Can Modern-Day Italians Understand Latin? A Youtuber Puts It to the Test on the Streets of Rome

Of all the Romance lan­guages, none is more Roman­tic than Ital­ian, at least in the sense that it has changed the least in its long descent from Latin to its cur­rent form. Whether the Ital­ian spo­ken in recent cen­turies has a par­tic­u­lar­ly close resem­blance to Latin is anoth­er ques­tion, and one Amer­i­can Youtu­ber Luke Ranieri inves­ti­gates on the streets of Rome itself in the video above. In order to find out whether mod­ern-day Ital­ians can under­stand ancient Latin, he approach­es unsus­pect­ing Romans and asks them for direc­tions in that lan­guage, speak­ing it flu­ent­ly and just as their ances­tors would have back in the first cen­tu­ry.

So, can Romans under­stand Latin? “Yes,” Ranieri con­cludes, “but they don’t always enjoy it.” Most of the indi­vid­u­als he address­es claim that they can’t under­stand him at first. But as the con­ver­sa­tion con­tin­ues — in Latin on one side, Ital­ian on the oth­er — it becomes clear that they can indeed fig­ure out what he wants to know.

Ital­ians are almost uni­ver­sal­ly exposed only to the tra­di­tion­al Ital­ian pro­nun­ci­a­tion of Latin (called the pro­nun­cia sco­las­ti­ca), oth­er­wise known as the Eccle­si­as­ti­cal Pro­nun­ci­a­tion,” Ranieri notes in a com­ment. But “in this video, I am using the Restored Clas­si­cal Pro­nun­ci­a­tion of Latin as it was pro­nounced in Rome two thou­sand years ago.”

He may have had bet­ter luck at the Vat­i­can and the Colos­se­um, but the Ital­ians he meets in Rome do rise to this chal­lenge, more or less, though few do it with­out hem­ming, haw­ing, and of course, attempt­ing to use Eng­lish. For the lan­guage of Eng­land has, one could argue, risen to play the same role in wide swaths of our world that Latin once played across the Roman Empire. This sit­u­a­tion has its advan­tages, but in the heart of many a lan­guage-lover it also inspires some regrets. Though full of Lati­nate vocab­u­lary, Eng­lish arguably falls short of the beau­ty of the gen­uine Romance lan­guages. And even the most obsti­nate Anglo­phone has to admit that, com­pared to Latin, Eng­lish lacks some­thing: a cer­tain grav­i­tas, let us say.

Relat­ed con­tent:

Learn Latin, Old Eng­lish, San­skrit, Clas­si­cal Greek & Oth­er Ancient Lan­guages in 10 Lessons

What Ancient Latin Sound­ed Like, And How We Know It

Why Learn Latin?: 5 Videos Make a Com­pelling Case That the “Dead Lan­guage” Is an “Eter­nal Lan­guage”

Why French Sounds So Unlike Span­ish, Ital­ian & Oth­er Romance Lan­guages, Even Though They All Evolved from Latin

The Sto­ry of Lorem Ipsum: How Scram­bled Text by Cicero Became the Stan­dard For Type­set­ters Every­where

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities, the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

Hear the Beatles’ ‘Blackbird’ Sung in the Indigenous Mi’kmaq Language

To raise aware­ness of her native lan­guage, 16-year-old Emma Stevens sang a ver­sion of The Bea­t­les’ 1968 clas­sic “Black­bird” in the Mi’k­maq lan­guage, an East­ern Algo­nquian lan­guage spo­ken by near­ly 11,000 in Cana­da and the Unit­ed States. A mem­ber of the Eska­soni First Nation, the Nova Sco­tia stu­dent sang lyrics that were painstak­ing­ly trans­lat­ed by Katani Julian, a teacher who works in lan­guage revi­tal­iza­tion. Julian told WBUR. “My lan­guage is very dif­fer­ent from oth­er ones.” “There’s a lot of syl­la­bles in ours. And there’s a lot of long words that trans­late into some­thing real­ly easy in Eng­lish.”

You can find the lyrics below and the song above.

