THE LIVING VOICE OF GREEK AND LATIN LITERATURE THE PRONUNCIATION AND READING OF ANCIENT GREEK: A Practical Guide by STEPHEN G. DAITZ Professor of Classical Languages The City College and the Graduate School, CUNY '$ AND PRACTICE EXERCISES Jettrey Norton Publishers, Inc. New York — Guilford,CT ~~ London © Stephen G. Daltz, 1981, 1984 Second Revised EditionTHE PRONUNCIATION AND READING OF ANCIENT GREEK: A Practical Guide Copyright ® 1981, 1984 by Stephen G. Daltz. Second revised edition. All rights reserved. Printed in the United States of America. No part of this publication may be reproduced, stored In a retrieval system, or tranamilted, In any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. ISBN: 0-88432-125-8 Published by Audio-Forum, a Division of Jeffrey Norton Publishers, Inc., On-The- Green, Gullford, Connecticut 06437 New York Sales Office: 145 E. 49th Street, New York, N.Y. 10017 London Sates Office: 31 Kensington Church Street, London W8 4LL, U.K.TO A. E, RAUBITSCHEKPREFACE TO THE FIRST EDITION This booklet contains in printed form the Greek texts which are used in the recording for demonstration purposes, as well as the suggested practice exercises. One obvious advantage of a recording in language study is that the user can stop or repeat the recording whenever he wishes in order to verify or to reinforce his aural impressions. It is my hope that students using this recording will make full use of tho possibilities of stopping or replaying so that each student oan advance at his or her own individual pace. Having the texts and the exercises before the eyes will provide visual reinforcement to the process of aural sensitization and compre= hension. After all, most of us have been conditioned to absorb literature through the eyes rather than through the ears. To savor the full beauty of Greek literature, however, some form of reconditioning is necessary so that our ears can become active participants in the literary process. The principal aim of this recording is to encourage and to facilitate this reconditioning. It 4s a pleasure to acknowledge the help of my colleagues, Professors Heller, Hurwitz, and Stern, each of whom offered some excellent suggestions towards the improvement of this recording. New York, May 1981 S8.G.D.PREFACE ‘tO THE SECOND EDITION At the suggestion of several of my colleagues and students, some minor changes and some major additions have been made in the second edition of this recording. The scansion and reading of the dactylic hexameter, in the aim of greater clarity and effectiveness, has been broken down to five stages rather than to the previous four. I have added demonstration-readings of a complete passage of dactylic hexameters at stages 2, 3, 4, and 5, and have added a similar treatment of a passage of tambic trimeters. Finally, I have added demonstration-readings of a passage of anapestic dimeters and of a lyric poem. ‘he texts and scansion of this additional material appear in the present booklet. This new edition is dedicated to A. E, Raubitschek, eminent scholar and teacher, who many years ago read aloud a passage of the Antigone and struck this listener with the unforgettable and amazed feeling of how beautiful Greek poetry could sound. New York, September 1984Sext of Homer, ILIAD, Book I, lines 1-7 Mijn ofide, Ded, Undyuddew "Axidsos ovdopeony, } pupé’ "Axaiois ddye’ Onker, modhas 8 idBipous uxds “AiSe mpotaper jpdur, abrovs 88 éddpia rebxe Kiverow oiwvoiat re Saira— Avds 8° éredelero Boulf{—, 6 e€ of 8) ra mpdra SacrHrqy epicarre "Arpeldys refdvat dv8pdv Kat Bios ’AyiAdeds., N.Bo In this text, the inserted letter, Ff, is a digamma, pronounced like the English letter, w. I insert the digamma only when it is etymologicelly justified and when its insertion allows us either to avoid hiatus or to avoid rhythmio irregularities which are otherwise inexplicable. Although the digamma is not found in the medieval manuscripts of Homer, it was probably pronounced in the early pre-classical recitations