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Mellár Mihály :
Etruscan multiple acrostics and palindrome inscriptions


09.09.19.




The numbering

 

The numbering, the transcription, the description and the translation is taken over from the monumental work of emeritus professor Jeff Hill, entitled: CORPVS INSCRIPTIONVM ETRVSCARVM (NOVVM). My addition to this is the reading of the inscription (in green) and the translation of this reading into English (in blue).

The method of reading I'm proposing is very simple, an easy to follow method. As suggested by the sound mind, the writers of the Etruscan inscriptions were only ordinary scribes who tried to record the spoken language the best they could on the always tight writhing surface with a minimal number of signs and using the simplest possible spelling rules.

The Etruscans, like many other people of the era and area, used the defective notation of vowels writing method: they only marked the vowels necessary to make the text clean-cut and to read their inscriptions, one only has to fill in the left out vowels (lower case in my transcription).
As the Etruscan writing system is phonetic they left out the non sounded consonants as well, these are the n in the -ban/-ben word-endings (marked as -ba'/-be',) and the l and j which merge into the preceding vowels (elision of l and j), causing the lengthening of the vowel (e.g. o'vad [olvad], nyú't [nyújt], etc.). As the consonant elongations (geminations) in the inscriptions are not marked either, I have marked them bold in the transcriptions, while the consonants merged into one both in the pronunciation (palatal assimilation) and in writing, are underlined: dj=gy (in Etruscan transcriptions by Jeff Hill scripted as Ch), nj=ny ( scripted as N), ts/tj=cs! ( scripted as Th), lj=j=i! ( scripted as I).
The only surprise in the green column of the transcription table is the Ch (χ, khi) which is a uniquely Hungarian sound, a palatalised D or G (close to d in the British English word 'duty'), denoted in my transcriptions as GY.

Etruscan-alphabet

On most of the inscriptions the sound value of the three, four and more stroke Σ is Z, but on some it is s or sh. Such differences in sound values and letter forms are possible not just due to geographic but also to the more than 700 years temporal division. It is relevant that in the same geographic and time frame these values do not change.

The fragmentation into words – where the original inscription doesn't mark it with punctuations (in ancient times it was not a wide spread custom) – is dictated by the requirement of a contextual message consistent with reason. (“Foremost it is important to note that the signs generally known as word dividers by no means mark lexemic word boundaries in every case. Rather, these often seem to be mere delimitation marks for prosodic breath units or morpho-grammatical and other units, and should be seen on the same structural level as spaced (or partly-spaced) and continuous (or split-continuous) writing. And the same is true for the early use of a space.” Reinhard G. Lehmann (Johannes Gutenberg University of Mainz): On word division and grammar as applied to the second Nerab inscription.)



Inscription Number 48.

A squared tombstone (240 millimetres high, 209 millimetres wide at the top, 205 millimetres wide at the bottom; 149 millimetres thick at the top, 131 millimetres thick at the bottom according to Mr. Carl Eugen Pauli) from sedimentary volcanic rock; with letters (20 to 24 millimetres high according to Mr. Carl Eugen Pauli) continuously chiselled on the front and the left side; found at the Etruscan tomb near Volterra in 1855 in the place which has the name of The Marble Doorstops, and transported into the Public Museum according to Mr. Ariodante Fabretti, even now (1889) it is extant in the Museum Of Mr. Mario Guarnacci (without an inventory number) according to Mr. Carl Eugen Pauli.:

ei48

 

L TITESI CALE ||SI

CINA CS MES ||TLES

FUTh NAPER || LESCAN

LETEM ThUI ||

ARASA ThEN ||TMA

SE LAEI TRE ||CS

--ThENST ME ||LAThA



L TITEΣI CALE ||ΣI éL iT ÍTÉSZI oKAL E SZÍ él itt ítészi okkal e szí (this heart lives here as the result of critics)

CINA CΣ MES ||TLEΣ KaJáNA' éKeS eMEZ íTéLő ÉSZ kajánnal ékes emez ítélő ész (the other is ornamented by the malicious the judging mind)

ΦUΘ NAPER || LESCAN TSe NAPERő LÉZ oKáN fűtse naperő léz okán (let the force of the Sun warm him/her, on the pretence of fever)

LETEM ΘUI || LÉT EMe oCSÚJa lét eme ocsúja (this refuse of the being)

