The Masking Language

Old-Greek
Extending a few insights around vowel coding in divine names end
ego-pronouns in the common theory of masking language by Grassi,
Pindarus and Georgiades.

jwr47
Joannes Richter
Contents
The denial of artwork.............................................................................................................3
The art of painting..................................................................................................................3
The iconoclasm ......................................................................................................................3
The color codes as archetypes (as an intermezzo).................................................................4
Linguistic aspects - All things are numbers............................................................................4
The masking old-Greek language (according Georgiades' theory)........................................5
A masking language...............................................................................................................5
The masking music (?)...........................................................................................................5
The masking dance.................................................................................................................5
The masks...............................................................................................................................6
The loss of unity in modern language ...................................................................................6
In modern languages the rhythm looses the fettering rules....................................................6
The time-stamp of the transition from a rigged art to independent arts.............................6
The impact of the rigidity of Old-Greek art in our vocabulary ............................................7
Eternity as a concept of vowels..............................................................................................8
The common core in Diaus, *aiwi (forever) and *aiw (law) .......................................8
The time-stamp for the transition from rigged to free arts.....................................................9
The Greek and Roman alphabets before and after the fifth century......................................9
The vowels A, I, U in the old-Persian alphabet....................................................................10
The ego-pronoun in old-Persian cuneiform .........................................................................10
The Claudian letters .............................................................................................................10
The center of IAU, IEU and IOU-cores around Chur (Switerland).....................................11
Jauer dialect..........................................................................................................................11
Provencal..............................................................................................................................11
The dialect of the city of Nmes...........................................................................................12
The pivotal era......................................................................................................................12
Homer's Ulysses as a grammar.............................................................................................13
Conclusion............................................................................................................................13
 The Masking Language old-Greek
Recently I studied some of the last remains of my father's huge library and arrived at the German
Rowohlts German Encyclopedia. These books had been published between 1950 and 1960. My
father's collection never had not been complete and is composed from selected works numbered
1,2,3,4,5,6,7,9,10,11,14,15,16,17,23,24,25,26,27,31,36,39 and 43.
Printed on post-war paper these volumes are not really valuable and I didn't try to avoid making my
notes in these books. I probably would be the last readers of these items and I even thought to throw
the books away if I could not find anything interesting in these works.
In fact I had been reading some of these works like La rebelin de las masas (The Revolt of the
Masses, 1930) by Jos Ortega y Gasset (#10) and Sigmund Freud (#14) by Ludwig Marcuse,
who had advised me (and the other readers) how to become a successful within three days by
simply write down whatever came to my mind about a topic. I also found a quite interesting book
The Americans (1948) (#9) by Geoffrey Gorer.
My notes at the empty pages of these books helped me to keep my notes within reach and copied
these to computer files for easy searching.
In the end I wound up at a book #36 titled Art and Myth 1 by Ernesto Grassi (1902-1991), who
as an author and publisher he also was responsible for the complete series of the Rowohlts German
Encyclopedia. His name was found at the front page for the Encyclopedia's series. I also noticed he
referenced to other authors of the Encyclopedia, which seemed to be composed as an integral
overview of selected philosophic topics.

The denial of artwork

I saw I had noticed his remark that art had been rejected in the first centuries of Christianity (e.g. by
Origenes) because only God's Work had been considered as valuable and artwork had been despised
as a detraction of the divine Creation. In the third and fourth century AD artwork seemed to have
been upgraded in order to help honor and praise the Creation. In the sixth century AD a person
named Fulgentius even honored and respected pagan artwork. Dante ( Symposion) and Bocaccio
proved that artwork even managed to bridge a relation towards truth.

The art of painting

The art of painting also seemed to have passed these stages. From the earliest stages the religious
icons have been ruled by various instructions in using colors and structures. The artists were not
allowed to express any subjective emotions. The early icons reflected dogmatic expressions.
Subsequently the icons may be used to illustrate the Bible for the Poor (Biblia pauperum) and to
motivate the illiterates to devotion. In the end the Carolingian Synod liberated the artwork from the
enforced color codes and the other archetypes of holy symbols.

