Category: LINEAR C Arcado-Cypriot



New website for: Richard Vallance (academia.edu) here:

Richard Vallance academia.edu website

Click on RESEARCH to view all my articles, studies and papers.


867 people on Academia.edu have read my articles and papers:

Click on the 867 to see my account.

867-have-read-richard-vallances-papers-on-academia-edu


867 people on academia.edu have read my articles and papers since I joined academia.edu in 2015. Since I am in the top 0.5% of all accounts on academia.edu, which amount to 40 million or so, I stand in the top 200,000 users on academia.edu. Researchers in the top 0.1 % would expect about 5 x the number of downloads I have received, or about 4,500.

In the next year or so, I expect that my standing may rise  to the top 0.2 %, in view of the fact that I have at least 2 new major research articles in the pipeline.


Arcado-Cypriot Linear C, the Elegant Culmination of Syllabaries from Minoan Linear A through to Mycenaean Linear B

The title of my submission to Vol. 13 (2017) Archaeology and Science (Belgrade) ISSN 1452-7448 is to be:

Arcado-Cypriot Linear C, the Elegant Culmination of Syllabaries from Minon Linear through to Mycenaean Linear B.

cover-as-2015

This article will feature an overview of each of the syllabaries in turn and the languages and dialects they represent: Minoan for Linear A, the earliest East Greek dialect Mycenaean for Linear B, and the slightly later dialect Arcado-Cypriot for Linear C. It will be quite some time before I will even be able to make my submission, as Vol. 12 (2016) is still in the pipeline, and authors articles have not been returned to them in their master format for proof-reading. Nor will they be returned to us before the end of 2017. But I like to hedge my bets, and anyway, the aforementioned topic for Vol. 13 (2017) is right down my alley, in view of the fact that I am expert in all three syllabaries (Linear A, B & C) and their respective languages.

the-arcado-cypriot-linear-c-syllabary-annotated

NOTE it is absolutely de rigueur to read the table of the Arcado-Cypriot Linear C syllabary above, if you are to get any real grasp of its enormous significance, not only for the development of literary ancient Greek, which it pioneered, but retrospectively for a proper understanding of Mycenaean Linear B phonetics.

The article will explore in great depth the legacy of Minoan Linear A for Mycenaean Linear B and that of Mycenaean Linear B for Arcado-Cypriot Linear C in turn. Finally, we shall address the even more striking historical legacy of Arcado-Cypriot Linear C itself, as this last syllabary in the series of 3 syllabaries was to have a real impact on the historical Greek era (ca. 1100 BCE – 400 BCE).

What is most striking about the evolution of these three syllabaries is that, as we pass from one to the next, the syllabaries become more streamlined and more simplified. The Minoan Linear A syllabary is the most complex, with a very large number of syllabograms, many of which are undeciphered. While there are ideograms in Minoan Linear A, there are fewer of them in Linear A than in Mycenaean Linear B, which made extensive use of them for the purposes of accurate, minimalized inventory taking. On the other hand, by the time we get to Arcado-Cypriot Linear C, the picture changes drastically. Almost all of the syllabograms in Linear C look completely unlike their Minoan Linear A and Mycenaean Linear B forbears. They look different. But appearances can be and are, in the case of Arcado-Cypriot Linear C, very deceiving. While the syllabograms in Arcado-Cypriot Linear C look different from those in Mycenaean Linear B (leaving Minoan Linear A aside, because it is too archaic and too complex), almost all of them bear the same phonetic values as their Linear B counterparts. But what is most remarkable about Arcado-Cypriot Linear C is that it utterly abandoned ideograms, once and for all. There are several cogent reasons for this amazing development, which I shall address when I finally come around to writing this article, probably sometime in 2018.

I have already discussed this topic in recent posts on the Linear A, Linear B & Linear C keyboard templates, and so I would ask you to refer back to them for clarification on any issues which may elude you, and which I do not address in this post, for the simple reason that I have not even yet begun my article for Archaeology and Science. But, of one thing you can be certain, it is bound to be a ground-breaker, like all of my previous articles in this prestigious international archaeological journal.


The Arcado-Cypriot Linear C keyboard template & the significantly revised timeline for (proto-) historic ancient Greek society:

arcado-cyrpriot-linear-c-keyboard-template-620

This image of the Arcado-Cypriot Linear C keyboard template has been downsized to 620 pixels to fit the restrictive exigencies of Word Press image size. You may request the full-sized 1200 pixel Linear C keyboard template by contacting me at:

vallance22@zoho.com

The Arcado-Cypriot Linear C keyboard template reveals several fascinating characteristics of this extremely important and highly tenacious syllabary. These are:

