Learning Greek - Lesson 2 - Second Part
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ACHILLES' GRIEF - From Homer's Iliad
An act of freedom
A
NTILOCHUS approaches Achilles with a sigh of sadness (
Ὤ
) referring to
himself (
µοι
), who has to let Achilles know (
πεύσεαι
) such a greatly (
µάλα
)
disastrous (
λυγρῆς
) message (
ἀγγελίης
).
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Learning Greek - Lesson 2 - Second Part
To Homer and to all those who listened to Homer's poems knowing the course
of events, this message prefigured the beginning of the victory of Greeks. But
neither Homer, nor his audience, could care for such a secondary consequence:
the message was indeed sad and disastrous. Patroclus's death was not a prerequisite
to the victory of Greeks, it was not necessary for it to happen. Its cause was
Achilles' refusal to fight, an unnecessary refusal.
Homeric Gods are not as dominating as we sometimes think. If Achilles was to
suffer a great grief, how great should be the grief of God, seeing His gift on the
ground? And all of this depended on Achilles' free choice - a choice supported
and not imposed by God. By choosing Achilles' wrath as the subject of Iliad,
Homer recognised on the grounds of history an act (
πρᾶξις
) of freedom. In Homer
and after him the Greek is the free man.
It was an act of freedom, but it was also a sad act, that ended with the loss of the
glory of God. From now on the Greeks knew that they could not expect
anything real from history. Alexander the Great knew it, and took the
expedition of Greece to the end and beyond the end of the world, as Aeschines wrote.
The primary meaning of
κεῖµαι
is "I am embedded", and Achilles wanted to flow
immediately to the same bed, to become like the oar in Elpenor's seashore-grave,
that announced the impossibility of life from now on:
Ὣς
φάτο
͵ τὸν δ΄ ἄχεος νεφέλη ἐκάλυψε µέλαινα
·
ἀµφοτέρῃσι δὲ χερσὶν
ἑλὼν κόνιν αἰθαλόεσσαν χεύατο κὰκ
κεφαλῆς
͵
χαρίεν
δ΄ ᾔσχυνε
πρόσωπον
·
νεκταρέῳ δὲ χιτῶνι µέλαιν΄ ἀµφίζανε τέφρη.
* Written in blue are words you already know from the
How many sentences are there in the text above?
As you know, to have a sentence you must have a verb (explicit or
implied), each verb forms its own sentence (clause), a self-sufficient
sentence is called main (
κυρία
), a sentence that needs another sentence in
order to have a complete meaning is called secondary (
δευτερεύουσα
) or
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Learning Greek - Lesson 2 - Second Part
subordinate (
ὑποτεταγµένη
).
As in English, punctuation marks will give you some help: a comma (=
κόµµα
), a full
stop (=
τελεία
), a semicolon (in Greek this is a raised dot
·
-
in
red
in the text above.
Note that the English semicolon [ ; ], in Greek is the question mark). Of those marks, only a
full stop defines for sure one or more sentences, otherwise, a sentence may contain
elements (explanations, appositions, etc.) spanning many semicolons or commas.
1) Meaning is the best guide to finding the sentences in a period (the section of a text
between two full stops). 2) You know how many sentences there are, if you know how
many verbs there are, and, finally, 3) you can infer that a new sentence begins when
you see a conjuction (like "although"), a relative or interrogative pronoun (like "who"),
a relative or interrogative adverb (like "when").
There are a lot of words in the text that you can't understand, so that the first
move you'd make would be to open up your dictionary and find these words.
Let's suppose that you search first for the words of the first period (until the
first semicolon, at µέλαινα=dark). You will indeed find all the words in the
dictionary, except for three:
τόν
,
φάτο
and
ἐκάλυψε
. Your text now has become:
Ὣς
[
Thus
]
φάτο
[ ]
͵
τὸν
[ ]
δ΄
[
and,but
]
ἄχεος
[
grief
]
νεφέλη
[
cloud
]
ἐκάλυψε
[ ]
µέλαινα
[
dark
]
.
