common it’s common no i’m serious it’s common um the present optative active notice
that it’s got the epsilon iota so you get that iota then popping up over and over that’s pretty
good you can say okay that looks pretty normal but this present imperative i just read a text
earlier this afternoon that has this imperative right here this is the second person singular
imperative so it’s be when you’re talking to one person be all you can be right that’s the second
person imperative for the verb to be be is the be oh god now the funny thing is is this looks
just like the verb for knowing right so it could be knowing as well why are being and knowing so
similar oh god right look at the participles are you surprised they’re just the endings
of the participles we had before.
On, usa, on.
Right?
On, ontos, onti, onta.
You know those endings already.
You’re not learning anything new.
This is just the participle by itself
for the verb to be.
And you would translate it.
Like if you had this usa
and you were talking about the,
you were talking about the musa,
you would say she is being.
Musa, usa, being the muse.
Right?
it yeah now what do you what do you think about musa that it looks so similar to the verb to be
is there something then about the mu that is in the muse that is like the root is that what is
going like the existence of an interesting reality exactly yeah and it’s it’s musical
yeah yeah and yeah and another factor we’re not considering is this is all pitched and everything
so that it sounds a certain way. So, okay. All right. Okay. So that’s the verb to be. That’s
the verb to be. Look at its use here. Agathoi esmen, we are good people. Agathoi esmen, we are
esmen. Agathoi, good people. And Agathoi is in the nominative case because we are the subject
of the verb. We, right, are the nominative case. So if I’m going to say something that we are,
I need a nominative. Agathoi esme. We are good. Eudaimones este. You are happy. You are eudaimones.
Ah, good. All right. Now, the dative of the possessor. What the hell is that? Just look
at the example. E que noi toi andri to that guy esti micra oikia. Is a small little oikia. Oh,
that guy’s got a micra oikia sorry for him right life’s not fair right that’s just the way it is
okay for everyone right esti micra oikia there’s a little house
literally to that man so you know what is it it’s a dative of the possessor it’s the person who
possesses the oikea okay look at this note though because this note is actually good that man has a
small house note the difference between the genitive and the dative when showing possession
the dative stresses the existence of the object and answers the question what does the man have
the genitive in a similar sentence puts stress on the owner and answers the question who has the
thing so let’s see that one okay new to andros when we’re using the genitive we’re trying to
figure out who has it so there’s a little house small is the house of a cane right of this guy
this little guy has this guy has a small house right that man look at the bottom one that man’s
house is small right okay fine i get it it’s a genitive it’s a genitive and when we’re when
When we’re stressing that genitive, we want to know who is it.
When we’re stressing the dative, we want to know what is that thing, right?
What does the man have?
Okay, anyway.
Okay, that makes perfect sense, right?
You didn’t need any help with that.
Yeah.
Okay, let’s keep going then.
The adverbial accusative, okay, all you need to know is you can have that accusative stand as an adverb.
That’s all.
An accusative can stand as an adverb.
ti, tauta, et poiesas, right, why, ti, why, et poiesas, did you do, tauta, these things,
okay, why, why did you do it, what was the, where’s the adverb we’re looking for, the ti
itself becomes the adverb, right, yeah, for what reason, right, oh god, look at the,
the next example, in what way? You see the is the interrogative, it’s
asking the question, what way? Literally that just says, what way? It’s in the accusative,
so we’re saying, okay, it’s going to do it. We’re going to turn it into an adverb, right?
Tonde ton tropon tutto e poi essa.
E poi essa.
I did tutto this.
Tonde ton tropon.
In the following way or in this way.
In this way.
Okay.
So basically, what is this?
Sometimes when you have an accusative hanging, just dangling there,
and it doesn’t seem to be the object of any verb, it’s not a direct object,
what do you have to do?
You have to play with it and you say, well, can I use it adverbially?
Can I answer the question how I did it?
Right?
Ton de ton tropon.
I did it this way.
That’s all.
That’s all.
Okay.
Personal pronouns.
I want you to say these.
The only way to memorize these is just to say them out.
Ego mu moi me.
Or ego mu moi me.
Su su soy se.
Do you see them?
I and you.
Ego mu moi me.
Su su soy se.
Hear how they kind of make a funny.
