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 : Making SenseKeywords : metrical dedication, Poseidon, Amphitrite, pinax

Making Sense after Rudolf Wachter VIII (Pinakes1)

The Corinthian Pinakes

The transliteration into modern Greek from the different ancient handwritings is done by H. R. Immerwahr and others, which in turn is transcribed by me, using this simple ABC table, at the same time backfilling the left out vowels, to reconstruct the inscriptions in today's spelling.

“Introduction: In 1879 in a clandestine excavation by farmers near Penteskouphia on the slope of Acrocorinth, several hundred fragments of painted clay tablets were found in what seems to have been a waste deposit. They were illegally sold in Athens and the vast majority went to Berlin where they still are (the rest, viz. sixteen, are in Paris).” Wachter

The inscriptions on tablets are dedications as the researchers, including Wachter, have rightly supposed. Most of the tablets have holes through which they were attached, as it turns out by the reading of the dedications, to the offered food-samples such as dishes of quail, duck, heifer, boar, fried meat, rice, millet, or often just named commonly as drink, sweet or fasting food. But the identity of the dedicated god(s) is very questionable as Poseidon (on the tablets Potida, Poteda, Potda, Poteidan) and Amphitrite (Anphitrita, Afirita, Afitretan) turns out to be fasting food, feast of food-abundance, quail-dish, etc. when read in Scythic-Hun-Hungarian. How, when and why did these expressions personify as gods?

a. Metrical Dedications

~ @ COP 1A-D ~

Fr. pinakes from Penteskouphia (1879). Berlin, Antikensammlung F 834, 946, 453, 950 (incised).

Scene: (A) Part of the bottom of a tablet; quadriga in frontal view. On the reverse (no inscr. preserved) a gigantomachy (Pernice). (B) No figs. preserved.The reverse is plain. It is not a priori clear, from which corner the fr. is (rather not bottom-r.). (C) Top-r. corner; the small head of a man to l. with an enormous trident. (D) Without original edge according to Fränkel, which is almost true, but the paint of the frame along the upper margin appears at the top corner of the fr. No figs. are preserved or ever existed. The reverse is plain.

Date: (A) 510–500 (Payne, Jeffery, Hansen); late 6th cent. (Friedländer–Hoffleit). (B) 600–550 (Friedländer–Hoffleit, Hansen). (C) c.575–550 or later (Boardman apud Hansen). (D) —.

(A) [. . .]pαγγειλαστυδεδο[. . .]ριεσαναμοιϝαν > … GőG E JeL A SZó TéVeD ÉDÖ[S ANNYa Tű]RJE SZÁNA'Ma OLY FiÁN > … gőg e jel, a szó téved, édö[s anyja tű]rje, szánalma oly fián (… pride is the sign, the word is mistaken, his mother has to bear it, her compassion is such on her son)

(B) (a) [. . .]. ορμαν[. . .]. > ORMÁN … > ormán … (… on its pinnacle ...)

(b) [. . .]δοιχαριεσα .[. . .] > … GYÁRJa E SA[NDa … > … gyárja e sa[nda … (… this suspicious walks ...)

(C) [. . .]. . στυδεδοσχαριεσαν[. . .] > … TéVeD E iDŐS aGYA RáJa E SAN[Da … > … téved e idős agya, rája e san[da … (… the brain of this elder makes mistake, this suspicious on it ...)

(D) [. . .]θεκε . . . [. ?]. δανιϝ[. . .]. υδεδ[. . .]. .[. . .] > … CSEKÉ' … > … csekély … (… trifle ...)

Wachter's interpretation: Metrical dedications – (D) certainly to Poseidon – of the type: . . . having promised a gift. Now, you, give welcome recompense!

~ COP 2A-C ~

four horsesFr. pinakes from Penteskouphia (1879). Berlin, Antikensammlung (A) F 524+694, (C) F 495+513, (B) Paris, Louvre MNC 204.

Scene: (A) Joined by Pernice. Bottom-r. corner; a quadriga. On the reverse a kiln scene. (B) Top-r. corner; four horses’ heads (i.e. a quadriga), an owl on the reins. The reverse is plain. (C) A man (a) and a woman (b) in a chariot.

