Word-level lemma forms extracted for each sentence
| Passage | Sentence | Greek | English | Lemma Forms | Missing |
|---|---|---|---|---|---|
| 5.19.1 | 1 | τέταρτα δὲ ἐπὶ τῇ λάρνακι ἐξ ἀριστερᾶς περιιόντι Βορέας ἐστὶν ἡρπακὼς Ὠρείθυιαν---οὐραὶ δὲ ὄφεων ἀντὶ ποδῶν εἰσὶν αὐτῷ---καὶ Ἡρακλέους ὁ πρὸς Γηρυόνην ἀγών· τρεῖς δὲ ἄνδρες Γηρυόνης εἰσὶν ἀλλήλοις προσεχόμενοι. | Fourth upon the chest, as one proceeds from the left, is Boreas carrying away Oreithyia—his feet replaced by serpents' tails—and also the combat of Heracles against Geryon; Geryon himself appears as three men joined closely to one another. | τέταρτος δέ ἐπί ὁ λάρναξ ἐκ ἀριστερός περιέρχομαι βορέας εἰμί ἁρπάζω Ὠρείθυια οὐρά δέ ὄφις ἀντί πούς εἰμί αὐτός καί Ἡρακλῆς ὁ πρός Γηρυόνης ἀγών τρεῖς δέ ἀνήρ Γηρυόνης εἰμί ἀλλήλων προσέχομαι | 0 |
| 5.19.1 | 2 | Θησεὺς δὲ ἔχων λύραν καὶ παρʼ αὐτὸν Ἀριάδνη κατέχουσά ἐστι στέφανον. | There is Theseus holding a lyre, with Ariadne beside him cradling a crown. | Θησεύς δέ ἔχω λύρα καί παρά αὐτός Ἀριάδνη κατέχω εἰμί στέφανος | 0 |
| 5.19.1 | 3 | Ἀχιλλεῖ δὲ καὶ Μέμνονι μαχομένοις παρεστήκασιν αἱ μητέρες· | Standing beside Achilles and Memnon as they fight are their mothers. | Ἀχιλλεύς δέ καί Μέμνων μάχομαι παρίστημι ὁ μήτηρ | 0 |
| 5.19.2 | 1 | ἔστι δὲ καὶ Μελανίων καὶ Ἀταλάντη παρʼ αὐτὸν ἔχουσα ἐλάφου νεβρόν. | There are also Melanion and Atalanta depicted beside him, holding a fawn of a deer. | εἰμί δέ καί Μελανίων καί Ἀταλάντη παρά αὐτός ἔχω ἔλαφος νεβρός | 0 |
| 5.19.2 | 2 | μονομαχοῦντος δὲ Αἴαντι Ἕκτορος κατὰ τὴν πρόκλησιν, μεταξὺ ἕστηκεν αὐτῶν Ἔρις αἰσχίστη τὸ εἶδος ἐοικυῖα· | Between Ajax and Hector, as they fight in single combat in response to the challenge, stands Strife (Eris), most repulsive in shape and appearance. | μονομαχέω δέ Αἴας Ἕκτωρ κατά ὁ πρόκλησις μεταξύ ἵστημι αὐτός ἔρις αἴσχιστος ὁ εἶδος ἐοικώς | 0 |
| 5.19.2 | 3 | πρὸς δὲ ταύτῃ καὶ Καλλιφῶν Σάμιος ἐν Ἀρτέμιδος ἱερῷ τῆς Ἐφεσίας ἐποίησεν Ἔριν, τὴν μάχην γράψας τὴν ἐπὶ ταῖς ναυσὶν Ἑλλήνων. | Similar to this, Calliphon of Samos also depicted Strife in the sanctuary of Artemis at Ephesus, painting the battle of the Greeks by the ships. | πρός δέ οὗτος καί Καλλίφων Σάμιος ἐν Ἄρτεμις ἱερός ὁ Ἐφεσία ποιέω ἔρις ὁ μάχη γράφω ὁ ἐπί ὁ ναῦς Ἕλλην | 0 |
