{"id":1904,"date":"2021-06-09T19:24:06","date_gmt":"2021-06-09T19:24:06","guid":{"rendered":"https:\/\/sarpidon-academy.eu\/?post_type=ignition-service&p=1904"},"modified":"2022-05-23T21:16:02","modified_gmt":"2022-05-23T21:16:02","slug":"i-pinakida-tis-pylou-deltio-parangeli","status":"publish","type":"ignition-service","link":"https:\/\/sarpidon-academy.eu\/en\/ignition-service\/i-pinakida-tis-pylou-deltio-parangeli\/","title":{"rendered":"THE INSCRIPTION OF PYLOS (ORDER FORM)"},"content":{"rendered":"

THE  INSCRIPTION  OF  PYLOS<\/strong><\/span><\/p>\n

(<\/strong>ORDER  FORM)<\/strong><\/span><\/p>\n

 <\/p>\n

An  order  form   to  a  potter.<\/strong><\/span><\/p>\n

This  is   the  way  I  want  my  pots  to  be.<\/strong><\/span><\/p>\n

This  inscription  was  found  in  Pylos,  Messinia, Greece,  <\/strong>by  Carl  Blegen,  <\/strong>during  the  excavations  of  1952.<\/span><\/p>\n

It  dates  back  to  1500  B.C..<\/span><\/p>\n

 <\/p>\n

\"\"<\/span><\/p>\n

 <\/p>\n

In  the  text  we  can  find  an  order  form  for  the  construction  of  pots.<\/strong> It   is  a  document  of  the  technological  level  of  that  time.<\/span><\/p>\n

We  studied  the  phonetic  values  in  the  actual  text. We understood  it,  we  read   and   rendered   it  into  Modern  Greek,  but  we  also  approached  it  philosophically.<\/strong><\/span><\/p>\n

Identification  of  the  phonetic  values  of  the  text.<\/strong><\/span><\/p>\n

TI RI PO DE-A I KE U-KE RE-SI JO-FE KE (2)<\/strong><\/span><\/p>\n

TI RI PO-E ME-<\/strong>\u03a0\u039f<\/strong> DE-O FO FE (1)<\/strong><\/span><\/p>\n

TI RI PO-KE RE-SI JO-FE KE-A PY-KE KA U ME NO-KE RE A- GE TO (3)<\/strong><\/span><\/p>\n

DI PA-ME ZO E-GE TO RO FE (1)<\/strong><\/span><\/p>\n

DI PA E-ME ZO E-TI RI O FE E (2)<\/strong><\/span><\/p>\n

DI PA-ME FI JO-GE TO RO FE (1)<\/strong><\/span><\/p>\n

DI PA-ME FI JO-TI RI JO FE (1)<\/strong><\/span><\/p>\n

DI PA-ME FI JO-A NO FE (1)<\/strong><\/span><\/p>\n

 <\/strong><\/span><\/p>\n

Rendition    of  the  text:<\/strong><\/span><\/p>\n

In  our own  view,  the  phonetic  values  are  formed    as  follows:<\/span><\/p>\n

TIRIPODE AIKEU KERE SIJO FEKE (2)<\/strong><\/span><\/p>\n

TIRIPO EME <\/strong>\u03a0\u039f<\/strong>DE OFOFE (1)<\/strong><\/span><\/p>\n

TIRIPO KERE SIJO FEKE APY KEKAUMENO KEREA GETO (3)<\/strong><\/span><\/p>\n

DIPA MEZOE GETOROFE (1)<\/strong><\/span><\/p>\n

DIPAE MEZOE TIRIOFEE (2)<\/strong><\/span><\/p>\n

DIPA MEFIJO GETOROFE (1)<\/strong><\/span><\/p>\n

DIPA MEFIJO TIRIJOFE (1)<\/strong><\/span><\/p>\n

DIPA MEFIJO ANOFE (1)<\/strong><\/span><\/p>\n

 <\/strong><\/span><\/p>\n

 <\/strong><\/span><\/p>\n

The  language  of  the  text  is  Greek<\/strong>,  Archaic<\/strong>, and  it  resembles  a     Minoan  text<\/strong>. The  grammatical  structure  of   the  text  is  mixed.<\/span><\/p>\n