Date: (C) 600–575 (Payne, Jeffery); 1st third 6th cent. (LIMC); c.580 (Schefold).

(A) [. . .]ανεθεκεποτιδαϝονιϝανατιαυτοποκια[. . .] > … E CSEKÉ' BŐ'TI éD1 AVÓN JaVÁN ÁT Ű AVaTÓ BÓKJA … > … e csekély böjti éd avón javán át ű avató bókja … (… this trifle fasting food through the best of its ripening is the gratitude of initiation ...)

(B) [. . .]ονιϝανιστιαυτο[. . .] > … AV]ÓN JaVÁN ÜSZőTŰ' AVaTÓ … > … av]ón javán üszőtűl avató … (… through the best of its ripening from a heifer initiation ...)

(C) (a) Ποτειδαν > BŐ éTE' IDÁN2 > Bő étel idán (ünnepén) (On the feast of food abundance)

(b) Ανφιτριτα[. . . ?] > ANNYi FITYRe ITA' ... > annyi fityre ital ... (drink on many trifle ...)

(c) [. . . ϝ]aνακτιαυt[. . .] > … JaV]ÁN AKiTŰ' AVaT[Ó … > … jav]án akitűl avat[ó … (… on the best from whom the initiator ...)

Wachter's interpretation: Metrical dedications to Poseidon. On (C) also labels (Poseidon and Amphitrite).

~ @ COP 3 ~

Fr. pinax from Penteskouphia (1879). Berlin. Antikensammlung F 476+454.

Scene: Joined by Pernice. Poseidon to r., labelled (a) on his robe, holding his trident. He is facing another bearded figure with dark skin, who is holding a sceptre (no name preserved). Pernice identified the figure as Zeus, correcting Furtwangler.

Date: Pre-Corinthian (Payne); c.650.625 ( Jeffery,425 Hansen); PC (Lorber); no later than mid-6th cent. (Friedlander.Hoffleit); 2nd h. 7th cent. (Lazzarini); c.630 (LIMC).

(a) Ποτεδa[. . .] > BŐ éTED A[... > bő éted a[... (your plenty of food ...)

(b) Σιμιονμανεθκεποτεδαϝον[ιϝα]νακτι > S ÍM JÖN MÁN E CSeKÉ' BŐ'Ti ÉD AVÓN [JaVÁ]N AKiTŰ' > s ím jön mán e csekély böjti éd avón [javá]n akitű' (and look comes this trifle fasting food through the best of its ripening from who)

Wachter's interpretation: (a) Label (Poseidon). (b) Metrical dedication to Poseidon.

~ @ COP 4 ~

Fr. pinax from Penteskouphia (1879). Berlin. Antikensammlung F 388.

textScene: Top-r. corner of an upright tablet; Poseidon with trident. Date: 6th cent. (Lazzarini).

[. . .]εδαϝονιϝανακτι > … ÉD AVÓN JaVÁN AKiTŰ' > éd avón javán akitűl (food through the best of its ripening from who …)

Wachter's interpretation: Metrical dedication to Poseidon.

b. Other Metrical Inscriptions

~ @ COP 5 ~

woman facing PoseidonFr. pinax from Penteskouphia (1879). Paris, Louvre MNC 208.

Scene: Top-l. corner; woman (a) facing Poseidon (his breast and r. hand holding a wreathed

trident are preserved). The reverse is plain. Date: —.

(a) Αφιριταflμιποτ . [. . .] > A FÜRJ-TÁ' ÉMI BŐ'Ti … > a fürj-tál émi (éber) böjti … (the quail-dish vigilant fasting … )

(b) Θεο[. . .] > CSE' O... > csel o... (trick …)

Wachter's interpretation: (a) Metrical label (Amphitrite). (b) Probably a dedication.

~ @ COP 6 ~

Fr. pinax from Penteskouphia (1879). Berlin. Antikensammlung F 487.

textScene: Bottom-l. corner; dressed person with light-coloured feet (i.e. a woman) standing behind a figure with dark feet (a man), both to r. Date: —.