Su su soy se.
that’s how you do the ego and the su you just say them ego mu moi me su su so i say and you
got to remember that that ego can have an epsilon on the front of its oblique cases
genitive dative and accusative it can have that epsilon but more often than not you’ll see it
without it you’ll just see move for the genitive right of of me mu to or for me moi um i
like me may that’s silly but okay ego mu mo me and then susu so i say they’re similar look at
the plurals now the only thing you have to do is look they all start with hame for me or whom
for you and those have rough breathings hame for me or whom for you and then you just change the
endings hey mace hey moan hey men hey moss hey mace we do something hey moan of us dative hey
men two or four us and then i i fed us you know hey moss in the accusative direct object and the
who mace is just uh you know it’s just got a different vowel in the front when you switch
from we to you so that’s first person plural and second person plural no problem no problem those
are our pronouns right yeah okay i don’t need to to drown these out we’re going to get reflexive
pronouns myself myself so you got all the forms for that they look regular there’s no problem
looks just like our normal declensions right okay finally what’s really important in this
is go to,
well, I guess we need to do the reflexives
on page 445.
Go to page 445
and look how you say his friend, right?
Ho tuto filos, right?
The friend of this guy
or ho filos autu, right?
The friend of him.
Remember that autu,
those oblique cases of autos,
those become those become pronouns so look at the one underneath that hotel taste kilos
it’s literally the friend of her or her friend and next to that is hofilos outtaste which is
the friend outtaste of her yeah see how that works you can do it in an attributive type position
between the article and the noun and the noun or you can do it but um after the noun in the
the predicate position okay look at the third look at the third example hoi tutu filoi the friends
of this guy or hoi filoi autu again it’s the same thing this is beating a you know this is this is
too much around the same thing look at the look at the greek examples read me that greek example
under where it says to show reflexive possession in the singular the genitive of the reflexive
pronoun is used in the attributive position let’s just read that in greek and tell me that you
understand how it’s translated i sent my own brother so good yeah you get it how the moutu
is indicating your own yeah i sent my own brother in mouth it’s literally i sent the brother of
myself yeah of myself i was just thinking about it yeah no that’s that’s exactly what it is
right so good good and in the one underneath that you sent your own brother or you sent the brother
of yourself yeah yeah and under that epimseton adelphon he sent the brother of himself
off yeah he sent the burn good now look what happens though less commonly you can use the
possessive adjectives in moss and sauce mine and yours like the following epimsa i sent ton
immon adelphon literally i sent my immon my brother now we’ve been saying i sent my brother
forever without Iman. And it is true that it is implied that that brother is the speaker’s
brother. You don’t have to have Iman there. This is strictly for emphasis. I sent my brother,
right? You didn’t send your brother. I sent my brother. You hear that? Yeah. Yeah. Good. Good.
and then there’s in the plural we sent our own brother we sent our brother we sent the brother
of ourselves yeah yeah yeah and you can use either hey metron by itself which just means our own
or you can use it with our tone yeah indicating it’s ours right of this oh god seriously it’s a
possession of these themselves right it’s a possession of these guys ourselves look at the
look at the um yourself where’s the here look at the second one down
which honestly you’re going to see that i think that’s more common you sent your brother your
own brother you reflexive you sent the brother that is reflexively yours yeah okay all right
that was 15 that was 15 now if you just buzz now to 16 you’re going to notice we have the same
filler what’s the first thing we get in 16 boom sorry boom we got a little sophocles in there too
That’s always fun, right?
Boom.
Now, instead of on page, what is this, 481?
461.
Yeah, 461.
I don’t know why it says on my digital reader that it’s 481.
Is that?
Yeah, it says 481.
I wonder why.
Huh.
The verb famey.
Look, we had the verb amy to be last time, so now we’re going to have famey,
which means to say.
