Homeric Greek

Homeric Greek is the form of the Greek language that was used by Homer in the Iliad and Odyssey and in the Homeric Hymns. It is a literary dialect of Ancient Greek consisting mainly of Ionic and Aeolic, with a few forms from Arcadocypriot, and a written form influenced by Attic.[1] It was later named Epic Greek because it was used as the language of epic poetry, typically in dactylic hexameter, by poets such as Hesiod and Theognis of Megara. Compositions in Epic Greek may date from as late as the 3rd century BC, though its decline was inevitable with the rise of Koine Greek.

Main features

In the following description, only forms that differ from those of later Greek are discussed. Omitted forms can usually be predicted from patterns seen in Ionic Greek.

Phonology

Homeric Greek is like Ionic Greek, and unlike Classical Attic, in shifting almost all cases of long to η: thus, Homeric Τροίη, ὥρη, πύλῃσι for Attic Τροίᾱ, ὥρᾱ, πύλαις/πύλαισι "Troy", "hour", "gates (dat.)".[2] Exceptions include nouns like θεᾱ́ "goddess", and the genitive plural of first-declension nouns and the genitive singular of masculine first-declension nouns: θεᾱ́ων, Ἀτρεΐδᾱο "of goddesses, of the son of Atreus".

Nouns

First declension[3]
The nominative singular of most feminine nouns ends in , rather than long -ᾱ, even after ρ, ε, and ι (an Ionic feature): χώρη for χώρᾱ. However, θεᾱ́ and some names end in long -ᾱ.
Some masculine nouns have a nominative singular in short -ᾰ rather than -ης (ναύτης, Ἀτρεΐδης): ἱππότᾰ for Attic ἱππότης.
The genitive singular of masculine nouns ends in -ᾱο or -εω, rather than -ου: Ἀτρεΐδᾱο for Attic Ἀτρείδου.
The genitive plural usually ends in -ᾱων or -εων: νυμφᾱ́ων for Attic νυμφῶν.
The dative plural almost always end in -ῃσι or -ῃς: πύλῃσιν for Attic πύλαις.
Second declension
Genitive singular: ends in -οιο, as well as -ου. For example, πεδίοιο, as well as πεδίου.
Genitive and dative dual: ends in -οιϊν. Thus, ἵπποιϊν appears, rather than ἵπποιν.
Dative plural: ends in -οισι and -οις. For example, φύλλοισι , as well as φύλλοις.
Third declension
Accusative singular: ends in -ιν, as well as -ιδα. For example, γλαυκῶπιν, as well as γλαυκώπιδα.
Dative plural: ends in -εσσι and -σι. For example, πόδεσσι or ἔπεσσι.
Homeric Greek lacks the quantitative metathesis present in later Greek:
  • Homeric βασιλῆος instead of βασιλέως, πόληος instead of πόλεως
  • βασιλῆα instead of βασιλέᾱ
  • βασιλῆας instead of βασιλέᾱς
  • βασιλήων instead of βασιλέων
Homeric Greek sometimes uses different stems:
  • πόλεως instead of πόλιος