Pu’tliskiej wap­in­in­toq
Kina’masi telayja’timk
tel pitawsin
eskimatimu’sipnek nike’ mnja’sin

Pu’tliskiej wap­in­in­toq
Ewlapin nike’ nmiteke
tel pkitawsin
eskimatimu’sipnek nike’ seya’sin

Pu’tliskiej…layja’si
ta’n wasatek poqnitpa’qiktuk

Pu’tliskiej…layja’si
ta’n wasatek poqnitpa’qiktuk

Pu’tliskiej wap­in­in­toq
Kina’masi telayja’timk
tel pitawsin

eskimatimu’sipnek nike’ mnja’sin
eskimatimu’sipnek nike’ mnja’sin
eskimatimu’sipnek nike’ mnja’sin

——————————————————–

Boo-dull-ees-kee-edge wob­bin-in-toq
Kee-na-ma-see dell-I-jaw-dimk
dell-bit-ow-sin
ess-gum-mud-dum-oo-sup-neg nike’ mn-jaw-sin

Boo-dull-ees-kee-edge wob­bin-in-toq
ew-la-bin nike’ num-mid-deh-geh
dell-bit-ow-sin
ess-gum-mud-dum-oo-sup-neg say-ya-sin

Boo-dull-ees-kee-edge, lie-jaw-see
don was­sa-deg poq-nit-ba’q‑ik-tuk

Boo-dull-ees-kee-edge, lie-jaw-see
don was­sa-deg poq-nit-ba’q‑ik-tuk

Boo-dull-ees-kee-edge wob­bin-in-toq
Kee-na-ma-see dell-I-jaw-dimk
dell-bit-ow-sin

ess-gum-mud-dum-oo-sup-neg nike’ mn-jaw-sin
ess-gum-mud-dum-oo-sup-neg nike’ mn-jaw-sin
ess-gum-mud-dum-oo-sup-neg nike’ mn-jaw-sin

If you would like to sign up for Open Culture’s free email newslet­ter, please find it here. Or fol­low our posts on Threads, Face­book, BlueSky or Mastodon.

If you would like to sup­port the mis­sion of Open Cul­ture, con­sid­er mak­ing a dona­tion to our site. It’s hard to rely 100% on ads, and your con­tri­bu­tions will help us con­tin­ue pro­vid­ing the best free cul­tur­al and edu­ca­tion­al mate­ri­als to learn­ers every­where. You can con­tribute through Pay­Pal, Patre­on, and Ven­mo (@openculture). Thanks!

Relat­ed Con­tent 

Watch Pre­cious­ly Rare Footage of Paul McCart­ney Record­ing “Black­bird” at Abbey Road Stu­dios (1968)

Paul McCart­ney Explains How Bach Influ­enced “Black­bird”

How The Bea­t­les Reviewed Songs Top­ping the Charts Dur­ing the 1960s: Hear Their Takes on the Beach Boys, Ray Charles, the Byrds, Joan Baez & More

Hear the Brazil­ian Met­al Band Singing in–and Try­ing to Save–Their Native Lan­guage of Tupi-Guarani

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The Rarest Sounds Across All Human Languages: Learn What They Are, and How to Say Them

When first we start learn­ing a new for­eign lan­guage, any num­ber of its ele­ments rise up to frus­trate us, even to dis­suade us from going any fur­ther: the moun­tain of vocab­u­lary to be acquired, the gram­mar in which to ori­ent our­selves, the details of pro­nun­ci­a­tion to get our mouths around. In these and all oth­er respects, some lan­guages seem easy, some hard, and oth­ers seem­ing­ly impos­si­ble — those last out­er reach­es being a spe­cial­ty of Youtu­ber Joshua Rud­der, cre­ator of the chan­nel NativLang. In the video above, he not only presents us with a few of the rarest sounds — or phonemes, to use the lin­guis­tic term — in any lan­guage, he also shows us how to make them our­selves.