One  can  identify   Pontic  <\/strong>words, as  well as  Classical  Greek  Language<\/strong>.<\/span><\/p>\n

The  utterance  of  the   pronouns,  the  nouns    and  of  the  verbal  types, follows  the  grammatical   rules  of  the  Pontic  Dialect, as  well  as  those  of  the  Classical  Greek   Language.<\/span><\/p>\n

Rendition    of  the  text  through  the  Pontic  Dialect  as  it   is   used  nowadays,  as  well  as  through   the   Classical  Greek  Language.<\/strong><\/span><\/p>\n

\u03a4\u03c1\u03b9\u03c0\u03cc\u03b4\u03b5 \u03ac\u03b5\u03b9\u03ba\u03b1 \u03ba\u03b5\u03c1\u03ad \u03c3\u03cd\u03b3\u03b9\u03bf \u03b2\u03ad\u03c4\u03c1\u03b5. (2)<\/em><\/strong><\/span><\/p>\n

\u03a4\u03c1\u03b9\u03c0\u03cc\u03b4 \u03b5\u03bc\u03b5\u03cd\u03c9 \u03c0\u03cc\u03b4\u03b5 \u03c9\u03b2\u03bf\u03b2\u03ad\u03bd\u03b5. (1)<\/em><\/strong><\/span><\/p>\n

\u03a4\u03c1\u03b9\u03c0\u03cc\u03b4 \u03ba\u03b5\u03c1\u03ad \u03c3\u03cd\u03b3\u03b9\u03bf \u03b2\u03ad\u03c4\u03c1\u03b5 \u03b1\u03c0\u03cd\u03b8\u03bc\u03b5\u03bd\u03bf\u03bd \u03ba\u03b5\u03ba\u03b1\u03c5\u03bc\u03ad\u03bd\u03bf\u03bd \u03ba\u03b5\u03c1\u03b5\u03b9\u03ac \u03b3\u03b5\u03af\u03c4\u03bf. (3)<\/em><\/strong><\/span><\/p>\n

\u0394\u03af\u03c0\u03b1\u03bd \u03bc\u03ad\u03b6\u03bf\u03bd\u03b1 \u03b3\u03b7\u03c4\u03bf\u03cd\u03c1\u03b5\u03b2\u03b5. (1)<\/em><\/strong><\/span><\/p>\n

\u0394\u03af\u03c0\u03b1\u03bd\u03b5 \u03bc\u03ad\u03b6\u03bf\u03bd\u03b5 \u03c4\u03c1\u03b9\u03c9\u03b2\u03ad\u03bd\u03b5. (2)<\/em><\/strong><\/span><\/p>\n

\u0394\u03af\u03c0\u03b1\u03bd \u03bc\u03b1\u03b2\u03ae\u03b3\u03b9\u03bf\u03bd (\u03c7\u03c1\u03c9\u03bc\u03b1\u03c4\u03b9\u03c3\u03bc\u03ad\u03bd\u03bf) \u03b3\u03b7\u03c4\u03bf\u03cd\u03c1\u03b5\u03b2\u03b5. (1)<\/em><\/strong><\/span><\/p>\n

\u0394\u03af\u03c0\u03b1\u03bd \u03bc\u03b1\u03b2\u03ae\u03b3\u03b9\u03bf\u03bd (\u03c7\u03c1\u03c9\u03bc\u03b1\u03c4\u03b9\u03c3\u03bc\u03ad\u03bd\u03bf) \u03c4\u03c1\u03cd\u03b3\u03b9\u03bf\u03c5\u03b2\u03b5\u03bd. (1)<\/em><\/strong><\/span><\/p>\n

\u0394\u03af\u03c0\u03b1\u03bd \u03bc\u03b1\u03b2\u03ae\u03b3\u03b9\u03bf\u03bd (\u03c7\u03c1\u03c9\u03bc\u03b1\u03c4\u03b9\u03c3\u03bc\u03ad\u03bd\u03bf) \u03ac\u03bd\u03c9\u03b2\u03b5(1)<\/em><\/strong><\/span><\/p>\n

