![[back]](/assets/home_24dp_E3E3E3_FILL0_wght400_GRAD0_opsz24.svg "[back]")
![[search]](/assets/search_24dp_E3E3E3_FILL0_wght400_GRAD0_opsz24.svg "[search]")
transcript —
20260505-Ancient Greek Intensive Course - Part 14
[Watch on YouTube] | Timestamped transcript
Transcript
>> Illustrate. To illustrate is profane. Okay, that makes sense. >> Somebody Somebody said profanity and I showed up. Oh God. Oh God. I'll come gorgeous. Wait, let me interrupt you. I'm sorry. It sounds like your conversation was was cool. Um Magdalena, how are you doing? Physically kid.
Okay, how do you feel after your exam and after having read unit 11 and worked on unit 11? Uh good.
Good, that's it. Just good. No No is there a cosmic weight oppressing you that there was so much material in this chapter? >> I still I need help a little bit with um
Do do do. Let's see. Uh the genitive absolute. I don't really understand that quite yet. And I didn't um get to memorize all the vocab. But other than that, I read through everything and I worked on some exercises, so. That's a perfect place to start is with the genitive absolute. We'll go to vocabulary quick, but um yeah, they've packed a lot of grammar
Into this one and we're going to look at a few kind of unique constructions. The genitive absolute is important because um some authors love to abuse it and uh it's usually the smarties. So, Galen for example, he's using that thing all the time. So, yeah, it's a tool. It's just another tool in the belt and another thing for them to create these ridiculously complex sentences with.
Right? That we can that we can go through. Before we go to vocabulary, I want to give you your time's worth and I want you to go directly to the readings. >> [sighs] >> You know, cuz we need some we need something. Did you get You probably I You didn't get a chance to look at these cuz I wanted you to focus on exercise, right? >> I didn't look at them yet. No. Fantastic.
>> [Laughter] >> No, that's all the more reason, right? For us to look at them. Let's just warm up with one of these readings now. Um You've got Agathon on page 330 335. Notice where where we are. You're on page 300 and something, right? More of Aristotle. Let's just go with a I want you to read this 5th century tragic poet and I I know you're looking at it for the first time. Yeah. >> And I want you just to This is 333. Right? Oh God.
Let's give him a shot. See what we've got. Go ahead. Okay.
Mhm. Techni tuchein estirxe kai kai tuche technen.
Yeah, look at it. It's kind of sounds funny, doesn't it? Just reading it sounds funny. Techni tuchein estirxe kai tuche technen. Oh God, it's kind of melodious. Okay, while I'm while I'm stalling for you, look at the verbs. Stergo.
That's a nice one. Yeah. It's got Look at its principal parts are pretty good, except for Look at its perfect. Um estorka Uh that doesn't to me that doesn't look real perfectly. Right? Can't you reduplicate something here? Right?
Stergo. Notice the vowels. The vowel change from the epsilon to the omicron in the perfect. I just want you to see that. Switches back. Something's going on with this thing's perfect, right? Please start noticing. We need to start noticing some some of that stuff. Um and it means to be content with.
Yeah, to acquiesce in to love. Um it's one of our words for love that that [\\h__\\h] uh who is that Who is that >> [sighs] >> monist [\\h__\\h] who wrote the four loves? Who was it C.S. Lewis? Yeah. Yeah, C.S. Lewis, right? Who pretended to know Greek but didn't. Right? He was not He was No, I'm serious. He was not a classicist. He did not have this training. Right? He had what all the schoolboys had and he thought that specially qualified him to tell you, but no no no.
He's He's not a reader of ancient Greek. Watch. Tuche, what is tuche? It's fortune. Fortune, yeah. Okay, so look, just [snorts] let's take a walk through it. You know the verb is esterxa. And they have a note, by the way. They have a note, so look at the bottom. This is a gnomic aorist
Expressing a timeless general truth. Look at that. Look at that. The >> [laughter] >> a gnomic aorist Okay, now if you translated this openly, are you going to be able to see that? They're going to have to put a note there. Look, it's so the what the Greek is doing is so complex they got to note something that it's going to normally you're going to skip this, right? But it's there in the Greek. A gnomic aorist. Don't forget that. It's an aorist that expresses a timeless
General truth. Oh God. Okay. See the appendix 733. Go to page 733. Them. Um you see where this stuff takes us? Them.
Chain accusative subject infinitive predicate accusative accusative Where's the Where's the gnomic aorist in here? Mhm. Did I go to the right page? No. I said to go to page 730. 733 probably. Where's 733?
Them. Them. Them. Them. Them. Them. Why did I land here? That's just Oh God, I have some kind of curse. You know what I mean? Them. Them. Them. Oh my God, you're like Listen, I'm I've got my old man cane here. Just give me a second.
Okay. Now, where's our nomous gnomic aorist? Where is it? Counterfactual conditional. Them. There it is. Okay, a gnomic aorist is an aorist expressing a general truth. A gnomic aorist governs primary sequence. And look what they do. They give us a present general conditional.
>> What's our present general? Sedastas, right? With a gnomic aorist replacing the present indicative in the apodosis. God, now Now, I'm serious. Are you going to analyze this? Right? Now, just think for a minute. Just think for a minute. When you're when you're doing your work, realize you're you're being required, Magdalena, to do things that somebody in biblical studies is never going to have to do. Right? We're trying to identify
Trying to identify a gnomic aorist. Okay?
Okay. I like how they say pay the penalty. Diken edoken. >> [laughter] >> Right? They're giving justice. They're giving justice, right? Ean distuto poiei. Save someone does this thing, what happens, right? Edoken diken.
Notice how it's he pays the penalty. Not he paid the penalty. >> [sighs] >> Yeah. If if you were trying to pilot ancient Greek off of the tenses, you're going to wreck your ship. It's just the way it is. You have to recognize this is a conditional sentence and it's going to have specific rules then. Okay. Plus it's got a Plus we have an uh purpose clause. Yeah. >> Dependent to it. Isn't that nice? Mhm. You know. >> Okay. He pays the penalty. Why? Cuz it
We're telling you something that is a general truth, a reality of life. And so we're expressing that in the present. So let's go back to our example on page 333, which is exactly half of 666.
And we're going to say techne tuche estin tuche.
Go ahead. Translate this [\\h__\\h] All right. Um
It's feminine. >> [snorts] >> Um Yeah. No. No, not just because the noun is feminine. No, tuche. Tuche is a lady. Nice. >> [laughter]
>> Fortune. Yeah. >> [clears throat and snorts] >> Right? Skill.
You're a barbarian. And [clears throat] when you see fortune, you you think of a concept.
If you were a singing Greek and you see fortune, you're thinking of a lady. It's It's It's [snorts] I'm trying to You try to communicate this to people and they don't They don't get it. Um until you until it's battered you so much in the Greek that all of a sudden the concepts become individuals. They become like living entities. Anyway, um Yeah. Okay. So what do you think? Look, techne looks like a nominative case. That's good. Tuche looks like an accusative. Yeah, we're good. You're good. Do this thing.
So skill loves fortune and fortune skill. >> [laughter] >> Yeah, 100%. 100% skill loves fortune. But it it makes sense. Yeah. Yeah, you're reading Greek, right? Yeah. You're reading Greek. Put up tuche. I want to see tuche here. Oh god, that's so Yep.
Let me do this. >> see it, too. Yes.
What I just said was this verb that they listed >> Yeah, I said fortun chano. Put a little bit of the in Put a little bit of the in in there sound when you get the gamma and the chi together. Tung chano. [snorts] Yeah, I said fortun chano because that's the verb that tuche is derived from. What does it mean? The act. The act of a god. You thought it was chance or some [\\h__\\h] like that, right? The act of a god.
Wait a minute. What is tung chano then? Go right to the verb, Madelaine. Whenever you're trying to figure out what the hell a a word actually means, go to the verb right away that it's drawn from. So A, we have just happen to be out of place.
Happen to one. Happen to be. Something that comes to one's lot. >> [sighs and gasps]
Under five, actually. Neuter part tuchon is the neuter participle of tung chano. The fourth principle The third principle part is etuchon. It's a second aorist. Okay? So this is we're going to get into the participle of that second aorist. And what is it? When you just take this verbal thing,
This action, and you create a noun out of it. All right? Yeah. Something is happening. What is happening? What is the perhapsitude? Right? The perchanciness. What is actually happening? Okay, so think of Take that now, and now you're going to want to Now you're going to want to say what is Well, okay, what is tuche then? That happening, that perchancening,
Put it into skin. Right? It becomes your action. Your action. And notice that the very first word here under A in Greek [snorts] is tuche, right? After telchon tuchon. Tuche daimon.
By the act of a god. How did it happen? By the act of a daimon. Okay?
Anankai tuche. Anankai tuche. Who is she? It's a way of referring to Ananke. Ananke or necessity. And you see they also put their fate. >> [sighs and gasps] >> Oh, that's nice. All right. Ananke. Now if you see that name Ananke, you're going to know that's You're going to recognize because you've been reading Orphic fragments, which you can access. You, right now, can access those. I Yeah. Uh-huh. Yeah. So I mean, if you turn to those, you're going to find her, Ananke. Notice it's capitalized. And she is that lover of Eros.