Sev­er­al African lan­guages use the phoneme gb, as seen twice in the name of the Ivo­rian dance Gbég­bé. “You might be tempt­ed to go all French on it,” Rud­der says, but in fact, you should “bring your tongue up to the soft palate” to make the g sound, and at the same time “close and release your lips” to add the b sound.

Evi­dent­ly, Rud­der pulls it off: “Haven’t heard a for­eign­er say the gb sound right!” says a pre­sum­ably African com­menter below. From there, the phone­mic world tour con­tin­ues to the bil­abi­al trilled africate and pha­ryn­geals used by the Pirahã peo­ple of the Ama­zon and the whis­tles used on one par­tic­u­lar Canary Island — some­thing like the whis­tled lan­guage of Oax­a­ca, Mex­i­co pre­vi­ous­ly fea­tured here on Open Cul­ture.

Rud­der also includes Oax­a­ca in his sur­vey, but he finds an entire­ly dif­fer­ent set of rare sounds used in a riv­er town whose res­i­dents speak the Maza­tec lan­guage. “For every one nor­mal vow­el you give ’em,” he explains, “they have three for you”: one “modal” vari­ety, one “breathy,” and one “creaky.” He ends the video where he began, in Africa, albeit in a dif­fer­ent region of Africa, where he finds some of the rarest phonemes, albeit ones we also might have expect­ed: bil­abi­al clicks, whose speak­ers “close their tongue against the back of their mouth and also close both lips, but don’t purse them.” Then, “using the tongue, they suck a pock­et of air into that enclosed area. Final­ly, they let go of the lips and out pops a” — well, bet­ter to hear Rud­der pro­nounce it. If you can do the same, con­sid­er your­self one step clos­er to readi­ness for a Khoekhoe immer­sion course.

Relat­ed con­tent:

Speak­ing in Whis­tles: The Whis­tled Lan­guage of Oax­a­ca, Mex­i­co

What Eng­lish Would Sound Like If It Was Pro­nounced Pho­net­i­cal­ly

Why Do Peo­ple Talk Fun­ny in Old Movies?, or The Ori­gin of the Mid-Atlantic Accent

The Scotch Pro­nun­ci­a­tion Guide: Bri­an Cox Teach­es You How To Ask Authen­ti­cal­ly for 40 Scotch­es

Was There a First Human Lan­guage?: The­o­ries from the Enlight­en­ment Through Noam Chom­sky

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities, the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

J. R. R. Tolkien Writes & Speaks in Elvish, a Language He Invented for The Lord of the Rings

J. R. R. Tolkien was undoubt­ed­ly a sto­ry­teller, but he was even more of a world-builder. One may read the Lord of the Rings nov­els the first time for the high adven­ture, but one re-reads them to con­tin­ue inhab­it­ing the painstak­ing­ly craft­ed alter­nate real­i­ty of Mid­dle-Earth. Tolkien put seri­ous time and effort into the diver­si­ty of not just its mag­ic, its geog­ra­phy, and its inhab­i­tants, but also of its lan­guages. Indeed, the whole of his mas­ter­work could fair­ly be said to have served his lin­guis­tic inter­ests first and fore­most: “Inven­tion of lan­guages is the foun­da­tion,” he once wrote. “The ‘sto­ries’ were made rather to pro­vide a world for the lan­guages than the reverse.”

An Oxford philol­o­gist with a spe­cial inter­est in Old Norse, Tolkien had been exper­i­ment­ing with con­struct­ed lan­guages since ado­les­cence. But it was The Lord of the Rings that allowed him to engage ful­ly in that pur­suit, spurring the cre­ation of such tongues as Adû­na­ic, Dwarvish, and Entish. Like any­one of his lin­guis­tic exper­tise, he under­stood that, in real­i­ty, most lan­guages come to us not in iso­la­tion but in fam­i­lies, and it is the fam­i­ly of Elvish lan­guages — includ­ing Quendya, Exil­ic Quenya, Telerin, Sin­darin, and Nan­dorin — that rep­re­sents the pin­na­cle of his lan­guage-con­struc­tion project.

