Longobardese's Xanga

107. Vocaboli Longobardesi

Wed, 12 Nov 2008 03:43:21 GMT

Fonetica/Ortografia del longobardese; trasliterazioni del greco; abbrev.: a p. 2. [<<oldest]

Fonte del greco: Dizionario Greco-Italiano, di Bonazzi, 1933

Questo e` il sito della lingua di Longobardi (CS) http://www.xanga.com/Longobardese

Anzitutto voglio chiarire alcuni vocaboli gia` trattati, in questo brano di p. 106, e altrove:

"-- Kupsele^ = cavita` (quale quella dell'orecchio); cassa, cesta [profonda]. (Cf., Kuphellon) > Long. Cofanu (= cofano).

Kupho^n = costretto a tenere la testa bassa: sforcato, birbone; < Kupto^ (= mi piego innanzi, ecc.)"

"-- Co`fanu (= Co`fano) < Gr. Ko`phinos (= cesta, corba -- cioe' "grossa cesta bislunga" [profonda])." [In alcuni pinakes di Locri abbiamo visto dei cofani che venivano riempiti di frutti raccolti dagli alberi. L'invenzione dei cofani, come degli altri cesti di vimini, potrebbe essere anteriore all'agricoltura.]

Adesso costato che anche Ing. Coffer e` stato derivato da Kophinos, perlomeno tramite il latino Cophinus. E ho intravvisto un'altra derivazione:

-- Coppi`nu (= mestolo; Ing. Laddle, deep serving spoon) = copp-inu (piccolo copp-) < Gr. Ko`phinos o piu` esattamente *Kophidion (piccolo cofano, ma non fatto di vimini). (Una Coppina sara` stata una tazza o "piccola coppa" con un manico ricurvo, che forma un buco. Coppinu [nome di genere maschile] sara` stato il nome dato -- in epoca latina -- alla tazza col manico lungo, cioe` al mestolo.)

-/- Kophinoo^ = metto (rinchiudo una persona) sotto il cofano [cioe`: lo copro col cofano), come soleva farsi per punire una persona. Intanto voglio precisare che

-/- Gr. Ku`pho^n = collare (originariamento di legno che costringeva il paziente a tenera la testa bassa, ripiegata).

Continuando ad attenermi alle definizioni o descrizioni del Bonazzi:

-/- Gr. Kupsele^ (Cf. Kuphellon) = cavita` delle orecchie; cassa, cesta, ecc.

-/- To Kuphellon [citato sopra] (adoperato solo al plurale) = l'aereo velo, nebbia, nuvola; talora la cavita` delle orecchie; le orecchie.

Nel brano citato, derivai COFanu da KUPsele o KUPHellon indubbiamente perche` avevo notato un etimo comune a questi tre vocaboli. Infatti, lo stesso etimo e` presente in KOPHinos. Ebbene c'e` una cosa in comune ad un cofano, una cesta, un Ing. Chest, una cassa, un Ing. Coffer o cassaforte, un orecchio che ha la sua cavita` o la cavita` d'un orecchio, cioe` la CAVITA`. Ma come mai Kuphellon puo` significare l'aereo velo, nebbia, o nuvola?

Quando parliamo o i Greci parlavano di un circolo, per "circolo" s'intende o la curva periferica [il perimetro] o l'area circoscritta dalla curva periferica. Ebbene, per "etere" s'intende l'aria o l'ambito circostritto dalla volta celeste, che e` una curva volumetrica. Invece si chiama Kuphellon [nome sostantivo] il volume nebbioso, pieno di nebbia, che e` circoscritto dalla curvatura celeste. Dunque, per "cavita`" si puo` intendere o una superficie curva o un volume che riempisce la superficie curva o e` circostritto da quella superficie. Dire Kuphellon e` dire <"le nuvole" che riempiscono la cavita` celeste>. [In longobardese, Nebbia = Neglia; Nuvole = Neglie. Dunque, il volume nebbioso e` un volume pieno di neglia o di neglie.]

La volta celesta e` incurvata, un cofano e` incurvato (Kuphos), una cesta qualsiasi e` incurvata. Ma, per estensione, qualsiasi cosa che abbia un volume vuoto o ambito -- una casa, un vaso, una stanza -- puo` denominarsi Kuphellon senza riguardo alla forma della superfice.

Kuphellon, Kupse, Kuphos, Kophinos, Kupho^n, e simili, sono basati sull'idea di KUPto^, cioe` curvarsi, piegarsi a forma di curva, formare una cavita` (o concavita`), e simili. Ma mentre Kuphos indica l'essere curvo, Kuphellon indica uno spazio steso o "pieno di qualcosa" di forma curva, il che mi apporta ad altri vocaboli longobardesi.

-- Copaniare (= scavare una cosa solida affinche` sia fatta una cava, o vi sia fatta una cavita`) < *Kophinizo^ (cioe`: "rendo copanu"). [Kophinos = una cosa profonda, un profondo, sebbene il nome sia stato dato in particolare ad una cesta di vimini di una certa forma. Ma abbiamo visto che un piccolo Kophinos possa essere una tazza di ceramica.)

-- Co`panu (che ha un vuoto; vuoto; Ing. Hallow) < Kophinos. (Invece Kuphos significa semplicemente "curvo o ricurvo", riferendosi alla forma della cosa scavata.)

---- Quannu dunano cose gratis, i genti s'incafuddranu dintra u magazzinu (= Quando danno cose gratis, le persone si affollano nel negozio).

Aiu ncufuddratu renzuli e cuperte dintra nu tiraturu (= Ho stretto insieme lenzuola e coperte in un tiretto).

Quei due esempi bastano per capire il significato di

-- Ncufuddrare [in-cuf-ull-are] (= stringere insieme, accumulare stringendo, affollare, comprimere, pigiare insieme cose in un vuoto or vano: impaccare, inzeppare). Tutte queste nozioni comportano "stringere" cose in un luogo e quindi riempirlo. L'etimo del vocabolo e` CUFULL- che < Gr. KUPHELL(on), il volume o lo spazio di un incavo o di una cosa profonda (prima che fosse lo spazio sotto la volta celeste nebbioso o pieno di nuvole). Non e` attestato il verbo *Kuphellizo^, il quale significherebbe appunto: stringo in un posto, riempio, inzeppo, affollo, e simili. Comunque, Kuphellon come nome verbale connota la consequenza dello stringere, cioe` il rimpiere, per cui "Kuphellon"genericamente significa "un pieno zeppo" [Lat. Plenum], un folto, uno spazio ripieno. (Da notare l'It. Folto, addensato, il cui etimo e` FOL-, che e` poi il vocabolo inglese FULL, = pieno.)

-- Fuddra [fulla] (= folla; Ing. Crowd) < un'abbreviazione di Kuphellon (un folto di gente). L'abbreviazione di KUPH-ell-on comporta la rottura dell'etimo: (ku)FELL-on. (Fuddra, Folla, Folto, e Full son tutti vocaboli formati con l'etimo novello.)

-- Cafune (= uno che mangia tutto e di tutto, un riempitore di pancia; cafone) < Gr. Kuph-. [COF-, CUF-, CAF- sono varianti di un etimo greco.]

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Incuriosito dalle mie derivazioni di Folla e di Full, che mi sono sembrate un po` incredibili, ho pensato di consultare il Dizion. Etim. Online per vedere che etimologia di Folla fosse stata fatta in passato. Ed ecco il testo:

Folla

Mi accorgo che vi e` stato uno sforzo di trovare la base di Folla nell'IndoGermanico, che una volta soppianto` l'IndoEuropeo come la lingua della fratellanza etnica degli Europei e degli Indiani presso il fiume omonimo. Il Fol del tedesco antico non e` un etimo originario; e` il risultato di una abbreviazione o riduzione di un etimo protogreco.

Nella prima fase della ricerca etimologica citata nel testo, si ipotizzo` un etimo primordiale, FAL, con le varianti VAL/VAR, che poi si ritrova in alcuni vocaboli del sanscreto: VRanomi (= comprimo, ecc.), samVRomi (= riempio), e VARas (= folla) -- che ovviamente sono i significati del greco *Kuphellizo. Apparentemente si volle presumere che Fal-/Fol- fosse un etimo originariamente germanico o indiano (sanscreto). E poi si penso` che alcuni vocaboli greci derivassero da Fal-, sebbene la F o digamma fosse stata troncata troncata, per cui si ha Eilo, Eilar, e simili. Questa benedetta digamma e` come un deus ex machina.

Ebbene guardiamo un po` al verbo greco citato:

-/- Gr. Eilo^ o Eileo^ o Eillo^ o Illo^ e` un verbo detto con piccole variazioni fonetiche da diversi greci classici. Il significato principale e`: serro, stringo. Al passivo, = stringersi (sotto lo scudo), raccogliersi insieme [cioe` farsi in una folla]. Dunque questo e` il vertbo attuale greco classico in vece di Kuphellizo^.

-/- Eilar (-atos) = cio` che stringe, rinserra. (Eialapine^ = una compagnia per bere; un convito.)

-/- Gr. Ehile^ = Folla, Schiera. (Il vocabolo con l' aspirazione piatta, Eile^, significa Calore o luce del sole.) Forse a causa di quella aspirazione, il vocabolo magnogreco tarentino per "Folla, Compagnia" divenne Beile^.

A quanto mi pare, vi fu una seconda riduzione nel greco stesso del vocabolo Kupphellon:

Kuph-ell-on > Phell-(on) > Eill- [Eillo^, ecc.] (= stringere; raccogliersi insieme; ecc.)

Nel contempo, Phell- > PLE^re^s (= pieno), a causa del consueto mutamento da PH a P, o viceversa., e una metatesi tra E ed L.

Poi Pleres > Lat. Plenun [= pieno]. E Plethos (= moltitudine; il popolo) > Lat. Plebs (= la plebe, il popolo). E da PLE^- il verbo greco Pimple^mi (= Lat. im-pleo, empio/riempio; al passivo: compio, adempio.) Una variante poetica di questo verbo e` Pimplano^, la cui N risuona pure nel latino "pleNum".

E` il protogreco l'indoeuropeo!

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Gr. Kokh- in:

-/- Gr. Kokhlos = conchiglia; guscio (di chiocciola).

-/- Lat. Cochlea < Gk. Kokhlias (= chiocciola).

-- Cuqqhiaru (= cucchiaio, cucchiaro) < Lat. Cochlearium < Gr. Kokhlias.

-----

-- Coppiare [coppi`u; aiu coppiatu; ecc.] (= prendere o trasferire col coppinu molte volte; Ing. To Scoop Out) < *Coppinare < Coppinu < Gr. Kophidion [gia` trattato].

Interessante il vocabolo inglese, Scoop, definito "bailing vessel" (vaso per cacciar fuori) e il verbo omonimo "svuotare cacciando fuori [o potremmo dire: Scodellare]; scavare; to hollow out [rendere vuoto togliendo qualcosa]; ecc.). Ovviamente Scoop equivale a "ex-cup" (portar fuori con una coppa), e "cup" , come "coppa", ci riporta a Kophinos e a *Kuphellizo^. Storicamente, Scoop < Medio Ingl. Scope < Medio Dutch/Olandese Schope (che foneticamente muto` "s-koph-" o "s-kop-" a "sciop-).

-- Pilare (= pelare; metaforicamente spogliare o saccheggiare (senza che la vittima se ne accorgesse) < Lat. pilum (= pelo, capello) + are. Pilatu = senza capelli, calvo; spogliato.

-- Pigliare (= pigliare, prendere, raccogliere; rubare). Pigliare de (= somigliare a; Ing. To Take After), ma piu` letteralmente, = prendere/ereditare l'indole, l'apparenza, o quel che si e`, ovvero "tingersi". "Un sacciu de china aiu pigliato" = "Non so di chi abbia preso: non so di chi mi sia tinto". ["Non so da chi abbia preso questa malattia, e non so da chi abbia o attinto la suscettibilita` alle infezioni."] Il significato fondamentale di "pigliare" sia longobardese che italiano e` quello di afferrare (con le mani) e tirare, per cui si dice "pigliare le mele dell'albero" e "pigliare i pesci del mare". Percio` non mi convince la consueta etimologia di Pigliare dal concetto latino "calcare fortemente, piantare" ("pil-are") che proviene da Pila (= mortaio). Non c'e somiglianza tra "afferrare e tirare/tirarsi" e "battere o calcare fortemente o leggermente". Pigl- e` lo stesso etimo dell'Ing. Pick (= To Pluck or To Gather) esattamente nel significato e praticamente nella fonetica. E poi c'e` il Pugno (Lat. Pugnus) che, per esempio, e` formato nell'afferrare una spada, che comporta lo stringere delle dita`. Pugno (pug-nus) contiene lu stesso etimo. Dunque PIGl- = PICK- = PUGn-: < Gr. PUKnos (= stretto, compatto, folto) o PUKnoo^ (= stringo [come nell'afferrare di una cosa, ecc.]) E "folto" a questo punto ( cioe` Puknos) ci dice che l'addensamento o le cose strette insieme costituiscono un pieno o un volume FULL. (Abbiamo derivato Folla, Full, ecc. da kuPHELLon, dove il concetto della pienezza conseque dall'impaccatura di cose strette. Il parlare di cose "Puknos" , strette o addensate, non comporta il riempimento di un volume. Percio` Puknos non significa "Pieno, Full".)

Lat. Capio = Afferro [e, di conseguenza, Prendo], catturo, ecc.. Questo e` il verbo latino che significa "piglio" e quindi traduce il Gr. Puknoo^. E guarda un po`, CAPio (donde Catturo) ha l'etimo greco che abbiamo discusso: KAPH-, mentre il verbo greco classico, che equivale a Capio, e` una voce ridotta due volte: Eileo^ -- irriconoscibile a prima vista. Come ho gia` indicato alcune volte, il greco che costituisce il latino e` un greco antico, anteriore al classico. I dialetti greci classici, il latino, il frigio, il tracio, l'ittite, e tanti altri dialetti greci discesero dal greco del Levante anteriore alle invasioni proto-arabe del 4,000-3,000 a.C., ma il greco d'epoca classica ritiene moltissimo di quel greco antico o protogreco.

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-- Fuocu mia! (= ahime`; letteralmente = ? sciagura mia, guai miei, sventura mia; Ing. Woe Is Mine). Questo "fuocu" non e` quello che riscalda o brucia; dicendolo ci si riferisce ad una afflizione o turbamento di mente. "Fuocu mia!" e` una esclamazione di una smania propria (non di dolore, di gioia, e cosi` via), di uno stato d'anima, senza nominare la cosa che apporta questa smania. "Fuocu" si accosta a Gr. Phoitos (= l'andare errando smaniosamente, la smania, il furore), e quell'esclamazione equivale a "Che smania che ho!" Qualche sciagura o sventura subita e` sottintesa. Talvolta vi e` un seguito: "Ndue signu capitatu!" (= Dove sono capitato!) Forse "Phoitos emos" fu assimilato a "Focus meus" (= il fuoco mio), che = Long. "u fuocu mia," dato che e` l'aggettivo latino che viene adoperato (con desinenza longobardese).

