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20260418-Ancient Greek Intensive Course - Part 7

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>> Madeleine, how you doing? Pretty good. How are you? Fantastic. Sorry I'm late. Oh, you're good. How's the work coming? Um, pretty good. I was working on a few of these exercises. Yeah, good. Did you do some from six and five or five or what? Uh, I did some from six. Okay, fantastic. I want to go back to warm up and I want to do a couple from five and we'll do them together. We'll do them together. And whenever whenever we translate together, I want you to uh

Kind of pay attention to the fact that I'm throwing you things to help out. Right? So you're kind of you're fighting along you're fighting along with me. Right? Going through the Yeah, going through the exercises so we can get so we can get this stuff flowing. And just talk about it. Like for example, just go to page 135 and just casually Don't be nervous cuz I'm going to be translating it with you. All right. >> But go to number four and look, it's basically three lines.

So it's a considerable amount of Greek, right? Yeah. Uh-huh. Ah, but I just want to kind of take a little I kind of want to take a little, you know, stroll through it. Looking at the words. I'm looking for a verb, god damn it. Why Where's the verb? Is there Oh god, look, it's all the way on the second line. Halfway Halfway through the second line. Do you see that? Yeah. S S wanto. Good. Imperfect, right? Yeah. >> Omain ueto ometha este onto, third person singular.

Yeah. And it's a active or passive? Um

Oh, it's a it's passive. Good. >> Sorry. Yeah. >> Yeah, no. Don't Again, don't say sorry. Oh all I'm doing is I'm activating that circuit in your brain. So don't say sorry. Yes. >> But it's important that you think about it just like you did instead of just saying yes and agreeing with me. Don't do that. If you don't see something, try to work it out in your head first cuz that's Yeah. You know, nobody cares about missteps and what's what, right? Um Okay, so

Ethoonto. So how do we translate that? It's a third person plural imperfect. Um S wanto. >> Passive. Um

Uh they were being sacrificed. Yes. Why do you hesitate? Is it just cuz you don't want to people to get sacrificed or things to get sacrificed? >> [laughter] >> Right? Or horses? Yeah, probably. >> case, it's horses, right? Yeah. Yeah. >> There's our So Yeah. Yeah, so the horses were sacrificed. Now, what I want you to notice and the reason I'm picking this particular exercise

Is you're not going to know what the hell is going on until you get to the middle of the second line. Until you see that ethoonto. You were What? You know, who's What's happening? Cuz look, you're as you're drifting through reading it, right? Left to right you know, because of the because of the dangers, there's a nice prepositional phrase. Right? Then you've got a dative with the gods and you get a subject. There's your horses. So at least you know Yes. the horses are doing something.

>> [Snorts] >> Right? And then you get a comma and another dative and another set of horses. Oh god. So, you know, okay. Let's slow down and see at least we know that somebody's being sacrificed. So hoy hippoy ethoonto.

Right? Now, buried in this thing is some is a secret treasure that you're probably already looking at. There is a construction in here that will tell you exactly how the sentence is to be used. It's like a secret key. Do you see that structure in here anywhere?

Um the secret key Yes. >> Um

To tell you how to translate. Yeah. Oh. That's nice. You like those prepositions. [laughter] You got a preposition fetish. I don't mind that. That's okay. I like prepositions, too. >> a lot in this one. Uh I don't think that's the key, though. I don't think a preposition has that much has that much rank. You know what I mean? It's some kind of particles or something in here that are being used in a way to tell you this is how the sentence goes. And they're peculiar to Greek.

Yeah. Um

I I don't I don't know what I'm supposed to be looking for, a particle. But Yeah. Uh >> Maybe two Maybe two Look for two odd words in here that are telling you how the sentence works. It's the key. >> Is it the the the zenon? No. >> Zenon what? >> No. And that's not a good guess. It's not a good guess either. Nope. I'm not letting you get away with that. Okay. >> alien words. There's two alien words in the first line that are telling you the underlying structure of this sentence.

There's two alien words. They create a structure. Okay. Um I want you to find it. I don't want to give it to you. Okay, that's fine. I'll find it.

Oh, it's uh hoy and hey, right? Um it's nice that those are there and look like each other. It looks like it's some kind of contrast, but no, those are not the words. You're going to kick yourself. >> I don't even know. Yeah, probably. Yeah, I Okay. Um Are you ready for frustration? Sure. Okay, you want one more crack Okay, I give you another crack at last one. Take your crack at it. Tell me. There's two words in that first line. >> it Is it men de? There you go. Okay.

>> You. I was like a strange words I've never seen before as I've been working on them all the time. Okay, yeah. Right? There you go. So it's it's one of these on the one hand. On the one hand the >> Yeah, on the one hand Go ahead. If you want to work it, keep keep working at the Um >> Look at Look at where it Wait, before you do that, look at where the men is. It's It's between the definite article tois and theois. So you know, it's on the one hand has something to do with the gods, masculine. Yeah.

>> De. On the other hand, tais theois, those are the female gods. So we're going to have something about on the one hand these horses are sacrificed to the gods. On the other hand, they're sacrificed to the goddesses. Right? By the >> Yeah. eubotongs enon. See how it works out? I just want you to be looking at the structure of how the sentence works out. Now you're just filling in the blanks, right? As soon as you see the hoy >> Yeah. men and the de that's how you

Know. Right? And that's why we step back when we translate and we first look at the structure. Good. Good. You want to give it a crack, that first sentence? Um

Sure. Um

It sounds like I'm asking you if you want to, but I'm really not. Um So men de, in order that or is it on on the one hand right? There you go. On the one hand the uh

Because of the danger of the gods horses the the horses >> that's being good. Good. On the one hand the horses a thu on to >> a thu on to Oh um the horses

What did I say? Were being sacrificed. Good. On the one hand the horses were being sacrificed to ice they always uh mhm to the gods to the gods and why the a two skin do knows

Because Oh because um because of the >> of the danger dangers yeah right it's like again remember they're just making this up right? So it's not like supposed to make a lot of great sense but yeah because of the dangers right? Right? Right? So good on the one hand they're sacrificed to the gods on the other hand ties they always they're sacrificed ties they always Yeah the goddesses. Yeah and this time the horses that are being sacrificed have a feminine article high high he boy high he boy So really the best way to translate it would be on the other hand

The mayors right? The mayors right? We're being sacrificed to the goddesses. Yeah. Who bought tonk senon by the strangers pro mahon before the war before the battle Oh god it's a mouthful isn't it? On the one hand So on the one hand if we just do the whole thing to starting from the beginning on the one hand the male horses were being sacrificed to the male gods because of the danger on the other hand the female horses were being sacrificed to the female gods by the strangers before the battle.

