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transcript —
20260505-Ancient Greek Intensive Course - Part 17
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>> Hey. >> Hey. I'm sorry to take so long. Oh. How are you doing? How are you doing? You had uh two more units to do. How does it feel? >> Um, all right. Feels good.
>> Good. I got your last email and I was very, very delighted by it. Yeah. You know, that's a switching to the actual Greek is such a dramatic difference from struggling through the exercises which are crazy contortions, you know, >> meant to push you meant to push you to the limit. So, yeah. No, once you get into that Greek and you feel, oh, wait a minute. I'm getting a grip on this. Yeah, that's way better. >> That's way better. Okay, we've got a lot of work to do tonight. So, here's
>> Yep. >> Here's what I want to do. I want to go to your review. >> Okay. >> And I I want to put it up. Go to page 419 here. Move. Okay. I can take over. 419. Starting there at the translations. Um, I want you to pick.
>> Uh, well, let me ask you this first. >> Okay. >> Um, let's see. There were a couple here that were really good examples that I wanted to show you.
>> Okay. There's uh, look at number six. Okay.
They tell you that's a genative absolute there in the bottom. Let's try to translate this together. Did you get to this one or no? >> Uh yeah. >> Okay. So, go ahead and read it and tell me what you got.
Toolm and house and and and to
Of the enemies. [laughter] >> Mhm. >> Um
In in there we stopped them. >> Okay. Okay. Um let's look at a couple of things real quick. Where is your genative absolute? Your genative absolute is Stanton ton. Yeah. Yeah. >> So, you're going to want to use the translation formula with the blank having blanked with the soldiers standing. E there.
>> Uhhuh. >> At Palamatha, you got the rest right. We stopped. We ourselves stopped right up until this location. Good. I just want you to see the genative absolute for the >> Oh, yeah. >> Stanton ton. >> Okay. Since since those soldiers, you know, stopped over there,
We stopped ourselves in that spot. All right. Okay. So, it's just it's just trying to let you know, hey, this is how a genative absolute works. Okay. I'm going to grade these. So, I want you to do number nine is a fear clause.
Fear clause. >> Yeah. >> Yeah. Let's do that one. And it's got some tough verbs in it. Loyan and or whatnot.
Um that they might escape all evil they have done.
Yeah, let's break it down. Go a little bit slower. Etha, right? There's your main verb. Then you get a fear. A fear clause is always going to have that may in it, right? We were afraid lest or that.
>> Lest. Yeah. >> Lest. What? >> Lest they escape. It might escape. >> Yeah. Escape some notice, right? And who is it that we're afraid is going to escape that? Who's the subject here? It's got to be pouantes cuz that's
>> Nominative plural, right? >> Pyante. >> Yeah. >> Then Yeah. So
Is that um like the doing doing evil? >> Yeah. We were afraid that those doing evil would escape. >> Yeah. Would escape. >> Would escape. Okay. >> Yeah. which is evade everybody's the process there is really everybody's notice right because you're um that's who's being evaded right fantastic good
I wanted you to feel that here's an uh let's go back up
>> It doesn't make a lot of sense, but >> uh, stop. Uh >> good >> this shameful writing
I didn't do this one but uh >> Oh well that's good you told me you're doing it at sight look so fantastic and for two reasons you jumped on it uh at site and you're doing pretty good. Well, then take your time and put it together. Good. >> Uh okay. Um
>> So you're right so far. >> You're right so far with that pow, right? That's an imperative. Yeah, >> let's stop that wretched zorafhone. That wretched painter >> painter. Okay. >> Yeah. Life life writer. >> Jump to the end. Jump to the end and see epideon. Yeah. Right. Lifewriter. Epideumon. Right. It's in the accusative just like zorograph.
>> So it's telling you what that zoraphhone is doing. Is it the zoraphon is epideon?
>> Is like it's just >> techn show or or exhibit. >> Okay. Yeah. So stop that that outrageous painter >> that show >> who's who's showing what
>> Uh skill. >> Uhhuh. You say the art. >> Art. >> Yeah. >> And who is he showing him to? Toy >> the young. >> Yeah. Right. [laughter] Okay. I guess you should stop him, right?
>> Okay. What are they telling you? That's an imperative plus a supplementary participle with Powell to stop somebody doing something, right? To stop him who's he's showing those things, right? Keep him from showing those poor kids that art, man. It's it's gross, right? Apparently, for whatever reason, it's just an exercise. Look at B. May Pal say a prohibitive subjunctive.
Says prohibitive subjunctive underneath it. Then you got a supplementary participle with poway. So may pa. All right. Oograph. So o painter. Yeah. Don't what? >> Don't stop. >> Don't stop. What? Eidason.
Um displaying. >> No, this is Dasco. This is Dasco. Yeah. To teach. >> To teach. Don't stop teaching the young. Yeah. >> Yeah. There you go. See how that says don't stop. O painainter teaching the young. >> Right. Okay. Good. Look. Perfect. 100% on that one. Right. Fantastic. Now, I want you to go to page
Boom. Go to page 423. >> Okay.
Number eight. >> Okay. >> Okay. So, you can see you can see similar structure and whatnot. So, take two minutes now or five minutes, whatever. Read it to yourself and do it like it's an exam. >> Okay.
Uh, I don't know what the word lanoid means or what the word is that one.
>> Yeah, give it a minute. It may jar itself loose, too.
