Word-level lemma forms extracted for each sentence
| Passage | Sentence | Greek | English | Lemma Forms | Missing |
|---|---|---|---|---|---|
| 10.30.1 | 1 | ἐφεξῆς δὲ τὰς Πανδάρεω θυγατέρας ἔγραψεν ὁ Πολύγνωτος. | Next, Polygnotus depicted the daughters of Pandareos. | ἐφεξῆς δέ ὁ πανδάρεως θυγάτηρ γράφω ὁ πολύγνωτος | 0 |
| 10.30.1 | 2 | Ὁμήρῳ δὲ ἐν Πηνελόπης λόγοις ἐστὶν ὡς ἀποθάνοιεν μὲν ταῖς παρθένοις οἱ γεινάμενοι κατὰ μήνιμα ἐκ θεῶν, αὐτὰς δὲ ὀρφανὰς τραφῆναι μὲν ὑπὸ Ἀφροδίτης, λαβεῖν δὲ καὶ παρʼ ἄλλων θεῶν, Ἥρας μὲν φρονεῖν τε ἱκανὰς εἶναι καὶ εἶδος καλάς, μῆκος δὲ τοῦ σώματος Ἄρτεμίν φησιν αὐταῖς δωρήσασθαι, ἔργα δὲ γυναιξὶν ἁρμόζοντα ὑπὸ Ἀθηνᾶς διδαχθῆναι. | Homer, in the speech of Penelope, relates how the parents of the maidens died through the anger of the gods, and that the orphaned girls themselves were raised by Aphrodite, who also received gifts for them from other deities: Hera granted them intelligence and beauty, Artemis bestowed height upon their bodies, and Athena taught them the crafts suitable to women. | Ὅμηρος δέ ἐν Πηνελόπη λόγος εἰμί ὡς ἀποθνῄσκω μέν ὁ παρθένος ὁ γίγνομαι κατά μήνιμα ἐκ θεός αὐτός δέ ὀρφανός τρέφω μέν ὑπό Ἀφροδίτη λαμβάνω δέ καί παρά ἄλλος θεός Ἥρα μέν φρονέω τε ἱκανός εἰμί καί εἶδος καλός μῆκος δέ ὁ σῶμα Ἄρτεμις φημί αὐτός δωρέομαι ἔργον δέ γυνή ἁρμόζω ὑπό Ἀθηνᾶ διδάσκω | 0 |
| 10.30.2 | 1 | Ἀφροδίτην μὲν οὖν ἐς οὐρανὸν ἀνέρχεσθαι, παρὰ Διὸς γάμον εὐδαίμονα ἐθέλουσαν ταῖς παισὶν εὕρασθαι, τὰς δὲ ἀπούσης ἐκείνης ἁρπασθῆναί τε ὑπὸ Ἁρπυιῶν καὶ Ἐρινύσιν ὑπʼ αὐτῶν δοθῆναι. | Aphrodite, then, ascended to heaven, wishing to arrange for her daughters a fortunate marriage through Zeus; but during her absence, the maidens were seized by the Harpies and handed over by them to the Erinyes. | Ἀφροδίτη μέν οὖν εἰς οὐρανός ἀνέρχομαι παρά Ζεύς γάμος εὐδαίμων ἐθέλω ὁ παῖς εὑρίσκω ὁ δέ ἀπούσα ἐκεῖνος ἁρπάζω τε ὑπό ἁρπυιά καί Ἐρινύς ὑπό αὐτός δίδωμι | 0 |
| 10.30.2 | 2 | τάδε μέν ἐστιν ἐς αὐτὰς Ὁμήρῳ πεποιημένα, Πολύγνωτος δὲ κόρας τε ἐστεφανωμένας ἄνθεσι καὶ παιζούσας ἔγραψεν ἀστραγάλοις, ὄνομα δὲ αὐταῖς Καμειρώ τε καὶ Κλυτίη. | These details concerning them are described by Homer, whereas Polygnotus painted the girls crowned with flowers and playing with knucklebones, and gave their names as Cameiro and Clytie. | ὅδε μέν εἰμί εἰς αὐτός Ὅμηρος ποιέω πολύγνωτος δέ κόρη τε στεφανόω ἄνθος καί παίζω γράφω ἀστράγαλος ὄνομα δέ αὐτός Καμειρώ τε καί Κλυτίη | 0 |