Pronouns

First-person pronoun (singular "I", dual "we both", plural "we")
Singular Dual Plural
Nominative ἐγώ, ἐγών νῶι, νώ ἡμεῖς, ἄμμες
Genitive ἐμεῖο, ἐμέο, ἐμεῦ, μεῦ, ἐμέθεν νῶιν ἡμείων, ἡμέων
Dative ἐμοί, μοι ἡμῖ(ν), ἄμμι(ν)
Accusative ἐμέ, με νῶι, νώ ἡμέας, ἧμας, ἄμμε
Second-person pronoun (singular "you", dual "you both", plural "you")
Singular Dual Plural
Nominative σύ, τύνη σφῶϊ, σφώ ὑμεῖς, ὔμμες
Genitive σεῖο, σέο, σεῦ, σευ, σέθεν, τεοῖο σφῶϊν, σφῷν ὑμέων, ὑμείων
Dative σοί, τοι, τεΐν ὑμῖν, ὔμμι, ὗμιν
Accusative σέ σφῶϊ, σφώ ὑμέας, ὔμμε
Third-person pronoun (singular "he, she, it", dual "they both", plural "they")
Singular Dual Plural
Nominative σφωέ σφεῖς
Genitive οὗ, εἷο, ἕο, εὗ, ἕθεν σφωΐν σφείων, σφέων
Dative ἑοῖ, οἱ σφι(ν), σφίσι(ν)
Accusative ἕ, ἑέ, μιν σφωέ σφε, σφέας, σφας
  • Third-person singular pronoun ("he, she, it") (the relative) or rarely singular article ("the"): ὁ, ἡ, τό
  • Third-person plural pronoun ("they") (the relative) or rarely plural article ("the"): nominative οἰ, αἰ, τοί, ταί, dative τοῖς, τοῖσι, τῇς, τῇσι, ταῖς.
Interrogative pronoun, singular and plural ("who, what, which")
Nominative τίς
Accusative τίνα
Genitive τέο, τεῦ
Dative τέῳ
Genitive τέων

A note on nouns:

  • -σ- and -σσ- alternate in Homeric Greek. This can be of metrical use. For example, τόσος and τόσσος are equivalent; μέσος and μέσσος; ποσί and ποσσί.
  • The ending -φι (-οφι) can be used for the dative singular and plural of nouns and adjectives (occasionally for the genitive singular and plural, as well). For example, βίηφι (...by force), δακρυόφιν (...with tears), and ὄρεσφιν (...in the mountains).

Verbs

Person endings
appears rather than -σαν. For example, ἔσταν for ἔστησαν in the Third-person plural Active.
The third plural middle/passive often ends in -αται or -ατο; for example, ἥατο is equivalent to ἧντο.
Tenses
Future: Generally remains uncontracted. For example, ἐρέω appears instead of ἐρῶ or τελέω instead of τελέσω.
Present or imperfect: These tenses sometimes take iterative form with the letters -σκ- penultimate with the ending. For example, φύγεσκον: 'they kept on running away'
Aorist or imperfect: Both tenses can occasionally drop their augments. For example, βάλον may appear instead of ἔβαλον, and ἔμβαλε may appear instead of ἐνέβαλε.
Homeric Greek does not have a historical present tense, but rather uses injunctives. Injunctives are replaced by the historical present in the post-Homeric writings of Thucydides and Herodotus.[4]
Subjunctive
The subjunctive appears with a short vowel. Thus, the form ἴομεν, rather than ἴωμεν.
The second singular middle subjunctive ending appears as both -ηαι and -εαι.
The third singular active subjunctive ends in -σι. Thus, we see the form φορεῇσι, instead of φορῇ.
Occasionally, the subjunctive is used in place of the future and in general remarks.
Infinitive
The infinitive appears with the endings -μεν, -μεναι, and -ναι, in place of -ειν and -ναι. For example, δόμεναι for δοῦναι; ἴμεν instead of ἰέναι; ἔμεν, ἔμμεν, or ἔμμεναι for εἶναι; and ἀκουέμεν(αι) in place of ἀκούειν.
Contracted verbs
In contracted verbs, where Attic employs an -ω-, Homeric Greek will use -οω- or -ωω- in place of -αο-. For example, Attic ὁρῶντες becomes ὁρόωντες.
Similarly, in places where -αε- contracts to -α- or -αει- contracts to -ᾳ-, Homeric Greek will show either αα or αᾳ.