The iconoclasm
In the third stage the iconoclasm deprived all objects of their religious symbolism and even
destroyed most of the graspable items. In the great Church of Our Lady at Breda only a few fresco's
have been rescued from the iconoclasm. The rest of the artwork vanished in the Reformation.

1 Kunst und Mythos. Rowohlt, Hamburg 1957. 2. Auflage: Suhrkamp, Frankfurt am Main 1990. Bearbeitete
Neuausgabe, herausgegeben von Richard Blank und Emilio Hildalgo-Serna: Alexander Verlag, Berlin 2014, ISBN
978-3-89581-312-2.
These three stages seem to have been hitting all forms of artwork (poetry, painting, music):
1. iconic structures with fixed color codes and other archetypes of sacred symbolism,
2. liberation of the prescribed color codes and archetypes for sacred symbolism,
3. destruction of symbolic codes in iconoclasm and reformation.

The color codes as archetypes (as an intermezzo)

Obviously I seemed to have noticed the following archaic color codes in ancient eras:
1. red = male,
2. blue = female;
3. purple = divine respectively imperial
Red and blue may have been applied in heraldic symbolism and in flag designs. Red and blue also
seemed to have been conserved in masonic rituals.
The color code yellow = treason probably had been invented in the Middle Ages to illustrate the
illiterate people how traitors like Judas and St. Peter ( in Peter's Denial) may be recognized in the
paintings. Originally yellow did not seem to belong to the archaic color symbols.
After the iconoclasm these archetypes quickly disappeared from public artwork. None of the
popular artists felt the need to obediently pay attention to these obsolete rules. By chance some
sacred sculptures followed a traditional miraculous manifestation such as the epiphany of Saint
Mary in Lourdes who always is to be depicted in white & blue.
Pope Pius in 1570 restricted the colors for garments to white, red, green, violet, and black for the
Roman Rite in which blue is not allowed except in some dioceses of Spain for the Mass of the
Immaculate Conception.2 Officially the color blue still seems to be prohibited in Catholic liturgical
garments and clothing. However these rules are not strictly applied anymore and the priests may
wear a blue chasuble. Traditionally rose (light red) symbolizes girls and light blue symbolizes boys
in the dress codes for young children.

Linguistic aspects - All things are numbers

A new insight Ernesto Grassi provided was his statement that the early old-Greek language had
been restricted by a rigid corset of rules, which I never had heard from my Greek teachers.
Of course Pythagoras had been known to consider numbers as archetype for the Creation. Sounds
and planets vibrated according to numbers and intervals. "All things are numbers". 3
According to the author Ernesto Grassi the religious interpretation of these numbers degenerated to
magical numbers which extensively had been used in the magical spells of the Greek Magical
Papyri.
The number is a symbol in sacred rhythm, in which colors, tones and dancing may be ordered.
Ernesto Grassi describes it as follows (at page 95):
The number is a symbol in sacred rhythm, which as an order of colors, tones and
human movements (dancing) restricts and enchains the leaking evolution: Colors, tones
and movements grow to be symbols of a higher sacred order, in which the eternal cycle
of mankind renews itsself.

InPoetics Aristotle does not refer to sacred movements, tones or colors but simply
refers to Art.

2 Catholic Encyclopedia (1908)

3 C. M. Bowra (1957). "The Greek experience". W. P. Company, p. 166 [104]
The mythical unity however does not last forever, but falls apart. The original concept of unity
however is an interesting idea, because it may help understand most of the background symbolism.

The masking old-Greek language (according Georgiades' theory)

Ernesto Grassi refers to the work Greek Music, Verse and Dance (N.Y., 1956) published by
Thrasybulos Georgos Georgiades, in which the concept of Greek language has been considered
completely different from modern languages.
In modern languages the length of a syllable may be long or short and is supposed to be shortened
or lengthened ad lib to express for instance the mood or emotions. As speakers we may extend a
flattering promise or shorten a syllable or word to express a menacing mood. That's the way we feel
free to flexibly adapt language to music. According to Georgiades certainly could not do that in old-
Greek language, in which independent from the mood of the speaker the syllables' length relation of
the words such as always remained fixed.