Yeah [snorts] that's crazy. Okay that's the key so as you're as I'm translating you can be looking at the Greek following what I'm doing right? That's a part of exercising. Now then they give you a second sentence like you know it's a little paragraphs so we're going to the story continues. I'll hate on senon hora

Who a full off they who bought ton the on >> [sighs] >> Ah look at that that one you can find the verb right away. a full off they a full off they Mhm and what is that? That's an arist Oh yeah. Yeah arist passive Do you remember what full auto means? Full auto that first principle first full auto. Yes. So translate it full off they

>> Third person singular full off they um

I'm sorry I'm a little Why are you apologizing? You're in an intense >> being slow No stop it stop it don't do that to yourself. You're you'll get there and the more you push yourself cuz you're feeling like you're slow the more you're going to slow yourself down so a full off they what is that? For third person singular arist passive

It he she was guarded. Good. And where's the he she it? It's in the subject which in the line above is hey hora Uh-huh the land tonk senon that's the of land the land do you remember what a senosis? Oh you just said it and I as the strangers of strangers >> stranger stranger danger the land of the strangers was not guarded who bought ton the on how would you translate who bought ton the on? uh

Who bought ton the on um

It's with that passive. a full off they and it's establishing agency

Uh is it I can't remember what a who bought is right this second. When it's establishing when it's establishing agency it's by by the gods. >> okay so It was not guarded by the gods the land of the strangers was not guarded by the gods. >> [sighs] >> poor strangers right? Yeah. Okay look that's three lines so I want you to notice your speed is increasing. Okay what questions do you have on that sentence? um

I think we figured them all out but that was a rough one. Okay now it's a lengthy it's it's two sentences and it's it's three lines so it's lengthy. Now that you know what it means I want you to go back and then I want you to read it in Greek just out loud and I want you to notice if your brain is doing anything as you read it so just go ahead and read it in Greek. Okay. the a two skin do knows toys men they always who he boy

High stay say always high he boy who bought ton senon a thu on to pro mahon

I'll hate ton senon hora who a full off they a full off they a full off they who bought ton the on Okay so as you're reading it I noticed in the first line that your pauses were where they should be if you're understanding the units the grammatical units the syntactical units here. Right? So definite article with its noun for example that's a unit so I can hear that you're pausing. So you're having rational pauses between those units that shows me what you're picking up right? Right? If you're

Putting pro mahon together pro mahon you realize oh it's a prepositional phrase this goes together so that's outstanding right? Fantastic so

>> [Sighs] >> men and de we got into that right? Go down Go just down to number eight and I just want you to identify. Okay. >> um the grammatical structure of the first sentence which ends on the second line about halfway through mhm I want I want you to tell me what is the gram break down what kind of clauses do we have here? Just look at it up to the period. First of all go ahead and read it to yourself out loud and then just break it down

Grammatically. I don't want a translation I just want you to tell me what it it's got going on grammatically. a block toy toy toy toy

Toy it been pawn is tain a clay see on she na

Loss went to bow ton stratio ton >> [snorts] >> who guard pull in me way who guard a little a a

They long ton pull a mon pow say Okay. um Okay just just so just to the period I want you to tell me what is the grammatical structure on those first two lines. What what do we see? Well we see the a in the beginning and the the >> [sighs] >> um

The the verb immediately on the block toy in dough right? Okay. >> um What is that? Keep going. uh

It's um uh present after the passive and

Then uh and then uh it been pawn

Present optative So it's an A plus an optative. Good. Well, yeah. And >> What's in the What's in the apodosis? What's in the next verb? Let me see.

Where's that second >> Oh, it's a It's a It's up and running. Good. Good. What is that thing? >> And Uh I was thinking it was um an imperfect. Good. So, you A plus an optative Good. A plus an optative followed by an imperfect is what >> So, it'd be >> What kind of conditional? A A did did. So, a past general. Good. So, that one you know is going to be if something did something, then something did something. Okay, fine. Mhm. Now, look at the rest of the sentence though. What did they talk in there? They talked in a hina.

And a yeah, which means um Is that an an in order that? Yes, good. Okay. Good. And it's followed by an optative. We've got the ointo. Right? We've got the oi there. So, we know that's an optative. So, we know it's going to be in order that somebody might in order that they might. Yeah? Um Good. And notice about that that it's ointo. Right? So, that's that's passive. That's definitely passive. And look what follows it logically. A hupo. So, that's a an agency there. It's just you're

Trying to tell us who's the agent of this guarding. Right? Guarded by the stratioton, the soldier. The soldier, yeah. In order that they might be guarded by the soldiers. Yeah, good. Fantastic, right? I just want you to see that you are fundamentally looking at structure when you are trying to translate. So, um

Look at number 10. Look at number 10. When you look at that thing and analyze that for structure, ook agathoi is that the Yeah, that's it. Ook agathoi tois hippois hoi lithoi hoi en toi pedioi. Look, there's no verb. You got something >> looking at that one earlier. Were you? Okay. Yeah. >> Okay. So, you know what the drill is. Well, I was like not good the horses, the stone, and the plane. I'm like where's the invisible uh be? Um Where's the verb go? Look for the subject Look for the subject with an article.

So,

No, hoi lithoi. Yes, there's your subject. >> nominative. Yeah. The stones. But, what kind of stones are they? They're hoi lithoi, the kind of stone stones that hoi en toi pedioi. The stones on the plain. On the plain. Oh. Which stones are they? They're the stones on the plain. That's why they're they're reproducing the article twice. It's telling you, "Hey, go back and look at the lithoi cuz we're about to describe them to you." Right? Those are Which kind of lithoi are they? There's the ones on the plain. What are

They? They ook They ook agathoi. >> not good. Yeah. For whom? Who are they not >> horses. Right. Don't you see? >> that's that's great. >> [laughter]

>> I I That was my guess, but I mean >> [laughter] >> Okay, take it Take it down. Okay. You read unit six. What was your You got any gut instinct? How does it compare? Is it getting harder or is it just the same thing? >> It is the same thing. It I mean, it's true that it seems like it's not harder. It's just more stuff.

It's just more. It's just more and yeah, I've been trying I was trying to memorize all all day. And I think I studied for like 5 hours. But Oh, gorgeous. Okay. >> on it. So, >> We need to We need to somehow gather all that data about you, like how much time you're spending. So, that's good that you're saying that for the record. You're reading that into the record, and I need to make a mental note of that. Okay, so you're spending like 5 hours. Okay.

>> Throughout the day, spread out. So, Spread out. It doesn't matter that it's, you know, it's That's If that's how you can take it. Right? Because you couldn't sit down for 5 hours and do 5 hours of memorization. It's just too much. It's too much straight. You got to get a sandwich or middle day

And then the evening, yeah. What do you do between the times? Do you just like go and do the stuff you got to do, like go to the grocery store or something? Yeah. Take care of the kids. >> [snorts] >> Yeah. Yeah. Keep house. You're juggling You're juggling your um taking care of the kids with learning what is definitely the hardest language of humanity. That's fantastic. >> I've I've I've been moving and and stuff, too. So, You're moving. Are you And all the Yeah. I was moving.

>> Are you going to move in the middle of this? Yeah, I already moved. And so, yeah. >> did? Oh, okay. You're unpacking. Mhm. Fantastic. People, you got to realize nobody's got an excuse now, right? Right? So, okay. Madelaine, if you make it through the whole series the whole text, which I'm very I'm very optimistic that you will. I'm a little >> I'm a little bit concerned, to be honest, because you may skew the whole [\\h__\\h] uh experiment. Right? The next

The next person I get then, if I try to hold them to your standard, they may totally fall short. And so, and then it'll just be a matter of, "Okay, it's got to be >> [sighs] >> Right? Most of the success of that course was Madelaine and not me, which makes me quite jealous. Look at Look at page 139. We'll take a break in a little bit, but look at page 139. Um you were You were looking at third declension nouns. We We're going to start this this new family of nouns. And I just

Want you to see some of them at the bottom that they gave you. phulax phulakos. And I want you to notice that that is a guardian, right? A guard, they tell you. Um but I want you to notice that we're using the verb phulatto.

