It still remains crucial to remember that no matter how appealing it may seem, this is still merely a reconstruction created by philhellenising germans and not an authentic piece of ancient architecture. Therefore some mistakes that are going to be just as stupid as confusing delta and lambda are bound to happen.
Es bleibt dennoch wichtig, sich daran zu erinnern, dass dies, so ansprechend es auch erscheinen mag, lediglich eine Rekonstruktion ist, die von philhellenisierenden Deutschen geschaffen wurde, und kein authentisches Stück antiker Architektur. Daher werden einige Fehler unvermeidlich sein, die genauso dumm sind wie das Verwechseln von Delta und Lambda.
Παραμένει σημαντικό νὰ θυμόμαστε ὅτι, ὅσο ἑλκυστικό κι’ ἀν φαίνεται, αὐτὸ εἶναι ἁπλῶς μιὰ ἀνακατασκευή ποὺ δημιουργήθηκε ἀπὸ φιλελληνίζοντες Γερμανούς καὶ ὄχι ἕνα αὐθεντικὸ κομμάτι ἀρχαίας ἀρχιτεκτονικῆς. Συνεπῶς, εἶναι ἀναπόφευκτο νὰ ὑπάρχουν ὁρισμένα λάθη, τόσο ἀνόητα ὅσο τὸ νὰ μπερδέψει κανεῖς τὸ ΛΕΔΤΑ μὲ τὸ ΔΑΜΒΛΑ.
Es bleibt dennoch wichtig, sich daran zu erinnern, dass dies, so ansprechend es auch erscheinen mag, lediglich eine Rekonstruktion ist, die von philhellenisierenden Deutschen geschaffen wurde, und kein authentisches Stück antiker Architektur. Daher werden einige Fehler unvermeidlich sein, die genauso dumm sind wie das Verwechseln von Delta und Lambda.
Παραμένει σημαντικό νὰ θυμόμαστε ὅτι, ὅσο ἑλκυστικό κι’ ἀν φαίνεται, αὐτὸ εἶναι ἁπλῶς μιὰ ἀνακατασκευή ποὺ δημιουργήθηκε ἀπὸ φιλελληνίζοντες Γερμανούς καὶ ὄχι ἕνα αὐθεντικὸ κομμάτι ἀρχαίας ἀρχιτεκτονικῆς. Συνεπῶς, εἶναι ἀναπόφευκτο νὰ ὑπάρχουν ὁρισμένα λάθη, τόσο ἀνόητα ὅσο τὸ νὰ μπερδέψει κανεῖς τὸ ΛΕΔΤΑ μὲ τὸ ΔΑΜΒΛΑ.
One of the known instances of the Mycenean script being mentioned in the Ancient Greek texts:
εὑρέθη δ’ οὖν - - - σώματος, ψέλλιον δὲ χαλκοῦν οὐ μέγα καὶ δύ’ ἀμφορεῖς κεραμεοῖ γῆν ἔχοντες ἐντὸς ὑπὸ χρόνου λελιθωμένην ἤδη καὶ συμπεπηγυῖαν, ἐπάνω δὲ τοῦ μνήματος ἔκειτο πίναξ χαλκοῦς ἔχων γράμματα πολλὰ θαυμαστὸν ὡς παμπάλαια· γνῶναι γὰρ ἐξ αὑτῶν οὐδὲν παρεῖχε καίπερ ἐκφανέντα τοῦ χαλκοῦ καταπλυθέντος, ἀλλ’ ἴδιός τις ὁ τύπος καὶ βαρβαρικὸς τῶν χαρακτήρων ἐμφερέστατος Αἰγυπτίοις· διὸ καὶ Ἀγησίλαος, ὡς ἔφασαν, ἐξέπεμψεν ἀντίγραφα τῷ βασιλεῖ δεόμενος δεῖξαι τοῖς ἱερεῦσιν, εἰ ξυνήσουσιν. ἀλλὰ περὶ τούτων μὲν ἴσως ἂν ἔχοι τι καὶ Σιμμίας ἡμῖν ἀπαγγεῖλαι, κατ’ ἐκεῖνον τὸν χρόνον ἐν Αἰγύπτῳ πολλὰ τοῖς ἱερεῦσι διὰ φιλοσοφίαν συγγενόμενος. Ἁλιάρτιοι δὲ τὴν μεγάλην ἀφορίαν καὶ τὴν ἐπίβασιν τῆς λίμνης οὐκ ἀπὸ ταὐτομάτου γενέσθαι νομίζουσιν, ἀλλὰ μήνιμα τοῦ τάφου τοῦτο περιελθεῖν ἀνασχομένους ὀρυττόμενον.