Okay. Where are you thinking? Where are you? Uh what's spinning? Is there anything catching you? >> Um yeah, a little bit. Um
Well, okay. Uh I was thinking um that
You're not fearing or you do not fear Um
The >> try you were afraid that not try the mayo is that not you were afraid that >> not >> thatano.
Those doing bad might not escape notice of something. >> Yeah. Yeah. Okay. Now, almost one slight slight um switch here. Yeah. You were afraid of >> you were afraid. >> Yeah. You were afraid that you might not escape the notice.
All right. Now, it's [clears throat] somebody's notice that you're escaping, but just keep that for now that you might not escape the notice. Right. And what are you doing? Doing kaka. Okay. >> Doing bad things to the citizens, >> right? You So you you were afraid
>> That you might not escape their notice doing bad things to the citizens. >> Yeah. Right. See how it's just a slight >> Yeah. >> change there. Yeah. Lanthano. Oh god. What are we practicing? That whole escape somebody's notice, right? Oh god. Fear clause.
Now go to and I'm going to finish your exam, but I want to go first to the media and I want to read the media. What page was that on?
I'm sorry. What page? >> 58. 458. >> 458. Was it that far back? 458.
I'm trying something new tonight just to see where I'm trying to assess you >> in a different way. So, just bear with me. I'm it'll all come together. Don't worry. It's all work out. So, it'll all be good for you.
Okay. Now, as if this were a test, because these are the tests that you'll be getting in the future. >> Yeah. >> As if this were a test, I want you to look at the first lines of the trophos.
The trophos, that nurse, right? >> Yeah. And I I want you to say um this three lines. I want you to say them like it's a sentence that they're quoting, but I want you to use the vocabulary. Okay. And give me a translation. Can you do that?
>> I'll do my best. Okay. [snorts] >> You did get a chance to look at this, right? >> Mhm. [clears throat] Yeah. >> Good. Fantastic. Go for it.
Um from having stopped running or coming.
>> Yeah, let's just stop there cuz you're perfect so far. Pepino ride having stopped. E troon. >> What is that? Trojon. They tell you it's a circular race or >> uh yeah running. >> They're coming from the from the track.
>> Okay. >> School just let out and they're their nurse their trophos is guiding them back home is what's going on. Right. So they they're they've ceased from their from the track. They're coming away from the track and metrosen.
And they don't Oh, wait. And they don't Oh, [clears throat] they don't consider the mothers evil or bad. >> Yeah. Yeah. Right. They don't It's not in their minds. They're thinking about coming home from their school, right? For young minds don't suffer for love. >> That's close. That's close. One switch something around that young mind. UK fel
Uh not for not love or fel. >> Yeah. Doesn't love >> doesn't love uh suffering >> to suffer right also. [clears throat] >> Yeah. >> Good. Good. I want you to see that that's the infinitive for feeling right. Love to do something. Good. >> Fantastic. So you made sense of those lines, right? Um
Using the very same uh kind of testing principle, tell me in that sentence that ends in the first word on the first line, I mean on the third line, that long sentence, where's the main verb?
>> Oh, it's it's an invisible B, isn't it? Is there? Well, there is one. But the pep pow noise, >> that's a participle. So, that's not going to be our main verb. >> Okay. [snorts] Um then it would be uh
Look at that. >> I was going to say that, but I didn't know. >> Yeah, you should have. Right. Right. Cuz that's your that's your verb. >> Yeah. >> Good. And it's just a present indicative active. Right. How about this second sentence that's on the third line?
Where's the main verb? Yeah, >> it's a
It's um alame, right? >> No, that's the infinitive. >> Okay, in front >> can't be the main verb. The infinitive can't be the main verb.
Fel >> good fel right fel doesn't I mean love right it's just love >> and yeah fto so yeah good pre just a present indicative right um now without translating look at lines 49 to 52
The first sentence ends with the semicolon. >> Yeah. >> Kaka, right? Or question. So, where's the main verb in it? I don't care about how to translate. I just want the main verb. >> Okay.
>> Excuse me. That's a participle. >> Right. So, let's find something in the Is anything look like it's in the indicative? any kind of see what I'm doing. These are all Greek verb or words that you've never seen. So now you just have to look through it. You have a limited vocabulary, but you got to look through it despite that. And you got to find the verb. That's all we're practicing on doing a structure. Yeah. Try again. Where's Anything else in there? You'll kick yourself when I tell
>> There you go. >> Yeah, there you go. >> That's the sand stand. Yeah, it's from Hammy, right? >> So, yeah, good. Has there's a there's a gorgeous me just sitting there trying to be invisible. Now, on the last line of that set,
Which one of those is looks like it can be the verb, and that's a question, by the way. I read it like it was a statement, but it's a question.
Okay. >> Infinitive. Infinitive from Leo. So, it can't be the main. >> Yeah. It's a wish. >> Yes. Fle. You got it. You got it for. >> Yeah. >> Good. Turn the page to 459.
Go to the bottom line 59. I mean, it's it's at the top in the paragraph, but it's on line 59 of the paragraph. So, it's it starts out
>> Which one of those those uh words is the verb
Yep. Paw tai. You got it. You got it. Yeah. So, not not yet has the wretched woman ceased from her. She doesn't stop now from her go, from her mourning, >> right? which is curious because a go is a magician, right? So media >> media is doing things. You're going to you're going to pick up little things like that that Okay, this word tags her as a mus, right? So, okay, powerai. Good. And then let's see, do we have a
On line 56? You see that word? First word on 56. >> You go. >> Yeah. What is that? >> I
Um >> for I. It's like >> Yeah, it's the personal pronoun. I, >> right? Personal pronoun. Good. And exa. Ekba right from ebino. Um, so there's your there's a verb there. Good. And you got a host following that. Good
Uh, finally. Okay, here's what I want to do. I want to go back to one more sentence and then I'm going to say let's take a break. And this one is
Nope. That's Where's that gone? How about number?
