summer haiku – the saffron goddess = la déesse du safran séa saraí sápa punikása adakísika * * The Linear A text of this haiku is absolutely beautiful! Read it for yourself. Just let the words flow off your tongue, with the stress on the syllables marked with an acute accent. The ancient Minoan language was spoken from around 1,700 – 1,500 BCE. My colleague, Alexandre Solcà and I are in the process of deciphering it. The script it is written in, which appears first in the haiku/haiga above, is called a syllabary, in which each “syllable” consists of a consonant + a vowel, as opposed to an alphabet, in which we find both single consonants and vowels. We believe it is proto-Greek, the immediate predecessor of ancient Greek.the saffron goddess her crimson dress adorned with ivy la déesse du safran sa robe cramoisie embellie de lierre Richard Vallance
Tag Archive: saffron
summer haiku d’été – Minoan Linear A saffron goddess haiku in Linear A, English & Frenchsea sarai sapa punikasa adakisika * * The Linear A text of this haiku is absolutely beautiful! Read it for yourself. the saffron goddess her crimson dress adorned with ivy la déesse du safran sa robe cramoisie embellie de lierre Richard Vallance
Origin of the saffron crocus traced back to Greece:Since ancient times, saffron has been giving dishes a golden-yellow hue and an aromatic flavour. The use of the stigmas of the saffron crocus (Crocus sativus) is depicted in frescos from Crete and Santorini, which are as old as 3600 years. Nowadays, the valuable plant is mainly cultivated in Iran accounting for more than 90% of the saffron production. For the remainder of this informative article, click on the logo image above. Saffron:
Map of Ancient Greece illustrating the distribution of saffron:
![]()
summer haiku d’ été − saffron goddess = déesse du safran saffron goddess arrayed in white moiré in her sanctuarydéesse du safran habillée en blanc moiré dans son sanctuaire Richard Vallance
Cretan pictograms, Medallion E, Knossos, after Sir Arthur Evans:
A few of the Cretan pictograms on Medallion E, Knossos, lend themselves to possible/probable/definite decipherment. These are:
definite: 5. & 8. (adze, labrys)
probable: 3. & 7. (spice container, saffron)
possible: 9. 11. 12. (olive oil lamp, some kind of floral crop, dagger)
Everything else is indecipherable.
Translation of Linear B tablet Knossos KN 854 K j 11 by Rita Roberts:
Rita Roberts’ decipherment of Linear B tablet KN 669 K j 21 (Knossos) on grains and saffron:
This is the latest in the most recent run of Linear B tablets deciphered by Rita Roberts, who is in her second term, second year of university. The tablets she must now decipher are much more challenging than anything she has ever encountered before. Given that she is up against tablets that get progressively more and more difficult, her progress towards total mastery of Linear B is nothing short of first rate. Because she forgot to provide a free translation of Line 2, Rita scored 90 % on this tablet. But that is, as we say in French, un petit péché.
RESEARCH paper: Supersyllabograms in the agricultural sector of the Mycenaean economy, by Rita Roberts academia.edu:
This essay constitutes Rita Robert’s first foray into major research in ancient Mycenaean linguistics on academia.edu. Rita has composed this highly scholarly article as the major component of her mid-term examination in her second year of university, exactly half way to her degree. Keeping up this pace, she is bound to perform outstandingly in her final essay of her second year, and in her third year thesis paper, which will be considerably more demanding than this study, and about twice as long.
I strongly recommend you to download this study here:
It makes for engaging reading in ancient linguistics research.
You can reach Rita’s academia.edu account here to view her other papers:
Linear A tablet HT 87 (Haghia Triada), apparently in Mycenaean derived Greek:Linear A tablet HT 87 (Haghia Triada) is apparently inscribed in Mycenaean derived Greek. The literal translation and the free translation derived from it do make sense if we interpret the text as being Mycenaean derived Greek. The only word which is indecipherable is sa?supu -or- ni?supu. I cannot determine what the word is, since the syllabogram on the far left is left-truncated. It may be either ni or sa. On thing is certain: Prof. John G. Younger got it wrong. But it is probably an archaic proto-Greek word, which may mean something along the lines of “perfumed”, resulting in a translation “perfumed unguent”, of which 1 part is saffron. This makes sense in context.
A partial rational translation of another Minoan Linear A tablet on crops:
Ms. Gretchen Leonhardt has correctly pointed out that this decipherment I have assayed of what I took to be one Linear A tablet is in fact two entirely unrelated Linear A tablets, and as such it must be considered as completely invalid. I am truly grateful to Ms. Leonhardt for bringing this serious gaffe to my attention. Once I have cleared the matter up, I shall repost my decipherment of both of these tablets in two separate posts.
This Linear B tablet clearly deals with various crops, with the lead in crop being grains or wheat, just as one would expect on either a Mycenaean Linear B tablet. By the same token, there is no reason to suppose that a Minoan Linear A tablet dealing with crops would not deal first and foremost with grains and wheat. The units of measurements identified on this tablet accord with those tentatively tabulated by Andras Zeke on the
I have already tentatively deciphered both adu and adaru in my Glossary of 107 Minoan Linear A words to appear in Archaeology and Science, Vol. 16 (2016), which is to be published sometime in 2018, since the publication date of this compendious international annual always lags behind by at least 18 months from the approximate date of submission of articles by authors, which in my case was November 2016.
What do all those supersyllabograms in Linear B associated with the ideogram for “saffron” mean? In response to a recent query by a research colleague of mine regarding the use of 4 key supersyllabograms in Mycenaean Linear B (A, TI, RO & WE) related to the harvesting and production of saffron, I am reposting this table:It is clear that each of these 4 supersyllabograms functions in its own unique way. I sincerely hope that this reposting clears up any ambiguities that may have previously persisted.
The Minoan Linear A word, kuruku, almost certainly means “crocus” :
Moreover, it is more likely than not pre-Greek and not proto-Greek. This implies that the Mycenaean Linear A word, kuruku or kuroko, is also pre-Greek.
Nothing surprising there at this point.
Minoan Costume History synopsis: a wonderful site!You simply have to check this site out! I have never seen such an in-depth study on Minoan costume, female and male alike, on the Internet. Here is just a small excerpt: An era of great development, contemporaneous with the civilization of ancient Egypt and Phoenicia, and which may be dated about 2000-1500 B.C., had preceded the civilization that came from Asia Minor into Crete and Greece. Such fragments of Cretan culture as have come down to us reveal a beauty of technique and a delicate sense of form to which no contemporaneous civilization provides any parallel. (italics mine). It is certainly true that the Minoans were far more style-conscious than people of any other contemporaneous civilization, such as the Egyptians, Babylonians, Assyrians and Hittites. No question about it. Owing to the lack of written records, the processes and methods of manufacture are still wrapped in obscurity, but although we are thus reduced to surmise regarding the materials used, the dress of that time is of the highest interest in view of its connexion with the costumes of other peoples. Our attention is especially attracted by the dress worn by the women. The slim, wiry figures of the men are clothed almost universally with a loincloth, richly patterned and splendidly decorated. Here and there we see wide cloaks that clothe the whole body, giving it a large appearance. Women also, it would seem, wore the short loincloth, but we find them wearing in addition skirts put together in an almost fantastic manner that betrays a highly developed knowledge of the technique of dressmaking. These skirts are constructed in tiers, separated by strips of rich ornamentation. Illustrations from this site (there are many more, just as striking as these!)
![]()
![]()
![]()
![]()