ARAΣA ΘEN ||TMA ÁRASZA iCÉN TáMA' árassza iccén támmal (overwhelms him/her on the pint with brace)

SE LAEI TRE ||CΣ aZÉ' aLÁ ÉJ TeRE KéSZ azé(rt) alá éj tere kész (for that underneath the night's scope is ready)

PΘENΣT ME ||UAΘA BeCSÉN SZóT íM E aVATJA becsén szót ím e avatja (on his/her honour look this impregnates the word)

Él itt ítészi okkal e szí (szív), kajánnal ékes emez: ítélő ész! Fűtse naperő, léz (láz) okán lét eme ocsúja árassza iccén. Támmal azé(rt) alá éj tere kész, becsén szót ím e avatja. (This heart lives* here as the result of critics, the other is ornamented by the malicious: the judging mind! let the force of the Sun warm him/her, on the pretence of fever, this refuse of the being overwhelms him/her on the pint. The night's scope is ready for that with brace underneath, on his/her honour, look, this impregnates the word.)


* This is a tombstone inscription, so the word is about living beyond, in under or other world.

The placement of the text is unusual, isn't it? Yes, it is! This is an acrostics: the first letters of the rows on both sides of the tombstone also hide an intelligent text. Reading one edge after the other makes up the following:

 

LCΦLASP | ΣTL TCU LaK FaLAZ éP SZóTóL ToKáVa' Lak falaz ép szótól tokával. (The lodge (lair) walls away one from sound words with its casing.)

Let us read these same letters row by row, from the bottom up:

 

UP CS TA L LΦ TC ΣL iVóBa' KöZ TÁ' áL aLaFa iTóKa éSZeL Ivóban köz tál áll: alafa (alamizsna), itóka ésszel. (There stands a common dish in the wet canteen: hand-out, drink in modesty.)

Let us read now the first letters side by side again, but from the bottom up:

 

UCT LTΣ | PSALΦCL VaKoT LáTaS BűZ-ALaFáKaL Vakot láttass bűz-alafákkal! (illatozó alamizsnával!) (Help the blind with aromatic hand-outs!)

And now for the fourth time, let us read the first letters row by row from the top down:

 

LΣ CT ΦL L AT SC PU éLéS KiT FeL éL ATú ZSáK BűVe élés kit fel-él attú (attól) zsák bűve (bőve)! (The living (costs) whom overwhelms comes plenty of the (empty) bags!)

The last letters of the rows also fuse into intelligent sentences:

 

ESRINEE | IΣNAΣA EZeR JöNE E ISZoNYA' SA' Ezer jönne e iszonnyal, saj! (Thousands would come with this monstrosity, unfortunately!)

The same backwards:

 

AΣANΣI | EENIRSE A SZÁNó SZÍ E É'NI őRiZE A szánó szí e, élni őrizze! (The devoted heart is this, let save it for living!)

As one can see, the scribe could be a devoted heart or mind, or just the mouth who puts in writing the devotee's words.

And now here is the whole text read backwards:

 

IΣ || ELAC IΣETIT L JuS E LAK iJeSZE TI'T aLá juss e lak ijesze tilt alá (the frightening of this lodge forbids below it)

ΣELT || SEM ΣC ANIC S ÉLeT íZE Mi SoK ANYI Ki s élet íze mi sok annyi ki (and the taste of life what is plenty a lot of people who)

NACSEL || REPAN ΘUΦ iNA' KöZEL eRE PANYa CSÚF inal közel erre panya csúf (follows close for this the rope's ugly)

|| IUΘ METEL áJU'TJa MÉTEL(Y) ájultja metéli (unconscious prey is a blight)

AMT || NEΘ AΣARA ÁM iT öNÉ'C A SZÁ'RA ám itt önélc a szájra (but here self-jest on the moth)

ΣC || ERT IEAL ES SZó Ki ÉRTő JE' ÁL EZ szó ki értő jel áll ez (word that is an understanding sign stands this)

AΘAU EM TΣNEΘP Á'CÁVa' E'Me íTéSZéNÉ' CSéP álcával elme ítészénél csép (with the masque for the judging mind is flail)

Juss e lak, ijesze (ijesztője) tilt alá s élet íze mi sok. Annyi ki inal közel, erre panya (kötél) csúf ájultja métel(y) (ragályos betegség). Ám itt önélc a szájra – szó ki értő jel – áll, ez álcával elme ítészénél csép. (The frightening of this lodge forbids below it, and the taste of life what is plenty. A lot of people who follows close for this the rope's ugly unconscious prey is a blight. But here self-jest on the moth – word that is an understanding sign – stands, this with the masque for the judging mind is flail.)