I want to give you a good one because I want it to have a good structure in it. So, just give me a second. Can I interrupt for a second? >> You have to, I guess.
>> Tell me what um or not. Tell me. Um this is a particular type of construction, so make sure you're identifying it. step back from translating and just make sure you can tell me. Yeah, this is a blank and it's, you know, made up of blank and blank, you know. Okay, sorry. Keep going. Let me know when you ready.
>> All right. What'd you get? >> Um,
Okay. The the men not doing good. Oh, women. Some might teach the kids good through nature. >> Oh no. Did we do the wrong ones? >> What? >> This is page 424. >> A damn it. I did [clears throat] 421. But [laughter] nice. >> Oh, that's terrible. I'm so sorry. >> Send me straight to bed. >> All right. >> Okay. I'm so sorry. I should have said something to you. I didn't realize. Okay. >> All right. Yeah. Look at look at number 14. We can go
Back to that one if you want, but look at number 14. >> Okay, this one looks easier than that one. >> It's a specific It's a specific construction. I want you to look at it and tell me what kind of sentence it is and then translate it for me. I'm sorry. Give it's 14. Give it a shot on 14. Okay, I bet. Okay.
It's good for you anyway to do extra Greek. So, good job. >> Yeah. Thanks.
So it's a a plus um o aist and then aist on
It would be like a a past contraactual. Is that right? >> No, do not translate as a past contrafaction. Look at >> okay >> do again and pran.
>> Notice there's an on as well. So >> yeah, >> those are not aists. Um >> uh subjunctives those are what? >> Um >> optatives. >> Yeah. >> So [snorts] translate them as a plus optative optative plus son. >> Okay.
>> Which you may remember which one that is. It's my favorite if that helps. >> Uh future.
>> Great. >> Good. So translate it like a future less vivven. >> So okay.
So the good but the good should I don't
It's person plural from ditto on me. >> Yeah. To give. >> That's Yeah. To give. [gasps] >> Um
That they would guard them. They would guard them well. almost would. You got the would from the should would clause, right? But put in a should for the >> Yeah. And make it second person plural. The if clause. If you >> If you should Okay, there you go. Yeah. >> If you should give. >> Good. >> To the gods. >> No. No. Not to the gods. >> Well, >> yeah. No, it's not to the gods. That's Yeah. Yeah. >> Yeah. cuz yeah >> just a vod if you could give
>> If you should give >> should give [laughter]
>> Don't you feel like you're at the end of the battle and you're like oh god no I just can't hold it >> right if you should give good things oh gods >> good things >> you would do pratoyman you would do well >> okay >> so that was a should would Additional future less vivid. You got on the second try, right? Okay. Here's what I want to do. Um, after testing you, I see the particulars of what you need um, work on. But I also see that the most important thing that you're doing
Is focusing on structure. I'm going to stop sharing. And the most important thing you're doing is focusing on structure. So the fact that you can go and find the verb at all in the first place is huge
Because I know once you find the verb you can figure out the structure of the entire sentence. >> It's a just a matter of time of developing that. So, [snorts] we are working on getting that base done. All of the material into in the next two lessons is obvious stuff that you really should have already been giving, but they're just filling in little tiny details. There's nothing big about verbs. There's nothing big. There's no big point of grammar that you're going to be learning. All it all we're doing
Now for the rest of the book is filler. We are just filling in. Like today, you're going to learn the forms of the verb to be. Do you really need to have the forms of the verb to be? No, you don't. But if you want to emphasize them, there they are. And so, it's stuff like that. And the personal pronouns. Okay. So, you're still in the 88 to 90ish range. And I can see now from testing you, I can see um we're stretching the limits of how much we're
Packing in. We need a little more review. We need more time to review, right? And we're not going to have it. So, this is a serious consideration in my head. I'm I'm we're suffering in performance a little bit due to the fact that we don't have enough time to get all to go over this and re-emphasize it. You didn't have time to reread the last two units, right? So, okay. All right.
I'm going to read through with uh two more units with you. Not read through them, but just pick out the big things that you need to learn. >> Yeah. >> Okay. The big things that you need to learn. And all I want you to do is cognitively kind of process moving through the material. I don't want you to say, "Okay, I've got another paradigm to learn." I want you to say, "Oh, look at this paradigm. It looks similar to things that I've seen before. So, it's
Not really that much that new." Okay, take uh five minutes. Let's just take five minutes because we don't want to keep you up too late tonight. And do the um we'll do the the big hits of 15 and 16.
Now, I know you'd rather stab yourself in the eye than continue, right? [laughter] I [clears throat] all that hope and all that hope and joy that you achieve through reading Apollo so fluently and enjoying that is all dashed to pieces with another day of Greek. It's just the way it is. >> It's fun. >> Don't uh try not to take it too seriously. serious because look what you're doing Medaline your your brain is pushing against it it's pushing and pushing and pushing and pushing >> and it's trying to assimilate it so the very fact that it's doing work is where
You get the that's where you get the real benefit right I mean >> can you really can you really grade how well a some somebody is working out yeah you can say they're getting to certain levels but all of that workout is good so don't don't feel, you know, like, oh god, I got to do more of this. Yeah, look how easy this is going to be. Go to go to unit 15, the first page. I've got it on my screen share. See this chart for the interrogative,
Right? Pronoun and adjective. All right. So, t is how we say it. T. And look at the masculine feminine forms. Tis, tennos, tenny, tenna. That's nice. Looks just like a third declenion noun, doesn't it? And then in the plural, tin ton tinas.