1. The Arcadians and Cypriots thoroughly redesigned Linear C, almost completely abandoning the Minoan Linear A and Mycenaean Linear B syllabograms, but only in superficial appearance.
2. The only Linear C syllabograms which bear resemblance with their Mycenaean Linear B forbears are: NA SE PA & PO.
3. But almost all of the rest of the syllabograms in Linear C bear the same phonetic values as their Linear B forbears. 
4. The DA series of syllabograms in Minoan Linear A and Mycenaean Linear B has completely disappeared from Arcado-Cypriot Linear C.
5. The RA RE RI RO (RU) series of syllabograms in Minoan Linear A and Mycenaean Linear B has split into 2 discreet, separate series: LA LE LI LO LU & RA RE RI RO RU. But what was the reason for this deliberate split? Here is my hypothesis: it would appear that the Minoans and Mycenaeans were unable to distinguish between the liquids L and R, pronouncing L something along the lines the Japanese did.
6. The syllabograms XA and XE, and the syllabogram GA are non-existent in Minoan Linear A & Mycenaean Linear B.
7. Arcado-Cypriot Linear C abandoned ideograms completely. This makes for a much more -
8. streamlined syllabary.
9. The Arcado-Cypriot Linear C syllabary was diachronically extremely tenacious, lasting 7 centuries (ca. 1100 BCE – 400 BCE) co-existing in parallel with the Arcado-Cypriot alphabet.
10. philologists and linguists expert in ancient Greek are accustomed to drawing the timeline for the first appearance of written Greek from 800 BCE onward (ca. the time of Homers Ilad to Attic Greek, ca. 400 BCE).

arcado-cypriot-distribution

revised-timeline-wirtten-greek-1200-bce-300-bce

But I am in fundamental disagreement with this hypothesis. Since Arcado-Cypriot Linear C came to the fore ca. 1100 BCE, a mere 100 years or approximately one century after the fall of Mycenae and the demise of the Linear B syllabary, it is surely open to doubt whether or not the so-called Greek Dark Ages actually lasted at least 400 years (ca. 1200 – 800 BCE). So we have to wonder whether or not that small gap of a mere century or so between the demise of  the Linear B syllabary (ca. 1200 BCE) and the sudden appearance of Arcado-Cypriot Linear C (ca. 1100 BCE) makes much of a difference at all in the actual timeline for written ancient Greek, which to my mind runs from 1600 BCE, with the advent of Mycenaean Linear B, all the way through to 400 BCE, i.e. for 12 centuries – 1 century (because of the 1 century gap between Linear B and Linear C), i.e. for 11 centuries! This makes for a huge difference between the previously held timeline of a mere 4 centuries from 800 – 400 BCE. It sets back the timeline for Greek civilization 500 years, receding back from 1100 BCE to 1600 BCE.  I also strongly object to the commonly held notion that Mycenaean and Mycenaean Minoan Greece was a prehistoric civilization. Since writing did exist in the form of the Linear B syllabary, albeit only in scribal format, I believe we can safely conclude that the Mycenaean civilization was proto-historic. And there is more: if we also take Minoan Linear A into account (which we definitely should), then the proto-historic period, if we are to include the pre-Greek substrate of Minoan society, recedes several centuries more into the distant past, to at least 2,900 BCE! Just because we cannot read the Minoan language does not mean it not also proto-historic phenomenon. 

That Arcado-Cypriot Linear C lasted for such a very long time attests to the fact that syllabaries such as Mycenaean Linear B & Arcado-Cypriot Linear C itself were much more suitable to inscribing or writing ancient Greek than most philologists or diachronic historical linguists would care to admit. I shall have plenty to say about this in the article I shall soon be posting on my academia.edu account:

Templates for the layouts of the Minoan Linear A, Mycenaean Linear B & Arcado-Cypriot Linear C fonts.

You can download the Linear C font here:

download-arcado-cypriot-linear-c-font


  



TOTAL no. of followers of KO NO SO & Rita Roberts on Twitter = 2,653

ko-no-so-twitter-2025


rita-roberts-twitter-628


In just 1 month, the number of followers to my twitter account KO NO SO has risen from just over 1,900 to 2,025, while Rita Roberts now has 628 followers, yielding a total of 2,653 for both of our twitter accounts. I have posted 17.2 K tweets on KO NO SO, while Rita Roberts has 18.2 K tweets.  This is explosive growth for a diachronic linguistics twitter site as esoteric as KO NO SO, which deals with the rare syllabaries, Minoan Linear A, Mycenaean Linear B and Arcado-Cypriot Linear C. 


Our Twitter account, KO NO SO has earned almost 18,000 impressions in 28 days: CLICK to visit:

ko-no-so-17k-impressions-in-28-days

In view of the fact that Minoan Linear A, Mycenaean Linear B & Arcado-Cypriot Linear C are definitively arcane focus points in diachronic historical linguistics this is quite an astounding figure.  It amounts to a total of almost 4,000 impressions per week. It also attests to the far-reaching international influence of our site, Minoan Linear A, Linear B, Knossos & Mycenae, which is the premier diachronic linguistic site of its kind in the entire world.


Réponse par Richard Vallance Janke à la recherche très récente sur la tablette AN PY 55 = AN 724, menée par Tina et Enriqueta Martinotti, dont leur étude : 

Tina MARTINOTTI, Enriqueta MARTINOTTI. Poétique Mycénienne dans la Tablette PY 724 An ( PY 55) de Pylos, classfiée comme " liste de rameurs ". Épigraphie mycénienne: traduction de la tablette en linéaire b Py 55=An 724 de Pylos classifiée c.. 2015. 

martinotti-fleuve-et-dieu-tablette-de-pylos-en-lineaire-b-mycenien

<hal-01147208>
HAL Id: hal-01147208
https://hal.archives-ouvertes.fr/hal-01147208
Submitted on 29 Apr 2015

Depuis Chadwick, la tablette en linéaire b, classifiée Py 55=An 724 a été interprétée à partir de la lecture des séries de signes ro-o-wa comme le nom du port de Pylos et e-re-ta comme « rameur/s » ; plusieurs auteurs pensent que ce texte est une liste de rameurs. Mais la présence de la série ki-ti-ta, interprétée d’abord comme « agriculteur », a produit des controverses : Que faisait le mot « agriculteur » dans une liste de rameurs ? Finalement ki-ti-ta a été interprétée, de manière un peu téméraire comme «unité fiscale»3. Cette dernière hypothèse imagine le cas de l’infortune des agriculteurs qui, ne pouvant payer leurs taxes foncières, s’engageaient dans la marine.