A masking language
For this reason Georgiades named old-Greek language a masking language, in which the words
seemed to be as rigid as a sphinx. The words seemed to be uttered from a masked speaker, whose
facial expression is hidden behind a mask. This way the language speaks for itself and cannot be
varied by the speaker. According to Grassi and Georgiades the masking cannot be considered as a
loss, but fortifies the word. The pathetic enforcement of the context and rhetoric guidance cannot be
applied as long as the word is strictly pronounced according to the rules. Additional pathetic
expressions applied by the actors will merely disturb and diminish the expression. This way the old-
Greek verses are expressing the fate or the divine Being, whose representation cannot be altered and
adapted by human interference.

The masking music (?)

From this concept we may understand that the corresponding music cannot really be different from
language. The rules for strictly fixed relations in the syllables' structure must be applied in music as
in the underlying language. Language, verses, rhythm and music are considered to form a unity.
According to Georgiades the dancing will also have to be included in this unity. For modern man,
who freely has been expressing himself in individually preformed dancing, verses, language, music
and rhythms, these restrictions of rigid intervals is totally incomprehensible.
Georgiades however proves his thesis by an example from modern dictionaries, in which the Greek
expressions still refer to the original sources (dancing) of rhythms:
the foot in poetic meter (arsis and thesis) such as the dactyl (long, short, short) and the
iamb (short, long). The thesis is the lowering, the arsis the raising foot movement.

The masking dance

This relation between poetry (dactyl, iamb) and dance (foot, arsis and thesis) will not be found in
any modern language.
In old-Greek music the (1) word, (2) rhythm and (3) dance had been considered as a unity. The
individual artistic expression had been ignored. The old-Greek music had been understood as a
sacred, religious expression.
The masks
In theater the masks guaranteed the sacred performance which was required to hide the subjective
mood of the actor behind the eternal archetypes of the truth. In fact the masks did separate the
human expressions from the divine eternity, which had freed itself from emotions. The artistic
moods inside the actor's character were to be extinguished and the actor became a pawn, who
served the act as a minor character.

The loss of unity in modern language

The masquerade and the masks themselves disappear as soon as the original unity is to be lost in the
revolutionary act of freeing the words, verses, music and dance from rigid rules and allowing these
arts to choose their free expressions. The arts now start their autonomous career in which laws
perish and vanish into the historic oblivion. Rhythm frees its from the shackles, ball and chains and
develops new artistic waves of profane music, which in turn also inflames verses and language.

In modern languages the rhythm looses the fettering rules

As a proof for this thesis of a loss the original unity in the music scene Georgiades suggests to
concentrate on Pindar's description of Pallas Athena's gift to mankind in the form of a flute named
aulos (). There were several kinds of aulos, single or double.
Some were double-reeded, like the modern oboe, but with a larger mouthpiece, like the
surviving Armenian duduk.[4] Other instruments produced a continuous sound like a
bagpipe and was named the askaulos ( from askos "wine-skin").[5]
According to Georgiades the moaning of the Gorgon Euryale, an immortal sister of the mortal
Medusa, had been famous for her bellowing cries in the tale of Medusa's death at Perseus' hands.[3]
Euryale also had the ability to turn anyone to stone with her gaze, which probably developed to
impressive sights in the theater. The optimal performance of Euryale's bellowing cries seemed to
have been found in a type of the reed-instrument aulos.
Euryale rewards persons she does not really observe 4. I thought this may be used as a terrific
experience in a theater, in which a masked actor looks around to observe each attentive
visitor, who may feel observed by an attentive divine creature...
Pindar discerns the human from the divine expressions. The human share is an affection and the
divine share is artwork. According to Pindar the expressive music of the reed instrument represents
the essence of human affections.