Those don't those really are not new forms that you're learning. Okay? It's just a way to ask a question. It's an interrogative. Who or what, right? Tis who who's going to do something that's super straightforward. And then unfortunately they give you a bunch of stupid um accenting rules. I don't want you to worry about that. I just want you to see how this thing works. Look at these examples. Tenas epimp,
Right? The tenos is is asking the question, right? It's in the accusative case. So we're going to translate that that whom. Whom m whom
Did you send? Empate. Nice ais there. Pimpo pimpso epimpsa. Nice ais. You sent who? Right. You sent whom? Tinas epimpate. Who are the people you sent? Right. Whom did you send? Good. Look at the one underneath that. Tinaas. Empate.
Right. Which of the stratiotas? Which of the soldiers pimps did you send? Which of the soldiers? These are all interrogatives.
Which women did you send? See how it says literally you sent which women
>> Yeah, I see. >> Yeah. Is that conceptually okay for you? Yeah. >> Yeah. Is it Is it really getting to be too much? Do you You got to let me know, Melina, because it I think >> Oh, it makes sense. >> No, it makes sense. Oh, so is it easy cuz you're bored? Oh, god. Okay, look at the last one at the bottom. Timp sauce. T. That's our That's our neuter, right? What thing did you send? You sent what? >> You sent what? >> Send.
>> Yeah. Yeah. [snorts] What you sent? What did you send? Good. Okay. The next one you have to learn is the indefinite. And the indefinite pronoun is only an an interrogative without its accent.
All right. So, how does it work? It doesn't mean who or what. It means someone or something. It's indefinite. Indefinite. Someone or something. And surprise surprise, its forms just look like any old third declenion noun. Tis tennos tenna again. Okay. So, we don't have to worry. We don't have to worry too much. This is easy stuff. Okay. Then we get to enlitics. And um I'm going to tell you one thing about enkitics. It's all you ever need to know. Okay. These are words that get attached to the word that comes before
It. >> So it's going to hand on its accent to that word that comes before it. That's it. That's all you need to know. What are these in clitics? G P, >> right? And look at P. How P has a dash. That means it doesn't stand on its own. It has to be attached to the word that it's with. So whatever it's adding force to it's you just tack on a pair at the end of it. P at sometime
Who just some place who some place some way in some way t and toy let me tell you you know right they say toy you know what I mean toy. So okay all right now all these accents that follow forget about that. I just want you to know what an inclitic is. I don't want you to memorize anything about it because in section 115, we're going to have finally the verb to be. Amy, right? And [clears throat] this you it's important that you notice the accent is over the second iota. It's on the end of the word ami because there's also an
Ammy which means to go. Amy to go. Amy to be. I know they could have made it a little less confusing, right? But they didn't. Um, here are the forms of it. Notice that you're only going to get it in certain types, right? We're only going to get a present, an imperfect, a present subject, a present optative, present imperative. Look at the present indicative. Amy ast
Ammy. Notice that it's kind of a mi verb, right? It's got a mi at the end of it. So amy >> a estie. Is there any way to memorize this? You know, to cheat, look at the plurals and you get the min and the t that you expect for that first person and second person plural. But the other forms are kind of, you know, unique. So you just have to remember, put together in your head. This one you do have to memorize. Amy a sie esman est.
Let me just hear you run through it. Amy a sen ac
>> Amy I am a you are estee. He she it is esman. We are estee. You plural are and ac they are. Now
You're always going to see that one. maybe a little less uh I mean way less often, but maybe the second most common one is the imperfect next to it. >> Yeah. >> And you'll notice the forms are aa an aemon asan. Again, no rhyme or reason. These you just got to memorize. And to be honest, the one that you're going to see most is this one, the a third person uh singular, right? There was always a narrative they like to use this a right in the beginning in our a was hologos
Right in the beginning was the logos. So that's the one you're going to see most. If you memorize these two you'll be well off. Then you get the subjunctive and the optative. And just notice that the subjunctive looks like long vowels by themselves. It's just the ending of all
Of the verbs that we have been looking at. Look at it. O a omen at oi. You mean that's the verb to be? So you mean all this time that I've been doing subjunctives, all I'm doing is tacking on the verb to be on the end of it. Yep. >> Nice. That's cool. >> Nice. Right. So, okay. That does that that makes you feel a little bit better like the world is understandable, right? >> Yeah. [laughter] Yeah. >> Right. Right. You've got you've got Greek depressive disorder. It's common.
It's common. No, I'm serious. It's common. Um the present optative active. Notice that it's got the epsilon iota. So you got that iota then popping up over and over. That's pretty good. You can say, "Okay, that looks pretty normal." But this present imperative, I just read a text earlier this afternoon that has this imperative right here. This is the second person singular
Imperative. So it's be when you're talking to one person. Be all you can be. Right? That's the second person imperative for the verb to be. Be is be. Oh god. Now the funny thing is is this looks just like the verb for knowing, right? So it could be knowing as well. Why are being and knowing so similar? Oh god. Right.
