Ancient syllable scripts

Ancient syllable scripts

This is a preliminary reconstruction of the syllable alphabet hidden in the symbols in our rock-carvings. It is the kind of job that never will be finished. Only on Dal we have strings of texts, but the symbols and ideograms were used all over Scandinavia

Rock-carvings, ancient Nordic syllable alphabet, logic of language, analytic script, binary syllables, Cypriot syllables, readable fragments

Ae dog | Syllable alphabet | Aegean syllables | Nordic syllables |

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Ae, dog, Ae dog.

That is a memory of a father holding his little child carefully while the little one caress the dog and feels the soft fur in the hand. I have heard the sound picture of AE many times especially on Jutland.

The little word is in the Danish dictionary meaning, "to caress" and is used mostly with children. The entire situation above is "learning to crawl before walking" but in the learning of language. For the child to speak is a serious business since without a language there will be no real communication with mother and father.

The little child a-e-ing the dog learns the first steps and vowels in language. The sound is practised as movements of the hand. One movement towards the dog and another with the fur. It becomes two bits of flow.

Every second is a bit of flow and the E-sound gives a feeling of ongoing flow and eternity. When the a-sound is the flow with little resistance while touching the hair or at least and in another direction than the other.

We learn the feelings and conventions momentarily and cannot and need not derive the differences. In a child the eyes cannot concentrate but all the other senses can feel the warmth and tension of the mother. Most of us feel directly if a hand is friendly or reserved and the younger the more.

It is the child within that gives us our tongue and they must learn it while growing. After that learning the primary language is impossible. Everyone has to go the long way and practice. They say that a little child on top of learning about three and a half can make nearly 40000 trials a day.

We understand the eagerness if we try to follow that little running thing for long. They have made a sport pro make the same movements in the same paces as a child. The big man cannot follow. That is the trick how the little escaper just vapours sometimes.

In puberty most men have a great change and get their bass and cannot make the falsetto any more. No rule without exceptions, I am one of those with my falsetto still in use. Mainly it is only to tease the little child who says, "Stop it!" and the older find it amusing. I had much fun in making sounds and ape others at that age.

Aping is the method when training the tongue. The seventh sense of a baby is that it can feel the mothers mimic physically. We see it when we watch a mother and child that they mirror the mimics of both. A child compensated the helpless state by seemingly super-sensible feeling and in beginning towards the mother. The binding to the mother loosens up throughout the childhood and some does not cut the bond in an entire lifetime. Others they just throw out with the water so to speak. This is a great area is for those analysing the psyche of mankind.

To train the tongue is physical training and the muscles have to be trained to do movement in a logic way to be repeated and controlled. The trials of the child express feelings by varying the tone intensity and width and high and low. In speech that they must control, but in the written language varying nuances is very difficult. We can make a feeling by the choice of words and the punctuation.

Good surroundings are obviously the best choice to teach the child a good language. A cultural background is a plus but not the only base. My fortune was to learn a new language from scratch when I escaped Finland in the age of five and made a big jump to Denmark. There I stood with my little bag and had to understand strange people.

The cultural background was that we had the village library on a wall in school. By myself I learnt early to use books as mirrors and memory. Then it is a factor of heritage that I have a fast mouth and met a surrounding preferring a fast mouth and as said practice was the best teacher.

Adult language is much more than the written or spoken words. It is the tone and choice of words, the body language and underlying meanings. I have sensed much of that when working with the rock-carvings. My analysis here should be only about the primary elements in language. That is how the syllable system was build.

Much of it is rationalised away long ago and our vocabulary is much more complex than in the very beginning. Let us try to reconstruct the basics from a Scandinavian ground. Our languages are less affected by other languages compared to English with many Latin loans and native remains.

The logic of language

First the sounds in our alphabet which we separate as different sounds. The natural categories are vowels with a pure sound ... see the normal vocal wave.

The consonant is a scratchy wave and the Latin word means "with sound" as it is a mix of two sounds.

I usually exemplify with the string instruments where the pure sounds are the string's sound when touched. On a guitar pressing the string against the frets makes the "with sound" on the fingerboard. Further systematic is that we can gather the consonants in groups with different meaning and intensity.

We learn by aping the physical movements and listening to our own sound compared with sound we heard. Only scientists try to feel where and how we make the sound. Observing may affect the normal speech but to know we have to investigate. My investigation is not scientific when just watching myself but it gives a primary picture of how it works.

In my mouth "a" is a flow directly out of the mouth. The near "e" is back in the mouth and it feels as it was forced out. My "i" feels like going in. A normal "o" circulates in the mouth and "u" I press from the dept.

When we learn these sounds our muscles and brain registers them with a normal version. We grade them later in life after our experience how others or we behave to our sounds.