Be that as it may, in the tomb itself no remains were found, but only a stone, together with a bronze bracelet of no great size and two pottery urns containing earth which had by then, through the passage of time, become a petrified and solid mass. Before the tomb, however, lay a bronze tablet with a long inscription of such amazing antiquity that nothing could be made of it, although it came out clear when the bronze was washed; but the characters had a peculiar and foreign conformation, greatly resembling that of Egyptian writing. Agesilaüs accordingly, it was said, dispatched copies to the king, with the request to submit them to the priests for possible interpretation. But about these matters Simmias might perhaps have something to tell us, as at that time he saw a good deal of the priests in Egypt in the pursuit of his philosophical inquiries. At Haliartus the great failure of crops and encroachment of the lake are held to have been no mere accident, but a judgement on us for having allowed the excavation of the tomb.
______
Πλουτάρχου Περὶ τοῦ Σωκράτους δαιμονίου (Ἠθικά) 577F – 578B
Plutarch's De Genio Socratis (Moralia) 577F – 578B
εὑρέθη δ’ οὖν - - - σώματος, ψέλλιον δὲ χαλκοῦν οὐ μέγα καὶ δύ’ ἀμφορεῖς κεραμεοῖ γῆν ἔχοντες ἐντὸς ὑπὸ χρόνου λελιθωμένην ἤδη καὶ συμπεπηγυῖαν, ἐπάνω δὲ τοῦ μνήματος ἔκειτο πίναξ χαλκοῦς ἔχων γράμματα πολλὰ θαυμαστὸν ὡς παμπάλαια· γνῶναι γὰρ ἐξ αὑτῶν οὐδὲν παρεῖχε καίπερ ἐκφανέντα τοῦ χαλκοῦ καταπλυθέντος, ἀλλ’ ἴδιός τις ὁ τύπος καὶ βαρβαρικὸς τῶν χαρακτήρων ἐμφερέστατος Αἰγυπτίοις· διὸ καὶ Ἀγησίλαος, ὡς ἔφασαν, ἐξέπεμψεν ἀντίγραφα τῷ βασιλεῖ δεόμενος δεῖξαι τοῖς ἱερεῦσιν, εἰ ξυνήσουσιν. ἀλλὰ περὶ τούτων μὲν ἴσως ἂν ἔχοι τι καὶ Σιμμίας ἡμῖν ἀπαγγεῖλαι, κατ’ ἐκεῖνον τὸν χρόνον ἐν Αἰγύπτῳ πολλὰ τοῖς ἱερεῦσι διὰ φιλοσοφίαν συγγενόμενος. Ἁλιάρτιοι δὲ τὴν μεγάλην ἀφορίαν καὶ τὴν ἐπίβασιν τῆς λίμνης οὐκ ἀπὸ ταὐτομάτου γενέσθαι νομίζουσιν, ἀλλὰ μήνιμα τοῦ τάφου τοῦτο περιελθεῖν ἀνασχομένους ὀρυττόμενον.
Be that as it may, in the tomb itself no remains were found, but only a stone, together with a bronze bracelet of no great size and two pottery urns containing earth which had by then, through the passage of time, become a petrified and solid mass. Before the tomb, however, lay a bronze tablet with a long inscription of such amazing antiquity that nothing could be made of it, although it came out clear when the bronze was washed; but the characters had a peculiar and foreign conformation, greatly resembling that of Egyptian writing. Agesilaüs accordingly, it was said, dispatched copies to the king, with the request to submit them to the priests for possible interpretation. But about these matters Simmias might perhaps have something to tell us, as at that time he saw a good deal of the priests in Egypt in the pursuit of his philosophical inquiries. At Haliartus the great failure of crops and encroachment of the lake are held to have been no mere accident, but a judgement on us for having allowed the excavation of the tomb.
