Tag Archive: Mediterranean



Linear A haiku: the hollow ships on the vermilion sea:

Linear A haiku hollow ships on the vermilion sea

 

 


POST 1600: On academia.edu: Minoan Linear A tablet HT 95, emmer and einkorn wheat, other grains and flax:

Minoan Linear A tablet academia.edu

I have just uploaded an article on academia.edu: Minoan Linear A tablet HT 95, emmer and einkorn wheat, other grains and flax, which you can find here (Click on the banner):

I encourage you to download it and read it, as it is only 4 pages long.

 


Credible decipherment of several grains mentioned on of Linear A tablet HT 10 (Haghia Triada):

Linear A tablet HT 10 Haghia Triada dealing with several grain crops

After several abortive attempts at realizing a relatively convincing decipherment of Linear A tablet HT 10 (Haghia Triada), I believe I have finally managed to come through. This has to be one of the most challenging Linear A tablets I have ever been confronted with. Any credible decipherment eluded me for months on end, until it finally struck me that all I needed to do was to identify the grain crops most commonly cultivated in the Neolithic and Bronze Age Mediterranean. And this is precisely what I have just done.  

Neolithic and Bronze age grains cultivated in the Mediterranean during the Neolithic and Bronze Age eras (the most common italicized):

barley (sara2/sarai?) *
einkorn (dideru) *
emmer (kunisu) *
flax (sara2/sarai?) *
freekeh (sara2/sarai?) *
and
bran (less common)
bulgur (less common)
groats (less common)
lentils (less common)
millet (dare -or- kasaru)
spelt (dare -or- kasaru)
vetch for fodder (less common)

Now it strikes me that if we find any of these grains recurring on several Linear A tablets, and we do, these grains must be the most common cultivated then. As it so happens, the 3 grain crops most frequently referenced in Linear A tablets are dideru, kunisu and sarai2 (sarai). They appear over and over and in abundant quantities on several Linear A tablets from Haghia Triada (HT 8 HT 10 HT 28 HT 85-68 HT 91 HT 93 HT 95 HT 114 HT 121 & HT 133), on HM 570, on Khania KH 10, Kophinas KO Za 1 and on Zakros ZA 20. We now know for certain that dideru means “einkorn (wheat)” and kunisu “emmer (wheat)”. It is also highly likely that sara2 (sarai) references “barley”, “flax” or “freekah”. Which one we cannot be sure, but it almost certainly has to be one of these. In addition, we also find dare and kasaru on HT 10. It stands to reason that, by elimination, dare and kasaru are probably either “millet” or “spelt” or vice versa. I have eliminated bran, bulgur, groats, lentils and vetch, as these crops appear to have been relatively less common. 

Free translation of HT 10:

emmer wheat on 4 hills + PA? + 16 1/2 bushel-like units of another type of grain (millet or spelt) *333? + RO + 6 *u325 + 14 bushel-like units of groats (?) + 2 1/2  of *301 (whatever that is), all stored in 8 vases, of which 2 are pithoi (very large) and also stored in 1 vessel of another type + 2 bushel-like units of bran, flax, millet or spelt & 16 young shoots of grain + 6 /12 of *312 TA ? & 6 bushel-like units of millet or spelt, of which 9 1/4 units were lost to death (i.e. never matured)...

My preliminary research into the types of grains cultivated in the Neolithic and Bronze Age Mediterranean has clearly facilitated this plausible decipherment of HT 10, and has moreover confirmed my even more accurate translations of several other Linear A tablets dealing with grain, almost all of them co-incidentally from Haghia Triada.



Haiku: “peri rimeni Aminisi anemo paidio pasi” = “all around the port of Amnisos the wind is everyone’s child”

Haiku of Amnisos in Linear B, ancient Greek, English and French =
Haïkou d’Amnisos en linéaire B, en grec antique, en anglais et en français

Click to ENLARGE

peri rimeni Aminiso anemo paidio pasi

This is the one haiku in Linear B which appeals to my sensibilities more than any other I have composed en Mycenaean Greek. The reason is simple: the Linear B of this haiku, which anyone can read in its Latinized version beneath the original in Linear B, has an entrancing rhythm, a melody about it that truly appeals to the ear, evoking a light sea breeze wafting around the sunny harbour of Amnisos. The language of the haiku is simple and direct. The alliteration, assonance and onomatopoeia are almost Italianate and so very appealing. In a word, I love it.

I elected to use the miniature Minoan frieze of the harbour of Thera, rather than a frieze of Amnisos, for its exquisite beauty.

I sincerely hope you love it as much as I do, and that you will tag it with LIKE. I would also appreciate your comments.

Thank you

Grâce à sa musicalité innée qui se déroule si aisément à travers les lignes, ce haïkou est assurément celui qui plaît à mes sensibilités avant tous les autres que j’ai jamais composé en grec mycénien. La version du haïkou en lettrage latin de l’intégral en linéaire B a un charme tout particulier, une mélodie qui nous hante l’oreille, comme si une brise maritime légère s’élèvait sur le havre ensoleillé d’Amnisos. Son langage est simple et direct. Il y en a une allitération, une assonance et une onomatopée quasi italiennes qui s’y harmonisent si parfaitement. En un mot, je m’en raffole.

Au lieu de choisir une fresque d’Amnisos, j’ai pris la frise miniature minoenne du havre de Thère, grâce à sa beauté exquise.

J’espère donc qu’il vous plaise autant qu’à moi, et que vous l’évalueriez selon sa qualité poétique.  Je serais également reconnaissant de vos commentaires, si’il y en a.

Richard

 
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