As you can see, among the words that you've found, there is not even one verb.
Why not?
The formation of a Greek verb
W
E SAW (talking about the verb κεῖµαι) that a verb is formed by adding
various suffixes to a root. However, it is also possible to have additions before
the root, at the very start of the word. These additions are called augmentations
and they help a verb express various tenses. In English the verb solve becomes "I
have solved" in present perfect. The Greek
λύω
(= I solve) in present perfect
becomes
λέ
λυκα
(= I have solved).
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Learning Greek - Lesson 2 - Second Part
The first syllable (
λε
) expresses the tense and it is an augmentation of the root
(
λυ
). The last syllable (
κα
) belongs to the person and number: λέ-λυ-κα.
[λέλυ
κας
= you have solved, λέλυ
κε
= he/she has solved, λελύκα
µεν
= we
have solved, etc]
Notice that the augmentation (λε) was formed by the consonant (
λ
) of the root
and the vowel
ε
. This happens in present perfect. You will encounter
augmentations in all past tenses (imperfect, aorists, perfect, pluperfect) and the
future perfect.
This particular augmentation, with the consonant of the root plus
the vowel
ε
, is called reduplication and it happens in perfect tenses (present
perfect, pluperfect, future perfect).
In Homer (and modern Greek) often a verb
lacks augmentation -
δάκρυσα
(I wept) instead of
ἐ
δάκρυσα.
As you might have noticed, in a Greek verb the person is revealed last, while
in English is revealed first: "
I
have solved something" we say in English. Greek
first reveals the time and action: there is something that has been solved (
λε-λυ
)
and afterwards there is revealed that it has been solved by me (λέ-λυ-
κα
). The
Greek order of importance/appearance, as reflected in a verb, is Time/Action ->
Person/Cause, while in English is Person/Cause -> Time/Action.
Verbs describe an action as it happens, this is their main work. A "solution"
also refers to an action - that may have happened, happens, will happen, etc. It
is a noun that mentions an action without actually describing it. By placing the
person/cause first, English transposes the weight from the action, which is the
essence of the verb and what makes the subject of the verb essential, to the acting
person, thus presenting the person into a void: "
I
". This is what we hear/read first:
an "I" or a "You", etc., - a person inside nowhere, doing or bearing nothing.
Greek first reveals the action (
πρᾶξις
) and the time (
χρόνος
) [which, for a verb,
is the equivalent of space (
χῶρος
)]: what a person does is where a person lives
and what a person is.
Knowing is going through these actions in a progress that reveals the person
always in the end. When Croesus, a very rich king, asked Solon if he considered
him happy, Solon replied: I must first know your end in order to answer this
question.
In Greek, the person is revealed not only after we have learned the time and
action (λέ-λυ-κα), but it is revealed united with this action: time, action and
person are united in a single word:
λέλυκα
. The dispersion of the person, due to
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Learning Greek - Lesson 2 - Second Part
watching it before (which also means: outside) its proper life, is reflected in the
English by the very formation of the same tense in three words: I have solved
-
And notice in "I have solved" the accidentall irony, the irony of a solution
expressed in dissoluted language!
The tenses of a verb
T
HE CORE of the Greek tense system consists of the
Present
,
Aorist
and
Present Perfect
tenses. These tenses have more or less different stems, out of
which all other tenses are formed (
Imperfect
uses the stem of the
Present
,
Future
uses the stem of the
Aorist
,
Pluperfect
and
Future Perfect
use the theme
of the
Present Perfect
). That means, if you know the core of a verb, these three
tenses, it's easy to find everything else.
In the course of time, as you become more familiar with the various verb forms,
you will find it very easy to recognise the tenses. For the moment we need to
say just a word about the meaning of tenses, how they define time in speech.
