The “names” on the ancient Greek vases are there for everyone to see, but only the Scythic speaking people can read the hidden message of these scytales! What a revealing name! that goes unnoticed by scientists for two and a half thousand years.The small cup from Corinth (1883 or earlier), now in Paris, Louvre MNC 332, has these “names” added to the boxing scene:
> Víjó (vívó) ki elbukta fél vége. (The fighter, who lost it, fears his end.)

CONTENTS Amazons & Scythians 'Nonsense Inscriptions'?! Making Sense Etruscan=Hungarian Cretan Hieroglyphs Linear A Sundry MY HUNGARIAN PAGES
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Blog : Etruscan=HungarianKeywords : Etruscan inscriptions, defective notation of vowels, akrostichon, palindrome

Marvellous Etruscan multiple akrostichon and palindrome inscriptions

Marvellous Etruscan multiple akr

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.

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.:










L TITESI CALE ||SI éLő iT ÍTÉSZI oKAL E SZŰ élő itt ítészi okkal e szű (living, here this heart is argumentatively judging)

CINA CS MES ||TLES NA' KéS MESe eTőL ÉSZ kínnal kesa emészi ettől ész (let a knife cut it with anguish, from this the mind)

FUTh NAPER || LESCAN FU'TJa iNÁBa ERő LESiKAN fujtja inába erő lesikkan (deadens him/her, the might slides down his/her sinew/tendon)

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

ARASA ThEN ||TMA ÁRASZA iCÉN TáMA' árassza iccén támmal (overwhelms him/her, braced by the stinger)

SE LAEI TRE ||CS eSZE iLA ÉJ íTéRE KéSZ esze illa éj ítére kész (his/her mind is on the run, the night is ready for his/her conviction/condemnation)

PThENST ME ||UAThA BeCS-ENYéSZeT íME aVATJA becs-enyészet íme avatja (the decay of the honour impregnates it)


Élő, itt ítészi okkal e szű, kínnal kés messe, ettől ész fujtja (fojtja). Inába erő lesikkan, lét eme ocsúja árassza. Iccén támmal esze illa, éj ítére (elítélésére) kész, becs-enyészet, íme, avatja. (Living, here this heart is argumentatively judging, let a knife cut it with anguish, from this the mind deadens him/her. The might slides down his/her sinew/tendon, this refuse of the being overwhelms him/her. Braced by the stinger his/her mind is on the run, the night is ready for his/her conviction/condemnation, look, the decay of the honour impregnates it.)

The placement of the text is unusual, isn't it? Yes, it is! This is an akrostichon: 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:


LCFLASP | STL TCU iLő KőFaLA' SZoBa aSZTaL iTóKáVa' Illő kőfallal szoba, asztal itókával. (Room with stonewall, table with drinks are suitable.)

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


UP CS TA L LF TC SL iVóBa' KiS iTA' áL aLaFa iTóKáSaL Ivóban kis ital áll, alafa (alamizsna) itókással. (There is drink in the drinking vessel, hand-out for drunkards.)

(In some regions is practice, even today, to leave drinks on the tombstone, so the tress-passers could drink for the remembrance of the deceased!)

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


UCT LTS | PSALFCL VaKoT LáTaS éP SZÁLFáKaL Vakot láttass ép szálfákkal! (Vezesd korlátfa segítségével!) (Help the blind to see with sound timber (barriers)!)


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


LS CT FL L AT SC PU LeSZ KéT FaL éL ATa SZó'Ka eBŰ' Lesz két fal-él atta (adta) szólka (szólóka) ebbűl! (There will be the two wall-edges given narrator text from these!)


I believe that more articulately and more unambiguously than this, a writing method could not refer to itself: what we conjectured from the unusual placement of the writing, we could read here chiselled into stone. The four sentences made up from the first letters read in pairs even enforce each other. But there is even more: the last letters of the rows also fuse into intelligent sentences:


ESRINEE | ISNASA E SíRI éNE É' ISZoNYA SZÁ' E síri éne él, iszonya száll! (The self of this person in the tomb lives, his/her dread flies!)


The same backwards:


ASANSI | EENIRSE A SZÁNó SZŰ/eSZŰ/SZáJ É' ENYI RéSZE'/éRéSE' A szánó szű/eszű/száj él ennyi résszel/éréssel. (The devoted heart/minded/mouth lives with this many parts/bearings.)


