Alphabets

The Alphabets used for the transliteration of inscriptions on ancient Greek vases

1 AL-FA 'gantry', timber wedge-shape stopper put under wine-casks to stop its rolling; KaPa 'hoe/hack' as it cuts into a surface; SÁM(fa) 'boot-tree', saddle, foot-stool; áR ami Ró(v) 'awl' with handle from the same cable; SZEMPI(he) 'eyelashes'.

2 The TÁv/TÁj 'segment, time period, (surrounding) area' is the modifying part of compound words (the -j and -v are supplementary sounds): öBE-TÁj Bay-area; DÉL-TÁj 'around mid-Day' (the isosceles triangle, Δ is defined with the points of sun-rise, sun-set and mid-day sun); íZE-TÁv 'joint/limb segment'; hÉT-TÁj 'seven segments' (count them!) and/or Híd-TÁv 'bridge-segment'; CÉl-TÁj 'target-area'; Íj/íJ-TÁv 'bow-segment'; LOMB/LOMP-TÁj/(LÉPDEL) 'leafy/slovenly hanging area'/'leaping/stepping', the actual name, Lambda is the result of drawing together the two descriptive names; TÁV 'segment, distance' up to the end line at the top.

3 MA'/MALY 'mall' originally the nook under the eaves. GÁM-MAly 'the nook of a walking stick'; SZIG-MAly 'corner-nook', the nooks bordered by three or four line-segments under different angles.

4 BeSZÉLŐN 'as in talking' that is the vowel which is needed for talking. Él-BeSZÉLŐN 'Edge as in talking' of a knife or prism with shading of the side of it. Ül-BeSZéLőN 'Sitting man as in talking' looked at from above. Curiously enough, the Australian aborigines used exactly the same sign for (sitting) man.

5 MÚl(ik) 'pass/elapse'; N(Y)Úl(ik) 'stretch'.

6 Two-letters: KöZi 'in between', a third stroke between the other two; BőSül 'widen', the line opens up into fork.

7 o-mikron 'small-o' depicts the mouth when pronouncing it. O-mega 'large-O' pronounced with open mouth. KUPA 'skull' with neck-line; FŐ 'head' with nose and neck line.

8 BŰ a vonalak köze/Pad 'roomy/wide' is the space between the two verticals/Bench. GYŰl a metszőpont köré 'converge' around the intersection.

The inscriptions on ancient Greek vases are written by individual handwriting in local variants (Ionian, Corinthian, Lakonian, Etrurian,…) of the alphabet which are transliterated into the above standard form to make it easier to follow, which in turn are transcribed – letter by letter – by the Magyar ABC into the writing form they would be spelled today. The only meddling into these transcriptions is the doubling of the stressed sounds and marking the long vowels as these are not marked in the inscriptions. Doubled letters either belong to two consecutive words or should be separated by a left out vowel. And as usual with ancient texts: the missing word separators and other punctuation marks had to be added to the transcriptions.

The applied method of writing in the inscriptions is the defective notation of vowels used by all the scripts of the area and era of these writings, such as Carian, Lydian, Lycian, etc., in which not all the vowels are marked.

The exact rules about the left out vowels is hard to nail down. It would make sense to mark the starting vowel, leave out the same or alike subsequent vowels, but marking the first which makes change from front to back vowel or vice verse, building upon the feature of the Magyar words which contain either only front vowels or only back vowels, mixing the two is rare. This rule is utilized later in the Szekler-Magyar rovás, but at the outset of a new writing system, as is the case with these ancient inscriptions, one shouldn’t expect fully-fledged, indisputable spelling rules. Never the less, the left out vowels does not make the inscriptions neither illegible nor nonsensical, on the contrary, the presented transliterations with the back-filled left out vowels expressly and eloquently explain and/or complement the depicted scene on the vases.