of Homer and was very possibly pronounced in the ritualized recitations of Homer during the classical period at Athens, Of the three versions of these lines heard in the recording, only the third version, the restored ancient pronunciation, inserts the digamma.The Greek Alphabet _and its Pronunciation (Attic, V cent.) (only the small, non-capital, forms of the Greek letters are printed here.) International Greek letter* Name Phonetic Symbol Short *°(4) alpha /e/ Long & (&) alpha /as/ Short Al alpha iota /ai/ Long ott @) alpha iota subscript /ati/ au alpha upsilon /eu/ a beta /o/ r gamma /e/ (y before y, kK, X 4 Ee = // delta /a/ £ epsilon /e/ et epsilon iota /e:/ ev epsilon upsilon /eu/ g zdeta /2a/ 4 eta /ex/ co (q) eta iota subscript /¢11/ nv eta upsilon Jen *In the following list, the symbol“ over a vowel indicates a vowel of short quantity, the symbol — indicates a vowel of long quantity. These same symbols are also traditionally used to indicate respectively short and long syllables. (See below, Rules of Syllabic Quantity and Soansion,)Q theta Jet] Short « (¢) jota Af Long « (T) ota /is/ K kappa // X lambda df ‘» m Jf yv nu /o/ £ ksi /xs/ ° omikron /o/ OL omikron iota /oi/ ov omikron upsilon = /u:/ wv pi /r/ ° rho /t/ (trilled) LS sigma /s/ (o before B, or ys or y, ‘or A= fof T tau /t/ Short uv (0) upsilon /y/ Long vu (7) upsilon /y:/ vt upsilon iota /ya/ > phi /e'/ x kehi /x'/ 4 pod /p3/ omega />:/ wre (w) omega iota subscript /D :i/ .10 Written Signs for Aspiration & unaspirated vowel & aspirated vowel ai unaspirated diphthong (sign over second element ) At aspirated diphthong (sign over second element) Pronunciation Practice of Selected Vowels and Consonants The pair kappa and khi kT Ke ky kU ko KD kW Keu Xe Ke Ky xe x xX Kw Kev The pair pi and phi wa we wh wt wo WH Tw ev 3 ge dy ft go gu gw dev The pair tau and theta ~ TA Te TH Tt To Tu Tw Tev 6a Ge On Ot bo O04 bw Bev The consonant zdeta $a fe Sn St So 25 Su Sev The consonant rho . pa pe Pq a p° fe’ ew peu Pronunciation of acute accent 1, Over a short vowel Acyos reason, word < 4 650s street, way 2. Over a long vowel or a diphthong pirne mother Thad honorPronunciation of circumflex accent Tobros slave vik twin Pronunciation practice of twenty words 1, Messenger % re thos 2. Brother RrerdHos 3. Han av Opwi os 4. Clear oA dos 5. Gift THpov 6. Collect abpots w 7. Foreigner adppapes 8. From there évted ge ev 9. Strong ie xi pés 10, Village kw | 11, Silence oiyn 12. Protect dudarrw 13, Athenian *Adqvatos | 14. Conspire emipovredw 15. Soldier erpaTior ys 16, Grieve AXSomat 17. Prevent kw dt vw 18, Agree 6 oroy 19. Die arobvyrKe 20. Song & oy12 Text_of the opening sentence of Plato's APOLOGY 1.°O re par Ouets, d dv8pes "APnvaior, wendrOare ond tiv epav rarnydpav, od olSa> yd 8 obv Kai avrds bm” at- rav dXiyou euavrod érehaBspyy: obrw mBavis édeyou: Kale ror ddyés 7’ ds eros eineiv obS8tv elpyjxtiow. Rules to determine syllabic quantity * 1, A syllable may be classified long either by nature or by position. 2. A syllable is classified long by nature if it contains a long vowel such as eta, omega, long alpha, long iota, long upsilon, or any diphthong. This syllable is said to be long by the nature of its vowel or dipthong. 3. A syllable is classified long by position if it contains a short vowel, such as epsilon, omikron, short alpha, short iota, short upsilon, which is then followed by at least two successive consonants which may include the double consonants zdeta, kei, and psi. This syllable is said to be long by the position of its vowel in front of two or more consonants, N.B. a) One or both of the two consonants lengthening a final gyllable by position may belong to the noxt word, 6G. i Aog rornris oF pose xriipa. b) Length by position does not change the natural quantity of the vowel. Thus, both \¢§w'T shall say! * See note on p.20.13 and Anfu ‘I shall cease’ have the first syllable long by position (because of the double consonant € ), but the firet vowel is short in M€Ew, long in