Binary phenomenons are a part of the organisation of the universe. That is why we see some pairs as icons in the history of ideas. In our tongue the first occurrence is in the consonant we give a name after the modulating sound and omit the sound added when we pronounce a pure consonant. In our time the nearest binary pair we know is "on or off" or "there is .... there is not". The entire computer works with only these two possibilities. In the computer it is a matter of convention, because we can make out a system of negative or positive logic.

Philosophers use "true or false" which give the binary pair each a quality. Truth is the preferred and false lead from the optional way. In languages are several cases of binary pair and some consonants are opposites in a pair. Some have from the beginning difficulties with the pair "l or r". Using the tip of the tongue modulates the l-sound, while the back of the tongue makes "r". The difference between languages is for instance that the Danish "r" stays in back, while the most sounding Swedish "r" starts to vibrate the tongue.

The same difference is between "d" where it stands back in Danish but is a harder switch of the tongue in Swedish. That is why the Swedes say that the Danes talk with mush in mouth or swallow the words.

T and d are opposites in physical appearance but mostly some questions of degree in meaning see below.

Opposites are also "k" and "g" where k sounds inwards and g outwards. Both are in the back of the tongue. In meaning k and s are on the edge of two sides and in tongue s is between the teeth while k is back. In the series p, b, v. f are p, b on the upper lip and v, f on the under lip.

These examples show that the brain and entire feeling get an impression of producing the sounds. There is a clear logic in it when we learn to make a clear difference between sounds. It is only natural that our analytic scripts are build on binary syllables.

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We always picture the "unknown" with known images or symbols

These symbols are from the early Minoan culture. Much of it were made by stamps. That technique was used much earlier in Anatolia for instance stamps are found in Catal Hüyük and the age is about 7000 years. They took the symbols from everyday items. We do not know how they organised the written language. Some thinks that it was totally different from later Greece. I doubt it.

The next binary bits of the flow need a longer observation and it is "aa" in the original form. Later linguistic has rationalised it to "aa" and in Denmark that happened in my early teens. Two bits means flow or present tense. It is the word for the small rivers in lowland as for instance in Denmark.

Our vowels are separate syllables and we should see two vowels as two bits of meaning. Other Europeans have difficulties in pronouncing and writing Scandinavian diphthongs like aa, ae, ae. The Greek word may be difficult and it means simply binary vowels pronounced like one syllable ... if that make it easier. The original writing was aa, ae, au and eu is sometimes rationalised to y. Norse and Icelandic are still using the old fashion. When we work with the original language, we have to use the out-spelled form.

Finnish is known for the many vowels and with them the binary vowels, which make the tongue melodious. That is together with clear consonants pronounced as they sound and with distinct syllables. In my youth the Finns were proud once when they classed Finnish somewhere as the most beautiful language and beating the French ... by the way, Englishmen have no difficulties in pronouncing "beauty" with three vowels in a row. A Finn would write "bjutiful".

This beginning is mostly a simplified reconstruction after I came to conclusions about the early structure of language. Then it was easier to understand words like ae and aa.

A word with three vowels I have heard among carpenters is "A-o-u". The first syllable is when the hit goes in ... the next when it spreads inside and work with the blood ... the last is when the pain goes out ... so to speak.

Naturally it is a little vocabulary we can see as original. Seeing all syllables in a worn out word is not easy. For instance in my Swedish I have rationalised to the spoken tongue in the word "skall" to "ska". Originally it would have been SA-KA-LA-LA where the vowels vanish if not needed and our tongue skips the last consonants. The original meaning was SA = need with some force ... KA = to go ... LA-LA express ongoing flow or action. We can use the synonym "need to". Maybe the Swedes have learnt from the Danes to swallow something?

In Latin it is still possible to construct words from "morphemes" which are the meaning carrying syllables. They have not the absolute claim to be of the binary kind. The Latin frighten = terrere is the infinitive. The original morphemes might have been TE-R(O)-R(O)-E-RE and translated "make-rough-rough-while-ongoing". We can see this from the morpheme dictionaries in Latin.

In Danish the grammar and terms of language are in plain Danish. When I had to learn Swedish and Finnish I found that implies to know much Latin because many terms were in Latin.

Especially in the agglutinated Finnish there are many Latin terms. The cause is naturally that a Christian priest made the written Finnish. Anyhow, when studying just the grammar we see much influence from Latin and some small words and suffixes are also Latin ... By the way, native Karelians also swallow many of the letters. "Mi(na)e en tie(dae)" is a usual answer when someone does not know. Understanding old people there is difficult, I experienced.