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-- Nu Catabasciu (= una casupola, un' abitazione misera, "un buco nella terra") < Gr. *Katabasion < Katabasis (= discesa, il posto verso il quale si discende, il posto laggiu`). [Il vocabolo e` adoperato principalmente per descrivere una casa o una stanza; non e` il nome di un oggetto. I nomi lessici sono aggettivali/attributivi, come questo; o denominativi/sostantivi, come "casupola" e "tizio"; o astratti, come "cavita`" e "pendenza"; o verbali, come "discesa". Poi ci sono anche gli aggettivi verbali, come "accessibile".]

Da notare che al presente questo e alcuni altri vocali vengono adoperati da poca gente, cioe' sempre di meno dal popolo del paese. Questo succede nella stessa misura in cui l'italiano viene sentito e parlato dalla gente (anche se i vocaboli italiani vengono mutati un po` per farli rassomigliare ai vocaboli traditionali del paese -- fenomeno di assimilazione). Questo fenomeno e` detto obsolescenza di vocaboli o di lingua, che non comporta un soppiantamento di vocaboli tradizionali. E` la mera assenza di un vocabolo italiano con lo stesso etimo [quale *Catabasso] che conduce al disuso del vocabolo tradizionale. I vocaboli presi da un'altra lingua sono o importati e adottati, adoperati consuetamente o prestati, cioe` adoperati ad hoc. Per esempio, "ad hoc" (= in questa occasione soltanto; per questo scopo), termine adoperato nella frase precedente ma non adoperato nella parlata comune per esprimere piu` o meno lo stesso concetto. (Ho adoperato "ad hoc" ad hoc.)

-- Sparabbuottulu [sparabbuo`ttulu], nome aggettivale, detto spregevolmente di una persona piccola, bassa, come per dire "un ciottolo". Dunque un tizio e` detto d'essere come un sparabbuottulu, il che implica che il nome denota una cosa piccola o insignificante ("buottulu") che viene sparata. La confezione del nome e` di stampo italiano, esemplificato da "sparachiodi", un arnese per sparare chiodi invece di pallottole. (I nomi composti esprimono complimenti. Si contrappongono verbo e oggetto, appunto come "sparachiodi", "mangiafuoco", e "portacandele"; oggetto e oggetto senza desinenza di complemento [di stampo prettamente inglese], come "stazione radio" (= radio station) e "ferrovia" (= [iron-]railroad), mentre "terr-e--moto" deriva da una frase complementare, "terr-ae motus", letteralmente equivalente a "movimento/vibrazione di terra", e ridotta in inglese ad oggetto+oggetto: "earth-quake".)

Ebbene, qualunque sia il significato letterale o etimologico di "sparabbuottulu", un uomo chiamato cosi` non e` chiamato "uno che spara buottuli"; lui viene chiamato un buottulu, una cosa piccola. Infatti, "buottolu" esprime una cosa piccola: buott-ulus. Che cos'e un piccolu BUOTT(u)? Non e` un botto (una percossa o un rumore secco). Mi sembra che "buottulu" sia un variante di "bozzolo" o, seguendo le alternative greche di "-ss-" e "-tt-" [prasso^, pratto^], di "bossolo". Una definizione di Bossolo e` "involucro cilindrico contenente la carica di lancio dei proiettili delle armi da fuoco." Longobardesi che adoperavano fucili parlavano di cartucce. "Cartuccia" e` di fattura francese ed e` il sinonimo di "Bossolo". Dunque direi che "sparabbuottulu" e` un vocabolo italiano importato (con le dovute modifiche di assimilazione), ma a quanto pare, *Sparabossolo e` un vocabolo obsoleto nella lingua italiana. Comunque, l'italiano "sparabossolo" significherebbe "bossolo da sparo" e non "arnese per sparare bossoli" (quale l'archibugio, il fucile, o il moschetto), il che indica che "sparabossolo" e` in realta` di stampo inglese.

E` stato detto che It. Bossolo < Bosso + olo < Lat. Buxu(m) < Gr. Pyksos [Pyxos o Pyxis] (= scatola di bosso). Il bosso e` un arbuto orientale, e di certo lo e` il suo nome. Non si riscontra "bossolo/buottulu" o "puxis/bussu [in altri dialetti]" nel longobardese.

-- Avantisinu (= grembiule; Ing. Apron) = il davanti-seno, cioe` la cosa o panno che una donna si pone davanti al seno per mantenere pulita la veste o il vestito. In questo vocabolo si contrappone un avverbio e un nome. E` prassi greca contrapporre avverbio e nome, oppure nome e verbo o nome verbale (anagolmente a "erba-mangiatore" e quindi "erba-mangianza", ecc.), oppure verbo e nome (anagolmente a "mangiapreti"), ecc. "Grembiule" o "Grembiale" e` in realta` un aggettivo: grembo + il suffisso latino che forma un aggettivo; per es., Latium --> Lazialis (= del, appartenente al, Lazio), ma qui il suffisso comporta "da grembo [per servire da grembo]", cioe` da cosa o panno che s'incava (alla parte frontale della persona). [Originalmente dicevasi grembo quell'incavo di una veste formatosi tra le ginocchia di una persona seduta e poi -- gia` in epoca romana -- venne a significare l'incavo matrice della donna, il ventre. Quindi e` possibile che originalmente il vocabolo "grembiale" significava il pannolino che s'incava nel ventre in certi periodi lunari.] Ovviamente oggigiorno i due vocaboli denotano lo stesso oggetto, ma non sono traduzioni reciproche delle loro componenti lessiche, dei loro significati etimologici,.... come spesso accade nelle traduzioni.

--- Avanti/Davanti < Lat. de ante (= dalla parte frontale).
--- Sinu < Lat. sinus (= seno, petto muliebre), che ho discusso tempo fa`.
--- Grembo (= incavo) < Lat. gremium (= bracciata di legna, erba o altro): di origine ulteriore sconosciuta. Ma io proseguo:

--- Lat. Grem(ium) = una bracciata di cose, che presuppone un abbracciare o tenere tra le braccia ricurve. Ecco perche` Gremium o Grembo puo` significare l'incavo formatosi nell'abbracciamento. (Questo e` l'incavo periferico dello spazio tra le braccia.) Al proposito:

--- Gr. Grupos = curvo; piegato (come naso adunco).
Gr. Grupoo^ = io incurvo.
Gr. Grupote^s = curvatura.
Quindi Grem(ium) < Gr. Grup-.

--- Gr. Grup(os) > Lat. Gre(x)/gre(gis) (= gregge), cioe` un gruppo di ovini o bovini o di altre cose mobili che non sono tenute fra le braccia. (Le cose letteralmente abbrancate -- prese e tenute fra le braccia -- costituiscono una bracciata. Le legna tenute fra le braccia sono di conseguenza cose aggruppate, messe a gruppo. Non avendo il vocabolo "gruppo" generico, i romani dicevano che codeste legna erano un fascium. Nel longobardese si parla di fasciu e di vrazzata, ma non di gruppu, a meno che si parli di gente o di cose non contenute, cioe` nel senso latino di "gregge".)
--- Gr. Grup(os) > (verbatim) It. Gruppo; Long. Gruppu: Un complesso di cose che risulta da un atto o da una cosa circondativa; l'insieme delle cose circondate o circoscritte.

--- Gr. Group(os) > Ing. Grip (:"Pinch") = una "ditata/pizzicata" di cose, come di sale. (Aggiungo "Ditata" a Bracciata/Abbrancata e "Manata"/Impugnata di cose -- cose che vengono avvinte dalle dita o dalle braccia e dalle mani, cioe` da organi che circondano e stringono delle cose insieme. In verbo To Grip {[< Grapen] [= It. Avvinghiare ((delle monetine o ciliege sul tavolo raccogliendole con le punte di tutte le dita))]} e` analogo ad Abbrancare e Impugnare.

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--- Guarda gua`. Ccu tuttu su piglia piglia, un ci reste nente. (Guarda, guarda. Con tutto questo arraffare, non vi resta niente.)

--- E` jutu a cumprare* u casu ppe -r- a festa e mo paganu a ttia ppe t'u cumprare! L'e` juta culata. (E` andato a comprare il cacio per la festa e adesso pagano a te per comprartelo! Gli e` andata a proposito.)

--- Dorma o risbigliati, ma u stare* ntanta viglia. (Dormi o svegliati, ma non sonnecchiare [o meglio: non stare alquando sveglio].) Forse "ntanta viglia" deriva da una locuzione latina tarda: "in aliquandum vighilia", Ing. "somewhat in wakefulness", cioe` tra la veglia e il sonno.

*Vorrei notare en passant che, come si sa, ogni vocale detta separatamente ha il proprio livello o apice [pitch] di suono, per cui le vocali italiane o longobardesi formano questa scala: "U O A E I" con un piccolo sdoppiamemento della O e della E. Pero`, come ho scritto in un certo studio di musica, in una data locuzione o progressione di suoni di voce, l'apice di una vocale puo` subire un aumento o una diminuzione. Per esempio, nel dire "a cumprare", la U vien detta con il suo apice normale. Invece, quando si dice "ma u stare", vi e` uno sbalzo da A ad U per cui l'U e` aumentata, alzata, in apice. Chi in altri dialetti dice "ma nu stare" non fa lo sbalzo, per cui la U e` detta al suo livello normale. In musica, la notazione di un tono aumentato in apice e` #; nella scrittura del greco, il segno diacritico e` una piccolissima c al disopra della vocale che e` prodotta con uno slancio gutturale di fiato. Il segno diacritico e` chiamato "aspirazione dura" e spesso viene transliterato in alfabeto romano con una H prefissa. [Questa H non ha il significato del fonema inglese WH(o) o del fonema Hu(ge).] L'opposto e` una asprazione liscia o piatta. Le aspirazioni sono scritte sempre dove cade l'accento tonico della parola. (I mutamenti di apice che occorrono nel corso di una progressione di sillabe in una phrase o un verso sono tutt'altra cosa. Ogni locuzione ha le propria aspirazioni, appunto secondo il seguito delle vocali. In "ma u stare" lo slancio avviene nel preparsi a dire "stare". Se si deve dire soltanto "ma u", allora si sta al livello normale. Si dice che alcuni leggono come un libro stampato: leggono parola per parola senza prevedere il suono delle parole che seguono e che dovranno essere proferite.)

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-- Filisdei (= Filistei), vocabolo importato a Longobardi tramite la Chiesa, sia esso stato introdotto in greco (che dubito), in latino (probabilmente), o in italiano (parlato dai predicatori ad un popolo che parlava il longobardese, cioe` una lingua vicina all'italiano). Sappiamo che il vocabolo denota un popolo antico del Levante che fu martorizzato e conquistato dagli invasori, una compagine di ebrei e aramei. Ma gli scrittori della Bibbia fecero di loro degli oppressori del Popolo Santo. (Le storielle sono scritte sempre da coloro che vincono.)

Data la forma longobardese del vocabolo, "filisdei", direi che esso e` un vocabolo da gente che gia` parlava principalmente latino. Gli ascoltatori sentirono qualcosa che somigliava a "fili dei" (= figli di dio), ma questo dio era uno "sdio", analogamente ad un disanimato o un dissimulatore, non un dio vero. Dopo tutto loro erano gente malvagia e senza il dio vero.

Il vocabolo greco e poi latino era stato calcato sul nome ebreo di quella gente malvagia: P'lishtim o Pilishtim, che e` il plurale di Pilisht. Il vocabolo greco sente PH per P (cosa consueta), non puo` trascrivere SH e adopera semplicemente S, e in questo caso esprime il plurale aggiungendo una desinenza plurale invence di convertire -im. Il risultato: Philistinoi; dovrebbe essere PHILISToi. Comunque nessuno sa il significato del vocabolo ebreo e l'accostamento fonetico fatto a "pelesh" non serve a nulla inquanto questo verbo puo` significare: dividere, attraversare, invadere, ecc. A quanto pare nemmeno i greci capivano o capiscono cosa significhi "philistinoi".

C'e` gia` dell'evidenza che i filistini non era gente semitica e che aveva una comunanza con la gente di Creta o di Micene, ma allora il loro nome dovrebbe essere greco. E guarda caso, i filistini [dal greco Phlistinoi o dal latino Philistini] sono stati chiamati Filistei o Filisdei, cioe`si e` adoperato il nome plurale corretto: "Gr. Philistoi: It. Filistei [Filisti]: Long. Filisdei" sebbene le voci italiane e longobardesi abbiano erratamente l'accento tonico sulla penultima lettera. *Philistos o *Philiste^s non ha nulla a che vedere con gli dei. L'attestato vocabolo "Philistos" e` un superlativo poetico (cioe` antichissimo) di "Philos". Quindi "Philistoi" significa "gli amicissimi" o "gli associati". La loro patria, Philistia [P'LeSHeTH in ebreo, PaLuSaTa in egizio, Palastu in Accadico], significa La Terra degli Amicissimi o La Compagnia (o forse La Politeia, a dirla in greco classico). Loro, agricoltori e costruttori, erano stati gli abitanti originali di quella terra usurpata che poi i Romani denominarono con l'aggettivo "paleastina" ovvero Terra Palaestina [Pale`stina, non Palesti`na].

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Quel che rimase (per un paio di secoli) della Philistia o Palestina dopo gli assedi del territorio e lo scisma politico in Regno d'Israele (dei figli di El, israeliti che parlavano aramaico) e Regno di Giuda (dei figli di Yahweh, giudei che parlavano ebreo): "Palestine City-States". (Quei due popoli di pastori e mercanti ridedicarono gli splendidi templi trovati rispettivamente ai propri dei, El e Iave`.)

Wikipedia photo

Map of the southern Levant, c.830s BC.

18 March 2007

Philistines, but less and less Philistine

In recent years, excavations in Israel established that the Philistines had fine pottery, handsome architecture and cosmopolitan tastes. If anything, they were more refined than the shepherds and farmers in the nearby hills, the Israelites, who slandered them in biblical chapter and verse and rendered their name a synonym for boorish, uncultured people.
Archaeologists have now found that not only were Philistines cultured, they were also literate when they arrived, presumably from the region of the Aegean Sea, and settled the coast of ancient Palestine around 1200 BCE.
At the ruins of a Philistine seaport at Ashkelon in Israel, excavators examined 19 ceramic pieces and determined that their painted inscriptions represent a form of writing. Some of the pots and storage jars were inscribed elsewhere, probably in Cyprus and Crete, and taken to Ashkelon by early settlers. Of special importance, one of the jars was made from local clay, meaning Philistine scribes were presumably at work in their new home.
The discovery is reported by two Harvard professors, Frank Moore Cross Jr. and Lawrence E. Stager. In the report, the two researchers said the inscriptions "reveal, for the first time, convincing evidence that the early Philistines of Ashkelon were able to read and write in a non-Semitic language, as yet undeciphered. Perhaps it is not too bold to propose," they wrote, "that the inscription is written in a form of Cypro-Minoan script utilized and modified by the Philistines — in short, that we are dealing with the Old Philistine script." Dr. Cross said the script had some characteristics of Linear A, the writing system used in the Aegean from 1650 BCE to 1450 BCE. This undeciphered script was supplanted by another, Linear B, which was identified with the Minoan civilization of Crete and was finally decoded in the mid-20th century.
The two researchers and other scholars said it was not surprising that the Ashkelon inscriptions were in an Aegean type of writing. The biblical Philistines are assumed to have been a group of the mysterious Sea Peoples who probably originated in the Greek islands and migrated to several places on the far eastern shores of the Mediterranean.
The locally made storage jar, bearing seven signs, was found several years ago buried under debris of a mudbrick building, which appeared to date to no later than 1000 BCE. After the 10th century, the Philistines borrowed their Israelite neighbors' Old Hebrew script and alphabet then evolving from Phoenician writing. By then, the Philistines and Israelites had been in such close contact that they appeared to have reached some degree of amity, though tradition never forgot Goliath as the bad Philistine.