Look at the participles. Are you surprised? They're just the endings of the participles we had before. On usa on, right on, onto on. You know those endings already. You're not learning anything new. This is just the participle by itself for the verb to be. And you would translate it like if you had this USA and you were talking about the you were talking about the musa,
You would say she is being musa being the muse. All right. >> Yeah. Now what do you what do you think about musa that it looks so similar to the verb to be? Is there something then about the mu that is in the muse that is like the root? Is that what is going >> it's like the existence of interesting. [laughter] >> Yeah. Right. The existence of what exactly? >> Yeah. And it's is musical. >> Yeah. Yeah. And Yeah. And another factor we're not considering is this is all
Pitched and everything so that it sounds a certain way. So okay. All right. Okay. So that's the verb to be. That's the verb to be. Look at its use here. Athoy esman. We are good people. Athoy esman. We are esman. Athoy good people. And athoy is in the nominative case because we are the subject of the verb. We right are the nominative case. So if I'm going to say something that we are, I need a nominative.
You are happy. You are. Ah good. All right. Now the dative of the possessor. What the hell is that? Just look at the example. Is a small little oia. Oh, that guy's got a mikra.
Life's not fair, right? [laughter] That's just the way it is. Okay. For everyone, right?
There's a little house to Andre literally to that man. So you know what is it? It's a dative of the possessor. It's the person who possesses the oia. Okay, look at this note though because this note is actually good. That man has a small house. Note the difference between the genative and the dative when showing possession. The dative stresses the existence of the object and answers the question, what does the man have? The genative in a similar sentence puts stress on the owner and answers the question, who has the thing? So, let's
See that one. Andros and when we're using the genative, we're trying to figure out who has it. So, there's a little house. Small is the house of Eenu, right? Of this guy. This little guy has a This guy has a small house, right? That man, look at the bottom one. That man's house is small, right? Okay, fine. I get it. It's a genative. It's a genative. And when we're when we're stressing that genative, we want to know who who is it. When we're stressing the dative, we want
To know what is that thing, right? What does the man have? Okay. Anyway, okay. >> Does that that makes perfect sense, right? You didn't need any help with that. >> Yeah. >> Okay. >> Let's keep going then. Um the adverbial accusative.
>> Okay. All you need to know is you can have that accusative stand as an adverb. That's all an accusative can stand as an adverb. Ta poas,
Right? Why t why epoas did you do ta these things? Okay. Why? Why did you do it? What was the where's the adverb we're looking for? The t itself becomes the adverb, right? >> Yeah. >> For [clears throat] what reason? Right.
Oh god. Look at the um the next example. Tina tropon. In what way? Tina tropon. You see the Tina is the interrogative. It's asking the question. Tina tropon. What way? Literally that just says what way. It's in the accusative. So we're saying okay, it's going to do it. We're going to turn it into an adverb, right?
In the following way or in this way. in this way. Okay. So, basically what is this? Sometimes when you have an accusative hanging just dangling there and it doesn't seem to be the object of any verb. It's not a direct object. What do you have to do? You have to play with it and you say, "Well, can I use it adverbially? Can I answer the question how I did it?" Right? Ton I did it in this way. That's all. That's all. Okay. Personal pronouns. I want you to say
These. The only way to memorize these is just to say them out. Ago or ego suy. Do you see them? I and you. Ego muy may >> suy. Here how they kind of they they make a funny.
>> Mhm. That's how you do the ego and the sue. You just say them. Ago muoy may su soy say. And you got to remember that that ago can have an epsilon on the front of its oblique cases, genative, dative, and accusative. It can have that epsilon, but more often than not, you'll see it without it. You'll just see moo for the genative, >> right? Of of me. Moo. To or for me, moy. Um, I
Um like me. [laughter] May. That's silly, but okay. Ago, mu may and then sus. So, they're similar. Look at the plurals. Now, the only thing you have to do is look, they all start with h for me or whom for you. And those have rough breathing. H for me or whom for you. And then you just change the endings. Hmon.
Hm. We do something. Hmon of us. dative hey men to or for us and then I I fed us, you know, hey moss in the accusative direct object. And the humace is just a, you know, it's just got a different vowel in the front when you switch from we to you. So that's first person plural and second person plural. No problem. No problem. Those are our pronouns, right? >> Yeah. >> Okay. I don't need to to drown these out. We're going to get reflexive pronouns. myself.
Myself. So you got all the forms for that. They look regular. There's no problem. Look just like our normal declansions, right? Okay. >> Finally, what's really important in this is go to
And I guess we need to do the reflexives on page 445. Go to page 445 and look how you say his friend, right?
Right. The friend of this guy or hilos felos out, right? The friend of of him. Remember that those oblique cases of altos, those become those become pronouns. So look at the one underneath that tales felos. It's literally the friend of her or her friend and next to that is hilos ales which is the friend ales of her.
>> Yeah. >> See how that works? You can do it in an attributive type position between the article and the na and the noun or you can do it between um after the noun in the predicate position. >> Okay. Look at the third. Look at the third example. Hoy
The friends of this guy or ho. Again, it's the same thing. This is this is beating a you know this is this is too much around the same thing. Look at the look at the Greek examples. Read me that Greek example under where it says to show reflexive possession in the singular. The genative of the reflexive pronoun is used in the attributive position. Let's just read that in Greek and tell me that you understand how it's translated.