______
Πλουτάρχου Περὶ τοῦ Σωκράτους δαιμονίου (Ἠθικά) 577F – 578B
Plutarch's De Genio Socratis (Moralia) 577F – 578B
The Dipylon oenochoē inscription is one of the earliest (~740 BC) samples of an inscription made using the Greek alphabet.
The hexametric inscription identifies the wine jug as being intended to serve as prise for the most delicate dancer (most probably in a certain competition).
The inscription is written from right to left employing the Attic variation of the Archaic Greek alphabet as well as the archaic letter shapes bearing closer resemblance to the Phoenician mother-abjad.
The vessel was found and became known only quite recently in the year 1871 in the ancient Dipylon Cemetery, near the Dipylon Gate in the area of Kerameikos in Athens.
The hexametric inscription identifies the wine jug as being intended to serve as prise for the most delicate dancer (most probably in a certain competition).
The inscription is written from right to left employing the Attic variation of the Archaic Greek alphabet as well as the archaic letter shapes bearing closer resemblance to the Phoenician mother-abjad.
The vessel was found and became known only quite recently in the year 1871 in the ancient Dipylon Cemetery, near the Dipylon Gate in the area of Kerameikos in Athens.
ΗΟΣΝΥΝΟΡΧΕΣΤΟΝΠΑΝΤΟΝΑΤΑΛΟΤΑΤΑΠΑΙΖΕΙΤΟΤΟΔΕΚΛ[?]ΜΙ[?]Ν
ὃς νῦ|ν ὀρχησ|τῶν ‖ πάν|των ἀτα|λώτατα | παίζει
τοῦ τόδε ...
/ه/ه/ه/ه/ه/ه/ه///ه///ه/ه
Whoever of all these dancers now plays most delicately,
of him this (sc. pot)...
Typical Attic features in the orthography include:
Use of ἧτα as the way to represent spiritus asper /*h/
Complete indifference to the duration and openness of vowels:
/*aː/ /*a/ — ‹Α›
/*uː/ /*u/ — ‹Υ›
/*iː/ /*i/ — ‹Ι›
/*e̞ː/ /*e̝ː/ /*e/ — ‹Ε›
/*o̞ː/ /*o̝ː/ /*o/ — ‹Ο›
digraphs ‹ει› ‹ου› nonetheless being used for their corresponding diphthongs
ὃς νῦ|ν ὀρχησ|τῶν ‖ πάν|των ἀτα|λώτατα | παίζει
τοῦ τόδε ...
/ه/ه/ه/ه/ه/ه/ه///ه///ه/ه
Whoever of all these dancers now plays most delicately,
of him this (sc. pot)...
Typical Attic features in the orthography include:
Use of ἧτα as the way to represent spiritus asper /*h/
Complete indifference to the duration and openness of vowels:
/*aː/ /*a/ — ‹Α›
/*uː/ /*u/ — ‹Υ›
/*iː/ /*i/ — ‹Ι›
/*e̞ː/ /*e̝ː/ /*e/ — ‹Ε›
/*o̞ː/ /*o̝ː/ /*o/ — ‹Ο›
digraphs ‹ει› ‹ου› nonetheless being used for their corresponding diphthongs
ἐν τῇ Μαδίνᾳ παλαιᾷ
ἐν Ἰρᾶκι ἤ ἐν Ἰρᾶνι
ἐκοιμάετο νέος μαλίχος
εἷς Ἄραψ ἤ γὰρ εἷς Φᾶρς.
τὸ πρόσωπον ὃν χαλαρόν
λάμπον ἁλί ἐν ἡλίῳ.
τὼ ὀφθαλμὼ δὲ κρυφθέν
ταῖς ἀμαυραῖς οὗ θριξίν.
13ὴν Ἰουνίου, τὸ πρωΐ. ἀπὸ μένα.
ἐν Ἰρᾶκι ἤ ἐν Ἰρᾶνι
ἐκοιμάετο νέος μαλίχος
εἷς Ἄραψ ἤ γὰρ εἷς Φᾶρς.
τὸ πρόσωπον ὃν χαλαρόν
λάμπον ἁλί ἐν ἡλίῳ.
τὼ ὀφθαλμὼ δὲ κρυφθέν
ταῖς ἀμαυραῖς οὗ θριξίν.