This is a clear reference to the many parts/bearings of this inscription! As one can see, the alternative readings don't really alter the meaning of the message: the scribe could be a devoted heart or mind, or just the mouth that puts in writing the devotee's words.


And now here is the whole text read backwards:


IS || ELAC ISETIT L 'ISZ E LAK IS E'TI'T aLá 'isz e lak is eltilt alá (since this lodge also forbids, below it)

SELT || SEM SC ANIC SE LáT SZEM SZűK A NYÍ'Kő se lát szem szűk a nyílkő (nor the eye sees the enclosing stone is narrow)

NACSEL || REPAN ThUF NYAK S ÉLő őRE BANYa CSÚF nyak s élő őre banya csúf (neck and its living guard, the crone, the ugly)

|| IUTh METEL JaVa'TJa íME íTÉLi javalltja íme ítéli (who has been recommended, look, s/he judges him/her)

AMT || NETh ASARA A MűT Ne E'TSe A SÁRA' a műt ne ejtse a sárral (don't drop the work with the mud)

SC || ERT IEAL ES SoK ÉRTő JE' ÁL ÉS sok értő jel áll és ( many savvy/knowing sign stands and)

AThAU EM TSNEThP Á'CÁVa' EMe TeSZNYE CSáB ácával eme tesznye csáb (with the masque this hideous lure/appeal)


Hisz e lak is eltilt, alá se lát szem, szűk a nyílkő (nyílászárókő) nyak s élő őre, banya csúf javalltja, íme, ítéli. A műt ne ejtse a sárral, sok értő jel áll és álcával eme tesznye (rusnya) csáb. (Since this lodge also forbids, nor the eye sees below it, the enclosing neck stone is narrow and its living guard, the ugly who has been recommended by the crone, look, s/he judges him/her. Don't drop the work with the mud, many savvy/knowing sign stands and with the masque this hideous lure/appeal.)


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:


SI TLES LESCAN TMA CS UAThA SZŰ TeLE S LESZ KAN iT MA oKoS aVA' CSA' Szű tele s lesz kan itt ma, okos avval csal. (The heart is full and there is going to be a male today, the clever will cheat/lure with him.)

The same read backwards:

AThAU SC AMT NACSEL SELT IS Á' CSA'Va SoK ÁM iT aNAK éSZEL SZELTe IS Áll csalva sok, ám itt annak ésszel szelte is! (Many stand cheated, but here it is its cut by the mind also.)


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

L TITESI CALE éLő TI'Tó ESZéLY KAL-E élő tiltó eszély kall-e (Living, does the prohibiting argument diminish?)

CINA CS MES NA' KéSZ MESe kínnal kész mese (the story is finished in pain)

FUTh NAPER TSe NAPERő fűtse naperő (let it the Sun-power fire up)

LETEM ThUI LÉTE'Me oCSÚJa lételme ocsúja (its minute refuse)

ARASA ThEN ÁRASZA CÉ'Ná' árassza célnál (let overwhelm him at the end)

SE LAEI TRE eSZE LA ÉJ íTéRE esze la éj ítére (look, his mind against the conviction of the night)

PThENST ME Bö'CSEN SZóT eME' bölcsen szót emel (wisely speaks up)


Élő, tiltó eszély kall-e? Kínnal kész mese, fűtse naperő, lételme ocsúja árassza célnál: esze, la, éj ítére bölcsen szót emel. (Living, does the prohibiting argument diminish? The story is finished in pain, let it the Sun-power fire up, its minute refuse let overwhelm him at the end, look, his mind wisely speaks up against the conviction of the night.)


