it comes from the lessons being imprinted like wax, or from it being mixed from cold and hot, or from receiving the blow at the right time, or from *kear*, *kēr*; and this from *kō*, to burn; (for they say the soul is the innate heat;) and *kō* signifies two things, to lie down, from which *koitē*; *kō*, to burn, from which also the[ ∴Il. .♣ι234 ].having kindled many fires. In *kēr* the accent is a circumflex, why? From *kear*, *kēr*; every contraction ... What is the full form? *kear*. How is it declined? *kearos*. The rule of neuters in -ar; all those of more than two syllables are declined with -tos, *deleatos*, *oneiatos*; but of the disyllables, those with a long penultimate with -tos, *hēpatos*, *outhatos*; and those with a short one with -ros, *earos*, *kearos*. The contracted form *kēr*; the rule? Contracted forms do not have rules. And how do you make the contraction? The E and A are mixed into a long E. How is it declined? *kēros*; the accent *kēros* and *ēros*, from *kearos* and *earos*. But if it signifies the death-bringing fate, it is of the feminine gender, and it comes from *kō*, to burn. The AI is a diphthong, why? Because the A appeared in the future tense, it is written with the diphthong AI in the present tense. And otherwise; the disyllabic verbs in -eō that do not undergo contraction in the second and third person are written with the diphthong AI, such as *klaiō*, *paiō*, *naiō*. Thus then also *kaiō*; but *pleō* and *rheō* and *cheō* and the like are written with a simple E, because in the second and third person they undergo contraction, such as *cheō* *cheeis* *cheis*, *rheō* *rheis* *rheis*, *pleō* *pleeis* *pleis*. *kaiō*, *kausō*; from where does it have the U? In those cases where the Attics drop the I in the present, they add the U in the future, *klaiō* *klausō*, *kaiō* *kausō*; for in these cases also, dropping the I in the present, they say *klaō* and *kaō*. *kēr*, E, why? From *kear*, *kēr*; for the E and A are mixed into a long A. And otherwise; every masculine and feminine noun ending in an unchangeable letter, has a long final syllable. And otherwise; words in -er of every gender are written with E, except for *cheir*, *phtheir*, *Eir* (name of a river), *Bekcheir* (name of a people), *Sapheir* (name of a Pontic people), *etheir*, *Elateir* (a Celtic river), *Licheir* (a river near Plataea), *einater*, *Eleazeir* (king of the Libyans), and *phir* and *Phthir* (son of Endymion) and are written with I. In *kēr*, an acute, why? Every nominative and accusative not being from a contraction is oxytone, except for the monosyllables and those specially marked and those declined with NT. How is it declined, *kēros*? The rule: Every monosyllabic noun ending in an unchangeable