So, you're going to see You're going to see now relations between words. And that's what I want to focus on as we sprint through your vocabulary. This is a nice introduction to your third declension. How do you feel about Look at the nominative and the genitives here. phulax phulakos.

Right? What happened? Oh god, something funny happened. Right? We We our C turned into a kappa. Look at the next one. aix aigos, a word for goat. Our C there turned into a gamma. Wait a Wait a minute. Something's going on. So, So, you can see that letters can transform. That's the big lesson here, right? And I want you to see which letters can give birth to which letters. The phulax and the the C and the kappa and the C and the gamma. I want you to notice that those are all friendly with each other.

Okay. On the next line down, you've got elpis elpidos, right? The word for hope. Hope. And this time, the genitive doesn't It doesn't just have a letter change. It's got a letter addition plus a subtraction of the sigma. So, you drop the sigma and you get a delta. You get a delta. Something as funny as going on. The sigma in charis is turning into charitos. Turning into a tau.

How is this stuff happening? Is it in there? Are they related? Is it like the phulax and the kappa? Is that child that's being given birth? What they're doing here they When they introduce you to third declension of nouns, is they're they're they're really showing you the complex stems. Right? That are going to be absorbed and going to change their form in the nominative. You do not know the stem of a noun in Greek until you're looking at its genitive case. What is the stem in the first noun? It's

Phulak. It's phulak. That's what it is. What is the stem in the second? It's aig. What is the stem in the third? elpid. elpid. The stem of elpis is elpid. The stem of hot is is hot. It's hot and the stem of soma is somat. Somat. That's you're getting your stem

From the genitive case. That's why in any lexicon of classical Greek, you're going to have the nominative and the genitive reproduce for you. So that you can get a feel for those um for what the stem what the actual stem is. Is that okay? Do you feel pretty comfortable with that? Yeah. It's not too crazy, right? It's not too crazy.

No, not at all. No. Let's go to some words and I want you to break this stuff down since you're so good at it now. I want you to start [laughter] breaking Right? >> This is page no pressure. This is page 150 vocabulary.

>> [Sighs] >> Ikes I goes we did it means goat. Look you can use a masculine or a feminine article with it if you want to change the sex of the goat. Right? Look at the second entry. The enclitic particle.

Oh God. Proclitics enclitics adhere either in front or to the end of something. They're particles and they're these little words that the Greek is using that we really don't use in English. So what does this one do? This get

It emphasizes or limits the preceding word.

It emphasizes or limits. When you're looking at that, you're going to have to think. Is it emphasizing it? Is it limiting it? What is it doing? Yeah. >> Look at how they say you can translate it. At any rate or at least. At least.

That makes a little more sense. Okay. So for now, stick with it. Try at any rate or at least. Just try those when you see that get. But you'll see as you read more and more Greek how this is used, right? Your system will pick it up and use it properly. Um go to get on below that. That's a nice noun. But look at its genitive. It's get on toss. Take off that omicron sigma and you get get on. That is the base. It's the stem, the root of that word, get on.

Oh God. Don't you love it? What is nome? It is an opinion or a judgment. Are you sure? Yeah. I want you to Hey Chewie. Oh, Chewie's busy. Um when Chewie's back, I'm going to tell her how do I switch to Can they see the whole thing? Who is they? Madalena and the voices in her head. I know there's I know there's some specific voices in your head. Here, do you see the Tell me Madalena when you see the Liddell Scott. I see. You see. Okay, tell me about this word.

Nome means what? It's It means of knowledge. Means of knowledge. A mark or a token. The token, the mark in your skin. Is that some kind of means of knowing? Yeah. >> Wow. >> Right? Yeah. It's gorgeous the way that they think, isn't it? Yeah. >> It's It's like a reality that's there that you don't understand until it like forces its way in. Organ by which one perceives no So it can be that instrument. When they say organ, don't think like body organ. That's not what they mean.

Yeah. It means an instrument. It's a Greek word. Yeah. >> Organon

It's your instrument. It's cool. Yeah. You the nome of your soul right? Is your judgment. It's your thought. It's when you Madalena think and sitting there thinking, I am Madalena. Right? >> [laughter] >> Yeah. Right? That working of your soul

Is your judgment. Okay, so that's how they're looking at. Look at number two though down from that. It's your inclination. Uh when I see that, I'm like uh Okay, it gives it a little bit of kind of this freedom. So you can see they use it for zeal. Right? For zeal. It's your inclination. It's your >> [sighs] >> your consent.

Your initiative. Is this what's taken away? Nome is what's taken away when you rape someone. You take away their ability to be disposed, their will. Their consent. Right? Yeah. That's more than just opinion. Right. Right. Right. >> [laughter]

>> Look at the one at the bottom. I love this. Number four in the plural. You see Sophocles uses it this way to represent illusions, some kind of hallucination. Right? Some kind of you know, farce that is not real. Right? It's really neat the way that you know, you can then play with the word and all these in blue Madalena, these are all different authors. Look at all these. Plato, Herodotus, Sophocles.

Right? Xenophon, Aristophanes. They're all over the place. Aristotle, Pindar. >> [sighs] >> So whenever you say somebody's like talking about Gnosticism right? And all that kind of stuff and they don't have a base in the language, they really don't know what they're talking about. Yeah. >> How do I What do you think about that? Uh I I think a lot about it actually. I see that stuff all the time and I'm like, man. Yeah. You don't even know how deep it goes or how complex. Yeah. Exactly. Exactly. So when we look

At the list on the page and it says nome right? And they I was I was taught to just to hear a little bit of the gamma in there, but some people would say nome, but gnome.

Um that opinion or judgment, you know, it's way bigger. Daynos, dayne, daynon. There's a nice adjective, three termination. So it's got a masculine daynos, a feminine dayne, and a and a neuter daynon. Yeah. And it means fearsome and then marvelous. Wait a minute. Fearsome and marvelous are not in the same universe. And then clever.

Right? >> [clears throat] >> None of those is in the same universe. Right? Those are three different words. What are they doing? Trying to pack three different words. Um The only way to learn this word is to learn how it's used. And they'll use it for people. And the people that they use it for are Circe.

Right? Right? Think about that for a minute. >> [laughter] >> Right? These are all the attributes of um a particular personality type. The goddess of the hunt is is fearful, terrible clever uh you know dayne.

Right? Yeah. So if you can understand that there is a that being afraid of someone um who is clever causing you a feeling of marvel right? You're looking at at certain women from antiquity. Now, it's not just just for women, but those are the ones that stick out to me whenever I'm reading. So I notice where this adjective is being used. And it's usually being used of these queens. The these potniai.

Um who are dayne. They're they're fearsome. They're they're Look what's right underneath it. Just out of coincidence maybe or chance. It's the word doulos, the word for slave.

Yeah. Right? These women are who are terrible, fearsome, clever women. They're also makers of slaves. And they push douleia, slavery.

And that's a huge part of Odysseus's problem throughout the Odyssey. He is He is not What is the word underneath the verb douleo? Douleo just means to be a slave to someone. Right? I'm slaving it. Douleo, I'm slaving it, right? Douleuso, I will be slaving it, right? Edouleusa, I'm going to my shift right now, right? Right, >> [laughter] >> I'm I'm being a slave. Eleutheros, cuz they would say, you you know, they would look at us and they would say, "You're not a society free of slaves. I don't know what you're talking

About." Um Eleutheros, look at that. That's what Odysseus is not, the Doulos is not, Eleutheros, free. Right? They've got They've got no eleutheria. Look underneath it. Try to say that. I think this one is difficult. Eleutheria. >> Eleutheria. Yeah, when I say it. >> Eleutheria. Eleutheria.