The one who thinks that with this all the reading possibilities are exhausted is mistaken, since the more plausible readings are still behind! When one is standing in front of a surface (or page), it is natural to read its inscription to the end before going to read the other side (or page), isn't it? Let us start with the shorter side:

 

ΣI TLEΣ LESCAN TMA CΣ UAΘA SZÍ íTéLő ÉSZ LÉZ KiÁ'Na TáMA' éKeS VA' CSA' Szí ítélő ész léz (lábra áll), kiállna támmal ékes, vaj csal? (The heart blaming mind is recovering, it stands out braced with backup, does it cheat?)

The same read backwards:

 

AΘAU ΣC AMT NACSEL ΣELT IΣ Á'CÁVa' SoK ÁMíT iNA' Ki eZEL eSZELT IS Álcával sok ámít, inal ki ezzel eszelt is! (Many beguiles with mask, follows in steps who also advises with this.)

Now, let us go over to the other side and read its inscription:

 

L TITEΣI CALE éLő TI'Tó ESZéLY KAL-E élő tiltó eszély kall-e (living does the prohibiting argument diminish)

CINA CΣ MES KaJáNA' Ki SZó MÉZe kajánnal ki szó méze (with the malicious who is the honey of words)

ΦUΘ NAPER FŰTSe NAPERő fűtse naperő (let him/her the Sun-power fire up)

LETEM ΘUI LÉT EMe oCSÚJa/CSáVáJa lét eme ocsúja/csávája (this refuse/vat of the being)

ARAΣA ΘEN ÁRASZA iCÉN árassza iccén (let overwhelm him on the pint)

SE LAEI TRE űZE aLÁ ÉJ íTéRE űzze alá éj ítére (let drive him/her under for the judging of the night)

PΘENΣT ME Bö'CS ENYéSZeT íME bölcs enyészet íme (the wise death so)

Élő, tiltó eszély (ésszerűség) kall-e kajánnal ki szó méze? Fűtse naperő, lét eme ocsúja/csávája árassza iccén, űzze alá éj ítére (ítéletére) bölcs enyészet, íme! (Living, does the prohibiting argument diminish with the malicious, who is the honey of words? Let him/her the Sun-power fire up, this refuse/vat of the being let overwhelm him/her on the pint, let so the wise death drive him/her under for the judging of the night.)

And now backwards:

 

ELAC IΣETIT L E LAK iJeSZE TI'Tó eL e lak ijessze tiltó el (this lodge let forbiddingly frighten one away)

SEM ΣC ANIC eZE' Mi eSiK ANYI Ki- ezzel mi esik annyi ki- (with this on what falls many for)

REPAN ΘUΦ RE PANYa CSÚF re panya csúf (whom the rope is ugly)

IUΘ METEL JaVíTJa íME íTÉLő- javítja íme ítélő- (look it improves one pejorative-)

NEΘ AΣARA N É'C A SÁRA' n élc a sárral (ly the jest with the mud)

ERT IEAL ES ÉRTe JE' ÁL EZ érte jel áll ez (for him/her stands the sign this)

EM TΣNEΘP EMe íTéSZeN E'TSe éP eme ítészen ejtse ép ( before this judge let make one healthy)

E lak ijessze tiltó el ezzel, mi esik annyi, kire panya (kötél) csúf. Javítja íme ítélőn élc, a sárral érte jel áll, ez eme ítészen ejtse ép! (This lodge let forbiddingly frighten one away with this, on what falls many, for whom the rope is ugly. Look, the jest improves one pejoratively, with the mud for him/her stands the sign, let this make one healthy before this judge.)

The etruscologists, against this, to the context perfectly fitting, not to say, that this text confirmed itself couple of times in the reading, here is this really rich, masterly crafted inscription “scientifically” decoded/translated by them:

L(ARISUSI) TITESI CALESI CINA C(A)S MES(E)T(E)LES FUTh NAPER LESCAN(AS) LETEM ThUI ARASA ThENTMA SE(ThUS) LA(RIS)EI(AL) TREC(E)S ThENST(A) MELAThAFor-Mr.-Laris Tite, the-herald, the-safety-pin (figuratively) of-this resting-place: four acres of-the-Lescana family's (farmland); The-God-Father-Saturn here at-the-solemn-contract the witness (was). Mr.-Seth Trece's and Mrs.-Larisei Trece's overseer-of-household-slaves most-trusted (was he).