[. . .]οτεδαϝονοσαϙοιτις > … B]Ő'Ti ÉD AVÓN Ő aDAKOJJa űT IS > … b]öjti éd avón ő adakolja (adakozza) űt is (… on fasting food ripening s/he donates it also)

Wachter's interpretation: Metrical label (Amphitrite).

“Since this is – as Furtwängler noticed – a perfect second half of a hexameter, it is tempting to add the beginning as preserved in COP 5 (with hiatus). /κοιτις -ιν is frequent in Homer and always placed at the end of the line (it never occurs with Poseidon, who is not Amphitrite’s consort in Homer).” Wachter. Indeed:


A fürj-tál émi (éber) böjti … éd, avón ő adakolja (adakozza) űt is. (The quail-dish vigilant fasting … food, ripening s/he donates it also.)

c. Other Dedications Explicitly to Poseidon

~ @ COP 7 ~

Fr. pinax from Penteskouphia (1879). Berlin. Antikensammlung F 949+468.

Scene: Joined by Pernice. Bottom half of an upright tablet; man with a stick walking to l. One major section with the middle and the end of the inscr. is missing. Date: 6th cent. (Lazzarini).

[. . . ?]θρασυμa[. . . c.7 . . .]κετοποτεδα[. . .] > [. . . Ϙ]θρασυμa[δϙοιεθε]κετοποτεδα[χ . .] > … Ka]CSáRA Sű'Ve íM A[DaKÓJJa E CSE]KÉ'T Ő BŐ éTED A[DJa …. > … ka]csára, sülve ím a[dakójja (adakozza) e cse]kélyt ő, bő éted a[dja …. (… on duck, look, fried s/he donates this trifle, s/he gives your plentiful meal ...)

Wachter's interpretation: Dedication to Poseidon.

~ @ COP 9 ~

Fr. pinax from Penteskouphia (1879). Corinth, Arch. Mus. C-63-152 + Berlin. Antikensammlung F 955.

Scene: Joined by Geagan. Four horses’ heads. The reverse is plain.

Date: ‘A contemporary of Milonidas’ (Geagan); see COP 41.

Πολιτασμεανεθκετοπ[. . .] > BŐ Lé ITASSa íME A'NNá E CSeKÉ'T Ő B[Ő … > bő lé itassa íme adná e csekélyt ő, b[ő … (let plenty of juice take him to drink, look, s/he would give this trifle, plenty …)

Wachter's interpretation: Dedication to Poseidon.

~ @ COP 11 ~


Fr. pinax from Penteskouphia (1879). Berlin. Antikensammlung F 412+417.

Scene: The (non-contiguous) frs. were put together by Pernice; (a) is on F 412, top-r. corner, (b) on F 417. Date: 2nd h. 7th cent. (Lazzarini).

(a) Ποτεδαν > BŐ éTE' iDÁN > bő étel idán (ünnepén) (on the feast of food abundance)

(b) Ϙυλοιδασμανεθεκεπο[. . .] > KiVáLLó ÓLY aDÁS iMMÁN E CSEKÉ' BŐ … > kiválló óly adás immán e csekély, bő … (excellent giving is this trifle already, plenty ...)

Wachter's interpretation: (a) Label (Poseidon). (b) Dedication to Poseidon (metrical?).

~ @ COP 12 ~

Fr. pinax from Penteskouphia (1879). Berlin, Antikensammlung F 558+530.

Scene: Joined by Pernice. Part of the back, hind leg and tail of a horse (the reverse is plain).

Date: 6th cent. (Lazzarini).

[Φλε]βονμανεθeκεποτεδανιϝανακ[τι] > [FeLE]BBÖN iMMÁN E CSEKÉ' BŐ'Ti ÉD ANNYi JaVÁNAK [éTŰ'] > [Fele]bbön (magasabban) immán e csekély böjti éd, annyi javának [étűl.] (Higher up already this fasting food, for the abundance of his many goods, for eating.)

Wachter's interpretation: Dedication to Poseidon.

~ @ COP 18 (= COR 28) ~

Fr. pinax from Penteskouphia, by Timonidas (1879). Berlin, Antikensammlung F 846.