You remember, the universe only exists when Ananke and Eros become separated. There's a process of creation that happens between Ananke and Eros that makes this dimension. I don't understand it, but whatever. Okay, fine. All right? Regarded as an agent or cause beyond human control, fortune, providence, fate. Look at how many Well, is it providence? Provi You know, providentia. That's a [\\h__\\h] Latin term, right? Anyway, um fortune and fate. Right? What's your chance? What's the thing that you do? It is your success
Or your ill success. Your life is a record of some sort of ill fortune or good fortune. Right? Isn't it neat? I mean, it's it's weird the way that they It's weird the way that they think. You know what I mean? >> [groaning] >> The quality
Look at number four. The quality of the fortune or fate may be indicated by an adjective. >> [sighs] >> Right? Okay. And then they give you a gazillion [\\h__\\h] examples. Right? Look at the Just down here at the bottom. Sorry to curse so much. I hope your kids can't hear me. >> [gasps] >> Tuche They're sleeping. Good. Tuche agathe. Boy, you've got them on a good on a good uh schedule. Good for you. Yeah, thanks. Yeah, [snorts] that takes discipline. No, I'm serious. That takes discipline
To do that. Right? Yeah. Yeah. Mhm.
That good fortune. That good fortune, right? >> [sighs] >> Here's a genitive. You can use it with genitive of possession. That's right. Look at Now here. Oh god. Good fortune, destiny, almost almost equals a daimon.
Right? So when Socrates talks about his daimon, [clears throat] his personal daimon, that is his tuche.
Is that a different entity? No, he and his daimon are one. But as Socrates says, his daimon will tell you I mean, him. It'll tell him when he's doing wrong. >> [laughter]
>> So that is his fortune. The manifestation of that daimon is his being. Right? So there's a lot of you get You Once you start reading a lot of these Greek authors who are obsessed with what tuche is, um all of a sudden it becomes uh you know, it becomes clear to you as you're translating. Look here at the bottom. Do not skip. I know we're spending a lot of time on this, right? But do not skip over these astrological uses or whenever it says Pythag
Because that [\\h__\\h] is popular as hell. We've got a ton of literature, ton of literature. Right? So, we know it's influential. We know it's influential, incredibly influential. And look at number uh five, the astrological uses. Who is Tuche? She is Selene. She's Selene. Yeah. >> Isn't that Isn't that nice? Okay, so next time you're reading this is Vettius Valens, a Roman um astrologer. And you're saying, "Wait a minute, why are they quoting Roman astrologers who are writing in Latin?"
Um because astrology is Greek and they're going to be using all the Greek terms. Right? It's just the way it is. Agathe cleros, the cleros of the moon, that lot, right? What is that? You can have agathe and kakos. Anyway, number six, Pythagorean is the name for seven. It's the name for seven. Did you know that chance, the event [snorts] that happens when you and your Daimon come together, did you know that that is the number seven? >> [sighs and gasps]
>> Have you read the Theology of Arithmetic? Not yet. Not yet. Okay. If we want to understand the Bible, we're going to have to understand the Pythagorean Theology of Arithmetic. So, someday I want you just to put a pin in it. And someday I want you to come back to that text and read why
No, God, should we If I had it right, I've got it. >> [clears throat] >> Burgundy. It's my burgundy little Theology of Arithmetic. Okay, if I'll look for it and next time I will bring it and I will read you how the number seven is composed and it will blow your mind. And um you won't You'll be like, "Oh God, I never thought about the universe like this." Right? Um but there you go. Maybe one of the voices in your head can get off its butt
And bring us the Theology of Arithmetic, the Pythagorean Theology of Arithmetic. Um >> [sighs] >> I'm just kidding, guys. I bet there's a I bet there's a text for it, though. No, let's not. Let's get back to the work. Just kidding, voices. Now look, you translated Greek.
Right? Um Um Yeah, let's go. Underneath that is another one. But let's go. We need to get to the We need to get rolling. Go to the vocabulary. And can you read through the vocabulary in from unit 11? This is page 324. Can you just read through it? Sure. All righty.
A E I I Right? I or I. Right? Uh always.
Aitios, aitia aition responsible for, guilty of aitia aitias, responsibility, guilt, cause
Yeah, aitia. That's a very very important word. Didn't sound like it, but it is. Good they taught you.
Acouo, acous acous, acousomai acous uh acousa >> [clears throat] >> acou acoua
Acousthen uh be spoken of Notice in parentheses it's telling you of It's telling you in parentheses it takes an accusative, right? Of the thing heard or a genitive of the person heard. So, it's going to throw you every once in a while and this verb is taking an accusative or a genitive. So, just realize that, extremely common. Also, think etiology from the word above it. Let's go to auto. Look what they gave you next. Autos, aute, auto. And they tell you you can use this as an attributive, you can use it as a predicate.
Right? It's a pronoun. >> [laughter] >> Adjective pronoun. Okay, good. We'll look at how I love We'll look at how it's used. I'm sorry, keep going. What is aphron? Aphron, senseless, foolish What does that mean? Uh
Foolish? Yeah. Mhm. What is something that's foolish? Mhm, unwise, perhaps? Yeah, can you be a little more like What do you mean?
Uh without without your mind. Yeah. Aphron, without Aphrodite, maybe?
No, oh, that's a good guess. Right? That's a good guess, but no in this case. This is a different root, midriff. Midriff, what It's your area of your passion. It's the place where your bodily appetites are, like hunger.
That's what your phren is. It's where your hunger is.
So, >> [clears throat] >> why did I say this? What was the Oh, cuz the vocabulary here, well, we're back to vocabulary, is aphron. And that phron is the phren, right? The vowels are changing, right? But it's the same root. Like Oh, look, Gordon, I'm going to sodomize you. Aphron, s- foolish, without that phren. So, okay.
Yeah. Without that place where your hunger comes from, it's not quite what you thought it was, is it? See what See what I mean, Madalena? We're off just a little bit. We can put general definitions up there like foolish. But foolish doesn't tell you anything about what your phren is. And your phren is that center, your midriff. It's right above they said I was just coincidentally reading this last night. It was It's right above your liver. Isn't that nice? So, if you want to understand where your
Center of passion is, where all that's coming from, where your hunger is coming from, it's coming from above your liver. And if you don't have that, because it's all this word is is adjective. If you don't have that, you put an alpha privative on the front of it, all of a sudden you're something else. Now, for now you can think senseless or foolish, but the more you see this word aphron, you're going to build a definition of it and you're going to say, "Oh, yeah, okay, that's what it means." Good.
Okay, I'm sorry to interrupt. Go. Do ballo. Ballo, ballo, e ebalon bebleka
Beblemai, ebebles how to throw or hit with an object mhm boulomai, bouleusomai beboulemai, beboulemai, eboulesen
Gune, gunekos uh woman, wife dekhomai, dexomai, edek edexam amen edexamai dedegmai
Apodekhomai Yeah, now that apodekhomai Yeah. That's a different That's a different verb, but they put it under there. They put it under there like it is part of dekomai. It's just dekomai plus apo. So, you can receive something or you can receive something apo. And when you put the apo on there, it means Look, they put favorably.
Right? To accept, right? Willingly. Oh God. Then they say that you can add the prefix eis and it means into and good. Keep going. Entautha
Epeidan, after, when, whenever hepta seven
And thank goodness hepta never changes its forms, right? It says it's indeclinable. It's not It's always going to appear They're numbers. This numeral system they've got, it's always going to appear the same, indeclinable. Hepta, that's all you Just like hex for six, now you got to just remember hepta for seven. Heptachord, having seven
Strings, right? Haptachord, yeah. Mhm.
Eros, erotos. Love. Kairos, kairou, right moment.
Kalos, kalous, beauty. Kerux. Kerukos, herald.
Lepsomai, elabon. Elepha, elepha, el lema, elema, elephthing. [snorts]
Hote, when when I >> Before we go on, before we go on, let me interrupt and say you said kairos was the right moment. Kairos, what is What is What is a right moment in your mind? Mhm.
To measure proportion, fitness. >> [gasps] >> Distinction, point. Beyond measure. It's your due measure. Due measure. Yeah. Your due measure, you got what was right. Your fitness is what is your proportional reality. You have received what is your due measure. This is your season.
Right? When you When you go temporal with it, look at number three. When you go temporal and it says more frequently, which means they're they're taking this concept of due measure and they're booting it, they're combining it with time to come up with this idea of what I think is most telling, opportunity.
Oh, nice. I like that. Opportunity. Mhm. Uh >> [sighs] >> They're They use this word in the medical field. You'll notice Hippocrates aphorisms, h p a p h. Mhm. They use this in the medical field to indicate the exact critical time in a disease when treatment will turn the tide.
So, your opportunity in the in the medicine and there's a very famous Hippocratic saying um um that your opportunity is fleeting. You have to grab it at the right time. You have to know what your kairos is. Right? You have to know your times. Look at in the plural number four here. Hoi kairoi, the times, that is the state of affairs.
Yeah. What is the What are the kairoi right now? What are the state of affairs now? Are we in danger? Right? Is there some kind of advantage for us or are we in What are our odds? All of that from this one concept of proportion.
Right? You and I don't associate proportion with opportunity. I know you think, just like I do, that those are two different concepts. For the Greeks, those are related. When you take kairos and inject it into time, you get opportunity.
Not proportion, not what you and I consider proportion. Your opportunity is your proportion. I Please explain that.
Oh God. Okay, so kairos, back to the back to the text.
Back to the text, kairos, the right moment. Season, opportunity. We have opportunity. Yeah. Yep. Yep. Okay, and often times Greek is going to do that. It's going to do that with another of your words that you're seeing here at the bottom today, hubris. Right? >> Hubris. They'll say put insolence. What the [\\h__\\h] is insolence? Because every student who sees this has a different understanding of what insolence is. What is insolence? What were you thinking when you were thinking about it? Uh I Well, I don't really know what
Insolence is, but I assumed it was like some sort of in- incapability. Or
Insolence. Yeah. How it's peace, so insolent. You don't want to be insolent, right? It doesn't sound like something you want to be. Mhm. >> [sighs] >> Being insolent as you can see in A here, insolence is in there, right? On the first line. Being insolent
Is a form of wanton violence. Wanton is [clears throat] without any sort of suppression or control. Right? Wanton is um >> [sighs] >> Wanton violence is violence with license. Okay? Violence, the ability when Ehud Barak did what he did to Virginia, that was hubris.