>> I sent my own brother. So >> good. >> Yeah. >> You get it how the imu is indicating your own. >> Yeah. >> I sent my own brother. I It's literally I sent the brother of myself. >> Yeah. Of myself. I was just thinking that I was like, >> "Yeah, no, that's that's exactly what it is, right?" So good. Good. And it and the one underneath that, you sent >> your own brother or you sent the brother of yourself. >> Yeah. >> Yeah. And under that, He sent the brother of himself.
Yeah. He sent the brother Good. Now look what happens though less commonly you can use the possessive adjectives and sauce mine and yours like the following epsa I sent ton adelon literally I sent my immone my brother
Now we've been saying I sent my brother forever without withoutone
And it is true that it is implied that that brother is the speaker's brother. You don't have to have IMON there. This is strictly for emphasis. I sent my brother, right? You didn't send your brother. I sent my brother. You hear that? >> Yeah. Uh-huh. >> Yeah. Good. Good. And then there's in the plural, we sent our own brother. We sent our brother. We sent the brother of ourselves. >> Yeah. >> Yeah. Yeah. And you can use either hemmetron by itself which just means our own or you can use it with our
Yeah. indicating it's ours right of this. Oh god. Seriously, it's a possession of these themselves, right? It's a possession of these guys ourselves. [laughter] Look at the look at the um yourself. Where's the you here? Look at the second one down
>> Which honestly you're going to see that. I think that's more common. You sent your >> brother, your own brother. You reflexive. You sent the brother that is reflexively yours. >> Yeah. [sighs] >> Okay. All right. That was 15. That was 15. Now, if you just buzz now to 16, you're going to notice we have the same filler. What's the first thing we get in 16?
Boom. Sorry. Boom. We got a little sophocles in there, too. That's always fun to write. Boom. Now, instead of on page, what is this? 481. >> 461. >> Where are we? Yeah, 461. I don't know why it says on my digital readout, it's 481. But is that Yeah, it says 481. I wonder. Huh? The verb fey. Look, we you we had the verb amy to be last time. So now we're going to have fey, which means to say. And these are the most common verbs of the Greek language.
This the verb to be and the verb to say, right? Even though the verb to be is invisible, it's going to be all over the place, right? Same thing with fey, the verb for to say or assert. Now, um, you're going to see this overwhelmingly in the present and the aist. Okay. Overwhelmingly in the present and the aist. So, >> yeah. >> Okay. The verb has only an active voice cuz you can't be said, right? No problem. It has like ditto, tithy, and histammy. It has two vowel grades, a f
And a fa. I had somebody send me LH sent me a sent me a um something with the fa root in it and I had to send back and say where it's coming from. Okay. Anyway, um, fantastic, right? Okay.
>> So, here are the forms. FYI, I say face, you say. Facey. He, she, it says famine. Look, it switches its vow grade, drops it to an alpha. Fam, fate, fy. We say fate. You say, fy, they say. You get an imperfect, present subjunct, a present optative, and a present imper a present imperative. Are you surprised? These are the forms that you're getting just like from the verb to be. Once again, all you're doing is using those. Look at the subjunctive. Omen a to o. That's the subjunctive of the verb to be. You're just adding it to the fe.
>> Yeah. >> Yeah. It's nice when it makes sense, isn't it? >> Yeah.
>> Those imperfects are going to look odd to you. Ephane. Ease. E. Right. Easy. That's okay. But yeah, it's a little bit ace. That sounds like the verb to be again. It is. It is the verb to be. So, a lot of reasoning going on here. Here's the participles. Fosafon.
Saying f speaking f, right? She speaking
Did something, right? Hey, fasca. Fasca speaking. Good, good, good, good. And then a bunch of rules. And then, wait a minute. I thought we were getting grammar. No, we're not going to get grammar. We're just going to get more verbs. Here's a verb. Gignosco.
Exceptionally common. Look at its aist. It has an second aist. Eggnon. Eggnon. Oh boy. [sighs and gasps] It's got, >> you know, it's got that long vow grade on it. You're you're going to be confused about what that is the first time you see it, >> right? Until you see that thing like 10 times, you be like, "Oh, wait a minute. That's that stupid aist of giggnosco to know, right? To know, perceive, recognize." That there's 80 different verbs for know. Okay? I I'm just I'm I'm warning you
Right now. >> Yeah. >> This one, let's see what the pec peculiarities are. What is this type of knowing? Boom. Watch. To come to know, to perceive, to know by observation, to know. Okay? So, this is the knowing that comes from observing. Right? So, when we say no in English, um you know, it's one word. I know. But when they say this no in Greek, cuz there's a dozen different nos, this no is focusing on that act of coming to a knowledge through one's senses. Look how they're using it.
To know by reflection, to know by observation. We have oida. Here's our other. Here's another. It's not an other. It's another of many words to know. Oida I know. I know because I am sitting here coitating on it. Gignosco is I know because I can see what's going on. Do you see the difference? >> Yeah.
>> Gignosco. Yeah. to know by perceiving. I know who you are from the way I perceive you. Right? I don't know you oida from sitting around thinking. I know you from my perception. So I'm going to use giggnosco.
If I say I know what justice is, then I can use oida because I'm not talking about learning what something is from observation. I'm talking about understanding it. So it's kind of a Yeah, it's kind of a >> Look at number three. Oh goodness. This is the difficulty. See, you think it's so easy. >> Oh yeah. You think it's so easy and then you find out, wait a minute, this is the no carnally.