Scene: A hunter with dog (both to r.). On the reverse (no inscr. preserved) a kiln and a man in a long dress holding a stick (Poseidon with trident?), probably the patron of the craft (see COP 83). Pernice joined the eleventh fr.

Date: 600–575 (Payne, Jeffery, Guarducci, Lazzarini); c.550–540 (EAA); MC, c.570 (Amyx).

(a) [. . .]ανεθεκετοιποτεδανι > A'NNá E CSEKÉ'T OLY BŐ éTE' iDÁN Ű > Adná e csekélyt oly bő étel idán (ünnepén) ű. (One would give this trifle on the feast of such plenty of food.)

(b) Τιμονιδας | εγραψεβια > éTŰ' MÖNNYeI aDÁS | ÉG uRA BőS ÉV úJA > Étül mennyei adás, ég ura, bős év úja. (Heavenly giving for eating, Lord of the Heavens, here are the yields of a rich year.)

Wachter's interpretation: (a) Dedication to Poseidon (probably not by the painter). (b) Painter’s signature.

d. Other Certain or Likely Dedications

~ @ COP 25 ~

Fr. pinax from Penteskouphia (1879). Berlin. Antikensammlung F 882.

Scene: Horse and horseman. Only the top-r. corner shows a suspension hole. On the other side there is a woman and a figure catching fish with a trident. If the tablet was hung up by the surviving hole and one in the adjacent lost corner, this side would be upside-down. Date: —.

Αισιμελλ . σl . ν[. . .] > Αισιμελλϝσμαν[. . .] > AJZó-ÍMELő LoVaS iMMÁN[… > Ajzó-ímelő lovas immán[… (hamar megjárja!) (The rider imitating a snaffle bit will sooner ...)

Wachter's interpretation: Dedication.

This “dedication” is the scientific version of the “what-d'you-call-it”, “er”, “thingummy”, etc. buzzwords one uses when hasn’t the slightest idea what s/he is talking about.

~ @ COP 28 ~

Fr. pinax from Penteskouphia (1879). Berlin. Antikensammlung F 811.

Scene: Top of a tablet (two holes in the corners); Poseidon with trident. On the reverse (turned through 90° with respect to the holes) a kiln scene. Date: —.

Αριστοφιλos[. . . ?] > A RIS-TŐ FŰ LÖSZ [ha … > A ris-tő fű lösz [ha … (The rice’s root will grow to grass, if ...)

Wachter's interpretation: Probably a dedication.

inscription~ @ COP 29 ~

Fr. pinax from Penteskouphia (1879). Berlin. Antikensammlung F 667+803.

Scene: Top half of tablet; joined by Geagan. On one side Poseidon (unnamed) and inscr. (a) (on fr. F 667), on the other (b) and (c) with a kiln and the arm of a man. Date: 575–550 (Payne, Jeffery).

(a) Ασοποδοροσεμεανεθ[. . .] > A SZÓ BŐ De Ő ROSSZ E'ME ANNYi ECSE[(Te)LéS … > A szó bő, de ő rossz elme. Annyi ecse[(te)lés … (The word is plenty, but s/he is a bad intellect. A lot of small talk ...)

(b) Πι > > (Spell)

(c) Ποτδαεu > BŐ éT iDA' EVVe' > Bő ét idal (ünnepel) evvel. (Food-abundance celebrates with this.)

Wachter's interpretation: (a) Dedication. (b)–(c) Note of destination (?).

~ @ COP 31 ~

Fr. pinax from Penteskouphia (1879). Berlin. Antikensammlung F 392.

inscriptionScene: Top-l. corner; head and back of a figure to r. Date: —.

Δορκονμανεθεκ[. . .] > iDŐRe KÖN iMMÁN E CSEK[É' … > Időre kön (túlérett) immán e csek[é' … (On time has (over) ripened already this trifle ...)

Wachter's interpretation: Dedication.

~ COP 34 ~

Fr. pinax from the Potters’ Quarter at Corinth (1930). Corinth, Arch. Mus. KN-8.