The time-stamp of the transition from a rigged art to independent arts

Georgiades suggests the transition from the rigged art to individual and independent arts may
have occurred at the end of the fifth century before Christ, in which the revolutionary dithyramb
arose.
Phrynis of Mytilene, a Greek kitharode and composer of nomoi. None of his works has
survived. He went to Athens from Lesbos (c450 bce) and had already become well
known by 423; in that year Aristophanes (Clouds, 96970 and scholium) deplored the
difficult vocal writing that contemporary composers had learned from him. About half a
dozen years later, Timotheus boasted of a victory over Phrynis...

4 Euryale rewards persons she does not really observe. In studying paradoxes Niklas Luhmann refers to Euryale.
[Source: Euryale (Gorgone)]
Phrynis of Mytilene and Timotheus of Miletus invented new revolutionary ways in creating music.
Up to that phase the old-Greek language had managed to preserve the rigidity of rhythm. Now the
words lost their strict rhythm, which had characterized the masked Sphinx-expression of old-Greek.
The new ways of performance allowed the actors to express subjective feelings.
Ernesto Grassi even compares this revolutionary step with Eve's eating the apple in the
Biblical scenery of paradise, in which the insight destroyed the magnificent coherence
between divinity and human life. The loss of course resulted in disorientation, confusion and
absurdity, which did lead us to chaos...
The artwork is an intermediate step between the divine, perfect and the human, imperfect phases.
The myth still could be understood by religious people. Some interpreters managed to individually
hear the Socratic dmon as an inner voice that guided them in managing life in a troubled
environment.
According to Grassi Nietzsche was the first philosopher who expressed this idea in his Origin of
Tragedy, in which at the dawn of rationalism the old-Greek world explodes in thousands of
fragments...

The impact of the rigidity of Old-Greek art in our vocabulary

In analogy to this analysis of a transition from unified art to scattered individual artworks (like
poetry, music, dance and rhythm) as performed and documented by Georgiades, Grassi and Pindar
I decided to integrate this idea in my own linguistic findings, which started 2009 with Dyaeus.
My observations concentrated on certain words, which had been designed around sets of vowels
such as:
The archaic divine names (Dyaus or Diaus) and its derivations Jupiter, Jove, Iovis, Zeus,
Deus) and modern divine names (such as Dieu, Diau(s), Diou, Dio(s), Diu),
The ego-pronouns5 (such as ieu, iau, iou, io, iu, i, y, etc.) which seemed to have been derived
from the same core as the corresponding divine names Dieu, Diau(s), Diou, Dio(s), Diu,
and the (Ju-piter derived) IU- and IO-words (justice, jovial, Jeudi, jeu).

These words seemed to have been designed based on strict vowel combinations, which followed the
rigid rules as had been applied in the old-Greek rhythms.
The vowel combinations of the ego-pronouns ieu, iau, iou, io, iu may be identified in the divine
names Dieu, Diau(s), Diou, Dio(s), Diu6.

5 The ego-pronouns are a shorted expression for the personal pronoun of the first person singular (I in English).
6 The Derivation of European Ego-Pronouns From the PIE-Sky-God Dyaus
Eternity as a concept of vowels
Those days of rigidity also seemed to have expressed eternity by a sequence of long vowels
a'onios, which in Dutch resulted in IE (the proceeding time) and still may be found in
the words eeuwig (eternal), ieder (everybody), iets (something), iemand
(somebody), niemand (nobody), nieuws (news)... etc..7
Dutch German English
IE JE Ever
eeuwig ewig eternal
ieder jeder everybody
iets etwas something
iemand jemand somebody
niemand niemand nobody
nieuws neues news
1: IE-root for elapsed time

Of course in plain English other words carry these same rigid cores, but the efficiency of modern
language introduced deterioration and reduced most of the vowels to one simple letter, but at least
the vowel managed to carry the information in a double vowel character: , a ligature of vowels a
and e, called ash. The alternative is w. In old Norse the word is translated ever, at any time, (in
English: aye) and derived from Proto-Germanic *aiwi (forever). Cognate with Old English ,
wa, , Old Saxon eo, io, ia, Old High German eo, io.