and these are the most common verbs of the greek language this the verb to be and the verb to say
right even though the verb to be is invisible it’s going to be all over the place
right same thing with famey the verb for to say or assert now um you’re going to see this
overwhelmingly in the present and the aorist okay overwhelmingly in the present and the aorist so
yeah okay the verb has only an active voice kiss you can’t be said right no problem it has like
didomi tithami and histami it has two vowel grades a fe and a fa i had somebody send me
lh sent me a sent me a um something with the fa root in it and i had to send back and say where
it’s coming from okay anyway um fantastic right okay so here are the forms famey i say face you
say facey he she it says famine look it switches its vowel grade drops it to an alpha famine
we say fate you say fasi they say you get an imperfect presence of junk to present
an optative and a present imperative. Are you surprised? These are the forms that you’re
getting just like from the verb to be. Once again, all you’re doing is using those, look at the
subjunctive, oase a, omen a to ose. That’s the subjunctive of the verb to be. You’re just adding
it to the C. Yeah. Yeah. It’s nice when it makes sense, isn’t it? Yeah. Those imperfects are going
look odd to you effane efface effae right effamen effate effa son that’s okay but yeah it’s a little
bit ain ace a that sounds like the verb to be again it is it is the verb to be so a lot of
reasoning going on here here’s the participles fos fossa fawn saying fos speaking fos right she
G, speaking, did something, right?
Hey, fossa, fossa, speaking, good.
Good, good, good.
And then a bunch of rules.
And then, wait a minute, I thought we were getting grammar.
No, we’re not going to get grammar.
We’re just going to get more verbs.
Here’s a verb, gignosco, exceptionally common.
Look at its aorist.
It has a second aorist, agnon, agnon.
Oh, boy.
No, it’s got that long vowel grade on it.
You’re going to be confused about what that is the first time you see it, right?
Until you see that thing like 10 times, you’ll be like, oh, wait a minute.
That’s that stupid heiress of Gignosco, to know, right?
To know, perceive, recognize.
There’s 80 different verbs for know, okay?
I’m just, I’m warning you right now.
This one, let’s see what the peculiarities are.
What is this type of knowing?
Boom, watch.
To come to know, to perceive, to know by observation, to know.
Okay, so this is the knowing that comes from observing, right?
So when we say know in English, you know, it’s one word, I know.
But when they say this know in Greek, because there’s a dozen different knows,
This know is focusing on that act of coming to a knowledge through one’s
senses. Look how they’re using it, to know by reflection, to know by observation. We
have oida. Here’s our other, here’s another, it’s not an other, it’s another of many
words to know it. Oida, I know. I know because I am sitting here cogitating on
it gignosco is i know because i can see what’s going on do you see the difference yeah gignosco
to know by perceiving i know who you are from the way i perceive you right i don’t know you oida
from sitting around thinking i know you from my perception so i’m going to use gignosco
if i say i know what justice is then i can use oida because i’m not talking about learning
what something is from observation i’m talking about understanding it so it’s kind of a it’s
yeah it’s kind of a look at number three oh goodness this is the difficulty see you think
it’s so easy. You think it’s so easy. And then you find out, wait a minute, this is the no
carnally. So if I know you by intercourse, it’s because I have learned you through perception.
It’s not when I have intercourse with you, I’m not sitting there thinking, right? I am learning
through my senses so yeah there is a big difference if you say i know someone and
you use the wrong verb that somebody may think you’re having sex with someone
right okay good ada is this the adam knew his wife eve i think it is let me see yeah
yeah for sure i think it is yeah here they’re gonna give us they’re gonna give it to us in
Latin. Adam vero cognowit. Cognowit is to know. Cognosco is their knowing, right? Like Gignosco.
Adam knew his wife, Havam. Who the hell is Havam? Look at what the Latin does to Eve’s name.
Interesting. Yeah, yeah. And so she conceived in poor Cain, yeah, saying,
poseidi i have gotten hominum a man per dominum through the lord oh god wow they’re not even
gonna give us the greek version you guys suck man and i’m gonna give us the greek version oh well
there we got the latin okay let me make sure okay boom all right this time we go back
okay so here we are at the knowing knowing right egg known right um i knew i knew my wife or i knew
whatever i hate to say that it sounds so awful okay here’s the participle here’s the here’s the
participle knowing my wife noose noose the woman knowing the equation noosa right noosa knowing the
equation right um and then they give us the future
optative oh god seriously look the future
optative oimi ois oi oimen oh god who cares
it’s just a future plus oimi this is not new
right future optative active i might teach pi del soy me
i might teach are you kidding here’s our future infinitives no
problem it’s the same thing one bit of grammar and then this should be it i think this was the
it yep because that’s just the subject accusative is basically the same thing
yep no they could they have this nice comparative though in the end so what are they talking about
here on page boom indirect statement on page 465 okay we’re gonna do this we’re gonna do this and
think i’m gonna uh give you a break maybe do something fun and then let you go i don’t mean
like i don’t mean take a break i’m gonna give you a break on the paradigms because you notice i’m
not forcing you to go through those paradigms you can go back you can go back like the verb to be
you see it so little that if you ever see it in the future you can say wait a minute i need to
go back and remember which form this was you can go back and do that right ideally if we had 10
weeks i would sit here and make memorize it exactly right okay let’s finish up for tonight
and look at the indirect statement look at the indirect statement in greek what is indirect
statement look what they give you in english on 165 he says socrates is doing this that’s a
quotation right you can say you can quote somebody or you can indirectly quote them you can do it
indirectly and what is that it’s indirect statement he says that why do we translate
that in english he says that all right somebody said that when you have the that sitting in there
in english that’s your indicator that you are in indirect statement he says that socrates is doing
this does that make sense yeah okay look at the paragraph under that because you’ll want to come
back to this paragraph repeatedly. The indirect statement can be introduced by words, verbs of
saying, but also thanking, believing, knowing, and perceiving. Now think about it for a minute.
