Etruscans Language Culture Origin https://artof4elements.com/entry/etruscans-language-culture-origin

Learnings from Cyrillic Alphabet

History is a fascinating subject. Researching god or consciousness even more so! We read amazing accounts about ancient wisdom traditions such as Platonism, Orphism, Orthodox Christianity, and in China Taoism, and neo-Confucianism.

Etruscans origins

by Nataša Pantović

The Big Dipper Ancient Symbol Sky 6 Cycles

The insights from these traditions intersect with recent findings in metaphysics or biology. What brings the two into resonance is their mutual commitment to speak of the matter as alive. The four elements expressed through trinity that are defined by entangled triangle of relationships reflected in our language development.

Another visit to Serbia, this summer, and I was back researching the same scientific question, same puzzle that has certainly no answers yet it is an interesting exploration.

Were Slavs in Balkan as early as 431 BC? 

The genetic origins of Etruscans are mixed between aboriginal people of the region (Slavs?) and people from Europe predominantly Spain. The aboriginal population may have settled in Balkan millennia prior to the invasion.

Vincha symbols Ancient Serbia 6,000 BC

Etruscan history 

The Etruscans occupied the region to the north of Rome, The Romans were their conquerors. 

The Greek historian Herodotus tells us that the Etruscans came from Lydia. Sure enough historians argue who are the Lydians. Herodotus tells us of their ships and multitude, claiming that the half of the population left under the leadership of Tyrrhenus. Another Greek historian, Dionysius of Halicarnassus, in his Early History of Rome also claims that the Etruscan were the aboriginal inhabitants of their area. Slavs?

The literature on the question of Etruscan origins divides into

1. Northern Origins

2. Oriental (Near-eastern) Origins

The aboriginal peoples of North Italy could have been Slavs. The Adriatic Sea, the sea to the east of Italy, bordering Croatia, Slovenia and Montenegro, all Slavic states, was named after the Etruscan port of Adria. The funerary practices of the people of North Italy has the parallel to the Vinča Culture. The Etruscans cremated their dead, a practice also known in the Danube Culture, no grave yards have been found near the settlements for thousands of years.

This very vibrant culture hosted different nationalities. In the Etruscan ruins there are objects from Greece, North Africa, and southern France. The Etruscan traders brought those craft objects to Etruria. The major exports of Etruria was copper and iron from the local mines, the same found with their Northern neighbors.

The affinities of the art and symbols found in the area resonate with spirals...

Ancient Slavic Symbol Circle

Etruscan and Linguistic Research

The question became more intriguing when, in the nineteenth century, it was discovered that most of the languages of Europe belonged to one big language family called Indo-European but Etruscan was not one of them. Is this rightly so?

The linguist claim that Etruscan was not a member of the Indo-European language family was challenged by some Slavic archelogy and linguistic researchers. These Balkan Slavs, find the inspiring relationship between words, just introducing the now, in scientific circles, lost Š, Đ, Č, Ć, Ž, DŽ.

A book that I have recently explored was The development of Etruscans Language from Svetislav Bilbija, his self-created dictionary of words with the alternative history of Slavs, claiming that Etruscans and Slavs were of the same ethnicity, 1984 New York print. He calls them “Rašani“.

Old European Language Svetislav Bilbija, 1984, New York Press

The analysis of the alphabet after reading this interesting book -

The analysis of the alphabet following the logic of Svetislav Bilbija and my own research

The Persians and Other Plays is a collection of plays and commentary about plays by Aeschylus (525/4 - 456 BCE). 

The book contains the following:

The Persians

Seven Against Thebes

The Suppliants

Prometheus Bound

Each play comes with a thorough introduction of the play itself as well as details of what we (think we) know about the history of the play's performances and how they may have influenced other Classical plays and playwrights, references in which inevitably have been used to date the plays themselves. 

This is followed by more commentary and notes on the plays and on related plays that may have existed.  

For example, it appears from the commentary that it has long been unclear in what order Aeschylus wrote the plays:

The production of 472 is the only one by Aeschylus that is known to have consisted of four plays whose stories were, on the face of it, unrelated - indeed, they were not even placed in proper chronological order. The first play was Phineus, about an episode in the saga of the Argonauts. This was followed by The Persians; then, jumping back to the heroic age, by Glaucus of Potniae, about a man who subjected his horses to an unnatural training regime and was devoured by them after crashing in a chariot race; and then by a satyr play about Prometheus ("Prometheus the Fire-Bearer" or "Fire-Kindler"). Repeated efforts have been made to find method behind the apparent madness of this arrangement, so far with little success.