| 5.19.2 | 4 | εἰσὶ δὲ ἐπὶ τῇ λάρνακι Διόσκουροι, ὁ ἕτερος οὐκ ἔχων πω γένεια, μέση δὲ αὐτῶν Ἑλένη· | On the chest are represented the Dioscuri, one of whom does not yet have a beard, and between them stands Helen. | εἰμί δέ ἐπί ὁ λάρναξ Διόσκουροι ὁ ἕτερος οὐ ἔχω πω γένειον μέσος δέ αὐτός Ἑλένη | 0 |
| 5.19.3 | 1 | Αἴθρα δὲ ἡ Πιτθέως ὑπὸ τῆς Ἑλένης τοῖς ποσὶν ἐς ἔδαφος καταβεβλημένη μέλαιναν ἔχουσά ἐστιν ἐσθῆτα, ἐπίγραμμα δὲ ἐπʼ αὐτοῖς ἔπος τε ἑξάμετρον καὶ ὀνόματός ἐστιν ἑνὸς ἐπὶ τῷ ἑξαμέτρῳ προσθήκη· | Aethra, the daughter of Pittheus, appears cast to the ground at the feet of Helen. | αἴθρα δέ ὁ Πιτθεύς ὑπό ὁ Ἑλένη ὁ πούς εἰς ἔδαφος καταβάλλω μέλας ἔχω εἰμί ἐσθής ἐπίγραμμα δέ ἐπί αὐτός ἔπος τε ἑξάμετρος καί ὄνομα εἰμί εἷς ἐπί ὁ ἑξάμετρος προσθήκη | 0 |
| 5.19.3 | 2 | Τυνδαρίδα Ἑλέναν φέρετον, Αἴθραν δʼ ἕλκετον Ἀθάναθεν. | She wears dark garments, and inscribed upon them is an epigram: a single hexameter verse and the addition of one more name attached to the hexameter—"Tyndareus's daughter Helen do ye carry away, but drag away Aethra from Athens." | Τυνδαρίδης Ἑλένη φέρω αἴθρα δέ ἕλκω ἀθάνατος | 0 |
| 5.19.4 | 1 | τοῦτο μὲν δὴ τὸ ἔπος οὕτω πεποίηται· Ἰφιδάμαντος δὲ τοῦ Ἀντήνορος κειμένου μαχόμενος πρὸς Ἀγαμέμνονα ὑπὲρ αὐτοῦ Κόων ἐστί· | This verse, indeed, is composed as follows; Iphidamas, the son of Antenor, is lying on the ground, and Koön is fighting against Agamemnon in defense of him. | οὗτος μέν δή ὁ ἔπος οὕτως ποιέω Ἰφιδάμας δέ ὁ ἀντήνωρ κεῖμαι μάχομαι πρός Ἀγαμέμνων ὑπέρ αὐτός κοίη εἰμί | 0 |
| 5.19.4 | 2 | Φόβος δὲ ἐπὶ τοῦ Ἀγαμέμνονος τῇ ἀσπίδι ἔπεστιν, ἔχων τὴν κεφαλὴν λέοντος. | On the shield of Agamemnon there stands Fear (Phobos), bearing a lion's head. | φόβος δέ ἐπί ὁ Ἀγαμέμνων ὁ ἀσπίς ἔπειμι ἔχω ὁ κεφαλή λέων | 0 |
| 5.19.4 | 3 | ἐπιγράμματα δὲ ὑπὲρ μὲν τοῦ Ἰφιδάμαντος νεκροῦ, Ἰφιδάμας οὗτός τε Κόων περιμάρναται αὐτοῦ· τοῦ Ἀγαμέμνονος δὲ ἐπὶ τῇ ἀσπίδι, | The inscriptions are, above the corpse of Iphidamas: "This is Iphidamas, and Koön fights in defense of him;" and upon the shield of Agamemnon: | ἐπίγραμμα δέ ὑπέρ μέν ὁ Ἰφιδάμας νεκρός Ἰφιδάμας οὗτος τε κοίη περιμάρναμαι αὐτός ὁ Ἀγαμέμνων δέ ἐπί ὁ ἀσπίς | 0 |