Adverbs

Adverbial suffixes
-δε conveys a sense of 'to where'; πόλεμόνδε 'to the war'
-δον conveys a sense of 'how'; κλαγγηδόν 'with cries'
-θεν conveys a sense of 'from where'; ὑψόθεν 'from above'
-θι conveys a sense of 'where'; ὑψόθι 'on high'

Particles

ἄρα, ἄρ, ῥα 'so' or 'next' (transition)
τε 'and' (a general remark or a connective)
Emphatics
δή 'indeed'
'surely'
περ 'just' or 'even'
τοι 'I tell you ...' (assertion)

Other features

In most circumstances, Homeric Greek did not have available a true definite article. , , τον and their inflected forms do occur, but can generally be translated as demonstrative pronouns.[5]

Vocabulary

Homer (the Iliad and the Odyssey) uses about 9,000 words, of which 1,382 are proper names. Of the 7,618 remaining words 2,307 are hapax legomena.[6][7]

Sample

The Iliad, lines 1–7

Μῆνιν ἄειδε, θεά, Πηληϊάδεω Ἀχιλῆος
οὐλομένην, ἣ μυρί’ Ἀχαιοῖς ἄλγε’ ἔθηκε,
πολλὰς δ’ ἰφθίμους ψυχὰς Ἄϊδι προΐαψεν
ἡρώων, αὐτοὺς δὲ ἑλώρια τεῦχε κύνεσσιν
οἰωνοῖσί τε δαῖτα· Διὸς δ’ ἐτελείετο βουλή·
ἐξ οὗ δὴ τὰ πρῶτα διαστήτην ἐρίσαντε
Ἀτρεΐδης τε ἄναξ ἀνδρῶν καὶ δῖος Ἀχιλλεύς.

Robert Fitzgerald (1974):

Anger be now your song, immortal one,
Akhilleus' anger, doomed and ruinous,
that caused the Akhaians loss on bitter loss
and crowded brave souls into the undergloom,
leaving so many dead men—carrion
for dogs and birds; and the will of Zeus was done.
Begin it when the two men first contending
broke with one another—
                    the Lord Marshal
Agamemnon, Atreus' son, and Prince Akhilleus.

See also

References

  1. ^ Stanford 1959, pp. lii, liii, the Homeric dialect
  2. ^ Stanford 1959, p. liii, vowels
  3. ^ Stanford 1959, pp. lvii-lviii, first declension
  4. ^ Carroll D. Osburn (1983). "The Historical Present in Mark as a Text-Critical Criterion". Biblica. 64 (4): 486–500. JSTOR 42707093.
  5. ^ Goodwin, William W. (1879). A Greek Grammar (pp 204). St Martin's Press.
  6. ^ The Iliad: A Commentary: Volume 5, Books 17-20, Geoffrey Stephen Kirk, Mark W. Edwards, Cambridge University Press, 1991, ISBN 978-0-521-31208-0 p53, footnote 72
  7. ^ Google preview

Bibliography

Further reading

  • Bakker, Egbert J., ed. 2010. A companion to the Ancient Greek language. Oxford: Wiley-Blackwell.
  • Christidis, Anastasios-Phoivos, ed. 2007. A history of Ancient Greek: From the beginnings to Late Antiquity. Cambridge, UK: Cambridge University Press.
  • Colvin, Stephen C. 2007. A historical Greek reader: Mycenaean to the koiné. Oxford: Oxford University Press.
  • Edwards, G. Patrick. 1971. The language of Hesiod in its traditional context. Oxford: Blackwell.
  • Hackstein, Olav. 2010. "The Greek of epic." In A companion to the Ancient Greek language. Edited by Egbert J. Bakker, 401–23. Oxford: Wiley-Blackwell.
  • Horrocks, Geoffrey C. 1987. "The Ionian epic tradition: Was there an Aeolic phase in its development?" Minos 20–22: 269–94.
  • ––––. 2010. Greek: A history of the language and its speakers. 2nd ed. Oxford: Wiley-Blackwell.
  • Janko, Richard. 1982. Homer, Hesiod, and the Hymns: Diachronic development in epic diction. Cambridge, UK: Cambridge University Press.
  • ––––. 1992. "The origins and evolution of the Epic diction." In The Iliad: A commentary. Vol. 4, Books 13–16. Edited by Richard Janko, 8–19. Cambridge, UK: Cambridge University Press.
  • Lord, Albert B. 1960. The singer of tales. Cambridge, MA: Harvard University Press.
  • Nagy, Gregory. 1995. "An evolutionary model for the making of Homeric poetry: Comparative perspectives." In The ages of Homer. Edited by Jane Burr Carter and Sarah Morris, 163–79. Austin: University of Texas Press.
  • Palmer, Leonard R. 1980. The Greek language. London: Faber & Faber.
  • Parry, Milman. 1971. The making of Homeric verse: The collected papers of Milman Parry. Edited by Adam Parry. Oxford: Clarendon.
  • West, Martin L. 1988. "The rise of the Greek epic." Journal of Hellenic Studies 108: 151–72.
Aepycamelus

