This was supposedly Marco Polo's word for Japan. It has recently come back in vogue for films, games, etc. It would seem that "Jipangu" (also spelled "Zipangu") is cognate with Jap. Nihonkoku / Nipponkoku, Ch. Rìběnguó 日本國, Kor. Ilbon-guk, Viet. Nhật Bản Quốc , but in none of the Chinese topolects I'm aware of does it sound quite like that. Certainly it would not work for the southern or other topolects that have an entering tone final -k (or some -t) for the last of the three syllables. Ditto for Japanese, Korean, and Vietnamese.
Even the Sinitic topolects without an entering tone final don't have the right vowel shape / quality at the end to match the -u of Jipangu.
Maybe Marco Polo got it from Persian, the lingua franca of international diplomacy in his time. Could it be that the phonotactics of Persian could not tolerate / represent any of the Sinitic topolectal forms of 國 directly but transformed one of them into something that sounded to Marco Polo like -gu?
Did Marco Polo get "Jipangu" from the Mongols? If so, from whom did the Mongols get it?
October 8, 2020 – Trefoil or “three-leaved plant” is a stylized form found in artifacts and architecture across culture and time. Dr. Minjee Kim begins the story with her first encounter with a gold headdress ornament of the Balhae kingdom (698-926) and traces the migration of its trefoil form throughout the 4th-6th century across Asia. Then, she travels to France, where “fleur-de-lis” adorned French crowns, clothing, textiles, and furniture as a symbol of royalty, leading to its wide contemporary appropriation by many Western institutions. The journey ends with the long and rich tradition in Kyrgyzstan where the motif is still strongly embedded in various realms of material culture of the people. While offering a view on Korean artifacts within a wider context of material resonance in human history, Dr. Kim highlights the way these artifacts adorned the body and how the craftsmanship was employed to articulate the social hierarchy.
Midway through Tuesday night’s chaotic presidential debate, as President Trump vowed to release his still-private tax returns, Joe Biden shot back at his opponent with a particularly sarcastic jab.
“Millions of dollars, and you’ll get to see it,” Trump said of the amount he claims to have paid.
“When?” the Democratic presidential nominee interjected. “Inshallah?”
The late 13th and 14th c. portraits of the Mongol khans and their wives often show them with rather light (hazel or greenish) eyes. For example, the 14th c. portrait of Ögedei Khan (1186-1241) clearly depicts him as having greenish blue eyes and a reddish (definitely light colored) mustache and beard.
Just read again Chao Wu’s perplexing post on An early fourth century AD historical puzzle involving a Caucasian people in North China. it mentions “pugu” as “a Hu title.” This made me wonder about possible connection of “pugu” (however it was originally pronounced) and related series of titles boga / bojilie / beyile, beg / begler, boyar, etc., but can’t see this having been done on the site. Not being a linguist, I can only express curiosity. but I wonder if “pugu” is an early citation of these medieval Eurasian titles.
The title and the following observations come from Rebecca Hamilton:
I was reading Patrick Leigh Fermor's Between the Woods and the Water: on Foot to Constantinople, as I convalesce from COVID-19 (I've had a hard time of it), and I stumbled upon an aside he made about the French "hongre," meaning "gelding," as does the German "wallach." He made this comment – without further explication – in the context of a discussion of the ethnographic roots of Hungarians, Wallachians, and Rumanians (in particular, the latter as being descendants of Roman occupation, if not Romans themselves). What all this means, I cannot say. It seemed like a topic you would know something about. Because I am confined to bed for the moment, if you could be so kind as to forward me some reading material, I would be very grateful. Also, anything about "Wales" or "Welsh" sharing etymological roots with "Wallach," and how "wether" fits into all this would be great.
Earlier this year, we had a post about a fascinating new Wikipedia article on "Goblet word" (5/30/20). That post was about a vessel that served as an analogy for a rhetorical device called zhīyán 卮言 ("goblet word"). Now we have another magisterial Wikipedia article by an anonymous master of Chinese esoterica. It's about another name for a similar type of vessel called qīqì 欹器, "tilting vessel".
The qīqì (欹器, "tilting vessel" or "tipping vessel") was an ancient Chinese ceremonial utensil that automatically overturned and spilled its contents once it reached capacity, thus symbolizing moderation and caution. Both Confucian and Daoist Chinese classics include a famous anecdote about the first time Confucius saw a tilting vessel. In the Confucian tradition (e.g., Xunzi) it was also named yòuzuò zhī qì (宥座之器, "vessel on the right of one's seat"), with three positions, the vessel tilts to one side when empty, stands upright when filled halfway, and overturns when filled to the brim—illustrating the philosophical value of the golden mean. In the Daoist tradition, the tilting vessel was named yòuzhī (宥卮, "urging goblet" or "warning goblet"), with two positions, staying upright when empty and overturning when full—illustrating the metaphysical value of emptiness, and later associated with the Zhuangzianzhīyán (卮言, "goblet words") rhetorical device.
There is a phenomenon in Japanese publishing called "san-gō zasshi 三号雑誌", which refers to a short-lived magazine that puts out three issues and then folds. Sino-Platonic Papers, a scholarly journal I started in 1986, just put out its 300th issue, and we're still going strong, with about ten more issues in the pipeline, and others lined up to come after that.
The present inquiry stands as a foray into what may be thought of as a “Summa Philologica Sinica.” To be more precise, this paper is about the study and developmental trajectory of philology rather than philology per se. The approach here, drawing on the prefaces and comments of primary historical resources, conceives of philology as subject to the transitions of philosophy, an amalgam within which variegated traditions and schools contend and consent with each other, rather than as a static, ahistorical antithesis between the study of script and that of sound. The bifocal panoply behind philological texts and the shì 勢 (“immanent configuration”) that oscillates between indigenous systems of thought and foreign philosophy, defense of nationality and openness to foreign voices, reflected in the realm of language studies, presents itself as focused on characters (eyes) versus sounds (ears).
Below is a host of questions, implied questions, and questionable statements. I’m trying to get my head around the prehistoric interrelations of pre-Proto-Iranians and pre-Proto-Tocharians based on different “age-levels” of linguistic borrowing and match them with some plausible geographical / archaeological contexts. There are some conundrums here: (1) how did early borrowings from the Bactria–Margiana Archaeological Complex (BMAC) folks get so quickly, by so round about a way, into Tocharian, and (2) why does Tocharian B have an irrigation vocabulary so reminiscent of Central Iranian languages (Sogdian/Avestan; not Saka), borrowed (on phonological grounds) a thousand years (at least) after Tocharians were already knowledgeable about irrigation.
A key term in Chinese historical geography is guān 關 ("pass"). You can see from the shape of the character that it is framed by the two panels of a door, left and right, and that it has two upright, elaborated bars that could impede progress through the gate (I am thinking of the early forms of the character). The flanking door panels constitute the semantophore (radical, classifier) of the character, and the bars inside are the secondary semantophore, but may also simultaneously function as a phonophore.
A pass serves both to facilitate and block movement along key routes leading into and out of a country or regions within a country.
Just as I was thinking about writing this post on passes, I synchronously and serendipitously received from Alan Kennedy a reference to this highly technical article on Silk Road travel:
Irina Tupikova, Matthias Schemmel, Klaus Geus, "Travelling along the Silk Road: A new interpretation of Ptolemy’s coordinates", Max-Planck-Institut für Wissenschaftsgeschichte / Max Planck Institute for the History of Science, Preprint 465 (2014), 73 pages.
We here at Language Log know our Ossetians: see "Know your Ossetians" (2/17/20), and be sure to read the informative comments to that post. Today, let us go one step deeper into their language and lore. We shall do so through getting to know some basic things about the Nart sagas (Abkhaz: Нарҭаа ражәабжьқәа; Nartaa raƶuabƶkua; Adyghe: Нартхымэ акъыбарыхэ; Nartxıme aqıbarıxe; Karachay-Balkar: Нарт таурухла; Nart tawruxla; Ossetian: Нарты кадджытæ; Narty kaddžytæ; Nartı kadjıtæ) are a series of tales originating from the North Caucasus. They form much of the basic mythology of the tribes in the area, including Abazin, Abkhaz, Circassian, Ossetian, Karachay–Balkar, and to some extent Chechen–Ingush folklore.
I have a Thai student writing a dissertation on Khmer historical phonology who wrote a qualifying paper using the Zhenla Fengtuji 真臘風土記, a late 13th century gazetteer on Cambodia written by one Zhou Daguan, who was sent to the Angkor court as an emissary. The most cited source on this text is a 1951 translation by Pelliot There is a more recent English translation by Harris (2007), but it relies on Pelliot for linguistic matters. Pelliot identifies and transcribes 37 of the 44 Khmer words in the text.
Like Chinese (but probably slightly later), Khmer was undergoing loss of its voicing distinction in obstruents, but in a different way: Old Khmer voiceless obstruents became implosives, and voiced obstruents voiceless. For reasons that he doesn’t explain very well, Pelliot assumed that Zhou was using early Mandarin values for his Chinese transcription characters, with aspirated Chinese initials representing Old Khmer voiceless initials, and unaspirated initials to represent OK voiced initials. This leads to chaotic correspondences with the Khmer material.