Néanmoins, la tablette n’a aucune similitude avec une liste, elle présente des lignes complètes. Toutes ces approximations théoriques, en étant arbitraires, suggèrent une défaillance dans l’interprétation. Ainsi, cette tablette est l’objet de l’analyse que nous exposons ici, en prenant la méthode épigraphique des systèmes syllabaires dont un signe est homophonique, polysémique et logographique. La traduction, ici proposée, suit la méthodeinterprétative4 des phonèmes, et recherche l’énoncé produit pour l’homophonie. Notre analyse démontre que la tablette PY 55 ne traite pas d’une liste de rameurs, mais qu’il s’agit d’un admirable texte littéraire où le mythe, le culte et la tradition se trouvent étroitement liés aux données philologiques, archéologiques, iconographiques et géographiques. Cette tablette est une oeuvre littéraire mycénienne et une des premières chansons épiques ; un texte narratif qui renvoie aux rituels et offrandes dans la grotte dite aujourd’hui « Grotte de Nestor », ainsi que le sacrifice du taureau « auprès de la mer salée », tel que nous l’a transmis la tradition homérique. On verra que ce texte décrit l’épique d’une figure héroïque divine ; les exploits d’un dieu qui étaient dignes de mémoire pour les pyliens. Ce texte décrit un héros divin mythique, guérisseur, guerrier, fécondant, en étroit rapport avec la déesse Terre, et représentant, à ses yeux, l’idéal de la valeur et des vertus bienfaisantes...

à laquelle ma réponse à mon compte sur academia.edu, ici :

reponse-de-richard-vallance-janke-a-martinotti

Bonjour, Tina !

Je tiens à vous répondre cette fois de la manière la plus respectueuse, vu que je viens de lire très attentivement deux de vos articles. J’en lirai les autres dès que j’aurai le temps libre de les assimiler avec le plus grand soin.
 
Je dois vous avouer franchement que je suis très impressioné de votre recherche concernant le déchiffrement du syllabaire Linéaire B. Mais en dépit de mon admiration considérable de vos efforts énergiques à cet égard, je suis toujours constraint de garder plusieurs réservations relatives à votre hypothèse essentielle, là où il s’agit de la nature polysémiotique des syllabogrammes et des mots mycéniens, surtout à la lumière du syllabaire Linéaire C du dialecte arcado-chyprien, qui n’obéit en aucune manière à votre hypothèse essentiel, ce qui me rend plutôt soupçonneux, voire méfiant de quelques-unes des conclusions auxquelles vous souscrivez. De l’autre part, je suis ravi que mes propres hypothèses vous incitent finalement à promulguer les votres, car il est carrément évident que le monde international de la recherche historique et diachronique des syllabaires ne tire pas avantage de votre perspicacité pénétrante depuis je ne sais combien d’années. Néanmoins, il est vraiment à regretter que vous conduisez vos recherches, paraît-il, uniquement en français, étant donné que la plus grande proportion de loin des recherches dans tous les domaines scientifiques et techniques est menée, comme vous le savez très bien, uniquement en anglais.  Cela signifie en un mot que la très grande majorité des rechercheurs en linguistique historique et diachonique sont par forfait dépourvus des implications à grande portée, à fort impact et certes à long terme de vos recherches si importantes. Et cela, presqu’inutile de dire, c’est vraiment grand dommage ! Et c’est dans cette optique que presque toute la communauté mondiale de la recherche en linguistique restera  malheureusement dépourvue de l’impact considérable, voire, révolutionnaire, de vos recherches sur les syllabaires du monde antique. 

En plus de tout cela, il me reste à assumer la responsabilité de répondre nettement et de façon strictement logique à plusieurs de vos conclusions, non pas en français, mais en anglais, pour que les rechercheurs allophones en anglais puissent suivre la trame de notre discussion continue en ce qui regarde le déchiffrement des syllabaires Linéaire A et B, nonobstant le Linéaire C, dont je ferai au fur et à mesure plusieurs observations et commentaires d’extrême importance et pertinence à ce même égard.