Aepycamelus (also known as long-necked camel) is an extinct genus of camelid which lived during the Miocene 20.6–4.9 million years ago, existing for about 15.7 million years. Its name is derived from the Homeric Greek αἰπύς, "high and steep" and κάμηλος – "camel"; thus, "high camel"; alticamelus in Latin.

Aepycamelus walked on its toes only. Unlike earlier species of camelids, they possessed cushioned pads like those of modern camels.

Anax

Anax (Greek: Ἄναξ; from earlier ϝάναξ, wánax) is an ancient Greek word for "tribal chief, lord, (military) leader". It is one of the two Greek titles traditionally translated as "king", the other being basileus, and is inherited from Mycenaean Greece, and is notably used in Homeric Greek, e.g. of Agamemnon. The feminine form is anassa, "queen" (ἄνασσα, from wánassa, itself from *wánakt-ja).

Ancient Greek dialects

Ancient Greek in classical antiquity, before the development of the common Koine Greek of the Hellenistic period, was divided into several varieties.

Most of these varieties are known only from inscriptions, but a few of them, principally Aeolic, Doric, and Ionic, are also represented in the literary canon alongside the dominant Attic form of literary Greek.

Likewise, Modern Greek is divided into several dialects, most derived from Koine Greek.

Arura

Arura or (Greek: ἄρουρα), is a Homeric Greek word with original meaning "arable land", derived from the verb ἀρόω (aroō), "plough". The word was also used generally for earth, land and father-land and in plural to describe corn-lands and fields. The term arura was also used to describe a measure of land in ancient Egypt (similar in manner to the acre), a square of 100 Egyptian cubits each way. This measures 2700m² or 2/3 of an acre. The oldest attested form of the word is the Mycenaean Greek a-ro-u-ra, written in Linear B syllabic script, originally meant "plough".

Augment (linguistics)

In linguistics, the augment is a syllable added to the beginning of the word in certain Indo-European languages, most notably Greek, Armenian and Indo-Iranian languages such as Sanskrit, to form the past tenses.

Easter bread

In many European countries, there are various traditions surrounding the use of bread during the Easter holidays. Traditionally the practice of eating Easter bread or sweetened "communion" bread traces its origin back to Byzantium and the Orthodox Christian church. The recipe for sweetened or "honey-leavened" bread may date back as far as the Homeric Greek period based on anecdotal evidence from classical texts that mention this type of special food. It is also widely known that sweetened bread desserts similar to panettone were a Roman favorite.

Eos

In Greek mythology, Eos (; Ionic and Homeric Greek Ἠώς Ēōs, Attic Ἕως Éōs, "dawn", pronounced [ɛːɔ̌ːs] or [héɔːs]; Aeolic Αὔως Aúōs, Doric Ἀώς Āṓs) is a Titaness and the goddess of the dawn, who rose each morning from her home at the edge of the Oceanus.