In the video at the top of the post, Tolkien him­self reads aloud an Elvish-lan­guage poem. Just below, you can see him writ­ing in Elvish script, or Teng­war, one of the sev­en writ­ing sys­tems he cre­at­ed for The Lord of the Rings alone. He did­n’t just assem­ble it out of forms that looked nice to him: much as with the Elvish lan­guage itself, he made sure that it plau­si­bly descend­ed from more basic ances­tors, and that it reflect­ed the his­to­ry, social prac­tices, and mythol­o­gy of its fic­tion­al users. But nor are Elvish or Teng­war com­plete­ly free of any influ­ence from what’s spo­ken and writ­ten in our own world, giv­en that Tolkien could draw on Eng­lish, Old Norse, and Latin, but also Old Eng­lish, Goth­ic, Span­ish, Ital­ian, and Greek.

Tolkien also took a strong inter­est in the Finnish lan­guage. In a let­ter to W. H. Auden, he likened it to “a com­plete wine-cel­lar filled with bot­tles of an amaz­ing wine of a kind and fla­vor nev­er tast­ed before.” The influ­ence of Finnish man­i­fests in cer­tain traits of the Elvish lan­guage of Quenya — “the absence of any con­so­nant com­bi­na­tions ini­tial­ly, the absence of the voiced stops b, d, g (except in mb, nd, ng, ld, rd, which are favored) and the fond­ness for the end­ing -inen, ‑ainen, ‑oinen” — but one sus­pects that Tolkien’s broad­er lit­er­ary sen­si­bil­i­ty was shaped more by the Kale­vala, the nine­teenth-cen­tu­ry nation­al epic that inspired him to take up the study of Finnish in the first place. How close he ever got to mas­tery his­to­ry has­n’t record­ed, but as a fel­low Finnish-learn­er, I can attest that se ei ole help­poa.

Relat­ed con­tent:

Map of Mid­dle-Earth Anno­tat­ed by Tolkien Found in a Copy of Lord of the Rings

J.R.R. Tolkien, Using a Tape Recorder for the First Time, Reads from The Hob­bit for 30 Min­utes (1952)

When J. R. R. Tolkien Worked for the Oxford Eng­lish Dic­tio­nary and “Learned More … Than Any Oth­er Equal Peri­od of My Life” (1919–1920)

Ani­mat­ed Video Explores the Invent­ed Lan­guages of Lord of the Rings, Game of Thrones & Star Trek

Dis­cov­er Lin­cos, the Lan­guage a Dutch Math­e­mati­cian Invent­ed Just to Talk to Extrater­res­tri­als (1960)

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities, the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

 

Why French Sounds So Unlike Spanish, Italian & Other Romance Languages, Even Though They All Evolved from Latin

French is known as the lan­guage of romance, a rep­u­ta­tion that, what­ev­er cul­tur­al sup­port it enjoys, would be dif­fi­cult to defend on pure­ly lin­guis­tic grounds. But it would­n’t be con­tro­ver­sial in the least to call it a Romance lan­guage, which sim­ply refers to its descent from the Latin spo­ken across the Roman Empire. In that cat­e­go­ry, how­ev­er, French does­n’t come out on top: its 77 mil­lion speak­ers put it above Roman­ian (24 mil­lion) and Ital­ian (67 mil­lion), but below Span­ish (489 mil­lion) and Por­tuguese (283 mil­lion). If you know any one of these lan­guages, you can under­stand at least a lit­tle of all the oth­ers, but French stands out for its rel­a­tive lack of fam­i­ly resem­blance.

“Why is acqua just eau?” asks Joshua Rud­der, cre­ator of the Youtube chan­nel NativLang. “How are cam­biar and casa relat­ed to change and chez?” He address­es the caus­es of these dif­fer­ences between mod­ern-day French, Span­ish, and Ital­ian in the video above, which presents the his­tor­i­cal-lin­guis­tic expla­na­tion in the form of a long and tricky recipe.

