Lascaux 14 – more miscellanea, still more on the Bible / © 2017 Franz Gnaedinger
a language of symbols (L.H.O.O.Q / Large Glass and Green Box / ready made) // from sunrise to sunrise (Ionic alphabet mirroring a special day) / Zabur and Mizmor (young David) / Mari (a word on Magdalenian etymology) / poles of logic / “What does it mean?” (Bob Dylan on Homer’s Odyssey) / fable of Skopje (3 parts) / is 'round' a basic word? (no) / human condition (two perspectives) / origin of psalms (a double formula) / deep etymology of Rudolf Gerolf Adolf (hypothetical) / word tree and web logic (beyond the comparative method) / light and luck (an emphatic bridge) / BIR meaning fur (once again) / fable of Uruk (update involving Arabic) / tohuwabohu (maybe once the heavenly house of Jahwe)
a language of symbols (part 1 – L.H.O.O.Q)
Marcel Duchamp famously infamously added a moustache and goatee to a postcard of the Mona Lisa, and, at the bottom, the letters L.H.O.O.Q. Pronounce them in French and you get an obscene phrase: Elle a chaud au cul.
Pronounce them in English and you get LOOK. The very fine ends of the moustache point exactly to the centers of her pupils. If you look into her eyes (into the left eye, seen from us the right eye in the center of the circle of her head) you can't see the corners of her mouth clearly anymore, they go over into the shadows of the corners and cheeks, shifting a little to the sides and upward, the straight line of her mouth becomes an arc – Mona Lisa smiles, and if you smile yourself you can see her most beautiful smile, her loving smile ...
Marcel Duchamp used a language of symbols. Air is a symbol of spirit, and warmth a symbol of liveliness. Let us read the five letters in a spirited way, by adding air, and we obtain this sentence: Elle a chaud oculaire – she appears lively via her eyes.
The real joke about the seemingly iconoclastic joke of Marcel Duchamp is that he provided the first real interpretation of the Mona Lisa as an allegory of seeing.
(part 2 – Large Glass and Green Box)
Hypothesis from 1974/75. Marcel Duchamp discovered the meaning of the Mona Lisa painting as an allegory of seeing, wondered why nobody else did, and made the general incomprehension the topic of his Large Glass and Green Box.
LA MARIEE MISE A NU / PAR SES CELIBATAIRES / MEME / MARCEL DUCHAMP
Mona Lisa vue par ses spectateurs m’aime, sourit à moi, Léonard de Vinci
The bride stripped bare by her bachelors, even, Marcel Duchamp
Mona Lisa seen by her viewers loves me, smiles at me, Leonardo da Vinci
The painting, destined for the general public, is only understood by the artist.
La mariée, the bride in the upper panel --- Mona Lisa, the painting, also the Large Glass itself
as a hanged one --- the Mona Lisa painting hangs in the Louvre
shadow of a shadow --- the painting is the colorful ‘shadow’ of a woman, and the bride of the Large Glass an anatomical-mechanical ‘shadow’ of Leonardo’s painting (anatomy and mechanics having been among Leonardo's fields of interest)
Milky Way --- emanations of the Mona Lisa in the mind of the public
three sieves --- her facial expression depending on and responding to our changing mood (when we patiently look into her eyes on subsequent days and weeks)
ses célibataires, her bachelors in the lower panel --- her viewers
nine uniforms --- their various professions
lightning gas filling them — their professional formations
plane of uniforms --- language
sled --- human mind
right parallelepiped --- conscious mind
runners — unconscious mind
lead weights --- our needs an wishes, rising, then falling ‘heels
over head’ when satisfied and fulfilled, making the sled move
chocolate grinder --- body, organism
rollers --- organs
one dimension --- seeing, thinking
two dimensions --- language, also a picture (visual language)
three dimensions --- body, reality
four dimensions — eros, art
rotations --- organic (inner) life
movements --- activities
3 and 9 --- all and every
straight and round --- are like thinking and feeling
stoppages étalon, standard stoppages, threads one meter long each, held outstretched in a height of one meter, then let fallen, forming different lines on the floor --- we all, equal unequal
water --- life
chocolate --- organic matter
solid matter --- existence
metals and ceramics --- human existence
glass --- work of art (pictures filling a mirror or a window pane)
air and illuminating gas --- spirit (ruach pneuma spiritus)
tobacco --- stimulating (but please don’t begin smoking)
perfume --- seductive
warmth --- liveliness
right side --- what happens when we look at a painting, the Mona Lisa panting, or the Large Glass
boxing match --- initial problem of getting into the picture via empathy
water drops --- our life we project into the picture, getting quiet, waking up the woman to a meditative half-life
sculpture of drops --- the various interpretations
their aim --- the meaning of the picture
eye witnesses --- Leonardo da Vinci, Marcel Duchamp, we in their wake
(part 3 – ready made)
Marcel Duchamp is best known for his ready mades. He took anything, placed it into a gallery or a museum, and it became art ... However, this is a popular misunderstanding. The ready mades convey meaning in the context of Marcel Duchamp's language of symbols and not as objects per se. Consider for example the Bottle Rack or Bottle Dryer, a metal rack on which empty washed bottles were stuck for drying. Metal symbolizes the human existence, glass a work of art, water life - the Bottle Dryer is Marcel Duchamp's inverse representation of a museum where pictures hang, drying, losing their life, withering away ...
Interpreting the ready mades in Duchamp's language of symbols can reveal irony but also bitter comments on a society depriving large parts of the population from a satisfying life.
He himself found satisfaction in art – in art as a form of life. Why did he move to Buenos Aires? The name of that metropole means Good Airs, promising inspiration.
Keep the symbols in mind and make your own discovery.
from sunrise to sunrise (Ionic alphabet mirroring a special day)
Milet on the Ionian coast of Anatolia was the home of important mathematicians, astronomers, and natural philosophers. Imagine that one of them developed the Ionic alphabet some 2,700 years ago, 24 letters that also had numerical values, from Alpha = 1 via via Thaeta = 8 and Pi = 16 to Omega = 24, and that he tried to synchronize the 24 letters with the 24 hours of a special day, summer solstice, June 21 in our calendar, 24 hours from June 21 at 4 o'clock to June 22 at 4 o'clock
June 21, early morning, 4 o'clock, beginning of hour 1, hour Alpha (a)
June 21, midday, 12 o'clock, end of hour 8, hour Thaeta (th)
June 21, evening, 20 o'clock, end of hour 16, hour Pi (p)
June 22, early morning, 4 o'clock, end of hour 24, hour Omega (long o)
June 21, early morning, 4 o'clock, beginning of hour 1 or hour Alpha: just before dawn, bright Aldebaran hovers above the eastern horizon, main star in Taurus 'Bull', from TOR for bull in motion. Aleph then Alpha represented the head of an ox (that can still be seen when you turn our A upside down). This might originally have been a reference to Aldebaran, and to Baal as golden sun calf rising from the tree of life in the morning. The Minoan Baal was later identified with Zeus. Aldebaran and the Pleiads were the Golden Gate of Babylonian astronomy, passed by sun and moon and planets.