Scene: Top-l. corner; long-haired man holding an instrument. The break goes through the thighs of the man, so approximately a third of the height will be missing. Date: MC (Stillwell–Benson).

Ευκρινε .[. . . ?] > EVVe' KéRI NE... > Evvel kéri ne... (With this one asks not ...)

Wachter's interpretation: Dedication or label (workman).

~ @ COP 35 ~

Fr. pinax from Penteskouphia (1879). Berlin. Antikensammlung F 630+539.

inscriptionScene: Joined by Pernice. Poseidon (named) holding his trident and riding one of two horses.

Date: 600–575 (Payne, Jeffery); 6th cent. (Lazzarini).

(a) Ποτεδαν > BŐ éTE' iDÁN > Bő étel idán (ünnepén) (On the feast of food-abundance)

(b) Ευρυμεδεσμανεθεκε > EVőRe VáM E éDES iMMÁN E CSEKÉ' > Evőre vám e édes, immán e csekély. (For the eater is taxing this sweet, already this trifle.)

Wachter's interpretation: (a) Label (Poseidon). (b) Dedication.

~ @ COP 36 ~

Fr. pinax (very thick, c.12 mm.) from Penteskouphia (1879). Paris, Louvre MNC 206.

Scene: Middle part of l. margin; breast, back and arms of a man to r. The reverse is plain.

Date: 6th cent. (Lazzarini).

[. . . ?]Ευστρατοσμαδεθεκε > E ÜST RÁTÓS iMÁDÉ' CSEKÉ' > E üst rátós (rántásos) imádé(rt) csekély. (This cauldron of meat fried in breadcrumbs is trifle for your prayer.)

photo of inscriptionWith the healthy Scythic sentence we could find out what was the trifle offered for the prayer, contrary to Wachter's interpretation: Dedication. “The inscription is very neatly written and the writer does not seem to have been illiterate. Therefore the delta cannot easily be taken for a misshapen nu (as the last sign in COP 84A). In view of this spelling, I cannot help thinking that Eustratos may have had a cold (we have to imagine people speaking aloud when writing, as was the case in reading).” The cold we would need for the Greek Εύστρατος μ' άνέθε̄κε, but when striken by a cold, one still formulates the words in a healthy mind, only it sounds out of the ordinary due to the stuffy nose. Speech defect is not an excuse for incorrect spelling.

Can you imagine a prayer like this: I, Joh King believe in God, the Father Almighty, … or Holy Mary, Mother of God, pray for us: Tim Pani, Lu Cerne, Pita Pat, ... sinners, now and at the hour of our death. Amen. or a church full of candles with name tags attached to each ...

~ @ COP 37 ~

female with inscriptionFr. pinax from Penteskouphia (1879). Berlin. Antikensammlung F 828.

Scene: Upright tablet preserved in full width (with the unnumbered fr. joined by Pernice); female figure (named). The reverse (correct in Pernice): man to r., leading a horse which is seen from the front446 and with head to r. Date: EC (Payne); c.625–600 ( Jeffery).

(a) Αφιτρεταν > A FITéRE TANú > A fitére(kérkedésére) tanú. (Witness for one's bragging/big talk.)

(b) Ϝιο[. . .] > VÍjÓ/VaJO[N ... > víjó/vajo[n ... (The fighting/is it … )

Wachter's interpretation: (a) Label (Amphitrite). (b) Probably a dedication.

~ @ COP 38A-B ~

PoseidonFr. and entire pinax from Penteskouphia (1879). Berlin. Antikensammlung F 373+415+423 & Paris, Louvre MNB 2856.

inscriptionScene: (A) Joined by Pernice. Poseidon to r. The reverse is plain. (B) Poseidon to r., with trident and wreath in this hands. On the reverse (uninscribed) a man working at a kiln.

Date: 575–550 (Payne).

(A) (a) Ποτ[. . .] (b) Ιγρον μανεθεκε[. . . ?]

(B) (a) Ποτειδαν (b) Ιγρονμανεθεκε


Ποτειδαν Ιγρονμανεθεκε > BŐ éTE' IDÁN ÍGéRŐN iMMÁN/MÁN E CSEKÉ' > Bő étel idán (ünnepén) ígérőn immán/mán e csekély. (On the feast of food-abundance promising is already/yet this trifle.)