Just use your that. I say that, I think that, I believe that, I know that, and I perceive that.
That’s all indirect statement. Whenever you’re going to kick yourself into that little knowing,
believing, thank you, perceiving, that, you know you’re an indirect statement. And there’s three
different ways of expressing this in Greek, okay? Look at the three different ways of expressing it.
You can use a finite verb with a conjunction haughty or haus, but haughty is more common.
He knows that, haughty. He knows that. Number two, you can use an infinitive plus a subject
accusative. He knows that blank is blank. Your subject becomes an accusative and your infinitive
becomes your verb. Or you can use a participle instead of an infinitive that way. So let’s just
look at examples of it. So the first one is our haughty. We’re going to use haughty for our
indirect statement, okay? Lego to say or speak is used in indirect statement, right? So let’s look
an example for lego okay legge he says or she says or it says haughty that socrates
look it’s simple that’s so socrates boy does this does that look it’s just easy all you’re doing is
yeah you’re just using an indicative that’s all right no problem no problem that’s i can
translate that without even if i just translate haughty is that i’m good he says that socrates
does this okay look at the next one lex say he will say haughty that socrates
that socrates didn’t do yeah this yeah good so again haughty is easy to use
we’re just using the indicative right no problem right oh now watch this apen we’re putting it into
a past tense he said that’s can you believe look at the principal parts of the verb lego
look at these bastards this is one of the commonest verbs in greek yet look at what the
principal parts to lego i say arrow or lexo i will say a pawn or alexa i said what seriously
what’s happening logically here if you look at the future we’re using basically two different verbs
to mean the same thing it means in part of the greek speaking world lego was all the roots lego
lexo elexa right but because arrow was used for lego in a different part of the greek-speaking
world we can say lego arrow apon it’s two verbs coming together that’s all it’s just two verbs
coming together okay more on the haughty haughty look at this go down to this one ape and haughty
he said that socrates poiesse what happens when you throw in a future he said because it’s in the
past he said that socrates all of a sudden you got to kick that future into what looks to you
and i like an optative would do this he said that socrates would do this because we wouldn’t say in
english he said that socrates will do this would we well we may but it’s not proper right we have
to shift that into its optative form he said that socrates would do this there’s there’s very little
difference between a future and an optative okay what is the future it’s something that’s never
going to happen it’s just a possibility what is an optative it’s something that’s not actually
happening it’s just a possibility so okay good good now on the second way we can do is we can
use an infinitive when we’re using, when we come up with, when we have to say, he says that
something happened, when we need indirect discourse, we can also get it through an infinitive
plus a subject accusative. And again, I just want you to look at examples. One of the verbs that
does this is nomizo, nomizo, nomio, and nomisa, meaning to consider, to thank, or to believe,
right? It’s another thanking verb. Are you kidding me? Oh, God. Nomidzo, consider. What’s
the difference between oida, I know or I think, and nomidzo, I think or I believe?
There is a difference, right? There’s a difference between considering and knowing.
Look at the first example, nomidze, he, she, or it, thanks.
Now I get Socrates, and you’re going to say, what the hell is Socrates?
It looks like a feminine singular nominative.
No, it’s the accusative of the goofy name Socrates.
So he thanks that.
That, there’s your indirect discourse.
Now we’re expecting the subject and the accusative.
He thinks that Socrates, poiesae, does tutto this.