The Egyptian language and some in Levant developed to omit the vowels and we see the same in the Slavic languages. They have the tendency to use more syllables to create a word than in Germanic Languages. That is why there are many consonants in a row in Slavic.

I do not think that we could rationalise the Swedish word "ska" anymore. This evolution is partly laziness and partly natural speeding up speech and in our time the normal stress. We need to say more in a short time.

The other fact is that if we should define the universe, there would be no time or space for it. The description is bigger than the universe. We need to simplify the structures to see some order in chaos. If we have too wild and descriptive explanations, we cannot see the meaning and structure.

 

The syllable alphabet

After the warm-up we can go to the more detailed study of the binary syllables and seek a system with logic in it. Since I have earlier shown the interaction between Sumer and Egypt, I think the original construction of their languages was evidently from the same base. In a longer run the conventions in making new words needs not differ much when it results in different written languages. The spoken languages are dead and we can only speculate about them. Then it is waste of time since we can get our answers from written language.

Hard to know if it were dear old Aphrodite from Cyprus who inspired me. Christianity made her a harlot, but I see her as pure beauty and natural fertility. Our imaginations about sexuality can intensify our sense of life and make us protect life. I have no unneeded bias in that subject.

Maybe it was the same with the Danish king Erik Ejegod known as a virile and beautiful man and perhaps he visited the black stone. The stone is an image of Aphrodite because she is a heavenly beauty not to be described but imagined. That might have given him too much imagination. Anyhow he died near the old forever-young Aphrodite.

That was quite a hare jump. Anyhow the Cypriot alphabet was quite a lift for me when I was deep in the ancient languages. It has a clear logic and simplicity we can call intelligent beauty of logic.

They wrote the language in the Sumerian way on clay tablets and at a short glance it looks like Sumerian. They think it is the latest alphabet perhaps as late as 2000 to 1500 BC. It is like the cuneiform that they can write much text well organised on a little tablet.

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This is the youngest cuneiform alphabet from Cyprus. It is a mix of logic figures and simplified ideograms

In this presentation imagining a fretted fingerboard is easy. In the language is only the possibility with a beginning consonant and a vowel, except the original vowels. We see they used less than 60 syllables. In the later Greek Linear B they used nearly 90, but a more versatile language needs about 150 syllables and perhaps a hundred or more special symbols. The total Egyptian vocabulary including ideograms at least 600 ancient items, but in later catalogues they have found several thousands.

Let us begin with the upper row and the five vowels, which are the same as in Germanic languages. In solving the secrets we have two methods. The first is to understand the ideas in the symbols. Another is a statistical study of vocabulary and to see the empirical use of the syllables. In the long time perspective we cannot expect full consequence. However, we get hints and then probability has to decide what the conclusion may be.

Sound A

We have to think logic like in geometry and then a cross mark origin where the lines cross. If we add a third line, it marks flow through the point. In our language A being a quant of flow. We find two variants of this symbol in Haugsbyn.

Elderly people pronounced our "aa" like "aa" in the countryside I remember. The repeated sound express flowing.

In the symbol the flow points towards earth showing that it is normally material flow. In abstract matter it is often difficult to know when chose a and when e as expression for flow.

Sound E

In the symbol is added a line parallel to earth. After analysing many words I found that it must mean the abstract flow of for instance time and eternity. Eternity was an important concept in ritual thinking.

In the temple of Apollo in Delphi the omphalos is a conical stone supposed to be a central point of earth. Maybe it is the navel or rather the penis of earth or a Greek Irminsul. On it is a sole letter E. The rule of mystery is that secrets should remain secrets. So we can only speculate in the fact that Apollo was the sun and its flow is supposed to be eternal.

Sound I

In that symbol the flow stops in the point of origin and if we think in three dimensions it is ingoing.

Sound O

The symbol shows ongoing action against a reference, in which also can be enclosed "action within".

Sound U

If the main direction down is "in" then the other is out. The doubled wings show ongoing action and then outwards.

To solve these symbols completely we need to know Cypriot. However we can see how we belong to the same family of ideas, because we have many symbols in common.

Our languages have a virtual room and virtual surface and roof. There are also outer and inner limits and in the logic the syllables refer to these or it is understood. In Finnish this logic is easy to understand because the word formation and the suffixes showing local case are referring to a virtual room or object.

The local cases show location in, to and from to say it shortly. LLA shows on something, LTA shows from something, LLE to something. SSA shows in something, STA from within, NA in the quality of to mention a few. To that we can add the normal cases showing normal state, cause, dative and the worst to cope with the part object. The end vowel has to harmonise with the root and then the end vary with A or AE.

