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.)

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Blog : Etruscan=HungarianKeywords : Etruscan inscription, defective notation of vowels, acrostics, palindrome

Etruscan multiple acrostics and palindrome inscriptions

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.


On most of the inscriptions the sound value of the three-stroke Σ is Z, but on some them 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.:










L TITEΣI CALE ||ΣI éL iT ÍTÉSZI oKAL E SZáJ él itt ítészi okkal e száj (this mouth is here to criticise)

CINA CΣ MES ||TLEΣ NA' KéSZ MEZő TőLE SZó kínnal kész mező tőle szó (the field is prepared with passion from it the word)

ΦUΘ NAPER || LESCAN FUTJa iNÁBa ÉRő eLÉ ZoKAN futja inába érő elé zokkan (runs the one catching up jumps in front)

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 űZE iLA ÉJ íTéRE KéSZ űzze illa éj ítére (ítéletére) kész (let him chase the escaping night is ready for for his judgement)

CΘENΣT ME ||UAΘA KóTYa ENYéSZeT ME' aVATJA kótya (kótyavetye) enyészet mely avatja (the discounted decay that impregnates him)


Él itt ítészi okkal e száj, kínnal kész mező, tőle szó futja, inába érő elé zokkan (zökken). Lét eme ocsúja árassza, iccén támmal (támasszal) űzze, illa éj ítére (ítéletére) kész: kótya (kótyavetye) enyészet, mely avatja. (This mouth is here to criticise, the field is prepared with passion, from it the word runs, the one catching up jumps in front. This refuse of the being overwhelms him/her, let it chase him with brace on the pint, the escaping night is ready for for his judgement: the discounted decay that impregnates him.)

* This is a tombstone inscription, so the “mouth” speaks from beyond, from the 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:

LCΦLASC | ΣTL TCV LaKó FaLA íZeK aSZTaLa iTóKáVa' Lakó fala ízek asztala itókával. (The lodge's (lair's) wall is the table of taste foods with drinks.)

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

VC CS TA L LΦ TC ΣL eVőK KöZé iTA' áL aLaFa iTóKáSaL Evők közé ital áll, alafa (alamizsna) itókással. (Between the eaters there stands drink, a hand-out for the drunkards.)

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

VCT LTΣ | CSALΦCL VaKoT LáTaS KéZ ALá FáKaL Vakot láttass kéz alá fákkal! (Help the blind with rails under the hands!)

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 CV LeSZ KéT FaL éL ATa SZóK KéVe Lesz két fal-él atta (adta) szók kéve! (There are going to be two wall edges given words bundle!)

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

ESRINEE | IΣN AΣA ESRINEE | IΣN AΣA EZeR JöNE E JuSáN ASZÁ' Ezer jönne, e jussán aszály! (Thousands would come, on the merit this would come drought!)

The same backwards:

AΣA NΣI | EENIRSE AΣA NΣI | EENIRSE ASZÁ' NYeSI-E ENYI éReZE Aszály nyesi-e, ennyi érezze? (Would the drought cur in it, should so many people feel it?)

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 IS E'T IT aLá juss e lak is ejt itt alá (This lodge is also share of inheritance drops one under)

ΣELT || SEM ΣC ANIC S ÉLeT íZE' íM eSiK ANYI Ki s élet ízzel ím esik annyi ki (and with the taste life falls plenty of people who)

NACSEL || REPAN ΘUΦ iNA' KöZZEL őRE BÁN CSÚF inal közzel őre bán csúf (follows close its guard with the community is concerned ugly)

|| IUΘ METEL JaVíTJa METÉLi javítja metéli (improves it cuts it up)

AMT || NEΘ AΣARA A MűT Ne E'TSe A SÁRA' a műt ne ejtse a sárral (one should not drop the piece with the mud)

ΣC || ERT IEAL ES SoK ÉRTő JE' ÁL EZ sok értő jel áll ez (plenty of understanding signs stand this)

AΘAU EM TΣNEΘC Á'CÁVa' E'Me íTéSZéNÉ' CiK ácával elme ítészénél cikk (with the masque the mind for the judging is article)


Juss e lak is, ejt itt alá s élet ízzel, ím, esik annyi ki inal, közzel őre bán (törődik), (ha) csúf javítja, metéli a műt, – ne ejtse a sárral, – sok értő jel áll: ez álcával elme ítészénél cikk. (This lodge is also share of inheritance, it drops one under and with the taste of life falls plenty of people who follows it close, its guard with the community is concerned, (if it is) ugly, he improves it, cuts the piece up, - one should not drop with the mud, - plenty of understanding signs stand: this is with the masque, to the mind of the judging is article.)


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 VAΘA SZáJ íTéL ÉS LESZ Ki ANYi TáMA' KéSZ aVA' CSA' Száj ítél és lesz ki annyi támmal (támfával) kész, avval csal. (The mouth is blaming and there is going to be one who is ready braced, cheating with it.)

The same read backwards:

AΘAV ΣC AMT NACSEL ΣELT IΣ Á'CÁVa' SoK ÁMíT aNÁ' KöZEL éSZ ÉLT IS Álcával sok ámít annál közzel ész élt is! (Many beguiles with mask, at them the mind also commonly used!)