Source: The New York Times (13 March 2007)

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Gli scritti dei filistei che sono cominciati ad emergere sono pochi e` indecifrati. Si conoscono perloppiu` alcuni dei loro nomi propri, tramandati in ebreo, che non sono nomi semitici. Ad esempio:

--- "Goliath" si accosta a Gr. Kholios (= adirato, sdegnato). (Khule^ = bile; bile, collera.)

--- "Phicol" si accosta a Gr. Phylakion (= guardia; soldato di guardia) o Phylakte^r (= guardiano; difensore, protettore).

-- "Achish" si accosta a Gr. E^khe^eis (= risuonante). (E^khe^ = dorico Akha = suono, rumore, grido.)

-- "Seren" (=? capitano) si accosta a Gr. Sidero(phoros) (= armato di ferro). I filistei avevano armi di ferro, mentre i loro nemici (provenienti da un deserto tra l'Egitto e la Palestina) avevano acquisito armi di bronzo indubbiamente con le rapine fatte in Egitto prima di partire (delle quali c'informa la Bibbia gloriosamente).

-- "Delila" si accosta a Gr. Delear (= esca; allettamento).

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Da Wikipedia: I Filistei

Strutture politiche

Essi fondarono, come ci tramanda la Bibbia almeno cinque città lungo il litorale, sui siti attuali di Ashdod, Ashkelon e Gaza; e furono in conflitto con il popolo israelita, come è raccontato nella Bibbia. Queste città non erano concentrate sotto un unico scettro: infatti erano governate da dei principi che stavano agli ordini di un re. Quindi possiamo dedurre che le città filistee erano dei principati federati.

Quindi il vocabolo "Philistoi" si puo` tradurre in "I Federati." I nomi Philistoi e Philistia sono nome politici, non etnici, e si riferiscono in particolare a quel lembo di terra sulla carta geografica e ai suoi abitanti. Allora "Philistia" equivale a "La Federazione." Non si conoscono nomi etnici, ma un paio di secoli dopo l'800 a.C., Geremia si lamentava: "Il Signore rovinera` i filistei, la rimanenza del paese [patria] di Caphtor."

Assumendo che i filistei venissero d'oltre mare, alcuni commentatori si sono cimentati ad identificare questo paese denominato Caphtor, mentre direi che Caphtor e` quel paese, poi detto Palaestina, del quale rimaneva Filistia (La Federazione).

"CAPHtor" ha varie risonanze nel lessico greco. Proprio in Palestina c'e` una cittadella presso il Mare di Cesarea o Galilea, Cafarnao, che in latino e` detta CAParnaum. (Josephus la scrive in greco: Kapharnaoum.) C'e` un promontorio nell'Eubea che, forse per la sua forma "kaph-" e` chiamato KAPHe^reus. A Longobardi e ad altri paesi della Magna Grecia ci sono dei luoghi chiamati "CAFarone", come ho spiegato tante pagine fa`. Forse KAPHtor vuol dire, in tante parole, "la terra del (mare) basso/depresso [il Mar Morto]" appunto come quando si dice "la terra del (fiume) Indo" o "India". Non e` inverosimile che CaPHToR equivalga a *KaPHaTR-ia (Terra del Depresso) e che un cittadino fosse chiamato Kaphrate^r. (Poi i greci gia` emigrati scissero l'etimo e si ottenne la Phratria, Patra in dorico, per cui il latino "patria" non significa affatto "paese paterno" -- significa genericamente "paese, country, terra abitata da concittadini".)

106. Word-Magic and Other Actions / More Southern Italian Art

Sun, 09 Nov 2008 18:19:38 GMT

WORD-MAGIC AND OTHER TYPES OF AGENCY

I have come to the point of having a panoramic view of human (conscious/voluntary) AGENCIES (ways of acting) in the three historical Ages, which, for short, we may call the Divinist(ic) Age, the Heroist(ic) Age and the Humanist(ic) Age.

In the Divinist Age, humans typically perform praeternatural deeds, or act praeternaturally. Acting naturally means physically connecting with or projecting to physical things, with impetus [drive, force], so that a physical effect is produced. In praeternatural acting, no force is applied on physical things.

Looking at a physical (tangible) object involves a physical connection, but it does not produce an effect on it, as there is no impetus in the looking. (It is the object that is the driving force of the connection, as it emits or reflects electromagnetic waves. Looking, or becoming attentive to, is not a transitive act. A praeternatural act is an intransitive act that is conceived or believed to be transitive. For instance, in ancient times and in Plato's dialogues, the seeing eyes were thought to be emitting some kind of rays [like the sun's "rays" they observed in the clouds] so that the eyes established a contact with the thing that is seen. As seeing was supposed to be a transitive action, looking at someone in a certain way was imagined to be productive of adverse effects. However, if one was under the influence of the evil eye, he had no medical antidote and was likely to go to a magician for a cure. The magician performed some praeternatural act, that is, physically intransive act, that was supposed to be able to remove the patient's physical malaise.

To be sure, this magician's act was a transitive act, for he or she uttered, emitted, words which are heard. The atterances physically affect someone else. However, the magician's efficacy was believed to be due to what he said. A magician orders -- by words and the tone of his voice -- the illness to go away. Implicitly there is a personification of the illness so that it is treated in the same way that a person treats another. In other cases of human sickness or of plant plight or of animal sickness, the cause of the malaise is deemed to be an evil spirit that moved into the sick body. So, once again, the magician performs a verbal scongiuro [order to dissociate] or exorcism in order to expel the evil spirit. Jesus verbally ordered evil spirits to get out of a person and even send them into a herd of pigs [in the land where eating pork is forbidden], which caused the pigs to commit suicide. In some countries, after the harvest, some farmers performed a verbal purification ceremony, an anticipatory scongiuro, which involved cursing the spirits and scaring them with words and threatening gestures. Sometimes a magician summoned a spirit to appear, but he drew a circle around himself in order to prevent the spirit from entering his body. Of course the circle was itself a symbolic or metaphorical barrier, since a physical barrier is no obstacle for a spirit.

I have always thought and spoken of the "personification" that humans used to make of things, whether the archaic gods or the corporeal things on earth. But in so thinking, I was assuming that human bodies are different in nature from other bodies: a human body perceives, understands, speaks, and acts either on his own intentions or in response to requests, commands, cajolings, and so forth. The distinctive nature of man is obvious to us in the Humanistic Age and has even been reified as the "psyche". On the other hand, a human of the Divinistic Age did not differentiate the human nature from the canine nature or the lithic nature. They, or infants for that matter, knew differences of shape, size, weight, and mobility -- all perceptual qualities -- but the differences in these qualities did not imply for them (did not make them understand) that certain bodies can hear and others don't, can speak and other don't, can respond to implorations, requests, commands, and so forth. The intellectual differentiations that we make were not made by primitive man. Thus, the performance of word-magic is bases not on personifications they made, but on their not making intellectual distinctions between the natures of things. What they understood about "man" (human nature in a community of humans interactive in their family and tribe) was also the understanding of other things. For instance, as a mother provides milk, so the Sky provides rain. When Ulysses' ship is being tossed and destroyed by the Sea, the Sea is attacking Ulysses. (The knowledge is of interrelated individuals, not of the occult constitution of individuals.) The Sky and the Sea are subjects of actions, persons (in our language) who act in relation to other persons. To divorce the emission of rain from a providential act, or the great quivering of the waters from a punishing act is to make an intellectual leap that results into a "loving or hating action" on the one hand, and a "physical actvity" on the other. The Sky and the Sea had been unwittingly humanized and now they are dishumanized: they have lost what is the distinctive nature of humans. Word-magic is performed only when all things are man-like in nature, anthropomorphic. {When we say that a human being takes on a different nature, we find the hypostasis a contradiction, because we think of a nature as a substance rather than as the known character of a substance. By the same token, we find it irrational to suppose that man is the synthesis of a body and a non-bodily psyche, since "psyche" is conceived as a substance rather than the sum of a body's faculties which are apprehended from within rather than from without [by means of the sense organs], and since "body" is usually conceived as insensitive or unconscious matter. The substantives of our language reflect the way the ancients interpreted or integrated their experiences. Indeed Kant came to see "substance" as a category of the Understanding; that is, we necessarily think of the experiences we have of an individual in terms of a substance, even though substance is not something experienced. Well, it is our "substantializations" of experiences that lead us to a false, not a true, knowledge of things, for now we can see beyond the substances the primitive mind invented.}

It is obvious that word-magic is not simply speaking to someone (or to a man-like thing) or saying something. What the speaking magician does is to request or to command or to chide, or to threaten, etc. -- which are done verbally and by tone-of-voice. This is "aggressive" or "invehing, goading, prodding" speaking, not declarative or exclamative speaking. It does not cause any "said, named" effect, as no physical effect is attained; it is an inducing verbal action. People use inducing speaking on people in any historical Age, but in the Humanistic Age, inducive speaking may be not so much aggressive as cajoling, persuading, and the like. In this case, emphasis is placed on what is being SAID, for it is the conceptual discourse that goads people into taking a course or action that the magician/rhetorician desires. (Forensic speaking is usually deceptive (sophistic, not philosophical), for the rhetorician must formulate his speech in a way that a course of action be desirable to the listener rather than seem to be desired by the speaker. The presented arguments are geared to this purpose rather than made logical and epistemically sound. / It was the Athenian philosophers that distinguished between ophistry and philosophy in their Political/Civic Philosophy, which includes Rhetoric.)

Now, for example, the Sky can be addressed in two ways: by inductive verbal action and by offering gifts along with the request for it to rain. In a more crass way, a trade is made, such as the sacrifice of an animal in exchange for rain, or a semi-castration in exchage for protection from enemies, for in the Heroist Age, the Sky became a fulminating lord and can actually be taken into battle on a horse or a carried container. [This is the "horse" of certain coded writings which led me to detecively discover the whereabout of the Ark of the Covenant -- as you can read in my other xanga weblog. But no one has yet made the suggested excavation under the Calvary in Rennes-le-Chateau, in former Templar country. Excavation in that town is forbidden.] In the case of sacrifices and trades, the actions can be called "liturgical" (rather than magical); they and adorations and praisings are liturgies, "religious rites."

Verbal Magic is parallelled by Silent Magic, of which we have seen one great example, the Eleusinian or Demetric Mysteries, and I have mentioned its parallel, the Dionysiac Mysteries (which inclides the omophagia etc.) Of course, silence is not an action nor that whereby a supposedly real event occurs. The nature of either Kore or Dionysus is taken on by re-eacting the salient occurrences in the life of either deity (immortal being). The communion of either the bread (body) or the blood/life (wine) marks the beginning, conception/birth, of the new deity by means of the assimilation of the old deity. Understandably, the realistic death of Kore or Dionysys is not re-enacted literally; it is acted out, as it is done in the theater. Yet, the very motions that resemble the real events are supposed to be effective. One becomes what he does; here we are in the world of visual images anyway, and death is but the observable immobility and inactivity of a human body in the world. (That's why death was said to be like sleep.) This kind of death can surely be re-enacted. Thus one really becomes an Other Kore or an Other Dionysys, who, like them, shall be born again... or wake up, in the real world. (Once I said that I resurrect every morning, though no one knows how often.)

Silent magic, which induces occurrences in oneself by re-eanctment, can also induce occurrences in others by showing activities to them. Instead of speaking aggressively to another, one exposes a deed or a picture to another. This is an attempt to induce others to imitate what is being exposed. So, both kinds of silent magic can be called "sympathetic magic." It is one thing to tell or ask the Sky to rain, it is another to offer the Sky something in exchange for rain, and it is still another to prod the Sky to rain by showing him what to do. So, people who have some special magic power can go outside a temple to urinate while looking up to heaven and pointing to the emission of water. On the other hand, since the Sky's rain fecundates the Earth thus making plants grow, a male magician may show the sky another process of fluid-emission fecundation, namely copulation with a female. This has been improperly called temple prostitution, for the copulation has to be profane, outside the temple, and the female does not prostitute herself; she impersonates the Earth and is thus sacred. The copulation in question is a Sacred Marriage, Hieros Gamos. The mystics in the process of re-eacting the life of Kore, like actors in general, IMPERSONATE Kore. So, while trying to induce the Sky to rain, the partners of the sacred marriage re-enact the "marriage" of Ouranos and Gaia by these or other names, and mystically or praeternaturally become Sky and Earth, the great Immortals.

Now, let us go back to Verbal Magic, for what I discussed earlier was only healing and preventive magical speakings, scongiuri (commands to dissociate, exorcisms). There can be commanding or imposing speakings for the opposite purpose, for binding (tying, conjoining), intended for positive effects, for inflicting pain, changes, malaises, diasters, or other destructive influences. Hence "binding spells" or "charms" (incantations) [Long.: "jettature", "majie;" It.:incantesimi, fatture, wherefore a "fattucchiere" or "fattucchiera" is the magician or sorcerer, the maker of spells.] In a while I will be reposting an article about Sardinian spells, which gave me the occasion to mention some Greek words which have to do with offensive verbal magic.

A man of the Humanistic Age performs natural/physical acts that produce physical effects, necessarily by means of physical connection or by the propulsion of a physical thing. (An effect may be indirect or by transduction, as by means of a machine or a servo-mechanism, or by operating a wave-producing mechanism, but the machines and mechanisms in question are directly affected physically by a human.) The man of this Age is the Homo Faber (Making/Constructive Man), who causes effects in the physical world. {I operate = Gr. Prasso^ or Pratto^. I make or produce or directly cause = Gr. Poieo^. So, if we wish to be pedants, we can speak of the Pragmatics and the Poetics of Homo Faber -- or humanistic agency. There! But humanistic agency includes also excogitation, an immanent activity. Shall we add Phronetics? Of course! A human maker or operator or doer or caretaker/cultivator is named REKTE^R (or is said to be Rekte^s) in Greek, which covers just about all the different kinds of his actions and is translatable as "Man the Worker" or "Man the Producer."}

Magical induction is one type of agency, causing is another. The types of actions that are typically performed in the Heroist Age are physically causative of destruction (by killing and vandalizing) and socially inductive, as productive people are induced to make or do things by the threat of force. (This means that in a pure Age of Men, there are no "heroes". Most humans in a Heroist Age operate either as humanists or as divinists [performers of rituals], while the minority consists of greedy destructive/oppressive lords, properly called barbarians.)