We say that
Present
refers to an action that happens now. In Greek it is called
Ἐνεστώς
= the time that has just now established/installed an action. Imagine
this in space terms. When drawing a line, each point, one by one is established
in and by time, and becomes instantly past. That very in-stant in which each
point appears is the ἐν-εστώς. In the sentence attributed to Heraclitus
πάντα
χωρεῖ καὶ οὐδὲν µένει
(=everything moves and nothing remains), a sentence
describing a principle, what gives the sense of a continuous present is just this,
the sense of a principle, and not the meaning, of course. The principle as such is
always present. We may call this a meta-present, a present that does not belong to
a grammatical event, but to a detached observation of language and reality, as if
the one who speaks was not governed by language or reality. It is interesting,
that the very word
ἐνεστώς
is a present perfect participle, the very present is
described by a present perfect word! We would be closer to reality if we talked
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not about present and present perfect, but about two forms of a present perfect,
where present announces a probable present perfect, like saying “she plays” to
mean “she has started to play”, some of her playing is already past!
Imperfect
refers to an action that was happening sometime. It is called imperfect,
because it waits to be interrupted or was interrupted by another action.
However, in Greek it is not called imperfect, it is called
Παρατατικός
=
Extending/Extentive. Παρατατικὸς is the natural continuance of the Ἐνεστώς, an
instant that is repeated so that it is extended, until something else happens that
stops this prolongation. The word "Παρατατικός" is closer to the English
"Present", than to "Imperfect". It refers to a duration, and this duration is
connected with some present - now or sometime present.
In ἐνεστώς (present) we can not know how long an action is going to last. On
the contrary, παρατατικός refers to duration properly, because we know that
something was happening in a complete (this doesn't mean calculated) duration.
In ἐνεστώς, perfect is the instant, in παρατατικός, perfect is duration - in both
cases we can not speak of imperfectness, therefore translating "παρατατικὸς"
with "imperfect" is wrong. We don't know if the action was complete, but we do
know that time was complete, and when we describe a tense we must describe
the time and not the action. Think of this. In Greek a tense is called
χρόνος
=
time! But even in English tense means a stretch and a distance, it also refers to
time (by spacial terms) and not to the action itself.
Aorist
, a transliteration of the Greek
ἀόριστος
, (=undefined) refers to an instant
past. Aorist is the projection of a distinct instance of ἐνεστώς (present) into the
past. Remove duration from παρατατικός, and you have the aorist. What I now
do, exactly this tomorrow will be what I yesterday did - I crossed the street, for
example. An action of the present, that is certain and obvious, since the subject
is inside that action, when it moves to the past it looses its certainty, it becomes
vague, something that happened, that is sure, but we are not there any more.
Aorist is the primary tense of memory, which, as pure memory, is not related to,
and thus defined by, the present and actual. (Remember what
about memory).
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Learning Greek - Lesson 2 - Second Part
Future
, the Greek
µέλλων
, is what will happen or will be happening - it may
express duration or not. "I will learn" may mean that I will learn something
tomorrow, or that I will be learning my lessons for the whole year or all my life.
It is very interesting, that, while Greek has so many tenses describing all
nuances of the past, while it developed even a second aorist, a second perfect
and a second pluperfect, it doesn't have a distinct tense for duration in the future -
you can not say "I will be learning" using a distinct grammatical form, a distinct
tense (although you can say it in modern Greek - *Ancient/Byzantine Greek:
µαθήσοµαι
= I will learn or I will be learning, *Modern Greek
θὰ µάθω
= I will
learn,
θὰ µαθαίνω
= I will be learning).
Older Greek left the future (much) more unspecified than past, and/or it saw in
time a move to the past, more than a move to the future. Time, movement,
change - death, is really important here, so important, that is present even in the
verb system, in the very absence of a future continuous!
Present Perfect
in Greek is called
Παρα
κείµενος
. Can you recognise the name?
It comes from your known verb
κεῖµαι
described by the preposition
παρὰ
(beside, near to, next to).