13ὴν Ἰουνίου, τὸ πρωΐ. ἀπὸ μένα.
Τὰ τῶν Γραικῶν
ἐν τῇ Μαδίνᾳ παλαιᾷ ἐν Ἰρᾶκι ἤ ἐν Ἰρᾶνι ἐκοιμάετο νέος μαλίχος εἷς Ἄραψ ἤ γὰρ εἷς Φᾶρς. τὸ πρόσωπον ὃν χαλαρόν λάμπον ἁλί ἐν ἡλίῳ. τὼ ὀφθαλμὼ δὲ κρυφθέν ταῖς ἀμαυραῖς οὗ θριξίν. 13ὴν Ἰουνίου, τὸ πρωΐ. ἀπὸ μένα.
In the old Medina,
in Iraq or in Iran,
a beautiful young man was sleeping,
an Arab or perhaps a Persian.
His face, relaxed,
shining with/like salt in the sunlight.
Yet his eyes were hidden
by his dark hair.
__
Μαδίνα < from arabic مَدينة madīna “city”
μαλίχος < from arabic مَليح malīħ “beautiful” from مِلح milħ “salt”
Φᾶρς < from arabic فارس fārs “Persian”
in Iraq or in Iran,
a beautiful young man was sleeping,
an Arab or perhaps a Persian.
His face, relaxed,
shining with/like salt in the sunlight.
Yet his eyes were hidden
by his dark hair.
__
Μαδίνα < from arabic مَدينة madīna “city”
μαλίχος < from arabic مَليح malīħ “beautiful” from مِلح milħ “salt”
Φᾶρς < from arabic فارس fārs “Persian”
I love how cute the archising orthography of the Greek indecisiveness looks.
How should one represent the [aj.V > e.V > e̯V > ʝV] shift? with η? with ι?
I find the choice to go for η quite interesting from the diachronic perspective of Ancient Greek and of the development of the Ancient Greek dialects.
As if it were an ancient Beotian looking at me through the letters of a Modern Greek word. Forgotton once yet risen once again from the ashes phoenix-like.
The decision to represent the upper case Ϊ as ·Ι· is also rather fascinating, typographically this time.
The state of the Greek orthography in the past reminds me a lot of the way one writes modern Arabic dialects and of how hateful some people may be towards the phonetic spellings of انتي and زغير instead of the traditional ones of انت and صغير, yet others still write the way they see fit.
How should one represent the [aj.V > e.V > e̯V > ʝV] shift? with η? with ι?
I find the choice to go for η quite interesting from the diachronic perspective of Ancient Greek and of the development of the Ancient Greek dialects.
As if it were an ancient Beotian looking at me through the letters of a Modern Greek word. Forgotton once yet risen once again from the ashes phoenix-like.
The decision to represent the upper case Ϊ as ·Ι· is also rather fascinating, typographically this time.
The state of the Greek orthography in the past reminds me a lot of the way one writes modern Arabic dialects and of how hateful some people may be towards the phonetic spellings of انتي and زغير instead of the traditional ones of انت and صغير, yet others still write the way they see fit.
The two christian lamentations, Greek and Arabic, based on the same French melody of the 17th century.
Μάνα μου, μάνα — وحبيبي
Μάνα μου, μάνα — وحبيبي
YouTube
ΜΑΝΑ ΜΟΥ, ΜΑΝΑ | Voci Contra Tempo
Μάνα μου, μάνα
ένα μοιρολόι για τη Μ.Παρασκευή
Άγνωστης προέλευσης ύμνος, ο οποίος υπάρχει σε πολλές γλώσσες και παραλλαγές («Wa Habibi» για τους Άραβες, «Au sang qu'un Dieu va répandre» για τους Γαλλόφωνους, «Mάνα μου, μάνα» για τους Έλληνες, ο οποίος…
ένα μοιρολόι για τη Μ.Παρασκευή
Άγνωστης προέλευσης ύμνος, ο οποίος υπάρχει σε πολλές γλώσσες και παραλλαγές («Wa Habibi» για τους Άραβες, «Au sang qu'un Dieu va répandre» για τους Γαλλόφωνους, «Mάνα μου, μάνα» για τους Έλληνες, ο οποίος…
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The opening scene of Elia Suleiman’s “It must be heaven” 2019.