 <\/p>\n

 <\/p>\n

The  <\/strong>\u03a4<\/strong>ext  in  Modern  Greek:<\/strong><\/span><\/p>\n

I  want   tripods  the  size  of  an  urn .(2)<\/em><\/strong><\/span><\/p>\n

I  want   tripods  with  oval-shaped  legs. <\/em><\/strong>(1)<\/em><\/strong><\/span><\/p>\n

I  want   tripods  the  size  of  an  urn, with  no  roasted   base  like  that. <\/em><\/strong>(3)<\/em><\/strong><\/span><\/p>\n

Make    big  cookware  (1).<\/em><\/strong><\/span><\/p>\n

Big  pots  with  three  holds.<\/em><\/strong> (2)<\/em><\/strong><\/span><\/p>\n

Make<\/em><\/strong>    <\/em><\/strong>blue<\/em><\/strong>  <\/em><\/strong>cookware<\/em><\/strong>.  <\/em><\/strong>(1)<\/em><\/strong><\/span><\/p>\n

Make    blue  cookware  for   dried  fruit  (raisins).<\/em><\/strong> (1)<\/em><\/strong><\/span><\/p>\n

Make    blue  cookware  with  no  holds.<\/em><\/strong> (1)<\/em><\/strong><\/span><\/p>\n

 <\/em><\/strong><\/span><\/p>\n

 <\/p>\n

 <\/p>\n

(\u03a4\u03c1\u03af\u03c0\u03bf\u03b4\u03b5\u03c2 \u03c4\u03ad\u03c4\u03bf\u03b9\u03bf\u03c5\u03c2 \u03c3\u03c4\u03b1 \u03bc\u03ad\u03c4\u03c1\u03b1 \u03ba\u03ac\u03b4\u03bf\u03c5 \u03c5\u03b4\u03c1\u03af\u03b1\u03c2.(2)<\/em><\/strong><\/span><\/p>\n

\u03a4\u03c1\u03af\u03c0\u03bf\u03b4\u03b1 \u03b5\u03c0\u03b9\u03b8\u03c5\u03bc\u03ce \u03bc\u03b5 \u03c0\u03cc\u03b4\u03b9\u03b1 \u03b1\u03c5\u03b3\u03cc\u03c3\u03c7\u03b7\u03bc\u03b1. (1)<\/em><\/strong><\/span><\/p>\n

\u03a4\u03c1\u03af\u03c0\u03bf\u03b4\u03b1 \u03c3\u03c4\u03b1 \u03bc\u03ad\u03c4\u03c1\u03b1 \u03ba\u03ac\u03b4\u03bf\u03c5 \u03c5\u03b4\u03c1\u03af\u03b1\u03c2 \u03c7\u03c9\u03c1\u03af\u03c2 \u03b2\u03ac\u03c3\u03b7 \u03c3\u03c4\u03bf \u03ba\u03b1\u03bc\u03af\u03bd\u03b9 \u03c8\u03b7\u03bc\u03ad\u03bd\u03bf \u03b1\u03bd\u03ac\u03bb\u03bf\u03b3\u03bf \u03bc\u03b5 \u03b1\u03c5\u03c4\u03cc. (3)<\/em><\/strong><\/span><\/p>\n

\u0394\u03b1\u03af\u03c0\u03b1\u03bd(\u03bf\u03b9\u03ba\u03b9\u03b1\u03ba\u03cc\u03c3\u03ba\u03b5\u03cd\u03bf\u03c2)\u03bc\u03b5\u03b3\u03ac\u03bb\u03bf\u03ba\u03b1\u03c4\u03b1\u03c3\u03ba\u03b5\u03cd\u03b1\u03c3\u03b5(1) <\/em><\/strong><\/span><\/p>\n

\u0394\u03b1\u03af\u03c0\u03b1\u03c2 \u03bc\u03b5\u03b3\u03ac\u03bb\u03bf\u03c5\u03c2 \u03bc\u03b5 \u03c4\u03c1\u03b5\u03b9\u03c2 \u03bb\u03b1\u03b2\u03ad\u03c2 (\u03b1\u03c5\u03c4\u03b9\u03ac) (2)<\/em><\/strong><\/span><\/p>\n

