summer haiku d’été – my mother’s voice = la voix de ma mère


summer haiku d'été – my mother's voice =  la voix de ma mère 




my mother's voice
lost... and found 
in the cardinal's song

la voix de ma mère
recherchée dans la chanson
du cardinal

Richard Vallance

photo public domain


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senryu – yes you are = oui, c’est toi


senryu – yes you are = oui, c’est toi

yes you are
my special angel –
your voice my music! 




oui c’est toi
mon ange spécial -
ta voix ma musique !

Richard Vallance

The actor is Tommy Knight. He is so astonishingly cute I think, no, I know I have a crush on him! What stunning blue eyes! If you do not think this actor is gorgeous, you have to be nuts!  I think I am going to fain...

For the lyrics and song, You are my special angel, see:

https://www.youtube.com/watch?v=SiVYvdKjzYA



spring haiku de printemps – Leela Gilday chants = Leela Gilday chante


spring haiku de printemps – Leela Gilday chants = Leela Gilday chante

Leela Gilday chants,
her voice the snowy owl’s
and the tundra greens

Leela Gilday chants 620

Leela Gilday chante,
elle est la chouette blanche –
que la toundra verdit !

Richard Vallance

And here is the link to her fantastic site, Leela Gilday, K’eintah Natse Ju:

https://www.leelagilday.com/

By some fabulous and bizarre co-incidence, her middle name Natse is almost identical to the Japanese word, Natsu, which means summer!

En haut, le lien à son site,  Leela Gilday, K’eintah Natse Ju:

Par pure coincidence bien bizarre, son nom Natse est presque identique au mot japonais, Natsu, qui signifie l’été ! 

spring haiku de printemps – the skylark’s voice = la voix de l’alouette


spring haiku de printemps – the skylark’s voice = la voix de l’alouette

the skylark’s voice
ripples through the forest
in the cool rain

skylarks voice 620

la voix de l’alouette
résonne dans la forêt
dans la pluie fraîche

Richard Vallance 


summer haiku – peacock gliding = paon survolant


summer haiku – peacock gliding = paon survolant

peacock gliding
over a lotus blossom –
squealing away

peacock lotus haiku

paon survolant
une fleur de lotus –
son cri perçant

Richard Vallance


CRITICAL POST: The active middle voice template, akeomai = I repair or I make amends for… in the five major tenses in Mycenaean Linear B & ancient Greek


CRITICAL POST: The active middle voice template, akeomai = I repair or I make amends for...  in the five major tenses in Mycenaean Linear B & ancient Greek:

In all of the ancient East Greek dialects, right on down from Mycenaean Linear B to Arcado-Cypriot, its closest cousin (ca. 1100-400 BCE), through to Homeric Greek (ca. 800 BCE, a hodgepodge amalgam of various early ancient Greek dialects), to Ionic and Attic Greek (ca. 500-400 BCE), right on through to Hellenistic Greek (ca. 300-100 BCE) to New Testament Koine Greek (ca. 100 AD) and even to modern Greek, the active middle voice was extremely common, playing an indispensable role in the expression of verbal actions. In fact, it was probably even more common than the standard active voice, which we have already covered under the verb kauo = to burn.

In Mycenaean Linear B and in all subsequent ancient Greek dialects, the template for active middle voice is here represented by the verb, akeomai = I repair -or- I make amends (for myself). The 5 major indicative active tenses represented are, once again:

the present active middle voice
the future active middle voice
the imperfect active middle voice
the aorist (or simple past) active middle voice
the perfect active middle voice

all conjugated in full in this table:

mycenaean-linear-b-active-middle-verbs-akeomai-620

What is the function of the active middle voice in Mycenaean Linear B & ancient (as well as modern) Greek?

It is a very good thing to ask — in fact, it is crucial to the proper understanding of the critical difference between the standard active voice and the middle voice of verbs in Greek. The two voices are simply not the same. The standard active voice, as in the verb, kauo (present), kauso (future), ekauon (imperfect), ekausa (aorist or simple past) & kekausa (perfect) simply indicates something that someone does, will do, was doing, did or has done, with no further qualifications.

The active middle voice is quite another kettle of fish. It is much more active (quite literally!) and much more dynamic. The active middle voice denotes any of the following activities:

1. Any action undertaken by the subject, in which the subject takes a powerful personal interest in whatever action he or she is undertaking;
2. Any action undertaken by the subject, in which the subject acts strictly on his or her own behalf, without any direct influence of or consideration of whatever anyone else may think or adjudge about said action;
3. Any action undertaken by the subject, in which the subject acts independently, of his or her own volition, regardless;
4. Any action undertaken by the subject, which is of a reflexive nature, ie. by means of which the subject does something for or to oneself.

It goes without saying that an active present voice as so utterly complex as the active middle voice exists in no modern language, except for the fourth (4th.) application. The middle voice was of primal importance to the ancient Greeks because they were highly individualistic and egocentric (as opposed to being egoistic, which has nothing whatsoever to do with the active middle voice, except in rare instances). Reflexive verbs (4) are common in practically all modern languages. Thus, we have:

in English: I wash myself, you wash yourself, we wash ourselves etc.
et en français : je me lave, tu te laves, nous nous lavons – et ainsi de suite,
to cite just two examples.

On the other hand, the strict emphasis on personal responsibility for one’ s actions which is the preeminent characteristic of the active middle voice in Mycenaean Linear B and in ancient and modern Greek is nowhere to be found in modern Centum (Occidental) Indo-European languages such as English, French, Italian, Spanish, German etc. etc. In order to express the emphasis on direct personal responsibility innate to the active middle voice in ancient and modern Greek, modern languages have to resort to (sometimes cumbrous) circumlocutions. For instance, to express the first (1.) function of the active middle voice in ancient Greek, English has to resort to this circumlocution:

I am taking a powerful personal interest in repairing... etc.

And for the second (2.) function, this is what English has to resort to:

I am acting strictly on my own behalf in repairing (regardless of what anyone else thinks of it)

And for the third (3.) function:

I am acting entirely on my own (or independently) to repair etc.

Quite the circumlocutions in comparison with the active middle voice in ancient Greek, which is always so compactly and eloquently expressed by a single word, regardless of tense!

Consequently, it is virtually impossible to grasp the several meanings (at least 4) inherent to the active middle voice in ancient Greek, unless one has a firm grasp on the 4 principal functions I have outlined here. I repeat, the distinction between the simple active voice and the active middle voice in both ancient and modern Greek is fundamental to a proper understanding of the divergent functioning of these two active tenses, the simple active and the active middle.