Epithets in Homer

A characteristic of Homer's style is the use of epithets, as in "rosy-fingered" Dawn or "swift-footed" Achilles. Epithets are used because of the constraints of the dactylic hexameter (i.e., it is convenient to have a stockpile of metrically fitting phrases to add to a name) and because of the oral transmission of the poems; they are mnemonic aids to the singer and the audience alike.Epithets in epic poetry from various Indo-European traditions may be traced to a common tradition. For example, the phrase for "everlasting glory" or "undying fame" can be found in the Homeric Greek as κλέος ἄφθιτον / kléos áphthiton and Vedic Sanskrit as श्रवो अक्षितम् / śrávo ákṣitam. These two phrases were, in terms of historical linguistics, equivalent in phonology, accentuation, and quantity (syllable length). In other words, they descend from a fragment of poetic diction (reconstructable as Proto-Indo-European *ḱléwos ń̥dʰgʷʰitom) which was handed down in parallel over many centuries, in continually diverging forms, by generations of singers whose ultimate ancestors shared an archetypal repertoire of poetic formulae and narrative themes.Epithets alter the meaning of each noun to which they are attached. They specify the existential nature of a noun; that is to say, Achilles is not called "swift-footed" only when he runs; it is a marker of a quality that does not change. Special epithets, such as patronymics, are used exclusively for particular subjects and distinguish them from others, while generic epithets are used of many subjects and speak less to their individual characters. In these examples, the epithet can be contradictory to the past state of the subject: in Odyssey VI.74, for instance, Nausicaa takes her "radiant clothing", ἐσθῆτα φαεινήν, to be washed; since it is dirty, it is unlikely to be radiant.

Greek hero cult

Hero cults were one of the most distinctive features of ancient Greek religion. In Homeric Greek, "hero" (ἥρως, hḗrōs) refers to a man who fought (on either side) during the Trojan War. By the historical period, however, the word came to mean specifically a dead man, venerated and propitiated at his tomb or at a designated shrine, because his fame during life or his unusual manner of death gave him power to support and protect the living. A hero was more than human but less than a god, and various kinds of supernatural figures came to be assimilated to the class of heroes; the distinction between a hero and a god was less than certain, especially in the case of Heracles, the most prominent, but atypical hero.The grand ruins and tumuli remaining from the Bronze Age gave the pre-literate Greeks of the 10th and 9th centuries BC a sense of a grand and vanished age; they reflected this in the oral epic tradition, which would crystallize in the Iliad. Copious renewed offerings begin to be represented, after a hiatus, at sites like Lefkandi, even though the names of the grandly buried dead were hardly remembered. "Stories began to be told to individuate the persons who were now believed to be buried in these old and imposing sites", observes Robin Lane Fox.

Grigor Magistros

Grigor Magistros (Armenian: Գրիգոր Մագիստրոս; "Gregory the magistros"; ca. 990–1058) was an Armenian prince, linguist, scholar and public functionary. A layman of the princely Pahlavuni family that claimed descent from the dynasty established by St. Gregory the Illuminator, he was the son of the military commander Vasak Pahlavuni. After the Byzantine Empire annexed the Kingdom of Ani, Gregory went on to serve as the governor (doux) of the province of Edessa. During his tenure he worked actively to suppress the Tondrakians, a breakaway Christian Armenian sect that the Armenian and Byzantine Churches both labeled heretics. He studied both ecclesiastical and secular literature, Syriac as well as Greek. He collected all Armenian manuscripts of scientific or philosophical value that were to be found, including the works of Anania Shirakatsi, and translations from Callimachus, Andronicus of Rhodes and Olympiodorus. He translated several works of Plato — The Laws, the Eulogy of Socrates, Euthyphro, Timaeus and Phaedo. Many ecclesiastics of the period were his pupils.

