Encryption and Decryption of the Alphabetical Hieroglyphs

jwr

#ig. 1: $eoffroy Tory %1&'()*1+,(- .psilon
public domain in the United States, copied from Wikipedia's page Upsilon 1

Intro to one of the vowels
Upsilon is known as the Pythagoras' letter, or the Samian letter, because Pythagoras used it as an emblem of the path of virtue or vice. Lactantius, an early Christian author ca. !"# $ ca. %!#&, refers to this as follows!' ()herefore all this discussion respecting the two ways has reference to frugality and luxury. *or they say that the course of human life resembles the letter Y, because every one of men, when he has reached the threshold of early youth, and has arrived at the place (where the way divides itself into two parts,+ is in doubt, and hesitates, and does not know to which side he should rather turn himself.%+ )his idea interested me and , decided to see where the idea had been discussed. -f course my interest also had been based on the encryption and decryption of the ideas behind the vowels. .nd of all vowels the / had been the hardest nut to be cracked.

0 page of the work Champ *leury' auquel est contenu l'art et science de la deue et vraye proportio des lettres ... ! from Wikipedia's page Upsilon % Wikisource: The ivine !nstitutes. pp. 1ook 2, Chapter ,,,. translated "y William #letcher

Upsilon as a diphthong
,n the comment to Wikipedia's page Upsilon it is said that' ()he man on the left side of the drawing plummeting into the fire is what was known in the classical tradition as a falling& diphthong+. 1ut what is supposed to be falling' the man or the diphthong /3 , found some answers to the falling diphthong in Upsilon 4 Pronunciation' Upsilon participated as the second element in falling diphthongs, which have subse5uently developed in various ways' for instance after alpha or epsilon it is pronounced 6f7 or 6v7. )his however could not be understood from (a man who was plummeting into the fire...+. )o find out some more about the original drawing , had to read the Champ *leury in *rench, which is rather difficult if most of the linguistic redundancy had been lost in the scanning procedure.

Champ Fleury - the art of designing letters
8aving found the image , immediately understood the illustration dated 09!:& in which the road to luxury is an easy road to the left4sided /4branch with meat and wine, which is leading the students into hell's abyss $ and not a falling diphthong /. ,n contrast the road to frugality at the right side is thorny and hard. )he traveler student will be attacked by three howling, wild animals named !nvidia %envy-, Super"ia %vanity- and /i"ido %lust-, but in the end the student will be honored in his studies "y his studies. )he illustrations are part of a document named' Champ *leury' auquel est contenu l'art et science de la deue et vraye proportio des lettres ... -bviously the work describes the art of correct proportioning alpha"etical characters. ,n the ;iddle .ge art however also implied philosophy. , decided to analy<e the process of designing letters to understand some of medieval or to be more precise' 09!:4dated& philosophical backgrounds.

" *alling and rising =iphthongs' Falling or descending& diphthongs start with a vowel 5uality of higher prominence >?@A?BCDE@FG?DHCDIHJKLBMDNOPDBOPD@ODNDQBL@IHRBJDR@F?DJBQQDECHL@OBOGBSDJ@TBDUNVW XD@OD eye, while rising or ascending& diphthongs begin with a less prominent semivowel and end with a more prominent full vowel, similar to the 6Ya7 in yard.

Vowels AEIOV – Y and H
.t page ZZ2, of Champ *leury , recogni<e the barren leafless branch of ignorance and the flowering branch of wisdom $ split up in one twig full of seven (vowels+ the 9 [oman vowels .\,-2, the additional ]reek vowel / and the aspiration consonant 8&, and two branches with ^ semivowels and a third branch with consonants. )he branch with ^ leaves had been labeled with leaves named semivo0els L;_[SZ`, devoted to the seven free arts. )he third branch of nine leaves : leaves had been labeled with the mute letters 1C=*]aPb), devoted to the : muses. )he Latin vowels .\,-2, the ]reek letters / and 8 were said to be devoted to the four cardinal virtues and the three ]races. ,n this version of the Latin alphabet the letters c, U, d are missing from the standard !e4lettered Latin alphabet. -riginally the Upsilon had been named (f+, but then it had to be changed to (f ghijk+, u psilon, meaning 'simple u'& to distinguish it from lh, which had come to have the same 6y7 pronunciation.

#ig. ,: The "ranch of 0isdom

#ig. 2: The 3ranch of !gnorance

Copied from Champ *leury dated 09!:&

Later in the manuscript the Latin .lphabet is more correctly described as consisting of e vowels .4 \4,4-424/ and 0^ consonants resulting in an alphabet of !% letters&. ,n Latin alphabet the 8 officially belongs to the consonants. )he vowels are categori<ed in ! groups' % (prepositives1 ., \, -& and % (su"iuctives1 \, 2, ,&, which are being used to form diphthongs. )he / itself had been defined as a /atin iphthong9 without further detailed emplanations.