The readings are attained with a simple and consistent transliteration/transcription of the inscriptions. The only trick involved here is the back-filling of the left out vowels (in small letters) by the applied defective notation of vowels method of writing. No linguistic gismos, no “natural translation (?!), which appears to reproduce casual speech,” just straightforward readings. But here is this “back-filling of left out vowels”. Isn’t it just as elusive and arbitrary as any of the gismos? – one may ask rightly. As a matter fact, this back-filling is not more than reading someone’s bad handwriting: the contexts and the depicted scenes comes to aid when there is doubt in readings.

The ‘ (apostrophe) after some of the vowels marks a peculiarity of spoken Magyar: the ‘l’, – following a vowel before a consonant or ending a word, – blends into that vowel in front of it, making it longer (volt > vó't, kelt > ke't). Not sounding the closing ‘n’ in ~ban/~ben endings is also typical for the spoken language, neither is the ~rt ending sounded. Nowadays these sounds are spelled, but on the vases the corresponding letters are missed out. Needless to say that the ancient texts are in provincial (rustic, popular or folk idiom) dialects, not in (today's) standard Magyar.

The so called “misspelled” mythical names have a double role: they fix the scene to mythical persons and/or events and they read as complements and/or explanations to the descriptive (simple) semantics of the depicted scene.

In the “nonsense” boustrophedon inscriptions the “illiterate” painters orient the letters exactly in the direction of writing. Isn't it to much sophistication from frauds pretending to know how to write? The painter using the very clever and legitimate ligature Ɐ = {V+A} is also branded as illiterate!

And there are “names” for which really makes one wander about the sanity of the people who invented them! “Throwaway names are mainly short (bi-syllabic) names that can neither be linked to myth in the scene in which they occur (although they may be attested as the names of heroic characters elsewhere) nor be taken as the names of historical persons. The latter view is supported by the fact that on the Corinthian pinnacles, from which we learn numerous names of real Corinthians at the time, these names do not occur. Throwaway names cannot even be said to individualize the figures next to which they are written in any given scene, since on several vases such a name occurs more than once as a label for quite separate characters.” R. Wächter. What then these good for nothing, meaningless “names” stand for? As it turns out, they are bubble words spoken by the depicted actors or the painters as we used to see them in comic strips.

For those who wander how comes that the Greek interpretation often has some common points with the reading offered here, let me point to Dr. ACZÉL József, who had shown that ancient Greek and Scythian/Hun/Hungarian have around 3000 concordant root-words and most of the grammar is shared, but his work is simply ignored by the MTA (Hungarian Academy of Sciences), for the sake of political correctness.

Here are the Scythic-Szekler rovás and the Ancient Greek letters compared by Aczél's own method, instead of one by one, he is comparing sound groups signs in rovás and old-Greek:

The scientific community is convinced that the problem of the ancient Greek vase-inscriptions is solved: the inscriptions are either mainly dedications, to and from labels, “attested” names of heroes and throwaways(!) or nonsensical imitation of some barbaric speech. Surprisingly enough, the  scientists can be right if we threat these inscriptions as scytales for the ancient Greeks … and Scythic(!) for the Scythian speaking substratum of pre-hellenic Greece. 

“In cryptography, a scytale (/ˈskɪtəliː/, rhymes approximately with Italy; also transliterated skytale, Greek σκυτάλη "baton") is a tool used to perform a transposition cipher, consisting of a cylinder with a strip of parchment wound around it on which is written a message. The ancient Greeks, and the Spartans in particular, are said to have used this cipher to communicate during military campaigns.

The recipient uses a rod of the same diameter on which he wraps the parchment to read the message. It has the advantage of being fast and not prone to mistakes – a necessary property when on the battlefield.” Wikipedia

The method applied to the vases is a bit more sophisticated: the “names” are there for everyone to see, but only the Scythic speaking people can read the hidden message of this scytale! What a revealing name! that goes unnoticed by scientists for two and a half thousand years.
The moral of this little incursion is that the best encryption is to make your message obvious and commonplace enough, like a name of a nobody or a dog, for everyone to accept with no question asked, while the few familiar with the defective notation of vowels method can easily read the organically complementing texts to the depicted scenes.