June 21, midday, 12 o'clock, end of hour 8 or hour Thaeta: now the sun reaches the highest point in the sky, not only the one of the day but also of the year. In some cases the Thaeta was given as a tiny circle with a central dot, which also was the hieroglyph of the supreme Egyptian god Ra who manifested himself in the solar disc. In most other cases, the early Thaeta was a tiny circle with an inscribed cross, together known as ringcross, according to my studies the emblem of the supreme sky and weather god. TYR means to overcome in the double sense of rule and give, emphatic Middle Helladic Sseyr (Phaistos Disc, Derk Ohlenroth) Doric Sseus (Wilhlem Larfeld) Homeric Zeus. PAS means everywhere (in a plain), here, south and north of me, east and west of me, in all five places, wherefrom Greek pas pan 'all, every' and pente penta- 'five'. TYR PAS named the supreme sky and weather god who overcame everybody everywhere in weather and time that rule our lives but are also given to us so that we make the best of them. TYR PAS would have been visualized by the ringcross of the Bronze Age. A strongly polished version became French temps 'weather, time', TYR PAS English time and PAS TYR English weather. Greek theos 'god' begins with a Thaeta and derived from DhAG meaning able, good in the sense of able. Zeus was a most able one, supreme god in the Greek pantheon.
June 21, evening, 20 o'clock, end of hour 16 or hour Pi: the sun disappeared below the western horizon. One version of the early Pi that survived in the classical Greek alphabet can be seen as a high narrow gate, so the setting sun passed an imaginary gate in disappearing. Pi from periphaeres 'circular, round' wherefrom English periphery named the circumference and then also the number of the circle, here the circle of the 24 hours that were mirrored in the Ionic alphabet of 24 letters.
June 22, early morning, end of hour 24 or hour Omega: in the archaic alphabet from Thera, 7th century BC, the long o was given as a circle with a central dot, hieroglyph of Ra in Egypt, whereupon the Omega, apparently invented in Milet, evokes the solar disc rising from the horizon, and the lower case the solar disc on the horns of Hathor, Egyptian goddess in her emanation of the heavenly cow (especially on an Egyptian standard). The wife of Zeus had been cow-eyed Hera, descendant of the Divine Hind from Altamira who called life into existence, also moon bulls, thus creating time, lunations or synodic months, periods of 30 29 30 29 30 29 30 29 30 29 30 ... days. As Divine Hind Woman she appeared in Orion below Aldebaran where the moon bulls waited to go on their heavenly mission, while the sun passes the Golden Gate framed by Aldebaran and the Pleiads.
From Alpha to Omega, from dawn to dawn, from sunrise to sunrise, while the letters of the Ionic alphabet allowed to tell what happens in a day, and from day to day ... Is it a coincidence that the Iliad and Odyssey have each 24 books?
Now let us consider the numbers 1 8 16 24. As beginning of hour 1 (early morning on the summer solstice) and end of hour 8 (midday) and end of hour 16 (later evening) and end of hour 24 (early morning again) they divide a cycle of 24 hours into 8 plus 8 plus 8 hours. Another arrangement of the same numbers makes them grow beyond a day in a pattern that can be prolonged
1 = 1 x 1
1 + 8 = 3 x 3
1 + 8 + 16 = 5 x 5
1 + 8 + 16 + 24 = 7 x 7
We have then a circular movement in the hours of a day mirrored in the Ionic alphabet, and a linear one in a sequence of days and in a written text …
As for the early morning of the summer solstice, also the glorious rotunda of Lascaux represents that moment of the year, the red mare rising above the ledge symbolizing the midsummer sun rising above the horizon, and the proud white bull by her side a full moon occurring at the same time, ideal start of an eight-year period in the lunisolar calendar of Lascaux.
Zabur and Mizmor (young David)
Zabur for a book, especially a book of psalms, might go back to SAI BIR, life SAI fur BIR, Greek zao 'I live' and byrsa 'hide, fur, leather'. BIR also named a well as fur place where fur and leather bags were filled with water, consider Hebrew beer 'well'. A book may be regarded as a well of information, wisdom, and a book of psalms as a well of spiritual life. Greek psallein 'to pluck, pluck a harp, sing a psalm' accounts for English psalm. Young David, by then a shepard, plucked his harp for king Saul and thus "refreshed" him, gave him back the spiritual life Saul had lost.
How we love music, and what power it has.
Mizmor could perhaps go back to MmOS AMA REO, offspring MmOS mother AMA river REO
MmOS Miz AMA REO MA Ri Mo R
and name a Son of the Mother (goddess) of Rivers, a Son of Mari, or Sons and Daughters of Mari, short for a collection of psalms by one or several scribes from Mari that may have inspired David and other authors of the Bible (dvd David, from DA PAD, away from DA activity of feet PAD, delivered from the paw of the Egyptian lion, delivered from the paw of the Hittite bear, delivered from the ‘paw’ of the Philistine giant Goliath).
Mari, modern Tell Hariri on the western bank of the Euphrates River in Syria, close to the border with Iraq, was a wealthy city state (until devastated by Hammurabi). An important trading route led from Mari via Tadmor (Palmyra), Damascus and Palestine to the Red Sea. Mari was famous, also for her singers and musicians and scribes, among them women. Singers and musicians from Mari traveled far, even some 350 kilometers to Ebla. One might look for traces of the hypothetical anthology of psalms in the written legacy of Mari – 20,000 inscribed clay tablets, only one fourth of them published (in 1990).
Cyrus H. Gordon makes a connection between Mari and the Bible. Mural paintings from the days of Hammurabi (c.1704-1662 BC) show a goddess (also known from seals) in her flauncing dress that is covered with scallops of many colors - "This may be the type of formal robe that Jacob gave his son Joseph: the 'coat of many colours'" (Cyrus H. Gordon, Adventures in the Nearest East, Phoenix London 1957). I haven't seen the murals (nor a seal in a sufficiently large reproduction) so I can't say whether the woman represents a river goddess. But a sculpture does!