Okay? That was That is the perfect example of hubris. Hubris is originally with the Greeks a charge. It is an official charge. I am charging you with hubris. When you walk up to your neighbor and punch him in the face, that's hubris. What gives you the license to be violent in that way? You are insolent.
This stuff comes from your pride. It's only pride. Did you think you were better than your neighbor? You could walk up and punch him in the face? You can't do that. It's an outrage. Look at number two. It's an outrage. >> [sighs] >> Look at number English two or Arabic numeral two. An outrage on the person, especially violation or rape.
And they start talking about the gunaikon. Rape itself is hubris. You can translate hubris as rape. All right? It is in law a term covering all the more serious injuries done to a person.
All right? Mhm. What Look at the bottom, what is an hubristes? I'll just click on this one so it'll go back up to the top. >> [sighs] >> What is an hubristes? It's a violent, wanton,
All right? >> [clears throat] >> Mhm. Look at number two underneath, especially it's opposed to the sophron.
That person with prudence. Right? That person who has the phren, who's engaging the phren, is not lustful or lewd or insolent or rapey. All right? Yeah. So, you can see it's a whole and don't Also, don't miss pride. Right? They're joining pride and arrogance is often joined with hubris. It's only excessively arrogant people
Who believe they can be hubristes and get away with it. Yeah. So, all of that is tied up in your one word for Oops, there's my TLC. Boop. There's my Septuagint. Where is the Where did I put my Oh God, I've lost the Oh, no, it's not Don't show my email if you get it. Where'd it go? There it is. Fantastic.
Insolence. So, now do you have kind of a better idea of what hubris is? Yeah. Mhm. Yes, arrogant, prideful, violent violence. Yes, let me tell you Let me tell you the secret physics of life and we'll take a break. Okay. The secret physics of life, but this is important lexical work. You need this, okay? So, that's why I'm bothering to to give it to you. Shh. There's
A course of events that happens naturally.
It is a cycle that starts with koros. That koros, that abundance of goods, that abundance of material things, that abundance leads to hubris.
Like a disease, it infects the person. A person who suddenly has a whole bunch of things
Becomes hubristes. They gain the perception that their license is such that they can wantonly violate other people. So, they get this hubris and they begin to exercise that hubris and the more koros that is given to them, the more hubris they express. And that hubris finally leads to the third element of the universe, which is ate.
Ate, and I want to put ate up here because she is gorgeous. Oh god. Koros, hubris, and ate produces this goddess. Look at this. Mhm. Mischief.
I love this. Bewilderment and infatuation. Isn't that cool that those are those are Now, we're trying to define a concept with multiple English words, right? From what we've read, right? This is the It's infatuation caused by blindness or delusion. And then they specify, sent by the gods, blah blah blah. But then they say, ate personified, the goddess of mischief, author of rash actions. Notice that she's coupled with ate, noose,
The fury. Ate is a sister to the fury, right? Now, she isn't just that source of conflict, that mischief. She is also the consequence, right? She is the reckless guilt or sin. She's the bane, the ruin.
So, the ill fate [snorts] of the individual. It's something you're going to have to pay. Ate is going to collect, but I just wanted you to see with number two, she becomes that thing
That she is punishing, right? Reckless guilt or sin. It's like people were saying, look, there's a there's a very simple universe out there and what we have to do is show you how the physics work. Somebody gets a lot of things, they become insolent against other people, and that becomes their bane.
Oh god. [sighs and gasps] Oh god. Now, are you going to pull that out of these words, man? How are you You got to realize that's what And when a when a biblical scholar comes along and doesn't read any of this and doesn't know any of this, how the [\\h__\\h] are they going to translate properly? They're not. They can't. Okay. All right. Um let's take a 15 minute I want to take a 15 minute to the top of the hour. >> Okay. Uh clear your mind and I want to start with the uh genitive absolute and I want to look at some structural I want
To do some structural stuff and then we're going to jump to the exercises and just try to hammer it in. See what we can >> All right. See what we See what we can make stick. I'm glad that you're you're I'm glad that you're enduring. Thank you. Yeah. >> [laughter] >> Uh-huh. Yeah, I enjoy it, to be honest. Yeah. Do you really? Are you really enjoying it? Yeah, for sure. >> Okay. Okay, with a fair amount of pain, there can still be joy, right? Yes. There's both, but Yeah.
Yeah. Excellent Excellent. Good. Good. Good. I like to >> [snorts] >> remind my students to look in the mirror and say, you know, it is it it is still inspiring you despite all of the repetition and all of the work and all of the muscle building and whatnot. Fantastic. Okay, I'll shut up. Get on with it. >> overwhelming. [clears throat] Oh good. Fantastic. Good. Good. I'm going to tell people that. Okay. Talk to you
>> Let's go back to page 317 and just walk through to make sure we've got everything down.
Right? They're just going to be They're going to have middle passive forms, right? Middle passive looking forms. Partially, sometimes active, sometimes middle passive, right? Good. Acouo is one of them. Acousomai is its future. Look at that. Oh god. It's partially deponent. No big deal. That's all I just want to introduce you to term deponent, right?
The adjective autos, autes, auto. Look at Just look at how it's, you know, you've got its morphology there and I don't expect that you're going to be have any problem with You You see those? Autos, autou, autoi, auton. You know, no problem. Right? Look at how Just look at how it's used at the bottom of the page. Ho autos poietes.
The same poet. Tois autois ergois. By the same deeds. So, we've got it there, right? Attributive position turns it into the same. What about the predicate position? Look at the predicate on the next page, 318. Ho poietes autos.
That's outside of the article. It's got nothing to do with the article, right? The poet. The poet himself. Then it becomes a self. Once you put it in the predicate position, it becomes self.
Yeah, that's what I'm most familiar with. I didn't know about like the same the same thing. >> Yeah. Good, yeah. Yeah, attributively, it's the same, right? The very the very person you and I are thinking about. It's the same It's the same dude, right? That's when it's in the attributive position, yeah. Yeah. Good. The hoi poietai autai, right? The Oh god.
Are they masculine and feminine? Autoi, they're masculine. The poets themselves. Plural. Number three, standing by itself as a pronoun. Now, look at how it's used as a pronoun. Epideusamen. Yeah. We educated auton. It's just a pronoun, him, you know? >> [sighs and gasps] >> Yeah. Just a pronoun, he, she, or it. Who is it? Right? Auton. Okay.
Look at the one at the very bottom. Egrap santo biblion. Right? They wrote >> Yeah. a book, right? It's already in there. The nominative doesn't Okay, we don't need to worry about that. Doesn't need to express. That's something modern Greeks do differently. So, um Look at temporal clauses on page 319. Look at those temporal clauses. Just take a bird's-eye view. You've got one, two, three
Four examples that ends on page 322. That last example on 322 is a future more vivid, right? Look down at how it's translated. Look at the examples on 322 of that future more vivid temporal clause. Epeidan
Eisteneneson pempsai. Yeah. After he is sent to the island. After he is sent to the island, tous politas didaskei, he will teach the citizens. Oh god. What is going on? I thought with my conditionals I could use translation formulas and whatnot. Hang on a second. Hang on a second. We're in a world of temporals. Do you understand? We're in a world where we're going to be determining which clause comes before, at the same time, or after as the main clause. Oh god. It's a whole different
It's a whole different ball game. Did you realize this as you were reading this that it was a little bit um Did you get that feeling? You should have gotten that feeling you got when you were reading about conditionals to start with. Okay, there's this there's this skeleton here, right? What do you What do you think? Let's go back to page 319 and just look at what a temporal clause is.
Temporal clauses are dependent clauses introduced by temporal conjunctions. For example, after, while, or until. They indicate a relationship in time between the action of the dependent clause and that of the main or independent clause. So, that's what I was just trying to say. Mhm. We're talking about actions as being simultaneous to that main verb. Right? Or whether they took place before. And they give you prior action. You're faster than most, so you probably I'm probably, you know. Um no, I mean it helps to understand when you Does it?
Mhm. Mhm. Okay. Okay, fine. Then we'll keep going. But, if if if I'm slowing you down, you need to tell me. Um so, they define for us prior action, simultaneous, and subsequent, right? Yeah. Just look at the first example. Number one.
The past definite temporal clause. All right. Mhm. The temporal clause uses a past tense of the indicative, but the main clause is also a past tense of the indicative. Give me an example. Epe or epede when after plus the past tense of the indicative. All right? Is your prior. That's going to set up your prior universe. Now, they're just saying, "Look, here's the conjunctions that you can use to set off this temporal reaction." So, >> [sighs] >> honestly, as we're looking at this trying to figure out how to translate
These, the first thing you need to do is define which conjunction is being used so that you can put it into its overall scheme. Does that make sense? Yeah. What is a scheme?
Scheme. Um Um Am I scree- screen sharing with you? Um yes. Okay. What is a scheme? Mhm. [sighs] It's the form, shape, or figure. Isn't that gorgeous? Just look at that over for a minute. Just look it over and tell me what kind of vibes s- it gives you, the scheme of things.
Mhm. It's like um envisioning a shape. Yeah.
Your bearing. What kind of bearing do you have, Madelena?
A bearing. Like a creating or like holding on to something.
Do you have the air of an artist? Is that what your bearing is? Do you What's your character? Yeah. >> In what In what way do you do things? Your fashion, your manner. Right? What is Madelena's
Character if we had to sit down and figure that out? It's like a mirror. Yeah, good. It's a Yeah, nice. Gorgeous. Yeah, right. Bockic. Look at number seven, though. Your scheme is also a figure in dancing. It's a gesture in dancing. Huh.
