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Hey everybody, Pastor Steven Anderson here from Faithful Word Baptist Church in Tempe, Arizona. I'm here with Anselm, and we're going through the book Homeric Greek by Clyde Farr. The book is from 1920. It's in the public domain, and so you can download a PDF of it in the description for this video, or you can buy a nicer, newer, more updated version of it on Amazon. It's a little bit larger print. The book's laid out in a way that's easier to understand, so if you can buy the new one, it's great. Otherwise, you can download the PDF, but we're going through chapter by chapter. We're expecting that you've already learned the vocabulary for the chapter, and then we're going to explain the grammar. We're going to do all the exercises. We're going to go through the Greek to English, English to Greek exercises. In this chapter, chapter nine, it's all about the imperfect tense. What does that mean? Everything we've been doing so far has been in the present tense. Now we're moving to the past tense, but this is a particular type of past tense. It's imperfect, and what that means is simply incomplete, because the word perfect also means complete, so imperfect means uncompleted. The idea with the imperfect of a verb is that basically it's usually expressing an action that's ongoing in the past, maybe a repeated or a continual action, or it's just not finished from the perspective of the narrative. Now, people can sometimes tend to overdo this or over-translate this or overstate this. For example, with the verb leo, which means I release or I free, you don't always have to sit there and translate it as like, I was freeing, I released all the time, I continually was releasing. A lot of times you're just going to translate it with a normal past tense, but that nuance is there that it's talking about imperfect actions. Does that make sense? Continual ongoing, at least from the perspective of the narrative. How do we form the imperfect? How do we make this past tense? If you remember, we had in the present tense, leo, lis, li, liomen, liete, and liusi. These aren't really that different. We'll notice that these are our endings. The stem is still there, the li stem is still there, but we've got these endings, and some of them are the same and some are a little different. This one's exactly the same as what we have in the present tense. This one's the same thing, right? This one's a little different. It said the usi, we have the on. Now one thing to notice is that when you're in the imperfect, the first person singular and the third person plural are exactly the same, so you just have to go by context to figure out which is which, they're the same. This was an omega in the present tense, now it's become omicron, ni, so that's a little different, but you've still got the sigma in the second person instead of lius, it's l-e-s, and then lack of sigma right here. It's easy to kind of see some connections between this and the present tense, so it's not like just learning from scratch here, you can see some connections. What's the big colossal difference here? The big colossal difference is this right here at the beginning of each of these forms, and this right here is called the augment. Here's the thing about the augment. When you're dealing with verbs that start with a consonant, like here starting with lambda, then the augment's pretty simple, you just stick an epsilon at the front. Why is the epsilon accented? Well, remember with verbs, the accent tries to be as early in the verb as possible typically. It's regressive. Whereas if you remember when we're dealing with nouns and adjectives in Greek, the accent is typically persistent, meaning it wants to stay on the same syllable if it can as the noun or adjective gets declined, whereas with verbs, it likes to just move as far from the end of the word as it can. Even though it's leo, lis, li in present tense, now that you've got this extra syllable, well, why not put an accent there? Why not move that accent even further toward the front? That's what verbs like to do. So it becomes elion, elias, elia. Now here, you could not put the accent that far because you can never put an accent more than three clicks from the end. You've got your ultima, your final syllable, and you've got your penult, the second to last, and you've got the anti-penult. Those are the only three places where you can put an accent. So it can't be here, so it goes where it can be here. Just a quick review, if the last syllable is a short vowel, you can be three syllables from the end with your accent. And if it's a long, you can