> Apart from that I introduced a grammatical element (as I said: a few
> grammatical elements turn Magdalenian into a regular language), namely
> T'AT LAB, T'AT BEL, T'AT BAL, inspired by French tu as 'you have',
> you are/have cold, warm, hot. Magdalenian began as an experiment in
> Paleo-linguistics, and the transition form a word generator used for
> ritual purposes to a regular language will also come from experiments.
> I don't force the Magdalenian approach. For the time being the word
> generator is sufficient for my purpose, a tool for hermeneutic inter-
> pretations of cave art and rock art and mobile art and early literature.
Magdalenian as word generator allows hermeneutic interpretations,
and helps me deepen them. The latter is the case in the case of Homer's
Odyssey. It helped me solve the Ithaca riddle - no traces found on the
island of Ithaca that goes along with Homer. Below the shortest possible
summary of the epic, result of decades of studies and working. (The Finn
who is not a Finn but an Irishman and not an Irishman but a Slav bragged
that he could write such an interpretation within a quarter of an hour
- why don't we ever see anything like that from him?). And who cares
about finishing off with Magdalenian? As I said, you guys love it.
Odysseus returns home from Troy and arrives in Ithaca, which named the
Peloponnese and especially the Argolis, and survives in the name of a
relatively small island off the southwestern Peloponnese - young bull ITA
sky CA, together ITA CA Ithaca, under the sky of the young Zeus bull
(mature bull ATI sky CA, together ATI CA Attica, under the sky of the
mature Zeus bull). The hero sleeps on the shore of his home. A long series
of dreams bring him back to - Troy, Troy in disguise, and blended with other
places and periods of time. In his first dream he encounters the one-eyed
giant Polyphem, 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, and his den or cave the harbor in the
Besik bay where foreign ships (apart from the Greek ones) waited for favorable
winds and were forced to pay high tributes and fees. (And the Trojan horse?
a proud Achaean ship with the bow of a stallion, seemingly empty, drifting by
the harbor in the Besik bay ...) The first dream tells the war from the
Greek perspective. In his last dream he reaches pleasant Scherie, recognized
by Eberhard Zangger as a time travel to an early Troy (dramatic journey end
of book 5, idyllic arrival beginning of book 6). When Odysseus rcognizes
where he is and what a lovely place he destroyed, or will destroy in the time
perspective of the Phaeakians, he can't help but weeping. The final dream
tells him the war from the Trojan perspective. Now he falls in a deep sleep.
On the following morning he is ready for his next task, freeing his home
from the shameless suitors of his wife Penelope, those who profit from
the land without meeting their obligations, Penelope from PAS LOP, everywhere
PAS fortified settlements enveloped by surrounding palisades or walls LOP, and
Peloponnese from POL LOP PAS, fortified settlements POL (Greek singular polis)
enveloped by surrounding palisades or walls LOP everywhere PAS. And beautiful
Helen, cause of the Trojan war? she personifies tin, KAL EN Helen, tin found
in EN mines of the Underworld KAL in Central Asia, bound to pass the Darda-
nelles where the Trojans laid hands on the precious cargo, abducting Helen,
as it were.
The Odyssey is a modern book, anticipating Freud's dream logic, and science
fiction with a time travel.
Lord Laertes the gardener, father of Odysseus, is the hero of the Phaistos
Disc as deciphered by Derk Ohlenroth, Eponymous Tiryns; Odysseus personifies
the end of the Helladic period; and his son Telemachos 'Far Away War' Greece
in the time of the second Messenian war. Homer 2 of the Odyssey (compiling
material of a dozen or even sixteen bards, Ricardo Mansilla) feared for the
coherence of the Greek civilization (symbolized by Odysseus shooting an arrow
through the handle holes of seventeen axes, a near impossible feat). Homer 1
of the Iliad flourished in the time of the first Messenian war and was moti-
vated by the same deep concern.