So if I know you by intercourse, it's because I have learned you through perception. It's not when I have intercourse with you, I'm not sitting there thinking, right? I am learning through my senses.
So yeah, there is a big difference if you say I know someone and you use the wrong verb that somebody may think you're having sex with someone, right? Okay, good. Adam, is this the Adam knew his wife Eve? I think it is. Let me see. >> Yeah. >> Yeah, >> for sure. >> I think it is. Yeah. Here they're going to give us They're going to give it to us in Latin. Ah, Adamo Cogno. Cogno is to know. Cognosco is their knowing, right? Like Giggnosco, um, Adam knew his wife, Havam. Who the hell is Havam? Look at what the Latin
Does to Eve's name. >> Interesting. >> Yeah. >> Yeah. And so she conceived in poor Cain. Yeah. Saying poi, I have gotten homminum, a man per dominum through the Lord. Oh god. >> Wow. >> They're not even going to give us the Greek version. You guys suck, man. They're not even going to give us the Greek version. Oh well, there we got the Latin. Okay, let me make sure. Okay. Boom. All right. This time we go back.
Okay. So, here we are at the knowing knowing, right? Eggnon, right? Um, I knew I knew my wife or I knew whatever. I hate to say that. It sounds so awful. Okay, here's the participle. Here's the here's the participle knowing my wife. Noose noose. The woman knowing the equation. Nusa, right? Nusa, knowing the equation,
And then they give us the future optative. Oh god. Seriously, look the future optative. Oy. O. O. Oman. Oh god. Who cares? It's just a future plus oy. This is not new, right? Future optitative active. I might teach
Soy. I might teach. Are you kidding? Here's [sighs] our future infinitives. No problem. It's the same thing. [gasps] One bit of grammar and then this should be it. I think this was the it. Yep. Because that's just the subject accusive is basically the same thing. Yep. Uh they they have this nice comparative though in the end. So what are they talking about here on page boom? Uh,
Indirect statement on page 465. Okay, we're going to do this. >> We're going to do this. And I think I'm going to >> [snorts] >> uh give you a break. Maybe do something fun and then let you go. And I don't mean like take I don't mean take a break. I'm going to give you a break on the paradigms because you notice I'm not forcing you to go through those paradigms. You can go back. You can go back like the verb to be. You see it so
Little that if you ever see it in the future, you can say, "Wait a minute. I need to go back and remember which form this was." You can go back and do that. >> Right. Ideally, if we had 10 weeks, I would sit here and make >> memorize it. Exactly. Right. Okay. Let's finish up for tonight and look at the indirect statement. Look at the indirect statement in Greek. What is indirect statement? Look at what they give you in English on 165. He says Socrates is doing this. That's a quotation, right? You can say you can
Quote somebody or you can indirectly quote them. You can do it indirectly. And what is that? It's indirect statement. He says that. How do we translate that in English? He says that. All right. Somebody said that. When you have the that sitting in there in English, that's your indicator that you are in indirect statement.
He says that Socrates is doing this. Does that make sense? >> Uhhuh. Yeah. >> Okay. Look at the paragraph under that because you will want to come back to this paragraph repeatedly. The indirect statement can be introduced by words, verbs of saying, but also thinking, believing, knowing, and perceiving. Now, think about it for a minute. Just use your that. I say that. I think that I believe that. I know that. And I perceive that.
That's all indirect statement. Whenever you're going to kick yourself into that little knowing, believing, thinking, perceiving that, you know you're an indirect statement. And there's three different ways of expressing this in Greek. Okay. Look at the three different ways of expressing it. You can use a finite verb with a conjunction
Or horse, but is more common. He knows that.
He knows that. Number two, you can use an infinitive plus a subject accusative. He knows that blank is blank. your >> subject becomes an accusative and your infinitive becomes your verb or you can use a participle instead of an infinitive that way. So let's just look at examples of it. So the first one is our haughty. We're going to use halty for our indirect statement. Okay, Lego
To say or speak is used in indirect statement, right? So let's look at an example for Lego. Okay. le he says or she says or it says that so poet look it's simple that so Socrates poet does this >> does that look it's just easy all you're doing is yeah you're [clears throat] just using an indicative that's all >> right no problem no problem that's I can translate that without even if I just translate haughty as that I'm good He says that Socrates does this. Okay, look
At the next one. Lex say he will say halty that Socrates That Socrates didn't do. >> Yeah. This Yeah. Good. So again, halty is easy to use. We're just using the indicative, right? No problem. Right.
>> Now watch this. Apen, we're putting it into a past tense. He said that's Can you believe? Look at the principal parts of the verb Lego. Look at these bastards. This is one of the commonest verbs in Greek. Yet look at what the principal parts do. Lego I say. Eero or lexo. I will say apon or elixa. I said What? Seriously,
What's happening logically here? If you look at the future, we're using basically two different verbs to mean the same thing. It means in part of the Greek speaking world, lego was all the roots. Lego, lexo, elixa.
All right. But because arrow was used for Lego in a different part of the Greek speaking world, we can say lego arero apon.