only be two. Remember that? Yeah. Okay. So basically here, it goes to eliomen, eliete, one, two, three syllables from the end. And then here, again, we're back down to a shorter word, so it's elion. Got that? Okay. Now the dual forms, again, the dual forms, if you're new to Homeric Greek or new to ancient Greek in general, you don't necessarily have to learn the dual forms. They're not in any of the exercises or anything, but if you've already studied classical Greek or biblical Greek and you're comfortable, then you might as well learn the dual forms as well. So this one right here is pretty similar to the present. If you remember, in the present, it was just leiton, and that was for second person or third person dual, it was for both. Well here in the imperfect, now we have a different form for second person dual and a different form for third person dual. So here, this is what we would expect, because it's just like the present leiton, but it just has the epsilon in it. So what would this mean in English? Second person dual, imperfect, elioton. How would you translate that? They both or they? Well we're second person though. Oh, okay. So you both released. Yeah, you both were releasing or you both freed. Yeah, exactly. And then third person would be like, they both were releasing. So right here, notice how the accent has migrated this way, because of this long syllable here. That only allows it to go on the second to last. And it's a short, yeah. So there we go, eliotin. So we got elioton and eliotin. Again these forms are optional to learn, but you're definitely going to see them in the Iliad and the Odyssey, so it's good to know what they are. Okay. So let's talk about this augment a little bit more. Like I said, if it starts with a consonant like leo, then it's pretty easy. It's just an epsilon. Or we could take another verb that starts with a consonant, pharaoh. So how are we going to augment this? Ephoron. Yeah, exactly. I mean, we're just going to throw that epsilon on the beginning, and then change it to this ephron. Ephron. Ephron. Ephron. Ephron. Ephron. Ephron. Ephron. Ephron. Ephron. Exactly right. So that's pretty simple when you're augmenting something that starts with a consonant. But here's where it can get a little bit tricky, is what about where we have certain verbs that could start with, what's wrong place for the accent on that, you know, that starts with a vowel, right? Well, then, you know, what are we going to do? I mean, are we just going to do that? I mean, that's kind of weird, right? So we don't want to do that. So what we're actually going to end up doing is when you lengthen the vowel. So instead of adding an augment, since you already have a vowel, you lengthen that vowel. Okay, now here's basically how this works. These guys right here, they all pretty much lengthen to this. I'm going to oversimplify a little bit, because there's no reason to overwhelm you with this at this point, because it's not really that complicated. You know, basically these three, if you lengthen this, it goes to this. If you lengthen this, it goes to this. And this is already long, it just stays the same. Basically nothing happened. Okay. And then with these two right here, you know, these lengthen to the Omega. This kind of makes sense, because I mean, these are both O's. You got the little O and the big O. Obviously, if you lengthen a little O, it becomes a big O. Pretty easy to think of. And then, you know, these two lengthen to this. And then if you remember these guys right here, you know that these can be either short or long. So basically, if they're short at the beginning of a verb, then when they lengthen, they just become a long version of themselves, right? So there's nothing really to see here, folks. I mean, that's pretty simple. I mean, right? So these are the basic idea. I'm not going to belabor that. I think it's better to learn it just by seeing them in the wild. And you'll just kind of see how that vowel lengthens in a verb. And that's in place of an augment. Okay. Now here's the bad news, is that when you're reading Homer, a lot of times, Homer just leaves off the augment. So when you're reading the Iliad, the Odyssey, and going through Homeric Greek, here's what you'll often see, is just the augment just totally missing. And you know, basically, you just don't have it. So where does he put the accent then? Well, I mean, it would depend on the situation. But yeah, I mean, it would just... Leon? Okay. I guess so. Yeah. I mean, I'm just telling you, like, the augment is going to be missing a lot. Oh, well. Okay. Yeah. Okay. Now, why is the accent going to be