It seems, that in a couple of words (C(A)S, MES(E)T(E)LES, TREC(E)S, ThENST(A)) they themselves acknowledge the presence of the defective notation of vowels writing method. But the backfilling in LA(RIS)EI(AL) is ridicules. Leaving out some of the vowels, to utilise the writing surface more economical, makes sense and it is an easy to follow rule, to leave out some of non-sounding liquid consonants (j, l, n) is not even a question in a phonetic writing system, but to leave out whole syllables …

acrosticsIt is unbelievable that the etruscologists did not recognise, just by looking at the unusual placement of the inscription, that this is an acrostic poem!

Further more, while the scientist did find every “name” of the inscription keeps going to the other side and reads them by moving from one side of the urn to the other and back, both my forwards and backwards reading finds the edge of the urn to be a word divider as well.

 

This inscription is just one of the first three hundred Etruscan inscriptions, compiled by professor emeritus Jeff Hill, read with the help of the defective notation of vowels writing method – in Hungarian, since they were written in that language in the first place. What Etruscology could bring up so far against this daring statement? Not much in fact! A list of personal names to fill a telephone book with, one or two verbs and a couple of numbers showing the age of the deceased. But as it turned out, the consonantal frame of these numbers, vocalised anew, organically supplement the rest of the text (just like a 4SALE sign!). May it be possible that the “names” also play a double role: the inscription names and in the same time appends its holder with a couple of human words? Are the inscriptions talking names embedded in meaningful sentences? It's hard to decide, but no question about it, that the number 48. inscription is a masterly devised acrostics and palindrome which can be read – and perfectly understood – from at least twelve different directions, but only in Hungarian.

In my paper, entitled ETRUSCAN LANGUAGE OR WRITING?, which contains the three longest flawlessly readable Etruscan texts, I have already demonstrated that there never existed an Etruscan language different from Hungarian, but it could be that the effort of the Etruscologists was not in vain, if the scores of names, they mined out, play a double role on these inscriptions. How to tell?

Here are some more inscriptions to stress the above expressed thoughts:



Inscription Number 76.

A marble statue of a woman together with an infant; Mr. Thomas Dempster and Mr. Antonio Francesco Gori in volume 1 and Mr. Antonio Francesco Gori in volume 3 and Mr. Friedrich Wilhelm Eduard Gerhard and Mr. Ariodante Fabretti provide a tracing; with letters of inscription A (19 millimetres high according to Mr. Carl Eugen Pauli) chiselled from the right hand to the shoulder, of inscription B (22 millimetres high according to Mr. Carl Eugen Pauli) inscribed on the back; it was found a long time ago in Volterra according to Mr. Luigi Lanzi; at one time there at the House Of Mr. Francesco Scipione Maffei according to Mr. Thomas Dempster and Mr. Francesco Scipione Maffei and Mr. Luigi Lanzi, then in the Museum Of Mr. Mario Guarnacci according to Mr. Luigi Lanzi and Mr. Wilhelm Uhden and Mr. Ariodante Fabretti, where it still (1889) is according to Mr. Carl Eugen Pauli.

ie76

MI CANA LARThIAS ZANL VELChINEI SE------ CE MI CANA LAROIAΣ LANL VELXINEI ΣERCE MI KőANYA aLÁíRÓJA iSNYaL Vő-ELeGYJe NEJ SZERKE' Mi kőanya, aláírója is lánnyal vő elegyje (keveréke, nej szerkel (összeállít). (What the stone mother is, her underwriter is with the girl also a mix of betrothed, the wife compiles/frames together (the family).)

Note: The text perfectly fits the statue: the text names it as stone mother, it conveys its message with the girl to the father and husband: the wife braces the child with the father, compiles them into one family. Against this reading, that the statue is dedicatory, and that the writing is chiselled, adds nothing to the very obvious observation, one can conclude without this “scientifically” decoded text:

MI CANA LARThIAS ZAN(IA)L VELChINEI SEL|CE I (am) the-dedicatory-statue of-Mr.-Larthia, of Siena; Ms.-Velchinei chiselled-the-inscription.