| 10.30.2 | 3 | τὸν δὲ Πανδάρεων Μιλήσιόν τε ἐκ Μιλήτου τῆς Κρητικῆς ὄντα ἴστω τις καὶ ἀδικήματος ἐς τὴν κλοπὴν Ταντάλῳ καὶ τοῦ ἐπὶ τῷ ὅρκῳ μετασχόντα σοφίσματος. | As for Pandareos, let one know that he was a Milesian from Miletus in Crete and was guilty of wrongdoing involving theft together with Tantalus, and took part in the deception regarding an oath. | ὁ δέ Πανδάρεως Μιλήσιος τε ἐκ Μίλητος ὁ Κρητικός εἰμί ἵστημι τις καί ἀδίκημα εἰς ὁ κλοπή Τάνταλος καί ὁ ἐπί ὁ ὅρκος μετέχω σόφισμα | 0 |
| 10.30.3 | 1 | μετὰ δὲ τοῦ Πανδάρεω τὰς κόρας Ἀντίλοχος τὸν μὲν ἕτερον ἐπὶ πέτρας τῶν ποδῶν, τὸ δὲ πρόσωπον καὶ τὴν κεφαλὴν ἐπὶ ταῖς χερσὶν ἀμφοτέραις ἔχων ἐστίν, Ἀγαμέμνων δὲ μετὰ τὸν Ἀντίλοχον σκήπτρῳ τε ὑπὸ τὴν ἀριστερὰν μασχάλην ἐρειδόμενος καὶ ταῖς χερσὶν ἐπανέχων ῥάβδον· | After the daughters of Pandareos stands Antilochus, keeping one foot upon a rock, and supporting his face and head on both his hands. | μετά δέ ὁ πανδάρεως ὁ κόρη Ἀντίλοχος ὁ μέν ἕτερος ἐπί πέτρα ὁ πούς ὁ δέ πρόσωπον καί ὁ κεφαλή ἐπί ὁ χείρ ἀμφότεροι ἔχω εἰμί Ἀγαμέμνων δέ μετά ὁ Ἀντίλοχος σκῆπτρον τε ὑπό ὁ ἀριστερός μασχάλη ἐρείδομαι καί ὁ χείρ ἐπέχω ῥάβδος | 0 |
| 10.30.3 | 2 | Πρωτεσίλαος δὲ πρὸς Ἀχιλλέα ἀφορᾷ καθεζόμενος. | After Antilochus is Agamemnon, leaning with a scepter under his left armpit and holding up a staff in his hands. | Πρωτεσίλαος δέ πρός Ἀχιλλεύς ὁράω καθέζομαι | 0 |
| 10.30.3 | 3 | καὶ ὁ Πρωτεσίλαος τοιοῦτον παρέχεται σχῆμα, ὑπὲρ δὲ τὸν Ἀχιλλέα Πάτροκλός ἐστιν ἑστηκώς. | Protesilaus sits gazing toward Achilles; Protesilaus is posed in this manner, and behind Achilles stands Patroclus. | καί ὁ Πρωτεσίλαος τοιοῦτος παρέχω σχῆμα ὑπέρ δέ ὁ Ἀχιλλεύς Πάτροκλος εἰμί ἑστηκώς | 0 |
| 10.30.3 | 4 | οὗτοι πλὴν τοῦ Ἀγαμέμνονος οὐκ ἔχουσι γένεια οἱ ἄλλοι. | Of these figures, all except Agamemnon are portrayed without beards. | οὗτος πλήν ὁ Ἀγαμέμνων οὐ ἔχω γένειον ὁ ἄλλος | 0 |