The common core in Diaus, *aiwi (forever) and *aiw (law)

The core *aiwi (forever) and *aiw (law) both seemed to be based on vowel cores Iauu
which also may be found in divine names Dyaus or Diaus, Dieu, Diau(s) and Diou,..
For similar expressions *aiw, *aiwaz (law) the origin is explained as:
From Proto-Germanic *aiw, *aiwaz (law), from Proto-Indo-European *oiw- (custom,
tradition, law). Cognate with Old Saxon o, Old Frisian ewa, we, , , Old High German
wa, ha, a, (German Ehe).
Both are considered important words, related to eternity and eternal laws, ruling matrimony. Most
of these words had been abbreviated to singular or dual vowel words: , wa, , eo, io, ia, eo, io.
eo, io, a. In Dutch it had been abbreviated to ie. In English the ego-pronoun had been shortened
to I or in Wycliffe's Bible translation Y. All these words seemed to have been derived from a
common set of vowels as found in the sky-gos's name Dyaus or Diaus.
I also found the ego-pronoun in Den Danske Ordbog and other Danish dialects.8
in Anders Bjerrum and Marie Bjerrum (1974), Ordbog over Fjoldemlet, Copenhagen:
Akademisk Forlag.
In many western, northern and southwestern Norwegian dialects and in the western Danish dialects
of Thy and Southern Jutland, has a significant meaning: the first person singular pronoun I. It is
thus a normal spoken word and is usually written when such dialects are rendered in writing. 9
7 Etymologisch Handwoordenboek der Nederduitsche taal
8 dialectal, Fjolde) I (first-person singular pronoun)
9 in Other Germanic languages
 In Jutlandish we may construct strange sentences such as a e u o i , e a! translated as
(depending on the sub-dialect): I am out on the island in the river, am I!10
In the Swedish dialect "Vrmlndska" another sentence i a e " translates to "And in
the creek there is an island"11
I imagined the divine names, the ego-pronouns, some days of the week 12, the planets, the colors and
notes all had been rigged and interconnected to a system of Pythagoras' elements or numbers13.

The time-stamp for the transition from rigged to free arts

The time-stamp for this transition from rigged arts structures in a myth to individual arts may be
located in the fifth century before Christ. Earlier phases of languages may be considered as united
in a mythical era using a strictly rigged rhythm for the syllables in the vocabulary.

The Greek and Roman alphabets before and after the fifth century
Greek, like Phoenician, made a distinction for vowel length. Originally - as in
Phoenician - the difference in length was not made in writing. Long [e] and [o] were
written with the digraphs and , respectively, whereas long and short [a], [i], [u]
were never distinguished in writing. 14

However, by the 6th century BC the letter eta (not needed for a consonant in eastern
dialects of Greek, which lacked [h]) came to stand for the long vowel [], and a new
letter, omega, was developed for long []15.

There were initially numerous local variants of the Greek alphabet. Athens used a local form of the
alphabet until the 5th century BC; it lacked the letters and as well as the vowel symbols and
. The classical 24-letter alphabet that became the norm later was originally the local alphabet of
Ionia; this was adopted by Athens in 403 BC under archon Eucleides and in most other parts of the
Greek-speaking world during the 4th century BC16.
Obviously the transition from a unified rigged art to free and individual arts took place around the
same time of the introduction of the long vowels H and . Before this introduction the rhythms in
language had been fixed by the rigged interval relations between syllables, which did not require
special indicators for the vowel lengths. The loss of the masking sphinx character of old-Greek
however required the introduction of special characters H and . The Greek alphabet grew from 5
(A,E,I,O,U) to 7 vowels A,E,H,I,O,U,.