letter is declined with the addition of -os, except for *phrēn* *phrenos*, and *chthōn*, *chthonos*. And why is *phrēn* *phrenos* specially marked? Because the monosyllables in -en are common in gender, and the feminines are homophonous with the masculines, such as *ho chēn* and *hē chēn*, *ho rhēn* and *hē rhēn*; but *phrēn* being of the feminine gender only, as it differed in gender, it also differed in declension. But *chthōn* *chthonos*, why is it specially marked? Because the rules have come about according to analogy; (and analogy is the comparison of like things, and a like thing is like to a like thing;) reasonably, therefore, we mark the unique cases and do not make them into rules. The accent of *kēros*; however, the disyllabic genitives in -os tend to be oxytone. From *kēr*, then, that which signifies the death-bringing fate, comes by derivation *kērios*, he who has fallen into destruction; and with the privative A, *akērios*, he who is deprived of destruction; and by change of the E to A, and by addition of M, *makarios*. In how many ways is M added? In many ways. How? For M is added in many words, as in *ios*, *iou*, *ia* the feminine, and with the addition of M, *mia*, and *aleuron*, *maleuron*, 5 and *estos*, *mestos*; thus then also *akērios*, *makērios*, and by change of the E to A, *makarios*. In how many ways does the change of vowels happen? In four ways. For either the long is changed to long, as in *hamartēlos* *hamartōlos*; or the short to short, as in *Aianti* *Aianta*; or the long to short, as in *naos* *neōs*; or the short to long, as

γίνεται παρὰ τὸ δίκην κηροῦ ἀπομάττεσθαι τὰ μαθήματα, η᾿` παρὰ τὸ κεκρᾶσθαι αυ᾿τη`ν ε᾿κ ψυχροῦ καὶ θερμοῦ, η᾿` παρὰ τὸ καιρίαν δέχεσθαι τὴν πληγὴν, η᾿` παρὰ τὸ κέαρ κῆρ· τοῦτο δὲ παρὰ τὸ κῶ τὸ καίω· (τὴν ψυχὴν γὰρ τὸ ε᾿´μφυτον θερμὸν φασὶν ει᾿῀ναι·) καὶ σημαίνει δύο κῶ, τὸ κοιμῶμαι, ε᾿ξ ου῾῀ κοίτη· κῶ τὸ καίω, ε᾿ξ ου῾῀ καὶ το[ ∴Il. .♣ι234 ].κειάμενοι πυρὰ πολλά. Ει᾿ς τὸ κῆρ τὸν τόνον περισπώμενον, διατί;Ἐκ τοῦ κέαρ κῆρ· πᾶσα συναίρεσις ... Πῶς ε᾿στι τὸ ἐντελές; Τὸ κέαρ. Πῶς κλίνεται; Τοῦ κέαρος.Ὁ κάνων τῶν ει᾿ς ΑΡ ου᾿δε-τέρων· τὰ μὲν ὑπὲρ δύο συλλαβὰς α῾´παντα διὰ τοῦ ΤΟΣ κλί νονται, δελέατος, ο᾿νείατος· τῶν δὲ δισυλλάβων τὰ μὲν μακρᾷ παραληγόμενα διὰ τοῦ ΤΟΣ, η῾´πατος, ου᾿´θατος· τὰ δὲ βραχείᾳ διὰ τοῦ ΡΟΣ, ε᾿´αρος, κέαρος. Τὸ συνῃρημένον τὸ κῆρ· ὁ κανών; Τὰ συνῃρημένα κανόνας ου᾿κ ε᾿´χουσι. Καὶ πῶς ποιεῖς τὴν συναί ρεσιν; Τὸ Ε καὶ Α ει᾿ς Η μακρὸν κιρνᾶται. Πῶς κλίνεται; Τοῦ κῆρος· ὁ τόνος ἡ κῆρος καὶ η᾿῀ρος, ε᾿κ τοῦ κέαρος καὶ ε᾿´αρος. Ει᾿ δὲ σημαίνει τὴν θανατηφόρον μοῖραν, γένους ε᾿στὶ θηλυκοῦ, καὶ γίνεται παρὰ τὸ κῶ τὸ καίω. Τὸ ΚΑΙ δίφθογ γον διατί; ∆ιότι α᾿νεφάνη τὸ Α ε᾿ν τῷ μέλλοντι, διὰ τῆς ΑΙ διφθόγγου γράφεται ε᾿πι` τοῦ ἐνεστῶτος. Καὶ α᾿´λλως· τὰ δι' αυ᾿τοῦ (διὰ τοῦ) ΕΩ ῥήματα δισύλλαβα ο᾿´ντα ε᾿πι` δευτέρου καὶ τρίτου προσώπου συναίρεσιν ου᾿κ ἐπιδεχόμενα διὰ τῆς ΑΙ διφθόγγου γράφεται, οι῾῀ον κλαίω, παίω, ναίω. Ου῾´τως ου᾿῀ν καὶ τὸ καίω· τὸ δὲ πλέω καὶ ῥέω καὶ χέω καὶ τὰ ο῾´μοια διὰ τοῦ Ε ψιλοῦ γράφεται, ο῾´τι κατὰ τὸ δεύτερον καὶ τρίτον πρόσωπον συναίρεσιν ε᾿πιδέχονται, οι῾῀ον χέω χέεις χεῖς, ῥέω ῥέεις ῥεῖς, πλέω πλέεις πλεῖς. Καίω καύσω· πόθεν ε᾿´χει τὸ Υ;Ἐφ' ω῾῀ν οἱἈττικοὶ ἀποβάλλουσι τὸ Ι κατὰ τὸν 4 ε᾿νεστῶτα, πλεονάζουσι τὸ Υ κατὰ τὸν μέλλοντα, κλαίω κλαύσω, καίω καύσω· καὶ γὰρ ε᾿πι` τούτων α᾿ποβάλλοντες τὸ Ι κατὰ τὸν ε᾿νεστῶτα κλάω καὶ κάω λέγουσι. Τὸ κῆρ, Η, διατί;Ἐκ τοῦ κέαρ, κῆρ· τὸ γὰρ Ε καὶ Α ει᾿ς Α μακρὸν κιρνᾶται. Καὶ α᾿´λλως· πᾶν α᾿ρσενικὸν καὶ θηλυκὸν ει᾿ς ἀμε τάβολον λῆγον, μακροκαταληκτεῖ. Καὶ α᾿´λλως· τὰ ει᾿ς ΗΡ ε᾿πι` παντὸς γένους διὰ τοῦ Η γράφεται, πλὴν τοῦ χεὶρ, φθεὶρ, Ει᾿`ρ, (ο᾿´νομα ποταμοῦ,) Βέκχειρ, (ε᾿´θνους ο᾿´νομα,) Σάφειρ, (ο᾿´νομα ε᾿´θνους Ποντικοῦ,) ε᾿´θειρ,Ἐλάτειρ, (ποταμὸς Κελτικὸς) Λίχειρ, (ποταμὸς περὶ Πλαταίαν,) ει᾿να´τειρ,Ἐλεάζειρ, (βα-σιλεὺς Λιβύων,) καὶ φὶρ καὶ Φθὶρ, (υἱὸςἘνδυμίωνος) καὶ γρά φεται διὰ τοῦ Ι. Ει᾿ς τὸ κὴρ ο᾿ξεῖαν, διατί; Πᾶσα ο᾿ρθὴ καὶ αι᾿τιατικὴ μὴ ου᾿῀σα α᾿πο` συναιρέσεως ο᾿ξυ´νεται, χωρὶς τῶν μονοσυλλάβων καὶ τῶν σεσημειωμένων καὶ τῶν διὰ τοῦ Ν Τ κλινομένων. Πῶς κλίνεται κηρός;Ὁ κανών· Πᾶν ο᾿´νομα μονοσύλλαβον ει᾿ς ἀμετάβολον λῆγον προσθήκῃ τοῦ ΟΣ κλίνεται, πλὴν τοῦ φρὴν φρενὸς, καὶ χθὼν, χθόνος. Καὶ διατί σεσημείωται τὸ φρὴν φρενός; ∆ιότι τὰ ει᾿ς ΗΝ μονοσύλλαβα κοινά ει᾿σι τῷ γένει, καὶ ὁμοφωνοῦσι τὰ θηλυκὰ τοῖς α᾿ρσενικοῖς, οι῾῀ον ὁ χὴν καὶ ἡ χὴν, ὁ ῥὴν καὶ ἡ ῥήν· τὸ δὲ φρὴν θηλυκοῦ μόνου γένους ο᾿`ν, ὡς διήλλαξε περὶ τὸ γένος, διήλλαξε καὶ περὶ τὴν κλίσιν. Τὸ δὲ χθὼν χθονὸς διὰ τί σεσημείωται; ∆ιότι οἱ κανόνες κατὰ τὴν α᾿ναλογίαν γεγόνασι· (α᾿ναλογία δέ ἐστιν ἡ τῶν ὁμοίων παράθεσις, τὸ δὲ ο῾´μοιον ὁμοίῳ ε᾿στὶν ο῾´μοιον·) ει᾿κο´τως ου᾿῀ν τὰ μονήρη σημειούμεθα καὶ ου᾿ κανονίζομεν. Τῆς κηρὸς ὁ τόνος· αἱ μέντοι ει᾿ς ΟΣ δισύλλαβοι γενικαὶ ὀξύνεσθαι θέλουσιν.Ἀπὸ ου᾿῀ν τοῦ κῆρ τοῦ σημαίνοντος τὴν θανατη φόρον μοῖραν γίνεται κατὰ παραγωγὴν κήριος, ὁ τῇ φθορᾷ ὑποπεπτωκώς· καὶ μετὰ τοῦ στερητικοῦ Α α᾿κη´ριος, ὁ ἐστερη μένος τῆς φθορᾶς· καὶ τροπῇ τοῦ Η ει᾿ς Α, καὶ πλεονασμῷ τοῦ Μ μακάριος. Ποσαχῶς πλεονάζει τὸ Μ; Πολλαχῶς. Πῶς; Πλεονάζει γὰρ τὸ Μ ε᾿ν πολλαῖς λέξεσιν, ὡς ε᾿ν τῷ ι᾿´ος, ι᾿´ου, ι᾿´α τὸ θηλυκὸν, καὶ πλεονασμῷ τοῦ Μ μία, καὶ α᾿´λευρον, μάλευρον, 5 καὶ ἐστὸς, μεστός· ου῾´τως ου᾿῀ν καὶ ἀκήριος, μακήριος, καὶ τροπῇ τοῦ Η ει᾿ς Α μακάριος. Ποσαχῶς γίνεται ἡ τροπὴ τῶν φωνηέντων; Τετραχῶς. Ἢ γὰρ τὸ μακρὸν ει᾿ς μακρὸν τρέπεται, ὡς ε᾿ν τῷ ἁμαρτηλὸς ἁμαρτωλός· η᾿` τὸ βραχὺ ει᾿ς βραχὺ, ὡς ε᾿ν τῷ Αι᾿´αντι Αι᾿´ αντα· η᾿` τὸ μακρὸν ει᾿ς βραχὺ, ὡς ε᾿ν τῷ ναὸς νεώς· η᾿` τὸ βραχὺ ει᾿ς μακρὸν, ὡς