This paper begins with an examination of the phrase /garah dmāna-/, the most common designation for Paradise in the Gathas, for which the traditional translation ‘House of Song’ is upheld. Its dualistic opposite /drujah dmāna-/ ‘House of Wrongness’ for Hell leads to the question of why for Paradise one doesn’t have the expected opposite *‘House of Rightness’ instead of ‘House of Song’. The answer proceeds from the etymologically unrelated Armenian gerezman ‘grave, tomb’, whose origin has been hitherto unknown, despite attempts toward its etymology. In view of the Indo-European phrase for the grave (i.e., burial mound) as ‘the House of Clay’, it is then suggested that the Arm. word is from a Median phrase, which is reconstructed as *gṛda- *zmani- ‘*clay (*zmani-) house (*gṛda-)’. The phonic similarity of this phrase to /garah dmāna-/ (/garah/ ‘song’s’ and /dmāna-/ ‘house’), with referential contrast is then seen as the chief motivation for Zarathushtra’s use of /garah dmāna-/ for ‘Paradise’. Then there ensues a discussion of the archeological-historical contexts for the latter development. Next, a phonologically systematic account is offered for Arm. gerezman becoming “Caucasian Albanian” garazman ‘grave, tomb’, in accord with hitherto unnoted aspects of “Caucasian Albanian” historical vocalism. The modern Udi derivative of garazman, i.e. gärämzä, is also accounted for. The loanwords in “Caucasian Albanian” are then divided into two main strata, first the Armenian (Iranian loans and indigenous Arm. words), including some forms from Armenian antedating Armenian literacy, and second a stratum of words, which are here called “Parthic”, of a vintage par with Manichean Parthian. These “Parthic” words, with their religious references, point to an Iranian group which (after the Armenian phase of loanwords) influenced the development of Christianity among the “Caucasian Albanians”, suggesting the existence of a “Christian Parthian”.

中文翻译：

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“歌曲之家”，*“粘土之家”，手臂。盖列兹曼和高加索-阿尔巴尼卡

本文首先考察短语 /garah dmāna-/，这是《伽达》中最常见的天堂名称，传统翻译为“歌之家”。它的二元对立面/drujah dmāna-/地狱的“错误之屋”引出了一个问题：为什么天堂没有预期的对立面*“正确之屋”而不是“歌曲之屋”。答案来自于词源上无关的亚美尼亚语盖列兹曼“坟墓，坟墓”，尽管人们尝试过其词源，但其起源至今仍不得而知。鉴于印欧语中表示坟墓（即坟墓）的短语为“粘土之屋”，因此建议使用“Arm”。单词来自中值短语，重构为 *格瑞达- *兹马尼- '*黏土 （*兹马尼-） 房子 （*格瑞达-)'。该短语与 /garah dmāna-/（/garah/“歌曲”和 /dmāna-/“房子”）的语音相似性以及指称对比被视为查拉图什特拉使用 /garah dmāna-/ 表示“”的主要动机。天堂'。然后是对后来发展的考古历史背景的讨论。接下来，为 Arm 提供语音系统的说明。盖列兹曼成为“白种阿尔巴尼亚人”加拉兹曼“坟墓，坟墓”，符合“高加索阿尔巴尼亚语”历史声乐中迄今为止未被注意到的方面。现代 Udi 的衍生物加拉兹曼， IE加拉姆扎，也被计算在内。然后，“高加索阿尔巴尼亚语”中的借词分为两个主要层，第一个是亚美尼亚语（伊朗借词和本土 Arm. 单词），包括亚美尼亚语早于亚美尼亚识字的一些形式，第二个单词层，这里称为“帕提克语”。 ”，与摩尼教帕提亚人的复古风格。这些带有宗教含义的“帕提亚”一词指向一个伊朗群体，该群体（在亚美尼亚阶段的借词之后）影响了基督教在“高加索阿尔巴尼亚人”中的发展，暗示了“基督教帕提亚人”的存在。