9 Latin Letters, page LZZ,

Apollo, Muses, Arts, Virtues and Graces
.ccording to the author ]eoffroy )ory the alphabet is an artwork of : ;uses, ^ .rts, " cardinal 2irtues and % ]races, composed "y 4pollo. )he influence of ]reek mythology seemed to be overwhelming and only a few details reminded me of the Church's fundamentals. .ll references for vowel symbolism had been taken from genuine ]raeco4[oman traditions. • • • • )he nine muses are Clio, )halia, \rato, \uterpe, Polyhymnia, Calliope, )erpsichore, Urania, ;elpomene. )he seven liberal arts were taught in two groups' the trivium ]rammar, =ialectice and [hetoric& and the quadrivium %.rithmetic , ]eometry , .stronomy , ;usic &. )he cardinal virtues are Prudence, custice, )emperance or [estraint and *ortitude or Courage. )he )hree ]races are from youngest to oldest&' .glaea n;irthn&, and )halia n]ood Cheern&. nSplendorn&, \uphrosyne

#ig. &: The seven li"eral arts including 4pollo
Copied from Champ *leury dated 09!:&

e

logic

Metrics
.s an artisan ]eoffroy )ory also respected a human body's proportions in his designs. )he design of the letter . had been drawn in the same 0# m 0# grid he had used for the human body. )hese designs followed the ancient mythical rules of archaic philosophy, which even included the muses in dimensioning artwork. )he design looks like Leonardo da 2inci's 5itruvian 6an c. 0":#&^, but this time the artist adds the alphabetical symbolic roots for the mute letters 1C=*]aPb) and .pollo's name.

#ig. +: 4pollo ; the <ine 6uses

#ig. :: esigning the /etter 4

*ig. ^' .bbreviations for the name (,\SUS C8[,S)2S+
Copied from Champ *leury dated 09!:&

nIHΣn is sometimes interpreted as meaning !esus 7ominum Salvator ncesus, Savior of menn in Latin& or connected with !n 7oc Signo. Such interpretations are known as backronyms. ,t is followed by two capital& letters chi and rho Χ & of the ]reek word nΧ oΣpqrn 89hrist and a trailing letter r.

^ .ccademia, 2enice

#ig. ': esigning the /etter =/=

*ig.:' =esigning the Letter / from an (,+ and a (2+ 3& =id ]eoffroy )ory really merge and combine the designs of the vowels , and 2 to produce another vowel /3

#ig. 11: esigning an !

#ig. 1(: esigning an 5

.ll copied from Champ *leury dated 09!:&

Understanding the Pythagorean Y

#ig. 12: The am"ivalent structure of the .)sym"ol
Copied from Page LZ,,, of Champ *leury dated 09!:&

.lthough all designs for the alphabetical elements have been documented in at least two pages some emtra effort has been invested for the documentation of the /. )he ambivalent structure of the /4symbol is similar to the duality of the ways to frugality and luxury. 8owever the image has been simplified. .n emtra cryptic illustration has been decorated in order to promote the letter for higher or even highest 3& ranking in the alphabetic hierarchy. ,n this illustration the emplanatory power obviously has been suppressed. )he image will be understood for those, who already had seen, known or heard the story before. )he coronation clearly indicates the victory for the right side. )he fire illustrates the left s wrong& side. \ven if we do not understand all symbols we may confirm the story of good and bad. _o falling man or falling diphthongs will be needed any more.

he e!planatory s"etch

#ig. 1,: The 0ild animals are named !nvidia %envy-, Super"ia %vanity- and /i"ido %lust-

Copied from Champ *leury dated 09!:&

.

The Greek alphabet
Champ *leury also includes designs for at least two do<en other alphabets, in which a lot of information has been listed. , didn't read it all and postpone it to some rainy day in the future. , will merely investigate some details for the ]reek alphabet, which had been related to the mythological symbolism. Strange is ]eoffroy )ory's t4design and the similarity of the Y and the Psi4character. )he ]reek alphabet has !" letters, ordered from alpha to omega. -riginally the ]reek alphabet started with five vowel symbols by altering the Phoenician consonants >?lephu to a vowel vavw he to vev, @ayin to vov:, 0au to vuv and yod to the iota 6i70#. )his has been confirmed by the legend of the three *ates00 who created the first five vowels of the ]reek alphabet. 1y the eth century 1C the letter eta0! came to stand for the long vowel 6xy7, and a new letter, omega, was developed for long 6zy70%. )he .lphabet now used ^ vowels' A, E, 8, I, !, Y, t, in which A" E" I" !" Y were short and A" H" I" #" Y represented the long vowels.

#ig. 1&: $reek 4lpha"et %9opied from 9hamp #leury-

#ig. 1+: $reek 4lpha"et %9opied from 9hamp #leuryCopied from Champ *leury dated 09!:& u : 0# 00 0! 0% a glottal stop in Phoenician because the pharyngeality altered the following vowel Phoenician alphabet Clotho spinner&, Lachesis allotter& and .tropos unturnable& not needed for a consonant in eastern dialects of ]reek, which lacked 6h7 | C,ꟾ}.}*,L,ꟾ , which in modern rendition would be lAciB a 8istory of the ]reek alphabet and Long i with a sample L2 { filiB, with a macron rather than apem to indicate vowel length&.

