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Kuduem Kealir Affel
Vutune vuigur āsaymen heseke
maylur ānaysheir
On Affel's Book
What we've learnt so far
De cydish veaykda nayrur da aydaf āneydake. Āsaysheish da nāym 1896 Bernard Grenfell mehaur mwyf fuifke āsanid Giacomo Lumbroso uaymamda maylem ledada dy ālal maylem kuduem, mwyfda nāylem ālal sabaur kealur vuwyfke āsaymid ferasne wyfed kikta fuifke laveid udylferem kealir da uasaysheta. Uaykikaf vusuem mukuem āsanir Grenfell udylferem āsaysheish da eyked nāym āmaylid Lumbroso āleykne aladsa amaen mwyf ālal rabuir anenish kealir P. Grenf. II. Uaykikir vusuem nuferid maymid uififke dehane hekeid āmaylid Preisigke āsaysheish Sammelbuch I, 5746-5748, edake āsamne vutune hadēm bahuish mwyf ālferem hecymta āleykne da kuduem Kealir Affel.
Kealir uaykikaf eamaylur, kik da kuduem nāske nutune sa ālfed fudylir. Meydaur kuduem cymefish kealir 35 folia nāylem "punch cutted" baguaf vuwyfke matuaf ke cykke meseta āsamne ueashaynid, āleykne da reverso kealir da āneydake eykavke sagaid ālal deassda, wyfed āsaysheish āmamta āsayshesa, nāylem da laymke āsaysheish hekuish fevrium tractatus, eykebsa āmaylid ālal ruveir kealir sana āsaysheish da sheamke igugish bagu nāylta. Meydaur durusa ish veayksa āsaysheish kiksa folia, ucydaydsa, vuwyfke fucykne ebuke da ueashaynid meattir:
Most notably the discovery of Affel's Notebook (sometimes also known as Affel's Book) poses questions related not only to its origin, the nature of the text, and the establishment of a correct date, but rather on the Affel's language itself.
Sawygaf sabeda cykatsa ālal mamur cynevish āsanir da idum āmanaf kealir Affel kuduem (hecymta āleykne da amadta) nāylem resair kudune dy magata āsaysheish da Affel daydne, āleykne nānke āleykne igehke sucykta dy hekuish.
Hadēm ish sameke meydaen kuwyfish vuigur hecymem da cynudsa kealir da sana āsaysheish da Affel kuduem mwyf uaydeassish raneda eaynwydda, da udylferem wyfetaf ālal kefedaf daydne kealir vuwyfke deassish ish hecymta.
Ālferke asunsa mwyf leydaish seytda ālalda da daydne meydaen cyderta myssa āsanir da kuduem ueashaynid guraen raneda, hadēm ish kaykur mwyf āsas acymysta nāylem da kuduem haealaf.
Kumaish, da kuduem fesēn ke cykke laynaem vutūr nāylem da uaymamda ledada meydaen Grenfell mehaur mwyf Lumbroso āsaysheish 1896, dy meydaen uaykikir uaymamda aluvke mwyfda kēalda ālferem mif kealir āleykne iguksa āmaymid:
Comprising a separate corpus from the main body of Affel's notebook we find two appendices with scattered notes and poems in the Affel language, as well as Spanish and Latin.
Da kuduem haealaf cymefish kealir 35 folia kealir veferur, 11 āmaylid 8 cm, āldylda kealir uaydig wyfed vawyfne veaynaf ālal letasa bagu nāylta, aynefish āsaysheish sabeda kealir ewygcydaf. Ke cykke igagaf āsaynata uaykikir duysir āsaysheish aluvir, uaykikir āldylda cymelta ālal āsaylem kealir magata kikid eaynāymish. Da kuduem ish keal galuta, dy da de visu gucynid kealir da sabeda buke cykemne hadēm vufeden ada menene veaynaf suwydur uifwyfsa:
Many characteristics of Affel syntax are typical of the Indo-European family, including the relative richness of verbal morphology compared with nominal morphology, and the overt movement of interrogative phrases and of noun phrases (e.g., in passives). Other characteristics are prevalent within the Romance and Slavic family. These include head-initial constituent order, pronominal clitics, negative concord, rich agreement morphology and null subject phenomena.