Inscription number 202. has brought up to me the belief of our ancestors, held until the 9th century at least, that the underworld is the mirrored image of this world. So, what is left here, it is right there under, … what is forwards reading in this world, it is backwards in the underworld. The description doesn't say where this statue stood, but it has a very clear message by reading the inscription backwards:

 

ECREΣ IENIXLEV LNAL ΣAIORAL ANAC IM E KéRÉS iLYEN ÍGY eLEVe LáNYAL SZÁ' JÓRa ÁL ANAK IMa E kérés ilyen: így eleve lánnyal száj jóra áll, annak ima! (This suit is such: this way for the girl the mouth already stands for the best, it is a prayer for her!)

Now, this is a clever and sound statement about the purpose of the statue, no one could question that!



Inscription Number 88.

An ossuary (350 millimetres high by 90 millimetres wide by 250 millimetres thick according to Mr. Carl Eugen Pauli) of alabaster; Mr. Francesco Inghirami in his Monuments Of ETRVRIA Or Of Etruscan Fame and Mr. Ariodante Fabretti provide tracings; with letters (29 millimetres high according to Mr. Carl Eugen Pauli chiselled on the margin of the lid and on the front of the chest and painted in a red colour; of Volterran origin according to Mr. Giovanni Battista Passeri and Mr. Luigi Lanzi and Mr. Francesco Inghirami; at one time at Volterra in the Museum Of Mr. Franceschini according to Mr. Luigi Lanzi and Mr. Wilhelm Uhden, then in the Museum Of Mr. Mario Guarnacci according to Mr. Ariodante Fabretti, where (inventory number 22) it still (1889) is according to Mr. Carl Eugen Pauli.

ie88

 

 

A PECNI

RIL ͲIII LEINE

 

A PECNI RIL {öTVeNHáRoM} LEINE A BÉKe NYŰ eRŰL iT VéN HaRaMia LENE A béke nyű (elszaggat, megsemmisít). Errűl itt vén haramia lejönne. (This peace nulls/routs one out. On this side old scamp would come off from this.)

The inscription on the top of the ossuary makes perfect sense: the eternal peace in the tomb routs even one's remembrance out, so the wish of the 53 years old ruffian to climb down on the side of the ossuary is a very human desire. And these contextual inscriptions are in the right places for their messages and they are both deeply human: fear from oblivion and wish to escape it is current even today, while the inscription scientifically unravelled as: A(ULE) PECNI(AL) RIL ͲIII LEINE Mr.-Aule, Mrs.-Pecni's (son), of-age of-53, lies-here. has no bearing on us at all.

The inscription has a backwards read message to the deceased:

 

ENIEL ͲIII LIR INCEP A ENIEL {öTVeNHáRoM} LIR INCEP A E NYŰ ÉL TéVeN Ha RéM LeÍR JöN Ki ÉP Á' E nyű él téven, ha rém leír, jön ki épp áll! (This out-routed lives in the false belief, when the spectre/ghost writes one down, comes the one who the very moment stands (in the queue)!)



Inscription Number 101.

A large stone (1.25 metres long, 505 millimetres wide at the bottom, 589 millimetres wide at the top, 243 millimetres thick according to Mr. Carl Eugen Pauli) from sedimentary volcanic rock; with letters (85 millimetres high according to Mr. Carl Eugen Pauli) chiselled; found at Volterra according to Mr. Giancarlo Conestabile; there in the Museum Of Mr. Mario Guarnacci (inventory number 367) according to Mr. Ariodante Fabretti, where it still (1889) is according to Mr. Carl Eugen Pauli.

ie101

MI MA VELUS

RUTLNIS

AVLESLA

 

MI MA VELUΣ RUTLNIΣ AVLESLA MI MA VELe VeSZ RÚT eLeN IS AVaL EZ aLÁ Mi ma vele vesz, rút ellen is avval ez alá! (What is lost today with him, the hideous enemy also goes with that under this!)

And:

MI MA VELUΣ RUTLNIΣ AVLESLA MI MA VELe VéSZ RaVaTaLoN IS AVaL E ZiLA' Mi ma vele vész, ravatalon is avval e zilaj (szilaj)! (What is disaster today with him, he is savage with that even while laying on the bier!)

Mirrored/backwards reading:

 

ALSELVA ΣINLTUR ΣULEV AM IM ALáZ E aLVA SZÍNLeT ÚRi SÜLÉVe' AMi IMa Aláz e alva, a színlett (tettetett) úri sülével (tüskével), ami ima. (He humiliates even sleeping, with the pretended masterly thorn, what is a prayer.)