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I have already dealt with the etymologies of the Longobardese "majia" and "jettatura." The Italian "fattura is a hard nut to crack. I am not at all satisfied with given etymologies, which derive the term from "fatt-" or "fact-", from the Latin verb "facere" (= to make or do). A magic spell is not a making or doing; it it a speaking of some sort, a speaking that "enchants." Thus, it is synonymous with "incantesimo" (= an enchantment or an enchanting, a charm), but the latter word does not connote or suggest how the enchanting is done.

The ending of "fattura" is the same as in "scrittura" (scriptURE), namely "writing" as a noun. So "fattura is the verbal noun of the verb "fatt-" which has the meaning of "saying" or "motto" or "dicitura" -- a term that is attested in some dialects with the meaning of "inscription" or "the way in which it is said." Obviously "fatt-" is not from the Latin verb "dicere." I find that it is from the Greek verb for "to say":

It. Fatt- < Gr. Phatos (the verbal adjective) or Phasis (the verbal noun of Phe^mi = To Say), which means "(a) saying; motto; sentence." So, FATT-ura = PHAT-ura = a speaking or sentence... which is projected to subject someone; the sentence specifies the kind of harm that the person must suffer. A Fattura = a Spell, which is a verbal Jettatura (missile).

Long. Majia (= It. Magia; Gr. Maghia/Magheia) is used in the sense of a magic action or of an object that has magic virtues, not as "the magic art". Thus it can mean a Jinx, a curse or a judgement "pinned" on a person that foreshadows bad things for him. The English word Jinx < Gr. Iygx, a certain bird, the Wryneck or Torcicollo or Torqilla that was believed to bring bad luck.

Actually the Iygx [pronounced 'younks' or 'yinks'] was used for fortune telling. It seems that it was tied to a small wheel and made to spin around fortune formulations. [That was the fortune-wheel."] Once I saw that a fortune-teller carried a parrot in a cage and, in the ancient Roman way, the bird was asked to pick any of the tickets from a file. The writing on the ticket stated the customer's luck or bad luck in his future.

The art of divination, which is not a magic art, in ancient times had many methods. One is "reading tea leaves," which belongs to the sphere of geomantics (throwing small sticks and interpreting the resulting configurations of the sticks). Another used to be the interpreting natural signs, such as the shape of a flight of birds, done by an haruspex in Etruria; another was the occult consultation of a god, done by a sibyl. In Magna Graecia there was the great oracle of Cuma [Kyme^], and the Cuman Sibyl, along the Delphic and two other Greek Sibyls, was painted by Michelangelo on the ceiling of the Sistine Chapel in the Vatican [the place of the Vates or Soothsayer]. In the Humanist Age, the methods to acquire new knowledge and foreknowledge are called methods of scientific investigation, Galileo's to begin with; they exclude taking somebody else's word or opinion, as he himself stated. Once again, Vico has expounded on the different ways of getting knowledge in the different historical Ages.

History, says Vico, is the history of the modifications of the mind in the course of time.

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Some other longobardese terms pertaining to the firld of magic: on p. 77

Dalla Sardegna:

La Settimana Santa a Cagliari

A cura di Càralu

Pubblicato il 18/03/2005

Vangeli, rituale e tradizione stanno infatti alla base di questo momento del ciclo dell'anno così solenne e così grave di significato. Da "La città del sole" di Francesco Alziator

...Vangeli, rituale e tradizione stanno infatti alla base di questo momento del ciclo dell'anno così solenne e così grave di significato. Il rituale domina sin dalla cerimonia del mercoledì delle ceneri (mercuris de cinixius), che ha nella chiesa il suo unico centro e svolgimento. La drammatica interpretazione popolare dei Vangeli, concepita originalmente, con spirito e fantasia medioevale, è alla base delle processioni e le millenarie tradizioni del culto di Adone si rinnovano, con pietà cristiana, nei nenniris (giardini di Adone) che fioriscono sul sepolcro del Salvatore...

...Abbiamo, d'altra parte, numerose testimonianze di drammatica religiosa che confermano una tradizione letteraria in questo senso; ma ciò che è più interessante al riguardo è il fatto che possa trattarsi non di una tradizione che discenda dalla letteratura aulica, ma di una tradizione che dal popolo abbia invece raggiunto quella con moto ascendente.

Attualmente le processioni sono: quella che parte, il venerdì avanti la Settimana santa, dall'Oratorio dell'Arciconfraternita del Santissimo Crocefisso, in piazza San Giacomo e, traversando le più antiche vie del quartiere di Villanova e Stampace, sosta nelle chiese di San Mauro, Sant'Anna, San Michele, San Domenico e San Giacomo per la predicazione dei momenti culminanti della Passione di Gesù.

Nel giorno di martedì santo esce quella organizzata dai confratelli della Confraternita degli Artisti che, partendo dalla chiesa di San Michele, raggiunge la Cattedrale, quindi la chiesa delle Cappuccine, successivamente quelle di San Giacomo, di Santa Rosalia, del Santo Sepolcro e di Sant'Anna, per la rievocazione della Via Crucis, ed infine rientra nella chiesa di San Michele.

Terza processione è quella della Confraternita della Solitudine che, dalla chiesa di San Giovanni, porta in Duomo un grande, ligneo Crocefisso.

Il Giovedì Santo culmina nella visita dei Sepolcri. In questo giorno le campane tacciono in segno di lutto per la morte di Gesù ed il popolo afferma che: «si accapiant is campanas», cioè che si legano le campane. In luogo delle campane si usano le matraccas. Con questa parola si indicano le cosiddette raganelle, cioè le tabelle di legno usate dovunque nel mondo cattolico per sostituire, nei segnali rituali, le campane durante i tre giorni del lutto della Chiesa.

Connessi ai monumentus sono i nenniris. Sono questi la stupefacente presenza di un avanzo di culto di Adone. La voce nenneru, che secondo il Wagner potrebbe essere di etimologia preromana, indica gli steli di cereali, di grano soprattutto, che vengono fatti germogliare all'oscuro e che, privi quindi della funzione clorofilliana, crescono pallidi ed esili.

Se l'ipotesi dell'etimologia preromana prospettata dal Wagner fosse vera, essa potrebbe avvalorare una seriorità della tradizione sarda, ricollegabile al clima semitico della Sardegna cartaginese o forse anche ad un più antico ciclo agrario. Ad un substrato assai remoto si collegano anche gli allichirongius de Pasca, le eccezionali ripuliture e rassettature che ogni famiglia fa in vista della Pasqua, specialmente caratterizzate dalla imbiancatura delle pareti delle cucine, nei quartieri popolari. Esse sono un non equivoco sussistere di avanzi di riti di eliminazione e di purificazione, connessi un tempo col risveglio del ciclo vegetativo.

La Settimana Santa cagliaritana si conclude dopo il festoso riprendere dello scampanio che, avanti le innovazioni del rituale decretate dal Pontefice il 16 novembre 1955, aveva luogo nel mattino del Sabato santo, con la processione detta dell'Incontro...

...Anche sulla Pasqua, la liturgia, operando in senso unificante, ha limitato di molto i fatti del folklore; tuttavia è sempre possibile, per lo studioso, individuare, nell'apparente unità, i motivi di origine popolare.

Il ricordo dei riti sacrificali è legato all'espressione popolare «s'arrisu de is angionis de Pasca», alla quale si ricollegano, probabilmente, anche più remoti contatti con il sacrificio umano. Fa parte della liturgia l’angiamò o mangiamò. Il misterioso appellativo indica il sacerdote che benedice le case. Secondo l'etimologia popolare cagliaritana, mangiamò significherebbe mangia dimonius, etimologia quanto mai speciosa, poiché contiene, fra l'altro, una parola come «mangia», che non è del vernacolo campidanese, che tuttavia registra parole derivate da un radicale mang, come mangeria e mangiuccu. È perciò probabile che la forma originale sia proprio angiamò, per quanto la forma più diffusa, probabilmente proprio per l'attrazione esercitata dalla presunta etimologia, sia mangiamò.

Una strofetta popolare cagliaritana dice:

« Angiamò, chilissò, chifané

un anguli a su piccioccu

tres arrialis a sa carcira ».

(Angiamò, chilissò, chifané, una focaccia al ragazzo e tre reali al secchiello).

Val proprio la pena di esaminare con attenzione questa strofetta che trova riscontro nella seguente di area iglesiente:

Mangiamò, chilissò

unu soddu a sa pingiara

un arriali a su piccioccu

(Mangiamo, chilissò, un soldo alla pentola, un reale al ragazzo).

Mangiamò, chilissò e chifané potrebbero far pensare ad onomatopee e a parole infantili, ma il Wagner pone l'interrogativo se esse non siano reminiscenze bizantine, e noi propendiamo per il sì, con tutta la prudenza che una simile ipotesi comporta, perché mangiamò e chilissò si ritrovano su aree diverse e poco in contatto tra loro, la qual cosa potrebbe deporre a favore di parole bizantine, mantenute per fatto conservativo. La parola chifané, poi, ha tutta l'aria di essere, pur attraverso lo sfiguramento popolare, un chiaro vocabolo bizantino connesso in qualche modo con il greco...

...L'anguli da regalare al chierichetto della strofetta cagliaritana riporta ad angui, parola dell'arabo maghrebino ed indica il tipico pane dolce della Pasqua nei Campidani, fatto a giro di bitta o ad otto, sul quale son inseriti un uovo o un paio d'uova. Il Wagner ritiene che anguli sia parola importata in Sardegna dai Tabarchini di Carloforte o dai Sardi residenti in Tunisia. Non è però del tutto da escludere che anguli possa riportare ad un più antico strato bizantino al quale avrebbe potuto attingere anche l'arabo. Forse una ricerca orientata in questo senso potrebbe portare ad importanti risultati, sia in campo folkloristico sia in campo linguistico...

I link correlati all'argomento

=================================

Credo che queste strofette ci rammentino di antichissimi scongiuri, o siano parodie di scongiuri, che si riallacciano ai sardi provenienti da Sardis in Anatolia. (Degli studi sono stati gia` fatti sull'anteriore cultura greca in Sardegna e la cultura posteriore in Toscana. Cf. Massimo Pittau: La Lingua dei Sardi Nuragici e degli Etruschi.)

I vocaboli Angiamo`, Mangiamo`, Chilisso`, e Chifane` dovranno essere esaminati in vista di queste voci greche:

Aghiazo^ = sacrifico, consacro; offro un sacrifizio.

Magheuo^ = esercito l'arte magica. / Magganeuo^ [manganeuo^] = uso incantesimi.

Ke^leo^ = incanto, affascino. / Ke^le^sis = fascino, incanto.

-- Kupsele^ = cavita` (quale quella dell'orecchio); cassa, cesta [profonda]. (Cf., Kuphellon) > Long. Cofanu (= cofano).

Kupho^n = costretto a tenere la testa bassa: sforcato, birbone; < Kupto^ (= mi piego innanzi, ecc.)

Khutikos (= adatto per versare, per fare le libazioni).

Goe^teuo^ (= faccio gl'incantesimi {malie, scongiuri?} [proferiti con voce gemebonda, somigliante al lamento, Goe^s]).

Artista: BEATRICE FEO (Palermo, 1968)

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pop baroque painting

Artista: BEATRICE FEO (Palermo, 1968)
"pop baroque" paiting
[symbolist painter]

letto di clochard

_____________________________

Agnello di Dio (2006)

______________________________________

NYC-New York-News- painting- Artist--Beatrice Feo -Italian Artist

Naufrago (2007)

______________________________________

Ulisse - Il canto delle sirene (2007)

___________________________________

ANTONELLO MATARAZZO (Avellino, 1962)
[metaphysical painter]

{Early modern metaphysical painting, which has different styles, is exemplified by De Chirico's "Solitude of a Street" and "Disquieting Muse," Dali`'s "The Persitance of M emory" and "The Last Supper," and Picasso's Minotaur works.}

Camera con vista : Room with a View

__________________________________________________

Comment relative to the subjects of these works:

Ci sono gli adagianti (acquienti) e poi gli altri, gl'inquietanti (le povere anime, i deformi, i terroni).
There are the pacifying (the quieting) and then the others, the disquieting (the lowly).

http://www.adolgiso.it/nadir/antonello_matarazzo.asp

Antonello Matarazzo, artista multimediale.

Nato ad Avellino nel 1962.

Nel 1982, costumista e aiuto-regista al Teatro Bellini di Catania. Pittore dal 1986.

Dal 1990 al 2000 mi sono impegnato soprattutto nella ricerca nel campo delle arti visive, con soggiorni di studio negli Stati Uniti. La mia pittura si colloca nella più recente ricerca (Medialismo) tesa ad annullare le distanze tra i vari media (fotografia, pittura, video, ecc.)

Nel gennaio del 2000 il mio primo cortometraggio, "The Fable", viene selezionato al festival "AnteprimaAnnozero" di Bellaria dello stesso anno, successivamente acquistato da RAI 3 e programmato nel palinsesto di Fuori Orario.

Nel 2002 realizzo il primo mediometraggio, "Astrolìte" - in collaborazione con Carlo M. Schirinzi e interpretato da Enrico Grezzi - che viene selezionato alla 20° edizione del Torino Film Festival.

Con "La Camera Chiara" e "WARH" riprendo il lavoro, avviato con "The Fable", di integrare arte, fotografia e video, avvalendomi della tecnica del morphing.

Sito web: www.antonellomatarazzo.it

Mi piacciono i metafisici come Holbein il giovane o Masolino da Panicale, i concettuali come Paolo Uccello o Leonardo, la incantata durezza di Dürer, di Lukas Cranach padre e dei Fiamminghi, piuttosto che il teatro di Michelangelo. Il mistero contro la compiaciuta sapienza, la mano contratta e esitante di chi in ogni linea, in ogni punto cerca una rivelazione piuttosto che quella gioconda e sportiva dei virtuosi.
...Sono miope per libera scelta

Le immagini qui esposte appartengono a tre serie di lavori - più estesamente visionabili sul mio sito web - due fanno parte di un installazione del Trevi Flash Art Museum e sono disegni a matita su carta della serie Innocenti .

I lavori delle serie intitolate Freaks e Meridionali sono invece pitture ad aerografo su tela.