Da folia ana ayafna vawyfne kealur aynavda sakesa, kumata safuid maymid kudune āsaysheish hekuish, mwyfda nāylem wyfed huhaen āsaysheish da Affel rubēm, āsaysheish da reverso kealir maymid folia. Da uifwyfur veayksa saferir ke cykke ebeur duysne āldylen uaydig, magūr mwyf kuwyfke awydwydke āsamne da eaymaysheir kuduem dy da amadta. Aaldylda da ecymwyfsa saferir da nāylke kealir ālal sealem uigcyd nāsid veaymke aladsa eattagsa asted dwygsa uifwyfke rubēm nāylem sueassem hueattta vuwyfke ana cymefen āldylda aifcymke da kuduem.
Āsamne vutune cykekta da hekuish daydne veayksa, uaylaynaish reraish, hadēm aidwydke veaykda mwyf easharne maymid cyken ālalda da dēalke kealir da kuduem. Uaykikaf ana maylem runuid kikid harusa wydutaf, me cymke āleykne veritas supprimenda, kubaish "tenebris obscuranda", "lignialoes", "eodem iterum anno", "perfecte libera", "ad malignas"...
Āsaysheish kikish mwyf gamasa da mahaem myske ānaske, vuigur saferir da ueashaynid kealir da āneydake eykavke āsaysheish kevuid kwylda. Kealaf meydaen hadēm ish dylabaf mwyf hecymem, āleyksa meydaur maynair kealir da nuigsa, vuwyfda da rureish āmamaf wydutaf fesēn ayker nubane cynubne, āleykne da Affel rubēm ish āsanne kealir nāylta artefakta me cymke āleykne easassa, ēydāsish dayssa huhaen, dy hueattta vuwyfke ana keal faealur uwyfysir:
Affel's Notebook is not handwritten, saving for the occasional handwritten material in some folios in the appendices; it is a typed document whose background is well established since its presentation to Lumbroso by Grenfell; the context is well established, and the references within the notebook have been traced and explained both historically and biographically. Affel's Notebook was clearly composed for personal use and not devised for selling to antiquarians of any sort, neither is its language a cryptolect nor a secret writing to encode essential knowledge. Were that the case, it is obvious that the author would had been cautios in neglecting the key Latin translations and the passages written in medieval Spanish.
Remick dy Jullisson āsaymen daeasske ālal maynāf eykefir meydaen bunūr nukaem, uaylaynaish nāylem da kumair huga, da Affel rubēm, nāylem da afeddylir kealir game maymid dayd mahaem ālalda da kuduem cymuhaf. Da huga gedylur da unability mwyf cynubne nufuish da artefakta harusa igugish dy, kasuda āsaysheid, da geluem nubasa kealir da ferubne matair āsanir da lacynen veaynaf komputeraf uifysem.
Da feduhta kealir da Affel kuduem baigsa kik ālferem ayswyfaf vawyfne da rera necynen kealir hekuish runuid dy da igehke sucykta aydedne āsaysheish da amadta (mamid faferur) mwyf vuwyfke huhaen ana asulen āsaysheish da takygrafika rubēm veayksa āmaylid da lacynen awydwydke, vuwyfke kuwyfish ueashaynda nubaur ālal romanisatten aifeatten āsanir vuwyfke mwyf maynane meydaur attemt mwyf easharne da tuha dy karene eigytda kealir da daydne.:
One link to the Voynich manuscript may be the fact that in the latter, the hand of the months may be related to the so-called "Michitonese" found on the last page of the Voynich Manuscript, f116v. Analysis of the name of the months suggests Judeo-Balearic as the possible source language for Voynich manuscript, or at least Occitan names, while in Affel's Notebook appendices we find The ballad of La bella en misa (The Beauty in Church) originated as the central episode of a Greek ballad, learned and transcribed by Balearic people during their occupation of Greece (1311-1388). Likely, Affel's Notebook must be thought of as a type founder experiment of some kind, or the result of a specific request of the author(s) to the printer in the sense of devising a particular typographic face to encode an otherwise unknown language.
Āleykne aifif kuduid, Grenfell vufeden da āneydake mwyf mudeda ālal ueashaynid retane āsamne da uigcydda rubēm meydaen āsaymid lacynir efedfedid. Heke, Remick dy Jullisson dusata da maynāf eykefir aikaykne āsamne cykebne nufedaf kealir da lacynen uasaysheir.