| 10.30.4 | 1 | γέγραπται δὲ ὑπὲρ αὐτοὺς Φῶκός τε ἡλικίαν μειράκιον καὶ Ἰασεὺς γενείων μὲν εὖ ἔχων, δακτύλιον δὲ ἐκ τῆς ἀριστερᾶς τοῦ Φώκου περιαιρούμενος χειρὸς ἐπὶ τοιῷδέ ἐστι λόγῳ. | Depicted above these figures are Phocus, portrayed as still youthful in age, and Iaseus, who has a fine beard and is shown removing a ring from the left hand of Phocus. | γράφω δέ ὑπέρ αὐτός φώκη τε ἡλικία μειράκιον καί Ἰασεύς γένειον μέν εὖ ἔχω δακτύλιος δέ ἐκ ὁ ἀριστερός ὁ Φώκος περιαιρέω χείρ ἐπί τοιοσδέ εἰμί λόγος | 0 |
| 10.30.4 | 2 | Φώκῳ τῷ Αἰακοῦ διαβάντι ἐξ Αἰγίνης ἐς τὴν νῦν καλουμένην Φωκίδα, καὶ ἀνθρώπων τε ἀρχὴν τῶν ἐν τῇ ἠπείρῳ ταύτῃ κτήσασθαι καὶ αὐτῷ θέλοντι ἐνταῦθα οἰκῆσαι, ἀφίκετο ἐπὶ πλεῖστον ὁ Ἰασεὺς φιλίας, καί οἱ δῶρα ἄλλα τε ὡς τὸ εἰκὸς ἐδωρήσατο καὶ λίθου σφραγῖδα ἐνδεδεμένην χρυσῷ· | The story behind this scene is as follows: when Phocus, son of Aeacus, moved from Aegina to the region now called Phocis, acquired power over the inhabitants of that part of the mainland, and resolved to settle there, he grew particularly close in friendship to Iaseus, and among other gifts which Iaseus naturally bestowed upon him was a seal-stone bound in gold. | φώκη ὁ Αἰακός διαβαίνω ἐκ Αἴγινα εἰς ὁ νῦν καλέω Φωκίς καί ἀνήρ τε ἀρχή ὁ ἐν ὁ Ἤπειρος οὗτος κτάομαι καί αὐτός θέλω ἐνταῦθα οἰκέω ἀφικνέομαι ἐπί πλεῖστος ὁ Ἰασεύς φιλία καί ὁ δῶρον ἄλλος τε ὡς ὁ εἰκός δωρέομαι καί λίθος σφραγίς ἐνδεδέμαι χρυσός | 0 |
| 10.30.4 | 3 | Φώκῳ δὲ οὐ μετὰ πολὺν χρόνον ἀνακομισθέντι ἐς Αἴγιναν Πηλεὺς αὐτίκα ἐβούλευσε τοῦ βίου τὴν τελευτήν. | Not much later, however, when Phocus returned to Aegina, Peleus immediately plotted his death. | φώκη δέ οὐ μετά πολύς χρόνος ἀνακομίζω εἰς Αἴγινα Πηλεύς αὐτίκα βουλεύω ὁ βίος ὁ τελευτή | 0 |
| 10.30.4 | 4 | καὶ τοῦδε ἕνεκα ἐν τῇ γραφῇ ἐς ἀνάμνησιν ἐκείνης τῆς φιλίας ὅ τε Ἰασεὺς τὴν σφραγῖδά ἐστιν ἐθέλων θεάσασθαι καὶ ὁ Φῶκος παρεὶς λαβεῖν αὐτήν. | It is for this reason, in memory of their friendship, that the painting depicts Iaseus eagerly examining the seal-stone, and Phocus tolerantly permitting him to take it. | καί ὅδε ἕνεκα ἐν ὁ γραφή εἰς ἀνάμνησις ἐκεῖνος ὁ φιλία ὁ τε Ἰασεύς ὁ σφραγίς εἰμί ἐθέλω θεάομαι καί ὁ φῶκος παρίημι λαμβάνω αὐτός | 0 |
| 10.30.5 | 1 | ὑπὲρ τούτους Μαῖρά ἐστιν ἐπὶ πέτρᾳ καθεζομένη· | Above these is Maira, seated upon a rock. | ὑπέρ οὗτος μαῖρα εἰμί ἐπί πέτρα καθέζομαι | 0 |