INNOCENTI

Senza Titolo (particolare)

Installazione Flash Art Museum (Trevi)
1997

cm.45x30
(collezione privata)

INNOCENTI

Senza Titolo (particolare)

Installazione Flash Art Museum (Trevi)

1997

cm.45x30

(collezione privata)

FREAKS

Pete Robinson

1997

cm. 130x66

FREAKS

Francisco (Frank) Lentini

1997

cm. 100x68

FREAKS

Il generale Tom Thumb e Lavinia Warren sposi

1997

cm. 100x65

MERIDIONALI

Chianchier'

1999

cm. 120x90

(courtesy Studio Vigato, Alessandria)

MERIDIONALI

Br'hantiegghj'

1998

cm.120x90
(courtesy Studio Vigato, Alessandria)

MERIDIONALI

Stammo tutt' bbuono

1999

cm. 115x140
(courtesy Studio Vigato, Alessandria)

MERIDIONALI

Hallò Marì

1999

cm. 130x170
(collezione privata)

MELITA ROTONDO (Napoli, 1950)
(ambientalist)

Melita Rotondo
La verità è sempre un'altra, Castel Sant'Elmo 2007

GIUSEPPE D'ELIA (Brindisi, 1946)

[metamorphosizing painter]

COSIMO LAMANNA (Bari)
[realist/metaphorizing and abstracting painter]

Largo S.Lucia

Olio e acrilici su tela - 50x70

Un originalissimo astratto di Cosimo Lamanna

Olio su tela e foglia oro - 90x90

105. Natural and Praeternatural Deeds / Art Bits (Calabrese, Greek, Roman, Etruscan)

Sat, 01 Nov 2008 04:51:50 GMT

Per gli studi del LONGOBARDESE, retrocedere a pagina 1 [Cliccare: <<<oldest]

Tutti gli studi del lessico longobardese sono scritti in italiano.

Source of Greek words: Bonazzi's "Dizionario Greco-Italiano" 1933

This site is http://www/xanga.com/Longobardese

NATURAL AND PRAETERNATURAL DEEDS IN THE AGE OF MYTH

I have had occasions to mention Vico's courses and recourses of human history. In terms of the protagonists who define an Age, a course has three Ages or cumulative phases, called the Age of the [believed in] Gods, the Age of the Heroes [Warlords], and the Age of Men [or of Reason].

A feature of any age is language [speaking forth; saying; thinking], but language varies in nature in the three Ages, and Vico has extensively dealt with the differences. Presently I wish to deal, albeit briefly, with one aspect of language in the Age of the Gods, which is also the Age of Mythmaking [Mythopoeisis].

I find that in that Age humans performed (and conceived) deeds which we may call Natural and Praeternatural. The deeds were named. So, the words (verbs, verbal nouns, etc.) express in their meaning how their deeds were conceived. The names of natural deeds can be called sensual [or exoteric]; the names of praeternatural deeds can be called esoteric [or interior].

For example, if I cut off a man's finger, "cutting off" names the deed which can be seen; hence, the name is sensual. If I punish a man by removing a finger of his, the "finger-removal (or finger off-cutting) punishment" cannot be seen; punishing can only be thought and hence this name is esoteric. If I am a surgeon and amputate his finger in order to prevent some lethal infection, I am anticipatingly curing him. Health and its opposite are thought, conceived, or understood; the names are not of something I can see or hear or touch, as Plato understood for the first time in history. If I "amputatingly heal," I am doing something which is not sensual. (To note that, given the success of the health-keeping deed, the amputator is likely to think that the deed, the hand-activity, he performed was itself "healing" in nature rather than, say, "thirst-quenching" or "warming". The punisher is likely to think that his operating hand physically performed a punishing act. What he really performed was simply the cutting off of a finger.)

So, actually in any Age of history we perform natural and praeternatural deeds, or have names which are either sensual or esoteric. What I intended to mention is actually a set of praeternatural deeds which are performed typically in, but were not recognized as such, in the Age of the Gods. But, to begin with, I have to state that "god" [deus, theos, gott, etc.] is an esoteric name. This abstract word was formed after the first phase of the gods and gods' names. For example, the thundering or raining sky was and active super-human power, which operates time and again, and patently affects men. Being huge, immensely powerful and affective, and everlasting or everrecurring, it can be categorized and genericalled called a god (after its original proper name of "Zeus" or something else). The archaic gods were perceptible and had proper names, but then, by some schizophrenic process of the human mind, the power of the powers in question was supposed to be inside or over the perceptible things that used to be called gods: the "Raining Sky" is a sensual name; the "power to produce rain" is an esoteric name, for there is nothing perceived as causing the perceptible rain. "The architect of the world" is an esoteric name, since no one is witnessing or has witnessed an architect of the world at work. (The concept of Power or Cause arose when men became aware of themSELVES being the agents of effects in the world. This means that humans apprehended the gods before they apprehended themselves. The Age of the Gods [Theoi] actually begins with this self-apprehension, which is verbalized and is the basis for anthropomorphizing the gods. The archaic gods were nicely called Numina in Latin, rather than Dii, or at least we should use "numen" for an archaic, perceptible, god.)

Words like Punishing, Rewarding, Thieving, Healing, Murdering, and Speaking denote a physical act and a value [moral, legal, esthetic, emotional, utilitarian, hedonistic, semantic, or other]. As Axia = value, and those words are implicitly or esoterically value-bearing, they can be called AXIPHORIC WORDS. (On the other hand, a theophoric word explicitly bears the word "god" or the name of a god (in any language), like "Theophilos," "Philotheos [or: Amedeo]," "Gottlieb," "Diogenes," MichaEl," "ImmanuEl," "Jesus" (Iesous), "EliJah," "Janus," "Iapetos," "Theodore," "theogonia," and "theophoric.")

There is a long array of theophoric words which have to do with god-related activities or divine states of affairs. For example:

(1)

--- Theogonia = genealogy of the gods (who, though invisible or incorporeal, are thought of anthropomorfically, that is, as marrying and generating).

--- Theokluteo^ = I invoke a god (begging him or cursing him). The invocation is exactly like one made to another man, but as the invoked god has no ears, it is actually made esoterically (to the divine eidolon/simulacrum within one's mind). [A human individual exists in me as an invisible "simulcrum" of that person. It can arouse feelings or emotions, can be menacing or affable, can supply ideas and information, and sometimes may even start saying new things. In unusual cases, even an imaginary person may take on a visible form and move about one's habitat or be a night incubus or succubus. "Phantasiosis" is the powerful forming of eidetic entities and worlds within the human mind, and the inventor in art-works, whereas Aristotle's "Nous Poietikos" is the conceiver, arteficer of ideas, and probing Intellect." The faculties of the trinitarian mind are, roughly speaking: Phantasiosis or Creativity, Nous Poitikos, and Pathos or Feeling and Affective Urge, whether concupiscible or irascible. What emerges persists as Memory.]

--- Theopoleo^ = I perform the priestly functions or the sacred rites (such as offering a victim, which is then actually eaten by the attenders of the rite).

--- Theopropeo^ = I prophesy (deliver a divine message, a message from a god who has no mouth to utter anything).

--- Theophania [hiera] = feast (at springtime in Delphi) of the appearence of a god, Apollo. He actually does not show up, but in the Roman calendar, the Month of April [aprilis] is the month of Apollo, as I discovered quite a while ago upon considering the Etruscan name of that god, Apuru. [Apuru + the Latin adjectival ending -ilis = apuruilis, which, with a contraction, = aprilis.] And why is that month called the month of Apollo? Because "apur-/apul-" -- discussed earlier -- derives from a verb which means "to sprout or germinate." April is the month of budding, blooming, and the like, including the germination of grains. And that's why Apollo was a chthonic deity/force before he became an Olympian solar one and a Parnassian one as the "leader/goader" of the muses to generate or inspire beautiful things. / "Germinating" is a sensual name; "a non-physical force that causes germination" (namely Apollo) is an esoteric name.

In connection with the Eleusinian and Pompeian Mysteries (Rites), I mentioned here and there that the first step or activity of a mystic is purification (Kathasmos), and that there follows a consecration of bread (by an accomplished mystic) and communion, the suckling by a divine or a consecrated mother, a sacred marriage with Dionysus (Hieros Gamos), the intervention of divine Nemesis for a transgression, an abduction by a god, and the marriage (Theogamia) with Aidoneus. (These can be called the seven degrees or steps of the initiation process or "mystical tranformation of a young lady into a [divine, immortal] Kore".) PURIFY, PURIFICATION, CONSECRATE, CONSECRATION, SACRED, are some of the terms that I like to look into. That means turning to Greek words (which may have a translated equivalent in other Western languages, which are indigenously hardly articulate). I already see that those seven deeds or acts are praeternatural, that is, "INTENTIONAL [mental] and believed to be EFFICACIOUS [effective] in the natural world of humans, animals, vegetables, and things." The verbalization of preternatural deeds constitutes mythic language.

[2]

--- In the critique of the Grotta Caruso as a nymphaeum, I mentioned that the only descent one could make there is in the stream-fed basin or tub for washing oneself. The washing (It. Lavaggio) is = Gr. Plusis. It comes from the verb Pluno^ (= I wash [especially dirty clothes]; I rinse). The basin or vat for washing = Plunos. Now, I used a verb which bespeaks of an activity performed in the world, wherefore the name of this activity or deed is natural, rather than praeternatural. But is it? Strictly speaking, the deed that is performed achieved the removal of particles or stains; the concept of washing or, generally, cleaning, contains an interpretation of those particles or stains as "dirt" (something unpleasant and unwanted). Similarly, if I hold a man by his feet and shake him, I clean him of the money he has in his pockets, money being understood as something valuable and wanted. In the latter case, the proper verb is "I rob" and Robbing, like Washing, is not a simple act of physical removal. One can see the physical removal but it, as such, is not a robbery. Cleanliness, health, and nefariouness are not perceptibles. Hence, strictly speaking, the deed of Washing is not something that is apprehended by the senses. (We have few verbs and many verbal phrases that simply name natural deeds/acts.)

"Washing" comes very close to being a sensual name, whereas "Robbing" is decisively an esoteric name. "Plunein" (To Wash) is occasionally used metaphorically as in the sentence, "I am going to wash his head [his mind]." The washing of one's mind is not done with water, but with words, but the verb preserves its basic meaning of "removing undesirable particles or other things." However, the removal is not a physical removal; therefore, the performance of a metaphorical washing is certainly a perfect praeternatural deed. It is a PURIFICATION.

[3]

--- In speaking of Demeter who bathed in a river, I mentioned that she was called Demeter Lousia [pronounced "luhsia"] (the Bathing Demeter). Here the verb used was Louo^ (= I wash, I purge, I bathe, I purify). (A related word: Ablution, aspersion.) Loutro`n = a washing, a bath, or a Baptism. A room or house for bathing = Loutro^n. Therefore, the Grotta Caruso can be called a Loutro^n (for women), even if it is also a Iatreion. Perhaps the Locrian mystic-aspirants started out with a purification in the Iatreion and then proceeded on a "sacred road" to the Persephoneion invoking Jakkhos to rain, just as their counterparts did when they went from Athens to Eleusis.

Washing, bathing, purging, and cleansing are cleaning activities, which involve the removal of unwanted particles. As the particles are physical, the names of any of those activities are virtually sensual. But when "louo^" means "I purify" or the like, here we are talking about the "removal" of non-perceptible things, such as a character fault or sin (which as a child I heard defined as "a stain [or blot] in oneself" -- something which bewildered me and I never forgot, for what on earth is a stain that is not a visible stain?) A person who goes about stealing things can be characterized as a thieving person, but if thieving be a bad quality or a "fault", what can wash the fault away, what can purify him? The answer is: a praeternatural act. To this effect, washing in water, being forgiven (by a victim or by a god) in words, expiating for a wrong done ["paying" or compensating for what was committed], or offering sacrifices (immolating a living thing) to gods, are deeds which are believed to wipe out the bad qualities which a man acquired by wrongful actions. As [supposedly] efficacious in removing the bad charater-qualities, all of those deeds and the like are praeternatural deeds. In one word, "to purify" or "to metaphorically wash away" is to restore a person to a pristine condition of righteousness (" jous-titia," "being Yoh/Yuh/Yah"). [Yah, the Raining Sky, is the primary washer and purifier.] So, in the Ages of the Gods, there is the myth that humans and gods are capable of purifying persons, that there is the possibility of purification. In an Age of Men, Oedipus discovers the fault in his being and lives in horror; Macbeth realizes that even all the waters of the ocean cannot wash away the blood from his hands. There is no such a thing as a natural (real)purification for them. (For the Christian Baptism or Purification, see p. 102. It washes away the original sin but not the real-world consequences of that sin, namely death, disease, toiling, and child-bearing suffering. It does not restore the lost paradise. Ah! The actuality of those undesirable conditions was accounted for or explained by the human sin! The explanation was false -- in a world of men who had no conception of truth. Truthfulness/Verum, Beauty, and Justice are Greek inventions of the Age of Men. Anyway, in the Christian Era, the Greeks forgot even how to reason about causes with the conditional syllogism.)

[4]

--- Kathairo^ [= Katharizo^] = I purge, deterge, clean; in an extended sense or metaphorically: = I purify; I expiate [I suffer for a fault committed, thereby purging myself].
--- Katharmo`s = purgation, purification; expiation.
--- Katharmon daimonos thesthai = to propitiate or placate a deity.
--- Katharos [= Latin Castus] = chaste, pure, clean.
--- Katharmo`s = (also) purification (as the lowest step of the initiation into the Eleusinian Mysteries, whereby one becomes chaste). [In the Christian religion, there is the confession of one's sins, which are absolved, washed away by so saying on the priest's part. Just as the priest, a minister of God, makes things disappear, the Elohim or Gods of Genesis-1 made things appear by saying so: "Fiat Lux"/"Light Be!" and light appeared. That's pure magic.] (In the Age of the Gods or in the World of Dreams, things can appear out of nowhere and disappear into nowhere. Coming-into-being and annihilation are supplanted by the "World of Chronos (Time)"-Becoming that Anaximander and Heraclitus spoke of, while Parmenides showed that it is impossible for there to be a being's beginning out of, or an end into, nothing.)
--- Katharsis = purgation, purification; expiation.

[5]

--- Agios [Aghios] = holy, pure, sacred.
--- Agiazo^ = I make or render someone or something: holy (pious, upright, divine-like), hence I sanctify; pure (uncontaminated, righteous, pristine), hence I purify; sacred (to be held in awe, not handleable or usable, infused with divine effusions or grace), hence I consecrate; and: I offer something [holy, pure, or sacred] in sacrifice.
--- Agiasmos = sanctification, purification, consecration [= sanctification].
--- Agiasma [-atos] = a sacred thing; a sanctuary.
--- Agizo^ = I consecrate, dedicate, sacrify, immolate.
--- Agisteia = sacred [holy] rite, ceremony, mystery.
--- Agisteuo^ = I practice a divine cult.