Foremost among his writings are the "Letters," which are 80 in number, and which provide information about the political and religious problems of the time. His poetry bears the impress of both Homeric Greek and the Arabic of his own century. His chief poetical work is a long metrical narrative of the principal events recorded in the Bible. This work was purportedly written in three days in 1045 at the request of a Muslim scholar, who, after reading it, converted to Christianity. Grigor was almost the first poet to adopt the use of rhyme introduced to Armenia by the Arabs.

Grimm's law

Grimm's law (also known as the First Germanic Sound Shift or Rask's rule) is a set of statements named after Jacob Grimm and Rasmus Rask describing the Proto-Indo-European (PIE) stop consonants as they developed in Proto-Germanic (the common ancestor of the Germanic branch of the Indo-European family) in the 1st millennium BC. It establishes a set of regular correspondences between early Germanic stops and fricatives and the stop consonants of certain other centum Indo-European languages (Grimm used mostly Latin and Greek for illustration).

Helios

Helios (; Ancient Greek: Ἥλιος Hēlios; Latinized as Helius; Ἠέλιος in Homeric Greek) is god and personification of the Sun in Hellenistic religion. He is often depicted in art with a radiant crown and driving a horse-drawn chariot through the sky.

Though Helios was a relatively minor deity in Classical Greece, his worship grew more prominent in late antiquity thanks to his identification with several major solar divinities of the Roman period, particularly Apollo and Sol. The Roman Emperor Julian made Helios the central divinity of his short-lived revival of traditional Roman religious practices in the 4th century AD.

Helios figures prominently in several works of Greek mythology, poetry, and literature, in which he is often described as the son of the Titan Hyperion and the Titaness Theia, and brother of the goddesses Selene (the moon) and Eos (the dawn).

Homer

Homer (; Ancient Greek: Ὅμηρος Greek pronunciation: [hómɛːros], Hómēros) is the legendary author of the Iliad and the Odyssey, two epic poems that are the central works of ancient Greek literature. The Iliad is set during the Trojan War, the ten-year siege of the city of Troy by a coalition of Greek kingdoms. It focuses on a quarrel between King Agamemnon and the warrior Achilles lasting a few weeks during the last year of the war. The Odyssey focuses on the ten-year journey home of Odysseus, king of Ithaca, after the fall of Troy. Many accounts of Homer's life circulated in classical antiquity, the most widespread being that he was a blind bard from Ionia, a region of central coastal Anatolia in present-day Turkey. Modern scholars consider these accounts legendary.The Homeric Question – concerning by whom, when, where and under what circumstances the Iliad and Odyssey were composed – continues to be debated. Broadly speaking, modern scholarly opinion falls into two groups. One holds that most of the Iliad and (according to some) the Odyssey are the works of a single poet of genius. The other considers the Homeric poems to be the result of a process of working and reworking by many contributors, and that "Homer" is best seen as a label for an entire tradition. It is generally accepted that the poems were composed at some point around the late eighth or early seventh century BC.The poems are in Homeric Greek, also known as Epic Greek, a literary language which shows a mixture of features of the Ionic and Aeolic dialects from different centuries; the predominant influence is Eastern Ionic. Most researchers believe that the poems were originally transmitted orally. From antiquity until the present day, the influence of the Homeric epics on Western civilization has been great, inspiring many of its most famous works of literature, music, art and film. The Homeric epics were the greatest influence on ancient Greek culture and education; to Plato, Homer was simply the one who "has taught Greece" – ten Hellada pepaideuken.

Jan Křesadlo

Václav Jaroslav Karel Pinkava (Czech pronunciation: [ˈvaːtslaf ˈjaroslaf ˈkarɛl ˈpɪŋkava]; December 9, 1926 – August 13, 1995), better known by his pen name Jan Křesadlo (pronounced [ˈjan ˈkr̝ɛsadlo]), was a Czech psychologist who was also a prizewinning novelist and poet.