The Finnish gave me the idea of the logic space and room in language. Normal Finns would not recognise this as they grow up with it. I was about seventeen when I started the studies and tried to understand the odd logic. In the time I learnt that it is the very roots of our tongue.

The Finnish is much nearer us, than some linguist tried to make us believe them are another specie almost. Behind was a lot of Aryanism I believe since they wanted a pure race. In my childhood I met those who saw me as a Mongol or a beast from wilderness. I learned fast to give them three turns to the left and then one to the right so that they did not know where they were.

However it was not more pure Aryanism than that Hitler was welcomed the Finns as brothers. My experience from Scandinavia is that the most frequent blond golden hair we find in Savolax in the heart of Finland ... and Hitler was black-haired with a black moustache. If power politics were logic there would be no success, I think. As ever the judge is the Time-Flood that was a big side-step but I have seen that sciences are about much more than the subject.

If we look closer to the Cypriot logic, they define more than the origin. The diagonal cross is like grid or reference lines. The symbol LO is a watered cross, which shows the rest place in the centre. In our languages the syllable describes a fence or fencing in like LO in lodge and in lock.

The lines through the diagonal cross show flow, action or position. For instance in WA there is a little stroke apart showing "to be" in the virtual space and with reference to earth. That is to be in the biosphere. In Nordic it is the root VA in vara = to be and it is found in other languages like many other of the syllables. MA is opposite and the force shows towards earth as the meaning is the force of moderating.

Some of the symbols are evidently ritual concepts like SU with a man holding a ritual moon symbol perhaps. LU is the root in LUNA and the symbol may picture the moon. PU is maybe a bathing lady and they pictured the Greek Pandora likewise. The arrow TI means in Sumerian "life" and in Danish it is outlet from breasts and from genitals. It is the most frequent symbol in symbolism and seemingly always meaning the same.

Bent lines are fencing but also action and flow,

Repeated symbols are ongoing action. The symbol YO pictures exactly the Finnish JO = already, which is ended flow and is near Scandinavian JO also.

In symbol = we see the action is against or referred to a bottom line and the same are cases in YO, WE, RA, LA, LI, PU, TE KA KI, SI, SO. An upper roofline is in WE, NA TO, TU KI. In WE is both a roof line and a bottom line and the syllable is often something under pressure underlying. In NA the upper line is double and the syllable frequently is used to express something subordinate.

We see that this analytic system picture the centre of the language constructed to describe just what we are interested in and see on the agenda. If we should construct a computerised symbol language, the Cypriot would be the best start.

Aegean syllables

I enclose a tablet of the Linear B made by John Chadwick. To comment it shortly we see some system in it and they have derived many symbols from earlier ideograms or found clear figures on Crete. For instance 80 MA was once a cat's head. Maybe it was inspiration from Egypt like a part of the symbols. Another part is loans from the Hittites as for instance 26 RU, 33 RA, 53 RI, 71.

Linear B

Big picture

Nordic syllable system

The Cypriot system has been a support when making our own. Many of the symbols are just at the limit to be intelligible. For the Nordic tongue I have double up with a possibility to understand also vowel-consonant syllables because we have many of them. We omit the unused or nonsense variants. When the vowel is not spelled, a usable vowel must be set in to get the origin. Normally the earliest known root must be used. However, we see the logic in many of our simple normal words of today ... see the syllable tablets and the comments

The logic is usual that vowel-consonant is a weaker expression than the consonant-vowel syllable. It is also used to express a pre-stage or a beginning.

When we compare several languages the consonants v, b, p, f, are near each other and may alter and in some language we write f ph. Still, we have to stay consequently in the logic of the area with sounds in common. Then VA is the root in "to be" and BA is a little stronger. Both may be abstract, while PA is "on" and definite and FA is sometimes over the virtual limit.

FA may be meaning "without" and then the observation point is on an outer origin. For instance "faa" means that the giving one become without the object. We have mostly seen the virtual area in the centre and around the object. In the logic is also the other side and another space.

In Sumerian NIN expressed the negative space and we see maybe this logic in Spanish too.

The vowels have their own main meaning however it is not always consequent. The same is case when grouping the consonants. L and R are opposite on tongue and have a different character. LA, LE, LI, LO, LU indicates definite flow such as material, abstract, inflow, closing flow and in the word LU-NA the observation point is at the moon. There was also the "MAN in the moon" or the Sumerian LU.

They picture RA with ram horns and show a limit or border. Finnish RA-JA = border has the first syllable border and JA express the running flow as in Nordic JA which is affirmative. The other R-sounds have also the definite taste as RE is again or repeatedly. RI goes through and RO is action in place and RU is rush.

We must remember that language is a tool and we try to create a virtual parallel world with it. Once we have created it we can write it down on a paper and send the creation to someone.