Mfw. 4. If a syllable does not qualify as long either by hature or by position, it is classified short. Some exceptions to the general rules on quantity 1. A syllable containing a short vowel which is followed by two consonants can sometimes remain short if the two consonants belong to one of the following combinations (a ‘stop' plus a 'liquid'): Pp, yp, op One ress) 9, Om, Ov, Op (Mx Upates) kA, KR, ky, xp (vines). Td, wy, Tm (wt npwpdva) rd, TA, Ty, T Gare “ bd, $y, $f. ts pfu) KA, X% XP CHAE N.B, The symbol % is placed over a syllable which may be theoretically scanned short or long. 2. A vowel at the end of a word standing before a vowel at the beginning of the next word is said to be in hiatus. Sometimes a long final vowel or a diphthong in hiatus is shortened before the vowel that follows. This form of shortening is called correption. Some examples are:4 pol evverme (oayssey 1.1) wAayXOy eel (Odyssey 1.2) For a complete treatment of these and other exceptions, see D.3, Raven, Greek Metre, pp.23-24. Scansion and reading of the dagtylio hexameter 1. A dactyl = one long syllable + two short syllablee= —v ~~ 2. A spondee = two long syllables = — — 3. A troohee = one long syllable + one short syllable =» — ~~ 4. A hexameter = @ verse consisting of six meaaures 5. A dactylic hexameter with the maximum number of dactyls = 5 dactyls + 1 spondee or 1 trochee = (Measures) 1 2 3 4 5 | 6 aveliveliy N.B. Since there was presumably some pause at the end of each verse in a sequence of dactylic hexameters, the last syllable of the verse is in practice counted long even if it theoretically scans short. 6. The full metrical schome of the dactylio hexameter, Anoluding spondee substitution for dactyls, is 2 3 4 5 vy y vy (Measures) 1 vy vy N.B. Spondee substitution in the fifth measure is relatively rare.15 Reading Homer, ODYSSEY I,1-10 (dactylic hexameter) Stage 1. Rhythm without words (chanted on la la...) Stage 2. Rhythm with words (chanted) *Av8pa. pos Severe, Movoa, modorponay, és pada 70ANS mddyy Oi, "eee Tpargs tepav nroNepov"enepaz- nBdMay 8 vOptintivfide Flores Kat vBov Bvis, AOANL 8 Sy" OF mrovrp mROW EAVES) Kare Odpdy, “apvoptvas piv 1F Yoxiy ud vBordy*eraipiav. 6 “EN BB" Gs trlpsvs Yppotnd “Wyievis mip: Bdriby yp oftreppaty draodarijow’drovrd, vintol, OL ath Roos WHET Bs TIENTS “Hoots Brkp's roiolyAdeirtrd vooriplov Pulp. “jodioy: airkp's 1 ov Mud. riiv Sloe ye, OF, OSyarep AtSs, ele nat ytd. 10 Stage 3. Rhythm + words + pitoh accents (chanted) “Aubpt wos Eon, Mobos, afoNbrpnb, Bs ida ANS addy Gry "ered ‘I patgs ixpdv nroNebpov erepok- moMav 8 dvOpdnaavfibe florea kad vdov Evi, | soa’ 8S "ev Tbvrep nd0ev adyedfov Kara Ovpdv, oem eg ce ae a gates Spithitvasty re snc wah vaorav"gvalpay. 6 Ly sist Be eebpee Iopdotrs Uheude nip abrav ydp oftrépjow aravaXtjoiy édovr0, Ariat, ak cea fabs “VtploBs MeN Fobich aviip's ratowdgelrere pdoryov Fuap. thy lb0e ye, Oecd, OSyarep Ards, eld Kat Futr. 10 Stage 4. Rhythm + words + pitoh accents (spoken tones) Stage 5. = Stage 4 + phrasing and interpretation16 Soansion and reading of the iambic trimeter 1, An iamb = one short syllable + one long syllable = 2. Atribrach = three short syllables = ~~ ~ 3. An anapest = two short syllables + one long syllable= ~ ~ — 4. For spondee and dactyl, see p.l4 5. A trimeter = a verse of three measures, each measure consisting of two iambs or their metrical equivalent. 6. The full metrical soheme of the iambic trimoter, dnoluding resolutions (substitutions for the iamb), is (Measures ) 1 2 3 v u - Vv vy ue yey vvyl ve uvuluvys avy mee vue N.B. Since there was presumably some pause at the end of each verse in a sequence of iambio trimeters, the last syllable of the verse is in practice counted long even if it theoretically scans short. The above metrical scheme is applicable to the iambic trimeters found in Greek tragedy. The scheme for the trimeters of Greek comedy is somewhat different, containing many more resolutions.lq Adokhylos, PROMETH SOUND_1. ambio trimeter, Stage 1. Rhythm