Yeah. You say it more musical than I do. It makes me jealous. Um look at the look at the word for a Greek. What is a Greek underneath that? What is a Greek? Hellen. Hellenes.

Hellen, right? That's a Greek, Hellen. It's Hellenic. Nobody calls them Greeks except for the Romans who are not builders, right? Right? >> Graeci. Graeci, that's what the Romans call Graeci. Right? But what do they call themselves, right? They're Hellenes. They're They're They're Greeks. Look, I can't help it. Elpis, Elpidos, help. We saw that, kata. There's a nice preposition. New one, you get it, right? Kata, when it's with the genitive, under or against. According to

Well. Oh, you froze for since kata. Sorry. Okay, just do koluo. Read koluo. Uh koluo, oops. Okay. >> [snorts] >> Koluo, ekoluo, ekolusa, kekoluka, kekolumai, kekolumai, e- ekolusthai. Good. Now, read them again. This time focus on the accent, and I'm telling you to do this for a reason. Accent. Uh koluo,

Koluso, e- ekolusa. Yeah, sorry. Eko- ekolusa, kekoluka,

Kekolumai, e- ekolusthai.

Good. Good. And I want you to notice that we've had all of these principal parts. Koluo's the present, to the imperfect. Koluso's the future. Ekolusa is your aorist. Kekoluka is your perfect. Kekolumai, what is that?

It's a perfect, but instead of What is it? Oh god. Kekolumai. Maisaitai metha stha untai. Right? It's jumping into that passive form. Good. And then the ekoluthen, they should have Yep, there it is. Ekoluthen is your aorist. Passive, isn't that nice? Oh god.

Oh god. Okay, let's go now to take a break. And when we come back, what I want to do is I want to look at cognitively the relative pronoun on page 142 because um the two big things about this unit are its relative pronoun and its use of the subjunctive.

It's use of the subjunctive, okay? Mhm. Gorgeous. Let's do it. Let's take How much time do you want? You want 10 minutes? You want 15 minutes? What do you want? Um 15's good. Take 15. I'll see you at Oh god, what an awkward time I did. Let's see. >> [laughter]

>> 15 Minutes would be 40. Let's see. 37, 47 would be 10 38, 50 [\\h__\\h] two. Come back at 50 [\\h__\\h] two. Okay, see you then. All right.

Right. Fantastic. So much work being done. I love that. We're going to talk. Madalena, how are you? Fine. Are you ready to learn what a relative pronoun is and how to use the subjunctive? Yeah. Okay. >> Uh I need help with the subjunctive of wrapping my head around that. Mhm. Yes, I'm glad you said that. Good. Okay, thanks for letting me know. That's what we'll get to. But in order to get there, we got to start with the relative pronoun. Okay. So, just look at their first

Paragraph. A noun or pronoun can be This page 142. A noun or pronoun can be modified by an adjective. So, they give you the example, ho agathos anthropos, the good man. It can be modified by another noun in the genitive case. So, to biblion Homerou, the book of Homer, right? Homer's book. Can be modified by a prepositional phrase. Hoi politai, the citizens, which ones? En te horai. The citizens in the countryside. Or by an adverb. Hoi nun politai.

The citizens who are nun, who are now. Who are present day, okay? So, okay, good. I I'm I feel pretty confident. I know I know the basics of how the pronouns, right, can be modified by what can be modified. Okay, good. Now, look what he says there. A noun or pronoun can also be modified by a dependent clause called a relative clause. So, this is another type of dependent clause. It's going to depend. It's going to hang off of that main verb. Right? Has to depend on that main verb.

These are relative clauses and they're introduced by relative pro- pronouns. And then he gives you some examples. I just want you to see in bold the relative is first in the clause in English, right? The poet who wrote the book. Who wrote the book is your relative clause. Who is your relative pronoun?

Good. They give it to you the second example, the poet whose book. Right? Whose book? Right? Or of whom the book we sent to the island, right? Whose book? Look at the dative form that they're going to use. The poet to whom we sent the book. And finally, the objective there the object there, the poet whom we educated. They just ran you through a list of the nominative, genitive, dative kind of use use of the genitive, right? Okay.

The forms of this thing that you're going to have to know are on page 143. They're easy. Hos, hou, hoi, hon. Notice they have rough breathing. Mhm. Rough breathing, right? Did you look really closely and carefully? Blow up this page, Siri, 143. Yeah. Look at these relative pronouns. And look at those rough breathings that are on them. I want you to notice that's very important. That rough breathing is going to give us the relative feel. Hos, hou, hoi, hon.

Hos, hou, hoi, hous. Good. Good. And the feminine.

He, hes, he, hen, hi, hon, his, ha. Good. And in the neuter, ho, hou, hoi, hon. >> Ho, hou, hoi, hon, ho, ha, hon, hois, ha. Yeah, good. Good. So, relatives there are easy to spot because of that rough breathing. That's what you're going to be looking for. Now, let's just look at a couple of examples at the bottom of page 143.

Okay. We can now do this in Greek. We You know, the person says, "Agathos ho poietes." Right? What does that just mean by itself? The poet is good. The poet is good. That's a complete That's a complete sentence. But we're going to tack on We're going to tack on a clause to that, right? Oh god, and what do we get? This dependent clause. Hos to biblion egrapsen.

The poet who hos, who wrote the book. Notice that the hos is in the nominative case. Why? Because it is the subject of egrapsen. It's own clause, it is the subject. Its case will tell you what it does in its own clause. But its gender and number

Masculine singular, that's dictated by its antecedent. Its antecedent, the thing that it's talking about, is the poietes. That is masculine singular, right? So, it's going to be masculine singular always, but it can change its its case from what it's doing within its own clause. Good. Uh look at the second one. Agathos ho poietes, again, the poet's good. And then it switches it to a genitive. hou tou bibliou Yeah, the book of whom or whose book. Whose book? epempsamen,

We sent este nauson to the island. You see that? Whose book we sent to the island. The poet whose book we sent to the island is a good person, right? Agathos, good. Okay. So, how do you feel? They're going to go on to give us a dative on 144, and it's just going to be the poet is good again. To whom? epempsamen, we sent the bibliou. To whom we sent the book. Right? The poet to whom we sent the book is good. That's in the dative case. See

How the ho is in the dative case? And then in the accusative, you've got hon epaideusamen, whom we educated. Hon is the accusative case because it's being acted on by the verb. Good. All right. Um that is basically

Everything that you need to know about that relative pronoun and how to translate it. I don't want to beat it too much than that. We'll see it in the too much more than that. We'll see it in the exercises. Right? I want to get to the subjunctive. This is an important moment right now in the intensive experience because you're going to have to figure out how to use subjunctives. And we said before that you can't really translate them. You can't just, you know, like poieo, I make. But when you turn it into

A subjunctive, you can't be like, well, I I may make, you know, uh if I were to make, you know. Well, how do you use it? So, here are a couple of ways to use the subjunctive

By itself. Bring up text. That's why they they call this the independent subjunctive. Right? It says, "In addition to its use and purpose clauses, after primary tense of the indicative, and in the protasis of a future more vivid and present general conditional sentences, so in addition to the conditionals and the purpose clauses that you can use subjunctive in, guess what? Now the subjunctive mood, it can be employed in three types of independent clause. That means they're totally they don't rely on anything else. You can just have a sentence there with your subjunctive.