Postures, positions. And then all of a sudden, you're into geometry and phases of the moon. What's your aspect? What is Madelena's aspect?
Okay. Do you see how each word just kind of blossoms into a whole? This is what the Greek is allowing us to do. And part of that part of that doing is working through their concepts of temporal clauses.
And we're on the first one. This past definite. Past definite temporal clause. And I see that they can use epe or epede after or when, right? For prior action, prior to the main verb. Simultaneous action is hote, when.
Hote, when. Let's look at the examples on 320. Epe to biblion egrapsen.
>> [Sighs] >> Tous politas edidaxen. That rhymes in English. >> [sighs and gasps] >> What happens? Where's the main clause? Don't try to translate it. Just say, "Okay, what the What the hell? They're talking about temporal clauses, you know, as being a type of subordinate to some kind of main clause." Well, where's our main clause here? Just look for the the main clause. Something that can stand alone. It doesn't need anything else. It makes sense all by itself. Yeah. >> And you get tous politas edidaxen. Yeah, he she or it taught the citizens.
Yeah. That's finished. That can be a complete sentence. He taught the citizens. Right? Mhm. But, after he wrote the book is not a complete sentence. It's not a complete idea. Yeah. Right? So, it's a dependent clause and it's just setting for you the temporal nature.
All right? What What is it? After he wrote the book. He taught the citizens. Cuz he was writing the book at a prior time, at a time prior to the main verb. To the action that we're all sitting here watching like a movie, right? >> [sighs] >> God, seriously, people?
Yeah. Try the Try the next one. You read the next one and identify for me Well, no, it's the same. Look at It's the same main clause, right? Tous politas edidaxen. He taught the citizens. Now, you're using epe and it's when. When he was sent to the island, he taught the citizens. Right? Mhm. Oh God. After he was sent to the island, he taught the citizens. Seriously, when am I How am I going to be able to differentiate these things, right? When you're in the middle of combat, it's going to be a little bit
Easier than it looks. Yeah. >> So, if action Those are all prior. Right? If the action that you need is simultaneously, you're going to use that little hote. Hote, right? When. It It It works in English, too. Hote to biblion egraphen.
When he wrote When he wrote the book or when he was in the process of writing the book, he taught the citizens. That's simultaneous. All right? Mhm. Simultaneous. Mhm. Yeah. Good. Good. Good. Good. Good. Good. Good. Okay. That's our past definite temporal
Clause. Look at the next one, our present general temporal clause. When And you're going to be tempted to say, "Well, it's like a present general." I want you to make those connections now, but I want you to notice how those conjunctions
Create really the focus of the sentence. Right? The reason this is such a big deal is because the clause is taking over saying, "Hey, I'm going to put us all into a specific time zone. We're going to talk about actions that are before and during and after the main verb." Okay. I'm sorry. I'm I'm I'm I'm giving it too much emphasis. Um look at the present general. What kind of temporal conjunctions do you use use epedon?
After, when, or whenever plus an aorist subjunctive. Plus an aorist subjunctive. See how all of a sudden you Again, you're not going to be able to do the tenses all that easily, right? You've got to Yeah. You've got to think about which one this is. That's why we're flipping so much in this book, back and forth. If you're doing the exercises, Mhm. as you're doing those, you should be flipping back to these saying, "Which god damn Oh, yeah. temporal clause is being used here, right?" Mhm. Always identify it by its
Conjunction. Here, they're using epedon and they're using hotan for simultaneous action, right? When or whenever. >> [sighs] >> Okay, here's some examples. Here are examples of present general temporal clauses prior action and with simultaneous. Prior action
Tus politas edidasken. He teaches the citizens at paid on whenever pempsay. He sent to Yeah. Yeah. With the island? Yeah. It's prior. Tell me how that is prior. Please explain to me. Whenever he is sent to the island, he teaches the citizens.
Um yeah, well So, the protasis is present. So, it's but then what happens before that main verb is the s- clause saying that yeah, whenever he's sent to the island, that's happening before. >> [gasps] >> That's just >> He's got to make his way there. He's got to arrive from the island before he can do whatever he can do. >> So, it's past. So, he is sent. And then the simultaneous is also present, right? Good. >> Like Say whenever he's writing, he teaches. Yeah. Good. Good. Good. Good. Good. Good. Good.
Um and then they jump to a past general. Okay, again. Look at the temporal conjunctions eppay eppay day and hotay. Mhm. Right? Oh god, and what are they taking? Once the prior action takes an aorist optative. Oh no. Now I got to remember my optatives now, right? Mhm.
The simultaneous action takes present aorist optative. How am I going to remember that? Oh god, no. Either choose between the two. Why? Cuz you're going to want to talk about the actions um aspects. Good.
Prior. Let's look at prior. Epi astenason pempsay. I love that thing. Beautiful optatives. Right? Tus politas edidasken edidasken. Excuse me. >> [sighs] >> He taught those citizens eppay when what pempsay. He was sent astenason. Good.
We're just kicking it into the prior. Kicking it into the prior. But we have to use an optative now. Don't try to make sense of it, right? Notice, if you're if you're translating cuz you know, I'm emphasizing some things and you're like, you know what? That doesn't matter. I you know, but it does cuz if you're translating this out in the field and you pick this you pick this line up, you see that optative? I you're trained to think, okay, what kind of optative is this? Is it in a conditional? Is it in a is it an an optative of wish? What is
It? If you don't notice that temporal conjunction sitting there, you're going to panic and you're going to try to make it into some kind of conditional. No, huh-uh. Right? Notice that temporal conjunction and say, okay, they're establishing whether it's prior or simultaneous, right? Whenever he was sent to the island, he taught them. Look at the simultaneous. Whenever he was writing whenever he was writing graphoy.
Ed- >> Mhm. dasken. It's all because of that main verb, man. We're having to push that we're having to push that action around. Whenever he was writing a book, he taught the citizens. Whenever he's writing book, he used to teach the citizens, right? Okay, good. Fantastic. Okay, I won't
I won't s- jump to the translation of the exercises until we look at the exercises and start identifying temporal conjunctions. Look at It's really Look at page 322 and just look at the temporal conjunctions we're using eppay don and hotan. Uh-oh. We're using those repeatedly. We're going to have to determine but this time we're using an aorist subjunctive. Okay, cool. And a present or aorist subjunctive, right? Yeah. >> [sighs] >> Aorist as opposed to present or aorist. Okay, don't don't freak about it. That's why you come back to these charts and personally, I think the textbook would
Be better off if they had created then a chart like they did on page 97 for temporal conjunctions. They did on 97 for the conditional sentences, right? Why didn't they do the same thing? I think they're starting to get lazy and say, hey, that's okay. Um and then we've got the s- >> I've made my own. >> [laughter] >> You made your own? Oh, I I wrote [clears throat] them down like that. That is awesome. That is awesome. So, you're employing the whole writing game as well.
Mhm, yeah. Mhm. For memorizing? Yes. Good. Good. That's the way. Now, you wrestled with the genitive absolute. Right? >> I don't know what's really going on here. Is that You said you didn't Did you say you didn't Do you dislike the genitive absolute? Is it some kind of Mhm, I don't know. >> some kind of What?
No, I just don't understand how to identify it. Okay. >> Or really Yeah. That's really remediable. You can Okay. You can [clears throat] easily find these things because of their genitival nature. Oh god, you're going to love it. No, you're going to love it. But I want you to actually read um again cuz I know you've already read it. Read that first paragraph. The circumstantial that one.
Okay, the circumstantial participles already introduced agree with nouns or pronouns expressed or implied whose case is determined separately by their function in a sentence.
So, look at the examples, right? Thuwon ho hiereus hupo tou demou timatai. Sacrificing the priest is honored by the deme. Right? Sacrificing, the priest is honored by the deme. Good. >> Yeah. No problem. Do you understand what's going on there? The thuwon Mhm. is in the masculine nominative singular, right?
Yeah. Yeah, good. And why? Because ho hiereus is, right? So, it's got to be the same. Look at the next one. Luthentes. Right? Set free. Released. Homos, nevertheless
Ou thuomen. We do not sacrifice tois theois to the gods. And then they stretch that out into all released never Although released, nevertheless we do not sacrifice to the gods. Okay? Notice their Now, they're going to tell you exactly what I just said. The thuwon agrees with hiereus.
Right? It agrees with the subject of the sentence. Right? So, go to the next next page. To describe a circumstance involving a person or thing not otherwise connected with the rest of the sentence, they put that in italics. It's the most
>> [Music] >> 223? Oh. Doc is back.
There he is. Oh man, I apologize. It was uh Ever since we got the new 5G installed, they changed the outlets around and so we always forget to plug in our equipment. I apologize about that. We were just getting into the really interesting genitive absolute. >> Oh, is the italics on 323? Yeah.
Yeah, it's involving you know, the genitive absolute just has to involve a thing not a person or thing not otherwise connected with the rest of the sentence. And that's the key. That's the real cheat, the thing to learn about the genitive absolute. It's just completely detached. Okay. >> Right? It's a phrase. And they say here, it's going to consist of a noun or pronoun
Plus any modifiers and a par- and a participle. Right? And they're going to be in the genitive case. They're going to be in the genitive case. All right? That's pretty much it. That's what you have to realize. It's a completely disconnected
Piece of information that helps to explain what's going on. >> [gasps] >> And they tell they tell you that the term absolute indicates the noun or pronoun in the genitive absolute has no direct grammatical relationship to any other word in the sentence. Objects of the participle retain their usual case. Let's take a look. thou ontos
Yeah. Yeah. So, um just stop right there and just say, "Okay, do we have some genitives here?" Yeah, we do. Thou ontos, right? That is Yep, to hiera os, that is as well. Okay. So, this is a priest in the genitive and they're a sacrificing. All right? The priest sacrificing the goat and then we get the main clause, Demosthenes up to date multi matai. Demosthenes is honored by the people. Right? Yeah. >> So, it's literally with the priest sacrificing a goat
With the blank blanking. That's what you need to think. That's kind of the formula that you need to think of when you think of a a genitive absolute. Look at the second one. Luthenton ton philon.