And now backwards:


ELAC ISETIT L E LAK IS E'TI'T aLá e lak is eltilt alá (this lodge also forbids you under)

SEM SC ANIC SZEM SoK ANYI Ki szem sok annyi ki (there are many eyes, plenty who)

REPAN ThUF őRE aBAN CSÚF őre abban csúf (one's guards, in that the ugly)

IUTh METEL JaVíTJa METÉLi javítja metéli (improves, minces one)

NETh ASARA Ne E'TSe A SÁRA' ne ejtse a sárral (Don't drop the work with the mud)

ERT IEAL ES ÉRTe JE' ÁL ÉS értő jel áll és (intelligent signs stand and)

EM TSNEThP EMe TeSZNYE CSáB eme tesznye csáb (this hideous lure/appeal)


E lak is eltilt alá, szem sok, annyi ki őre, abban csúf javítja, metéli. Ne ejtse a sárral, értő jel áll és eme tesznye csáb. (This lodge also forbids you under, there are many eyes, plenty for one's guard, in that the ugly improves, minces one. Don't drop the work with the mud, intelligent signs stand and this hideous lure/appeal.)


The last sentence is an appeal to the etruscologists, but the only intelligence they see in the signs is the empty, unintelligent names. 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) MELAThA „For-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 back-filling 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 …

It 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 akrostichon 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.


MI CANA LARThIAS ZANL VELChINEI SE------ CE MI CANA LAROIAS LANL VELChINEI SERCE MI KőANYA aLÁRÓJA S LÁNYaL VÉLi eGYÜ' NEJ SZERKE' Mi kőanya, alárója s lánnyal véli: együl nej szerkel (összeállít). (It notches/tallies (writes) under what the stone mother is and with the girl deems/figures: 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:


ECRES IENIChLEV LNAL SAIORAL ANAC IM E KeRESő iLYEN ÍGY eLEVe LáNYAL S A JÓRa ÁL ANAK IMa E kereső ilyen: így eleve lánnyal s a jóra áll, annak ima! (This seeker/orator is like this: this way one stands pre-ordinate with the girl and for the good/right, it is a prayer for that!)


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.




A PECNI RIL {öTVeNHáRoM} LEINE A BÉKe NYŰ eRŰL iT VéN HaRaMia LEJöNE 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 scientificallyunravelled 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.






MI MA VELUS RUTLNIS AVLESLA MI MA VELe VeSZ RÚT eLeN IS AVa' LES aLÁ Mi ma vele vesz, rút ellen is avval les alá (az vár rá)! (What is lost today with him, it waits for the hideous enemy as well!)


MI MA VELUS RUTLNIS AVLESLA MI MA VELe VéSZ RaVaTaLoN IS AVaL E SZóLA' Mi ma vele vész, ravatalon is avval e szólal! (What is disaster today with him, he calls on this even while laying on the bier!)

Mirrored/backwards reading:


ALSELVA SINLTUR SULEV AM IM A LeSEL VA' SZÍNLeT ÚRi SZÜLÉVe'/SÜLÉVe' Á'Ma IMa A lessel vall, színlett (tettetett) úri szülével/sülével (tüskéivel) álma ima. (He professes with his hiding, with the pretended masterly ancestry/thorn his dreams are prayers.)

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


MRA SSA – ASS ARM Mi RÁ SZuSZA – A SaS ÁRMa/ÁRaMa Mi rá szusza(musza) – a sas árama (a latinok (rómaiak) címere/özöne)! (What is for him underhand – it is the eagle's (aquiline) armour/flux (the Latin (Roman) coat of arms/invasion)!)


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 (false?) martyr. And the akrostichon? This is the operative message: this makes perfectly clear against who/what the deceased rebelled for. A wonderful, very clever inscription scientificallyunravelled 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.

An 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 ThRUPETEN MIMURSARN ThRLPEUEN MI MŰRe SZARNi óCSáRLó BÉVEN mi műre szarni ócsárló béven (what is to shit on an artwork is carping profusely)

NUFRESLARISVETEMULUNE NUFRESLVRISPEIVMULUNE NéV FőRE SZóL VéRe IS eBE' JaVa MÚLó VéNE' név főre szól vérre is ebben java múló vénnel (name is about a head/person, about blood as well, in this its good vanishes with the elder)

LAThLAPEIRULILMULUNE aLÁ óCSuL A BEÍRóVaL ILó MŰ LeViNÉ alá ócsul a beíróval illó mű levinné (the vanishing work would take one down with its writer)


Mi műre szarni ócsárló béven (bőven), név főre szól, vérre is, ebben java múló vénnel, alá ócsul (olcsón) a beíróval illó mű levinné. (What shitting on an artwork is carping profusely, name is about a head/person, about blood as well, in this its good vanishes with the elder, the vanishing work would take one down with its writer.)