Reste à constater qu’à partir d’aujourd’hui, je me sentirai obligé de discuter en anglais tout aspect des trois syllabaires dont il s’agit (les Linéaires A, B, et C)  de telle sorte que nos collègues allophones puissent suivre et comprendre notre dialogue soutenu.

idalion-tablet

Merci bien, ma collègue très estimée

Richard Vallance Janke

For the first time in history, the complete conjugations of 5 major derived (D) active indicative tenses of thematic verbs in Linear B progressive grammar:

The tenses of active thematic verbs are:
the present indicative active
the future indicative active
the imperfect indicative active
the aorist indicative active
the perfect indicative active

Here is are the 2 tables (A & B) of the complete derived (D) conjugations of these 5 tenses of the active thematic verb kaue = the archaic ancient Greek kauein (Latinized), to set on fire:
 
aa-present-future-imperfect

ab-aorist-pluperfect

The ability of a linguist specializing in Mycenaean Linear B, i.e. myself, to cognitively restore no fewer than 5 active tenses of thematic verbs by means of progressive Mycenaean Greek derived (D) grammar boils down to one impressive feat. However, I have omitted the pluperfect indicative active, since it was rarely used in any and all of the numerous dialects of ancient Greek, right on down from Mycenaean to Arcado-Cypriot to Aeolic, Ionic and Attic Greek, and indeed right on through the Hellenistic and New Testament eras. So since the pluperfect tense is as rare as it is, why bother reconstructing it? At least, this is my rationale. Other researchers and linguists specializing in Mycenaean Linear B may disagree. That is their perfect right.  

Is Mycenaean Greek in Linear B a proto-Greek dialect? Absolutely not!

There are still a few researchers and historical linguists specializing in Mycenaean Linear B who would have us believe that Mycenaean Greek is a proto-Greek dialect. Nothing could be further from the truth. The fact that so many fully developed grammatical forms are attested (A) on Linear B tablets confirms once and for all that Mycenaean Greek is the earliest intact East Greek dialect. Among the numerous grammatical forms attested (A) in Mycenaean Greek, we count: [1] verbs, including infinitives active and some passive for both thematic and athematic MI verbs; a sufficient number of verbs either in the active present or aorist tenses; a considerable number of participles, especially perfect passive; and even the optative case in the present tense, [2] nouns & adjectives, for which we find enough attested (A) examples of these declined in the nominative singular and plural, the genitive singular and plural and the dative/instrumental/ablative singular & plural. The accusative singular and plural appear to be largely absent from the Linear B tablets, but appearances can be deceiving, as I shall soon convincingly demonstrate. Also found on the extant Linear B tablets are the comparative and superlative of adjectives, and [3] almost all of the prepositions to be found in later ancient Greek dialects. Taken altogether, these extant attributed (A) grammatical elements form a foundation firm enough to recreate templates for all of the aforementioned elements in a comprehensive derived (D) progressive Mycenaean Linear B grammar. If you are still not convinced, I simply refer you to the previous post, where examples of many of  these grammatical elements are accounted for.  Moreover, once I have completely recompiled ancient Mycenaean Greek grammar, you should be convinced beyond a shadow of a doubt that Mycenaean Greek was the very first true ancient Greek dialect.

What is progressive derived (D) Mycenaean Linear B grammar? 

By progressive I mean nothing less than as full a restoration as possible of the corpus of ancient Mycenaean Greek grammar by means of the procedure of regressive extrapolation of the (exact) equivalents of any and all grammatical elements I shall have reconstructed from the two major sources of slightly later archaic Greek, namely: (a) the Arcado-Cypriot dialect, in which documents were composed in the Linear C syllabary, a direct offshoot of Mycenaean Linear B (Even though the two syllabaries look scarcely alike, the symbolic values of their syllabograms are in almost all instances practically identical), and from so-called Epic Greek, which was comprised of diverse elements haphazardly drawn from various archaic Greek dialects, in other words yielding nothing less than a mess, but a viable one nonetheless.

At this juncture, I must emphatically stress that, contrary to common opinion among ancient Greek literary scholars not familiar with either Mycenaean Linear B or Arcado-Cypriot Linear C, the gap between the scribal Linear B tablets and the next appearance of written ancient Greek is not around 400 years (1200-800 BCE), as they would have it, but only one century. Why so? Hard on the heels of the collapse of the Mycenaean Empire and of its official script, Linear B, ca. 1200 BCE, Arcado-Cypriot Linear C first appeared in writing a mere 100 years after, give or take. The revised timeline for the disappearance and reappearance of written Greek is illustrated here:

revised-timeline-for-the-reappearance-of-written-ancient-greek    
If this is not convincing enough, Mycenaean Greek’s intimate cousin, Arcado-Cypriot, of which the syllabary is Linear C, is even more closely related to Mycenaean Greek than Ionic is to Attic Greek. In fact, you could say that they are kissing cousins. Now it stands to reason that, if Arcado-Cypriot in Linear C is a fully developed East Greek dialect, as it most certainly is (subsisting at least 700 years, from 1100 – 400 BCE), then it follows as day does night that Mycenaean Linear B must also be a fully functional East Greek dialect (in fact, the first). The two factors addressed above should lay to rest once and for all that Mycenaean Greek is merely proto-Greek. That is sheer nonsense.


You do not want to miss this Fantastic Twitter account, FONT design company of the highest calibre!

I have just fortuitously come across what I consider to be the most fantastic font site or Twitter account on newly designed, mostly serif, extremely attractive fonts, some of which they offer for FREE!!!