All right? With the the beloved or with the friends luthenton released. With the blank blanked. All right? I used to memorize this with the blank having been blanked, right? Our friends released. Nevertheless, right? We don't sacrifice to the gods. All right? Okay. It's a genitive absolute. It's trying to explain to you, right? To describe a circumstance involving a person or thing not otherwise connected with the rest of the sentence. It's completely independent grammatically. It has nothing to do. All right? But it's going to explain. It's going to explain the environment.
So, you can see why Galen loves to use these things cuz he loves to put extra emphasis on what's going on around the main verb. Under these circumstances, this drug does this and that. Right? So, he's using those goddamn genitive absolutes all the time. It's his favorite.
That's nice. [clears throat] Like now, wait a minute though. How do we actually translate it? How do we refine How do we How do we Do we refine it? So, we know what the author was trying to describe in the circumstances. That's what this paragraph answers. Like other circumstantial participles, the genitive absolute can have a temporal, concessive, or causal relationship to the main verb. Adverbs or other words accompanying the participle or the main verb can make the relationship clear. Genitive absolutes can often be expressed in by clauses in English like while the priest was sacrificing, although our friends were released.
All right? Look at the all the different ways just in English. All right? Yeah. The city saved. Literally, that's the genitive absolute here. With the city saved. With the city saved, something happened. The priest sacrificed. So, when the city was saved, the priest sacrificed. That's temporal. Although the city was saved, the priest sacrificed. That's concessive. Because the city was saved, the priest sacrificed. That's causal.
Yeah. The genitive absolute can express temporal, causal, and concessive forms. It's trying to tell you, right? This is This is trying to say, "Look, the genitive absolute is there to better determine the context."
Mhm. It's so strong, it can substitute for a protasis of a conditional. You can just slam one in to the protasis of a conditional. All right? Yeah. The city not saved we will not sacrifice. If the city is not saved, we will sacrifice. See how you can You can take that genitive absolute and just create for yourself a protasis for a conditional.
Okay. >> Mhm. If the blank If whatever If the city is not saved, if the bird doesn't fly, if the You're just creating those circumstances of a protasis, the if part of a conditional. Okay. Okay? Cool. Mhm. Love it. Love it. And so, you know, it's an extra tool in our arsenal to um to really try to make things Try to make things clear. So, uh on the rebound, what are we looking for? Looking back here, we're looking for some kind of verb that's been participialized
Into a genitive form. And then we're going to be looking for another genitive that's the subject of that verb. Yeah. >> Okay? That's what we're going to be looking for in that genitive absolute. And we're going to know that we can use it in one of those three ways, when, although, or because. When, although, or because. If you want to just stay general, you'll be safest. Notice they say here in the black, "The city saved." With the city saved, the priest sacrificed. Okay? If you want to keep it just
General like that, you're going to hedge your bets, right? That's what I've kind of been doing when I was working through the exercises. It's like, ah. Yeah. And and that's why they put this helpful helpful little comment. Context will help to determine the meaning, right? So, if you just want to stay general with the blank having blanked. When you come across a a genitive absolute, you're just going to think I'm going to get a couple of genitives. One's going to be a verbal form. One's going to be a subject. And what I'm going to do is I'm going to say
With the blank having blanked. All right? If you [clears throat] want to stay general, you're going to you're going to uh you're going to be able to weasel out of a lot of problems. Okay. How do you feel having done all of that chapter How do you feel? Uh I like that. I like this uh this chapter. Do you like the setup? It feels pretty good. Okay. Are you ready for some way over packed sentences that are Yeah. >> ridiculously ridiculously um too much? Can we just
Before we do that, can we before we jump into the exercises and really hit it and try to get our try to get our muscles up there. Can you just can you just throw Chairemon up there? He was a 4th century tragic poet. Okay. Okay. 4th century tragic poet.
Yeah. >> And he said hop on to nikai kai metastrephei tuche. Mhm. Help me to translate that real Greek.
Every win every victory >> [laughter] >> every win um mhm hapanta
Not >> Yes, hapos hapanta hapan. All right? Look it up in the back. Find it in your lexicon. Hap os hapanta hapan. Let's see. Let's see. Where Oh god, I left mine on the other side. You got a head start today. Yeah. Mhm. Hap os. First one to hap os gets to spank the other one. Ow, god damn it. I beat you both. >> know. Well, I know what it means. All. Our cruise beat us. Right? Yeah. Right? All.
>> I see It's 76. >> Hapanta. What's the difference between hapanta and just panta here in your example? >> trying to ask. Uh it's it's like a It's like a little emphasis, little quite all as opposed to all. But that doesn't look like a subject to me, so don't make that the subject of either or metastreph.
What's the subject? Uh-huh. Um so I'm awesome.
Is is it saying like let's turn around? No, metastreph. It's a fee on the end there. Are you looking at it like it's a fee? No, it's a fee.
It is So it's just a It's first principal part. Okay. So
The fortune chain changes. Uh-huh. Um and
Uh all win. Nikai Nikai with that little iota subscript. Yeah, it's from Nikao, so it's Nikao plus a, so it's a third person singular present. So just like metastreph. >> [gasps]
They win. >> [laughter] >> They No, no, it's the same subject as uh your metastreph. So and so Read it backwards. Read it completely backwards. I'm sorry. I should've told you like a good devil, read it backwards.
So fortune changes and wins all. Yeah, conquers all. >> [gasps] >> Yeah. Fortune turns around, alters, right, and conquers everything. You realize that's completely backwards, right? It's >> Yeah, yeah. Yeah, so And this is Chairemon. This is a tragic poet. So this is a quote from the stage. A quote from the stage. So your audience is listening to this music backwards.
Think about that, right? Because the singer is saying hop onto first. >> [laughter]
>> So what is it with directional
Directional translation, right? Everything in English is built upon direction. It's linear. It's subject, verb, object. That's the order that it must be in. And that is a forward, you know, our engine is facing forward and we pull forward. This is completely backwards. For us to linearly understand it, this is completely backwards. So either they're reading this backwards or they're not linear. And it And it turns out
It turns out there's a lot of uh um there's several advantages to not being linear. For example, the first and the last thing you see have the greatest impact. And what you see is everything and fortune. Tyche and everything. It's what it's all about. Right? So people don't understand that that there is a there is something non-linear going on here. And unfortunately, when we translate it, we're using our linear operating system to do it. So we're supposed to be being triggered by Tyche.
Right? Yeah. Okay. Excellent. Excellent. Okay, let's go back to these crap exercises and see um is there anyone that you wanted to They aren't crap exercises. They're just so contorted that it's like a It's asking you to do a entire routine
You know, each one is a routine. Let's start at the end with the Okay. ugliness of the the ugliness and the stupidity of my god of these people. >> [laughter] >> What's so negative? Okay, sorry. Go ahead. 26, let's try that one. If you haven't gotten that far, don't worry.
Kai aischron aischron toi kai aphron to tous gerous
Estin oikion estin dexamenon tous philous apopempsei.
Look at this. Look at the This is just Okay. This is just fantastic. This is just fantastic. Where were you going to start here? I mean, appreciate some of the architecture. Yeah. All right. We got some kai kai. We got a kai kai both both of those are good. You know what I mean? We've got a participle, aist dexamenon. That's nice.
Got a verb, apopempsei. Looks like that's our got to be our main verb, doesn't it? But what is it? Uh apo and then pempsei put together. What's that ending look like? Is that looking indicative, subjunctive, optative?
Okay. Log it into LSJ. What kind of optative? What kind of optative do you think it is? Present, aorist, what do you think?
I thought it was aorist. Aorist optative. Okay, if it's an
If it's an aorist optative, um how how are you going to use it there? Um can you see the my screen? Uh it's an aorist >> Oh, [\\h__\\h]
All right. Yeah. Look at There's your You see your aorist optative? You've got a third singular aorist optative active, right? Mhm. Good. Good, good, good. But you notice that it can also be a second singular aorist imperative
Middle. Middle, yeah. Middle, which is what we have been dealing with in this chapter. Right? So Go back to page um Go back to page
Page 309. Mhm. Oh, nice. There it is. Yeah. Yeah, second singular aorist imperative middle. Mhm. Yeah. Do it in the middling voice. Do it in the middling voice. Have them educated for themselves, you know what I mean? Hey, you. It's second singular, so hey, you. So you and so you
You've You have No, it's an imperative. It's an imperative, so turn it into a command. Tell them to do it.
Uh send it send apo Send apo. Send away. Apo pimple. Away Oh, yeah. For away from. Send away. Yeah. Send away. Now all you Now go back to the beginning, just line everything up. Where What are we sending away? Send away what? Send away ice cone. shame
Yeah. Yeah, something filthy. Something filthy and awful. Yeah, shame. Yes. Uh awful.
Let it alone. I think that's no. Yeah, awful one is uh that full of Yeah. Yeah. Something shameful and foolish, right? And it's they're both in the accusative case. So, okay. Send away something shameful and foolish and then we get the article of what this shameful or foolish thing is. It's tall. And then they kick us in the balls with another article twos. What the [\\h__\\h]
What's the tall going with? What is this full and foolish thing? You got to skip over the two sacks throughs cuz that's Then you get a prepositional phrase ace tan oikion. You got to skip over it. >> the tall is going with uh the Uh what is it the participle maybe? Yes. Ace tech samanol.
