Glagolitic Alphabet - Origins of The Glagolitic Characters

Origins of The Glagolitic Characters

The creation of the characters is popularly attributed to the Bulgarian brothers Saints Cyril and Methodius, who may have created them in order to facilitate the introduction of Christianity. It is believed that the original letters have been fitted to the original Macedonian Slavic.

The number of letters in the original Glagolitic alphabet is not known, but may have been close to its presumed Greek model. The 41 letters we know today include letters for non-Greek sounds which may have been added by Saint Cyril, as well as ligatures added in the 12th century under the influence of Cyrillic, as Glagolitic lost its dominance. In later centuries the number of letters drops dramatically, to fewer than 30 in modern Croatian and Czech recensions of the Church Slavic language. Twenty-four of the 41 original Glagolitic letters (see table below) probably derive from graphemes of the medieval cursive Greek small alphabet, but have been given an ornamental design.

The source of the other consonantal letters is unknown. If they were added by Cyril, it is likely that they were taken from an alphabet used for Christian scripture. It is frequently proposed that the letters sha Ⱎ, tsi Ⱌ, and cherv Ⱍ were taken from the letters shin ש and tsadi צ of the Hebrew alphabet, and that Ⰶ zhivete derives from Coptic janja Ϫ. However, Cubberley (1996) suggests that if a single prototype were presumed, that the most likely source would be Armenian. Other proposals include the Samaritan alphabet, which Cyril learned during his journey to the Khazars in Cherson.

South Slavic
languages
and dialects
Western South Slavic
  • Slovene
  • dialects
  • Prekmurje dialect
  • Resian dialect
  • Serbo-Croatian
  • Bosnian
  • Štokavian dialect
  • Croatian
  • Štokavian dialect
  • Čakavian
  • Kajkavian
  • Burgenland
  • Molise
  • Torlakian
  • Serbian
  • Štokavian dialect
  • Ekavian
  • Ijekavian
  • Torlakian
  • Slavoserbian
  • Serbian Romany
  • Užice dialect
  • Differences between standard
    Bosnian / Croatian / Serbian
  • Non-ISO recognized languages
    and dialects
  • Montenegrin
  • Bunjevac dialect
Eastern South Slavic
  • Church Slavonic (Old)
  • Bulgarian
  • Dialects
  • Banat
  • Torlakian
  • Meshterski
  • Macedonian
  • Dialects
  • Western dialects
  • Southeastern dialects
  • Northern Dialects
  • Torlakian
  • Spoken Macedonian
  • Standard Macedonian
Transitional dialects
  • Serbian–Bulgarian-Macedonian
  • Transitional Bulgarian dialects
  • Torlakian
  • Gora dialect
  • Croatian–Slovenian
  • Kajkavian
Alphabets
  • Modern
  • Gaj's Latin
  • Serbian Cyrillic
  • Macedonian Cyrillic
  • Bulgarian Cyrillic
  • Slavica
  • Slovene
  • Historical
  • Bohoričica
  • Dajnčica
  • Metelčica
  • Arebica
  • Bosnian Cyrillic
  • Glagolitic
  • Early Cyrillic
1 Includes Banat Bulgarian alphabet.

Glagolitic letters were also used as numbers, similarly to Cyrillic numerals. Unlike Cyrillic numerals, which inherited their numeric value from the corresponding Greek letter (see Greek numerals), Glagolitic letters were assigned values based on their native alphabetic order.

Read more about this topic:  Glagolitic Alphabet

Famous quotes containing the words origins of, origins and/or characters:

    The origins of clothing are not practical. They are mystical and erotic. The primitive man in the wolf-pelt was not keeping dry; he was saying: “Look what I killed. Aren’t I the best?”
    Katharine Hamnett (b. 1948)

    Compare the history of the novel to that of rock ‘n’ roll. Both started out a minority taste, became a mass taste, and then splintered into several subgenres. Both have been the typical cultural expressions of classes and epochs. Both started out aggressively fighting for their share of attention, novels attacking the drama, the tract, and the poem, rock attacking jazz and pop and rolling over classical music.
    W. T. Lhamon, U.S. educator, critic. “Material Differences,” Deliberate Speed: The Origins of a Cultural Style in the American 1950s, Smithsonian (1990)

    We are like travellers using the cinders of a volcano to roast their eggs. Whilst we see that it always stands ready to clothe what we would say, we cannot avoid the question whether the characters are not significant of themselves.
    Ralph Waldo Emerson (1803–1882)