| 10.30.5 | 2 | περὶ δὲ αὐτῆς πεποιημένα ἐστὶν ἐν Νόστοις ἀπελθεῖν μὲν παρθένον ἔτι ἐξ ἀνθρώπων, θυγατέρα δὲ αὐτὴν εἶναι Προίτου τοῦ Θερσάνδρου, τὸν δὲ εἶναι Σισύφου. | Concerning her, it is told in the "Returns" ("Nostoi") that she departed from among mortals while still a maiden, and that she was the daughter of Proetus, son of Thersandros, who himself was a son of Sisyphus. | περί δέ αὐτός ποιέω εἰμί ἐν νόστος ἀπέρχομαι μέν παρθένος ἔτι ἐκ ἀνήρ θυγάτηρ δέ αὐτός εἰμί Προῖτος ὁ Θέρσανδρος ὁ δέ εἰμί Σίσυφος | 0 |
| 10.30.5 | 3 | ἐφεξῆς δὲ τῆς Μαίρας Ἀκταίων ἐστὶν ὁ Ἀρισταίου καὶ ἡ τοῦ Ἀκταίωνος μήτηρ, νεβρὸν ἐν ταῖς χερσὶν ἔχοντες ἐλάφου καὶ ἐπὶ δέρματι ἐλάφου καθεζόμενοι· | Next to Maira is Actaeon, son of Aristaeus, along with Actaeon’s mother; they hold in their hands a fawn of a deer and sit upon a deer’s hide. | ἐφεξῆς δέ ὁ Μαῖρα Ἀκταίων εἰμί ὁ Ἀρισταῖος καί ὁ ὁ Ἀκταίων μήτηρ νεβρός ἐν ὁ χείρ ἔχω ἔλαφος καί ἐπί δέρμα ἔλαφος καθέζομαι | 0 |
| 10.30.5 | 4 | κύων τε θηρευτικὴ παρακατάκειταί σφισι βίου τοῦ Ἀκταίωνος ἕνεκα καὶ τοῦ ἐς τὴν τελευτὴν τρόπου. | Beside them lies a hunting dog, in reference to Actaeon’s life and the manner of his death. | κύων τε θηρευτικός παρακατάκειμαι σφεῖς βίος ὁ Ἀκταίων ἕνεκα καί ὁ εἰς ὁ τελευτή τρόπος | 0 |
| 10.30.6 | 1 | ἀποβλέψαντι δὲ αὖθις ἐς τὰ κάτω τῆς γραφῆς, ἔστιν ἐφεξῆς μετὰ τὸν Πάτροκλον οἷα ἐπὶ λόφου τινὸς Ὀρφεὺς καθεζόμενος, ἐφάπτεται δὲ καὶ τῇ ἀριστερᾷ κιθάρας, τῇ δὲ ἑτέρᾳ χειρὶ ἰτέας ψαύει· | Looking again toward the lower part of the painting, next after Patroclus is depicted Orpheus sitting as if upon some hillock; he touches a lyre with his left hand, while with his other hand he grazes a willow. | ἀποβλέπω δέ αὖθις εἰς ὁ κάτω ὁ γραφή εἰμί ἐφεξῆς μετά ὁ Πάτροκλος οἷος ἐπί λόφος τις Ὀρφεύς καθέζομαι ἐφάπτομαι δέ καί ὁ ἀριστερός κιθάρα ὁ δέ ἕτερος χείρ ἰτέα ψαύω | 0 |
| 10.30.6 | 2 | κλῶνές εἰσιν ὧν ψαύει, προσανακέκλιται δὲ τῷ δένδρῳ. | It is the branches of the tree he touches, and he leans against it. | κλών εἰμί ὅς ψαύω προσανακλίνω δέ ὁ δένδρον | 0 |