| 5.19.5 | 1 | οὗτος μὲν Φόβος ἐστὶ βροτῶν, ὁ δʼ ἔχων Ἀγαμέμνων. | This figure is Phobos ("Fear") among mortals, and Agamemnon is the one holding him. | οὗτος μέν φόβος εἰμί βροτός ὁ δέ ἔχω Ἀγαμέμνων | 0 |
| 5.19.5 | 2 | ἄγει δὲ καὶ Ἑρμῆς παρʼ Ἀλέξανδρον τὸν Πριάμου τὰς θεὰς κριθησομένας ὑπὲρ τοῦ κάλλους, καὶ ἔστιν ἐπίγραμμα καὶ τούτοις· | Hermes is also depicted leading the goddesses to Alexander son of Priam to be judged for their beauty; and these figures too have an inscription: | ἄγω δέ καί Ἑρμῆς παρά Ἀλέξανδρος ὁ Πρίαμος ὁ θεός κριθησόμενος ὑπέρ ὁ κάλλος καί εἰμί ἐπίγραμμα καί οὗτος | 0 |
| 5.19.5 | 3 | Ἑρμείας ὅδʼ Ἀλεξάνδρῳ δείκνυσι διαιτῆν τοῦ εἴδους Ἥραν καὶ Ἀθάναν καὶ Ἀφροδίταν. | "This Hermes shows to Alexander the beauty-contesting Hera, Athena, and Aphrodite." | Ἑρμείας ὁ Ἀλέξανδρος δείκνυμι διαιτάω ὁ εἶδος Ἥρα καί Ἀθάνας καί Ἀφροδίτη | 0 |
| 5.19.5 | 4 | Ἄρτεμις δὲ οὐκ οἶδα ἐφʼ ὅτῳ λόγῳ πτέρυγας ἔχουσά ἐστιν ἐπὶ τῶν ὤμων, καὶ τῇ μὲν δεξιᾷ κατέχει πάρδαλιν, τῇ δὲ ἑτέρᾳ τῶν χειρῶν λέοντα. | As for Artemis—I do not know for what reason—she is represented as having wings upon her shoulders, and with her right hand she grasps a leopard, and with the other hand a lion. | Ἄρτεμις δέ οὐ οἶδα ἐπί ὅστις λόγος πτέρυξ ἔχω εἰμί ἐπί ὁ ὦμος καί ὁ μέν δεξιός κατέχω πάρδαλις ὁ δέ ἕτερος ὁ χείρ λέων | 0 |
| 5.19.5 | 5 | πεποίηται δὲ καὶ Κασσάνδραν ἀπὸ τοῦ ἀγάλματος Αἴας τῆς Ἀθηνᾶς ἕλκων, ἐπʼ αὐτῷ δὲ καὶ ἐπίγραμμά ἐστιν· | Ajax too is depicted dragging Cassandra from the statue of Athena, and there is also an inscription on this: | ποιέω δέ καί Κασσάνδρα ἀπό ὁ ἄγαλμα αἴας ὁ Ἀθηνᾶ ἕλκω ἐπί αὐτός δέ καί ἐπίγραμμα εἰμί | 0 |
| 5.19.5 | 6 | Αἴας Κασσάνδραν ἀπʼ Ἀθαναίας Λοκρὸς ἕλκει. | "Ajax the Locrian drags Cassandra from Athena." | αἴας Κασσάνδρα ἀπό ἀθαναία Λοκρός ἕλκω | 0 |
| 5.19.6 | 1 | τῶν δὲ Οἰδίποδος παίδων Πολυνείκει πεπτωκότι ἐς γόνυ ἔπεισιν Ἐτεοκλῆς. | Of the sons of Oedipus, Eteocles is approaching Polynices, who has fallen upon one knee. | ὁ δέ Οἰδίπους παῖς Πολυνείκης πίπτω εἰς γόνυ ἔπειμι Ἐτεοκλῆς | 0 |