Ace tech samanol. Yeah. So, it's it's the one who the one who did what? The disgusting and shameful what? Ace tech samanol. The disgusting and shameful one who received
Yeah, who welcomed what? Those sacks throughs. Sacks throughs.
You're my enemy if you're acros. Oh, yeah. Acros. I always remember that because it's like acros. Yeah. Yeah. Hated or enemy, right? Yeah. >> Uh okay. So, welcoming So, uh welcome the enemy. Who welcomed the enemy? Ace tan oikion. In the house. Into his You can say his house there, right? It's presumably his house. Into his house and what did he welcome them in as? Two sacks throughs. friends As friends. [\\h__\\h] that guy, right? Apo pimps I sent away. Right? Right. >> [laughter]
>> Good. Good. Now, look at number 25. 25 is a question. 25 is a question. I'm looking for a question. I'm Look, I'm not even All I'm doing is scanning it, right? And I'm teaching you to do the same thing. I'm not even trying to translate right now. The first thing I see is the a u on the end cuz my my eyes scan the whole thing and I see the a u question mark. Oh, we've got a question mark, right? But I noticed the on. There's an on there.
Oxy oimen. Oxy oimen. Oh, this is looking Yeah. >> [sighs] >> What kind of verb is oxy oimen? Oimen ois ois ois ois >> [laughter] >> Uh so, that'd be Is it that one um Yeah. Could be an optative there, couldn't it? Now, watch this. Plug it into LSJ and I want you to be doing this.
Bam. Just confirm it. First plural present optative active. Fantastic. What kind of optative do you think we have here? God, it makes my mind it makes my mind just jump cuz it now we can get several. We can get several things going on here. It's a question. You know what I mean? Yeah. Could be one of those goddamn potential optatives. Yeah. All right. Mhm. Oops.
What if it's one of those a plus optative optative plus on situations? Could be something like that. I don't know. Okay. What about oxy on test? Looks like we've got a Looks like we've got a participle in there. It's not a genitive absolute. It's not in the genitive case, so >> [sighs and gasps] >> Yeah. Okay.
Let's go to our verb. Let's go to our verb and say oxy oimen. What are we going to do with that? Um
Uh so, uh we got to see that it like what uh maybe what person it's in. So, it's like third. Right?
Um I don't know. I really don't know.
We have to go side and find like what the um conditional is.
So, you're wrestling with it, right? You're wrestling with it. It's like lifting those weights. You're wrestling with this trying to figure out what's going on. You know your main verb. Where's your Woah. How do we do the construction of oxy oimen on? The I don't see that this is a conditional yet. I'm not thinking that way at all. So, what can we What can we figure? Well, with an on that's got to be that potential optative, which is back on page 175.
And if you're looking at page 175, you'll see they're translating that potential as may, might, could, or would. May, might, could, or would. And we know that this is a question. Mhm, yeah. Uh-huh. So, try that.
So, >> And make it that first person plural that we. Go ahead.
Uh so Uh well, first of all, it means to be worthy, right? I'm sorry, say that again. Does it mean to be worthy? Yes, deem worthy, axios. So
Um So may it be may I am might May I be worthy?
Yeah, may, might, could, would. May, might could, would.
Should we deem Should we deem the sophrona the wo wise Okay, worthy of something. Should we deem them worthy, kakou?
Uh kakou's evil. Yes. So we've got a something like should we Yeah, should we deem the wise worthy of evil?
Okay, aou or not? Aou or not? Right? Now Now the problem is we've got this participle. Uh axios We've got a participle that seems to be substituting for something. Mhm. Right? Substituting for something. This could be a conditional that substituted out a participle, right? axios
Since we deem the ice con, the shameful woman worthy of kalou Right? of what is good Right? Mhm. Should we deem the wise woman worthy of evil or not? Okay, don't try to make don't try to make like two. Right? But this could be a conditional disguised.
Right? We've got an optative with an on in the apodosis. And we have a substituted participle in the protasis or if clause has a substituted participle. Right. So something followed by an optative plus an on. Could this be an a plus an optative being substituted out for the participle? Yeah, it really is a should, would originally. Right? Mhm. Right? If we should deem the horrible woman worthy of good
Would we then deem the wise woman worthy of evil or not? Right? Okay, that's all Mhm. trying to show you there. Remember you can substitute things, you can get that whenever you see that optative with an on, you know that you're either in that world of the potential or you're in that world of the future less vivid, right? They're both we we both translate we translate them both as woulds. You would do something, right? Okay. Yeah, good. Good. Oh God, we got a hoya. Hoya. >> We got a hoya in the one above it. Oh
God. This is going to be Okay. 24, read it to me. Let's do it. Another another repetition on this one. Okay. Hoya ton demon peisas the authentein aition aition ho anair en polei peinon
Or meinon, sir. >> [laughter] >> Yeah, meinon, good.
Peisas is a verb and means to persuade. Right? And but it's it's describing the people.
People look like they're an object there. Yeah. So
Wrestle with it. Isn't it fun? I love the sound of students wrestling with Greek. It's gorgeous. >> sound. Yeah. >> [laughter] >> No, I can hear you. It's music that's invisible music. It's more than a visible music. Yes.
Yeah. I wish I was wish I could have all my vocab down though. But um
Or further or Good. or the reason that uh the
People persuaded are persuaded. Um >> [sighs and gasps]
>> Look at my screen. Can you see my screen? Am I sharing with you? Yeah, I think I am. Okay. So peitho, to persuade. Mhm.
Notice like you I think you identified it already. It's just the second just the aorist. Just the aorist, but I do want you to notice that it is also a participle. Yeah, it's I it's got the us on it. So which >> So it it can be a nominative masculine singular, right? Okay, I just want you to notice that as you're translating it, but um again, that's why I want you to start using the LSJ as a tool. When you're coming across verbs that have multiple assignments, you can
Say which one you can say, "Okay, I'm going to try it like this. I'm going to try it like this." Good. Okay. Um
So it would be like persuaded people. Then Yeah, uh-huh. Okay. Because the persuaded people
No, it's still you as the subject cuz look, he's addressing he's he's addressing ho anair. Ho anair. Yeah, and meinon is going to blow your mind. That one is not a Yeah. Plug in that What what kind of What is meinon for [\\h__\\h] sake? Meinon, right? It's not It's not what you think. It's not what you think. Watch. Okay. Um Look.
>> Right? Aorist imperative. Yeah. >> One time action aspectually. It's a one time action. It's a second singular imperative. So it again, it's you do something. You do something. So this whole sentence is addressing you. It's addressing you. Peisas.
Right? You persuaded because you persuaded the demos. Right? Mhm. Right? Oh, an heir. Oh, dude. Oh, guy. Yeah. Okay.
Because you did that, mainon. Stay. Stay and like Yeah. What? Our city. Stay in the city. Yeah. Yeah, no. Stay in the city. Polis. Right? [snorts] You got it? Mhm. Hey, dude. Right? Because you did this, stay in the city. Diotauté en deina ideon.
On account of this for this reason, on account of this thing, on account of this reason, stay in the city. Ah, god. Okay. >> Right? All they're doing is they're strutting their use of imperative. Right? That's all. That's all. Ah. >> [sighs] >> Okay. Let's go to 23. Let's do one one more. Actually, take a 10 minute Let's take It's uh 9 It's 8 after my time. Take a 10 minute break. Take a 10 minute break and I want to do more exercises, but I want to do the ones that you got through and had
Questions on or that you had a chance to take it if you had any. If you had any time to take it. I did one through five and then 15. 17. Okay. So, we break for 10, we come back and we do one through five. Any of those that you want to do. You just randomly pick whichever one you want to start out with and strike your [\\h__\\h] You know what I mean? Try. Yeah. All right. Yes, you will. You will. You will. It's the exercises. We hate
Them, but okay. Let's do it. I'll see you in 10 minutes. It's uh uh 19 after. Okay. I'll I'll be there at 19.
Um Okay, where do we start, Madeleine? All right. Um
Okay, two and four. And the first thing I see in both of them is some kind of temporal conjunction. Correct? Yep. Okay. Take me back to the page it's on. Please. Uh temporal? Temporal conjunctions. What page do we start on? It's on page 318 17. Uh 318. Which one is this? Uh what do you want? Two or four first? We did a two first. Two. Okay. Which temporal conjunction are we using?
That's our for number two or four? Which one are we doing two? For two. Yeah. So, two >> Yeah, goldfish. Memory of a goldfish. Me or you? No, me. Me. Um Uh po a boy oite would be um aristo
Um yeah, I I think it's like uh a past general. Temporal clause form. Okay. If it's a past general using hote, we're indicating simultaneous action with the main verb. Right? Yeah. And what is our main clause supposed to be in a past general? It's supposed to be an imperfect indicative. Is that what we've got?
Oh, uh in the clause, you mean? Or the in the whole sentence? >> Yeah, so the hote at the front The hote at the front indicates this is uh We've got some kind of temporal clause. So, the temporal clause is itself hote philon haren eis chra poie
Poiete. Yeah. >> Right? Okay, so there's There's our temporal. Now, we have to have a main clause somewhere. So, the rest of this is going to include our main clause. So, just look for your verb. Hothou gatetes houp oton tes ophronon kaiton dikaiou panton No, none of that. Ouk timaste. There it is. There it is. Ouk timaste. So, just identify etimaste. What is that?
