## Partial conjectural decipherment of Linear A tablet HT 6 Haghia Triada (VERSO)

Partial conjectural decipherment of Linear A tablet HT 6 Haghia Triada (VERSO):

If there is any Linear A tablet which has proven a real headache, it has to be this one. The surface of the VERSO of HT 6 (Haghia Triada) is so badly damaged that experts such as Andras Zeke of the Minoan Language Blog and Prof. John G. Younger cannot even agree on a few syllabograms in the text, while I myself disagree with them on some of the same. Additionally, there is no consensus on the values of Linear A fractions. Interpretations by Andras Zeke and Prof. John G. Younger of the smaller fractional values often do not agree. So I am unwilling to add fuel to the fire. I simply choose whichever value (either that of Zeke or of Younger) seems more convincing to me. At any rate, no one today can determine with any degree of accuracy numeric values in Minoan Linear or Mycenaean Linear B, since both syllabaries are so historically remote as to preclude any convincing readings.

As for the syllabograms on this tablet, once again, Andras Zeke and John G. Younger do not agree on the values of at least 3 of them. And I find myself at odds with their own interpretations. This is the result of the shoddy scribal hand and the less than ideal condition of the tablet itself. As for maridi, I find myself obliged to read it as if it were meridi, since the interpretation wool (mari) is utterly out of the question in the context of this tablet, whereas reading it as meridi = “honey” makes much more sense contextually. As for sama, it may be the Minoan equivalent of Mycenaean Linear B samara = mound/hill”, but once again, this interpretation is conjectural. I have previously tentatively deciphered Old Minoan (OM) pa3nina (painina) as “an amphora for the storage of… ”, but here again, I have gone out on a limb. Nevertheless, the interpretation once again suits the context. Once all of fig and pomegranate juice (RECTO) and the drops of wine and honey (VERSO) are accounted for, we can see that this tablet may deal with a recipe for a sweet alcoholic beverage, which with these ingredients would indeed be delicious.

Consequently, any convincing decipherment of the VERSO of HT 6 is beyond our reach. We simply have to muddle through it and come up with the best alternatives we can for each apparently decipherable word. However, by fully taking into account the much more accessible text on the RECTO of HT 6, I believe I have been able to rescue a small portion of the significance of the text on the VERSO by placing it in its proper context with the RECTO. See the previous post for my fuller decipherment of the RECTO.

```Vacation in Europe: magnificent photos of Vienna's Museum District & a surprise for Rita!

Click to ENLARGE each photo:

If you ask me, the chances of my seeing this signs were about a trillion to one, but I saw it! Rita will tell you why!