O#er#iew o$ the alpha%et&s 'o(position

,n an overview the e vowels ~ 0^ consonants • !% characters of the Latin alphabet are depicted as the rays of the solar composer Creator ]od .pollo, who is playing his instrument.

A hierarchical order
,t surprised me to see seven (vowels+ to the vowel branch. \ven more the category of semivowels may be considered as most interesting. *rom a philosophical standpoint the semivowels might be playing a role in the hieroglyphic hierarchy, in which the vowels .\,-U belong to the highest level maybe with a vowel (,+ at the top 3&' • • • 9 [oman vowels .\,-2 and the additional ]reek vowel / and the aspiration 8 ^ semivowels L;_[SZ` : mute letters 1C=*]aPb)

)he vowels I$A$% seemed to be a standard for all alphabets, but what role had been taken by the /3 )he Upsilon seemed to be a Coker in the contest, switching between I and &4vocals ad lib.

'atin hierarchical order
Latin started with 9 vowels ., \, ,, -, 2. )he primary diacritic was the apem used to mark long vowels, which had previously been written double. 8owever, in place of taking an apem, the letter i was written as a long ,4vowel0". )he letter , towered over the four neighbors and looked like a central master of the world.

Exa(ple for a long I$)owel
,n written Latin, the apex is a mark roughly with the shape of an acute accent € & which is placed over vowels to indicate that they are long. 8owever an apem is not used with the letter iw rather, the letter is written taller, as in fili•& in the first and the third letter ,, which are to be lengthened.

#ig. 1:: !nscription displaying apices %from the shrine of the 4ugustales at 7erculaneumoriginally posted to Flic*r as !##:#0#e‚0!!0!9w, Creative Commons .ttribution !.# ]eneric license.

0" Latin alpha"et

.t least the Latin had been highlighting the I as a long vowel. .t the left and right side the long vowels . and 2 had been located as ministers. )he long vowels ƒ and „ seemed to be servants compared the main IA& triad.

+,
Hebrew hierarchical order

ꟾ - ./0

)owards the end of the [oman [epublic, after the con5uest of ]reece 0"e 1C& the ]reek letters ypsilon and Deta were added to the end of the Latin alphabet, in the form of y and D, so that the [omans could properly spell ]reek words and names 09. )his however added another vowel /& to the system, which destroyed the symmetry. -bviously the [omans had lost the keys to their hieroglyphic system.

)he perfect symmetry has also been identified in the 8ebrew vowels. )he cewish alphabet had been designed to generate 9 long vocals …, †, ‡, ˆ, ‰ from " consonants Š aleph, ‹ he, Œ 0a0 and • yod&' the letters .leph and the three letters of the )etragrammaton 0e. )he letter @ayin had been considered as a consonant. )he 6atres /ectionis merely allowed to generate long0^ vocals and therefore only the long vocals may be considered as allowable translations for the 8ebrew hieroglyphs'

…1‡2‰
, , , ,

3ree* hierarchical order
1efore the eth century 1C the vowels \ta and -mega had not been included and the alphabet's vowels had been arranged in an identical order to the 8ebrew and ]reek systems. )here had been a perfect symmetry as may be seen from the five ]reek vowels. [emember that the long vowels 6ey7 and 6oy7 had to be formed by concatenating other vowels to EF and GH. )he rules to be followed are' .s in Phoenician, the difference in length was not originally made in writing. 6u7 and 6i7 already had been designed as long vowels in the Phoenician alphabet. Long 6ey7 and 6oy7 had been written with the digraphs EF and GH, respectively, whereas long and short 4a5" 4i5" 4u5 never were distinguished in writing. ,nitially the letter IJth was retained in ]reek as a consonant, eta, representing the 6h7 sound in those dialects which had an 6h70u. Upsilon for the vowel 6u7 was added at the end of the alphabet. Phoenician hJ had been used as a mater lectionis for both 6a7 and 6e7 in addition to 6h7, but in ]reek it was restricted to 6e7.

09 )he Lapis _iger 4 Codem :: 0e _otes to Sefer /et<irah 0^ in modern printed temts matres lectionis are sometimes used even for short vowels, which is considered to be grammatically incorrect from' matres lectionis0u 8istory of the ]reek alphabet

. .
or

,

E,

,

,

!,

/ /t
, ,

.fter the eth century 1C the vowels \ta and -mega had been included and that was the event in which the symmetry had been lost. de also might consider this as the era in which the hieroglyphic keys had been lost. People who insert the -mega at the end did not really know that the / had to be the last element instead of the long vowel -. ,f we highlight the .4,4/ structure inside the new ]reek alphabet the asymmetric structure will be seen immediately' a 1abylonian confusion of the vowels must be dated at the introduction of 8 and t around the eth century 1C.

