Tag Archive: inscription



Linear B - KN Dd1171, article by Peter J. Keyse on academia.edu 

Click on this graphic to view Keyse’s article:

Linear B - KN Dd1171


Peter J. Keyse provides a thorough analysis of Linear B tablet  KN Dd 1171 in this fascinating article, which is well worth reading for anyone who is familiar with the Linear B syllabary, and certainly for anyone who is studying Linear B in depth. His article is not without errors. For instance, he deciphers PoRo as the name of someone in what he calls the PoMe “worker class” = a shepherd,

Linear B - KN Dd1171 PORO

but his interpretation of of PORO is clearly incorrect, as this word  has 3 distinct meanings, one of which is the Linear B word for “a foal”, as demonstrated by Chris Tselentis in his Linear B Lexicon, here:

Tselentis PORO

(The other 2 meanings of POME offered by Tselentis do not fit the context)

while POME is quite obviously Mycenaean Greek for “shepherd”:

Tselentis POME

Keyse also notes that Michael Ventris identified 3 major styles for incisions - those at Knossos, Pylos and Mycenae. In his own words: The vertical lines are quite faint scratches and not easily seen. The cuts in the clay are ‘under-cut’ i.e. pushed in at an angle . This preoccupation with Linear B scribal hands recurs in a great many articles on Linear B. Keyse also covers the what he ascertains to be the phonetic sounds of the numerics on this tablet. He also emphasizes the nature and particulars characteristics of the scribal hand on this tablet.

But it his conclusion which is most fascinating. He says,

In conclusion: 

What would Dd1171 sound like if read aloud? Po-Ro. 20 OVISm, 72 OVISf. Pa-I-To. Pa 8 OVISm. While it reasonable to say that Linear B was no more the spoken language of its day than ‘double-entry bookkeeping’ speak is for accounting clerks today it is also true to say that accountants do on occasions talk in journals and double-entry (and not only when at dinner parties and down the pub) and they certainly call over inventories to each other. It is clear that Linear B had a sound but perhaps it is unlikely that we can fairly reproduce it today. Considering the importance of numbers within the Linear B archive I find it surprising that no phonic system has been devised to represent them or if devised is not clearly documented in the literature. 

COMMENT by Richard Vallance Janke on the sound, i.e. the general pronunciation of Linear B. In actuality, we probably do have some idea of how Mycenaean Greek was pronounced. Its closest cousin was Arcado-Cypriot, represented both by its own syllabary, Linear C, and by its own archaic alphabet. The Mycenaean and Arcado-Cypriot dialects were much closer phonetically than even Ionic and Attic Greek. Phonological details of the archaic Arcado-Cypriot dialect appear in C.D. Buck, The Greek Dialects, © 1955, 1998. ISBN 1-85399-566-8, on pg. 144. He provides even more information on Arcado-Cypriot on pp. 7-8, and classifies it as an East Greek dialect, pg. 9. This is highly significant, because if Arcado-Cypriot is East Greek, ergo Mycenaean Greek also is. This places both of the archaic East-Greek dialects, Mycenaean and Arcado-Cypriot, firmly in the camp of all East Greek dialects, including Arcadian, Aeolic, Lesbian, Cyprian, Pamphylian, Thessalian, Boeotian, and the much later Ionic and Attic dialects. So it is probably fair to say that we may have at least an idea, even if somewhat inaccurate, of how Mycenaean Greek was pronounced. And this has huge implications for the further study of Mycenaean Greek phonology.


Linear A haiku, violets parallel to violets for Kaniami, from her father, in Linear A, archaic Greek, English and French:

As can clearly be seen from the original inscription on this exquisitely crafted golden pin from the A.Y. Nikolaos Museum, Crete, the text of the haiku closely follows the original:

Linear A golden pin Zf 1 Ayios Nikolaos Museum

 


Linear A vase rim fragment IO Za 9 from Iouktas:

Linear A IO Za 9 Iouktas

Linear A vase rim fragment IO Za 9 from Iouktas appears to deal with the goddess of healing and health offering her powers and blessings as balms to heal someone who is ill. The significance of the Old Minoan word (OM) unaka can only be divined from context. It appears to mean “illness” or “disease”, as that interpretation does suit the context. But we can never really know.

As for jasasa, this word appears to be an oblique case for jasa (arch. acc) of jaso, the goddess of healing and health. So this vase rim would appear to say something like, “due to the goddess of healing and health offering balms to a persons disease”.

On his site, Prof. John G. Younger refers to the right-to-left writing of jasasa as retrograde, but there is no such linguistic term. What he ought to have said was sinistrograde.

 


Exquisite golden pin Zf 1 (Ayios Nikolaos Museum) fully deciphered in New Minoan: 

golden floral pin Linear A Zf 1 inscription Ayios Nikolaos Museum Crete in derived Mycenaean

Minoan Lilies Akrotiri and pancratium maritmum

This inscription, which appears to be entirely in Mycenaean derived New Minoan, is one of the loveliest I have ever come across, whether in Minoan or Mycenaean. There are similar inscriptions on Linear B tablets from Phaistos. The text waxes almost poetic and is quintessentially suited to the magnificent craftsmanship of this exquisite golden pin. The text in its entirety is utterly coherent, and is probably spot on. The syntax of the Greek had to be adjusted to meet the grammatical exigencies of the Minoan language. This explains the anomaly of qakisenuti, which is probably Minoan instrumental, hence “with (fine) craftsmanship”. And the craftsmanship is certainly that!

This decipherment lends greater credence than I had previously imagined to the distinct probability that at least a few Minoan inscriptions were in fact written entirely in Mycenaean derived proto-Greek with the syntax adjusted to the requirements of the Minoan language. I have already fully addressed this phenomenon in a previous post, which I urge you to reread, in order to place this decipherment in its proper perspective. You can read that post here:

Partial decipherment of Partial decipherment of Linear A tablet ZA 15 (Zakros) and the phenomenon of orthographic adjustment of superstratum words in the substratum language:

https://linearbknossosmycenae.wordpress.com/2017/05/06/partial-decipherment-of-linear-a-tablet-za-15-zakros-and-the-phenomenon-of-orthographic-adjustment-of-superstratum-words-in-the-substratum-language/

I am therefore finally convinced that decipherment of Mycenaean derived New Minoan is an eminently attainable goal.


Partial decipherment of Linear A inscription PH 1 (Arkalochori Axe):

Linear A tablet PH 1 Arkalochori Axe

My decipherment is partial. The only candidate for Mycenaean derived vocabulary is the word uro = entire, whole, i.e. total, a synonym of kuro = reaching, attaining, i.e. total.
The  word jaku obviously refers to the cargo. 


Vase with Minoan Linear A inscription on it (undecipherable):

Vase with Minoan Linear A inscripton below the rin

There is simply insufficient text in the Minoan Linear A inscription just below the rim of this vase for me to be able to decipher it.


ANEMOIYEREA, “Priestess of the Winds”, one of the loveliest words in Linear B (Click to enlarge):

ANEMOIYEREAillustrated

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