Right? You don't have to have it with another clause determining what it's going to do. Look at just look at the example of the first one. This is the hortatory. It's an exhortation. Let us do something. paomen, look at the example. paomen, let us stop.

Let us stop ten machen. Let us stop the battle. Notice how paomen is subjunctive. See the omega's long. It's just a present subjunctive active, right? paomen Let us stop. So, this is one way you can use it. The subjunctive by itself as a hortatory. If you want to use it with the negative, use a me. Me paomen, let's not stop.

Yeah. Me paomen, let's not stop ten machen, the battle. You're going to be using the me with those subjunctives, not the ou. So, for this. So, great, fantastic. How about Look at the indicative. Ou paomen, we are not stopping or we don't stop ten machen, the battle. Right? We are not stopping the battle. Ou paomen, you're using the ou, which is just the negative, right? Just like me. It's doing the same thing as me. But instead, you're using it with the indicative. The ou loves the indicative.

The me loves the subjunctive. Okay? Good. That's one type. One type. Okay, so so far, one type of independent subjunctive we've got is called the hortatory. Let us do something. The second type we've got is deliberative.

Look at the What is deliberative, right? You're deliberating. You're deliberating. What do you mean? Just show me a freaking example. paomen ten machen Are we going to stop the battle? Are we supposed to stop this battle? Or it's a question.

Right? Are we to stop the battle? Look at the next example they give. angelon me pempo, question. Am I not sending a messenger? Am I not to send a messenger? Am I Is this not something? It's deliberative.

Right? You're You're entering into deliberation. And right? Deliberation. The third type is the prohibitive. It's just telling you not to do something, right? Right? It's It expresses a prohibition. Me pausete ten machen. Do not stop the battle. Me pausete, it's a prohibition. It's a If you want to refer to it as a negative command, some people like to refer to it as a negative command, but, you know, prohibition is like, you know, okay. Is it a command? You know, not really. It's not a true imperative.

Right? So, really, you shouldn't be call calling it that. It really is a prohibition as opposed to a negative command. Yeah, anyway. >> Yeah, a do not. Yeah. Yeah, exactly. [clears throat] A do not do something. Me pempses, do not Don't send the messenger. Me pempses ton angelon. Right? Don't send them. And as soon as you see that subjunctive by itself by itself in a sentence without a main verb anywhere, you know, I want you just to stop and to say, "Okay, it's got to be one of these."

Is it a hortatory? Is it a deliberative? Or is it an a prohibitive? Right? Which one is it? Which one is it? Is it let us do something? Is it a should we do something? Or is it a don't do something? Yeah. Okay, good.

Good. Good. Good. Good. Good. And look at what's happening here in this I hate these people. They get I think I know everything and then they throw this. Look at Look at the bottom of the page here. Any independent subjunctive can be used instead of a future indicative in the apodosis

Of a future more vivid. Oh, [\\h__\\h]

Okay, what was that future more vivid? It's ean plus a subjunctive. >> a subjunctive. Yeah. Followed by a what? A future. So, instead of Instead of that future in the then clause, we can substitute

An independent subjunctive. So, look at this. They used the prohibitive here in the first sentence. ean eu praxomen, if we do well.

Me pempses, do not send ton angelon. A messenger, right? Oh, fantastic. So, it's like, okay, you can take the apodosis. You can take the future out, and instead, you can insert some kind of conditional. I mean, some kind of uh independent subjunctive. Oh, they did it with the hortatory below that. If we do well or fare well, pempsomen, let us send. All right. And right? Instead of we will, yeah. Love it. Yeah. Love it. So, you can tinker with those conditionals,

Right? And if you don't identify what it is, you're not going to be able to translate it, right? That's just the way it is. Or for a rule. Good. Okay, I want to before we get into genitives and datives because there's just a list for us to do and to go through, I want you to go to page to the exercises, and I want you to tell me a couple that you worked on that you want to just kind of throw at me now and say, "Hey, how did I do with with this uh information?"

Um Starting on 158 is the page. >> Yeah, I am

I kind of tackled the exercises without understanding the the unit. >> [laughter] >> So, Yeah, no, I understand. Okay. Yeah, so um So, maybe better to talk through it first, right? >> Yeah. Then hit the Right. Then hit the exercises. Okay, is there Is there one that you did that you think you did well? Um

I I don't know about well, but I mean, I I did probably uh an eight of them. And I I tried the first two. Um But >> Okay. And then number 11 17 Um 19, 21, 23, 25.

Okay. Let's go to 11. Let's go to 11. That's a nice shorty. >> Okay. Why don't you read 11 and and let's discuss our way through it together. Okay.

Um So

First of all, just notice that it's two short sentences. To Yeah, it is. >> One after another. So, yeah. Remember and sometimes those short ones can kick you harder than the big ones. But, yeah. Right. >> Good. Good. Good. Um >> What did you get?

Uh I I got in In fact, we may have been destroyed or released by democracy. For that first one. Okay. Slow down. Look at the first No, it's Look, everything is off. Right? Everything is off for one simple reason. For one simple reason. Look at your first the verb. >> I see now that it's uh um the

What we just read through. Subjunctive. Yeah, the subjunctive. It's one of >> I see how it was uh Yes, it's the I can see that it's the um

Like similar to the deliberative kind of, but it's not actually >> So, how do you How do you figure out How do you figure out which one of those three >> Okay. And it would be It's deliberative or something. It's got no question mark, so it's not So, it's not actually >> to be deliberative, right? We're not going to be asking any sort of question. So, it could be one of the other two. So, try the other two to see. First of all, try a try a hortatory, the let us Yeah, the let us. So, it would be

Let us

Let us luo. >> Let us Let us luo would be released. Yeah. Let us dissolve. Let's say dissolve. Let us dissolve tain democratian. Um democracy. Yeah. Let's dissolve the democracy. That's all that says. Mhm. Why are we going to do this? God in the next sentence is telling you, I'm going to tell you why. God. Okay. >> Good. For what? Dana Make Dana the subject. It's a It's a neuter plural subject for Dana

Terrible things pepracti. That's a third person singular because neuter subjects that are plural take singular verbs. >> He He He she had um had done. Yeah. And make the he she it Dana. Terrible things pepracti have been done. So Oh. Okay.

It's a perfect right >> yeah. Terrible things had done. Have been done. >> Uh have been had Yes, have been done. That makes a lot more sense. >> [snorts] >> Um to the people. Now, you could try to the people here. The only problem is the only problem is that's a perfect and we know that perfect passives

Like this, it's a passive. Perfect passives express agency in the dative case. They tell you who is actually doing the verb. So, terrible things have been done by the people. Oh. Good. Yes. Dative of agent. You only do that with perfects and in and pluperfects. Okay? It's going to It'll take you. Otherwise, you're going to use a hupo plus a genitive. Right? Okay. >> Great. Fantastic. Right? There's a lot There's so much to remember, isn't it? There's a lot. Yeah. What else did you do? Let's Let's keep

Going with a good We got a good rate this time. >> I did 17. Okay. Read 17 and translate it to me. Okay. Um

Well, you know, I didn't really know um what that pronoun was until now. So, I'm going to go ahead and say that. Um >> Okay.

Oh. Let me fix this.

Oh. All right. The lot thing I'm putting in. To that um Okay.