,

E,

8
,

,

,
, , ,

,

!,

,n a correct order we might have empected'

. 8 E , ! t/
, , ,

. E8,t!/
, , , ,

Checking of the Vowel ymbolism!s Theory
)ycli$$e&s Y
, remembered the letter / had been used by dycliffe in the translation of the 1ible e.g. ]enesis& as an ego4pronoun and considered the special vowel at the time of dycliffe's translation 0%%#40%u"& might have been placed at the hierarchical top. (.nd the Lord seide to Cayn, dhere is .bel thi brother3 dhich answerde, Y woot notw whether Y am the kepere of my brothir3+

'o(paring Geo$$roy ory&s structure to the He%rew alpha%et
, compared ]eoffroy )ory's structure with the 8ebrew alphabet with the three ;other or Primary letters 6 .leph&, ;, Sh&, the seven =ouble letters ), [, Ph, Ch, =, ], 1& and the twelve Simple or \lemental letters a, )s, ]h, S, _, L, I, ), 8, `, %, E&0:. )he Sefer /et<ira' seven =ouble!# letters correspond to the seven days of the week. )he twelve remaining letters are categori<ed as Simple or \lemental and correspond to the twelve 8ebrew months of the year. ,n relation to the dimension of time, the three n;othern letters correspond to the seasons of the year. )he summer is represented by the letter shin the letter of fire&, the winter by mem the letter of water&, and the two intermediate seasons are represented by alef the letter of air&. ,n 8ebrew the vowels seemed to be missing, but , knew the 6 7Aleph8" I 7yod8, E 7He8, % 7%au8 had been playing a role in the vowel symbolism. .nd somehow the Latin vowels A$E$I$!$% graphically even looked like the 8ebrew set of " consonants 6$I$E$%, which allowed the language to use the same set of Latin's long vocals 9" 1" :" 2" ;<

Ioue * Ioua * Iehoua +,-./
_umerous 8ebrew scholars believed, owing to the work of cohn Pic della ;irandola 0"e%$0":"&, that the name Iehoua had a pagan origin that is to say that it came from a change of the name Ioue cupiter& into Ioua then Iehoua. )he debate of knowing if it was necessary to use ,ehoua or ,oua had been a felted 5uarrel of 8ebraists. .rchbishop ]ilbert ]enebrard, in his book written in 09eu to defend the )rinity, attacked the form ,oua used by Chateillon reminding that St .ugustine had emplained according to the writer 2arro that the cews had worshiped ,oue cupiterŽ&, and that the use of ,oua was thus a return to paganism!!.

0: !# !0 !!

)he 7e"re0 Letters of the =ay as taught in Sefer /et<ira double because they each represent two sounds, hard and soft )he )imeline of 2owel Symbolism bu4 das the pronunciation cehovah widely accepted in the 0eth century 3 4 from' )he _ame -f ]od /ehowah. ,ts Story, 1y ]ƒrard ]ertoum

'o(paring Ara%ic, He%rew, 0atin and Gree"
.rabic language, which seemed to be based on % vowels A$I$& ruled by the .leph&, may share the basic vocal .,U4triad with 8ebrew language with its 9 long vocals 9" 1" :" 2" ; and the early version of Latin with A$E$I$!$%, but without the /& as well as the early ]reek alphabet with 9 vowels A, E, I" !" Y. ,n the course of time these alphabets seemed to have been in a philosophical contest, from which the ]reeks already had left the game for their mistakes in arranging the correct vowel order. )he vowel concept for the Latin alphabet may be considered as intact if the /4vowel is ignored. ,n this contest only the long vowels had been considered as important. Some languages did not even document their short vowels in scripture. , learned to identify the A$I$& in ]reek ,4.4/& combination as a high ranked subset, in which each letter seemed to have won individual games, but none of the languages seemed to have won the battle. )he letter I /od& seemed to have played a maYor role in the archaic Latin and ancient ]reek culture. ]eoffroy )ory however taught me the impact of the additional ]reek letters Y and H, which completed the medieval *rench alphabet to sim or seven (vowels+. Seven had been considered the sacred number and for good reasons the seventh letter Y had been named the Pythagorean letter, completing the *rench alphabet to cope with the ]reek alphabet A, E, H" I" !" Y" #. Still these ^4fold structures did not meet the criteria for ideal structures. )he new ]reek alphabet for instance also included short vowels E and !, which had been emcluded from scripture in other languages. .nd even if these elements had been neglected the .4,4/ structure of the new ]reek alphabet had been disturbed in a catastrophic way. .nother problem might have been the strange character of the letter /, which seemed to have been varying or even erring somewhere between the ,4 and U4vocals, including the intermediate sonus medius. ,n [ome's empire the / was usually pronounced =u= or =i= which might have initiated the idea of a variable element. \mperor Claudius may have felt a need to change this situation, but failed in managing an efficient introduction of his concept. , decided to document some of the observed (rules+ in the appendim, which will be ordered in a chronological order. )he rules reflect an intermediate phase in a proceeding process, which might need a do<en lifetimes to be completed...