As entertaining as it is to imagine someone making a simple mistake when noting down the running order of the plays in Ancient times, this must be quite frustrating to Classicists.

It took me way longer to read this collection than I thought but I don't regret a single minute of it. 

While some of the concepts discussed and displayed in the plays were not instantly recognisable to a 20th- and 21th-century reader, the context an explanatory notes provided by Alan H. Sommerstein was so excellent that each of the plays not only made sense but actually made it a joy to discover how Aeschylus' may have raised smiles in some and incensed others of his audiences. 

And some ideas and points of view in his plays - especially the description of the Persian's defeat (in The Persians), the exposition that women may refuse marriage (in The Suppliants), and some of the rather humanist views of Prometheus (in Prometheus Bound) - we quite different from what I had expected. Or rather, different from what I have come to expect from the Ancient Greek world when coming to Ancient Greek drama after reading the Greek myths (in whichever version: Apollodorus, Ovid, or any of the modern retellings). But even coming to Aeschylus with some familiarity of other playwrights such a Sophocles, I found Aeschylus surprisingly empathetic, satirical, and ... oddly modern.

CHORUS: You didn't, I suppose, go even further than that? 

PROMETHEUS: I did: I stopped mortals foreseeing their death.

CHORUS: What remedy did you find for that affliction?

PROMETHEUS: I planted blind hopes within them.

CHORUS: That was a great benefit you gave to mortals.

PROMETHEUS: And what is more, I gave them fire.

It is easy to think of Prometheus only as the rebel who went against Zeus' wishes and brought fire to mankind, but there is more to him. I loved how Aeschylus focuses not on the fire-bringing alone but also on his shared humanity, and on the prophecy that Prometheus knew of that would lead to the decline of Zeus' power, the proverbial Götterdämmerung of the Ancient Greek gods.

PROMETHEUS:

It's very easy for someone who is standing safely out of trouble to advise and rebuke the one who is in trouble.

I knew that, all along. I did the wrong thing intentionally, intentionally, I won't deny it: by helping mortals, I brought trouble on myself. But I certainly never thought I would have a punishment anything like this, left to wither on these elevated rocks, my lot cast on this deserted, neighbourless crag. Now stop lamenting my present woes: descend to the ground and hear of my future fortunes, so that you will know it all to the end. Do as I ask, do as I ask. Share the suffering of one who is in trouble now: misery, you know, wanders everywhere, and alights on different persons at different times.

The Truth About Roman & Greek Myths

Learning from D. H. Lawrence about Ancient Rome GoddessArt, Education, Symbols and Signs, Quotes

The City of Rome and the Great Mother goddess

Esoteric teachings of Golden Citizens of Ancient Greece

by Natasa Pantovic

It is in the nature of humankind to tell stories, and at the root of every culture we find myths and legends. A Hellenistic myth considers Rome to be an Ancient Greek city, narrating a story of a Hellenic Gods and Goddesses. The city of Romolo e Remo, Venus and Mars, cats and dogs, the center of the original conflict of a female Goddess based worship and a male God dominated rituals.

The story goes back to the Ancient Greece and the Great Mother who has all through the ancient history had a role of the Creator Goddess. Shakti if your wish, with her Kundalini force.

The First Language

The Goddess of Quintessence: Sound

Lupa Capitolina: she-wolf with Romulus and Remus, Rome, Italy, 1300 AC (twins are a 1500 addition

"A man who cannot stand cannot fight."

LoL. Is Haynes quoting The Karate Kid here?

A Thousand Ships comes highly recommended after @Lillelara finished it and liked it only a few days ago. 

I read Haynes' The Amber Fury last month and really loved her style, so I hope that this one is equally thrilling.

Despite the weird times that we find ourselves in, I am still pressing on with my current reading projects, even if the Ides of March...and all of April project will, no doubt, make for some dark and challenging reading. I mean, A Thousand Ships itself starts with a scene right in the middle of the siege of Troy, in city that is burning, amidst a people in distress.

I'll probably need to lighten this up in between reads, but all I am looking for right now is a book that transports me into a story.