10 Jutlandish: Complete sentence with all-vowel single-letter words ..

11 Comment by JessicaC in Jutlandish: Complete sentence with all-vowel single-letter words ..
12 Salutations, Divine Names, Weekdays and Ego-pronouns in Many
13 Etymology for the Name Dyaus | Greek Alphabet | Planets
14 Source Additional letters in History of the Greek alphabet
15 The provenance of omega is not known, but it is generally assumed to derive from omicron with a line drawn under
it.
16 Archaic variants also: Archaic Greek alphabets
The vowels A, I, U in the old-Persian alphabet
Originally the Persian language restricted itself to three basic vowels A, I and U, which around 550
BCE to 400 BCE by king Cyrus had been placed at the most prominent location at very beginning
of the old-Persian cuneiform alphabet:
The vowel A [a] represents an extra-low central vowel.
The vowel I is generated at the frontside of the mouth
The vowel U is generated at the backside of the mouth17
The vowels E and O refer to positions between A and I, respectively I and U.

The ego-pronoun in old-Persian cuneiform

The ego-pronoun (I) in old-Persian is spelled Adam18.

1: (I)
in old-Persian

The Claudian letters

In Latin the transition from rigged art to free an liberated arts did not lead to a split up from 5
(A,E,I,O,U) to 7 vowels A,E,H,I,O,U,. The alphabet used a 5 vowel set (A,E,I,O,U) up to the
introduction of the Claudian letters named after the Roman Emperor Claudius (who reigned 4154).
These letters were used to a small extent on public inscriptions dating from Claudius' reign, but
their use was abandoned after his death. One of these letters represented a consonantal U ([w]/v) to
distinguish between a vowel U and a consonant V or W. Another of these three letters represented a
so-called sonus medius, a short vowel sound (likely [] or []) used before labial consonants in Latin
words such as optumus/optimus. This vowel may have been intended as a symbolic transition
between the I and U symbols, which probably represented antipodes (such as the male & female
elements?). The third letter was a pure consonant to replace BS and PS.
Suetonius said of Claudius' letters:
Besides this he [Claudius] invented three new letters and added them to the alphabet,
maintaining that they were greatly needed;

he published a book on their theory when he was still in private life, and when he
became emperor had no difficulty in bringing about their general use. These characters
may still be seen in numerous books, in the [state] registers, and in inscriptions on
public buildings.[4]19

17 Vowel
18 Oud Perzisch
19 Suetonius pass, Loeb Classical Library edition, 1913-1914, English translation is by J. C. Rolfe. Page 77, paragraph
41. (From LacusCurtius) from Wikipedia's Claudian letters
The center of IAU, IEU and IOU-cores around Chur (Switerland)
The shortest words seemed to be most ancient and most important cores in the Danish and English
vocabulary. The ego-pronouns tended to be vowels Y and I in English and in Danish and Norse
dialects. At my recent visit in Norway I discussed this theme with a number of the Norse population
and they confirmed was a quite common ego-pronoun. The short words however seem to prevail
in the harbors and along the shorelines of the seas.
In contrast the longest ego-pronouns may be found in mountainous Alpine territory, in which the
original words may survive rough conditions by hiding behind the mountains.
In Chur (reputedly the oldest town of Switzerland and located in the Grisonian Rhine Valley) at the
center of the Alpes and in the French Provence a great abundant variety of the ego-pronouns is
found.20 The variety covers jau, iu, iu, eu - sometimes accompanied by a divine name Diu or
Diu respectively Deu.

Jauer dialect
The language in the valley using jau as an ego-pronoun is named Jauer dialect and the people are
named Jauers. Jauer is usually not written; the written standard in Val Mstair is traditionally
Vallader. Jauer is occasionally written regardless, and in 2007, a collection of short stories written in
Jauer (Dschon Uein id atras istorias grischunas) was published[5]
As with other Romansh speakers, virtually all speakers of Jauer with the exception of
children below school-age are also proficient in both Swiss German and Swiss Standard
German. Additionally, many people in Val Mstair also speak Bavarian German as a second
language due to contacts with neighboring South Tyrol[7]
Of course I studied the possibility of iau as a core of Dyaus, the PIE-sky-god.