Παρα-κείµενος
is a participle meaning a time that lies
beside. Beside what? Beside present time. You can think of this as a kind of
counterpoint, where παρακείµενος colours present time with a completed
action, the consequences of which last until now. This co-existence of present
and past that makes time relational in the way a field is relational, is the reason
why present perfect is not identical with present nor with aorist.
E.g. in the
of St. John we read: "Love is in this: not that we have
loved God, but that he loved us and sent his Son". The King James version
translates the original παρακείµενος (we have loved -
ἠγαπήκαµεν
) with
an aorist (we loved), destroying thus the sense of the original.
What the original text does, is to connect love with both our present
perfect (
ἠγαπήκαµεν
-we have loved) and God's aorist (
ἠγάπησεν
- He
loved [us],
ἀπέστειλεν
- He sent [His Son to us]). The text says: I know
that you loved and continue to love God (this is the παρακείµενος, our
past love accompanies and affects our present life - we still love God), but
be carefull: because our love has a past, has a duration, it is tested and is
still strong and active we must not be misled so as to think that it is self-
sufficient. Don't think that in this and only in this can love exist. No, love,
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properly speaking, is in God's aorist, in a particular instant undecided by
us, where God first loved us and out of this love sent His son to us. This
aorist is the beginning and foundation of our present perfect.
There is no time in God. There wasn't a time when God did not love us
and a time when He started loving us. This exactly happened with us. No
matter how perfect we are, to us our perfection has a start. In time, Love
comes in an instant, the instant of the aorist, the instant that reflects God's
eternal instant, that cuts time and marks the beginning of our love in time.
This coming of Love in an instant that belongs equally to time and
eternity, is the incarnation and sacrifice of God's son - the source of our
love. And this is what the King James translation destroyed by confusing
our aorist with eternity's coming into that aorist.
Pluperfect
in Greek is called
Ὑπερσυντέλικος
. It means a time when an action
was complete (
τετελεσµένη
, perfected) above/before (
ὑπὲρ
) some other action
of the past: "and they whom I had loved (
ἠγαπήκειν
) very much, turned
against me" (Job 19.19). The grammatical meaning is I had loved them very much,
before they turned against me - and here is how the King James translation
destroys it: "and they whom I loved are turned against me". By transforming
the Pluperfect love into an aorist the King James version disjoins Job's love from
his friends' turning against him. By changing the aorist of their turn into a
perfect strengthens even more that disjunction, while infusing into the present
something that is not of primary importance any more. But Job's thought was,
instead, a memory of the time when his complete love was lost, having
encountered the turning of his friends against him. In the now that Job speaks
both are past, his love and his friends' assault, he is now all alone remembering
both, and praying to God for his overall suffering.
Future Perfect
is called
Συντελεσµένος Μέλλων
. You can think of it as a
reflexion of Pluperfect to the future, meaning a time when an action will be
complete (
συντελεσµένη
, perfected) before something else happens (I will have
gone before it rains).
As in English, various demands of the meaning sometimes make a time
belonging to a specific tense, to be expressed in the form of some other tense -
such as, e.g. when narrating a past action in a present tense, "he dies" instead of
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"he died" (which is called "historical present"), etc. There is (much) more to be
said on tenses, but these are enough for the moment.
*
Chances are, that searching a dictionary for λέλυκα, you will find: "present
perfect tense, indicative mode, active voice of the verb λύω = to solve".
However, you might not find it, save only into the lemma λύω. At least in that
place, a good dictionary would describe all the other tenses. Therefore, in our
phrase
Ὣς
[
Thus
]
φάτο
[ ]
͵
τὸν
[ ]
δ΄
[
and,but
]
ἄχεος
[
grief
]
νεφέλη
[
cloud
]
ἐκάλυψε
[ ]
µέλαινα
[
dark
]
.
we begin to think that maybe the verb(s) have prefixes, and this is the reason
why we can't find them in the dictionary. The first thing we know, then, is that
our verb(s) are in some past tense (or future perfect).