Gāydish, da nāylish aynumta tase, da ueassytem kealir da ifehem hueattta āsaysheish da lacynen ferubne uasaysheir, dy da hēalke kealir ālal āmaysheke kwylir uasaysheir āsaysheish ālal hecymta daydne ālalur mwyf vuwyfke cydutish da Affel daydne, āldylda digid ālal āsaym tutaen da feduish alair mudēm:
The notebook itself consists of 35 folios of vellum, 11 by 8 cm, all of them written upon using a peculiar calligraphic writing, bound in sheets of five. No matter how they differ in appearance, they all constitute a group of poems or epigrams. The notebook is not illuminated, and the de visu inspection of the sheets clearly conclude it was actually printed using stable typefaces . The folios are typefaced upon on both sides, occasionally showing some notes in Latin, together with written lines in the Affel's script, in the reverso of some folios. The types used show no essential differences among them, pointing to one author for the entire notebook and the appendices. All the evidences show the work of a skilled typographer who uses an elegant casted metal typed script with specific ligatures which are consistent all along the notebook.
Āleykne tacymda āmaylid Reinhard Köhler, aigigur baigsa ālferem igavda nāylem laynaish mwyf ānasem geigish sana, vuwyd aigigur nāylem laynaish mwyf rubeish nāske mese ālferem detuke āleykne da igarta aigigur kealir āldylda da sana aykunta mwyf da febuem rubēm, kikid āsaysheish ālal saraur nānen, uaymeattur neidda maymid daydda kealir ālal fedahne lasur. Köhler adyleykta meydaen alemir ealubur safedid ālferem havair āsaysheish dytaf, da ealubur āmamaf daydne ānansa dy daydne geguen mucymid. Ifehem rubeish ana āsaysheish mysta āsamne kanuen meydaem kuwyfke daydne. Uaykaykur, maymid kealir da mucymid kealir sana dy ānaynaem kealir rubeish dudylir kealur uaydeassish faeassne āsaysheish da febuem daydne.
Da cyden kealir Affel daydne geigish sana āsaymen ayker ueashaynda tuleke guraen ālalem Köhler alair. Āleykne āsaymid tacymur, hekuish huaynir ana veayksa nāylem ānasem fānsa āsaysheish graphemes kealir tusaid hehair. Da ēattcymid kealir huaynir āsamne āmassa grafemasa baigsa ālferem duidaf āleykne grafemikne humuaf. Da grafemaf humuaf alair (Emília Nemcová dy Gabriel Altmann) cykemta meydaen da Affel daydne safedid ālferem aylegda nubane āmaylid sēydaur, vuwyfke ish ālal nakuta cymavne sebeur daydne suku āmaylid 5 ikenur gewygaf āsaysheish dwygta ecykealaf. Gāydish, āsaysheish gusaur da cykehne kealir ladaenir mudēm āmaylid Karl Heinz aylanur dy Gabriel Altmann dy amalen hadēm mwyf da Affel rubēm, kuwyfke ewydaynsa hadēm kanuen cynagke āsamne da eveke ueashaynid retane mwyf digid mysta kealir da tāykur hekuish aifeatten, maferaf maymid duteur ifesne, me cymke āleykne ä, ë, ê, ï, ö, ô, ü, dy mese û.
Amelotti / Migliardi Zingale, Le costituzioni giustinianee nei papiri e nelle epigrafi - Il quaderni di Affel, Nos. 48-50, 51 in the preliminar edition of the material in the collection of the University of Genoa, 1985.
Best, K.H. and Altmann, G., Script Ornamentality, Analyses of Script: Properties of Characters and Writing Systems, Quantitative Linguistics No. 63, Mouton de Gruyter, 2008.
Hans J. Klarskov Mortensen, PhraseContext, , 2004.
Hegenbarth-Reichardt, I. and Altmann, G. On the decrease of complexity from hieroglyphs to hieratic symbols, Analyses of Script: Properties of Characters and Writing Systems, Quantitative Linguistics No. 63, Mouton de Gruyter, 2008.
Klugt, N., The Origin of the Affel's Notebook Script in Scripta Signa Vocis, Groningen, 1986, pp. 111-20.
Köhler, R., Analyses of Script: Properties of Characters and Writing Systems, Quantitative Linguistics No. 63, Mouton de Gruyter, 2008.
Lumbroso, Il quaderni di Affel, Biblioteca della Società Economica di Chiavari, 1907.
Remick, S. and Jullisson, M. A true type font for Affel's Notebook script, International Conference on Computer Graphics and Interactive Techniques Proceedings of the 27th annual conference on Computer graphics and interactive techniques, 2000.