“Start prepar­ing your ingre­di­ents 2000 years ago. Take a base of Latin,” ide­al­ly at least three cen­turies old. “Com­bine traces of Gaul­ish, because Celtic words will become sources of change.” Then, “grad­u­al­ly incor­po­rate sound shifts, not uni­form­ly: work them in to form a nice con­tin­u­um, where the edges look dis­tinct, but local­ly, it’s sim­i­lar from place to place.”

This cook­ing ses­sion soon becomes a din­ner par­ty. Its most impor­tant atten­dees are the Franks next door, who come not emp­ty-hand­ed but bear­ing a few hun­dred Ger­man­ic words. In the full­ness of time, “you might think that the sound of French would come from a sin­gle dialect in Paris. Instead, observe as it aris­es from social changes and urban­iza­tion, bring­ing togeth­er peo­ple who speak many vari­eties of oïl” — an old word for what Fran­coph­o­nes now know as oui, and which now refers to the dialects spo­ken in the north of the coun­try (as opposed to oc in the south) back then. Even this far into the process, we’ve come only to the point of mak­ing Mid­dle French.

Mod­ern French involves “a thick ganache of king­dom and col­o­niza­tion” spread far and wide. Sub­se­quent “peri­ods of rev­o­lu­tion and Napoleon” put more touch­es on the lan­guages, none of them fin­ish­ing. Stu­dents of French today find them­selves seat­ed at an elab­o­rate feast of unfa­mil­iar sounds and rules gov­ern­ing those sounds, many of which may at first seem unpalat­able or even indi­gestible. Yet some of those stu­dents will devel­op a taste for such lin­guis­tic fare, and even come to pre­fer it to the oth­er Romance lan­guages that go down eas­i­er. French con­tin­ues to change in the twen­ty-first cen­tu­ry, not least through its incor­po­ra­tion of askew angli­cisms, yet some­how con­tin­ues to remain a lan­guage apart. There­in, per­haps, lies the true mean­ing of vive la dif­fer­ence.

Relat­ed con­tent:

Free French Lessons

What Shakespeare’s Eng­lish Sound­ed Like, and How We Know It

What Ancient Latin Sound­ed Like, And How We Know It

Watch Ta-Nehisi Coates Speak French Before & After Attend­ing Middlebury’s Immer­sion Pro­gram

Wern­er Her­zog Lists All the Lan­guages He Knows–and Why He Only Speaks French If (Lit­er­al­ly) a Gun’s Point­ed at His Head

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities, the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

Watch the World’s First Film Made in Babylonian, the Language of Ancient Mesopotamia

“Enable sub­ti­tles,” says the noti­fi­ca­tion that appears before The Poor Man of Nip­pur — and you will need them, unless, of course, you hap­pen to hail from the cra­dle of civ­i­liza­tion. The short film is adapt­ed from “a folk­tale based on a 2,700-year-old poem about a pau­per,” says the Uni­ver­si­ty of Cam­bridge’s alum­ni news, act­ed out word-for-word by “Assyri­ol­o­gy stu­dents and oth­er mem­bers of the Mesopotami­an com­mu­ni­ty at the Uni­ver­si­ty.” The result qual­i­fies as the world’s very first film in Baby­lon­ian, a lan­guage that has “been silent for 2,000 years.”

“Found on a clay tablet at the archae­o­log­i­cal site of Sul­tan­te­pe, in south-east Turkey,” the sto­ry of The Poor Man of Nip­pur has­n’t come down to us in per­fect­ly com­plete form. The film rep­re­sents the points of break­age in the tablet with VHS-style glitch­es, a neat par­al­lel of forms of media degra­da­tion across the mil­len­nia.

That isn’t the only notice­able anachro­nism — tak­ing the build­ings of Cam­bridge for Mesopotamia in the sev­enth cen­tu­ry BC demands a cer­tain sus­pen­sion of dis­be­lief — but we can rest assured of the Baby­lon­ian dia­logue’s his­tor­i­cal accu­ra­cy, or at least that this is the most accu­rate Baby­lon­ian dia­logue we’re like­ly to get.