Here are the words we don't know:
φάτο, τόν, ἐκάλυψε
Τόν
, is among the words you should memorise, a basic element of speech, a
demonstrative pronoun that in the course of time became the article. It is very
easy to remember it, and you will encounter it all the times.
In English we say I see the way, in Greek
ὁρῶ τὸν τρόπον
. But while in English
the article "the" is used always in the same form ("the") for all genders and
numbers - the way, the ways, the woman, the girls, the children, etc. - in Greek,
which makes your life difficult, there is a different form of the article for each
gender and number:
e.g.
the way =
ὁ
τρόπος, the ways =
οἱ
τρόποι, the woman =
ἡ
γυνή, the girls =
αἱ
κόραι, the children =
τὰ
παιδία.
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Tὸν
is the accusative case, singular number, of the masculine type of the article
(nominative=
ὁ
). The accusative case is usually the case of the object: ὁρῶ
τὸν
τρόπον (I see the way).
Therefore, in our text again, we know that τὸν is not a verb. Since τὸν is in
accusative case, we expect that maybe the noun that is indicated by
τὸν
will be
the object of our verb(s).
There remain
φάτο
and
ἐκάλυψε
.
Translating
Φάτο
is not used in the Attic dialect, you won't find it in
, for example, not
once. Φάτο is the equivalent of
ἔφη
. It is third person, singular, (second) aorist
tense, of the verb
φηµί
(I say, speak) and it means "he/she said". We shall see
this verb in details in a future lesson, because it is common and irregular (=even
more difficult!). However, if you open your dictionary to find φάτο you will see
there the words
φατ
ίζω, which is a verb, and
φάτ
ισις, which is a noun. Judging
from the stem, you can easily and safely enough guess that φάτο may have
something to do with "speaking". Explaining φάτισις, Liddell-Scott dictionary
connects it with
φηµί
. If you follow this connection and go the lemma of φηµί,
you will - at last - find there the form
φάτο
. Thus, after a 5 or 10 minutes
journey, you finally discovered the verb of your sentence. But what about
ἐκάλυψε
? Maybe this is another verb. If it is indeed, then you will have two
sentences, because each verb supports its own sentence.
From what we have already seen about augmentations you should suspect that
the first syllable (
ε
) might be an augmentation, so that the stem - and most
probably the present tense of the verb - starts with
καλ
. You open your
dictionary again, in
καλ-
, where you find lots of words. You proceed to
καλυψ-
hopping for better results. You find κάλυψις, attibuted to καλύπτειν. Then in
καλύπτω you see that its aorist is
ἐκάλυψα
. Knowing (when you will know)
the basic endings of a verb, you won't have any difficulties understanding that
ἐκάλυψε is the third person, singular: he/she/it covered something.
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Learning Greek - Lesson 2 - Second Part
This way, you will need a life only to find the basic meanings of the words of a
single book. By learning Greek you will acquire a basic vocabulary and some
familiarity with the formation of words and sentences, that will let you have at
least an elementary instant perception of the text, before you need to search for
anything. You will never know all Greek words. I don't know a lot of words.
Even words that I know, I often explore more, as I did with κεῖµαι in this
lesson.
It is very different to know something and to explain it, whether to yourself or
to others. The Greek language is what it is, because those who spoke and wrote
in it wanted to explain their instant perceptions as much as possible. In time and
importance first is always the in-stant. The Greek speaking is like a battle of the
Sophist against Cratylus, the concepts' struggle to communicate something of the
οὐσίαν ὄντος
. The Greek language, primarily, is the equivalent of Greek
painting and sculpture, not what we'd call today "expressionist", but an attempt
to be saved in language what could not be saved in reality.
In the beginning, where you are now, you have to treat a sentence as if it were a
secret code, your dictionary being a magnifier and yourself a detective.