You simply have to check them out. Click here to follow typo graphias:

typographias-twitter


Here is a composite of some of the astonishing font graphics on this amazing site!


typo-graphias-composite-4
 

Serendipitously happening on this account put a bee in my bonnet. I simply had to send you all on the fast track to downloading and installing the Minoan Linear A, Mycenaean Linear B & Arcado-Cypriot Linear C + several beautiful ancient Greek fonts, of which the most heavily used is SPIonic, used for Ionic, Attic, Hellenistic and New Testament writings and documents.  Hre are the links where you can download them, and much more besides!

Colour coded keyboard layout for the Mycenaean Linear B Syllabary:

linear-b-keyboard1 

includes font download sites for the SpIonic & LinearB TTFs

ideogram-woman-linear-b

The first ever keyboard map for the Arcado-Cypriot Linear C TTF font!

standard-keyboard-layout-for-arcado-cypriot-linear-c1

which also includes the direct link to the only site where you can download the beautiful Arcado-Cypriot Linear B font, here:


linear-c-ttf-font

How to download and use the Linear B font by Curtis Clark:

linear-b-keyboard-guide-revised-1200

Easy guide to the Linear B font by Curtis Clark, keyboard layout:
 
standard-keyboard-layout-for-arcado-cypriot-linear-c1
Here is the Linear B keyboard. You must download the Linear B font as instructed below:

ideogram-woman-linear-b 

And here is the actual cursive Linear B font as it actually appears on the most famous of all Linear B tablet, Pylos Py TA 641-1952 (Ventris):

pylos-tablet-ta-641-1952-ventris-with-linear-b-font2 

What’s more, you can read my full-length extremely comprehensive article, An Archaeologist’s Translation of Pylos Tablet Py TA 641-1952 (Ventris) by Rita Roberts, in Archaeology and Science (Belgrade) ISSN 1452-7448, Vol. 10 (2014), pp. 133-161, here: 

archaeologists-translation-of-pylos-tablet-py-ta-641-1952-ventris

in which I introduce to the world for the first time the phenomenon of the decipherment of what I designate as the supersyllabogram, which no philologist has ever properly identified since the initial decipherment of Mycenaean Linear B by Michael Ventris in 1952. Unless we understand the significance of supersyllabograms in Linear B, parts or sometimes even all of at least 800 Linear B tablets from Knossos alone cannot be properly deciphered. This lacuna stood out like a sore thumb for 64 years, until I finally identified, categorized and deciphered all 36 (!) of them from 2013 to 2014. This is the last and most significant frontier in the complete decipherment of Mycenaean Linear B. Stay posted for my comprehensive, in-depth analysis and synopsis of The Decipherment of  Supersyllabograms in Linear B, which is to appear early in 2017 in Vol. 11 of Archaeology and  Science. This ground-breaking article, which runs from page 73 to page 108 (35 pages on a 12 inch page size or at least 50 pages on a standard North American page size)  constitutes the final and definitive decipherment of 36 supersyllabograms, accounting for fully 59 % of all Linear B syllabograms. Without a full understanding of the application of supersyllabograms on Linear B tablets, it is impossible to fully decipher at least 800 Linear B tablets from Knossos.
  

Minoan Linear A, Linear B, Knossos & Mycenae reaches the threshold of 100,000 visitors: (Click the banner to visit)

minoan-linear-a-linear-b-knossos-mycenae-now-ranked-on-first-page-of-google-search-on-minoan-linear-a-mycenaean-linear-b-reaches-100000-visitors

Minoan Linear A, Linear B, Knossos & Mycenae reaches the threshold of 100,000 visitors after 3 1/2 years in existence. This may not sound very impressive to a lot of people, but when we pause  consider, even for a moment, that our blog deals specifically and almost solely with Minoan Linear A, Mycenaean Linear B and Arcado-Cypriot Linear C, the statistics look much more healthy. No-one on earth, apart from myself, can read any Minoan Linear A at all, and very very few can read Mycenaean Linear B or Arcado-Cypriot Linear C. So in this light, the statistics are all the more impressive. After all, even most of our our most loyal visitors cannot read at least 2 of these three syllabaries, even though several are adept with Homer and Classical Greek, as am I. By the way, our blog also features my own translation of the Catalogue of Ships in Book II of the Iliad, which has a direct bearing on the features of Homeric vocabulary and syntax inherited directly from Mycenaean Linear B.

In this period, we have posted well over 1,300 posts, with translations of hundreds of Mycenaean Linear B tablets, scores of Minoan Linear A tablets and even a few Arcado-Cypriot tablets. Our media library consists of 10s of thousands of photos, images and frescoes & paintings.

We are, in a word, the largest Minoan Linear A, Mycenaean Linear B & Arcado-Cypriot Linear C site on the internet. Even omitting Linear A and Linear C, we rank in the top 3 of official Mycenaean Linear B sites.


Archaeology, Anthropology and Interstellar Communication 2: Relevant Photography and Images

Here we see some photographs and images relevant to our translation of Richard Saint-Gelais' brilliant article,Archaeology, Anthropology and Interstellar Communication 2  research... and some not so relevant! First off, we have here a chart illustrating thee extreme geometric simplicity or more to the point, the Geometric Economy of Mycenaean Greek, which may indeed make it susceptible or even suitable to extraterrestrial communication with other intelligent beings, if we accept the “fact” that we ourselves are “intelligent”... a point which is open to serious debate!