missing? It's going to be missing because of the fact that the meter of the poem is very rigid. And so sometimes in order to just make it fit the beat, you know, we just ditch the augment to make it fit the meter. Poetic language. Poetic language. Exactly. Because, you know, there's... We're going to talk more about meter. I think it's like chapter 13 or chapter 14. There's a whole chapter on meter where we'll go over it. But basically, it's a pattern of longs and shorts, which nobody obviously knows exactly how this sounded 2,700 years ago, plus was it sung, was it chanted, you know, what did it sound like? We don't really exactly know, but we're assuming it was sung to, like, a musical accompaniment or something like that. But basically, what we'll typically do with the meter just in order to provide a way to read it and kind of get that rhythm is just accent the long syllables and just emphasize them and then just de-emphasize the short syllables. But in reality, it was probably that they were, like, actually held longer, like, from a time perspective. Okay. Who knows? But anyway, the bottom line is one way to read it that a lot of modern readers will use is to just emphasize it. So, like, for example, at the beginning, it would sound like, mi ni na i de thea pi li i a di o a hi li os, ulo mi ni ni mi ri ajheis algei thi ken, polas, difthi, muspsi, has aidi, pro japsen. So that's a way to read it. Nobody, it's not going to make everybody happy because, you know, nothing ever will. But the point is that there's that rhythm to it, ba ba ba ba ba ba ba ba ba ba ba ba That's basically, like, the long, short pattern of it. And so in order to facilitate that, sometimes augments are just going to disappear. And they do disappear a lot. So don't just rely on that augment being, now, if you're reading the New Testament or something, you know, the augments are probably going to be there. But I mean, like, in poetry, though, they're going to be disappearing left and right. But you can still, you know, know that those imperfect endings are a little different. So that's how you'll end up telling the present tense from the imperfect is basically the endings are a little different. So if you see an augment, you know we're talking about past tense. But if you don't see an augment, that doesn't necessarily mean that you're not looking at an imperfect or an aorist. Does that make sense? Yes, it does. All right, let's move on to the exercises where we go from Greek to English. All right, so here we are with our Greek to English exercises. The first one here, O aqui volos viaa mandocinin, iri volas ton theon ariisi. So what does that mean, Anzo? The free shooter, or isn't that Apollos? That's what I learned. That's who we're referring to. This is one of his epithets. So all throughout Homer, everybody's got like an epithet or a nickname or a descriptor or many different descriptors. So it's referring to this pagan false god called Apollo. But here, this is just referring to the fact that he shoots from far away. That's what that means. So you know, this is coming from the verb volo, which means like to shoot or to throw because he's an archer. So he's aqui volos because he shoots from afar or you could call him the sharpshooter or that sharpshooter because remember, this is actually a demonstrative adjective. So that's sharpshooter, free shooter by prophesying. Or by means of prophecy. And what it really means here is like, by means of the gift of prophecy, because he's basically bestowing that upon humans, his little soothsayer, sorcerer guy or whatever that's going to tell people what he's saying. So aqui volos via Mandocini. So basically, that sharpshooter, by means of prophecy or prophetic inspiration, Mandocini, tells the plans or the wishes of the gods to the orgyls, to the Greeks. Yep, exactly. And you know, one way that I remember this word is I think of a praying mantis. So because that's actually etymologically related to this. What's a mantis though? A praying mantis. You know what I'm talking about? The bug? Do you know what a praying mantis is? Okay. It's a language barrier. He's also from Germany. But all of the American viewers at home, they all know what a praying mantis is. It's that little green grasshopper looking thing that has his hands like this. Oh, okay. The insect. Yeah, I think I know what you mean. And it's called a praying mantis because it's like it's got its hands up like this, like it's praying. Well, a mantis being a prophet, it's not going to be the word that's used in the Bible for a prophet. But like these pagan prophets are called a mantis. So the praying mantis, just