Ouk timaste. Uh like uh haven't been heard or been What tense is it? >> [clears throat] >> Um it's a aorist um
Hang on. Hang on. Put here LSJ. >> [sighs] >> You don't know or you're not You just think it can be a couple couple of them. Oh, god damn it. Why are they not cooperating? Sometimes they don't. Okay, anyway, we're not going to be able to use this time. Go ahead. Oh, it's uh it's uh aorist um uh
Etimaste Okay. What is its first principal part? It's timao, right? As a matter of fact we have timao back on page Boom. Go there. It's why we flip cuz if you see it, it sticks. If you don't, it doesn't. Go back to the previous. I think it was Yeah, just the previous. Timao It should just be in 10. No, timao was nine. Timao was nine. Go back to nine.
Boom. Boom. And go to page ch ch ch ch ch three 233.
Oh, yes. So a present subjunctive
No, not that present cuz look, it doesn't have an augment. That That present subjunctive's got no augment. But here we've got >> It's the imperfect subjunctive. Yeah, so match it to Match it to something. It's imperfect, right? Imperfect middle passive. So, yes, indeed, we do have
A temporal conjunction whose main verb is in the imperfect. And that is what we're looking for back on What is this page again? I'm sorry, I'm flipping back and forth. Uh back on 330. Okay, so I just get my bearings. Okay. So, we have a nice imperfect in the main clause. What is in our temporal clause? We're expecting an aorist optative. Is that what we have en poie oite? Yes, that's what we did. >> Yes. Yes. Does that mean that means that you may have done?
Okay, just don't try to define it. Don't try to define. Okay, right? All we're doing is saying which kind of temporal do we have here? We've got a past general. So, our hote clause is telling us that the action is simultaneous.
Oh, so it's Oh, it's um Go back to page 321. 321. It would so be Mhm. Yep, it's simultaneous to the imperfect. >> [gasps]
Yeah, okay. >> [laughter] >> What is the imperfect atimaste?
You were being honored or you were honoring in the middle. Okay, let's just make it a passive. You were not being honored. ouk etimaste Oh, yeah. I didn't I didn't even I couldn't read my handwriting. Oh oh good, so you probably got it before. Okay, good. Okay, so if so if it's in the past you were not being something we just have to make the hote simultaneous. So make it like an imperfect.
Have been honored Right? Is that what you said? Um no, it's just translated as a perfect. I mean as an imperfect, right? >> An imperfect. So >> Go to page go to page 321. Page 321.
You was honored. Look at how they're using um Look at how they're using those imperfects, right? edidasken he taught
He taught so they're going to be doing the simultaneous um using the same whenever he was writing he used to teach. So apply that here. All right? Whenever whenever we yourte whenever they were doing I'm I'm sorry.
They were honored. Yeah, what it's not they though. What is the oite? oime ois oi Oh, uh oite oia So it's second person second person plural. You made You may
I've been doing >> Whenever you were doing were doing okay. >> Uh-huh, eiskra
Shameful stuff, yes. Now stop there and don't worry about the feed on hoten for now. Okay. Daughters, hey ladies o thugateres o daughters whenever you were doing that eiskra ouktimaste you were not being honored.
Yeah. You see how it goes along that's that stupid temporal um is is saying hey, I'm hitching a ride on on the time of the of the main verb simply because of the hote. The hote is drawing me in to make force me to do this. When you were doing shameful things
So you were not being honored. Now just fill in the blanks hupoton sophronon All right? By the what? >> Right? kaiton dikaion panton and all the >> And of the just uh all every um
It well, they heard evil, right? Uh-huh, good. And they throw on a a participle at the end akousai akousai >> Why and what are you doing daughters? Yeah. Here.
Yeah, hearing poorly kakos is your adverb there. Okay. >> Right? Since you can't freaking hear All right, now again this is you know, you you were having to read a lot cuz all they're doing is attacking this. All right, they're just packing it down, right? Okay, do the next sentence dikai oun Uh-huh. prattousai axiotheta
Times Mhm. >> So we see her, yeah. Go ahead. Uh justice has not been guarded. Um
Uh Where's your main verb? >> has been I'm I'm axi axi os thet Good. axio >> And now identify it. What is it? Uh thet is a um
I don't know why they're not queuing those. Oh, well. >> [snorts] >> Sometimes LSJ. Okay, what verb is it from? Well, it doesn't worthy of to I thought this one was one of them new ones, right? So new endings on it. We got to identify it or we're not going to know how to translate it, right? Yeah. So Okay.
Axi What about that ending? The ate ending. What what can that be? on on page 311. You know they're they're emphasizing these freaking imperatives, right? Mhm. So on page 311 under the aorist imperative passive on the way right side of the page. Mhm, I see that. >> We've got one example of it there ate to there that it's a second person plural imperative an aorist imperative, but it's passive. That's why it's got the theta there. Because the sixth principal part of axioo is axi >> Yeah, isn't it? axis Yeah, yeah.
>> Yeah, so it's an aorist passive aorist passive imperative imperative Okay. So it would be like let So I I wrote um So let them think worthy. No, it's a it's a be worthy. Be Oh, be worthy. Okay. Yeah, be worthy. Be worthy of timae. Be worthy of honor. >> Right? Now we can add the participle prattousai. It's nominative so it's the daughters doing dikai just things
Axiotheta times Doing just things be worthy of honor.
All right, so when if you want to hedge your bets again with the participle just doing just things it sounds good um because you were doing just things or by doing just things All right, be worthy of honor. You want to the participle there is setting up for you the circumstances of what's going on because you're being um doing things that are just All right, you're you're Now you can be worthy of honor. So be worthy of honor. Yeah, all right. Just trying to practice that imperative there. And these
Imperatives, you know, we didn't go over the morphology together, but they're all there on page 311. They're all there. Look at those endings and if you ever see the este or the eston and you think wait a minute this isn't a It looks like a participle, but it's not really. And it's got an esto ending. Well, yeah, that's cuz it's a third singular present imperative. All right, present imperative, right? Be that thing. It's in the middle or passive. So okay. Um good. Now you said you want Oh god,
You threw us number four again. Okay, what kind what kind of temporal is this?
This crazy long sentence is three lines. And then a a fourth another sentence tacked on for third and fourth. That's ridiculous.
Okay. Okay, what kind of temporal you got?
>> Your conjunction is hotan. So Right? >> [sighs] >> So as I'm looking through look where can this freaking hotan be? It can only be it's isolated in certain places. Right? So it's got to either be that present general or it's got to be that future more vivid. [snorts]
>> Yeah, just what kind of verb is it? Indicative subjunctive? What is it?
Grafo grafo grapso egrapsa gegrafa gegramai egraphein. What is the graphosi doing? It's in the first principal part. So >> [sighs]
I thought it was a subjunctive. It is. So it's a present subjunctive. You've got hotan. Yeah, with a present subjunctive. Instead of an instead of an aorist, right? But that's okay because for both of those temporals in both the present general and the future more vivid, that's what it's supposed to be. It's supposed to be hotan with a present or an aorist subjunctive. We have a present subjunctive. So we're all good. Now in the present general what do we expect in the main clause?
On page 320 page 320 look at the present general. In the main clause, what do we have in the main clause?
Hotan plus present subjunctive. No no no no. Okay, go to page 320 go to number two halfway down. It says present general. This is what I'm looking at. I'm sorry. I should have been more specific. This is what I'm looking at. Yeah, that's why I was reading. Right, but what I'm asking you what is the main clause? What is the verb of the main clause?
See where it says it's a present. Do you see where it says it's a present indicative? Says verb of the main clause and then apodosis in parentheses. Yeah. And then it says present indicative. So we're looking for a present indicative in our main clause of number four. So is that what we have?
No, it is. Look at boulontai. Everything up to that comma is a part of the temporal clause. Okay.
Okay, that makes sense. I was just looking at the first five words. I don't know what I mean. Uh they were there. Okay. Yeah. Yeah. Yeah, no yeah. I'm sorry. I'm I'm I'm trying we're trying to analyze the whole structure of that first long-ass sentence. The everything from the hotan to the first comma on the second line, that is the temporal clause.
The main clause is following it ooh boulontai.
So boulontai is indeed a present indicative. So that fits the pattern for the present general on page 320. And if we go to page 322, it doesn't fit the pattern for the future more vivid because there the main clause has to be a future indicative.
And we don't have a future indicative. We have boulontai. Right? We have a present. So we we have a present general temporal clause. A present general. Right? Does does whatever somebody does do something somebody else does something.
So that's how we want to translate this. Okay, now I'm going to leave you alone and let you translate.
And this is misogynistic, too, by the way. Okay, great. >> [laughter]
>> Oh yeah, I see. Yeah. What oh
The book's author No, look at what is your subject? Hoy poietai.
Oh yeah, the poietai the poet Good. Poets plural.
Nope, try this. Try this. Try this. Whenever the poets graphosi biblia
Was written. Whenever the poets write biblia, it's a it's an accusative. It can be an accusative there. Whenever the poets write books, good. What are the books about? Any kakon. About about evil and um
Foolish woman's stolen wine. About evil slow down a little bit. About evil and foolish women. Right? And then we have a a participle following it kleptouson. Kleptouson. It's genitive. It's genitive because gynaikon is genitive. So it is just telling you what kind of women are these? These are the women who kleptouson oinon.
Good. Who steal wine and who poiouson aischra.
Yes. >> [laughter] >> Whenever the poets write books about those evil foolish women who steal wine and do shameful things ooh boulontai they do not want. Want. Yeah, they don't want. And who is the they? It's hoi neaniai. The men don't want
To phoulattein. The youth don't want to phoulattein. Good. To what? To guard. Yeah, to guard what?
Nomous. Remember what that nomous is? Oh, the law. Good. The laws plural. The laws um of the of the citizens Yeah, of the city. That's city there. Of the city. Good. Good. Good. Good. Whenever the poets write books about evil and foolish women who steal wine and do shameful things, right? The young do not want to follow the laws of the city. That's just the way it works. You write those books and all the young, they don't want to follow the laws of the city. Okay, good.