A 140 cm high statue of a standing woman holding before her womb a vase out of which flew water, actual water from a hidden source in the base, her robe falling in waves from her waist along her legs where the cloth is decorated with vertical wavy lines (old photographs indicate fine colored grooves) – that statue was found in the royal palace and may be the river goddess AMA REO who named Mari ... As for Jacob, he is known for his well, and Joseph interpreted Pharaoh's river dreams and thus helped Egypt survive a famine of seven years.
If a lost anthology of psalms by a Son of Mari, or by Sons and Daughters of Mari inspired David and other authors of the Bible, then the middle part of David's first psalm, 1:3, could have been quoted from the lost source: "And he (the godly one) shall be like a tree planted by the rivers of water, that bringeth forth his fruit in his season; his leaf shall also not wither (Hebrew fade); and whatsoever he doeth will prosper."
Did joung David find himself in those lines he may have heard from a traveler? and hope that his own songs may not fade? Imagine him playing a lyra, maybe accompanying the glittering wavelets of a small river somewhere in the hills of Gibea ...
PS 'David' may have been a collective name for the hill dwellers who were spared from the metaphorical paw of the Egyptian lion, Hittite bear, and Philistine giant. A statue from Mari shows the singer Ur-Nanshe with feminine features (maybe an eunuch) playing a (missing) lyra; an inlay a smiling woman wearing a cylinder seal, emblem of a scribe. The peculiar headgear of the river goddess from Mari (excavation André Parrot) evokes a turtle, the beads on her neck turtle eggs; the turtle according to Marija Gimbutas an emanation of the life-giving goddess.
REO named rivers like the Rha Volga, Rhenus Rhine, Rhodanus Rhone. The ancient peoples were closer than one might believe, still embedded in a slowly melting common stratum of the Ice Age.
Mari (a word on Magdalenian etymology)
Magdalenian etymologies are multi-dimensional and rely for a good part on visual language. (A simple hunch is not enough.) They go along with the physiology of speaking
SAI BIR zabur MmOS AMA REO mizmor
Proncounce a compound silently, over and over (going through all the motions but without giving voice), and check whether you can approach the word in question. If you pronounce the compound normally, giving voice, it is kept stable, but when you do it silently, the compound is de-coupled from the phonetical system, and now can shift, either slowly (gradually), or it remains stable for a while and then shifts abruptly (called punctuation in biological evolution). (From my experiments of meanwhile a dozen years I conclude that words are fixed to their place within what I call the verbal morphospace by the phonetical system, an outward impetus absorbed by mild oscillations; a hypothesis which might one day be testable neurologically.)
Furthermore, Magdalenian etymologies can only satisfy if they are coherent and make sense. Dubbing a book of psalms a well of spiritual life, and naming it as work by sons and daughters of Mari, town of the mother goddess of rivers, not only pleases my sense for metaphors but also widens the avenue of research: more possible connections between Mari and the Bible in the making.
poles of logic
For my 21st birthday I got a book on the philosophy of quantum physics. A footnote said that the basic formula of mathematics p = p (or was it q = q ?) has not yet been examined. So I went for it. A couple of years later I found this answer. The formula a = a is the ideal of technology: things are the same (one brick like the other) and remain unchanged (neither cracking in the summer heat nor soaking in the rain). Whereas in life and the real world no things are absolutely identical, and nothing remains unchanged forever. An apple is an apple, but one apple may be small and red, another big and yellow, and what if the apple is eaten? Then I found Goethe's formula 'All is equal, all unequal ...' (Wilhelm Meisters Wanderjahre, Aus Makariens Archiv, originally planned for the center of the novel; also in Maximen und Reflexionen). Goethe applied his 'ever turning key' to the metamorphoses of plants and animals, and when interpreting a work of art (essay Heidelberg). The same formula was known as contraposto in statues, and is all-deciding in Shakespeare (alter ego of Edward de Vere).
What about Galileo who famously wrote that the book of nature is written in the language of mathematics? Well, we deciphered only the first lines on the first page of the first volume on the first shelf in the first hall of the divine library.
Goedel is hard to follow, yet in the light of the two 'poles' of logic we can render his basic insights in a simple manner: mathematical logic can't really be separated from the other side of logic. Mathematicians wring ever more theorems from the equal side of the infinite, which, equal unequal in itself, marks the logical 'equator'. Goedel shocked the mathematical community of his time, yet in hindsight he freed mathematics from the rigor mortis axiomaticus: we can't derive all theorems and proofs from a given set of axioms, instead we need ever more ideas, new ideas that make mathematics bloom like never before.
“What does it mean?” (Bob Dylan on Homer’s Odyssey)
Fifty years ago we read long passages of Homer’s Odyssey in the original Greek. I loved the language, and the dramatic arrival of the hero on the shore of the Phaeacians, followed by an idyllic morning (end of book 5 and beginning of book 6). But what does it all mean? And now Bob Dylan asks the same question in his Nobel speech.
A first clue came from Eberhard Zangger in the early 1990s. He interprets Odysseus’ arrival in the land of the Phaeacians as a time travel to an early Troy. When Odysseus hears the blind singer Daemodokos ‘Teacher of People’ tell (or prophesy) the fall of Troy, he realizes where he is and what a lovely place he destroyed (or will destroy in the time perspective of the Phaeacians), and can’t help weeping. Then he falls in a deep sleep and his carried home in a swift ship that starts like a stallion.
From here I took over. Odysseus returns home and sleeps on the Argivian shore. (Ithaca would have been an old name of the Peloponnese and especially the Argolis, ITA CA, young bull ITA sky CA, land under the sky of the young Zeus bull, a name surviving in a relatively small island off the Peloponnese; ATI CA Attica, under the sky of the mature Zeus bull.) A long series of dreams brings him back to Troy – Troy in disguise, blended with other places and periods of time. First he meets the one-eyed giant Polyphem ‘Much Famous’ who resembles more a wooded mountain top than a man who eats bread – Homeric symbol of Troy, his one eye the acropolis overlooking the wide river plain, his body downtown Troy VIIa that provided protected shelter for 5,000 to 10,000 people, his den the harbor on the Besik bay, and his goats and sheep foreign ships paying high fees, taxes and tributes. While the Achaean ships are symbolized by horses, their improvised harbor east of where the Simoeis mouthed into the Dardanelles between mosquito infested swamps. And the reason of the Trojan war? tin from Central Asia bound to pass the Dardanelles where the Trojans laid hands on the precious cargo – tin personified by beautiful Helen of the white arms and glittering long robes, abducted by a Trojan prince …
In his final dream Odysseus reaches the Phaeacians, and then he sleeps deeply, arriving home for good. On the next morning Athene, Homeric symbol of the course history takes, obliges him to cope with those who profit from the land without meeting their obligations (suitors of Penelope / Peloponnese).