\u0394\u03b1\u03af\u03c0\u03b1\u03bd \u03c7\u03c1\u03c9\u03bc\u03b1\u03c4\u03bf\u03b2\u03b1\u03bc\u03bc\u03ad\u03bd\u03bf \u03bc\u03c0\u03bb\u03ad \u03ba\u03b1\u03c4\u03b1\u03c3\u03ba\u03b5\u03cd\u03b1\u03c3\u03b5. (1)<\/em><\/strong><\/span><\/p>\n

\u0394\u03b1\u03af\u03c0\u03b1\u03bd \u03c7\u03c1\u03c9\u03bc\u03b1\u03c4\u03bf\u03b2\u03b1\u03bc\u03bc\u03ad\u03bd\u03bf \u03bc\u03c0\u03bb\u03ad \u03b3\u03b9\u03b1 \u03be\u03b7\u03c1\u03ac \u03c6\u03c1\u03bf\u03cd\u03c4\u03b1 (\u03c3\u03c4\u03b1\u03c6\u03af\u03b4\u03b5\u03c2). (1)<\/em><\/strong><\/span><\/p>\n

\u0394\u03b1\u03af\u03c0\u03b1\u03bd \u03c7\u03c1\u03c9\u03bc\u03b1\u03c4\u03bf\u03b2\u03b1\u03bc\u03bc\u03ad\u03bd\u03bf \u03bc\u03c0\u03bb\u03ad \u03c7\u03c9\u03c1\u03af\u03c2 \u03bb\u03b1\u03b2\u03ad\u03c2 (\u03b1\u03c5\u03c4\u03b9\u03ac), \u03c7\u03c9\u03c1\u03af\u03c2 \u03c7\u03b5\u03c1\u03bf\u03cd\u03bb\u03b9\u03b1. (1)<\/em><\/strong>)<\/em><\/strong><\/span><\/p>\n

 <\/em><\/strong><\/span><\/p>\n

 <\/strong><\/span><\/p>\n

A   Philosophical  Approach:<\/strong><\/span><\/p>\n

According  to  our  own  approach  of  the  text  on  the  inscription, this   is  an  order  form  of  today  to  a  workshop  of  the  time,  where   ceramic and  metal  pots  were   being  made.<\/span><\/p>\n

The  person  in  question   describes  in  detail    what  he  wants,  by  giving  designs  and  shapes  for  each  construction.<\/span><\/p>\n

In  order  to  render  the  meaning  of  the  text  exactly,  we  present  a  grammatical  rule  of  the  Pontic  Dialect. According  to  the  Pontic  Dialect, in  the  Plural  Form, the  masculine  and  feminine  nouns  and  adjectives, sometimes  are  neutral  in  gender,  e.g.. o   lykon-talykoude  <\/em>or  ta  lykoydia,  I  kossara-ta  kossare  <\/em>or  ta  kossaras, o  tripodas-ta  tripode  <\/em>or  ta  tripodia, o  mezon  <\/em>or  mezonas-ta  mezone,  o  pous-ta  pode    <\/strong><\/em>(<\/em><\/strong>\u03bf<\/em><\/strong> \u03bb\u03cd\u03ba\u03bf\u03bd<\/em><\/strong>–<\/em><\/strong>\u03c4\u03b1\u03bb\u03c5\u03ba\u03bf\u03cd\u03b4\u03b5<\/em><\/strong> \u03ae<\/em><\/strong> \u03c4\u03b1<\/em><\/strong> \u03bb\u03c5\u03ba\u03bf\u03cd\u03b4\u03b9\u03b1<\/em><\/strong>, <\/em><\/strong>\u03b7<\/em><\/strong> \u03ba\u03bf\u03c3\u03c3\u03ac\u03c1\u03b1<\/em><\/strong>–<\/em><\/strong>\u03c4\u03b1<\/em><\/strong> \u03ba\u03bf\u03c3\u03c3\u03ac\u03c1\u03b5<\/em><\/strong> \u03ae<\/em><\/strong> \u03c4\u03b1<\/em><\/strong> \u03ba\u03bf\u03c3\u03c3\u03ac\u03c1\u03b1\u03c2<\/em><\/strong>, <\/em><\/strong>\u03bf<\/em><\/strong> \u03c4\u03c1\u03af\u03c0\u03bf\u03b4\u03b1\u03c2<\/em><\/strong>–<\/em><\/strong>\u03c4\u03b1<\/em><\/strong> \u03c4\u03c1\u03b9\u03c0\u03cc\u03b4\u03b5<\/em><\/strong> \u03ae<\/em><\/strong> \u03c4\u03b1<\/em><\/strong> \u03c4\u03c1\u03b9\u03c0\u03cc\u03b4\u03b9\u03b1<\/em><\/strong>,<\/em><\/strong>\u03bf<\/em><\/strong> \u03bc\u03ad\u03b6\u03c9\u03bd<\/em><\/strong> \u03ae<\/em><\/strong> \u03bc\u03ad\u03b6\u03bf\u03bd\u03b1\u03c2<\/em><\/strong>–<\/em><\/strong>\u03c4\u03b1<\/em><\/strong> \u03bc\u03ad\u03b6\u03bf\u03bd\u03b5<\/em><\/strong>, <\/em><\/strong>\u03bf<\/em><\/strong> \u03c0\u03bf\u03cd\u03c2<\/em><\/strong>–<\/em><\/strong>\u03c4\u03b1<\/em><\/strong> \u03c0\u03cc\u03b4\u03b5<\/em><\/strong>).<\/em><\/strong><\/span><\/p>\n