Accord­ing to Cam­bridge Assyri­ol­o­gist Mar­tin Wor­thing­ton, who over­saw the Poor Man of Nip­pur project (after serv­ing as Baby­lon­ian con­sul­tant for The Eter­nals), deter­min­ing its pro­nun­ci­a­tion involves “a mix of edu­cat­ed guess­work and care­ful recon­struc­tion,” but one that ben­e­fits from exist­ing “tran­scrip­tions into the Greek alpha­bet” as well as con­nec­tions with sta­bler lan­guages like Ara­bic and Hebrew. The result is an unprece­dent­ed his­tor­i­cal-lin­guis­tic attrac­tion, a com­pelling adver­tise­ment for the study of Baby­lon­ian at Cam­bridge, and also — in depict­ing the impov­er­ished pro­tag­o­nist’s revenge on a thug­gish town may­or — a demon­stra­tion that the under­dog sto­ry tran­scends time, cul­ture, and lan­guage.

Relat­ed con­tent:

Lis­ten to The Epic of Gil­gamesh Being Read in its Orig­i­nal Ancient Lan­guage, Akka­di­an

Watch a 4000-Year Old Baby­lon­ian Recipe for Stew, Found on a Cuneiform Tablet, Get Cooked by Researchers from Yale & Har­vard

Lis­ten to the Old­est Song in the World: A Sumer­ian Hymn Writ­ten 3,400 Years Ago

Trigonom­e­try Dis­cov­ered on a 3700-Year-Old Ancient Baby­lon­ian Tablet

Learn Latin, Old Eng­lish, San­skrit, Clas­si­cal Greek & Oth­er Ancient Lan­guages in 10 Lessons

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities, the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

Listen to The Epic of Gilgamesh Being Read in its Original Ancient Language, Akkadian

Cre­ative Com­mons image by Osama Shukir Muhammed Amin

Long ago, in the ancient civ­i­liza­tion of Mesopotamia, Akka­di­an was the dom­i­nant lan­guage. And, for cen­turies, it remained the lin­gua fran­ca in the Ancient Near East. But then it was grad­u­al­ly squeezed out by Ara­ma­ic, and it fad­ed into obliv­ion once Alexan­der the Great Hel­l­enized (Greek­i­fied) the region.

Now, 2,000+ years lat­er, Akka­di­an is mak­ing a small come­back. At Cam­bridge Uni­ver­si­ty, Dr. Mar­tin Wor­thing­ton, an expert in Baby­lon­ian and Assyr­i­an gram­mar, has start­ed record­ing read­ings of poems, myths and oth­er texts in Akka­di­an, includ­ing The Epic of Gil­gamesh. This clip gives you a taste of what Gil­gamesh, one of the ear­li­est known works of lit­er­a­ture, sounds like in its moth­er tongue. Or, you can jump into the full col­lec­tion of read­ings right here, cour­tesy of the Uni­ver­si­ty of Lon­don.

If you would like to sign up for Open Culture’s free email newslet­ter, please find it here. Or fol­low our posts on Threads, Face­book, BlueSky or Mastodon.

If you would like to sup­port the mis­sion of Open Cul­ture, con­sid­er mak­ing a dona­tion to our site. It’s hard to rely 100% on ads, and your con­tri­bu­tions will help us con­tin­ue pro­vid­ing the best free cul­tur­al and edu­ca­tion­al mate­ri­als to learn­ers every­where. You can con­tribute through Pay­Pal, Patre­on, and Ven­mo (@openculture). Thanks!

Relat­ed Con­tent:

The Epic of Gil­gamesh, the Old­est-Known Work of Lit­er­a­ture in World His­to­ry

World Lit­er­a­ture in 13 Parts: From Gil­gamesh to Gar­cía Márquez

20 New Lines from The Epic of Gil­gamesh Dis­cov­ered in Iraq, Adding New Details to the Sto­ry

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Archaeologists May Have Discovered a Secret Language in Lascaux & Chauvet Cave Paintings, Perhaps Revealing a 20,000-Year-Old “Proto-Writing” System

Care to take a guess what your smart phone has in com­mon with Pale­olith­ic cave paint­ings of Las­caux, Chau­vet and Altami­ra?