That first part of the sentence um

I thought it meant um the death of a body is the fate. Keep going. Good. Keep going. Um Okay. Um

Who is who is another the who >> [snorts]

Yeah. Let's Let's do it word for word now. Right? You're right there. You're 90 You're 90%. Right? >> Okay. With respect to I'm just going to translate it. With respect to the body, toy somati. With respect to the body, hey moira, its fate is thanatos, is death.

But, a lot. But, hey Gabe psyche, the soul at least is athanatos. Is immortal. >> Okay. Yeah. You see that little ga there sitting there? You know, you're just You're kind of contrasting what happens to the body and the soul, blah. You know, it's just kind of Yeah, setting up a little contrast. It's nice. It's nice. Oh, look at 19. 19's small. Yeah. >> 19's small. Oh, this is going to be difficult. Uh Did you do this one? So, Dana Yeah, I did. Dana means I thought it meant

Clever, but it means terrible thing. Well, it can. It can mean clever. Uh-huh. Oh. Okay. Depending. Um Uh-huh. So, I wrote uh >> [snorts] >> Well,

Uh the clever or at least the wisdom of the sea.

Oh, very close. Very close. We're right there. If you just rearrange the Make the subject ta. >> Ta tastes thalates. So, tastes thalates is of of the sea, of course, right? >> When you just have a neuter plural article, it can be kind of the affairs the affairs or the things the things It's really It's literally the things of the sea. So, the affairs of the sea are Dana. >> are are clever. Yeah. And who are Who's Who thinks they're clever? Tois gessos tois.

For the the wise. Yeah. >> Yeah. Yeah. Wise people like to consider what happens in the sea, I guess. Whatever. Again, don't try Don't try to make sense Don't try to make sense of it, right? Oh god. Okay. Um now I want you to do one that you haven't done. Look at number 25. I don't think I I don't think I heard you say 25. >> I did I did that one. So Oh you did that one. Okay, well translate Translate it real quick. Translate it real quick cuz

It's got grapsomen. Grapsomen. Yeah, it um Oh. Grapsomen is may may have been written. Right? Okay, keep going. Um What What is it? Just identify it. Before you say it's translated as may have been Whatever. Just identify grapsomen. It's from grapho. Let's see. Grapho grapso A grapso. It's definitely an aorist subjunctive, right? Mhm. An aorist subjunctive. So is this one of those independent subjunctives? Maybe.

Oh yeah. But look what we've got that follows it. We've got an e on. So we've got a conditional thing. We've got a conditional. What kind of conditional do we have? We have e on plus >> I I thought um it was a So an e on plus a uh a subjunctive?

Yes, e on plus a subjunctive. Mhm. And then >> Remember what we saw. Remember what we saw. Sorry, I don't mean to interrupt. Now I'm interrupting. >> No no. Go ahead. Remember what we saw with the conditionals that you can substitute an independent subjunctive in the apodosis. Here's the protasis, if Right? Here's our if clause. So you can substitute just a regular independent subjunctive and that's what they've done. Grapsomen. Instead of getting a future here that we would expect for a future more vivid, for a does will do,

We're going to get a does >> [clears throat] >> plus an independent subjunctive. So you Make this thing work. Right? With your if clause. If you want to start with your if clause and just translate that, that's good. But it's a it's a does blank. Does It's supposed to be a does will do, but it's a does blank. Go ahead.

Uh >> [laughter]

>> Oh, so it would be um it would be a deliberative. Okay, try that. Try that. >> Okay.

>> [Laughter] >> Uh Well,

I don't know how to formulate it. Yeah, it's Yeah. Start with the conditional side of it. If the politai If the politai do what?

Um have sent money may have sent money. It's a future more vivid, so it's a sin. It's just a do. If the sin If the politai If the citizens send argurion. >> Okay. Yeah. That's way easier. Right. If the If the citizens send money

Um >> Now do your independent subjunctive.

Deliberate Are I mean does >> There you go. There you go. Are >> Does the book

Does uh

It's a first person plural, right? It's a first person plural, so it's got to be a Are we to do something? Okay.

Are we Let me back up. Are we to have written the book? No no no no. Don't. Are we to write? Are we Are we to write? Don't try to put a tense on it. All you're doing is All you're doing is deliberating with it. All you're doing is saying um Are we to go to the store? Are we to do this right now? Are we to do We're deliberating right now. So don't try to push it. The only reason it's aorist is to express to you that this is a one-time event. Are we to write? Think of that formula. Are we to

Do something? Are we to write a book peri aigōn, a book about goats?

Goats. About goats is what I had. Yeah. >> [laughter] >> Okay, good. Fantastic. Good. Okay, now look at what we've Look at what we've done. Put down the Put down the screen, Chewie. Okay. So look away from the book. We just did four or five sentences.

Um Each one of them stopping and taking apart the grammar. What I want you to do is I want you to consider I want you to take a break now for about 30 minutes. It's Let's see. It's No, hang on. We're We're going to be No, I don't want to push you too far out tonight. I need about >> I'm free. 30 to 30 to 40 more minutes with you. Can I get that after a short break here? Yeah. Yeah, I'm free. I don't know. So

Okay. How much you want? You want 10, 15 minutes? Yeah. That's fine. Okay. Let's do It's 9 It's 30 after now. At quarter quarter to, let's come back. And I don't want you to think about anything on this break. I want you to clear your mind. Okay. Okay, fantastic.

>> Fantastic. Are we there?

>> [Clears throat] >> Oh, there we are. Fantastic. Now I want to do an exercise with you and I'm going to be watching and trying to figure out where your progress is going. So I'm going to throw some regular Greek at you. I'm going to throw some regular Greek at you. This is Menander from page 160. And I want you to know that each of these individual sentences makes complete sense on its own. It makes complete sense on its own. Part of learning the art of translation

Is finding the place that it clicks. Finding that particular place where all of a sudden the material comes to sense. That birth of that sense is what you are really trying to do as a philologist. You're trying to find that sense. Perfect. So I want you to struggle with this Menander. I want you to Just pick out one sentence and I want you to make sense of it using the lexicon that's below. Okay? So it it your choice. It your choice. Any of those sen- one-liners on page 160. You pick it.

Okay. Um Let's see.

Uh we'll do 156. Okay, fantastic. Take your time. All right.

I'm all set.

Um So let's see.

A >> [snorts]

Please note as you're doing this that the first word erota in that sentence is an accusative. If you look at the form that you're going to find it in the dictionary there at the bottom, you're going to see it's eros erotos.

Yeah. So, it's one of those third declension nouns and it's accusative looks like erota. So, that's an accusative sitting there. It's a new form. It's one of the new third declension nouns. I just want you to notice that. You're going to be using those now.

Okay. Let's see. Yeah, so then I see the the relative pronouns. Here.

Do do. So, you'll notice voices in your head. You'll notice that Madalena is looking through the vocab list to learn these new words. Each of these sentences is going to have new words. Right? And you say, "Wait a minute. Isn't she just supposed to have the vocabulary from the chapter ready at hand?" Yes, she is. That's what the contract gives us. She's supposed to have that vocabulary ready. But, she needs to be learning how to translate without all the vocab, with just a list that she has to use to look

Up. It's Basically, this is lexical training, these kind of sentences. Make sense of it and show me that you can use the lexicon. That's essentially what's going on. Okay, sorry. Go ahead.

Um so

Which lacks beauty.

Okay. I see your You're there to a certain degree. You said love is erota in the nominative case. You said love stops. Right? We can't say that because erota is the accusative there. Something else there stops love. >> Hunger stops.