Mirrored (backwards) reading:


ENULUMLILURIEPAThAL E NéVeL Ű MúLó ILó ŰRJÉBe' A CSALó E névvel ű múló, illó űrjében a csaló. (With this name for one is ephemeral, the cheat is in the diminishing one's chasm/vacuity.)

ENULUMVIEPSIRVLSERFUN E NéV eLVe MűVi JE'Be' iS ÍRVa LáSa E íRóFöVéNY E név elve: művi jelben is írva lássa e írófövény. (This name's precept/tenet is that this writing-sand see it written down also in artificial signs)

NEUEPLRThNRASRUMIM NÉV EBőL éRTSeN RÁ SéRV MíMe' Név ebből értsen: rá sérv mímel. (The name should understand from this: it mimes hernia on it (the writing surface).)


E névvel ű múló, illó űrjében a csaló. E név elve: művi jelben is írva lássa e írófövény. Név ebből értsen: rá sérv mímel. (With this name for one is ephemeral, the cheat is in the diminishing one's chasm/vacuity. This name's precept/tenet is that this writing-sand see it written down also in artificial signs. The name should understand from this: it mimes hernia on it (on the writing surface).)

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 néma? (On a work of art would/should this affable game be mute?)


Note: This inscription, although by using a somewhat brusque metaphor, totally shits the high science of Etruscology up, by putting it clean-cut why there are no personal names on the Etruscan epitaphs. Even though the writer states that this is his reckoning, 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 himself, the learned etruscologists only see a couple of meaningless imaginary names:

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).

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 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:



('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).

• 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.





The inscription is scientificallyunravelled 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:


CANVAChE | SELVANSL ALPNU | LEThANEI ALPNU | ECN ChURCE LARThI KAN VÁGYa E | S ÉLVe A NáSZaL ALá BűNÜ' | LECSA' NEJ ÁL BáNVa | E KőN GYÜRKE áLARCáJa Kan vágya e s élve a násszal, alá bűnül lecsal. Nej áll bánva e kőn, gyürke álarcája. (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:

IThRAL ECRUCh NCE | UNPLA IENAThEL | UNPLA LSNAVLES | EChAVNAC ICe uRAL E Kő üRÜGY NőKE' | ÜNePeL A éJEN A CSEL | ViNé éP aLÁ aLáSaN A'V éLÉS | E GYÁVáNAK Icce ural, e kő ürügy, nőkkel ünnepel a'. Éjen a csel vinné épp alá alásan (alázatosan) alva, élés (hasznos) e 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 akrostichon: the first and last letters of the rows forth and backwards:

CSLE EUI – IUE ELSC Ki SZéLE' E'VI – ÍVE ELaSZiK Ki széllel elvi íve elaszik! (Who is conceptual with the wind, his path shrivels up!)


Does this inscription fit into the context? It makes perfect sense in the context, the forwards and backwards readings are in perfect harmony, the akrostichon 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.

Mihály Mellár

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The Scythian language resurrects as Scythic-Hun-Magyar.


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The Scythian language resurrects as Scythic-Hun-Magyar.



The Etruscan language is studied by no mean scholars, but if someone would like to dig a bit deeper into the basics of Etruscology one would find oneself in shifting sand. Even the reading of the inscriptions is questionable, as there are no word dividers, only occasional prosodic breath or morpho-grammatical unit dividers, and very often only the consonantal frame of the word is marked. But this doesn't seem to baffle the researchers. Without establishing the spelling rules or writing method, they translate the texts, compile dictionaries, in which not just the meaning of the words, but even their existence is questionable. They write grammas not knowing where one word ends and the other starts!

In the followings I present a simple to follow writing method, the defective notation of vowels and with its help I transcribe/transliterate the Etruscan texts to current spelling rules, making them readable and understandable, without any farther grammatical gizmos, for all those who speak the language. For those who don't, there is an English translation of these very edifying and arresting texts, free of false scientific constructions. I have applied this method of transliteration first to the three longest texts and as it came through perfectly well, I went on and cannot stop wandering, text after text, how divers and quaint the masterly framed epitaphs and other short inscription can be.



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és a betlehemi csillag

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