Wachter's interpretation: (a) Labels (Poseidon). (b) Dedications. “Igron may be thought of as a foreigner”, maybe a Scythic word?

~ @ COP 40 ~

Fr. pinax from Penteskouphia (1879). Berlin. Antikensammlung F 348.

inscriptionScene: Top of upright tablet; Poseidon with trident. The reverse is plain. Date: —.

Λυσιαδασl[. . .] > eLŰZI Á'DÁS Mi … > Elűzi áldás mi … (One drives it away, what ...)

Wachter's interpretation: Probably a dedication.

~ @ COP 41 (=COR 120) ~

qudriga and the inscription

Fr. pinax from Penteskouphia (1879). Paris, Louvre MNC 212 + Berlin, Antikensammlung F 511.

Scene: R. part and middle of a tablet; quadriga waiting. Geagan joined the uninscribed Berlin fr. to the inscribed Paris one. The reverses are plain.

Date: 575–550 (Payne, Jeffery); 6th cent. (Lazzarini).

Μιλονιδασεγραψεκανεθεκε > Mi ILLŐN IDÁS ÉGRE BiZ E KANÉ' CSEKÉ' > Mi illőn idás (ünnepies) égre, biz e kanért csekély! (What is fittingly ceremonial for heaven, surely for this boar is only a trifle!)

Wachter's interpretation: Painter’s signature and dedication by the painter.

~ @ COP 43 ~

Fr. pinax from Penteskouphia (1879). Berlin. Antikensammlung F 414.

Scene: Top-r. corner (damaged); Poseidon with trident (on the reverse a kiln, Pernice). Date: —.

Ξενƒοκλες[. . .] > KöZé E NöVŐ KöLES ... > Közé e növő köles ... (In between is this growing millet ...)

Wachter's interpretation: Probably a dedication.

~ @ COP 45 ~

Fr. pinax from Penteskouphia (1879). Berlin. Antikensammlung F 784.

Scene: Part of l. margin and bottom-l. corner (with a suspension hole!). Joined to an unnumbered fr. by Pernice, who discusses wrong earlier interpretations. Fox walking under trees (?). The reverse is plain. Date: —.

Ϙο[.]ρισμανε[. . .] > KÖ[Vé]R IS MÁN E … > Kö[vé]r is mán e … (This is already fat ...)

Wachter's interpretation: Dedication.

~ @ COP 48A-B ~

Fr. pinax from Penteskouphia (1879). Berlin. Antikensammlung F (A) 557 & (B) 611.

inscriptionScene: (A) Man leading a horse (the reverse is plain). (B) Man working at a kiln (the reverse is plain). Date: 600–575 (Payne, Jeffery); 6th cent. (Lazzarini).

(A) Φλεβονμανεθεκε (B) Φλεβονμανεθεκε

Φλεβονμανεθεκε > FeLEBBÖN MÁN E CSEKÉ' > Felebbön (magasabban) mán e csekély. (This trifle is already on higher places.)

Wachter's interpretation: Dedications.

photo~ @ COP 49 ~

Fr. pinax from Penteskouphia (1879). Paris, Louvre MNC 210.

Scene: Bottom-l. corner; back of a dressed upright figure (Poseidon, Collignon) to r. The reverse is plain. Date: —.

[. . .]ογετονιδασμανεθεκε > … éGi ÉTŐN IDÁS MÁN E CSEKÉ' > … égi étőn idás (ünnepies) mán e csekély. (… on heavenly eating this trifle is already ceremonial.)

Wachter's interpretation: Dedication.

~ @ COP 59 ~

Fr. pinax from Penteskouphia (1879). Berlin, Antikensammlung F 826+619.

Scene: Joined by Pernice; almost complete. A woman to r. On the reverse (uninscribed) man working at a kiln. Date: —.

Αθεṇ[. .]ασεμι > Αθεν[ιδ]ασεμι > ATYa ENNi [ID]ÁS E MŰ > Atya, enni idás e mű. (Father, this work for eating is ceremonial.)