Most appealing in Dylan is what I call to myself a wild longing. Now I am surprised that he was inspired by three ‘dark’ books: Moby Dick, All Quiet On The Western Front, and the Odyssey. But maybe this goes together? the hope and fears of the 1960s in the wake of the second World War?
My own time found a voice in Bob Dylan.
fable of Skopje (1/3)
Kyklops (Küklops) English Cyclops was a one-eyed giant of Greek mythology, most famous Polyphem in Homer's Odyssey who resembled more a wooded mountain top than a man who eats bread. Polyphem is the Homeric symbol of Troy – Troy in disguise, revisited by Odysseus in a dream: his eye the acropolis of Troy overlooking the wide river plain, his body downtown Troy VIIa that provided protected shelter for 5,000 to 10,000 people, his den the harbor on the Besik bay, his goats and sheep foreign ships obliged to pay high fees and taxes (while the Achaean ships are symbolized by horses, resting in a provisional harbor east of where the Simoeis mouthed into the Dardanelles between mosquito infested swamps (consider the malaria episode in the Iliad).
The name Kyklops overforms CO OC LOP that indicated the organization of an early town: attentive mind CO, right eye OC, enveloping hedge, fence, palisade or wall LOP – in the center the ruler of the focused mind CO surrounded by guards of the open eyes OC along the palisade or cyclopic wall LOP ...
CO OC LOP also accounts for Proto-Indo-European *kwekwlos 'wheel’, for Greek kyklos 'circle, ring, eye, wheel, ringwall' Sanskrit chakra 'wheel' English wheel, in reference to a priest wheeling around an early town on a horse drawn cart, enforcing the palisade or wall with magic spells and incantations.
A longer form of CO OC LOP would have been AS CO OC LOP, the additional AS meaning upward
upward AS to the ruler of the focused mind CO
surrounded by guards of the open eyes OC
along the palisade or cyclopic wall LOP
that envelops a fortified Bronze Age fortress
on top of a hill
A derivative of this compound might have named a hypothetical Bronze Age fortress of the hill of Skopie
AS CO OC LOP S CO P Skopje
Further derivatives are Greek skopia 'elevation, vantage point, (little) hill' and skopeo 'I look out, look around, observe, examine, think about'.
Modern bronze contains five per cent of tin. Mycenaean bronze required up to twelve or even fifteen per cent. However, there is no tin in Greece. Tin came from Central Asia and was bound to pass the Dardanelles where the Trojans laid hands on the precious cargo.
The Greek bards (whose material was later compiled by Homer 1 into the Iliad and by Homer 2 into the Odyssey) personified tin, by then most valuable, as beautiful Helen, her white arms tin ingots, her glittering long robes she made herself the glittering tin ore cassitterite, while her abduction by a Trojan prince symbolizes the confiscation of tin that was destined for the Achaeans – reason of a series of conflicts that finally escalated into what we know as Trojan war.
Those conflicts began in the second millennium BC. The Helladic rulers of the Argolis looked out for an alternative tin trail, and found this one: from the rich tin mines of southwestern Britain via Falera and Olivone in the Swiss Alps to the Adria, and then on the seaway to the Peloponnese and the Argolis.
The mountain of Olivone, overlooking the pasture of Olivone and Valle di Blenio evokes a one-eyed giant when the first sun rays illuminate its top. The big menhir on the pasture of Olivone and the biggest menhir at Falera resemble each other. The hill of Falera is covered in tumbled cyclopic blocks of a small Bronze Age forteress. Among them was found a bronze needle or scepter, the oval plaquette at the top of a long bronze rod decorated with a double ring of bosses, from between 1800 and 1500 BC. The bosses encode a lunisolar calendar, a calendar, the same calendar as the one encoded in the gold lozenge from Bush Barrow near Stonehenge, while the double ring of bosses has a parallel in the double ring of the Stonehenge calendar. Note also that the Archer of Stonehenge came from the Alps. (The calendar topic is too complex to be explained here, but you may consult the pages on Falera, Stonehenge, and Blenio via my homepage)
Also the Bronze Age rulers of the Thessaloniki (Therme) region established an alternative tin trail: from the Ore Mountains in Bohemia via Skopje to the mouthing of the Axios, Macedonian Vardar, and built a cyclopic stronghold on the hill of Skopje that served as caravanserai for the soldiers and mules wandering along the trail.
MUC NOS Mykonos Mycene
bull MUC mind NOS
island and stronghold of those
who follow the mind NOS of the Zeus bull MUC
– the Zeus bull's mind MUC NOS
MUC TON Macedonia
bull MUC to make oneself heard TON
land of those who worship the Zeus bull MUC
who makes himself heard TON
Zeus was the supreme sky and weather god. He made himself heard via rolling thunder, German Donner – close derivatives of TON.
The wealthy and mighty Bronze Age rulers of the Thessaloniki region believed in the Zeus bull who made himself heard. They were called Makedanoi. Being tall and slender they accounted for Greek makednos 'tall, slender' while the meanings 'long, high' refer to rolling thunder heard for a long time high up in the sky ...
Hattusas, capital of the Hittite Empire, was another mighty cyclops: his eye the acropolis Büyükkale 'Great Citadel', his body the fortified village Bogazköy (Bo:azköy) or Bogazkale (Bo:azkale) 'Big Fortress'
CO OC LOP CO LO Ca Le Kale
CO OC LOP CO O CO y Köy
Hattus, original form of Hattusa(s), derives from KOD DhAG, KOD meaning tent or hut, present in many derivatives, among them citadel and city, while DhAG means able, good in the sense of able, naming the mighty rulers but also their pantheon of innumerable deities.
Troy became a vassal of Hattusas between 1290 and 1280 BC. The Hittite Empire was weakened from within around 1200 BC. Polyphem was alone when Odysseus alias Outis 'Nobody' and his men arrived. No neighboring Cyclops helped him. The acropolis of Troy VIIa burned in the summer of 1184 BC. Polyphem was blinded (drastic Homeric symbolism). Thracian tribes destroyed Hattusas in 1180 BC, ending the Hittite Empire.