The initial and closing letters reading forth- and backwards also hide a very important contextual message:

 

MRA ΣΣA – AΣΣ ARM MáRA SuSA – A SaS ARMa Mára susa (pletyka) – a sas arma (a latin (római) címer)! (The gossip by today became the eagle (aquiline) armour (the Latin (Roman) coat of arms)!)

Note: Both readings are perfectly reasonable, the first one threatens the killer with the same fate, the second eulogises the deceased, who even on the bier serves the cause! And the mirrored reading makes him a martyr, who's word is prayer. And the acrostics? This is the operative message: this makes perfectly clear against who/what the deceased rebelled for. A wonderful, very clever inscription scientifically unravelled as:

MI MA(RCE) VELUS RUTLNI(E)S AVLES LA(UTNIThA(S))I (am) Mr.-Marce, Mr.-Vel Rutlnie's (son), Mr.-Avle's-slaveboy.

Why could it not be Mr. MA(RCI), a LÁ(ZADÓ)? ( Where Marci is a Hungarian common name; lázadó 'rebel')



Inscription Number 195.

One of the 34 urns found “On the farm Strazzavolpe = Foxscratches of Mr. Millefanti, a gentleman of this land [of Santo Quirico d'Osenna = church of Santo Quirico in Osenna], in a mound in his woods.

ei195An ossuary; with letters doubtlessly incised; it is not reported in what places it was conserved; it seems to have perished a long time ago.

 

 

MIMURSARN ΘRUPETEN MIMURSARN ThRUPEUEN MI MiVe' áRaZ ARaNY CSeRéVe' eBE' VENé mi mivel áraz arany cserével ebben venné (what is with what priced gold by exchange would buy it)

NUFRESLARISVETEMULUNE NU8REΣLFRISPEIFMULUNE NéV FőRE SZóL VéRÍZBE' JaVa MiVeL ViNÉ név főre szól vérízben java mivel vinné (name is about a head/person, the best of what would carry one is in the blood-cell)

LAΘLAPEIRULILMULUNE aLÁ CéLA' éP E JóRÚL JeLeMéVeL VeNE alá céllal épp e jórúl jellemével venne (one with intention would take down from this beaut according to one's character)

Mi mivel áraz – arany cserével ebben venné. Név főre szól, vérízben (vérsejtben) java mivel vinné. Alá céllal épp e jórúl (jóról) jellemével venne. (What is with what priced – gold by exchange would buy it. Name is about a head/person, the best of what would carry one is in the blood-cell. One with intention would take down from this beaut according to one's character.)

Mirrored (backwards) reading:

 

ENULUMLILURIEPALΘAL E NéV eLeVe eMeLi ILő VáRJa E PALóáCSAL e név eleve emeli illő várja pallóáccsal (this name predestines its bearer it waits duly with this floor-carpenter)

ENULUMFIEPSIRFLΣER8UN E NéVeL VáM VaJ E BíZóJáRa VáLaSZ ÉRi FiÚN e névvel vám vaj e bízójára válasz éri fiún (with this name there is toll does an answer gets to its principal through the boy)

NEUEPURΘNRASRUMIM NEVÉBŰ' éRTSeN RÁZáRVa MÍMe nevéből értsen rázárva míme (one should understand from one's own name its predestines one's mime.)

E név eleve emeli, illő várja pallóáccsal. E névvel vám (tehertétel), vaj e bízójára válasz éri fiún? Nevébűl (nevéből) értsen: rázárva míme (szerepe). (This name predestines its bearer, it waits duly with this floor-carpenter. With this name there is toll, does an answer gets to its principal through the boy? One should understand from one's own name: its predestines one's mime (role).)

And here is a question addressed to the Etruscologists in this acrostic poem:

 

MNL NEE – EEN LNM MűN LeNE-E E ENYeL NéMa Műn lenne-e e enyel (nyájas tréfa) néma? (On a work of art would/should this affable game be mute?)

Note: This inscription is putting it clean-cut why there are no personal names on the Etruscan epitaphs. By reading through the circa three hundred inscription so far, it is unambiguous, that this is the underlining principle of the Etruscan culture: even if there could be names on the Etruscan memorials, they would be couched into a meaningful, appreciating sentence about the deceased. Against this explicit statement of the writer of this inscription, the learned etruscologists only see nine (!) meaningless imaginary (first and second) names and the verb MULUNE: dedicates me (but in the next inscription TURCE has this same meaning, on the Pyrgi gold tablets VAT(IEΧE) stands for the same, ...).