that's what helps me remember. It's not going to help you, but it's going to help them at home. All right. That's good. So yeah. So Mandocini is like the gift of prophecy. All right. So we got that one. Let's move on to the next one. Iolibi, faei, ichon, ichus, and olibo. Okay. So. Of course we're using modern Greek pronunciation. Okay. So do you know, are you struggling with this word? So those Olympians. Right. So those Olympian what's? Olympian gods. Those Olympian gods. Okay. So this source is an adjective in this case. Exactly. Yeah. Yeah. Yeah. See this right here, this is a noun. Olympus. This is the noun Mount Olympus, olibos. And then this right here is an eos on the end, you know, if it were in the nom there. And so, yeah, that's what that is, olibos, like Olympian. Okay. Yep. So those Olympian gods had. Yep. Those are imperfect, right? They had. Had houses in the olimp. They had houses on Olympus or in Olympus or in Mount Olympus. Yeah. So notice, you know, right here, what happened here, because the augment is a little different here. Yeah. Isn't it? Because this is echo. So just that epsilon by itself, in this case, its longer version is ehon. So it got longer this time. It didn't go to the eta. Instead it went to this epsilon yoda diphthong. Yeah. You know, so that's how that one goes. So that's irregular then? That's irregular. Yes. This is an irregular. It's not following the normal pattern. Yeah. So so yeah. So those Olympian gods had homes or houses on Olympus or in Olympus. Right. And then number three. The free shooter who's beloved by Zeus, eta, was fashioning. Yep. He was making. Those Argive Achaeans. Yeah. He was making the Argive Achaeans. Argive Achaeans. Okay. Right. But what about that, though? It's not the same group, because what's that? Oh, yeah. I missed that. So he was making the Argives and the Achaeans. And the Achaeans. Okay. I can see why you'd think that, though, because I thought it for a second, too, because of the fact that the Argives and the Achaeans are pretty much the same people. Yeah. Those terms are used interchangeably in the Iliad. So but because we have the teh here and the teh comes after. Yep. Right. So we'd add the and this is like a post positive teh. You'd stick the and between these two things. Teh follows the word that it's connecting. It really goes before in English when we translate. So he made those Argives and Achaeans. And what did he make them? He made them spoil or booty to birds. Yeah. He made them spoil or pray for the birds. Very good. So number four, Achaei Argiyi teh. And this right here, this teh is a teh that's just kind of like stuck on there, right? So basically, well, I don't want to translate it for you because I want to let you do that. The Achaeans and the Argives were making bad works by or through the council of the goddesses. Singular. Because that's genitive. Yeah. Yep. It's theas. Not theaon. Yeah. Okay. So this is not accusative plural. This is genitive singular, right? So yeah. So the Achaei Argiyi teh efkhon erga. So the the the the Kians and the Argives did evil works by the will of the goddesses. Like, I guess it's saying that she prompted them to do those evil deeds. Right. Okay. And then number five, Klitamnistri viaton thimon efkhon teh erga thina. Klitamnistri? Yeah. Klitamnistra or whatever you want to call it in English. Quite a name, huh? Yeah. By or through passion, maybe in this case. It can be by means of or through or because of. So I would say it's probably like Klitamnistra because of that spirit, because of that heart, because of maybe like her heart. That's what I would say. Like, because of her heart. Okay. That makes sense. Because of her heart. Because of her spirit. Yeah. Yeah. Did those terrible works. She did those terrible deeds, like because of that spirit. Yeah. Okay. Now, here's the thing for those that we've been we've been using this word a lot, haven't we? In Homeric Greek. Saying it's spirit, because that's what it means in Homeric Greek, spirit, heart, something along those lines. But students of the New Testament are probably a little confused because this means something different in the New Testament. It means like wrath. Oh, okay. Like themos. You know, you're reading that in the New Testament a lot as wrath. This is the Homeric meaning, earlier meaning. Okay. Because you might be tempted to say like, because of that wrath, but that's probably a later meaning. And this is Homeric spirit. Okay. And you could see how spirit could evolve into meaning wrath. Yeah. Makes sense. Because they both have to do with like passion or something. Yeah. All right. So