The alternative tin trails were no longer needed and given up. Later on the Romans built a fortress of their own on the hill of Scupi (Skopje), using the material of the Bronze Age buildings. A couple of centuries later an earthquake destroyed it completely. Hereupon the Turcs built their impressive Kale on the hill of Üsküp (Skopje) that reminds of Hattusas and served as caravanserai in the time of the Ottoman Empire.
is 'round' a basic word? (no)
Magdalenian offers TYR for the one who overcomes in the double sense of rule and give, whence emphatic Middle Helladic Sseyr (Phaistos Disc, Derk Ohlenroth) Doric Sseus (Wilhelm Larfeld) Homeric Zeus, then a title for a lord and finally a generic title for every man, French Sieur monsieur English Sire Sir German Herr. Inverse RYT means spear thrower, archer, Greek rhytaer 'archer, protector'. Picture a group of archers on top of a hill, a ringwall, a tower, shooting arrows in all directions – the arrows flying in radial directions named the radii of a circle and spokes of a Latin rota German Rad 'wheel', Greek rhedae 'wagon of four wheels'. Consider also the arm bone radius turning in the elbow. A rudder prolongs the forearm including radius and the hand. A candle flame radiates light, metaphorical arrows flying in all directions, brightening a room all around. From here we get Latin rotundus French rotonde German Rondell, English round German rund French ronde Italian rondo ronda. Latin radix English root names a metaphorical arrow shooting downward into the soil (consider the botanical shoot, and the upshot in wickerwork). An arrow is basically a rod German Rute, cut for example from a hazel bush. A wound inflicted by a rhytaer 'archer' releases blood that is erythros 'red'. RYT also accounted for German Ritter 'knight' and for the item Ross und Reiter 'horse and rider', originally archers, emphatic Ross a parallel to TYR emphatic Sseyr Sseus Zeus (supreme Greek god, and the horse the emblematic Indo-European animal). The overcomer TYR as riding archer RYT has the say, is the rhaetor 'speaker, politician', German reden 'speak' Rede 'speech' Redner 'speaker' – consider also the Homeric formula of words flying out from the enclosure (fence, wall) of the teeth. Greek rhaethos 'army line, face' names for example the first and second and third ... line of archers, and may also refer to the eyes that send out arrow-like rays of vision (old understanding of the visual process). Finally we have roads on which riders moved along, and wagons rolled on wheels, Latin rotae German Räder for wheels, Greek rhedae for a wagon of four wheels.
The origin of RYT might have been of an onomatopoeic nature: imitating the sound of a rushing arrow and its impact.
Language grew from a small vocabulary via associations and metaphors, and marvellously succeeds in describing ever more of the world.
human condition (two perspectives)
Musicians failed combining pure chords and free modulation. Either we have beautiful soul-touching pure chords but are limited to a few neighboring keys, or we can freely modulate from one to any other key for the disadvantage of slightly impure chords.
Homer 1 of the Iliad said that all is determined by the gods, whereupon Homer 2 of the Odyssey contradicted: we can't hold the gods responsible for everything.
Leonardo da Vinci answered the question of the free or bound will in his wall painting of the Last Supper at Milan. Is Judas guilty? Yes, he betrayed Jesus for thirty coins of silver, and no, for he was a pawn in the divine plan of saving humankind – Jesus died not because of Judas alone but for the sins of us all. The disciples indicate the betrayer, expose and even menace him, as if subconsciously, but they can't push him out of the picture space, for the long table holds him back like a barrier. And there is a double perspective: standing below the painting we look on the table from above.
Are we free in our decisions or is our life determined? We always have to consider both perspectives.
Another double perspective is found in the background of the Mona Lisa painting, allegory of seeing: we look at one lake from the front, and on the other lake from above – which had been pointed out as a symptom of a schizophrenia but is in fact part of the human condition: God alone understands the world as one; for us human beings it breaks apart into at least two contradictory but mutually indispensable perspectives.
Galilei famously wrote that the book of nature is written in the language of mathematics. Well, but we deciphered only the first lines on the first page of the first volume on the first shelf in the first hall of the divine library.
God may understand all of nature in mathematical terms, while for us logic falls apart into mathematics, logic of building and maintaining, techno-logic based on the formula a = a and the wider logic of equal unequal inherent in life and language. Goethe: All is equal, all unequal ...
Trying to merge mathematics and language deprives the former of its power and the latter of its life. Instead of deploring the two perspectives we may consider them poles of creativity, poles that put up the world.
origin of psalms (a double formula)
The origin of psalms might have been Magdalenian double formulae, for example this one
SAI for life, existence
IAS for healing, also health and salvation
KAI for building a good camp
DOM for camp, here an emphatic doubling
About life SAI and health IAS
cares the builder of a good camp KAI,
a camp serving as home DOM
Life can flourish in a good camp, the inhabitants are save, a well chosen sunny place in the vicinity of running water or a spring or a well keeps them healthy.
The first line SAI IAS may account for Hebrew hayah and variants 'exist, I am', Urdu and Persian haya 'life' and Arabic hayaat 'life'. A form of Hebrew hayah is part of the answer God gave Moses in Exodus 3:14
I am that I am
In the light of SAI IAS we get a more informative answer. God is the one providing life and health and salvation. Life and health, all in all, prevail over death and illness.
David, quotes from the psalms 16:11 and 6:2 and 20:5
Thou wilt shew me the path of life
O Lord, heal me
We will rejoice in thy salvation
Turning SAI IAS around we get another line
which, in a shortened form, may have named Isa, better known as Jesus, life and love, healer of people on his mission of saving humankind.
KAI DOM, the second line of the double formula, may have accounted for Chayyim Chaim Haim 'life, alive (and healthy)' via an overforming that would have survived in oral traditions until it was fixed in writing in the Middle Ages
KAI DOM KAI ..M KAI yyM KAyyIM (metathesis) ...
DOM accounts for Greek domos and Latin domus that both mean house, also for German Dom 'cathedral, a big church wherein one can pray for a long life in good health, for salvation and a place in heaven. Full quote of psalm 16:11
Thou wilt shew me the path of life:
in thy presence is fullness of joy;
at thy right hand there are pleasures
While the words got softer, maybe along the line
SAI.IAS KAI.DOM hayah kheyem
the worldly double formula, burgeoning in early psalms, implored help from above, turning the former builder of a good camp into God, a divine presence felt or experienced in life and health and salvation.
deep etymology of Rudolf Gerolf Adolf (hypothetical)
RYT meaning spear thrower, archer, has many derivatives, among them Greek rhytaer 'archer, protector, guard', and a figure of Celtic mythology, Ruadan of the infallible spears. OLP naming the wealth and power concentrated in a fortified settlement (POL polis Bollwerk bulwark) has a derivative in Greek olbos 'luck, blessing, salvation, riches, power'. Together we obtain RYT OLP for someone guarding and defending the wealth and riches concentrated in a fortified settlement, overformed by the later name Rudolf meaning Famous Wolf.