An anti-communist, Pinkava emigrated to Britain with his wife and four children following the 1968 invasion of Czechoslovakia by the Soviet-led armies of the Warsaw pact. He worked as a clinical psychologist until his early retirement in 1982, when he turned to full-time writing. His first novel "Mrchopěvci" (GraveLarks) was published by Josef Škvorecký's emigre publishing house 68 Publishers, and earned the 1984 Egon Hostovský prize.

He chose his pseudonym (which means firesteel) partly because it contains the uniquely Czech sound ř; in addition, he was fond of creating more pseudonyms such as Jake Rolands (an anagram), J. K. Klement (after his grandfather, for translations into English), Juraj Hron (for his Slovak-Moravian writings), Ferdinand Lučovický z Lučovic a na Suchým dole (for his music), Kamil Troud (for his illustrations), Ἰωάννης Πυρεῖα (for his Astronautilia), and more.

Pinkava was also active in choral music, composing (among others) a Glagolitic Mass. As well, he worked in mathematical logic, discovering the many-valued logic algebra which bears his name.

A polymath and polyglot, Pinkava was fond of setting intense goals for himself, such as translating Jaroslav Seifert's interwoven sonnet cycle about Prague, 'A Wreath of Sonnets'. He published a collection of his own poems in seven languages. Perhaps his most staggering achievement is ΑΣΤΡΟΝΑΥΤΙΛΙΑ Hvězdoplavba, a 6575-line science fiction epic poem, an odyssey in classical Homeric Greek, with its parallel hexameter translation into Czech. This was published shortly after his death, in a limited edition. (ISBN 80-237-2452-5)

At the time of writing only his first, prize-winning novel has been published in English translation, as GraveLarks (ISBN 80-86013-81-2)

He is the father of film director Jan Pinkava who received an Oscar for Geri's Game in 1998.

Javan

Javan (Hebrew יָוָן, Standard Hebrew Yavan, Tiberian Hebrew Yāwān) was the fourth son of Noah's son Japheth according to the "Generations of Noah" (Genesis chapter 10) in the Hebrew Bible. Josephus states the traditional belief that this individual was the ancestor of the Greeks.

Also serving as the Hebrew name for Greece or Greeks in general, יָוָן Yavan or Yāwān has long been considered cognate with the name of the eastern Greeks, the Ionians (Greek Ἴωνες Iōnes, Homeric Greek Ἰάονες Iáones; Mycenaean Greek *Ιαϝονες Iawones). The Greek race has been known by cognate names throughout the Eastern Mediterranean, Near East and beyond: see Sanskrit Yona & Sanskrit (यवन yavana) or proto Aryan languages Sanskrit probably originated. In Greek mythology, the eponymous forefather of the Ionians is similarly called Ion, a son of Apollo. The opinion that Javan is synonymous with Greek Ion and thus fathered the Ionians is common to numerous writers of the early modern period including Sir Walter Raleigh, Samuel Bochart, John Mill and Jonathan Edwards, and is still frequently encountered today.

Javan is also found in apocalyptic literature in the Book of Daniel, 8:21-22 and 11:2, in reference to the King of Greece (יון)—most commonly interpreted as a reference to Alexander the Great.While Javan is generally associated with the ancient Greeks and Greece (cf. Gen. 10:2, Dan. 8:21, Zech. 9:13, etc.), his sons (as listed in Genesis 10) have usually been associated with locations in the Northeastern Mediterranean Sea and Anatolia: Elishah (modern Cyprus), Tarshish (Tarsus in Cilicia, but after 1646 often identified with Tartessus in Spain), Kittim (modern Cyprus), and Dodanim (alt. 1 Chron. 1:7 'Rodanim,' the island of Rhodes, west of modern Turkey between Cyprus and the mainland of Greece).