| 5.19.6 | 2 | τοῦ Πολυνείκους δὲ ὄπισθεν γυνὴ ἕστηκεν ὀδόντας τε ἔχουσα οὐδὲν ἡμερωτέρους θηρίου καί οἱ τῶν χειρῶν εἰσιν ἐπικαμπεῖς οἱ ὄνυχες· | Behind Polynices stands a woman, whose teeth are no less savage than those of a wild beast, and the nails on her hands are sharply curved. | ὁ Πολυνείκης δέ ὄπισθεν γυνή ἵστημι ὀδούς τε ἔχω οὐδέν ἡμέριος θηρίον καί ὁ ὁ χείρ εἰμί ἐπικαμπής ὁ ὄνυξ | 0 |
| 5.19.6 | 3 | ἐπίγραμμα δὲ ἐπʼ αὐτῇ εἶναί φησι Κῆρα, ὡς τὸν μὲν ὑπὸ τοῦ πεπρωμένου τὸν Πολυνείκην ἀπαχθέντα, Ἐτεοκλεῖ δὲ γενομένης καὶ σὺν τῷ δικαίῳ τῆς τελευτῆς. | The inscription upon her identifies her as Fate, making clear that Polynices was led away by destiny, but that death came to Eteocles justly and deservedly. | ἐπίγραμμα δέ ἐπί αὐτός εἰμί φημί κῆρ ὡς ὁ μέν ὑπό ὁ πρόμοιρος ὁ Πολυνείκης ἀπάγω Ἐτέοκλης δέ γίγνομαι καί σύν ὁ δίκαιος ὁ τελευτή | 0 |
| 5.19.6 | 4 | Διόνυσος δὲ ἐν ἄντρῳ κατακείμενος, γένεια ἔχων καὶ ἔκπωμα χρυσοῦν, ἐνδεδυκώς ἐστι ποδήρη χιτῶνα· | Dionysus is depicted reclining within a cave, bearded and holding a golden cup; he wears a floor-length tunic. | Διόνυσος δέ ἐν ἄντρον κατάκειμαι γένειον ἔχω καί ἔκπωμα χρύσεος ἐνδύω εἰμί ποδήρης χιτών | 0 |
| 5.19.6 | 5 | δένδρα δὲ ἄμπελοι περὶ αὐτὸν καὶ μηλέαι τέ εἰσι καὶ ῥόαι. | Around him grow vines, apple trees, and pomegranate trees. | δένδρον δέ ἄμπελος περί αὐτός καί μηλέα τε εἰμί καί ῥόα | 0 |
| 5.19.7 | 1 | ἡ δὲ ἀνωτάτω χώρα---πέντε γὰρ ἀριθμόν εἰσι--- παρέχεται μὲν ἐπίγραμμα οὐδέν, λείπεται δὲ εἰκάζειν ἐς τὰ ἐπειργασμένα. | The uppermost region—for there are five in number—provides no inscription, leaving us to speculate from the sculptures themselves. | ὁ δέ ἀνωτάτω χώρα πέντε γάρ ἀριθμός εἰμί παρέχω μέν ἐπίγραμμα οὐδείς λείπω δέ εἰκάζω εἰς ὁ ἐπιεργάζομαι | 0 |
| 5.19.7 | 2 | εἰσὶν οὖν ἐν σπηλαίῳ γυνὴ καθεύδουσα σὺν ἀνδρὶ ἐπὶ κλίνῃ, καὶ σφᾶς Ὀδυσσέα εἶναι καὶ Κίρκην ἐδοξάζομεν ἀριθμῷ τε τῶν θεραπαινῶν, αἵ εἰσι πρὸ τοῦ σπηλαίου, καὶ τοῖς ποιουμένοις ὑπʼ αὐτῶν· | Within a cave is depicted a woman asleep on a bed with a man; we conjectured these to be Odysseus and Circe due both to the number of attendants positioned before the cave and to the actions they perform. | εἰμί οὖν ἐν σπήλαιον γυνή καθεύδω σύν ἀνήρ ἐπί κλίνω καί σφεῖς Ὀδυσσεύς εἰμί καί Κίρκη δοξάζω ἀριθμός τε ὁ θεράπαινα ὅς εἰμί πρό ὁ σπήλαιον καί ὁ ποιέω ὑπό αὐτός | 0 |