Good. Oh, yeah. Hunger is the nominative. Yeah. Good. Did you hear that? Hunger is the nominative. Right? See what you're doing? See what you're doing? Good. Hunger stops love, right? And hunger or the spanis halku. Halku. Spanis halku. Lack of beauty.

[clears throat]

Yeah, right. Well, no, not beauty. Not beauty. Halku. The lack of Oh, yeah. I like that though cuz you were looking at kalos. Yeah. Yeah. Right? Right? Hunger and the lack of the lack of bronze coin stops love.

Yeah. Yeah, is that true? Is that true now? Does If you don't have money Yeah. That stops love. I think it For some people. Uh yeah. >> I think you're definitely less attractive without money. As a As a guy who's on the who's on the poverty end of life I think you're definitely less

Likely to get the love if you got nothing. But, that's just my I don't know. I'm maybe I'm too negative like Menander. Mhm. What do you think? Do you think he's right? Mhm. I I don't think that's what it's about, perhaps. But, for some people. Yeah.

He also talks about love in 140. I'll do 140. Eros dikaios karpon eutheos pherei. Oh God, look at the verb on the end, pherei. That's from phero. Oiso enenkon. Do they give you that? Well, yeah, they give you phero on the next page. Right? To bear or to carry. Mhm. And what is that little adverb eutheos doing? Right? It just means right away. Right? Immediately.

Immediately. So, immediately something is carrying something else. Okay. Let's go back and see where if we got any nominatives. Yep. Eros is the nominative. It doesn't look like it to us, but it cuz we just started third declensions, but it is.

So, just love, cuz dikaios is its adjective, right? Just love brings right away brings karpon, fruit.

What is just love? What is just love? Do you know what that is? Love justice, perhaps.

It's not the love of justice. It's just love. Just love. Yeah.

Okay, it's a Greek concept that's sitting there that you and I are going to have problems with because we don't have just love in English. I've never heard that phrase in English. I don't know. Have you? Have you ever heard that phrase in English? No. Yeah. It I'm pretty sure it doesn't exist. I'm pretty sure. >> [laughter]

[clears throat]

>> So, now I'm confused because Mhm. Just love produces fruit. It makes me think that maybe there's an unjust love and it doesn't produce fruit. And that's how you tell the difference between just and unjust love by its fruit. Mhm. Yeah, you will know them by their fruits is a line that Jesus likes to use because it's good old-fashioned [\\h__\\h] Greek. Look at Look at number 297.

Kalou de kai geronti manthanein sopha.

Oh [sighs] God. Kalou. Look. Is there an invisible verb to be in here, maybe? Kalou nesti. It's good. Even for a geronti. Even for an old person. Manthanein to learn sopha, wise things. It's good even for an old dude. That's what the kai geronti is doing. Yeah. Right? Kalou has an invisible verb to be with it. This is actually a substantive here. Is it a substantive? It's a good thing. Oh God. What is going on? Look at number 40 543.

What does it mean when I say cheir is a hand? Nipte means to wash. Niplo means to wash, right? You can almost hear the principal parts. Niplo nipsa enipsa. Right? Oh God. Yeah. This language is starting to make sense, right? Cheir cheira nipte. Hand, cheir is a nominative. Cheira is a an accusative. So, hand

Washes hand. Daktuloi de daktulous.

The fingers wash the fingers. What does it mean if I tell you if I if I walked up to you on the subway or something and I was like, "Psst. Hey. Lady, hand washes hand and fingers wash fingers." What are you going to think I'm talking about?

Oh, I've no idea. >> [laughter]

>> Let me see. >> [laughter] >> Good. I'm glad you don't. I'm glad you don't. Just remember that hand washes hand and fingers wash fingers. Okay? Uh-huh. Someday it will make sense. Okay. Look, I wanted you to see some real Greek before we had to go back and clarify a couple of points. Um you saw how the subjunctive is used independently. You saw the three different ways. You saw the hortatory, the deliberative. Oh, what is that third?

Hortatory, deliberative, and what else? The partitive? Are we at that prohibitive? Prohibitive. There you go. Right, prohibitive. Right, hortatory, deliberative, and prohibitive. So, those are the three kind of independent subjunctives that we can have. We've got the kind that says, "Let us Let's do something. Let's go to the store." We've got the kind that says, "Don't go to the store." And the kind that says, um "Are we to go to the store?" I talk. So, now you have a couple of uses of the subjunctive. You're going to get a couple of independent optatives later.

But, I want you to realize this is just kind of Isn't this still just all about verbs? Aren't we still just learning everything there is to know about verbs? Yes. Yes. And before you consider anything that that we may have Here, I just want you to see this. Um

Here, go to the pull up the textbook, Chewie. And go to the verbs in the end, please. Go to the appendix. And I want people to look at this. Yep.

Six I think it's 670 or somewhere in that range. Boom. Okay. So, the appendix starts around What's that last page? 588. So, it starts around 590 in that range. And I want you to go just for your own

Morphologies. You said you were working on the morphology before, so I want you to see it in the chart now. Look at the We'll do the nouns as well. Why not?

Go to page as soon as I get the page. Okay. Go to page Actually, go to the page that starts morphology. It's around 627. I'm there. Okay. 599. Fantastic. Morphology. Um it's going to give you like a an encyclopedia's view of things. So, look Yeah, it's got your accent stuff. That's fine. We don't need accents right now. What we're looking for are the charts that have to do with the nouns. Right? Look at all this. You want to memorize this? Look at this. Here's a summary of possibilities for accent on page 602. If you memorize all of this,

Um you will never miss an accent again. Okay? Yeah. That's not That's not true. It's for the book. You'll You won't miss any more accents in the book. But, as you read Greek, you're going to find exceptions to exceptions to exceptions. So, no notice no notice how it says on page 603, "Exceptions to persistent accent." You may Wait a minute. You just taught me a whole bunch of rules that I'm supposed to remember, but now here are all the exceptions. So, these You're not going to be able to figure out these when

You're in the wild. You're just going to get them from experience, right? So, don't don't worry about that. We're looking at nouns. I want you to see all the paradigms now that you've got first, second, and you just started third declension. Oh my god, look I'm already I'm on page 613 and I still I'm still in the elision crisis. Oh god. Movable new.

Can I please just have a noun? I just want the nouns. When they start to have to do with Go ahead. What page? 622. 622 it is. Yeah. Mhm. Mhm. Start on 622 at the top and look at the declension endings for the first declension. Notice there are they're mostly feminine, but there are some masculine ones off to the right. You're going to have to remember those, right? We had those. Look at the second declension. Not too many. Not too many masculine, feminine, and neuter. Right? No problem. But, then third

Declension. You're going to get This is the first type that you learned with an a genitive in omicron sigma. That's the first type we you learned. Right? Okay. Um now, keep scrolling down until you get the first declension nouns where it has a chart with techne. Techne. You're going to see these now everything written out. This is the kind of stuff that you peruse. You don't [clears throat] realize You don't realize it, Madalena, but you are in You are imprinting this information on your brain the more you're actually

Physically looking at the Greek. The more you are remembering that material. Techne, techne. Just look at the accents. Techne, techne. Look at it and it stays there. It's persistent. Technai. Uh-oh, now it's going to get dragged forward. Technon. To the end of the word, right? Technice, technas. All you're doing is you're re-imprinting these declensions on your brain. Right? That's all you're doing. Scroll to the top of page 624. Right? Politeis. There's your citizen. Poietais. There's your poet. Look at their genitives. Here, take it Oh. Do I need to take it out here? Sorry,

The stove is going to What the hell? Oh god. The whole ship is going to go down. Just leave it in there. Leave it in there. Sorry, that You know how family is. That's dinner. So, um look at Continue scrolling down. Look at page again 624. Look at the middle of the page. They're going to fill in the second declension nouns for us. Logos, logou, logoi. So, you just get a little extra practice with them. No problem. They're going to give us the third and you're going to get all these weird

Third forms, right? Look at the Look at it on page 625. Yeah. >> Look at the Look at You haven't had this yet. Look at the form of the noun nous. Nous means mind. It's genitive It's

Genitive is nou. It's dative is noi and it's accusative is noun. And you say, "Well, that that dative still kind of looks like a dative. It's got an iota subscript there, right?" The accusative. It looks still looks kind of accusative cuz it's got a nu there. Right? It's noun instead of naon. Right? But, here's the Here's the thing. Why is it contracted? Because when they put the two omicrons together like that, o o they didn't like it, so they contracted it to u. Noun versus naon.