number six. Priamos laoste Priamu olekon polus argius. So this is a guy's name. Notice the capital letter. Yeah. Yeah. Priamos. He's the king of Troy, Priam. Yeah. So look at the te. The te is connecting what? Because it comes after the word that it's connecting where in English it would go before that word. Yeah. So what have we got? So Priam and the people of Priam. Yeah. Priam and the people of Priam or Priam and Priam's people. Right. Priamos laoste Priamu. So this is like one unit right here. This laoste Priamu is like and the people of Priam. Yeah. Priam and the people of Priam. What did they do? Olekon. They killed many Argives. Yep. So Priam and Priam's people were killing many Argives. Notice that the Omicron has lengthened to an Omega as the augment, right? Here we saw an augment where it's just an epsilon tacked on at the beginning. Same thing here. That's supposed to be an O by the way. And then, you know, here it's easy, etefre, piece of cake. This one was a little irregular, ekon, but yeah. So we're seeing these things in the wild, the imperfects. And then this last one, number seven, is going to be a question. Tis iri ta sa erga kakapriamu. Who tells those ... Okay, so this is going to be a demonstrative adjective, right? Those or these, right? So who tells those ... Do you know what sa means? Like to you? Well, it's ta sa erga. Just think about these three words, ta sa erga. They're all agreeing. So your works. Yeah, like those works of yours, right? So who tells those works of yours? Because this can either be nominative or accusative because of the form, but it's clearly accusative because, you know, it's obviously the direct object here. Like who tells those bad works of yours to priam. Yeah, and this is just an indirect object. They're telling it to priam, right? Okay, let's move on here. Number eight, ta erga esti. Did you have something to say? Yeah, you can see it. I was just worried about that. Oh, okay, cool. Okay, so ta erga esti kala unika etefhon volas theon kethaon viatin mandosinin. So what does this mean? Those works are good because they did the will of the plants of the gods and goddesses by means of the gift of prophecy. Yeah, exactly. So those works are good because they perform the wills of the gods and goddesses by means of the gift, by means of that particular gift of prophecy. Very good. Epemplemen ta chrisia skiptra is ikon priammo. That's just ta. I just got a little sloppy there. So what is this? What do we got here? We were sending those golden scepters or staves to the house, to priam's house. Yeah, to priam's house. Sometimes we want possessive to be genitive, don't we? Right, especially as a German speaker. But sometimes dative, we're in Homer. Dative is sometimes going to be expressing possession. So basically it's into the house of priam, into priam's house. Even though we might want it to be genitive, get used to it because guess what? You're going to run into a lot of these datives that are denoting possession. Same thing in Latin too. Okay, so number 10. Ekete tas piras di ni clangi. Actually, it's a question. So, ekete tas piras di ni clangi? Okay, so did you burn those funeral pyres with a terrible noise? Yeah, were you burning those funeral pyres with a terrible sound? Because here, obviously, this is the direct object, tas piras, and then this is dative, di ni clangi. So it could be a dative talking about basically like a condition that's happening with a great noise. Like there's a great din surrounding the fires that are being burned, you know what I mean? So, yeah, that's all that is. So here we got, uch indane i volithea thalassistimo. Or it's a question, so uch indane i volithea thalassistimo? Wasn't the plan pleasing to the goddess of the sea, pleasing to her soul? Yeah, but yeah, exactly, like was the plan of the goddess, again, one of these datives that we don't really like, of the sea, and like in her spirit? Was it not pleasing to her in her spirit? I was just looking this up real quick, what the note is on this technical term for the di ni clangi. It says the dative is used to denote cause, manner, means, instrument, agency. You know, there's just giving other uses for the dative, besides when it's irritatingly being possessive. But is it possessive in this case, isn't it? Like to the goddess of the seas in her spirit? Yeah. Is that also possible? Yeah, you're right. Yeah, that's probably better. Okay. Because basically the plan was not pleasing to the goddess of the sea in her spirit. Yeah, that for sure works. This right here, though, it lists in the book, it just lists all these different uses for the