The Geometric Economy of Mycenaean Linear B:

Geometric enonomy of Linear B

Moreover, Linear B's closest cousin, Arcado-Cypriot Linear C, which followed closely on the heels of Linear B, once it fell out of use with the fall of Mycenae ca. 1200 BCE, and which lasted continually from ca. 1100-400 BCE (!), is just as remarkable for its Geometric Economy as Linear B, and could equally serve the same capacity as a vehicle for extraterrestrial communication.

The Geometric Economy of Arcado-Cypriot Linear C:

linear-c-geometric

On the other hand, nothing could be more ridiculous than the Voyager 1 satellite, launched on Sept. 5 1977, and now hurtling God knows where just outside the confines of our Solar System. Apart from the fact that a mechanical contraption such as this would (and will!) take hundreds of thousands of years to get anywhere at all, what is the point? Moreover, the premises upon which its means of communication with so-called extraterrestrials are based are so absurdly unsound as to beg credence. For instance, what extraterrestrial beings in their right minds (assuming they have minds like us) could conceivably recognize those ridiculous images of a naked man and woman?... unless they were even remotely similar to us physiologically... a likelihood that is about as realistic as winning a lottery of a trillion dollars. And that is just scratching the surface, as we shall discover to our great amusement when I eventually publish my article on Prof. Saint-Gelais' own research. There follow here a few images relative to the Voyager 1 probe which are liable to make you LOL.

plaque 

pioneer_plaque_ for _real
 
Voyager_plaque_V2


Happy Third Anniversary to Linear B, Knossos & Mycenae!

Happy Third Anniversary to Linear B, Knossos & Mycenae!

Linear B, Knossos & Mycenae was founded in March 2013, and since then it has grown to become the premier Linear B blog on the entire Internet. Our blog covers every conceivable aspect of research into Mycenaean Linear B, including, but not exclusively, decipherment of hundreds of tablets from every single sector of the Minoan/Mycenaean economy (agriculture, military, textiles, spices & condiments, vessels and pottery and the religious sector); the translation of the introduction to Book II of the Iliad, plus the entire Catalogue of Ships in Book II, with particular emphasis on the extensive influence of Mycenaean Linear B and of he Mycenaean world on the Catalogue of Ships; extensive vocabulary, lexicons and glossaries of Linear B; lessons in Linear B; progressive grammar of Linear B; extensive research into the 3,500 Scripta Minoa tablets from Knossos; and above all other considerations, the isolation, classification and decipherment of all 35+ supersyllabograms in every sector of the Minoan/Mycenaen economy (see above). Supersyllabograms were previously and erroneously referred to as “adjuncts” in Mycenaean Linear B. The decipherment of supersyllabograms is the major development of the further decipherment of Linear B since the genius, Michael Ventris, first deciphered it in 1952.

But that is not all. Our blog also zeroes in on Minoan Linear A, with at least one successful attempt at deciphering at least one word on a major Linear A tablet, and that is the Linear A word for “tripod”, a truly serendipitous development, given that the same word was the first word ever translated in Mycenaean Linear B. Our blog also focuses on Arcado-Cypriot Linear C, with a few translations of tablets in that script. In short, no other blog on the Internet deals as extensively with all three of these scripts, Linear A, Linear B and Linear C together.

It is also remarkable that we have had in excess of 80,000 visitors since our blog’s inception in March 2013. While this figure may seem rather smallish to many visitors, may I remind you that Minoan Linear A, Mycenaean Linear B and Arcado-Cypriot Linear C are extremely esoteric in the field of ancient linguistics. To put it another way, how many people in the entire world do you imagine can read Mycenaean Linear B, and even fewer who can read Arcado-Cypriot Linear C? Scarcely more than a very few thousand out of a population of 7+ billion. So I believe that we have made great strides in the past three years, and I fully expect that we shall top 100,000 visitors by the end of this year, 2016.


NEW CATEGORY = TEXTILES at Linear B, Knossos & Mycenae!

Linear B Knossos and Mycenae new cateogy TEXTILES

Click on the new category title, TEXTILES, to view all posts on our research blog on Mycenaean Linear B, Minoan Linear A & Arcado-Cypriot Linear C related to textiles:

Since this category is in CAPS, it is a MAJOR category.

We shall soon be adding another new MAJOR category = VESSELS (i.e. Pottery).

In passing, I would like to draw to your attention that the best way to search our research site is to search by category. This way, you can zero in on the posts on the subject which interests you at the moment. For instance, if you click on Linear A, you will be taken to the pages where all posts on Minoan Linear A appear; if you click on Decipherment, you will be routed to the pages on which all posts dealing with decipherment of any tablet in any script, Minoan Linear A, Mycenaean Linear B or Arcado-Cypriot Linear B appear. And so on.  
 

Just uploaded to academia.edu - Annotated Translation of the Introduction to Book II of the Iliad and of lines 484 to 652 of The Catalogue of Ships

Just uploaded to academia.edu - Annotated Translation of the Introduction to Book II of the Iliad and of lines 484 to 652 of The Catalogue of Ships into fluent twenty-first century English, with reference to the significant impact of Mycenaean Greek on its archaic Greek. This is followed by a “modern” poem, Ode to the Archangel Michael in Mycenaean Linear B, English & French.