Wachter's interpretation: Dedication to Athena (property formula).



1ÉD, (rokon íz, ez ismét szí gyökkel, a rokonságokat más nyelvekbõl l. alább) fn. tt. éd-ìt. Elhanyagolt állapotából ismét életre kapott szó, melybõl édes, édeleg, édesség stb. származnak. Jelenti azon kellemes érzést, melylyel némely testek az ízlelõ érzéket csiklandozzák s gyönyörködtetik, nemkülönben azon anyagot vagy részecskéket, melyek által ily érzés gerjesztetik. Édet érezni, ízlelni. Gyümölcsnek, méznek, czukornak éde. Átv. ért. igen kellemesen ható gyönyör, akár érzékileg, akár szellemileg véve. Csók éde, beszéd éde. Éddel függeni a kedves minden szaván. Édem, am. édesem, kedvesem.

„És viszonz az ifjú keser-éddel.”


„E szent falak közt élvezik

A béke édeit.”

Tárkányi Béla.

A görög ηδος (am. gyönyör) εδυς (am. édes) szókban szinte mint gyök megvan. Hangzóváltozással a héber adid, aram: ado, arab: ad hasonlóan édest, kedvest, kedveltet jelentenek. Ide tartoznak a szanszkrit szvad (ízlel), szvádusz (édes), latin suavis, német szüsz stb. A törökben is dad v. dat, v. tat, am. íz, ízlés, innen tatlu v. tatlï, v. dadlu, v. datlu, (a csagatajban: tatlïg), am. édes; eléjön a csagatajban dsüdsük szintén = édes.

Végelemzésben az ìszik igének ì gyökébõl származtatva, am. ì-ed v. ì-et öszvehúzva: éd, honnan ì-edìs v. ì-etìs = édes, azaz a szájíznek különösen tetszõ, ennivaló. Czuczor-Fogarasi: A magyar nyelv szótára

This citation from the Dictionary of the Magyar language by Czuczor & Fogarasi (CzF) shows that the root-word éd is an old word-family in Magyar with semantic content of not just the sensation of sweetness, but the particles which brings the sensation about. And the same root exists in Greek: ηδος and εδυς, in Hebrew adid, Aramic ado, Arabic ad , etc.

2ID, (3), elavult vagy elvont fn. mely hajdan innepet (id-napot) jelentett, s megvan a perzsa ‘íd, szanszkrit íd (innepel, énekel), hellén αειδω, ωδε szókban. A magyarban azonosnak látszik di gyökkel, melytõl dísz, dics stb. is származik; innen idv, annyi mint dív, divó.” Czuczor-Fogarasi: A magyar nyelv szótára

ID is the old root-word for ID-nap > in-nap > ünnep (Feast-day/Holi-day) and it is the same in Sanskrit (íd) and Greek (αειδω, ωδε) by the CzF Dictionary (all other dictionaries are only caricatures of the Magyar language).

Mihaly Mellar

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The Scythian language resurrects as Scythic-Hun-Magyar.


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The Scythian language resurrects as Scythic-Hun-Magyar.


Making Sense

This work is based on Rudolf Wächter's book, entitled Non-Attic Greek Vase Inscriptions. He sets out the goal to identify “the linguistic and epigraphical features” of the inscriptions, but makes himself lame at the outset for the linguistic aim by declaring that al the inscriptions are only names (labels): heroic, non-heroic, or even good for nothing “throwaway” names.

On the contrary, we read these “names” and conceive them as explanatory and complementary words to the drawn scene. What the ancient painters could not express with their pictorial means, they have added in words without any prudery. As a matter of facts, without reading and understanding these inscriptions one cannot really comprehend what the drawing is all about.

The vases in Wachter's book are categorised epigraphically, by the locally used variant of the alphabet, into 22 groups named after these localities. We will follow this line, only breaking the text up into more easily manageable pieces. Due to the limitations of our browsers, we use only the transliterations of vase inscriptions to modern Greek alphabet, which in turn we transliterate, using the table in the Alphabets blog, into Magyar ABC and read the inscriptions by backfilling the left out vowels.



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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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