Both can be used to track fer­til­i­ty.

Admit­ted­ly, you’re prob­a­bly not using your phone to stay atop the repro­duc­tive cycles of rein­deer, salmon, and birds, but such infor­ma­tion was of crit­i­cal inter­est to our hunter-gath­er­er ances­tors.

Know­ing how cru­cial an under­stand­ing of ani­mal behav­ior would have been to ear­ly humans led Lon­don-based fur­ni­ture con­ser­va­tor Ben Bacon to recon­sid­er what pur­pose might have been served by non-fig­u­ra­tive mark­ings — slash­es, dots, and Y‑shapes — on the cave walls’ 20,000-year-old images.

Their mean­ing had long elud­ed esteemed pro­fes­sion­als. The marks seemed like­ly to be numer­ic, but to what end?

Bacon put for­ward that they doc­u­ment­ed ani­mal lives, using a lunar cal­en­dar.

The ama­teur researcher assem­bled a team that includ­ed experts from the fields of math­e­mat­ics, arche­ol­o­gy, and psy­chol­o­gy, who ana­lyzed the data, com­pared it to the sea­son­al behav­iors of mod­ern ani­mals, and agreed that the num­bers rep­re­sent­ed by the dots and slash­es are not car­di­nal, but rather an ordi­nal rep­re­sen­ta­tion of months. 

As Bacon told All Things Con­sid­ered his fel­low self-taught anthro­po­log­i­cal researcher, sci­ence jour­nal­ist Alexan­der Mar­shack, came close to crack­ing the code in the 1970s:

… but he was­n’t actu­al­ly able to demon­strate the sys­tem because he thought that these indi­vid­ual lines were days. What we did is we said, actu­al­ly, they’re months because a hunter-gath­er­er does­n’t need to know what day a rein­deer migrates. They need to know what month the rein­deer migrates. And once you use these months units, this whole sys­tem responds very, very well to that.

As to the fre­quent­ly occur­ring sym­bol that resem­bles a Y, it indi­cates the months in which var­i­ous female ani­mal birthed their young. Bacon and his team the­o­rize in the Cam­bridge Arche­o­log­i­cal Jour­nal that this mark may even con­sti­tute “the first known exam­ple of an ‘action‘ word, i.e. a verb (‘to give birth’).

Tak­en togeth­er, the cave paint­ings and non-fig­u­ra­tive mark­ings tell an age-old cir­cu­lar tale of the migra­tion, birthing and mat­ing of aurochs, birds, bison, caprids, cervids, fish, hors­es, mam­moths, and rhi­nos … and like snakes and wolver­ines, too, though they were exclud­ed from the study on basis of “excep­tion­al­ly low num­bers.”

Ear­ly humans were able to log months by observ­ing the moon, but how could they tell when a new year had begun, essen­tial infor­ma­tion for any­one seek­ing to arrange their lives around their prey’s pre­vi­ous­ly doc­u­ment­ed activ­i­ties?

Bacon and his peers, like so many poets and farm­ers, look to the rites of spring:

The obvi­ous event is the so-called ‘bonne sai­son’, a French zooar­chae­o­log­i­cal term for the time at the end of win­ter when rivers unfreeze, the snow melts, and the land­scape begins to green.


Read the con­clu­sions of their study here.

Relat­ed Con­tent 

Alger­ian Cave Paint­ings Sug­gest Humans Did Mag­ic Mush­rooms 9,000 Years Ago

Was a 32,000-Year-Old Cave Paint­ing the Ear­li­est Form of Cin­e­ma?

40,000-Year-Old Sym­bols Found in Caves World­wide May Be the Ear­li­est Writ­ten Lan­guage

- Ayun Hal­l­i­day is the Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine and author, most recent­ly, of Cre­ative, Not Famous: The Small Pota­to Man­i­festo and Cre­ative, Not Famous Activ­i­ty Book. Fol­low her @AyunHalliday.

 

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