[6]

--- Iero`s / Hiero`s = sacred, holy; consecrated to a god; "divine." [All the IER- words should have an initial H, an aspiration, in the transliteration.]
--- Iereuo^ [= ireuo^] = I immolate, I offer a sacrifice (to a god); I slaughter (an animal for a solemn banquet).
--- Ieron [= iereion] = victim; sacrifice.
Iereus [= ireus] = Lat. Sacerdos = priest, sacrificer. Feminine: Ierea (Iereia, Iere^). [Thus, with anything ieros, sacred, sacerdotal [ieratikos], etc., we are in the realm of religion and religious cult, not of Mysteries or Sacred Rites.]
Ierourgia (= irougia) = the sacrifice, the religious cult. (The cult did not consist of a priestly homily or of a person's adoring prostration before a god. Aromatic sacrifices were offered, but sometimes, as Empedocles points out, singing was done to the gods, or beautiful things were offered, in order to seduce them. The Greek gods appreciated beauty, not Hebrew sanctimonious self-debasement or submission ["islam"]. / "Men create gods after their own image, not only with regard to their form but with regard to their mode of life," as Aristotle said.
--- Ierologeo^ = I speak of sacred things; I bless nuptials. (Orpheus sang of the gods.)
--- Ierophante^s = (Greek or Egyptian Hight priest or Master of religion) Shower of sacred things (the Books of Phtah or Wisdom, etc.)
--- Ieraomai = I am a [I live as] priest (or priestess).
--- Ierateuo^ = I perform the priestly functions.
--- Ieroo^ = I consecrate (e.g., the victim to be sacrificed, by means of ablutions, pourings, aromas, etc.; or a person by unction (Khrisma). [There are also funerary ablutions and unctions.]
--- Latreia = [Lat. Litus] service or cult to a god.
--- Leitourgia = religious service, religious rite, liturgy; sacrifice.
--- Kathiereuo^ (= iereuo^) = I immolate; I slaughter.
--- Kathieroo^ = I consecrate.

[7]

--- Apotheio^ (= Apotheoo^) = I make (one) a god; I deify [something a god can do].
--- Apotheo^sis = deification, divinization, apotheosis.

[8]

--- Ektheoo^ = I consecrate (as the verb has been translated).
--- Ektheo^sis = consecration; apotheosis (as the noun has been translated).

It should be obvious that Ektheosis does not mean what the words "consecration" and "apotheosis" mean in Greek. The term is not an unnecessary synonym of the two translating words. Besides, Consecration and Apotheosis are drastically different in meaning and cannot translate Ektheosis. So, what does this word mean? EKTHEOO^ = ek-theo-(o^). The noun Theos (= god) is used as a verb, analogously to "human" ---> not "to humanize" but, like "to incubate", "to humanate: to become/grow human." The prefix, ek-, means "forth" as in Ex-thema (= ex-position, being put forth). So, Ektheoo^ = "I dei-ate (thei-ate) forth, I emerge (I am born) as a god." (They could have said "ektheomai".) EKTHO^SIS is the process of turning into and emerging as a god, whereas Apotheosis is the causal process of turning someone into a god. Thus, when bread in the Eleusinian rite is consecrated, it emerges [praeternaturally] as the body of the divine Kore. When wine is consecrated in the Dionysian Rite or in the Mass ["Eucharistia/Thankgiving Rite" or "Prosphora/Offering Rite/], it turns into the blood of the divine Dionysus. The change or becoming has been called trans-substantiation by Christian theologians, that is, becoming a different substance while the bread and the wine retain their natural appearences. Ektheosis is the older and proper word for the mystical metamorphosis or acquisition of a divine (immortal) nature, without losing one's own nature. [In the case of Christ, the theologians speak of the "hypostatic union" -- underlying or substantial unity -- of two natures, one human and the other divine, as if a thing's nature were an entity rather than its form or character. Christ is a god-man, the uni-fication of the Johannine Logos or Divine Word and the human Jesus. Speaking of the divine Word, the Creed says, "et homo factus est: and he became a man". There is the term "humanatur", which corresponds to *"anthropetai" for "he becomes a man." So, "ektheoo^" can be translated into Latin as "divinor". / Wake up: Ektheosis is a praeternatural occurrence, conceived as occurring, not a natural/real occurrence. And the "hypostatic union of opposite natures" is a contradiction in terms, an impossibility.] The Christ of the Last Supper induces the transformation of bread and wine by verbal assertion, "This is my body, ..." Gods or their vicars make things happen by straining their will or word-magic!

[Word magic is done by Neolithic man because of the fact that words can produce real effects on people. The mention of a word can stir emotions in others. Tones of voice, or the melodic inflections of the voice, can constitute commands, pleadings, chidings, soothings, and so forth -- wherefore, as Vico said, the early men sang their words. And finally words can reveal, can make one know something. Words -- what is said -- are conceived as being powerful, causative. Imagine what the words of a god can accomplish! "Word magic" = Thaumatourghia, miracle-working. Miracle-workers allegedly can cure the blind and revive the dead, but they never cause perceptible effects such as the re-growth of a head or an arm which had been lost and destroyed; their acts are praeternatural. The word-magicians who create never create anything that could perceptibly, I say, affect other things or be affected by other things, namey a real substance (as defined by Plato), rather than a dream-object. An age-of-the god man, or a child, does not distinguish the dream-world from the real-world. His world is one, fabulous and soffused with divine power, lived in when we are awake or asleep. Jesus preached his thaumaturgic exploits, but he complained that he was not believed by his listeners, whereup his brother told me to go to Jerusalem for the Passover and do in front of the crowds what he said he pertformed, but Jesus walked away and always kept on demanding faith in him!]

It should have been clear that when I was talking about Christ, I had entered into the second Age of the Gods, which is the Age of Christianity, from the 1st to the 13th century of Our Lord Jesus the Christ. [Here comes a summary of many investigations.] The Gods, in this Age, are the El/Yah Creator, the Heraclitian cosmic Logos (adopted AND Personified by John the Evangelist) who took on a human nature (whereas the Scriptural Jesus was generated by Yah without becoming part of the offspring), and the Spirit which makes things alive and is the magnet toward which all things tend. The three gods are hyperstatically united and are, therefore, called a Trinity of persons. In the beginning was the Logos, and the Logos was God, and nothing was created that was not created through the Logos, for he is the divine Mind that possesses the archetypes of all things which Yah the sculptor makes. Christ will be the judge of the dead, who will be revived at the end of time. The humans will be made immortal, whether in hell or in heaven. As an Essene, this apocalyptic Jesus advocated the renunciation of the world and the communism of possessions. However, this god-man is also the Greek mysteric Dionysus, who provides mystic immortality and, like Dionysus, he is the Pauline Soter (Saviour) of mankind through his suffering and death on a cross, rather than the scriptural son of Joseph son of David, executed as "Jesus of Nazareth King of the Judaeans." He is the unknown god to whom the Athenians had dedicated a monument. / We made ourselves a new god or god-man, a composite of the Essenic (apocalyptic, world renouncing) Jesus, the Judaean royal Nazarene whose god was El, the rabbinical Son of Adam who identified himself with the Scriptural messiah (Christ, Anointed One) for the originally sinful men, the Heraclitian Logos, and the Dionysiac mystic Priest and Saviour. Through his vicars, preachers, and political-military imposers of the baptism in Jesus Christ, he paralyzed Homo Faber/Excogitans, thus ushering a Dark Age for Europe. In the Middle Ages, this Age-of-the-Gods man [a Christian] was called coelicola (cultivator of heaven) in contradistinction to agricola (cultivator of the field -- and all things terrestrial). How appropriately!

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CONCERNING THE LOGOS, which was spoken of by Heraclitus of Ephesus, the Stoics, and John of Ephesus the Evangelist.

If you pay attention to the Logos, you will know that all things are one. Thus Heraclitus at the end of his investigations.

Let us start talking from experiences. There are groups of pebbles, of stars, of atoms, of cells, of chambers, of instruments, of behaving people, of roads, and the like. In a group, those things are either isolated (unrelated to each other) or associated (related to each other). So, we can talk about their associations or relationships.

If a road opens into another, a trivium is formed so that a person can walk from one road to another. The two roads are organized or integrated, unified. There are no such things as disorganized roads, since non-organized roads are simply isolated, independent individuals. Ten pebbles can be arranged in innumerable ways, but there is always the possibility that their configuration resembles a human face, just as moving clouds occasional result in a cloud that looks like a man (or, as I have witnessed, a resurrected Christ painted during the Renaissance). But arrangements are mechanical dispositions of particles, nor organizations of particles. If one mixes water and oil in a jar, there is a mixture, not an organization of particles, but after a while, all the particles of oil move as a group to a different level from the level of the water. In this case there is an organizational process, albeit of the simplest kind.

The circulatory system of an animal is a constitutional organization of particles. If what grew (what was formed) was a heart and arteries only, then there would be no circulatory system and the heart, which pumps blood, would be a useless growth, since it would not be pumping anything; it would not be called a heart. Now then, the system can be said to be an organization (of parts) precisely because of the operational function that the associated parts can perform. There is no such a thing as a disorganized circulatory system. A circulatory system is formed, is something that grows (as part of an animal's growth); growths that do not result in a circulatory system are not "faulty" growths -- on account of their incapacity to make blood circulate. The system that we call a "water molecule" results from the interaction of two specific particles (atoms); it does not result by chance from the combination of any two particles. There are no wrong molecule-systems. What are the chances for mixed oxygen and nitrogen to yield water? 0%. And for oxygen and hydrogen? 100% but under certain temperature conditions. Nothing happens by chance or at random, but according to the constitutional necessitating forces and conditions of the particles. What are the chances for atoms to come together and result in an eye? None, because the organicity of the eye molecules is not due to the charges or forces of atoms that resulted into the molecules in question, or to the mixing of the molecules in a glass jar. (The probabilistic thinking of pebble mixtures or dice casts does not apply here -- something that the creationists have never learned. They always think of the organicity of already made structures, as if they began to exist fully formed.)

If we consider two organizations or systems, namely an automobile mechanism and an animal organism, we see that the parts which are connected in order to result in a mechanism were independently produced by humans; an organism is the outcome of something (a "seed") that gave rise to its parts. In one case, the systematicity is extrinsecus (from outside; imposed); in the other, it is intrinsecus (from within; emerging from the seed's constitutional causes). [The task of philosophy, said Telesio, is to know things juxta propria principia (according to their own principles or inherent causes). In this he is with Aristotle or the Age of Men or Dynamic Substances.]

Functionally efficient organization or organicity or systematicity has been called "cosmos," in contradistinction to chaos (the mixture of isolated particles). So, for example, a god was confronted by a chaos and he separated the waters from the dry land, and so forth. (Unfortunately water and earth did not separate themselves in the way water and oil do; a god was needed to bring order in a chaotic world which has never existed, except in the human imagination.) That god operates like an engineer who assembles things whereby an automobile is produced, or a mason who has the idea of a house and uses available things to build it.

If we think of the intrinsically actualized organicity of "living" things, actualized intrinsically in a developing seed, the organicity can be called Logos. A living thing or a human being in particular has been called a microcosm, a small cosmos. "Cosmos" is the name or an organized whole/individual; "Logos" is the name of the organicity of whatever is organic. More specifically, "logos" names the organicity in fieri, the organicity that is in the making as an organism develops, or the formation of the associated parts of an organism. Thus logos is the physical organismic process and as such it is an activity, a force-full process. (The energetic growing or physis is also the energetic forming of an organism, the logos.)

Clearly, logos is not an entity or a powerful substance that, from the outside, imposes organicity or order. But it is the fate of human language to utter substantives (names of substances) and verbs. The pre-philosophical language did not have verbal nouns (or they were taken as substantives) and was not made for speaking of Physis, Developing, Becoming, Process, Dynamis or Intrinsic Power, in a world where only the gods were the agents, the authors of world occurrances and the makers of things to be what they are. (That's why philosophers struggle to speak.) Thus, John of Ephesus transformed the Heraclitian Logos into a god, the divine engineer or "essentiator" of natural substances. After all, the same Yah that had ordered the world was also the sculptor of man: Organicity was imposed and energy or life was breathed into the statue. The Johannine Logos was later described as haing the archetypes or the Platonic Eide according to which the diverse things of the world were made, for so did Magna-Graecian Timaeus' Demiourgos operate. [Aristotle had to struggle with the theory that things are what they are because of an Eidos (such as Dogness or Manness) being present in or pressed on matter. He saw that like comes from like and veered toward the idea of a genetic inheritance of this or that nature. What is the genesis of a such-and-such thing qua such-and-such? That's the issue that he was tackling.]

A process or sequence of events can be said to be "coherent," since "organic" alludes to structure. But the events of a temporal sequence may be isolates, as in the case of human deeds. My drinking water and then my speaking are isolated events. My picking of a glass full of water and my drinking of the water are semantically related or coherent deeds or events. Coherence, Organicity, Cosmicity, and the like can be called Logos. Events which are coherently successive can be called Logical Events. A coherent discourse (body of sentences) is a logical discourse. But when we deal with language [semio-phonetic or signo-sonoric in nature], something can happen: A discourse may seem to be, may sound, coherent, but, because of equivocations or other "fallacies," it is actually incoherent, irrational. A truly coherent discourse = a logical or rational discourse. So, discoursive or mental rationality is also called Logos. Coherent reasonings are also called logical reasonings. And just as the cosmic Logos was coinceived as a god, so the mental logos has also been conceived as the Mind itself or Reason (conceived as a substance), or even as "the god in us".

A piece of polyphonic music, a progression of sounds, can be said to be organic or harmonic, if it keeps on complying with the norms of harmony. The movements of a freely falling body are systemic, if they are according to a constant pattern (which is then called a law of nature), such as Galileo discovered. Or, "if you keep on twisting my arm, it will break," as a Stoic said to his master. In stating what will or must happen [as a consequence of a certain action -- not by Fate], he stated, by way of an example, a law of nature. (Laws are formulations of undisruptible systematicy or rationality, or of the way something must happen. It is only because of them that some predictions can be made about some particular events at a "here and now.") The Stoics maintained that moral laws or norms are natural laws -- formulations of the ways in which one must behave, for nature's laws are of the necessary behaviors of things in Nature. Actually it is the civil laws that must be obeyed: they are obligatory. The Stoics equivocated, since social necessity, legal obligation, is quite different from physical necessity. A "natural moral law" would be the formulation of a way in which one necessarily behaves or acts toward others, not of a way in which one ought to behave.)

Human behaviour can also be either systemic (coherent) or incoherent, since there is a relationship between something physical and something intentional, such as the performance of a physical act for the sake of fulfilling an end or purpose in view. I act rationally when I drink water in order to quench my thirst (since it has been discovered that water is a thirst-quencher). I rationally pull an apple from a tree in order to have and eat it. I act irrationally when I perform a dance in order to get rain from the sky. Automatic behavior can be irrational, too, as when I want to hit an approaching tennis ball but the arm misses the ball; the brain was not capable of integrating the perceptual data and the desired motor activities. Birds can jump from branch to branch with high precision, thus fulfilling their unverbalized urge to be in different places. Prospects or intentions are formed in all organisms that have a sensory apparatus and limbs. The human ability to act non-automatically (deliberately) is called "(free) choosing." That means that the cerebral Integrating Mechanism can utilize also previous experiences, consequences of deeds, and desires other than urges. (The freedom of choice is not a freedom from the necessitating forces of nature. It is a situational freedom. By providing some animals with pain following certain acts, they can be trained to forego their urges. Males who are attacked by other males to keep them off their mates may choose to either fight to the death or to go away. They make free choices. What they actually do is not the result of gravitational, mechanical, chemical, or physical undulation forces. An animal has memory and takes an initiative; he -- the brain -- is a subject of action, whether conscious or not. A conscious subject is called a "self" or person. Consciousness is the self-sensitivity of the nervous system, as Telesio and Campanella pointed out in other words. [That remind me: "I and the Father are one," that is, "I am the consciousness of the Begetting Sky." The Greek always put words in Scriptural Jesus' mouth!])