" Concept for Vowel ymbolism
Archaic Vowels
0. )he cewish alphabet had been designed to generate 9 long vocals 9" 1" :" 2" ; from " consonants Š aleph, ‹ he, Œ 0a0 and • yod&' the letters .leph and the three letters of the )etragrammaton!%. )he letter @ayin had been considered as a consonant. !. )he 8ebrew 6atres /ectionis merely allowed to generate long!" vocals and therefore only the long vowels may be considered as hieroglyphs. %. . ]reek fragment of Leviticus !e'!40e& discovered in the =ead Sea scrolls bumran& has >?@ n,aon&, the ]reek form of the 8ebrew trigrammaton YHA.6e%7 !9 !e ". )he three *ates!^ created the first five vowels of the ]reek alphabet and the letters 1 and ). ,t is said that Palamedes invented the remaining eleven consonants. -ther consonants have since been added to the ]reek alphabet!u. 9. -riginally the ]reek alphabet started with five vowel symbols by altering the Phoenician consonants >?leph!: to a vowel vavw he to vev, @ayin to vov%#, 0au to vuv and yod to the iota 6i7%0. e. .s in Phoenician, the difference in length was not originally made in writing. 6u7 and 6i7 already had been designed as long vowels in the Phoenician alphabet. Long 6ey7 and 6oy7 had been written with the digraphs EF and GH, respectively, whereas long and short 6a7, 6i7, 6u7 never were distinguished in writing. ,nitially the letter IJth was retained in ]reek as a consonant, eta, representing the 6h7 sound in those dialects which had an 6h7 %!. Upsilon for the vowel 6u7 was added at the end of the alphabet. Phoenician hJ had been used as a mater lectionis for both 6a7 and 6e7 in addition to 6h7, but in ]reek it was restricted to 6e7. ^. ,nitially in ]reek language the first letter . and the last letter Upsilon U& were vowels. u. *or their historical record of long and short character 4a5" 4i5" 4u5 may be considered as the archaic, fundamental triad of vocals in an alphabetical phase in which long 6ey7 and 6oy7 had been represented by their digraphs EF and GH. :. .ccording to a thesis in the Kunes) ictionary by Udo daldemar ieterich 0u""& the archaic runes had been e5uipped with only three runes for vowels' A" I" & as well. 0#. _early all languages have at least three phonemic vowels, usually viv, vav, vuv as in Classical .rabic%%.

!% _otes to Sefer /et<irah !" in modern printed temts matres lectionis are sometimes used even for short vowels, which is considered to be grammatically incorrect from' matres lectionis!9 1e<alel Porten, 4rchives from Llephantine: The life of an ancient Me0ish military colony, 0:eu, University of California Press, pp. 0#9, 0#e. !e )etragrammaton !^ Clotho spinner&, Lachesis allotter& and .tropos unturnable& !u 8yginus' c. e" 1C $ .= 0^& legend about the introduction of Phoenician letters to ]reece 5uoted in 8istory of the ]reek alphabet& !: a glottal stop in Phoenician %# because the pharyngeality altered the following vowel %0 Phoenician alphabet %! 8istory of the ]reek alphabet %% 2owel 2owel Systems&

Episode $ro( the 1th century 2' onwards
0. 1y the eth century 1C the letter eta%" came to stand for the long vowel 6xy7, and a new letter, omega, was developed for long 6zy7%9. )he .lphabet now used ^ vowels' A, E, 8, I, !, Y, t, in which A" E" I" !" Y were short and A" H" I" #" Y were the long vowels. !. Latin started with 9 vowels ., \, ,, -, 2. )he primary diacritic was the apem used to mark long vowels, which had previously been written double. 8owever, in place of taking an apem, the letter i was written as a long ,4vowel%e'

+,

ꟾ - ./0

%. \ssentially the five long fundamental vocals 9" 1" :" 2" ; had been available in 8ebrew in the letters .leph and the three letters of the )etragrammaton&, in ]reek initially in A" E" I" !" Y and later more specifically in A" H" I" Y" #& and in Latin in B0C0ꟾ0D0 E/ ,0 in which the Long i$)owel had been written as if the vowel had been set in a special archaic form of an Upper 9ase. s )his might have been a good reason for \nglish language to capitaliFe the ego$pronoun I.& ". ,n all variants of these three languages the I had been located at a central highlighted& position of the long vowels%^' 4 in 8ebrew in the five long fundamental vocals 9" 1" :" 2" ; 4 in ]reek in A, E, 8, I, !, Y, t, within the archaic undifferentiated A" E" I" !" Y and later within the subset of long vowels A" H" I" Y" #< / 0G0 $ in Latin as the long ,4vowel in' + , ꟾ0D0E 9. )he 9 vocals basically …, †, ‡, ˆ, ‰& have been the keywords in designing the divine names | •SDI-U4piter, =ieu, =iaus%:, etc.&, a great number such as the Tetragrammaton, I.t%u, ꟾ•{ of ego4pronouns such as iau"#, ieu"0, iou"!, eau&,etc.& and for the days of the week such as Yueves , Yeudi , covedi, diYous ...& in a great variety of languages."" e. ;ost of the vowel cores inside the divine names and ego4pronouns& start with an :, to be followed by one of the long vowels 9" 1" 2" and eventually a trailer vowel ;. *rom these positions we may derive the principality of the vocalvletter (:+ or I in Latin the long ꟾ&. ^. .rchaic divine names will often be restricted to three4vowel words such as = yaus, IA#, I!&4piter, =ieu. )herefore the triad4design seems to be the archaic prototype. | •‘ꟾ2;4piter. ,n 8ebrew the divine name u. ,n Latin the principal deity had been chosen ꟾ•{ YHAH had been represented by various vocal combinations such as :9;1, :1;1, and theoretically also :2;1<