He thinks that Socrates is doing this.
Look at the second one, nomidze Socrate.
He thinks that Socrates, poiesae, what happens when we switch to that aorist?
He thinks that Socrates did this, okay?
Nomidze Socrate.
He thinks that Socrates, poiesae, will do.
and here it’s not will not do this and finally and no me say he thought in the past that so
there’s your subject accusative that socrates i’m sorry guys i went to the power hell um okay
uh that’s indirect statement okay the final way is using a participle plus a subject accusative
that’s going to be no different. Just look at one example with me. Angele, he announces Socrates.
That, Socrates, poienta. Instead of poien, just poienta. And what does the participle,
now I’m losing it, Madeline. What does the participle have to look like? It has to be
an accusative exactly like Socrates, exactly like the subject. It has to have that same accusative
singular ending on it. So, okay, cool, cool. And that’s how you do indirect discourse.
They’re going to give you a summary following this of three types of indirect statement.
This is just for you to peruse and say, okay, I’ve seen how I can use these different forms.
And then finally, they give you the verbs that you’re going to use.
Nomizo, femi, lego, angelo, aistanomai.
Look at that one.
I perceive that.
We get aesthetics from aistanomai.
Akuo, I hear.
All right, good.
De loo, look at de loo.
To make clear.
All right, that’s one that’s going to go ahead and take that.
Good.
All right, retain subjunctive.
We don’t need to worry about the retain subjunctive.
Look at polus, pole, polu, meaning much or many.
Look at its forms.
They look just like first and second declension.
Adjectives or nouns, no problem.
No problem.
And finally, seriously, people, you want me to learn the noun naus, meaning ship?
Yeah, it’s got really goofy forms, and it’s a common word, naus, neos.
Now, look at this.
You’re looking at all these forms.
Mm-hmm.
Mm-hmm.
Nei.
I like that one.
noun look at all of those forms and yet i just read oh it was like three days ago a completely
new form that’s an older form that homer likes to use and it is net os look it doesn’t exist here
at all but it is net os how are you going to know they just taught you all of these forms how are
you going to know when you when you’re reading homer and you come across some kind of net os
and you’re like that’s not part of the paradigm where am i going to fit that in so remember that
all the rules that you’re being taught are bendable so that’s all the grammar from 15 and 16
17 18 19 20 are going to be the same we can do them two units a day we can take two more days
and get through all the material okay so by thursday we can get through all the material
so that friday we can have a reading we can pull out a little greek and just hit some different
readings of some great masters that you can say okay i’m just going to practice my greek
okay and that’ll be friday but we’ve got to still burn two units a session so here’s what i want to
do yeah we need to make up for not getting exposed to the exercises so for the first half of class
tomorrow i want to do exercises from 16 exercises from 16 i want you to pick them and i want you to
do five or six of them. Okay. I want you to do them carefully and completely so that you can
come to me tomorrow and give me your five. Let’s just say five. Let’s say, nah, let’s cut it down
to four. Give me four perfect exercises and then we’ll do a couple at sight and then we’ll jump
to 17 and 18. So read 17 and 18 for tomorrow. Perform four exercises where you’re doing them
perfectly, perfectly. I’ll have you sight read a little Greek yourself, but I want you to give me
like you’re presenting, you know how you presented to me the chapters, two of the units. I want you
to do the same thing with the exercises like you were having to please the students. And I don’t
want to help you at all that’s why um i want you to do four because i want you to do them perfectly
perfectly okay and what is this doing this is helping you it’s doing the same thing if you
have to look up everything in those four sentences you’re just going to reinforce what you’ve been
having in 15 and 16. right so that’s that’s the extra does that sound good yeah sounds good thank
you for holding together and agreeing to do this late at night and you know all that kind of stuff
i can’t thank you enough madelaine and you’re setting a an example for other people so i don’t
know i owe you big time and and um yeah i owe you big time for doing this because you’re teaching me
more than i’m well no i think you’re learning more but um you’re teaching me a lot so about
you know how we can do this course okay yeah is there anything you need from me um i don’t think
so okay send me an email if anything comes up otherwise two 17 18 and those exercises from
16 whichever you want whichever five you four you want all right sounds good okay okay we’ll
see you tomorrow all right okay thank you good night thank you good night hey good night guys
see you
Source: Lady Babylon