| 10.30.6 | 3 | τὸ δὲ ἄλσος ἔοικεν εἶναι τῆς Περσεφόνης, ἔνθα αἴγειροι καὶ ἰτέαι δόξῃ τῇ Ὁμήρου πεφύκασιν· | The grove appears to be the grove of Persephone, where poplars and willows have grown, following the Homeric tradition. | ὁ δέ ἄλσος ἔοικα εἰμί ὁ Περσεφόνη ἔνθα αἴγειρος καί ἰτέα δόξα ὁ Ὅμηρος φύω | 0 |
| 10.30.6 | 4 | Ἑλληνικὸν δὲ τὸ σχῆμά ἐστι τῷ Ὀρφεῖ, καὶ οὔτε ἡ ἐσθὴς οὔτε ἐπίθημά ἐστιν ἐπὶ τῇ κεφαλῇ Θρᾴκιον. | Orpheus himself is portrayed in Greek manner: neither his clothing nor the covering upon his head is Thracian. | Ἑλληνικός δέ ὁ σχῆμα εἰμί ὁ Ὀρφεύς καί οὔτε ὁ ἐσθής οὔτε ἐπίθημα εἰμί ἐπί ὁ κεφαλή θράκιον | 0 |
| 10.30.7 | 1 | τῷ δένδρῳ δὲ τῇ ἰτέᾳ κατὰ τὸ ἕτερον μέρος προσανακεκλιμένος ἐστὶν αὐτῇ Προμέδων. | Leaning against one side of the willow tree itself is Promedon. | ὁ δένδρον δέ ὁ ἰτέα κατά ὁ ἕτερος μέρος προσανακλίνω εἰμί αὐτός Προμέδων | 0 |
| 10.30.7 | 2 | εἰσὶ μὲν δὴ οἳ νομίζουσι καθάπερ ἐς ποίησιν ἐπεσῆχθαι τὸ Προμέδοντος ὄνομα ὑπὸ τοῦ Πολυγνώτου· τοῖς δὲ εἰρημένον ἐστὶν ἄνδρα Ἕλληνα ἔς τε τὴν ἄλλην ἅπασαν γενέσθαι φιλήκοον μουσικὴν καὶ ἐπὶ τῇ ᾠδῇ μάλιστα τῇ Ὀρφέως. | There are indeed some who believe that the name Promedon was introduced by Polygnotus as a poetic fiction; but others claim that it refers to a Greek man who was exceedingly fond of music in general, and particularly devoted to the songs of Orpheus. | εἰμί μέν δή ὅς νομίζω καθάπερ εἰς ποίησις ἐπεισάγω ὁ Προμέδων ὄνομα ὑπό ὁ Πολύγνωτος ὁ δέ λέγω εἰμί ἀνήρ Ἕλλην εἰς τε ὁ ἄλλος ἅπας γίγνομαι φιλήκοος μουσική καί ἐπί ὁ ᾠδή μάλιστα ὁ Ὀρφεύς | 0 |
| 10.30.8 | 1 | κατὰ τοῦτο τῆς γραφῆς Σχεδίος ὁ Φωκεῦσιν ἡγησάμενος ἐς Τροίαν καὶ μετὰ τοῦτον Πελίας ἐστὶν ἐν θρόνῳ καθεζόμενος, τὰ γένεια ὁμοίως καὶ τὴν κεφαλὴν πολιός, ἐνορᾷ δὲ ἐς τὸν Ὀρφέα· | In this portion of the painting is depicted Schedios, who led the Phokians against Troy, and next to him is Pelias, seated upon a throne, gray-haired in beard as well as head, gazing toward Orpheus. | κατά οὗτος ὁ γραφή σχεδίος ὁ Φωκεύς ἡγέομαι εἰς Τροία καί μετά οὗτος Πελίας εἰμί ἐν θρόνος καθέζομαι ὁ γένειον ὁμοίως καί ὁ κεφαλή πολιός ἐνοράω δέ εἰς ὁ Ὀρφεύς | 0 |
| 10.30.8 | 2 | ὁ δὲ Σχεδίος ἐγχειρίδιόν τε ἔχων καὶ ἄγρωστίν ἐστιν ἐστεφανωμένος. | Schedios holds a dagger and has a wreath of grass upon his head. | ὁ δέ σχεδίος ἐγχειρίδιον τε ἔχω καί ἄγρωστις εἰμί στεφανόω | 0 |