Consider it like a game - this is
's (ABC news) approach, which I
accept and suggest: " Studying classical Greek was, to me, not only fun and
fascinating and eye-opening, it was like a puzzle -; a new secret code -;
endlessly delightful despite having to learn all those declensions." Maybe you
will also be able to see, that reading Greek, even in the beginning, is not like
deciphering some secret code whatever, but deciphering a precious secret code…
If you study carefully, you will soon be able to have an instant perception of the
text. You will still play the detective - but the secrets will get always fewer and
always more important. You must read as much as you can, and then read
more…
*
After what we found in the dictionary, our sentence has become:
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Learning Greek - Lesson 2 - Second Part
Ὣς
[
Thus
]
φάτο
[spoke]
͵
τὸν
[ ]
δ΄
[
and,but
]
ἄχεος
[
grief
]
νεφέλη
[
cloud
]
ἐκάλυψε
[
covered
]
µέλαινα
[
dark
]
.
There are two verbs: spoke [
φάτο=ἔφη
] and covered [
ἐκάλυψε
], therefore we
search for two sentences. And we must understand whom
τὸν
refers to.
We change the order of the words to come closer to how we usually order a
sentence in our language:
Ὣς
[
Thus
]
φάτο
[
spoke
]
͵
τὸν
[ ]
δ΄
[
and,but
]
ἐκάλυψε
[
covered
]
µέλαινα
[
dark
]
νεφέλη
[
cloud
]
ἄχεος
[
grief
]
.
You may find this change of order useful for the moment - but never forget that it
is a change
you
do, that the order of the text is different, and this difference is
important.
Since Antilochus was speaking about what happened with Patroclus, we can
infer that the subject of
φάτο
is Antilochus. It is time now for Achilles to
respond, and therefore
τὸν
refers to him. It is usual in Greek for a person to be
referred to in a sentence with the combination of the pronoun/article and one or
both of these two words: µὲν or δέ.
ὁ
µὲν
γεννηθεὶς ἦν,
ὁ δὲ
δίχα γεννήσεως : "
ὁ µὲν
(=Abel)
was born,
ὁ δὲ
(=Adam)
was without birth [he was created]". In all such cases the names (of
persons, places, actions, etc) which
ὁ µὲν
or
ὁ δὲ
refer to, must have been
mentioned or implied in a previous sentence. Note also, that the conjunctive words
µὲν
and
δὲ
are never placed in the beginning of a sentence and they usually occupy the
second place introducing a kind of relation, being, e.g. the equivalent of "but" and
"while" in English, or "the one" and "the other", etc. - "But John left, while I
stayed", "the one left, the other came", "this happened, that not".
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Learning Greek - Lesson 2 - Second Part
*
And here is how our sentence is finally translated:
"Thus spoke he, and a dark cloud of grief covered the other."
Here is Butler's translation: "A dark cloud of grief fell upon Achilles as he
listened". Much has changed - too much for the meaning to be rescued...
One of the most important is that while in the original the dark cloud first of all
covers Achilles' name, Butler's translation treats the expression
τὸν δὲ
as a
convention, which, of course, can be easily replaced by the name of the person
implied.
In the original there are two equal, primary, sentences.
The first is almost an oracle (
φάτο / φηµὶ
is also connected with this sense),
Patroclus' lying as a divine sentence, announced by Antilochus. The second
primary sentence is the realisation of the oracle, making Achilles' face disappear
into the dark cloud of grief, leaving Achilles' thirst (θυµός) naked, just like
Patroclus was naked upon the ground.
Achilles' nakedness (a living one, not the nakedness of a corpse) is transformed
into a grief which replaces his face. The meaning of covering here is replacement.
Grief exists in the place where Achilles had his face, that is, in the place of Patroclus.
Homer did not want to depict how grief falls upon a face, but what happens
with the face. This is why he used the verb
ἐκάλυψε
, which Butler ignored.
However, there is one more detail, and this one can not be translated at all.