MI MURS ARN(ThUS) ThRUPETES UFRES LARIS VETE MULUNE LA(R)Th LA(RISIAL) PEIRULI(AL) L(ARISUS) MULUNE I (am) the-ossuary of-Mr.-Arnth Thrupete, Mr.-Ufre's (son). Mr.-Laris Vete dedicates (me), Mr.-Larth, Mrs.-Larisi Peiruli's (son), Mr.-Laris's (son), dedicates (me).

If there is a name (or two), it should be emphasised or put in a commanding position, say, in the first row. The first two letters: MI by the Etruscologists is the me pronoun, by me it is either the us pronoun or the interrogative pronoun what. In both cases, a proper personal name can follow this pronoun. And why not a meaningful one, say MURS ARN MURáZó ÁRoN Murrázó Áron (Where Áron (Aaron) is a proper and popular first name, and Murrázó is the person who often murmurs). The Etruscans realised that this (and any personal) name would have a meaning only for the people who knew the deceased, but the sentences built upon his name, are meaningful (and enlightening) even now, more than two thousand years later. We thank you, Áron, and the unknown scribe of the inscription for that!

Now, the inscriptions are perfectly construed sentences (the palindromes in both directions) written in a perfectly legitimate writing method and read only by filling back the left out vowels and understood without any need for extra interpretation for those who speak the Etruscan (that is Hungarian) language. How is this possible? Simply, there is a Scythic-Hun-Hungarian continuity, the historians negate for political reasons. Let they have it on their con-science! Etruscology, if it is a science, should be concerned with facts. The readings I have just presented above are facts chiselled into stone, hard to deny. You can ignore them, but only for the time being ...

 

I did find this very concise description of the state and workings of Etruscology in T. J. Cornell's book entitled: The beginning of Rome, 1995, Routledge:

Linguistically the Etruscans remain something of a mystery. The Etruscan language is attested in thousands of inscriptions dating back to around 700 BC. They are written in a version of the Greek alphabet, and can be read without difficulty (so it is not a question of 'decipherment', which strictly entails the explication of an unknown script or code). The problem is that Etruscan is a completely unknown language; it has no known cognates, and certainly not Indo-European. This remains true even though many Etruscan words, and the majority of the surviving texts can be broadly understood. The explanation of this paradox is that most Etruscan texts are short and formulaic, and their function is obvious from the context. The majority are either dedication or epitaphs. For example a bronze votive statuette in British Museum bears the following dedication to the god Selvans:

 

ECN TURCE LARThI LEThANEI ALPNU SELVANSL CANZATE

('this gave Larthi Lethanei a gift(?) to Selvans Canzate(?)').

Scholars disagree about the meaning of alpnu, some preferring an adverb ('gladly') to direct object ('gift'), while the meaning of the final word is completely unknown. That it is divine epithet is a pure guess.

The quotation is a very accurate description of Etruscology as it exposes the main faults of this “science”. Contrary of what the Etruscologists think:

  • the minimum they should recognise is that it is cognate with Hungarian,

  • the text cannot be even broadly understood without knowing the language, because

  • not the context determines the inscription, but the inscription can fit into the context (many different, even contradictory inscriptions can fit into the same context, for example: both pro and contra banners could equally fit a political event, an inscription next to a flower can be its name or a warning for its toxicity, etc.).

  • that the majority of the inscriptions are dedications is only an assumption, the “names” are only read into the inscriptions (Larthi and Lethanei, just like Canzate, are “completely unknown” words! That the “word/name attested elsewhere” proves nothing: the word/name HILL is attested in many texts but rarely as a surname, and even than it has a meaning, the Etruscologists don't seem to be interested in investigating.).

  • The Etruscan example above says it all: “That it is divine epithet is a pure guess.