By describing organisms in different words, we can say that the constructs are constitutionally coherent or rational or logical -- provided that we do not imply "mental" or "non-physical" in nature. Their rational formation/growth has been called "intelligent design [architectural plan]" in order inject a god, a divine designer or architect, or the Johannine Logos, into the world. The non-intelligently designed Defensores Fidei (Protectors of the Faith) use wrong words to acturately name or describe the factual and evident logos of a thing or of the universe. They commit the Fallacy of Confused Sub-positings, which needs explanation, as I use the terminology of old analysis of suppositio.

A cubic brick has a form, which is called "cube." A cube that is conceived or drawn on paper (which may may serve as the blueprint for constructing a cubic brick) is conceptual, eidetic, envisioned. Any intelligent person knows the difference between the contour of a brick and an envisioned cube, but the loose language we commonly use confuses some people. In "This brick is a cube," the word Cube supposits personally [it refers to a perceptible contour of the object]; in "I am going to draw a cube," the word Cube supposits formally [it refers to an envisioned unperceptible shape]. In "Cube has four letters," the word "cube" supposits materially [it refers to the word itself]. Now, in making the first two statements, we univocate: we call different-status things by one name, but some speakers or hearers have the impression and believe that it is one and the same thing that is being named or spoken of. "Cubes are drawn or designed [drawn and destined as models for constructions]. This rock block is a cube. Therefore, this rock block was designed (to be cubic)." Radio-waves were never designed by humans so that somebody could build them. There were no archetypes whereby a Divine Sculptor could build or create them. In all the ancient creation stories, only bodies are created. The concept of physical undulations is quite recent and, anyway, when we deal with undulations, the whole idea of construction plans and archetypes is useless, since the waves are not the result of moulding bodies. One cannot make or create sound or light; they are emanated as by humans and struck bodies or by burning objects respectively, and they neither stay in place, like rocks, or generate things of their own kind, or result from physical (chemical) becomings [like the becoming of wood into smoke and ashes]. (If sounds or lights arose out of nothing, they would be magically created things, but there is no evidence that either bodies or waves ever arise out of nothing.) They are the kinds of things that can be said to be "created" in the artistic sense, in the sense that bodies emanate, give off, them [or God does, in neoplatonic theory] and that they are novel sorts of things, as the diverse modulations of the voice in one's own lifetime and of radio-broadcasts attest. [Speaking of the real world, to MAKING, GENERATING, EXCRETING or emitting, and YIELDING or giving rise to something like smoke from wood, let us add EMANATING.]

The objects that the imaginary Divine Creators created -- or that he isolated from chaos -- were the objects which were known to men and prophets, such as animals that fly, beasts of burden, light (the luminosity of daytime), the stars, sheep, fishes, plants (whereby the first generation of humans was occupied with shepherding and farming), water, dry land, and the like. At least the Greek Cosmic Genesis that starts with Ouranos and Gaia, not other-worldy gods, did not prescribe the kinds of things that will exist and did not preclude things from being SUBJECTS generative, non-generative, moving or non-moving, emanative (of voice or other undulatory forces), hot or cold, and inventive [of tools, houses, agriculture, radio-broadcasting apparatuses, and computers]. Actually humans were expected to be like the gods -- productive, inventive, effusive, and like the gods, they knew good and evil. Greek theologic thinking was the only theology in the world that made possible the rise of philosophy and modern science. Theology or the doctrines of the old religion was the "philosophy [physics, ethics, etc.] of the Age of the Gods," poetic/fabulous rather than intellectual/investigative, as Vico discovered and expounded.

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In the first Age of the Gods, it was Olympian and Chthonic gods and lesser deities (daemons or spirits) that made things happen in the world. Before agriculture, human agency or authorship in the world was very limited in width as well as in depth (as in the making of stone tools and wicker baskets). But the world had also things with some divine power/virtue, as they could be either noxious or curative of men. It was not until Hippokrates of Kos (460-370) that divine forces were relinguished as the explanatory causes of sickness and of healing. (By relinguishing all DIVINE FORCES, Anaximander of Miletos became the founder of Physics, Hippocrates of Medicine, and Herodotus of Halicarnassus of Universal History, where humans are the doers and the conceivers and speakers [Sociology, Political History, Ethnology, etc.]. The Iliad and the Bible contain Theologized Heroic Chronicles, not Histories.) The Age of Men started with the Homo Faber agency in agriculture, masonry, metallurgy, and the arts and the crafts (pottery, clothing, etc.); and continued with Homo Excogitans. In the first course of human history, the initial Age-of-Men excogitators or ideologers were the three aforementioned persons, and Euclid for good measure. Thousands (but still a tiny fraction of their contemporaneous human population) emerged afterwards.

The Age of Men (or Humanistic Age) is also counterposed to the Age of Heroes (or Lords: Warlords, Kings, Arkho^ns/Emperors). A humanistic society, a society of avid human protagonists, reject and banish lords and, therefore, the lordly rules or laws. A human society is thus an-Archic (without lordly rule). When Rome (founded by sons of very ancient Greeks, as Latin attests) and Athens became anarchic, certainly some people asked themselves, What are the right, correct, ways of behaving toward the other citizens, of doing things in society? In Rome there were people considered wise in what is right, and they were appointed to make decisions, to judge [ju-dic(are)], as to what to do or not to do. So, there began a development of jurisprudence (the Science of Right -- De Jure Romanorum), which determined what is right or not in a free (non-dominated, non-lord-ruled) society or Republic. In Athens, it was occasional sages that provided general laws of social behavior and Plato, for instance, is deeply concerned with formulating the constitutional laws for a free (non-dominated, non-lord-subdued) society or Politeia. (In a republic, the "government" is not legislative; it is administrative and defensive of the common-weal, the res publica, and only as such it occasionally requires to make decrees that impose duties on the citizenry.)

My objective here was the bringing out of the fact that in free societies a distinction was made between laws which proceed from a lord's will, namely arbitrary rules, and laws which proceed from human reason. To be sure, they felt, the lordly laws are man-made laws; the laws that state what is in itself right or wrong, are natural or divine laws. They could be called "objective" laws, but some Greeks thought of a divine legislator making correct laws, whereas the Stoics, aware of the Heraclitian cosmic Logos (the principle of Order that eschews Chaos), assimilated moral/behavioral laws to physical laws. (One's own logos is the human Reason, which makes the Stoics akin to the Roman jurisprudents.)

The Greek theistic distinction started with two ordinary concepts which are found in a phrase by Plato, "Ane^r osios kai dikaios": "A man pious and just." Piety was understood basically as the cordial respect one has for one's parents or the elders and the gods. Justice (Diakaiosyne^) is what is due to others (such as the payment to soldiers, in another Platonic phrase). The same holds for the Roman definition of justice as rendering to each his own [unicuique suum]. Aristotle will amplify this concept in terms of equality and of proportionality -- which I took up in formulating an Aristotelian-Vichian economics (Equitarian Economics) that pertains to the Age of Men as trading makers or doers. http://www.xanga.com/AmedeoAmendola

Then suddenly we find that "osios" can also mean "complying with divine law." Thus Osia = [1] divine or "natural" law, or [2] what one is entitled to, in contradistinction to man-made ("positive") law. This contraposition is different from the contraposition between lordly or arbitrary law and freedom-based rational law (which is as man-made as the other). So, for the Greeks, "objective" law has a transcendent status or source, wherefore legislating turns out to be a supernatural activity. {In Hebrew theology, this supernatural legislating is squarely put in terms of Yahweh, the divine lord ["Yahweh elohim"], as the maker of laws (for the Israelites), which Moses and other prophets merely promulgated.}

The late meanings of the Greek OSIA correspond exactly to the meanings of the Latin FAS, whereas What Is Right (objective rightness) is called JUS, which is articulated by human minds as the Roman juris-prudentia (the Wisdom or science of What Is Right). Jus supersedes Fas, even though Jus [< Jous] was originally the name of a god (invoked as Jove or Yahweh or Iakkhe). With Osia, Fas, or Yawveh, human law-making, whether arbitrary or rational, is esoterically transposed to a supernatural level; with Jus, divine lordly law-making is superseded by the human rational authorship. [Vico beautifully develops the theme that true knowledge and proprietorship are based on human authorship -- doing and making, not divine revelation or heroic/military appropriation respectively.]

Jurisprudence belongs to the first Age of Men, specifically from 510 B.C. until the destruction of the Republic (with its Jus Civium as well as the Jus Gentium -- il Diritto dei Cittadini e il Diritto dei Popoli) in the battle on the Milvian Bridge in Rome in 312 A.D., when the Italian Maxentius was defeated by Costantinus, not to the Age of the Gods or of the Heroes. [Upon thinking of "sciences" or intellectual disciplines, Cicero remarked that the Greeks have philosophy while we, Romans, have jurisprudence. He himself was a learner of philosophy, a Stoic, and a jurisprudent.] Today, still in the second Humanistic Age, there is no longer any republic, since all governments are lordly legislators. However, corrections and additions could be made in the corpus of the Roman Jurisprudence, because I have discovered the principle whereby correct resolutions or judgments can be inferred as to what to do or not to do in any social situation. That principle, which needs a lengthy explicitation, is the very freedom (social condition of "an-archy" or non-domination BY and OF others) which the citizens of a republic had secured for themselves and are determined to uphold among themselves. (Civic Piety is a citizen's due respect of the freedom of the other citizens, which makes freedom ["not being dominated"] the right or entitlement of every citizen.)

"Libertas - Justitia" was the wonderful but short-lived motto or definition of the U. S. American republic, now a tyranny.

"Libertas - Justitia" (1783) US silver dollar

http://community-2.webtv.net/westernminds/COINSOFTHEREPUBLICS/

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From Wikipedia, the free encyclopedia -- corrected here

The pileus particularly identifies the Dioscuri (here on a late-Antique colossal statue on the Campidoglio, Rome.

The pileus (plural, pilei), also pilleus or pilleum, was, in Ancient Greece, where it was the pileos, and in Rome, a brimless, felt cap. The pilidion or pilleolus was a smaller cap, similar to a skullcap.*** It was especially associated with the manumission of slaves [war-prisoners] who wore it upon their liberation. The pileus became emblematic, especially popular in the 18th and 19th centuries (when it was often called a "liberty cap" or Phrygian cap), of liberty and freedom from bondage, appearing on statuary and on heraldic devices.

History

In Ancient Rome, a slave was freed by a master in a ceremony that included placing the pileus on the former slave’s shaved head. This was a form of extra-legal manumission (the manumissio minus justa) considered less legally sound than manumission in a court of law.

One 19th century dictionary of classical antiquity states:

Among the Romans the cap of felt was the emblem of liberty. When a slave obtained his freedom he had his head shaved, and wore instead of his hair an undyed pileus (πίλεον λευκόν, Diodorus Siculus Exc. Leg. 22 p. 625, ed. Wess.; Plaut. Amphit. I.1.306; Persius, V.82). Hence the phrase servos ad pileum vocare is a summons to liberty, by which slaves were frequently called upon to take up arms with a promise of liberty (Liv. XXIV.32). The figure of Liberty on some of the coins of Antoninus Pius, struck A.D. 145, holds this cap in the right hand.^[1]

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*** The origin of the Hebrew skullcap, yamaka (employed in the services to Yahweh), is shrouded in mystery. I propose that it is what the Greeks called a pilidion (tiny cap). The skullcap is dome-shaped to fit the pole of the head [where the hair grows helically]. To wear this dome is to impersonate the Sky, the [Greek Agricultural Era] divine Sky that in the beginning fathered all things, and, therefore, it is most sacred/priestly (hieratic). / In some etymological exercusion I looked into the priestly tonsure. Out of the Hebrew custom, the "calotta" (skullcap) is worn by the Vicar of Christ (not exactly The Father) in solemn religious functions (services). / To note that Yahweh is often addressed as The Father (generator, begetter) rather than as the constructing creator described in Genesis-2. As the latter, he is addressed as The Lord -- the owner and governor of the world. (The divine provider and protector of Israel is El, since the covenant was made with Him.)

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One of the Dioscuri at Locri Epizephiri (a free city-state). They are said to have assisted Locri in preserving its freedom.

Una delle statue dei Dioscuri esposte al museo di Reggio.

Here are the Dioscuri [Dioskouroi: Zeus' Youngsters] on the Capitoline Hill, the acropolis, of Rome (near where the temple of Juppiter and Minerva [Zeus & Athena] used to stand, later replaced by a santuary to the black [Arab-colored Aramaean] mother of Jesus). [I have seen the painting of the Mother and Child inside that church; she has a literally black face. There are a few similar paintings in Europe. "Very dark" was also called "black" in the Biblical Song of Songs, where the shepherdess says, "I am black."]

Unfortunately the Dioscuri (on his coin below) did not come to the assistance of Maxentius, defender of the Freedom of the Roman world. Constantine beheld the Cross in a dream and, under its aegis, defeated Maxentius. ( He dreamed that "in hoc signo vinces" -- with this emblem, you will win.) That sealed the end of civic freedom. The Cross, which has the shape of a sword, had become the subduer of freedom. Henceforth, the Christian cult was primarily the Cult of Christ the King (the son of Joseph, a descendant of King David), at least until the "new religion" of Francis of Assisi in the 13th century in Italy. The military Crusaders and the Templars in particular will define themselves as the soldiers of Christ (milites Christi), as in the Templar seal with the inscription, "SIGILLUM MILITUM CHRISTI." Christian kings who militarily maintained the Catholic religion were officially called Defensores Fidei (Protectors of the Faith, that is, of the dogmas of the Catholic Church).