RYT OLP Rudolf has a parallel in GER OLP Gerolf, Ger an old word for spear, also present in GER MAN Germane English German, he holding a spear in his right hand MAN. The former title GER OLP was overformed by the name Gerolf meaning Spear Wolf. What is a spear wolf? maybe the one leading an attack in the sense of spearhead, whereupon the pack follows? By the way, German Rudel 'pack' is a further derivative of RYT.
AD meaning toward is present in Latin ad, and in compounds like ad-cedere accedere, ad-cessus accessus access, ad-count account. AD OLP would have been a title for those who have access to the wealth and power concentrated in a fortified settlement, accounting for German Adel 'nobility'
AD OLP AD OL AD aL Adel, edel
and would later have been overformed by the given name Adolf meaning Noble Wolf.
No consensus has been reached about the origin of Adel. Some propose odel for the possession of a noble family, which others contest. Maybe the above rump form AD OL accounts for both Old High German adal 'nobility' and their possession AD OL odal.
word tree and web logic (beyond the comparative method)
Magdalenian visualizes a word tree with big and medium and small branches, twigs and twiglets, whereas the comparative method looks at thousands of twiglets, each supposed to have a root of its own, which makes it hard to relate words. Latin habere 'have' habent 'they have' and German haben 'have' sie haben 'they have' are incompatible with the sound laws of the comparative method, and so are Greek theos Latin deus, and the six homonyms of *bher-. These and many more unnatural separations are an artifact of the comparative method, of an approach that has a limited range of validity as any other scientific theory outside of mathematics and mathematical logic.
Sound laws are just rules that retrodict main outcomes of sound shifts, and are not the real thing but outward approximations to the neurology and physiology of speaking.
A further problem is that Proto-forms make the silent assumption that recent words had always been single words. Magdalenian reveals that many words and names are polished compounds and even formulae. Proto-forms render them – and Magdalenian words in general – as blurred shadows behind frosted glass.
Fixing them with ever more diacritics doesn't help. Words need breathing space and freedom, so they can come dance along, twist and shake, shift and oscillate. The Magdalenian notation gives them that freedom.
Compounds and formulae, most often double formulae, require more than the model of a word tree: web logic. The human brain contains one hundred billion neurons (one followed by eleven zeroes), each connected with one thousand other neurons. This high degree of complexity corresponds mathematically to a space of twelve dimensions. How many dimensions are needed for the neural web of words? In any case, the tree logic and pioneering web logic of Magdalenian are a step beyond the rather linear logic of the comparative method.
PS Recently I heard that every neuron in the human brain is connected with 100,000 to 200,000 other words,
Which would account for a vrtual space of way more than a dozen dimensions.
(Sound laws that artificially separate related words are not binding for me. The other way round. Magdalenian may eventually widen out understanding of sound shifts and modify the alleged sound laws, make them compatible with the evolutionary model of a word tree and web logic.)
While the comparative method artificially separates related words, it sometimes makes dubious connections when the origin of a word is unknown. German Rudel 'pack' and Rotte 'horde, gang, mob; in earlier centuries relatively small units of a regular army' are not explained. It has been suggested that Rotte might be a derivative of *reup- 'break' and have a cognate in Italian rompere 'break' rotto rotta 'broken' and refer to an army broken up in small fighting groups. However, German zusammenrotten 'gang up,form a mob' indicates the contrary: coming together instead of breaking up.
What is the origin of *reup- 'break' (Mallory and Adams 2006) ? I propose ROP for club, Greek ropalon 'club'. Among the derivatives of ROP *reup- are not only Italian rompere rotta but also German (ver)rotten English rot and rotten (completely broken, no inner structure left). Whereas RYT for spear thrower, archer, accounts for German Rotte, and, via the hunting strategy gleaned from wolves, for German Rudel 'pack'. A memory of that hunting strategy survives in Gerolf 'Spear Wolf' in the sense of spearhead, leader of an attack, German Speerspitze the analogous (collective) military term. In a hunting pack the 'spear' wolf carries out the first bite, whereupon the other wolves close in. A Magdalenian chief hunter applied the all deciding first blow or stab, whereupon the minor hunters closed in for the kill (infered from cave drawings).
The wolf-hunter-soldier connection facilitated the overformings GER OLP Gerolf 'Spear Wolf' and RYT OLP Rudolf 'Famous Wolf' (as explained previously), while the confusion between rotta and Rotte was made easy by a factual affinity: spear throwers could also have armed themselves with clubs. Yet when we trace the words back to Magdalenian there is a clear difference: rotta from ROP *reup-, and Rotte from RYT, a mighty branch of the Indo-European word tree.
The comparative method served linguistics well by recognizing similarities between words of different languages and developing a set of rules that explain them. Now the time has come for the next step: recognizing branches of the Indo-European word tree, instead of being stuck with twiglets, each given a root of its own. I guess the founders of the comparative method would agree, and would love to see their feu sacré being rekindled, and their pioneering spirit revived in a young generation.
I consider Magdalenian a natural expansion of the comparative method: from twiglets to branches of the word tree, and from the linear logic of single words to a web logic involving compounds and formulae. We don't own the truth but we can approach it: by leaving certainties and making a step into the unknown. This may be frightening for some people. For me it is an adventure of the mind, experienced in the safety of my home.
light and luck (an emphatic bridge)
Magdalenian proposes LIC for light and luck. Both meanings are still paired in a Greek word, then they slowly drift apart, but not very far from each other.
Greek has leukos 'shining, bright, blank; clear; white; pale; bringing luck'. Latin has lux 'light, brightness; shine; sunlight, daylight; day; light of celestial bodies; light of life German Lebenslicht, life; eyesight German Augenlicht; light of the mind, clarity; (light of the) public; salvation' / Italian luce and felice / Spanish luz and feliz / French lumière (lux lumen) and felicité 'happiness' // English light and luck / German Licht und Glück, Middle German luc (aphetic form of gelucke) / Dutch licht und geluk / Old Norse ljo:s for light while Richard Fester gave a norse word lykka in the context of luck.