%" not needed for a consonant in eastern dialects of ]reek, which lacked 6h7 | C,ꟾ}.}*,L,ꟾ , which in modern rendition would be lAciB a %9 8istory of the ]reek alphabet and Long i with a sample L2 { filiB, with a macron rather than apem to indicate vowel length&. %e Latin alpha"et %^ )acitus commented' 1esides this he 6Claudius7 invented three new letters and added them to the alphabet, maintaining that they were greatly neededw he published a book on their theory when he was still in private life ... %u .4t' ]reek 2owels and the Chaldean Planets %: yaus Pita "# )he ego4pronoun for the cauer4dialect "0 Sursilvan "! Sutsilvan "% [umantsch 4 ]rischun "" Permutations of the )rigrammaton /8d

:. )he ;atres Lectionis allowed four 8ebrew consonants .leph, 8e, daw, /odh to represent 9 vocals †, ’, “, …, ˆ 4 †, ’, “, …, ˆ 4 ˆ, ‰ $ respectively ‡, †, ’&. )he letter 8e however mostly represented ” or • emcluding the –&, which automatically reduced the possibility of | •MD—CHLDF?BD˜BFCNACNLLNFHOD>GHLENCBPDFHDF?BD—CB™KBOF generating (Ho)e+ respectively ꟾ•{ generation of (Ha)e+ or (He)e+&. | •SDNOPDšB›CBRDRHCPQDœN?IB?DHCD•NIBDNOPD•BIBDQBBLDFHDFHD?NIB 0#. 1asically the Latin word ꟾ•{ been derived from similar vowel hieroglyphs representing the vocals …, †, ‡, ˆ, ‰.

Episode $ro( /31 2' onwards
0. )owards the end of the [oman [epublic, after the con5uest of ]reece 0"e 1C& the ]reek letters ypsilon and Deta were added to the end of the Latin alphabet, in the form of y and D, so that the [omans could properly spell ]reek words and names"9. !. )he usage of / in Latin dates back to the first century 1C. ,t was used to transcribe loanwords from ]reek, so it was not a native sound of Latin and was usually pronounced =u= or =i=. )he latter pronunciation was the most common in the Classical period and was used by most people emcept the educated ones. )he [oman \mperor Claudius proposed introducing a new letter into the Latin alphabet to transcribe the so4called sonus medius a short vowel before labial consonants&, but in inscriptions, the new letter was sometimes used for ]reek upsilon instead"e. %. dhen introduced in Latin the letter ⟨/⟩ was probably called nhyn vhyyv as in ]reek, the name upsilon not being in use yet, but this was changed to n i 3raecan 3ree* i& as Latin speakers had difficulty distinguishing its foreign sound =y= from =i=. ". )he Claudian letters were developed by the [oman \mperor Claudius reigned "0$9"&. 8e introduced three new letters' 4 Ⅎ, digamma inversum& to represent consonantal U 6w7vv&"^ 4 ž antisigma& to replace 1S and PS 4 Ÿ sonus medius or 84=imidia&, a vowel sound between viv and vuv emample' optumus v optimus, maNimus O maNumus&. 9. _umerous 8ebrew scholars believed, owing to the work of cohn Pic della ;irandola 0"e%$ 0":"&, that the name Iehoua had a pagan origin that is to say that it came from a change of the name Ioue cupiter& into Ioua then IehouaIJ.

#unes
,t must be a set of vowels which was to form a symbolic center for several alphabets. )he mystery of the real heart pu<<led me enough to invest some more time in the deciphering of the enigma.

he Helsingia runic alpha%et
)he [unic =ictionary by Udo daldemar =ieterich 0u""& describes a symmetric 094letter (8elsing": alphabet+ of staveless runes, centered around the ,, in which the left4sided half contains the vowel U and the right4sided half contains the vowel .. ,n order to create the staveless runes, vertical marks or staves& were dropped from individual letters or runes&.
"9 )he Lapis _iger 4 Codem :: "e Upsilon "^ ,n Latin, there was no distinction between the vowel U and the consonant 2 pronounced d&w both were represented with a 2. "u bu4 das the pronunciation cehovah widely accepted in the 0eth century 3 4 from' )he _ame -f ]od /ehowah. ,ts Story, 1y ]ƒrard ]ertoum ": 8 lsingland 8elsingia& is located in northern Sweden

)his alphabet only provides three vowels U, ,, . and does not contain a vowel (-+. _o P rune has been found in inscriptions, but it has been postulated that it was a mirrored form of the " rune due to pairings indicated in the staveless runes.