dative, cause, manner, means, instrument. And I would say that in this case, what we're looking at is dative of manner. Because it's like, how did it happen? Did the burning happen? Did it happen with a great noise, with a terrible din, or a terrible uproar, terrible noise, right? Okay, yeah. Okay, yeah. So that, yeah. I think that that's a better translation here. Cause yeah, these can be possessive, but I think in this case, you know, I mean, you end up kind of getting the same meaning from the sentence. But I think that, yeah, you're right, it makes more sense. Because the counsel was not pleasing to the goddess of the sea in her spirit. Yeah, you're right. That's better. Okay. Number 12. Ethea aidusi takala erga ton theon ekivolos de veniali. Yeah, I apologize for that one, cause I was like, I was trying to look something up in the book, and so I got my wires a little crossed there. Those goddesses are singing those good works, good deeds of the gods, but the free shooter goes elsewhere? Yeah, yeah. So those goddesses sing the beautiful works, or the noble works of the gods, but the sharp shooter goes somewhere else. Okay. Got it. Hey, I didn't say these sentences were going to make any sense, all right? And then number 13, eche priamos aglaon ke kalon ekon. Priam had a beautiful and glorious house. Yeah, a glorious and beautiful house, and this could be a hendaiadus thing, so it could be like, Priam had a glorious, beautiful house, right? You don't necessarily have to translate the and. All right, so that's it for the Greek and English. Now let's do the English into Greek. All right, so now we're going to do the hard part. We're going to go from English into Greek. So the book doesn't have an answer key or anything, and we're just doing these on the fly off the top of our head. So if we make a mistake, let us know in the comments, but we're going to try to look out for each other here and crank these out. All right, so number one for you. Who brought this countless shining ransom to the beautiful home of Priam? So just start with who brought this countless shining ransom, and then I'm going to work on number two. The Achaeans of the archives burned many funeral pyres in your beloved fatherland. Okay. Oh, wait, I'm doing your sentence. What am I doing? I'm going to do my own sentence. Who brought the shining ransom? Who brought this countless shining ransom? Okay. Let's see here. Burned. Let's see if they burned me. Okay. You need more? Yeah. Okay. Who brought this countless shining ransom to the beautiful home of Priam? To the beautiful home of Priam. I would use... Yeah, you're doing this. I don't want... Yeah, I was going to... That's what I was going to say. Okay. I'm not going to give you any hints. You got to do it on your own. To the beautiful home of Priam. Okay. Now I got to do the ugly part and put in all the diacritics. Oh, I hate these things. I think it's going to be feely ponchy, right? Number four for me. Number four. Going through the gift of prophecy, we tell many glorious deeds of the gods and goddesses who have Olympian homes. I'm ready for the next one. Okay. So you're doing number three. Clytemistra, have fun spelling that, was wicked and performed many dreadful deeds. Clytemistra was wicked and performed many dreadful deeds. And the was there, it's not something we learned in the chapter on imperfect. It's something that we've known from many chapters ago. Think John 1-1. Right? Okay. Clytemistra was wicked and performed many dreadful deeds. She was wicked and she performed many dreadful deeds. She was wicked and performed many terrible deeds. Okay. Number five. My deeds are noble, but yours are cowardly. My deeds are noble, but yours are cowardly. No offense. Let's see here. Man, I think I wrote too big, like giant print. I don't know if I'm going to have room for number six here. I'm just going to have to get smaller. So for number six, I'm doing the gods sent an evil plague up through the camp and destroyed many Achaeans because they dishonored the free shooter. What's number seven? Okay. You're doing, it was not pleasing to Clytemistra in her wicked soul. But basically you're not going to translate her though. You're just going to say it was not pleasing to Clytemistra in the wicked soul. In wicked soul. Yeah. It's not pleasing to Clytemistra. Okay, so they sent an evil plague, let's see, evil plague. Okay, so they sent an evil plague up through the camp and destroyed many Achaeans. Okay, so they sent an evil plague up through the camp and destroyed many Achaeans. Number nine. That's it. Oh, cool. So I just need to wrap up with six here. So I just need to right