Imp(erator) Maxentius Aug(ustus)

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De Angelis Gariani Gatto Grandinetti Guerrisi Jerace F Jerace G

Jerace V La Monaca Martelli Mazzia Migliaccio Milanese Monteleone

Morani Petruolo Pugliese Enotrio Renda Rito Roscitano Salfi

Santoro FR Santoro R Talarico Tano Tarallo Yaria

Mimmo Rotella, pop artist [symbolist] from Catanzaro

http://www.artnet.com/artist/628473/mimmo-rotella.html

Mimmo Rotella
Les Grandes Vedettes
2004
Opera Gallery

Mimmo Rotella
Grand Cirque Trapeziste
2004
Opera Gallery

Mimmo Rotella
Le Cirque Pinder
Opera Gallery

Mimmo Rotella
Amar
Opera Gallery

Mimmo Rotella
Marylin
1979
RoGallery.com

Mimmo Rotella
The Look
1979
RoGallery.com

Mimmo Rotella
Hello
1979
RoGallery.com

Mimmo Rotella
Lolita
2004
Opera Gallery

Mimmo Rotella
Marilyn
1998
Opera Gallery

Mimmo Rotella
La main de la Liberté (The Hand of Freedom)
1991
Kass/Meridian

Mimmo Rotella
Fetish
1999
Galerie Ernst Hilger

Mimmo Rotella
Hommage á Fellini
1997
Galerie Ernst Hilger

Mimmo Rotella
Chiquita
1979
RoGallery.com

Mimmo Rotella
Pepsi
1979
RoGallery.com

page:

of 4 (go to)

Francesco Perri, composer, maestro, music critic

http://www.myspace.com/francescoperri1

Site of painter Antonio Petrolo, from Riace (RC)

http://www.antoniopetrolo.it

Artist Giovanni Longo, from Locri (RC)

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BABELE ARTE
World Artist

Altre opere di Giovanni Longo

Alto, fragile
sculpture on wood, h:cm 124
Giovanni Longo - 2005

subject: objects

Pinax from Locri Epizephiri

Allard Pierson Museum/ To enlarge this Pinax, go to p. 21 below. The round gift which is being carried is an artifact, not an apple [which used to be given for a new bride to eat and make kissing sweeter]. The sack she is carrying may have fruits in it -- amulets for the bride's fertility.

Image of a different pinax we looked at earlier:

GREEK AND ROMAN ART

http://www.GreekAndRomanArt.artvibrations.com

Tell a friend about this web page

Page 21

______________________________

ALLARD PIERSON MUSEUM

Permanent collections
The museum is displaying original antiquities and other objects as one of the sources of Western tradition to put the present in a culture-historical perspective by means of insight in and understanding of the past.


	Works of Art

		Curatorial Departments

		Greek and Roman Art

New Greek and Roman Galleries Now Open
The final phase of the reinstallation of the Metropolitan's unparalleled collection of Greek and Roman art is now complete. These stunning new galleries house more than 5,300 objects, some of which have not been on view in decades.

Collection Highlights
View selected highlights from the permanent collection.

Gallery Location in Museum
Find out where the galleries are located.

Introduction to Greek and Roman Art
Read about the curatorial department and its permanent collection.

Publications
Purchase selected titles in The Met Store.
View Met publications currently in print in the Publications Catalogue.

Features and Exhibitions
Link to resources related to the Metropolitan's permanent collection and special exhibitions, including the Timeline of Art History.

The Met Store
Browse a trove of Greek and Roman art reproductions—from jewelry and scarves to sculpture and books.

My Met Gallery
Gather your favorite works of art from the Museum's online collection.

Calendar
View a selection of lectures, films, and special events related to Greek and Roman art.

ETRUSCAN ARCHEOLOGICAL SITES

http://www.spazioinwind.libero.it/popoli_antichi/Roma-villagiulia.html

romanitas.net:

http://www.flickr.com/groups/romanitasdotnet/

Campanian Roman House:

http://www.vroma.org/~bmcmanus.house.html

Sources: David Sear (2000). Greek Coins and Their Values: Volume 1 - Europe. Seaby publications.
Magna Grecia coins online at http://www.bio.vu.nl/home/vwielink/WWW_MGC/homeFrameless.htm
Klawans (1995). Ancient Greek & Roman Coins. Golden Books Publishing.

_____________________

Nov. 7, 2008

CELEBRATIONS OF "THE FOURTH OF NOVEMBER" IN ITALY TO COMMEMORATE THE ITALIAN VICTORY IN THE FIRST WORLD WAR. (My maternal grandfather participated in that war. Some other Longobardesi lost their lives in that war for the completion of the independence of Italy.)

Italia in guerra

Il 4 novembre, il giorno della Vittoria

Con un'offensiva iniziata il 24 ottobre del 1918 , ad un anno esatto dal disastro di Caporetto, l'esercito italiano vince la prima guerra mondiale.

L'armistizio firmato a villa Giusti, presso Padova, il giorno 3 da Pietro Badoglio e dal generale austriaco, Victor Weber von Webenau fissa infatti alle ore 15 del giorno 4 novembre la cessazione delle ostilità.

Commemorazione 4 novembre 2008 a Longobardi

http://www.comune.longobardi.cs.it/
> Commemorazione

As this YouTube shows, there are still people in Longobardi (of the province of Cosenza) -- officially about 2300 in the whole commune.

__________________________________

Il Canto degli Italiani

From Wikipedia, the free encyclopedia

[Green additions by me, the weblog writer.]

Il Canto degli Italiani
English: The Song of the Italians Goffredo Mameli, author of the text of the Italian national anthem.
National Anthem of	Italy
Also known as	Inno di Mameli English: Mameli's Hymn Fratelli d'Italia English: Brothers of Italy
Lyrics	Goffredo Mameli, 1847
Music	Michele Novaro, 1847
Adopted	October 12, 1946 (de facto) November 17, 2005 (de jure)
Inno di Mameli (Instrumental) Problems listening to the file? See media help.

Michele Novaro, composer of the music

Il Canto degli Italiani (The Song of the Italians) is the Italian national anthem. It is best known among Italians as Inno di Mameli (Mameli's Hymn) and often referred to as Fratelli d'Italia (Brothers of Italy), from its opening line.

The words were written in the autumn of 1847 in Genoa, by the then 20-year-old student and patriot Goffredo Mameli, in a climate of popular struggle for unification and independence of Italy which foreshadowed the war against Austria.

Two months later, they were set to music in Turin by another Genoese, Michele Novaro. The hymn enjoyed widespread popularity throughout the period of the Risorgimento and in the following decades.

After unification (1861) the adopted national anthem was the Marcia Reale, the Royal March (or Fanfara Reale), official hymn of the royal house of Savoy composed in 1831 to order of Carlo Alberto di Savoia. The Marcia Reale remained the Italian national anthem until the birth of the republic.

Giuseppe Verdi, in his Inno delle Nazioni (Hymn of the Nations), composed for the London International Exhibition of 1862, chose Il Canto degli Italiani – and not the Marcia Reale – to represent Italy, putting it beside God Save the Queen and the Marseillaise.

In 1946 Italy became a republic, and on October 12, 1946 Il Canto degli Italiani was provisionally chosen as the country's new national anthem. This choice was officialized in law only on November 17, 2005, almost 60 years later.

[]

[] History

The first manuscript of the poem [2], preserved at the Istituto Mazziniano in Genoa, appears in a personal copybook of the poet, where he collected notes, thoughts and other writings. Of uncertain dating, the manuscript reveals anxiety and inspiration at the same time. The poet begins with È sorta dal feretro (It's risen from the bier) then seems to change his mind: leaves some room, begins a new paragraph and writes "Evviva l'Italia, l'Italia s'è desta" (Hurray Italy, Italy has awakened). Handwriting appears nervy and frenetic, with the numerous spelling errors, among which "Ilia" for "Italia" and "Ballilla" for "Balilla".

The last strophe is deleted by the author, to the point of being barely readable. It was dedicated to Italian women: [It was deleted probably because the last verse does not cohere with the third verse; it is an isolated thought. This thought is not verbally so articulated as to cohere with what was said before. The discourse is not logical. What Mameli probably wanted to say is, "They (flags and cockades) make souls gallant and invite them to love ("the native soil," the Fatherland)." However, the exigencies of the versification resulted in an anacoluthon -- which is permissible in poetry. But that "invitation of love" without a stated object of love is ambiguous; a listener might think that by weaving flags, the girls are inviting others to love them. On the other hand, the delision may have been made because, while the men declare "we are ready to die," the girls are being invited to weave flags [which sounds like a patronizing request], rather than being declared as weaving them,... as if there were the need to make such a declaration. So, the whole strophe is rotten and may as well be eliminated, and it was.]

Italian

Tessete o fanciulle

bandiere e coccarde

fan l'alme gagliarde

l'invito d'amor

English

Weave o maidens

flags and cockades

make souls gallant

the invitation of love

[My phrasing of the strophe:]

Weave, O maidens,

flags and cockades.

They make souls gallant,

the [or: an] invitation of love.

The second manuscript is the copy that Mameli sent to Novaro for setting it to music. It shows a much steadier handwriting, fixes misspellings and has a significant modification: the incipit is "Fratelli d'Italia". This copy is in Museo del Risorgimento in Turin.

The hymn was also printed on leaflets in Genoa, by the printing office Casamara. The Istituto Mazziniano has a copy of these, with hand annotations by Mameli himself. This sheet, subsequent to the two manuscripts, lacks the last strophe ("Son giunchi che piegano...") for fear of censorship. These leaflets were to be distributed on the December 10 demonstration, in Genoa.

December 10, 1847 was a historical day for Italy: the demonstration was officially dedicated to the 101st anniversary of the popular rebellion which led to the expulsion of the Austrian powers from the city; in fact it was an excuse to protest against foreign occupations in Italy and induce Carlo Alberto to embrace the Italian cause of liberty. In this occasion the tricolor flag was shown and the Mameli's hymn was publicly sung for the first time.

After December 10 the hymn spread all over the Italian peninsula, brought by the same patriots that participated to the Genoa demonstration.

[] Lyrics

This is the complete text of the original poem written by Goffredo Mameli; however the Italian anthem, as performed in every official occasion, is composed of the first stanza, sung twice, and the chorus, then ends with a loud "Sì!" ("Yes!"). The rest of the poem refers to relevant episodes of the Italian struggle for unification and independence.

Italian lyrics

Fratelli d'Italia,

l'Italia s'è desta,

dell'elmo di Scipio

s'è cinta la testa.

Dov'è la Vittoria?

Le porga la chioma,

ché schiava di Roma

Iddio la creò.

CORO:

Stringiamci a coorte,

siam pronti alla morte.

Siam pronti alla morte,

l'Italia chiamò.

Stringiamci a coorte,

siam pronti alla morte.

Siam pronti alla morte,

l'Italia chiamò!

Noi fummo da secoli^[1]

calpesti, derisi,

perché non siam popolo,

perché siam divisi.

Raccolgaci un'unica

bandiera, una speme:

di fonderci insieme

già l'ora suonò.

CORO

Uniamoci, amiamoci,

l'unione e l'amore

rivelano ai popoli

le vie del Signore.

Giuriamo far libero

il suolo natio:

uniti, per Dio,

chi vincer ci può?

CORO

Dall'Alpi a Sicilia

Dovunque è Legnano,

Ogn'uom di Ferruccio

Ha il core, ha la mano,

I bimbi d'Italia

Si chiaman Balilla,

Il suon d'ogni squilla

I Vespri suonò.

CORO

Son giunchi che piegano

Le spade vendute:

Già l'Aquila d'Austria

Le penne ha perdute.

Il sangue d'Italia,

Il sangue Polacco,

Bevé, col cosacco,

Ma il cor le bruciò.

CORO

English translation

Brothers of Italy,

Italy has awoken,

with Scipio's helmet

binding her head.

Where is Victory?

Let her bow down,^[2]

For God has made her

Rome's slave.

CHORUS:

Let us join in a cohort,

We are ready to die.^[3]

We are ready to die,

Italy has called.

Let us join in a cohort,

We are ready to die.

We are ready to die,

Italy has called!

We were for centuries

Downtrodden and derided,

because we are not one people,

because we are divided.

Let one flag, one hope

gather us all.

The hour has struck

for us to join together.

CHORUS

Let us unite and love one another,

Union and love

Show the people

The way of the Lord.

Let us swear to free

Our native soil;

United under God,

Who can defeat us?

CHORUS

From the Alps to Sicily,

Legnano is everywhere;

Every man has the heart

and hand of Ferruccio

The children of Italy

Are all called Balilla;

Every trumpet blast

sounds the Vespers.

CHORUS

Mercenary swords,

they're feeble reeds.

The Austrian eagle

Has already lost its plumes.

The blood of Italy

and the Polish blood

It drank, along with the Cossack,

But it burned its heart.

CHORUS

[] Notes

^ A different tense may be found: Noi siamo da secoli, "We have been for centuries".
^ Le porga la chioma literally translates as "Let her offer her locks to [Italy]", a possible reference to the ancient custom of slaves cutting their hair short as a sign of servitude. (See [1])
^ Siam pronti alla morte may be understood both as an indicative ("We are ready to die") and as an imperative ("Let us be ready to die").

[] Audio

Listen to the Italian national anthem

Longobardese's Xanga

107. Vocaboli Longobardesi

Folla

106. Word-Magic and Other Actions / More Southern Italian Art

La Settimana Santa a Cagliari

Artista: BEATRICE FEO (Palermo, 1968)"pop baroque" paiting[symbolist painter]

letto di clochard

Agnello di Dio (2006)

MELITA ROTONDO (Napoli, 1950)(ambientalist)

105. Natural and Praeternatural Deeds / Art Bits (Calabrese, Greek, Roman, Etruscan)

From Wikipedia, the free encyclopedia -- corrected here

dai volumi: Enzo Le Pera "Arte di Calabria tra Otto e Novecento", Rubbettino"La Calabria e l'Arte, Dizionario degli Artisti Calabresi dell'Ottocento e del Novecento", Gazzetta del Sud

Albano Alfano Amato Augimeri Baglioni Barca Barillà Bava Benassai

Boccioni Cannata Capizzano Caridi Cefaly Cefaly j. Colao Cosenza

De Angelis Gariani Gatto Grandinetti Guerrisi Jerace F Jerace G

Jerace V La Monaca Martelli Mazzia Migliaccio Milanese Monteleone

Morani Petruolo Pugliese Enotrio Renda Rito Roscitano Salfi

Santoro FR Santoro R Talarico Tano Tarallo Yaria

Sources: David Sear (2000). Greek Coins and Their Values: Volume 1 - Europe. Seaby publications.Magna Grecia coins online at http://www.bio.vu.nl/home/vwielink/WWW_MGC/homeFrameless.htm Klawans (1995). Ancient Greek & Roman Coins. Golden Books Publishing.

Commemorazione 4 novembre 2008 a Longobardi

Il Canto degli Italiani

From Wikipedia, the free encyclopedia

Contents

[] History

[] Lyrics

[] Notes

[] Audio

Artista: BEATRICE FEO (Palermo, 1968)
"pop baroque" paiting
[symbolist painter]

MELITA ROTONDO (Napoli, 1950)
(ambientalist)

dai volumi: Enzo Le Pera "Arte di Calabria tra Otto e Novecento", Rubbettino
"La Calabria e l'Arte, Dizionario degli Artisti Calabresi dell'Ottocento e del Novecento", Gazzetta del Sud

Sources: David Sear (2000). Greek Coins and Their Values: Volume 1 - Europe. Seaby publications.
Magna Grecia coins online at http://www.bio.vu.nl/home/vwielink/WWW_MGC/homeFrameless.htm
Klawans (1995). Ancient Greek & Roman Coins. Golden Books Publishing.