It's two verbs coming. That's all. It's just two verbs coming together. Okay. More on the hotty. Look at this. Go down to
This one. Apeni. He said that so poet what happens when you throw in a future >> he said because it's in the past he said that [clears throat] Socrates all of a sudden you got to kick that future into what looks to you and I like an optative would do this >> he said that Socrates would do this because we wouldn't say in English he said that Socrates will do this would we well we may but it's not proper right we have to shift that into its optative
Form. He said that Socrates would do this. There's there's very little difference between a future and an optative. Okay. What is a future? It's something that's never going to happen. It's just a possibility. What is an optative? It's something that's not actually happening. It's just a possibility. >> So, okay. Good. Good. Now um the second way we can do is we can use an infinitive when we're use when we come up with when we have to say he says that something happened when we need indirect discourse
We can also get it through an infinitive plus a subject accusative. And again I just want you to look at um examples. One of the verbs that does this is nomo nomo noisa
Meaning to consider to thank or to believe. Right? It's another thinking verb. Are you kidding me? Godzo [sighs] consider. What's the difference between oida? I know or I think and no meo I think or I believe There's there is a difference right there's a difference between considering and knowing
Look at the second the first example no mitz he she or it thanks now I get so and you're going to say what the hell is so it looks like a feminine singular nominative no It's the accusative of the goofy name Socrates.
>> Okay. So, he thanks that that there's your indirect discourse. Now, we're expecting the subject and the accusative. He thinks that Socrates pou
This. He thinks that Socrates is doing this. Look at the second one. No. He thanks that Socrates. What happens when we switch to that aist? We He thinks that Socrates did this. Okay. He thinks that Socrates
Will do and here it's not will not do this. And finally, enom he thought in the past that Socrates, there's your subject accusative that Socrates po.
I'm sorry guys, I went to the power hell. Um, okay. Uh, that's indirect statement. Okay. The final way is using a participle plus a subject accusive. That's going to be no different. Just look at one example with me. Angel he announces so that Socrates po instead of pou just po.
And what does the what does the um participle? Now I'm losing it. Maline, what does the participle um have to look like? It has to be an accusative. Exactly like so. Oh, so exactly like the subject. [laughter] It has to have that same accusative singular ending on it. So, okay. Cool. Cool. And that's that's how you do indirect discourse. They're going to give you um a summary following this of three types of indirect statement. This is just for you to peruse and say, "Okay, I've seen how I can have use
These different forms." And then finally, they give you kind the verbs that you're going to use. No, lego angulo. Look at that one. I perceive that. We get aesthetics from ao. I hear. >> All right. Good. >> Yeah. >> De lo. Look at de lo to make clear. >> Right. That's one that's gonna go ahead and take that. Good. All right. Retain subjunctive. We don't need to worry about the subtain retained subjunctive. Look at polu meaning much or many. Look at its forms. They look just like first and second
Decclenion adjectives or nouns. No problem. No problem. And finally, oh, seriously people, you want me to learn the noun nouse, meaning ship? Yeah, it's got really goofy forms and it's a common word. Nouse. Now look at this. You're looking at all these forms.
I like that one. Noun. Look at all of those forms. And yet I just read Oh, it was like three days ago. A completely new form. That's an older form that Homer likes to use. And it is net o. Look, it doesn't exist here at all, but it is net o. How are you going to know? They just taught you all of these forms. How are you going to know when you when you're reading Homer and you come across some kind of [sighs]
Na and you're like that's not part of the par paradigm. Where am I going to fit that in? So remember that all the rules that you're being taught are bendable. So that's all the grammar from 15 and 16 17 18 19 20 are going to be the same. We can do them two units a day. We can take two more days and get through all the material. Okay. So by Thursday
We can get through all the material so that Friday we can have a reading. We can pull out a little Greek and just hit some different readings of some great masters that you can say, "Okay, I'm just going to practice my Greek." >> Okay? >> And that'll be Friday. But we've got to still burn two units a session. So, here's what I want to do. The >> Yeah, >> we need to make up for not getting exposed to the exercises. So for the first half of class tomorrow, I want to do exercises from 16.
Exercises from 16. I want you to pick them and I want you to do five or six of them. Okay? >> I want you to do them carefully and completely so that you can come to me tomorrow and give me your five. Let's just say five. Let's say h let's cut it down to four. Give me four >> perfect exercises and then we'll do a couple at site. >> Okay. >> And then we'll jump into 17 and 18. >> So read 17 and 18 for tomorrow.
>> Perform four exercises where you're doing them perfectly. perfectly. >> I'll have you site readad a little Greek yourself, but I want you to give me like you're presenting, you know, how you presented to me the chapters, two of the units. >> I want you to do the same thing with the exercises like you were having to these to the students and I don't want to help you at all. That's why
>> Um I want you to do four because I want you to do them perfectly. Perfectly. Okay. And what is this doing? this is helping you. It's doing the same thing. If you have to look up everything in those four sentences, you're just going to reinforce what you've been having in 15 and 16. Right. >> So, that's that's the extra. >> Does that sound good? [snorts] >> Yeah, sounds good.
>> Thank you for holding together and agreeing to do this at late at night and, you know, all that kind of stuff. I can't thank you enough, Melina. and you you're setting a an example for other people. >> So I don't know. I owe you big time >> and and um yeah, I owe you big time for doing this cuz you're teaching me more than I'm Well, no, I think you're learning more. But um you're teaching me a lot so about you know how we can do
This course. Okay. >> Yeah. >> Is there anything you need from me? >> Um I don't think so. Okay, send me an email if anything comes up. Otherwise, two 17 18 and those exercises from uh 16, whichever you want. Whichever five you four you want. >> All right, sounds good. >> Okay. Okay. We'll see you tomorrow. >> All right. >> Okay. >> Thank you. Good night. >> Thank you. >> Good night. >> Bye. >> Good night, guys. >> You have rest, Maddie. Good night. Sexier.