 It  looks  like  a  usual  Pontic  text  with  no  challenges.  The  conclusion  we  can  draw  from  the  text  is  that  this  kind  of    neutralized  Plural   is  very  old.<\/span><\/p>\n

This  grammatical  rule,  known  as  a  grammatical  irregularity  of  the  Pontic  Dialect, is   used  since  the Ancient  Times. The  text  in  question  demonstrates  this  fact.  There  is  no  use  of   the  dual  form  (\u03b4\u03c5\u03b9\u03ba\u03cc\u03c2<\/em>  \u03b1\u03c1\u03b9\u03b8\u03bc\u03cc\u03c2<\/em>),  in  any  case.<\/span><\/p>\n

\u03a4his  text  is  an  order  form  for  a   making,  by  which  the   person  who  orders  thoroughly  describes  what  he  wants  to  be  constructed.<\/span><\/p>\n

This  person describes  the  size,  the  colour  and  the  quantity,  apart  from  the  design. At  a  certain  point  we  can  see  numbers,  which  stand  for  the  quantity,  1 (one), 2(two), 3 (three).<\/span><\/p>\n

The   maker  is  neither   a  simple  potter  nor  a  blacksmith.  He  knows  how  to  use  the  permanent  dye. The  person  who  orders  asks  a  cup  with  holds,   blue-coloured  ,   like  the  sky.<\/span><\/p>\n

He  orders  a  chic   blue-coloured    fruit  bowl  for  dried  fruit.<\/span><\/p>\n

The  needs  for  utensils  are  the  same  across  time. These  tools  are  necessary  for  the  everyday  life,  for  storing,  as  well  as  for  festivals  and   symposia, that  is  why they  should  be  decorated  and  elegantly  dyed.<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

An order form to a potter.
\nThis is the way I want my pots to be.
\nThis inscription was found in Pylos, Messinia, Greece, by Carl Blegen, during the excavations of 1952.
\nIt dates back to 1500 B.C..<\/p>\n","protected":false},"featured_media":1944,"template":"","ignition_service_category":[52],"class_list":["post-1904","ignition-service","type-ignition-service","status-publish","has-post-thumbnail","hentry","ignition_service_category-diadikasies"],"_links":{"self":[{"href":"https:\/\/sarpidon-academy.eu\/en\/wp-json\/wp\/v2\/ignition-service\/1904","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/sarpidon-academy.eu\/en\/wp-json\/wp\/v2\/ignition-service"}],"about":[{"href":"https:\/\/sarpidon-academy.eu\/en\/wp-json\/wp\/v2\/types\/ignition-service"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/sarpidon-academy.eu\/en\/wp-json\/wp\/v2\/media\/1944"}],"wp:attachment":[{"href":"https:\/\/sarpidon-academy.eu\/en\/wp-json\/wp\/v2\/media?parent=1904"}],"wp:term":[{"taxonomy":"ignition_service_category","embeddable":true,"href":"https:\/\/sarpidon-academy.eu\/en\/wp-json\/wp\/v2\/ignition_service_category?post=1904"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}