We said that in the Homeric sentense Achilles' name disappears. This is not
absolutely correct, since in the original text "grief" is
ἄχος
, a word that starts
with the very letters Achilles' name starts (
Ἀχ
ιλλεύς), which, in the genitive
case (mainly a possesive case), contains all of grief's letters:
Ἀχ
ιλλῆ
ος
.
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Learning Greek - Lesson 2 - Second Part
We now suspect that this covering is also a revealing of an inherent quality/
destination of Achilles' nature, we now begin to understand that maybe this
cloud is the ultimate, the most real, face of Achilles - a faceless face.
Butler's translation is, perhaps, good enough to express Achilles' sadness in a
sentimental way, but all the elements that explain and describe this sadness,
letting us know its roots and nature, are lost. Decades and centuries of such an
irresponsible treatment of the texts have made them seem exchangeable by a
translation.
Grief covered Achilles, grief became his face, he is now thirsty for grief and
"with both hands he took sooty ash and poured it over his head"
"ἀµφοτέρῃσι δὲ χερσὶν ἑλὼν κόνιν αἰθαλόεσσαν χεύατο κὰκ κεφαλῆς",
over the face itself
"and he disgraced the glorious face"
"χαρίεν δ΄ ᾔσχυνε πρόσωπον",
and the whole body
"and on the divine shirt dark ash was falling all over"
νεκταρέῳ δὲ χιτῶνι µέλαιν΄ ἀµφίζανε τέφρη
.
Notice the ash (
κόνις αἰθαλόεσσα
- and not just dust, as Butler translates), that
connects grief with fire and death, foreshadowing/announcing the fulfillment of
Achilles' future.
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Learning Greek - Lesson 2 - Second Part
Notice the couple of
ἤσχυνε
and
χαρίεν
(disgraced - glorious), completely lost in
Butler's translation ("disfiguring his comely face"), a couple that presents the
face (
πρόσωπον
) as a place of honor and glory, both of which properly belong only
to God.
Notice the couple of
νεκταρέῳ
and
τέφρη
(divine - ash).
Νεκτάρεος
is an adjective that comes from
νέκταρ
, the drink of Gods, and it
means the brilliant, exceptional and divine, with the particular sense of the one
that overcomes death. A
νεκτάρεος χιτών
(divine shirt) is essentially a shirt of
immortality, while ash belongs to burning and death. Notice how everything
sinks into darkness, how everything is supported by the face and is lost with it
and by it, how God himself dies.
This painting and description, this penetration
into the deepest meanings and relations,
already present in the first Greek literary
work, a work of poetry, will characterise all the
important works of Greek literature and not
only philosophy. The primary interest in
achieving inside language, inside memory and
speech, the closest possible depiction of the
οὐσίαν
ὄντος
, places a certain task upon anyone who
might want to learn Greek. Words can not be
treated like exchangeable conventions; they
incarnate the concepts. I can not translate them
without giving birth to a more or less different
meaning. It takes a lot of care to minimize the
distance. Learning Greek will prove beneficial
to the way you treat all languages from now on.
Cf.
Homer
:
,
Orphica
:
Everything was generated by Love
Plato:
,
Virgil:
Ovid:
Clement of Alexandria:
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Learning Greek - Lesson 2 - Second Part
Basil the Great:
Glorifying the greatness of His deity
Gregory of Nyssa:
Everything shares in the Beautiful
Boethius:
mourning moved the depths of hell
By His seeing and running all things are made
Symeon the
Becoming invisible and suddenly appearing
Meister Eckhart:
Entirely within, entirely without
Nicholas Cabasilas:
The God is near, and hard to grasp
We recognise in them the divine origin of
(margin: Keats, To Homer)
Rilke:
Through a foundational poetic and noetic
The length, breadth and sweep of heavens are
Papatsonis:
,
Back to the First Part of this lesson
(1)
Greek Forum: Post a question / Start a discussion
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Learning Greek - Lesson 2 - Second Part
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