Provencal
In March 2017 I concentrated on the conjugation of the verbs for which I had discovered a fine
database full of circa 90 verbs. It turned out to an archaeological treasury of iu-suffices in the
conditional and imperfect conjugations. Some of the iu-suffices even spread into the present
conjugations. The lists clearly revealed the immense power of the ego-pronoun, which may
eventually dominate all other words including the divine names.
Morris Swadesh intuitively seemed to have been right in placing the ego-pronoun on the first
position of the most important words in all languages, although he may have suppressed the sky-
god's Name Dyaus, who also provides us with a genuine iu-core21.

Indeed Provencal does contain some strong correlations between the ego-pronoun (iu), the divine
name (Diu), the iu-conjugations of verbs:
diu (I say),
siu (I am),
viu (I see)
and some fundamental words such as
fiu (son),
viu (alive),
siucle (century).

20 The Fourth Vowel (generating Ego-pronouns from sets of vowels

21 The Symbolism of Long Vowels (Scribd) (ca. 19.3.2017)
Of course I also noticed the remarkable identity for the words for God (Diu) and I say (diu)22.
In Provencal there is a strong correlation between the vowel roots for Diu and siu (I am). As
in Hebrew these Provencal words seemed to have been chosen to match to each other.
I considered the idea that the Provencal population may have emigrated from the puritan Greek
population by sailing to the Massalia (Marseille) colony with a rigged myth linguistics and could
have survived with traces of their original language in the Alpine region and still use the 3-vowel
ego-pronouns and the corresponding set of conjugations.

The dialect of the city of Nmes

Antoine Hippolyte Bigot (1825 - 1897) wrote an interesting and beautiful poem in Provencal, or to
be more precise: the dialect of the city of Nmes. The dialect proves the correlation between the
ego-pronouns (yiou, respectively mou) and the divine name (Dou) which are contrasting to
the Occitan versions iu respectively Diu as they have been found in Frdric Mistral's
Mirio).
The Dou-spelling directly seems to refer to *Diou-piter, the PIE-root for Jupiter. Diou has also
been found in the dialect of Villar-St-Pancrace where the ego-pronouns are iu m, respectively m
iu 23
The poem is named Fraternita and I was unable to find it at the web, so a few hard-copies will
have to do to explain some of the special words. 24

The pivotal era

The Axial Age is a term coined by German philosopher Karl Jaspers after Victor von Strau (1859)
and Ernst von Lasaulx (1870)[2] in the sense of a "pivotal age" characterizing the period of ancient
history from about the 8th to the 3rd century BC.
In this pivotal era around 500 BCE the transition from rigged art to free an liberated arts and the
alphabet had to be extended from (A,E,I,O,U) to 7 vowels A,E,H,I,O,U, by two long vowels H
and . Did the philosophers in Athens need these long vowels to manage the correct pronunciation?

22 The Etymology of the Earliest Vocabulary

23 Patois of Villar-St-Pancrace (for the moment this site unfortunately seems to have been lost) :
Personal pronouns: (Cas sujet Cas rgime atone tonique direct indirect)
Sg. 1p a (l) iu m, m iu 2p t, t t, t t 3p M u(l), al ei(l) s lu ei F eilo la eilo N o, ul, la - lu - Pl. 1p n* n*
2p * v* v* 3p M (z) s l* i F eil (eilaz) l* eil

24 Yiou & Dou in the dialect of Nimes

Homer's Ulysses as a grammar
Teaching the correct rhythms in old-Greek language may have been supported by Homer's Ulysses
as a grammar. I remembered how I memorized the correct reading of old-Greek language:
at the introduction of the Odyssey:
, , ,
,
and the first couple of lines in the Iliad:

, ' ' , ...
accentuating the letters in , the at and the in .

Conclusion
As a summary this paper concentrates on the vowel triad I,A,U and the extended versions I,A,E,O,
U respectively A,E,H,I,O,U,, which originally up to the Greek Axial Age (the pivotal age around
500 BCE) as I,A,U may have been a common core for divine names, ego-pronouns, various
important words (for eternity, law, contracts, vows and matrimony) and conjugations.
From Greece some of these vowel cores jau, iu and iu may have emigrated by sailing to Massalia
and surviving linguistic deterioration in the Alpine regions of the Chur region in Switzerland and
the French Provence.