| 5.19.7 | 3 | τέσσαρές τε γάρ εἰσιν αἱ γυναῖκες καὶ ἐργάζονται τὰ ἔργα, ἃ ἐν τοῖς ἔπεσιν Ὅμηρος εἴρηκε. | For these four women carry out tasks described by Homer in his epic poetry. | τέσσαρες τε γάρ εἰμί ὁ γυνή καί ἐργάζομαι ὁ ἔργον ὅς ἐν ὁ ἔπος Ὅμηρος εἴρω | 0 |
| 5.19.7 | 4 | Κένταυρος δὲ οὐ τοὺς πάντας ἵππου πόδας, τοὺς δὲ ἔμπροσθεν αὐτῶν ἔχων ἀνδρός ἐστιν. | There is also a Centaur who does not possess horse legs in every instance, for his front legs are those of a human. | κένταυρος δέ οὐ ὁ πᾶς ἵππος πούς ὁ δέ ἔμπροσθεν αὐτός ἔχω ἀνήρ εἰμί | 0 |
| 5.19.8 | 1 | ἑξῆς καὶ ἵππων συνωρίδες καὶ γυναῖκες ἐπὶ τῶν συνωρίδων εἰσὶν ἑστῶσαι· πτερὰ δὲ τοῖς ἵπποις χρυσᾶ ἐστι, καὶ ἀνὴρ δίδωσιν ὅπλα μιᾷ τῶν γυναικῶν. | Next there are pairs of horses and women standing upon the chariots; the horses have wings of gold, and a man is giving armor to one of the women. | ἑξῆς καί ἵππος συνωρίς καί γυνή ἐπί ὁ συνωρίς εἰμί ἑστηκυῖα πτερόν δέ ὁ ἵππος χρυσός εἰμί καί ἀνήρ δίδωμι ὅπλον εἷς ὁ γυνή | 0 |
| 5.19.8 | 2 | ταῦτα ἐς τὴν Πατρόκλου τελευτὴν ἔχειν τεκμαίρονται· Νηρηίδας τε γὰρ ἐπὶ τῶν συνωρίδων εἶναι καὶ Θέτιν τὰ ὅπλα λαμβάνειν παρὰ Ἡφαίστου. | It is conjectured that these scenes relate to the death of Patroclus; for the women upon the chariots are Nereids, and Thetis is receiving the armor from Hephaestus. | οὗτος εἰς ὁ Πάτροκλος τελευτή ἔχω τεκμαίρομαι Νηρηίς τε γάρ ἐπί ὁ συνωρίς εἰμί καί θέτις ὁ ὅπλον λαμβάνω παρά Ἥφαιστος | 0 |
| 5.19.8 | 3 | καὶ δὴ καὶ ἄλλως ὁ τὰ ὅπλα διδοὺς οὔτε τοὺς πόδας ἐστὶν ἐρρωμένος καὶ ὄπισθεν οἰκέτης ἕπεταί οἱ πυράγραν ἔχων· | Indeed, further evidence is that the man giving the armor is portrayed with legs that are not strong, and behind him a servant follows holding a pair of tongs. | καί δή καί ἄλλως ὁ ὁ ὅπλον δίδωμι οὔτε ὁ πούς εἰμί ἐρρωμένος καί ὄπισθεν οἰκέτης ἕπομαι ὁ πυράγρα ἔχω | 0 |
| 5.19.9 | 1 | λέγεται δὲ καὶ ἐς τὸν Κένταυρον ὡς Χίρων, ἀπηλλαγμένος ἤδη παρὰ ἀνθρώπων καὶ ἠξιωμένος εἶναι σύνοικος θεοῖς, ῥᾳστώνην τινὰ ἥκοι τοῦ πένθους Ἀχιλλεῖ παρασκευάσων. | There is also a story regarding the Centaur, that Chiron, having already departed from humans and having been deemed worthy to dwell among the gods, came to afford Achilles some alleviation of his grief. | λέγω δέ καί εἰς ὁ κένταυρος ὡς χείρων ἀπαλλάσσω ἤδη παρά ἀνήρ καί ἀξιόω εἰμί σύνοικος θεός ῥᾳστώνη τις ἥκω ὁ πένθος Ἀχιλλεύς παρασκευάζω | 0 |