```

## My Cup Runneth Over! Liquid Measurement for Wine & Olive Oil in Mycenaean Linear B

```My Cup Runneth Over! Liquid Measurement for Wine & Olive Oil in Mycenaean Linear B: Click to ENLARGE

Because it is damaged and fragmentary, a decent translation of this tablet is unattainable. But this is no excuse for not taking a stab at it. The several notes appended to the end of the tablet highlight the multiple problems facing the translator confronted with a fragmentary tablet in Linear B, let alone any other ancient script. Some difficulties are dependent on the nature (i.e. type) of script itself (hieroglyphs, cuneiform, a syllabary or an alphabet), hence, script-dependent. Taking our notes step by step:

[1] The difficulty posed by this ideogram for a “ladle” arises from the fact that we have no idea of the size of ladle (if that is what it is) the Linear B scribes were referencing. This problem is exacerbated by further considerations below.

[2] I am unable to accurately identify the syllabogram on the left side of this line, which is itself apparently the last syllabogram of a word in Mycenaean Linear B. This particular problem is not script-dependent.

[3] The syllabogram following KE is illegible; the two-syllable word cannot be recovered.

[4] Same problem as in [3], although in this case the syllabogram, if it is one, is chopped off from the middle down. Such problems are endemic to fragmentary tablets, regardless of script (not script-dependent).

[5] The ideogram for “wine” in Linear B is very easy to spot & identify. It is also commonplace.

[6] The ideogram for “olive oil” in Linear B is very easy to spot & identify. It is also commonplace.

[7] This is just one of the ideograms for “bowl”. Once again, we are confronted with the same old dilemma, which keeps popping up all over Linear B tablets. What kind of bowl is this? Once again, the scribes all knew perfectly well what kind of bowl this ideogram referenced, just as they knew precisely what all other ideograms in Linear B meant (mean). Unfortunately for us in the twenty-first century, the precise meaning of scores of ideograms is beyond our ken.  When I refer to meaning, I do not simply mean, “This is a mixing bowl.” - “That is a soup bowl” - “This is a cereal bowl” etc.

Far from it. Whenever the Linear B scribes referred to any kind of vessel: cauldron, cooking pot, bowl, cup, jar, jug, vase (including amphorae) etc. etc., they identified each and every type not only by its specific type (nomenclature), but by its capacity (liquid or dry measurement), and its primary function. That is a lot of “definition” to cram into one ideogram. And this is precisely why we will probably never be able to accurately identify the type of vessel so many ideograms refer to, because we were not there when the scribal guild assigned standard names married to standard measurements to identify and classify each and every ideogram.

The Key Rôle of Archaeology in Tentatively Identifying Types of Vessels Referenced by Linear B Ideograms:

However, all this does not mean that we cannot take a good stab at tentatively identifying at least the type of vessel referenced by any given ideogram, in every case where an adequate description evades us. Why so? As my research colleague and friend, Rita Roberts, who lives not far from Heraklion, Crete, and who is an archaeologist, has pointed out on numerous occasions, archaeology is eminently suited to provide us with alternative tools to at least tentatively correlate many Linear B ideograms for vessels with the astonishing plethora of known vessel types which have been unearthed for each and every ancient civilization – including of course the Minoan and Mycenaean. Vessels of the same type (for instance, amphorae) can be readily identified. The archaeologist can then attempt to correlate a particular vessel type or sub-type (amphorae are easily classified into sub-types) with a particular ideogram. But here several problems arise:
(a) Since ideograms are by nature semi-abstract, we can never be really sure that any particular ideogram we assign to any particular vessel type actually does correspond to “the real thing”. It is always a best-guess scenario. But it is better than nothing, and in some cases, at least, the semi-abstract ideogram may look well enough alike the actual vessel to confirm the former with reasonable accuracy.
(b) Since several ideograms for vessels in Linear B look almost exactly the same, this poses yet another dilemma. What are the sizes of similar ideograms? - in other words, what dry or liquid volume are they intended to hold, as the function of measurement alone?
(c) There is also the very real question of the kind of function for any vessel. While the ideogram for some vessel look-alike types may refer to cooking vessels, pots, pans, utensils etc., others in the same run of ideograms may be symbolic of higher class, palatial and even royal vessels, such as silver and gold cups (dipa), bowls, plates etc.

A Plethora of Ideograms for Vessels in Linear B & their Approximate Archaeological Equivalents:

Click to ENLARGE:

I am sure our resident archaeologist, Rita Roberts, can think of other distinctions and functions of various Linear B look-alike ideograms and of their corresponding “real ware” than can I. Or perhaps we could assign the modern counterparts, “software” to ideograms and “hardware” to archaeologically identified vessel types.

[8] See [7]. Same difficulty. The most glaring problems with this ideogram are the size of the cup, and in particular, its function. Is this just any old cup or is it silver-ware or even gold? Who is to say? No one today. But you can be sure the scribes knew exactly what kind of cup this ideogram refers so.

[9] Here is where things get really messy. According to Andras Zeke of the Minoan Language Blog, the T style logogram is supposed to reference dry measure only, and is meant to be the equivalent of approx. 3 kilograms (give or take). But on this tablet, the T measurement refers to liquid measurement for wine and olive oil. This appears to be another contradiction in terms. To further complicate the matter, the amount of wine measured appears to be quite voluminous, at some 4 x 5 = 20 litres in the first instance (if it is not right-truncated!) & 6 x 5 = 30 litres in the second. Someone must have thrown a huge party, and lots of folks must have got drunk as skunks! Or else Andras Zeke is wrong. This is all the more likely to be the case if we take into account the amount of liquid a ladle can hold – as in [1] above and in particular, how much a ladle of olive oil is supposed to be – as in [6] above. Those measurement standards [1] & [6] are way out of kilter with those for kilograms (dry measurement) or perhaps litres (liquid measurement) in [9]. How can we possibly square the small measurement standards for olive oil with the voluminous ones for wine on this tablet, without ending up in a morass of contradictions? - unless of course whoever wrote this tablet meant to say that the “the recipe” (if recipe it is) called for adding a small amount of olive oil to a heck of a lot of wine. Such a combination makes no sense to me, but I am no archaeologist. So my archaeologist colleagues and friends... come to the rescue! But then again, Andras Zeke is still right, and we are missing implicit rather than explicit details of the nature (type, volume & function) of any given ideogram for vessel.

[10] This is clearly the supersyllabogram DI, which almost certainly refers to the Linear B word for “a drinking cup” or dipa in the specific context alone of ideograms for vessels. But it might also designate the function of the cup, which would be representative of any of the Linear B words beginning with diwo or diwe, in other words, to the God Zeus or possibly even Dionysus (also beginning with DI). In that case, the cup is a libation cup. However, the first meaning is the more convincing of the two. When used in a religious context, the supersyllabogram always takes on the latter meaning.

[11] This is the syllabogram PE, apparently left-truncated. If so, it is impossible to recover the rest of the Linear B word of which it is the ultimate.

[12] This looks like a Linear B word, nopono (whatever that is), but once again, the word is almost certainly left-truncated, because the tablet is fragmented. So again, the word appears to be irretrievable.

As we can all see from this tablet, any attempt at a reasonable or definitive decipherment or translation is next to impossible. However, it is our solemn duty as translators of Mycenaean Linear B to make the best of the not-so-good of all possible worlds, and to attempt a translation that reveals something of the true intent of the text as the scribe wrote it. This is what I always do, and have done here.

Richard

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