Naon. Right? Isn't that nice? You learn stuff like that that they're doing that you don't realize when you're just memorizing. Look to the right and look at the Attic declension. It's going to be Attic. It's going to be different in the Attic. See how it's netos? Yeah. Look at that. Instead of nous, netos. Instead of nou, neto.

Instead of noi, netoi. Right? Oh, so okay. If you look at what the Attic If you look at what the Attic mouth is doing as opposed to the Ionian or Dorian, right? You just think to yourself, "Nous versus netos."

Look at the plural nominative plural. Noi as opposed to the Attic netoi. Netoi. So, for some reason the Attic is really stressing the epsilon. Is there something musically in that? Probably. It's probably a difference in you know, the like the tone or something or the Yeah. of the thing. So, okay. That puts it Now, keep scrolling down to the third declension nouns at the bottom of that page. These are the ones you just learned. They're sitting there nice for you to, you know, peruse and say,

"Hey, I'm just going to repeat them." Elpis, elpidos, elpidi, elpida. Elpides, elpidon, elpisi, elpidas.

You start engraining these patterns in your brain. Look at mother on page 626. Mater. Matros. Look It's got the omicron sigma as its genitive. Of the mother. Mater is the mother does something. Matros of the mother. Matri to the mother. Matera. I'm going to feed the mother. Right? I'm going to do something to >> [clears throat]

[sighs]

>> Gorgeous. Now, you know how to say mothers. Materas. Matera. Yeah, good. Look at this weird one, genos. This is almost near the middle of two of page 626, same page. Genos, what is it? Genos? Oh god, it's got that gen root in it that we get genesis from. To make, right? To produce.

Right? What is your genos? Um should we put genos up here? Nope, I want to show her the word. This is serious Greek. Uh the start or beginning or something. Okay, let's see. Let's see. The origin. Could it be the origin or beginning? Could it be the production of something? Here. >> Offspring. Can she get this? Race, stock, kin. Well, that's a big swath of production there. Right? You your all your stock or your kin or your production. Race. Your offspring can be your children, too.

Right? Collectively, your posterity. Okay, your offspring, whatever. Generally, though, look at number three. Generally, your race. So, it's genos is really a a type of categorization. It's a way you categorize something. It's your It's your group. Right? Can it even be like your age your age, your generation. That's what very scientific. Yeah. Yes, exactly. Exactly, right? You see how the word is a lot of what you're doing in learning Greek is learning how the mind that's using Greek is perceiving of these concepts. And how that's different cuz look under

Number four, it can also be your sex, your gender. So, your kind or your race or your clan is a group. It's like a group that you belong to and it doesn't have to be a particular group. It can be like an ethnicity or it can be a gender. That's the class that you are of. That's your kind. That's your kind. Look at in number two, this will blow your mind. Number two under Roman numeral number five, right? So, in logic as a class, it is the opposite of eidos, which

They're telling us is species. Right? If you click on eidos, so what we're getting is genus out of this word. If you look up eidos, you're going to find that the eidos is the shape of something, the figure. Sometimes they talk about statues as having that form or figure. Right? Yeah.

>> Look at number two, especially or be especially of beauty of person. Look at how weird these terms are that they're very very specific. Right? It's your form or your shape, particularly your physical beauty.

Now, in medicine, that works out to be your physique or your constitution. Interesting. >> Do you get that? It's all completely It's all completely logical, right? Yeah. Mhm. Down number three on that eidos is your e- it then becomes your kind, your class of your kind. What are we looking at? We're looking at genus and species. Right? Genos kai eidos or genus and species.

Just say. Okay. Can you Now, what other language does this? What other language, you tell me something. You're going to search high high and low to find another language that with just the basic

Roots can pick things out of air like that. Well, let's let's apply it to logic. What does this word mean in logic? What does it mean in music? Now, you watch, in music it'll have a totally comp- it'll have a different a new meaning, unique meaning, but it'll be the same physics that this word is based on. So, it's almost like they're they're saying, "Okay, you can take concepts and pull them out of the air and then you can analyze the concepts and determine what their kind is."

It's cool. >> All right. So, it's a very logical kind of, you know, their linguistic approach, Mother Greek's linguistic approach is logical to uh you know, to a T. Okay, it's 10:14. I've taken you beyond [clears throat] the time. Yes. Genos is how we get genocide. Oh god. Oh god, are you killing your own kind? Ah.

Right? Oh. Genocide. Terri- uh comment as a comment. Okay. So, what do I need you to do now for tomorrow's assignment? Please read the next unit. And I know you say, "Wait a minute, there's a couple of things in

>> Class. There's going to be things that I'm not going to be able to concentrate. I'm not going to be able to bring to you >> We We lost you. We lost you for like 15 seconds. We lost you for like 10 seconds. Oh, did you? Okay, thanks. Thanks for letting me know. That was cruel as heck, Chris. So, um this is what I want you to do. You are learning now one unit

Every day. There is so much There is so much information in the unit. We are not going to be able to cover everything. Yeah. >> For example, today we talked about relative clauses, but we didn't see many relative clauses.

Don't worry. As long as you are memorizing the morphology and understanding the grammar, we will reinforce all of the many many different things that you're learning, the little tiny details, we will reinforce all of that in the reading. What you need to be feeling now is that you are now able to run up against that Greek, you're able to look at a sentence that's you haven't seen before and you're able to work with it to break it down and to translate it. That is the concentration

Of the intense course that you're in there to be translating and practicing a translation. Okay, I'm sorry, I'll stop with that. Do you have any questions for me? Uh no. No, I'm uh I'm just hard at work. Okay, put everything down that you've been doing and I want you tomorrow to read unit seven. This time I do not want you to do exercises,

I just want you to read unit seven and then go to page boop At the end of the chapter, go to page

Uh 188 and there are three sentences of Menander. So, it's nothing that you should be worried about. I want you to translate those sentences and I don't want you to stop until they all make perfect freaking sense, okay? You're going to make perf- perfect translations. You're going to bring them tomorrow and at the beginning of our session, I'm just going to say, "Okay, give me your perfect translations of Menander." Okay?

All right. Okay. This is what we're doing. Gorgeous, so god. All right. All right, let's uh I'll let you go. It's getting late and thank you for a full night. This You really did a lot of work. Okay. Thank you. Good workout. Good workout. That was good. Okay, we'll see you tomorrow.