#ig.1Q: 7Rgs kyrka, 7udiksvall. Kune stone 7s 12.
published at Staveless runes by 8¡kan Svensson Zauma& Permission is granted to copy, distribute andvor modify this document under the terms of the 3K& Free Docu(entation 'icense, 2ersion 0.! or any later version published by the *ree Software *oundationw with no ,nvariant Sections, no *ront4Cover )emts, and no 1ack4Cover )emts.

,n staveless runes the , is the only runic symbol, which fills the available space between the upper and lower bar.

#ig. 1' Staveless runes

#ig. 1T: Short)t0ig runes, one of the t0o main types of the .ounger #uthark, for comparison.
GNU Free Documentation License, 5ersion 1.2 or any later version pu"lished "y the #ree Soft0are #oundationS 0ith no !nvariant Sections, no #ront)9over TeNts, and no 3ack)9over TeNts.

6agnus <ikolai 9elsius 0e!040e^:&, who decoded the runic system of the staveless runes, suggested that the left wing of this alphabet had been the elder section. 9elsius also suggested that the 8elsing runes as well as the 0e _ordic 2iking runes may be arranged in two u4character groups. )he runes i and a, s and t have been additional elements to an original runic alphabet, in which the vowels i and a had been missing or replaced by the f respectively o4sounds9#.

4ou%le 5
)he staveless runes even provide us with a lumurious doublet [ in the runes ᚱLM and the terminating ᛣ& which seems to be superfluous. 8owever the ]reek alphabet also contains a doublet [' N at the beginning and O in the middle and the end of a silbe, which may be observed at locations, where both characters meet in ONLP.

9# Source' 7elsingrunen 90 raid– 9! *undgruben des alten _¢rdens, 1 nde 04!, von ]ustav )hormod Legis, [unes 4 0u!: 4 _orse life

Other Vowel67e8uences
0. Long or genuine vowel se5uences QRSLT UVWXLI aeon may be considered as hieroglyphic words. ,n ]nosticism an £on is a spirit being emanating from the ]odhead. Aeonian first usage 0^e9& is defined as (lasting for an immeasurably or indefinitely long period of time+99 !. ,n -ld \nglish Y is defined as (custom, tradition, law+9e Cognate with -ld Samon 1o, -l *risian ewa, 1we, 1, 9, -ld ]erman 1wa, 1ha, 1a, 1 ]erman Ehe" =utch echt&. %. ,n some _orwegian and =anish dialects9^ £ is used as an ego4pronoun9u I&. (,n many western, northern, and southwestern _orwegian dialects, and in the western =anish dialects of )hy and South cutland, the phoneme 6 6x7 has a significant meaning' the first person singular pronoun I" and it is thus a normally spoken wordw usually, it is written as 6 when these dialects are rendered in writing. ,n *aroese, it is pronounced the same way, but it is written as eg+. ". )he vowel I is being used as an ego4pronoun in \nglish. Y has been used by dycliffe in his ]enesis9:. )he .rabs say y for (e 637:(. 9. 1ased on the principal position of the I4vowel in the fundamental vowel subset 9" 1" :" 2" ; the word , and eventually an e5uivalent /3& seem to have been designed from the central master of the fundamental hieroglyphs 9" 1" :" 2" ;. e. AEI!& was a symbolic device utili<ed by the 8absburg emperors and designed by \mperor *rederick ,,, 0"09$:%&. ^. _egating versions of vowel se5uences may also relate to hieroglyphic words such as (nieuw+e0, pie. Uneuio) 3&, from Proto4]erman. Uneuja) -nl. 0#th Century usage e.g. '(nuuui+, mnl. e.g.: Vnieu1&e!. )he negated root4word may have been eeuw originally ' (many years+, or -ld \nglish Y respectively -nl. euua godes ¤]od's Law¥ 4 probably also cognate with -ld Samon 1o, -l *risian ewa, 1we, 1, 9, -ld ]erman 1wa, 1ha, 1a, 1 ]erman Ehe" =utch echt&.

9% 9" 99 9e 9^ 9u 9: e# e0 e!

]reek' perpetually, incessantly a long period of time, eon, epoch, age 4eonian 4 ;erriam4debster -nline *rom Proto4]ermanic ¦aiw–, ¦aiwa< (law+&, from Proto4,ndo4\uropean ¦oiw4 (custom, tradition, law+&. =ialects mostly found in )r¢ndelag, northern _orway, and parts of western and southern _orway and =enmark first4person singular personal pronoun 1ible Wycliffe&v$enesis _otes to \tymons of \nglish dords 0u!e& -nl. niu0i in calf nuuui ¤een nieuw kalf¥ 60#e eeuww d.Ps.7 nieu0 pas ontstaan, gegroeid of gemaakt& 4 etymologiebank.nl