Finnish has loisto 'shine, luster' (LIC lois- lus-), also liekki 'flame' and likka 'girl' – a girl may have been a promise of luck and happiness for a young Finn, while a young Swiss can dub his girlfriend he is madly in love with miini Flamme 'my flame'. Czech has lesk 'shine, luster' and laska 'love'. Turkish has isik (ishik) 'light' and ask (ashk) 'love', maybe softened rump forms of lisik and lask, the latter via Arabic?
As a boy in bed at night I loved the small stripe of light under my door connecting me with the parents who were still up. I loved the candles on the Christmas tree. I love the summer light of the strong reflexes, the sun shining through the gold green canopy of leaves in a beech forest, watching the glittering wavelets in a river with a funny woman by my side. Those were and are forms of luck for me, also moments when I get aware of the luck of being alive.
What relief it must have been for a Magdalenian who got surprised by the night and finally saw the glimmer of the fire marking and protecting the entrance of his cave shelter. What feeling of luck when the sun rose in the morning, when it climbed ever higher in spring, and when midsummer arrived, as represented in the glorious rotunda of Lascaux: the red mare rising above the ledge symbolizing the midsummer sun rising above the horizon, the proud white bull by her side a full moon occurring at the same time, ideal start of an eight-year period in the lunisolar calendar of Lascaux (the flying lances pointing at the horse's head calendar ideograms).
Nowadays that we have electric light midsummer lost its former meaning. By then it was a happy time of warmth and abundance, a period of light and luck. The menhirs at Yeverdon-Clendy in Western Switzerland comprise in my reading a midsummer corridor that once led into the middle of the lake from where the midsummer sun rose, and indicates a midsummer love-in. Midsummer festivals that celebrated light and luck, life and love and fertility might have been common in the ancient world.
BIR meaning fur (once again)
Marija Gimbutas, in her book Civilization of the Goddess, refers to the Greek philosopher Porphyrios (AD c233-c304) who wrote that a newborn was placed on a bear fur, and says that this ancient custom survived in East Slavic regions until the twentieth century, also that in Lithuania a woman giving birth is still called a she-bear. From the Vinca (Vincha) culture we have bear figurines, fifth millennium BC, among them a mother holding her baby between her arms, both wearing bear masks, and a bear woman carrying a pouch for a baby on her back –divine bear mother and nurse implored for fertility, an easy birth, and protection. In England the bear fur was replaced by the bearing cloth in which a child was carried to the church for being baptized (a bearing cloth is mentioned in The Winter's Tale by Edward de Vere alias William Shakespeare). From this we can glean that placing a newborn child on a bear fur had been a ritual act of welcoming a 'bearn' into life. A Christian baptismal basin symbolizes a well, Arabic bir Hebrew beer for a well as place where fur bags BIR were filled with water, in the religious context water of life.
BIR accounts for Greek phero 'to carry' and English to bear, also bear a child and give birth German gebären. Being placed on a bear fur had been the first ritual act in life, BIR English first, Proto-Indo-European *per(h(x))- 'first', or the ritual act number one, Turkish bir 'one'. A bear stamp from Catal (Chatal) Höyük, 6400 BC, shows the animal in the pose of the birth giving goddess.
Among the many derivatives of BIR we find Greek byrsa 'hide, fur, leather' and Arabic farwa 'pelt, fur'. BIR named furry animals, the *werwer 'squirrel', beaver German Biber, boar German Eber, and bear German Bär Dutch beer. British barrow 'hill' and borough and German Burg 'castle on a hill' and Berg 'mountain' compare a mountain ridge to the shape of a lying bear, deriving from BIR RAG, fur BIR spine RAG, Greek rhakos 'back, mountain ridge', Old English rhycg 'spine, crest, ridge' Middle English rigge Dutch rug German Rücken 'back' Bergrücken 'mountain ridge' ragen to look, tower'.
British barrow also named a tumulus, a tomb wherein people were buried, lying on a bier German Bahre, possibly on a bear fur again that should allow an easy passage into a next life. An unfinished statue from the Göbekli Tepe shows a bear guarding a human head between her arm-like forelegs. Ten thousand years ago the mighty triple goddess – fire giver PIR GID and fur giver BIR GID and fertility giver BRI GID – in her bear emanation might have been implored for protection of a barrow and for a next life in the heavenly beyond for a worthy dead buried therein: may he or she be born again among the stars in the sky ...
BIR is the Magdalenian word of the second most derivatives, also shifted ones like Latin pella Old English fell, German Fell and Wolle, English wool then also weave, present in BIR MAN that became something like weave-man then woman, she working on fur BIR with her right hand MAN. A recently discovered Magdalenian camp on the River Seine proves that men worked on stone, women on fur. The dry sound of stone hitting stone might have accounted for DhAG meaning able, the Magdalenian word of the most and most varied derivatives.
My Magdalenian approach to early language relies on half a century of studies of the ancient world. I would never dare bypass the legacy of early times. In fact I began developing Magdalenian as a tool for making that legacy speak again.
How can we hope to one day not only receive but also decipher signals from an extra-terrestrial civilization when we don't even understand the messages left by our ancient forebears?
fable of Uruk (update involving Arabic, part 1)
AAR RAA NOS had been the sky god of the Göbekli Tepe, he of air AAR and light RAA with a mind NOS of his own, visualized ex negative by the big limestone ring ouranos.JPG
Some 9,500 years ago two NOS AAR RAA tribes left the region of the Göbekli Tepe – they who follow the mind NOS of the one composed of air AAR and light RAA. One of the two Noah tribes wandered the Euphrates upward and settled in the Armenian plain north of the Ararat, mountain of the sky god as (sun) archer RYT, in the Armenian Bronze Age Tir, from TYR as the one who overcomes in the double sense of rule and give, Araman and the Armenians from AAR RAA MAN, they who carry out the will of the god with their right hand MAN, the god of the Ararat known as Ilu, from ) or L for the one who has the say.
The other NOS AAR RAA Noah tribe wandered the Euphrates downward and settled in a region they called AAR RAA CA Uruk, watched over by the one of air AAR and light RAA in the sky CA. They lived in tents: a ring of smaller tents KOD surrounding a group of larger tents KOS for the patriarch ABA and his family and the ministers, among them priests, healers, astronomers.
KOD meaning tent or hut has a comparative form in KOS while ABA means father.