without words (chanted on la la...) Stage 2. Rhythm with words (chanted) Xovos ev Fndoupor Fropen meBov, Lxvbqyv ds oi BIpdv,“SPpBrav Ws Ipnyiiar. “Th 04 8 xpi peda Ivor has & 001 nari ‘aro, rove mpos merpais Wapdtnpnuveis ray Aeapyor 3 Sxriaoa 5 Uapavrivay Scopaav'ty dpphxrois neBais. Stage 3. Rhythm + words + pitoh accents (chanted) bovis pitv Ts rads} none aéBov, ERO "ts Old, Spor dv es dpniilav. Tigisore, cat 84 xpi) iddaw dior SAEs I coi narhp dpetrs, F6vBe npds wérpais Wirsngityois Tae Mespyay dygidoas 5 “aBajiavelvaav Beopaav ev Appirois néBaus. Stage 4. Rhythm + words + pitch accents (spoken tones) Stage 5. = Stage 4 + phrasing and interpretation N.B. In the above passage, observe the tribrach resolution in the second measure of line 2, and the anapest resolution in the first moasure of line 6.18 Euripides, HEKABE 98-106 (anapestio dimeter), stage 5 Metrioal scheme of the anapestio dimeter: ee ey ey ve ff ee ee vy ee N.B. Symbol |] = diaeresis (word ond) As can be seen, both dactyls and spondees oan be substituted for anapests. Normally, however, a sequence of four short syllables is avoided in the anapestic dimeter. A "oatalectio" dimeter (a lino with its last syllable omitted) is called a paroemiac, an example of which oan be seen in line 103 below. “Bxépn, anoudilnpbs o “enidaday, tas be emoouveusloniyas mpoXireba", by eked cal, mpootrdx day 100 S0AT, oNeaa|ldreravvo per, tiis"INddos, My xn alxnfi SopOfparos mpds Axaudv, ab8y rafter drroxovpl{ove', ANN dyyeMas Bépos dpapev 105 peya, ool re, yovat, Kiipué dxéov,1g Sappho lyric meter: sapphic strophe), stage Metrical scheme of the sapphic strophes av eee ey ee (lines 1,2,3) (1ine 4) momibdOpov’ A0avder’ "AgpdBira, nat Atos Bohdmdone, Mocopat o€, oe, 1h “ouor 18" eviacor Edpva, wbrvia, Ojo, AAA 1vl8? 20", ai nora Kérépwra 5 ras tuas adBas dfoioa mpror Ecdues, mdrpos 82 Bboy Nrovwa xpvo.or FA0es pp! dnaoBevgaivar nddor BE 0° dyov Gixees orpo60or nepl yas wedaivas 10 mibnva Bloverres nrép” dn’ cspdvwile- pos 81d péoow, alfa 8° eflkovro: od 8°, ob pduarpa, paBialoao’ eaviry npoodsmy Ape bere BySre memovba. wiser 45 Bydre xddnups, ndbrre por pddiora Oédw yéveaBar nawdrg Opp riva BySre meldw af 0” dyqy bs Fav gudsrara; ris 0’, & Vang’, dBinsjees 20 nal yap al geviyer, raxlws Bubger at 32 Béipa pi BéKer’, ddd Beiaer al 88 pi gia, raxdws gudfoer Kwde iowa, Ae jor Kal vor, yaAdnav BE Aoov a5 dx pspluvav, 00a 8¢ ror rédeaoar Oop05 indpper, rédeoow ad 8° avira odppaxos Zoo0,20 For those who wish to explore further the linguistio, the literary, and the metrical aspects of the pronunciation of ancient Greek, the following works will be of interest: W.S. Allen, Yox Graeoat A Guide to the Pronunciation of Classical Greek, 2 ed., Cambridge Univ. Press W.3. Allen, Accent and Rhythm, Cambridge Univ. Press 8H. Sturtevant, The Pronunciation of Groek and Latin, 2 ed., reprinted by Ares Publishers W.B. Stanford, The Sound of Greek, University of California Press D.S. Raven, Greek Netre, Humanities Press Rosenmeyer, Ostwald, Halporn, The Neters of Greek and Latin Poetry, Bobbs Merrill *(Note from p.12) The symbola—and’, whioh were previously used to designate vowel length, are here used to designate syllabic quantity, i.e. to indicate whether a syllable is long or short. As we shall see from the rules of syllabic quantity, a short vowel does not necessarily mean a short syllable. Sone scholars prefer the designation “heavy" and "light" to that of "long" and "short" when referring to syllabic quantity. Although the use of the words "heavy" and "light" does avoid ambiguity by providing different terminology for vowel length and syllabio quantity, the words "heavy" and "light" nevertheless have for users of American Bnglish connotations of stress that could cause confusion in the oral rendition of anoient Greek poetry. And so with considerable regret, the traditional terms of "long" and "short" syllables have been retained for reasons of greater effectiveness in teaching the reading of Greek pootry aloud.