So, nice temporal there. You handled it You handled it only because you figured out what it was first, and then you went back. Then you went back and and translated, right? Okay, now it's leaving us with another sentence. Ekeinus de
Me axioseta athlon en tois agosin.
Ah, [sighs] what did you get for that? Um
That was confusing for me. Uh I
And in fact, the those who you don't think worthy of
>> [Snorts] >> Yeah, where's your verb? [\\h__\\h] this, where's your verb? Yeah, um What is axios Yeah, what what form is that? Well
So, yeah, look at that eta on the end of it. >> [clears throat] >> Yeah. Yeah, what is that? What kind of ending? The aor- the aorist uh Good, aorist what? Indicative, subjunctive, optative, Imperative, what kind of mood is that? >> [gasps and sighs] >> Uh or I don't know. >> [laughter]
Are we trying Are we trying to tell people not to do something? Me axioseta Do not Is that passive? Yeah, do not deem worthy. Do not It's just uh telling us not to do something, right? Do not deem worthy.
Right? Yeah. Athlon Playing You deem somebody worthy of something, of prizes. Don't deem those idiots worthy of prizes en tois agosin in the contests. In the contests. Oh, yeah. Yeah. I was like the we agosin agosin, yes.
Yeah. Yeah. Suffering Right? Okay, good. Um Good. Good. Now, notice is I'm scanning the rest of the ones that you did. Oh, here's one. Here's one, number eight. You did number eight, right? Mhm, no. Oh, ladies, oh gunai
Oh god. What do I want you to do with this? I don't want you to translate it. I just want you to see it's got a hotan. Yeah, hotan. What is whenever? So, right away, right away you're already thrown into the into the world of the temporal. I just want you to notice that. Look what they tacked onto the end. We're just looking at structure. Look what they tacked onto the end. Ean gar touto poieseis kaka peise. Look, those bastards just put a conditional right at the end. They just
Right, here we have an imperative, me bale. Me bale right? Nice and we're going to tell somebody not to do something, or we're going to prohibit something, or something like that. Ean gar Now, just translate. I mean, just identify it, not translate. Just identify what kind of conditional this is. Ean plus what? Poieseis
Poieseis, yeah. Ean plus Um Uh
Sure. >> [laughter] >> No, yeah, it does. It does. It looks like a subjunctive, an aorist from poieo. Mhm. Right? Poieo epoiesa is the is the aorist. Epoiesa So, we've got a We've got a nice uh subjunctive. So, we have an ean plus a subjunctive followed by peise.
Peise, do you remember what peise is? We got to figure out. Yeah, uh Isn't that like persuasion? Yes. Yeah. >> Right? Oh god, they're not going to help us here. Persuasion, peitho, correct. Right? Mhm. So, what is this? It's not a present.
It's a Is it um Perfect. Look at the principal parts. Look at the principal parts of peitho. >> it's a It's got the sigma, so it's Um
With a with a future ending, oisa omen ete ousi, right? So, yeah, it's a future, you got it. So, what is that ean plus subjunctive followed by a future?
Is it a future more vivid? Correct, Amanda, you got it. See, the circuits We're already at 10 my time, 12 your time. Here, I'm going to stop sharing. We're at 12 your time, right? You must be totally freaking exhausted. Yeah, my brain's a little fried right now. >> [laughter] >> Okay, we just went to the third hour. You were able to get to the conditional [clears throat] that was sitting there because that's in your brain, right? Despite the fact that you're tired, it's just the logic that's ultimately going
To bring it. That's the skill of translation. It has nothing to do with looking at a sentence and just blah blah blah blah blah blah blah blah blah. Right? You are analyzing it for its structure, and then you are translating based on your analysis. And that's why ancient Greek is so difficult. I should say that we have to do that simply because Greek is the way it is. That's how we have to think. Right? You You could not run into this otherwise. So, I I love it. I love the complexity.
You were doing abs- Let me just say you were doing absolutely splendid um beautiful job tonight with breaking stuff down, figuring out which one of these stupid temporals it is. I hate temporals because as soon as as soon as you get as you're reading a text, as soon as you get to that temporal conjunction, it it causes your brain to kick into a chronic mode. And I don't think that I think when we when we're raised with English, I don't think we're we're used to going switching into modes now. I think
We're just letting and we just suck it up as it comes in, and we just keep absorbing it, and and we don't we don't tell our brain Our brains don't tell us, "Okay, now we're going to be concerned with um time as a part of the mechanics." >> [sighs and gasps] >> Oh god, I talk way too much. Please talk for a couple of minutes, so I can get some perspective. Yeah, that's crazy. Yeah, I It's hard to figure out which one I'm I still have to memorize those endings and and figure
Out what's what. Um When they're all It's like all blurring together at this point, so it's hard for me without seeing all of it like in front of me. It's hard to identify that all on the spot. It's so many forms, isn't it? It's so many. >> [snorts] >> When the TLG says that there's 1.5 million plus unique word forms,
If you've ever taken ancient Greek, you realize there's so much flexibility in that word form that you can get all of these different types that I'm now going to have to memorize and keep them in my in my word bank. As the more the more you read, the more you will feel the subjunctive. As opposed to saying, "I know it's got this form." You'll feel the form because it's lengthened. And you'll say, "Oh, it's lengthened and unaugmented. I know it's kicking us into the subjunctive, right?"
Mhm. Um that that kind of thing will come with more reading and more reading. But right now, you have to memorize all those forms. I don't know how you can keep those in your head um straight in a 4-week program. I don't know how I don't know how you do that. >> I'm trying my best, though. Uh Are you So, you're writing them down. Whatever you ultimately do, I'm going to use this with future students. So, if you're writing them down, maybe that's an additional way to to better cement them in your brain. I
Don't know. What do you What do you think? Yeah, writing them down and then creating like a mental map has been a helpful. Yeah. Okay. >> Um Mental map, that's perfect. That's what I needed to hear. Mental map. What about your oral vocal stuff? Do you Do you shout out these things at all? Are you using that side of things or you relying mostly on writing? >> with with to get past the verb uh initial hump, that was like what really helped me to memorize those. But as everything has been piling on, I
Haven't been able to memorize much as like um yeah. Okay. That's in the middle. But um and vocab vocab I I is really easy. I do that I just I basically just split a piece of paper in half and write all of them on one side and then do it until I can audibly remember them both forwards and backwards and yeah. Yeah, you have no problem with vocabulary. It's just rare for you to miss a word. Um which I don't know. When you're memorizing, is there anything you're
Doing? You say you put half the page just cover half the page and do that. That's pretty standard. You must just have a good memory um to be able to retain that vocabulary. Yeah, and and word associations maybe, but um
Yeah, well, if I'm picturing while I'm saying what the word is. So, if I'm picturing something related to what it means and I can relate the English to the sound of what the the word is in Greek. For example, uh that the that word that means enemy or hatred that in the beginning it's like that sound of disgust, so I that always helps me like trigger the memory, I guess. Right. No, I know what you're doing. It's that allos kakos thing, right? When you hear that kak,
You think bad. When you hear the kal, you think good. And they do they use this over and over juxtapose these two things. For some reason that kappa running into that kappa just because of the way it's formed phonetically or something, the mouth or something, causes some kind of uh Right? Like the echthros, right? That's yeah. Uh Right? It's also the same thing with the eischos. It's a little bit of that in there, too. So, I like that I like that. Um So, keep it up whatever you're doing with the vocabulary, otherwise
Um there's a lot of forms and we may reinforce those. We'll be reinforcing those with more reading. For next time, I want you to focus. [snorts and clears throat] This is unit 12, right? >> Yeah. And for unit 12, I want you, if you can, to go to I know this is going to wear you out, right? Because look at this, we're already on page 350, right? It's a lot. It's a lot of text. But in on page 363 for this unit, Mhm.
Oh my god. we get Euripides from the Bacchae. And I want you to be able to read the Bacchae because if I showed you the first 10 lines of the Bacchae, I would um wreck your world. I mean, that's just what the text does. If you can read the Bacchae and um
Should we do Do the Sophocles. Do just A and B. I want you to do A and B. Get them perfect. Um A is super short. B is only a couple of lines. But do we need to do the Electra?
If you take a look at Electra and for some reason you really want it, um we'll do that one, too. But I may throw us the beginning the opening of Euripides. If you do that section If you do those couple of lines Euripides, I'm going to open up the beginning of the play itself and I want you to look at those lines. Um and it's going to It's It's going to make the exercises look silly, first of all, but they're necessary. And it's going to open up You're really going to love it, right? Um
Yeah, you're going to love it. Don't read it before cuz I want to do it with you. Okay. Uh unit 12, we'll see you tomorrow and I will um tomorrow's Friday, so I'll send you a link for a 5-minute Lady Babylon because the people want to know how you're doing and etc. Good? Okay. Yeah. Okay. You can have a speech You can have a speech ready or you can just say, "Hey, I'm back and things are great." It's up to you. Okay, thank you. Cool. >> Okay. It It worked out well.
You know what? I don't want to keep you late, so I'm going to keep Lady Babylon tomorrow from 7:00 to 8:00 my time. If we can start at like uh let's say 8:30, that's 10:30 your time. I can get us done by midnight, so you can Okay. you know, cuz I don't want to I'm I'm aware of that. Okay. Cool. Okay. Sounds good. >> All right. We'll see you tomorrow. Is that okay? Does that work for you? Cuz I can move Lady Babylon, too. I can do
Lady Babylon later. Uh I mean, that's good. That's fine. Okay, that's fine. Okay, good. Cool. All right. We'll see you tomorrow, then. Okay, see you. Thanks, doc. >> Thank you. Goodbye, everyone. Goodbye. >> Bye. Good night.