Then it came to pass that a charismatic leader decided to build a more permanent village of reed huts and reed houses according to the same KOD KOS ABA formula. KOD and KOS have many derivatives, also in Arabic. Here I focus on derivatives of KOS ABA (using a simplified notation, velarizations and darkening of vowels omitted). KOS ABA qasaba 'old town, watch tower, keep, citadel', Maghrebinian qasba 'citadel', qasab 'reed, also gold and silver threads', qassa 'cut', qasaba 'carve meat', qassaba 'interlace with gold and silver threads, also carve stone', a variant of qasab 'tube, reed, reed pipes, metropolis, and a measure of length (3.55 meters)', furthermore hasaba 'calculate' – and if the abacus was an Arabic invention (as reported and suggested by Iamblichus and Radulph of Laon) it was named for ABA KOS that became Greek abax and Latin abacus.
From the above words and meanings we can get an idea of how the building of the reed village was announced. The patriarch, wearing a beautiful coat adorned with hammered gold and silver, accompanied by musicians blowing reed pipes, cut a first bushel of reed stalks with a ceremonial flint knife, then placed the foundation stone in the center of the future village, marking the position of the largest reed house, and finally, when people got hungry, gave order to carve the roasting meat ...
Such may have been the foundation ceremony of early Uruk as a reed village. Later on it was replaced by a stone citadel, Uruk of the cattle enclosure in the Gilgamesh epic, Erech and the (southern Noah's) ark in the Bible. NOS AAR RAA was shortened to Anu or just An. The ziggurat of the sky god An(u) at Uruk belongs to the district of Kullaba, an assimilation to KOS ABA, from CA ) ABA or CA L ABA – in the sky CA has the say ) or L the (heavenly) father ABA.
(part 2, an early 'Silicon Valley')
The An Ziggurat in the Kullaba district of Uruk was the first building of that kind. A neighbor of Uruk, sometimes equated with Uruk, was the kingdom of Kulaba (one la:m only). A Sumerian cuneiform inscription on an Old Babylonian clay tablet ascribes the invention of writing to the king of Uruk-Kulaba who wrote a letter to the mythological king of Aratta, where precious materials were imported from (Art of the First Cities, Metropolitan Museum of Art, Yale University Press 2003). The king addresses the goddess Inanna as a sister, implores her to make the king of Aratta prepare gold, silver, lapis lazuli and electrum for him, but his words are too much for the messenger, so the king of Kulaba writes them on a clay tablet
O sister mine, make Aratta, for Uruk's sake,
Skillfully work gold and silver for me!
(Make them cut for me) translucent lapis lazuli in blocks,
(Make them prepare for me) electrum and translucent lapis lazuli.
This speech was long and difficult to understand;
The messenger's mouth was too heavy and he could not repeat it.
Because the messenger's mouth was too heavy and he could not repeat it,
The king of Kulaba formed some clay.
Before that time the inscribing of words on clay (tablets) did not exist;
But now, in the sun of that day, it was indeed so (established)--
The king of Kulaba had inscribed words as if on a tablet,
it was indeed so (established)!
And thus writing was invented "in the sun of that day" (lovely expression).
Remember the KOD KOS ABA formula of early Uruk. KOD and KOS have many derivatives, also Arabic ones. KOS ABA has Arabic derivatives from qasabah 'citadel' to hasaba 'calculate' (simplified notations), maybe also ABA KOS abax abacus. And KOD ABA might have an Arabic derivative in kataba 'write' ...
Uruk probably named Iraq. It was a pioneer and might be dubbed an early equivalent of the Silicon Valley in our time, in the sun of our day.
tohuwabohu (maybe once the heavenly house of Jahwe)
A double formula named the supreme sky and weather god
ShA PAD TYR AS CA
DhAG PAD TYR AS CA
and a short version thereof Jahwe
the ruler ShA in the sky CA,
the able one DhAG in the sky CA
ShA.CA DhAG.CA Jahwe YHWH 10 5 6 5
The tetragram YHWH of the numbers 10 5 6 5 was encoded in the mercy seat on the ark of the covenant in the veiled holy of holies in the temple of Solomon on the mount of Jerusalem (unit 7 fingerbreadths or ¼ of a royal cubit or 13.125 centimeters)
length of mercy seat 10 units
wings of one cherub 5 units
width of mercy seat 6 units
wings of other cherub 5 units
Now there might have been a parallel to the Jahwe formula and tetragram
activity of hands DAB in the sky CA
activity of feet PAD in the sky CA
This formula would have named the heavenly house wherein Jahwe had been active and moved around. DAP CA might have become Hebrew ‘tohu ‘wasteland, desert, emptiness’ while PAD CA would have become ‘bohu ‘chaos, emptiness, wasteland’, also Classical Arabic bahw for a wide vacant space (in Modern Arabic a hall), together Hebrew tohu vavohu ‘tohuwabohu’ … The supreme sky god also was the weather god, in the case of Jahwe a storm god, but also the god who made fields fertile with rain and sunshine. If this etymology holds, the sky of the chaotic weather, especially during a storm, would have been the original tohuwabohu.
ShA.CA DhAG.CA YHWH 10 5 6 5
DAP.CA PAD.CA DHBH 4 5 2 5 ??
The analogous tetragram could have been DHBH 4 5 2 5 (D from DAP and B a softened P from PAD). Add 5 and 5, thus you obtain 10; add 4 and 2, thus you obtain 6; and insert 5 and 5, thus you obtain 10 5 6 5 or YHWH.
Also the DHBH 4 5 2 5 tetragram could have had a geometrical version, the veiled holy of holies in the temple of Solomon in the shape of a vault, oriented from South to North
base 28/7 or 4 measures (S-N)
depth 14/7 or 2 measures (E-W)
lateral heights 13/7 measures (S and N)
middle height 27/7 measures (in between)
semicircle 44/7 measures (from one end to the other)
lateral height plus half the arc 13/7 + 22/7 = 35/7 or 5 measures
This could have been a model of Jahwe’s heavenly house, while the measure of the actual ‘house’ above Palestine might have been a divine mile (invented name). Qaneh ‘reed (stalk)’ was a measure of length, 2.7 meters. A divine mile could have been 36,000 qaneh or 97.2 kilometers. The heavenly house of Jahwe would then have covered the Sinai in the South, Judah in the Middle, and Israel in the North.
The above etymology of tohuwabohu goes along with the 2006 Magdalenian reading of the name of the Greek god Chaos, from CA NOS, the sky CA personified, with a mind NOS of his own. Genesis 1:2
And the earth was without form, and void; and darkness was upon the face of the deep.
And the spirit of God moved upon the face of the waters.
Here, tohuwabohu was translated into “without form, and void” – upon the face of the deep, upon the face of the waters, and the spirit of God moved in that wide empty space, a formless void that would have been given shape in the DHBH 4 5 2 5 model of Jahwe’s vault.