In Jeff Hill's: CORPVS INSCRIPTIONVM ETRVSCARVM (NOVVM) this inscription figures as


Inscription Number 2403

A small bronze statue according to Mr. Giancarlo Conestabile (from where Mr. Ariodante Fabretti); with letters chiselled; now in London in the British Museum according to Mr. Ariodante Fabretti.

ei2403

CANZATE

SELVANSL

LEThANEI ALPNU

ECN TURCE LARThI


The inscription is scientifically unravelled as:

 

CANZATE SELVANS(IA)L LEThANE(S)I ALPNU ECN TURCE LARThI(AL)Mr.-Canzate, Mrs.-Larthi's (son), the-Goddess-Selvans's (priest), to-the-God-Father-Saturn willingly this-thing did-dedicate.

Now, by looking at the drawing, one would see, that in Cornell's book it reads from the bottom up, (let it be!); that the fourth letter is a reversed V, but still a V; that the seventh letter in the first row and fourth letter in the last row is Ch, not T; and that the ALPNU letter-group could also be just as easily the continuation of the second row, as a matter of fact: it is!, it belongs to both rows:

 

CANFAXE | SELVANSL ALPNU | LEΘANEI ALPNU | ECN XURCE LADOI KAN VÁGYa EZE' éLVe ANYáZóuL ÁL BűNéVe' LÉC A NEJ ÁL éP NőVE KiN GYüVőRe KE' eLADÓJa Kan vágya ezzel élve anyázóul áll bűnével. Elé ő, a nej áll épp nőve kin gyüvőre (jövőre) kel eladója. (This is the male's desire and by abusing the nuptials, he calls one under with felony. The wife stands on this stone regretting, her musk is this bulge.)

The same read backwards:

IODAL ECRUX NCE | UNPLA IENAΘEL | UNPLA LSNAVLES | EXAFNAC JÓ DAL E KőRe VáGY éNeKE'VéN PóLÁ' iLYEN A CSEL ViNé éP aLÁ aLÁZNÁ VeLe EZE' GYÁVáNAK Jó dal e kőre vágy, énekelvén pólál (pólyáz). Ilyen a csel, vinné épp alá, alázná vele ezzel gyávának. (The pint rules, this stone is an excuse, he celebrates with women. At night this catch would just take her under sleeping humbly, it is salutary for this cowardice.)

As an acrostics: the first and last letters of the rows forth and backwards:

 

CSLE EUI – IUE ELSC KöZ eLÉ E'VI – JőVE ELűZiK Köz e elvi jőve: elűzik! (The conceptual coming in front of the common will be driven away!)

Does this inscription fit into the context? It makes perfect sense in the context, the forwards and backwards readings are in perfect harmony, the acrostics is witted and all this reading is obtained just by filling back the left out vowels!

There are two major problems for Etruscologists they can never control or subdue:

  • They cannot go into the mindset of the Etruscan scribes as they don't know much about their social upbringing, their faith, belief in afterlife, their habit of word-play, which is actually the most important key to unravel their inscriptions. (Not to realise, that the Etruscan epitaphs are palindromes reflecting on their belief that the underworld is mirror image of this world, is not just omission or mistake, it is crime (of sophisticated forgery)!)

  • The Etruscan inscriptions are inherently untranslatable (my translation in blue is only an approximation).

To explain this second statement, let mi quote from Teresa Bałuk-Ulewiczowa's paper presented at the 7th Jagiellonian University Students’ Translation Workshop, 23rd May 2012, , entitled Non-Negotiable Untranslatability “the cause of the untranslatability lies in the “collective, subjective experience” of a particular society, group, or community, usually (but not necessarily) a nation. The group’s collective experience invests the words of their texts with new meanings which are inaccessible to outsiders who have not shared in the group’s specific, hermetic experiences. It is not a question of information transfer – logically pure information can be transmitted and comprehended by recipients – but of the closed nature of experiences, emotions, value systems, shared with your own group but sealed off from strangers who have not lived through or been brought up in these experiences. You can tell them about such experiences, explain it to them, but you can’t make them “feel” in the same way. So in a way the untranslatability is not in the texts as such, but rather in the readers and the reactions open to them: in absolute untranslatability the reactions open to strangers will be far more restricted than the spectrum of (emotional) responses available to “insiders.”

In this sense, the Hungarians are insiders, due to the Scythic-Hun-Hungarian continuity, which mainly manifests itself in the language, which as the implement of thinking frames the mindset and keeps it framed as a picture in the case of an agglutinative language for millennia. The Etruscan “connection” with Anatolia and the Carpathian Basin (R. S. P. Beekes, M. Alinei, etc.) makes them integral part of this continuity, in the words of professor M. Alinei: Etrusco: Una forma arcaica di ungherese.