| 10.30.8 | 3 | Θαμύριδι δὲ ἐγγὺς καθεζομένῳ τοῦ Πελίου διεφθαρμέναι αἱ ὄψεις καὶ ταπεινὸν ἐς ἅπαν σχῆμά ἐστι | Beside Pelias sits Thamyris, whose eyes appear blinded and whose whole bearing is humbled. | Θαμύρις δέ ἐγγύς καθέζομαι ὁ Πήλιος διαφθείρω ὁ ὄψις καί ταπεινός εἰς ἅπας σχῆμα εἰμί | 0 |
| 10.30.8 | 4 | καὶ ἡ κόμη πολλὴ μὲν ἐπὶ τῆς κεφαλῆς, πολλὴ δὲ αὐτῷ καὶ ἐν τοῖς γενείοις· | His hair is abundant upon his head, and plentiful also is his beard. | καί ὁ κόμη πολύς μέν ἐπί ὁ κεφαλή πολύς δέ αὐτός καί ἐν ὁ γένειον | 0 |
| 10.30.8 | 5 | λύρα δὲ ἔρριπται πρὸς τοῖς ποσί, κατεαγότες αὐτῆς οἱ πήχεις καὶ αἱ χορδαὶ κατερρωγυῖαι. | A lyre lies thrown at his feet, its arms shattered and its strings broken. | λύρα δέ ῥίπτω πρός ὁ πούς καταάγνυμι αὐτός ὁ πῆχυς καί ὁ χορδή καταρρηγνύω | 0 |
| 10.30.9 | 1 | ὑπὲρ τούτου ἐστὶν ἐπὶ πέτρας καθεζόμενος Μαρσύας, καὶ Ὄλυμπος παρʼ αὐτὸν παιδός ἐστιν ὡραίου καὶ αὐλεῖν διδασκομένου σχῆμα ἔχων. | Above this stands Marsyas seated upon a rock, and near him Olympus is depicted in the form of a handsome youth learning to play the flute. | ὑπέρ οὗτος εἰμί ἐπί πέτρα καθέζομαι Μαρσύας καί Ὄλυμπος παρά αὐτός παῖς εἰμί ὡραῖος καί αὐλέω διδάσκομαι σχῆμα ἔχω | 0 |
| 10.30.9 | 2 | οἱ δὲ ἐν Κελαιναῖς Φρύγες ἐθέλουσι μὲν τὸν ποταμὸν ὃς διέξεισιν αὐτοῖς διὰ τῆς πόλεως ἐκεῖνόν ποτε εἶναι τὸν αὐλητήν, ἐθέλουσι δὲ καὶ εὕρημα εἶναι τοῦ Μαρσύου τὸ Μητρῷον αὔλημα· | The Phrygians at Celaenae claim that the river which flows through their city was formerly that very flute-player; they also assert that the flute-melody sacred to the Mother was Marsyas' invention. | ὁ δέ ἐν κελαινός Φρύγες ἐθέλω μέν ὁ ποταμός ὅς διέξειμι αὐτός διά ὁ πόλις ἐκεῖνος ποτε εἰμί ὁ αὐλητής ἐθέλω δέ καί εὕρημα εἰμί ὁ Μαρσύας ὁ μητρῷος αὔλημα | 0 |
| 10.30.9 | 3 | φασὶ δὲ ὡς καὶ τὴν Γαλατῶν ἀπώσαιντο στρατείαν τοῦ Μαρσύου σφίσιν ἐπὶ τοὺς βαρβάρους ὕδατί τε ἐκ τοῦ ποταμοῦ καὶ μέλει τῶν αὐλῶν ἀμύναντος. | Furthermore, they say that Marsyas repelled the invasion of the Galatians by coming to their aid against the barbarians, using both the water from the river and the music of his flutes. | φημί δέ ὡς καί ὁ Γαλάτης ἀπώθω στρατεία ὁ Μαρσύας σφεῖς ἐπί ὁ βάρβαρος ὕδωρ τε ἐκ ὁ ποταμός καί μέλω ὁ αὐλός ἀμύνω | 0 |