now, because they dishonored the free shooter, because they dishonored, so that would be 18 months, because they dishonored who? Free shooters, so Achaean, right? And then this free shooter thing is a rough breathing, I think, right, isn't it? Yeah, you had it before it was rough. Yep. Okay, all right. Oh, man, I have a whole bunch of diacritics to do. Look at me. Sometimes I save them for the end. Save the best for the end. Yeah, save the best for last. Actually, that should be a circumflex, right, long, short. That's got a comma after it, so that's going to be an acute, right? Okay, all right, very good. Now let's look at it. Starting with number one, what have we got? Who brought this countless shining ransom to the beautiful home of Priam? Tis, efra, ta, miria, miria, so that's like a lot, okay, glorious ransom, is econ cologne into the beautiful house of Priam. Why can't you just do priamu? I could. Why do you got to be like that? You just got to mess with us by using a dative, huh? All right, fine, I see how you are. Okay, so yeah, I mean that, I think we're good. I wasn't 100% sure about miria. Yeah, because it's mirios, right? So miria, I think that that should be right. I mean, I don't feel like looking it up, but yeah. Because usually it's miridi, but it has to go, it has to agree. It's neuter, yeah, so it has to go with apina. So yeah, no, I believe you're correct there. I mean, this accent's going the wrong way, right? Oh yeah, okay. Because it's not, remember that grave can only go on the very last syllable. Okay, apina is econ cologne priamu, yeah, yeah, I believe so. Okay, so number two, achei adyite, right? Or let me read it in English, what it's supposed to be. Now I lost my page. The Achaeans and the Argives burned many funeral pyres in your beloved fatherland. So the Achaeans and the Argives, right? Burned Achaeon, Polas Piras, many funeral pyres, and Fili Patri in the beloved fatherland, right? Okay. See anything amiss there? Does everything look okay? Okay. All right, number three, Clytemistra was wicked and performed many dreadful deeds. Clytemistri in carchi che etefghar, pola ergadina. Yeah, that works. All right, and then number four in English is, through the gift of prophecy, we tell many glorious deeds of the gods and goddesses who have Olympian homes. So, dia mandocining, through the gift of prophecy, iromen, we tell, erga pola che aglaa, that's the hendiadis, where I added a ga here, when it's really just many glorious deeds of the gods and goddesses. So the te there after the second thing. And then I just decided to use like a relative cause of, a relative clause of characteristic, who ecos olibios ehusi, who have Olympian homes. Okay, yeah. Do you like it? Yep, I like it. Or is there an issue? It's good. Okay, all right. Number five, my deeds are noble, but yours are cowardly. So, erga mu kalaa sa the kakai sin. Okay, so this is the part that's bothering me. Yeah, me too. It's bothering you too, isn't it? Because you're basically, you're using modern Greek. Yeah, I'm still used to that. Which is great, because modern Greek's awesome. But what you'd want to do here for Homeric is something like this. Because there's like emo, samu, ema, right? That would be my guess is probably what they're looking for. I mean, there's a lot of ways to skin a cat in Greek, but that's probably what they're into. Okay. Right. So let's look at number six. And if you at home have a better idea, let us know. We're doing what we can here off the top of our heads. All right, number six. The gods sent an evil plague up through the camp and destroyed many Achaeans because they dishonored the free shooter. Okay, so thei epibon, the gods sent, nuson kakin, an evil plague, anastraton, up through the camp or up through the army. Olekon there, and they destroyed, still referring back to thei, so we're third person plural, right? The omicron has become an omega through augmentation, imperfect. So they destroyed olekon, polus acheus, many Achaeans, because unica, etimazon, they were dishonoring, right? They dishonored because it's atimazo, the alpha has lengthened to an eta, right? Etimazon ekivolon. Okay. See any problems? Um, just the breathing milk. Ah, you got me. Darn those breathing marks, huh? All right. And then last of all, number seven. What have we got here? It was not pleasing to Clytemistra in her wicked soul. Uxinnane, Clytemistri. Yeah, that's good. Dative. Themo karko. Why not? Looks great. Is the rough breathing work? Is that correct? Yes, it is correct. Yeah, that's it. All right, we got through it, folks. So that was it for lesson number nine. We'll see you in lesson 10.