Pegmatite

A pegmatite is an igneous rock, formed underground, with interlocking crystals usually larger than 2.5 cm in size (1 in). Most pegmatites are found in sheets of rock (dikes and veins) near large masses of igneous rocks called batholiths.The word pegmatite derives from Homeric Greek, πήγνυμι (pegnymi), which means “to bind together”, in reference to the intertwined crystals of quartz and feldspar in the texture known as graphic granite.Most pegmatites are composed of quartz, feldspar and mica, having a similar silicic composition as granite. Rarer intermediate composition and mafic pegmatites containing amphibole, Ca-plagioclase feldspar, pyroxene, feldspathoids and other unusual minerals are known, found in recrystallised zones and apophyses associated with large layered intrusions.

Crystal size is the most striking feature of pegmatites, with crystals usually over 5 cm in size. Individual crystals over 10 metres (33 ft) long have been found, and many of the world's largest crystals were found within pegmatites. These include spodumene, microcline, beryl, and tourmaline.Similarly, crystal texture and form within pegmatitic rock may be taken to extreme size and perfection. Feldspar within a pegmatite may display exaggerated and perfect twinning, exsolution lamellae, and when affected by hydrous crystallization, macroscale graphic texture is known, with feldspar and quartz intergrown. Perthite feldspar within a pegmatite often shows gigantic perthitic texture visible to the naked eye. The product of pegmatite decomposition is euclase.

Stang's law

Stang's law is a Proto-Indo-European (PIE) phonological rule named after the Norwegian linguist Christian Stang. The law governs the word-final sequences of a vowel, followed by a semivowel (*y or *w) or a laryngeal (*h₁, *h₂ or *h₃), followed by a nasal. According to the law these sequences are simplified such that laryngeals and semivowels are dropped, with compensatory lengthening of a preceding vowel.

This rule is usually cited in more restricted form as: *Vwm > *Vːm and *Vh₂m > *Vːm (*V denoting a vowel and *Vː a long vowel).

Often the rules *Vmm > *Vːm and also *Vyi > *Vːy are added:

PIE *dyéwm 'sky' (accusative singular) > *dyḗm > Sanskrit dyā́m, acc. sg. of dyaús, Latin diem (which served as the basis for Latin diēs 'day'), Greek Ζῆν (Zên) (reformed after Homeric Greek to Ζῆνα Zêna, subsequently Δία Día), acc. of Ζεύς (Zeús)

PIE *gʷowm 'cow' (acc. sg.) > *gʷōm > Sanskrit gā́m, acc. sg. of gaús, Greek (Homeric and dialectal) βών (bṓn), acc. sg. of βοῦς (boûs) 'cow'

acc. sg. of PIE *dom- 'house' is *dṓm, not **dómm̥.

acc. sg. of PIE *dʰoHn-éh₂ 'grain' after laryngeal colouring is the disyllabic *dʰoHnā́m, not trisyllabic **dʰoHnáh₂m̥ > **dʰoHnā́m̥

Teeter's law

Teeter's law is a wry observation about the biases of historical linguists, explaining how different investigators can arrive at radically divergent conceptions of the proto-language of a family:

The language of the family you know best always turns out to be the most archaic.

Although the law is named after the Americanist linguist Karl Teeter, it apparently does not appear in any of Teeter's works.

It is customarily quoted from a 1976 review by the Indo-European linguist Calvert Watkins of Paul Friedrich's Proto-Indo-European syntax: the order of meaningful elements.

Watkins argued that Friedrich, after criticizing other scholars for overemphasizing particular branches of the family, had based his reconstruction of Proto-Indo-European syntax entirely on Homeric Greek.

Trojan language

The language spoken by the Trojans in the Iliad is Homeric Greek. However, there has been some scholarly debate on what language the historical Trojans would have spoken at the time of the Trojan War, identified with the site Troy VIIa. The language likely to have been prevalent in the historical city is Luwian, although there are no direct records.

The cultural context in which the lost Trojan language existed was described by Jaan Puhvel, Homer and Hittite (1991).

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