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

L TITEΣI CALE áL iT ÍTÉSZI oKAL E áll itt ítészi okkal e (stands here to cast judgement this)

CINA CΣ MES NA' KéSZ MEZő kínnal kész mező (with passion prepared field)

ΦUΘ NAPER FÚ'TJa iNÁBa ÉRő fújtja inába érő (chokes it the following in steps)

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

ARAΣA ΘEN ARA SZÁ' iCÉN ara száll iccén (the fiancee sinks on the pint)

SE LAEI TRE íZE' aLÁ ÉJ íTéRE ízzel alá éj ítére (ítéletére) (with the taste of it for the judgement of night)

CΘENΣT ME Ke'TSEN éSZT e'ME keltsen észt elme (let the mind rise the intellect)


Áll itt ítészi okkal e kínnal kész mező, fújtja inába érő lét eme ocsúja/csávája. Ara száll iccén ízzel alá éj ítére (ítéletére). Keltsen észt elme! (This passion prepared field stands here to cast judgement, this refuse/vat of the being chokes it, following it in steps. The fiancee sinks on the pint, with the taste of it, for the judgement of night. Let the mind rise the intellect!)

And now backwards:

ELAC IΣETIT L E LAKó IS E'TI'T éL e lakó is eltilt él (this lodger also forbids lives)

SEM ΣC ANIC íZE' íM eSiK ANYI Ki ízzel (ízléssel) ím esik annyi ki (with style look falls many who)

REPAN ΘUΦ eRE aBAN CSÚF erre abban csúf (for this in that ugly)

IUΘ METEL JaVíTJa METÉLi javítja metéli (improves it cuts it up)

NEΘ AΣARA Ne E'TSe A SÁRA' ne ejtse a sárral (one should not drop it with the mud)

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

EM TΣNEΘP E'Me íTéSZéNÉ' CiK elme ítészénél cikk (at the judge of the intellect this is an article)

E lakó is eltilt, él ízzel (ízléssel), ím, esik annyi ki erre abban csúf. Javítja, metéli, – ne ejtse a sárral, – értő jel áll, ez elme ítészénél cikk. (This lodger also forbids, s/he lives with style, look, many falls who for this is ugly in that. One improves it, cuts it up, – one should not drop it with the mud, – for him/her stands the sign, this is an article at the judge of the intellect.)


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.


MI CANA LARThIAS ZANL VELChINEI SE------ CE MI CANA LAROIAΣ ZANL FELXINEI ΣERCE MI KőANYA aLÁRÓ JÁSZ ZSANa áL VELe üGY/áGY JöN ÉJi SZEReKE' Mi kőanya aláró: jász (gyász) zsana (zsémbes banya) áll, vele ügy/ágy jön éji szerekkel. (What underwrites the stone mother stands mourning grouchy crone, with her comes the cause/bed with nightly remedies.)

Note: The text perfectly fits the statue: the text names it as stone mother, who is actually a crone with nightly remedies for … wait a second to see for what!

 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 IENIXLEF LNAZ ΣAIORAL ANAC IM E KeRESő iLYEN ÍGY eLEVe LeaNYÁZ S A JóRa ÁL ANAK IMa E kereső (kutató és/vagy felperes) ilyen: így eleve leanyáz s a jóra áll, annak ima! (This suit is such: this way she soon becomes a mother, and 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.







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.






MI MA FELVΣ RVTLNIΣ AFLESLA 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!)


MI MA FELVΣ RVTLNIΣ AFLESLA 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:

ALSELFA ΣINLTVR ΣVLEF 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 ThRUPETEN MIMVRSARN ΘRVPEVEN 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 NV8REΣLFRISPEIFMVLVNE 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)

LAThLAPEIRULILMULUNE LAΘLAPEIRVLILMVLVNE 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:

ENVLVMLILVRIEPALΘAL 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)

ENVLVMFIEPSIRFLΣER8VN 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)

NEVEPVRΘNRASRVMIM 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:



('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.






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; and that the ALPNV 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:

CANFATE | SELFANSL ALPNV | LEΘANEI ALPNV | ECN TVRCE LARΘI KANiVA' TE' íZELVe ANYáZóuL ÁL PiNáVa' LECSA' NEJ ALáBa NeVEKeN TŰRöKE' áL A (ReTYe)RuTYáJa Kanival tej ízelve, anyázóul áll pinával, lecsal nej alába (hasaljába), neveken tűrökkel (csapdákkal) áll a (retye)rutyája (rokonsága). (The sperm tasted with the male stands for motherhood with the cunt, the woman lures one into her underbelly, her relatives stand with man-trap on names.)

The same read backwards:

IΘRAL ECRVT NCE | VNPLA IENAΘEL | VNPLA LSNAFLES | ETAFNAC ICéRe ÁL E KuRVáT NőKE' ÜNePeL A' iLYEN A CSEL ÜNePeL ALáZóN AVa' éLEZ E TÁVNAK Iccére áll e, kurvát nőkkel ünnepel a'. Ilyen a csel: ünnepel alázón, avval élez e távnak (távlatnak). (This will stand for the pint, the other celebrates the bitch with women. The ruse is like this: she celebrates humiliating, by that sharpens one for this perspective.)

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

CSLE EVI – IVE 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.

Mellár Mihály

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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

A könyv a múlt és a jelen sérthetetlen dogmáit kérdőjelezi meg, fájdalmas sebeket szakitva fel a társadalmi közérzeten, mind a hétköznapokra, a tudományos életre és a hit világára vonatkoztatva. Megtalálta a valódi betlehemi csillagot, szó lesz a történelmi, a pártus Jézusról, a valós keresztrefeszítéséről és egy szörnyű végű összeesküvésről, aminek egyik következménye a téves időszámításunk és a kronológiánk sötét középkora. Talán nem is véltetlen, hogy most íródott meg a könyv - írja - ismét az útkeresés korában járunk. Létezésünk és hitvilágunk alapjai esnek szét, új kérdések jönnek, új válaszok kellenek. Ezek alapjait érinti meg ez az írás, új szemléletet adva eddig érinthetetlennek gondolt tabuknak.

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