Click on this banner to download the translation:

Iliad 2 academia edu 2015-12-09 17-29-12

This is my revised translation of the Introduction to Book II of the Iliad and of lines 484 to 652 of The Catalogue of Ships, which replaces the former one which I had uploaded to academia.edu. The former translation, which was incomplete, omitting a continuum of lines appearing in the revised translation, has been deleted from academia.edu and from this blog. So if you wish to read my revised translation, you will need to download the one referred to in this post.

Thank you

Richard


NOW on academia.edu: The application of geometric co-ordinate analysis (GCA) to parsing scribal hands: Part A: Cuneiform

geometric co-ordinate analysis CGA applied to cuneiform
Geometric co-ordinate analysis of cuneiform, the Edwin-Smith hieroglyphic papyrus (ca. 1600 BCE), Minoan Linear A, Mycenaean Linear B and Arcado-Cypriot Linear C can confirm, isolate and identify with precision the X Y co-ordinates of single characters or syllabograms in their respective standard fonts, and in the multiform cursive “deviations” from their fixed font forms, or to put it in different terms, can parse the running co-ordinates of each character, syllabogram or ideogram of any scribal hand in each of these scripts. This procedure effectively encapsulates the “style” of any scribe’s hand. This hypothesis is at the cutting edge in the application of graphology a.k.a epigraphy based entirely on the scientific procedure of geometric co-ordinate analysis (GCA) of scribal hands, irrespective of the script under analysis.

Richard


Part B: a breakthrough in the decipherment of Minoan Linear A? An introduction to supersyllabograms in the pottery and vessels sector of the Minoan-Mycenaean economy and the implications of their application to Linear A tablets for the earlier Minoan economy. 

Introduction:

Any attempt at deciphering Minoan Linear A is fraught with enormous difficulties which seem all but insurmountable. Obstructions such as the small   number of extant tablets, the most vocabulary which of necessity follows, and the impossibility of cross-correlation with any other ancient language make it all but futile practically to make any headway its decipherment, however partial or sporadic. Yet there is another approach which a researcher in South Africa has adopted: Click to visit SITE

african decipherment
Taking G.J.K. Campbell-Dunn’s method one step further, I propose that we attempt to decipher bits and pieces of Minoan Linear A by relying not only on its ideograms  exclusively,  but on syllabograms  adjacent to or affixed to them forming entire words, but above all where single syllabograms are incharged  in their ideograms, which in fact is the case with at least one extant tablet in Minoan Linear A sporting no fewer than 
5  of them, as we have already noted in the previous post. 

This approach dispenses entirely with the irksome necessity of making any effort to divine what class of languages Minoan linear A belongs to, if any. Almost all researchers have until now focused on asking just this question. Is Minoan linear A Indo-European? Does it belong to the Finnic language family, which falls completely outside the Indo-European orbit? Is it in any way related to Luvian, an ancient language of the Anatolian branch of Indo-European languages, as Sir Arthur Evans surmised it might be? This is what he has to say in Scripta Minoa, with reference to both Minoan Linear A and Linear B:

It would seem, therefore, unlikely that the language of the Cretan scripts was any kind of Greek, and probable that it was related to the early language or languages of  Western Anatolia  –  associated, that is, with the archaeological 'cultures’ of Alaja Hüyük I ( 'proto-hattic’) and  of Hissarlik II and Yortan  ( 'Luvian’)... ” , and a little further, “Though many of the sign-groups are compounded from distinct elements, usually of two syllables each, there is little trace of an organized system of grammatical suffixes, as in Greek. At most, a few signs are notably frequent as terminals... (italics mine)...

Some have surmised that the Minoan language may conceivably be an ancient “rogue” language, but I for one find that assumption a little hard to swallow. 
 
Of course, in 1952-1953 Michael Ventris finally proved Evans wrong about Linear B. But in retrospect, who can blame Evans for that, in view of the understandable utter lack of evidence to the contrary in his day and age. Anyway, there were (and still are) no extant tablets in either Minoan Linear A or Mycenaean Linear B with parallel text in another known ancient language, as had conveniently been the case with the Rosetta Stone, to come to the rescue towards convincing decipherment of the latter script, if not the former. In spite of this untoward situation, the latter, Linear B, was effectively deciphered by the genius Michael Ventris (1922-1956) in July 1952. 

Moving on then, any word which either precedes immediately or is nearly adjacent to any particular ideogram  in Minoan Linear A may in fact be the actual word corresponding to that ideogram, just as Michael Ventris firmly demonstrated it is in his translation of Pylos tablet 641-1952 (Ventris) in Mycenaean Linear B. So it stands to reason that the translation for a similarly situated word in Minoan Linear A which is (nearly) adjacent to its ideogram is, in fact, the very word the closely situated ideogram pictorially represents. If this notion seems far-fetched, let us stop for a moment to consider whether or not there is any relationship between such a phenomenon, should it exist, in Minoan Linear A and the actual one corresponding to it in Mycenaean Linear B. It just so happens that not only does a strikingly similar construct exist in Linear B, but that it is found on not scores, but hundreds of extant Linear B tablets (in the range of 725 all told from Knossos and Pylos, of which 700 are from Knossos alone).