'haldean +and planetary- 5elations
0. )he historian cohn the Lydian eth century& wrote' n)he [oman 2aro 600e$!^ 1C\7 defining him 6that is the cewish god7 says that he is called Iao in the Zhaldean mysteriesn. =e ;ensibus ,2 9%&e% !. ,nitially the five basic elements …, †, ‡, ˆ, ‰ do not directly match the seven Zhaldean planets ;oon, ;ercury, 2enus, Sun, ;ars, cupiter and Saturn. 8owever in )imaeus Plato reduces the seven planetary orrery to a basically simpler five (swiftness+4system of 9 (independent+ planets [oon" \un" [ars" Hupiter and \aturn by categori<ing [ercury and %enus as solar satellitese". )he planet ;ars had been considered as the only legitimate son of cupiter and a grandson of Saturn. %. )he seven days of the week have been related to the seven Zhaldean planetse9, and the totally available set of mimed long and short )owels of the ]reek alphabet' A" E" H" I" !" Y" #ee. ,n contrast the Sefer /et<irah relates the seven days of the week to the seven Chaldean planets and seven consonants]^. )hese assignments for the seven days of the week may have been made around the 0st and %rd centuries .=eu with additional relations in later eras. ". *rom the writings of .ristotle and 8ippocrates we know that as early as the "th Century 1.C.\. the ]reek initiates attributed the seven vowels to the seven heavens and planets.6^7e: ;anly P. 8all 0:#040::#& in his Secret Teachings of 4ll 4ges6u7^# discusses a number of correspondences^0. )he Chaldean order may have been'^! ;oon • ., ;ercury • \, 2enus • 8, Sun • ,, ;ars • -, cupiter • Uv/ en Saturn • t ,n this case the name _U#`abc^T cehova^"& may have been based on the Chaldean planets^9.

Conclusion
)he oldest .4,4U vowel concepts seem to have retained their original vowel structures in all languages. \misting .4\4,4-4U vowel concepts seem to have retained their original vowel structures up to their first modifications in which vowels had been modified. ]reek language lost its symmetrical vowel structure at the introduction of the long vowels 8 and t eth century 1C&. Latin language lost its symmetrical vowel structure at the introduction of the specific ]reek letters / and ` 0"e 1C&. ,n the ]reek alphabet the first letter . and the last letter Upsilon U& initially had been defined as vowels. ,n the eth century 1C the ]reek alphabet had been modified to use a first letter .& and the last letter t& as vowels. Latin obviously always used a consonant Z or `& as a last letter. )he vowel concept for the Latin alphabet may be considered as intact if the /4vowel is ignored.
e% e" e9 ee e^ eu e: ^# ^0 ^! ^% ^" ^9 )etragrammaton _otes to Plato's )imaeus and Symposium .nd additionally to the seven metals and seven colors )he Seven )emples of 8arran 4 \mplaining the vowel symbols in ,.t _otes to Sefer /et<irah _ames of the days of the week aierren 1arry. The $reek Wa"alah /ork 1each, ;\' deiser 1ooks, 0:::&' %9 49#. ;anly P. 8all. Secret Teachings of 4ll 4ges _ew /ork, _\')archervPenguin, !##%60:!u7&. buoted in .4t' ]reek 5o0els and the Chaldean Xlanets 8owever, the actual correspondences used by these initiates were never recorded )etragrammaton (,n the cewish4\gyptian magic4papyri it appears as YZ[GH\E.+ source' _.;\S -* ]-= 4 cewish\ncyclopedia& )he Seven )emples of 8arran 4 \mplaining the vowel symbols in o§t

Contents
,ntro to one of the vowels.....................................................................................................................0 Upsilon as a diphthong.........................................................................................................................! Champ *leury 4 the art of designing letters..........................................................................................! 2owels .\,-2 $ / and 8...............................................................................................................% .pollo, ;uses, .rts, 2irtues and ]races........................................................................................." ;etrics.............................................................................................................................................9 Understanding the Pythagorean /...................................................................................................^ )he emplanatory sketch....................................................................................................................u )he ]reek alphabet...............................................................................................................................: -verview of the alphabet's Composition.......................................................................................0# . hierarchical order........................................................................................................................00 Latin hierarchical order.............................................................................................................00 \mample for a long ,4vowel.......................................................................................................00 8ebrew hierarchical order.........................................................................................................0! ]reek hierarchical order............................................................................................................0! Checking of the 2owel Symbolism's )heory......................................................................................0" dycliffe's /....................................................................................................................................0" Comparing ]eoffroy )ory's structure to the 8ebrew alphabet.....................................................0" ,oue s ,oua s ,ehoua 3&............................................................................................................0" Comparing .rabic, 8ebrew, Latin and ]reek...............................................................................09 . Concept for 2owel Symbolism.......................................................................................................0e .rchaic 2owels..............................................................................................................................0e \pisode from the eth century 1C onwards....................................................................................0^ \pisode from 0"e 1C onwards......................................................................................................0u [unes..................................................................................................................................................0u )he 8elsingia runic alphabet.........................................................................................................0u =ouble [........................................................................................................................................!# -ther 2owel4Se5uences.................................................................................................................!0 Chaldean and planetary& [elations...............................................................................................!! Conclusion..........................................................................................................................................!!