| 5.19.9 | 2 | παρθένους δὲ ἐπὶ ἡμιόνων τὴν μὲν ἔχουσαν τὰς ἡνίας, τὴν δὲ ἐπικειμένην κάλυμμα ἐπὶ τῇ κεφαλῇ, Ναυσικᾶν τε νομίζουσιν εἶναι τὴν Ἀλκίνου καὶ τὴν θεράπαιναν, ἐλαυνούσας ἐπὶ τοὺς πλυνούς. | And as for the maidens upon the mules—one of whom holds the reins, and the other wears a veil over her head—they believe them to be Nausicaa, daughter of Alcinous, and her handmaiden, driving to the washing pools. | παρθένος δέ ἐπί ἡμίονος ὁ μέν ἔχω ὁ ἡνία ὁ δέ ἐπίκειμαι κάλυμμα ἐπί ὁ κεφαλή ναυσικᾶς τε νομίζω εἰμί ὁ Ἀλκίνοος καί ὁ θεράπαινα ἐλαύνω ἐπί ὁ πλυνός | 0 |
| 5.19.9 | 3 | τοξεύοντα δὲ ἄνδρα Κενταύρους, τοὺς δὲ καὶ ἀπεκτονότα ἐξ αὐτῶν, δῆλα Ἡρακλέα τε τὸν τοξεύοντα καὶ Ἡρακλέους εἶναι τὸ ἔργον. | Furthermore, regarding the man who shoots arrows at Centaurs, with some of the Centaurs already slain, it is clear that the figure depicted shooting is Heracles, and that the deed is his work. | τοξεύω δέ ἀνήρ κένταυρος ὁ δέ καί ἀποκτείνω ἐκ αὐτός δῆλος Ἡρακλῆς τε ὁ τοξεύω καί Ἡρακλῆς εἰμί ὁ ἔργον | 0 |
| 5.19.10 | 1 | τὸν μὲν δὴ τὴν λάρνακα κατ εἰργασμένον ὅστις ἦν, οὐδαμῶς ἡμῖν δυνατὰ ἦν συμβαλέσθαι· | Who exactly was the craftsman who designed the chest, it was entirely impossible for us to conjecture. | ὁ μέν δή ὁ λάρναξ κατά ἐργάζομαι ὅστις εἰμί οὐδαμῶς ἐγώ δυνατός εἰμί συμβάλλω | 0 |
| 5.19.10 | 2 | τὰ ἐπιγράμματα δὲ τὰ ἐπʼ αὐτῆς τάχα μέν που καὶ ἄλλος τις ἂν εἴη πεποιηκώς, τῆς δὲ ὑπονοίας τὸ πολὺ ἐς Εὔμηλον τὸν Κορίνθιον εἶχεν ἡμῖν, ἄλλων τε ἕνεκα καὶ τοῦ προσοδίου μάλιστα ὃ ἐποίησεν ἐς Δῆλον. | Concerning the inscriptions upon it, it might perhaps have been another who composed them; yet we strongly suspected Eumelus the Corinthian, for several reasons, and particularly because of the processional hymn he composed for Delos. | ὁ ἐπίγραμμα δέ ὁ ἐπί αὐτός τάχα μέν πού καί ἄλλος τις ἄν εἴην ποιέω ὁ δέ ὑπόνοια ὁ πολύς εἰς εὔμηλος ὁ Κορίνθιος ἔχω ἐγώ ἄλλος τε ἕνεκα καί ὁ πρόσοδος μάλιστα ὅς ποιέω εἰς δῆλος | 0 |