Now what I am proposing is a cross-correlation  between the unknown meanings of at least a few Minoan words paired with the ideograms with which they are associated and the indisputably known values (meanings) of several Mycenaean words paired with strikingly similar if not identical ideograms in Linear B. In other words, we may very well have at hand an independent variable  in a deciphered ancient language against which we can compare at least a very few Minoan words, and that language is Mycenaean Linear B. Let us say that the latter acts as a sort of Rosetta Stone, in which deciphered words adjacent to ideograms act as a litmus test for (apparently) equivalent lexemes in Minoan Linear A.

It just so happens that there are two Minoan Linear A tablets which ideally serve our purpose. These are tablet HT 31 from Haghia Triada, as illustrated here: Click to ENLARGE

Linear A Tablet HT 31
and the Linear A tablet we introduced in the previous post: Click to ENLARGE

Linear A Ay. Nikolaos Mus
which bears an uncanny resemblance to Pylos tablet TA 641-1952 (Ventris), the very first tablet of any length translated successfully by Michael Ventris in 1952-1953, here: Click to ENLARGE

Ventris translation linear-b-tablet-pylos-641-1952 LBK&M
itself re-deciphered in a more refined translation by Mrs. Rita Roberts, a retired archaeologist who resides not far from Heraklion and Knossos, Crete, as we see illustrated here: Click to ENLARGE

Rita Roberts Pylos TA Py 641-1952 Roberts burnt-from-legs-up LBK&M

Her much more recent translation (2015) is so accurate from a strictly archaeological  perspective that it serves an an ideal benchmark for the partial decipherment of at least a few of the words and the so-called incharged supersyllabograms representative of 5  of them on the Linear A tablet from the Ay Nikolaus Museum, Greece.

Yet before we can tackle a fragmentary decipherment of  these vessel types in Linear A, we first need to address (a) the pairing of translated words for 5  types of vessels on Pylos tablet TA 641-1952 (Ventris) as specifically and accurately identified by Rita Roberts, and (b) the even more significant phenomenon of what I refer to as supersyllabograms paired with ideograms on this and other extant tablets in the pottery and vessels sector of the Mycenaean economy, if we are to make any headway at all. We must take particular note of the extremely precise translations she makes of all of the types of vessels found on Pylos TA 641-1952. These are, respectively, tripod   (the most significant of them all, as we shall soon enough discover when we come to Minoan Linear A tablet HT 31, 2 and 3 handled kylixes ,  the 24 and 32 handled pithoi   for the storage of olive oil or wine, and dipae (anowe) ,  small drinking cups, with (or without) handles. We need to to bear all of these vessel types firmly in mind, as they are going to make a cameo appearance in our attempt at the decipherment of at least a few types of vessels in Minoan Linear A infra  (the next post). 

 The implications of supersyllabograms in Mycenaean Linear B for a feasible translation of at least a few words for vessels in Minoan Linear A:

To recap a topic which I have addressed over and over on our blog, Linear B, Knossos and Mycenae, I advance the following definition of the phenomenon known as the supersyllabogram in Mycenaean Linear B. By default and without exception, supersyllabograms are the first syllabogram, in other words, the first syllable of one Mycenaean Linear B word or phrase in particular and no other, which is always solely dependent on the specific context of the economic sector of the Minoan-Mycenaean economy in which it appears. Change the context of the economic sector, for instance from the agricultural to the military or the vessels sector, and you automatically change the significance of the supersyllabogram, with very few exceptions, the most notable being the syllabogram ne , invariably meaning newo   (masc.), newa   (fem.) or “new” in all sectors. This clear-cut definition makes so much sense there is little or no reason to contest it.

Moreover, all such single syllabograms, a.k.a. supersyllabograms, without exception, appear either (a) adjacent to or (b) inside the ideogram they qualify, and (c) they are repeated over and over, like clockwork, on hundreds of tablets in almost every major sector of the Minoan/Mycenaean economy, by which I mean, the agricultural and its sub-sectors (livestock of all sorts and primary crops), the military, the household, the vessels and pottery and the religious sectors.

Supersyllabograms appearing adjacent to their ideograms are invariably associative  , while those bound inside their ideograms are invariably attributive.  Associative supersyllabograms, which are found in droves in the agricultural sector of the Minoan-Mycenaean economy, are either surcharged ,  adjacent to the top right or  occasionally to the top left, or supercharged  ,  situated right on top of the ideogram they qualify. Unfortunately, the scope of our present investigation does not leave us any room to focus on the equally significant phenomenon of associative supersyllabograms which are found on some 700  of 3,500  or fully 20 %  of extant tablets from Knossos alone! This we must leave until later on, since they too call for in-depth analysis of them in all sectors of the Minoan-Mycenaean economy, but most notably in the agricultural sub-sector livestock, especially where sheep (rams & ewes) are concerned, to which they apply on 90 %  of all tablets in that sector.

Attributive supersyllabograms are invariably incharged , bound inside the ideogram they qualify.  It is these we are concerned with here, as they are eminently characteristic of the pottery and vessels sector of the Minoan-Mycenaean economy, the very sector with which we are dealing, as we address their critical rôle in Mycenaean Linear B and Minoan Linear A, in which they apparently also appear, taking the tablet we addressed in the last post as our example.

Supersyllabograms in Mycenaean Linear B and the profound implications they may very well have on at least a minimal decipherment of a few (super) syllabograms in Linear A in the pottery and vessels sector in the Minoan economy: 

In 2014, extrapolating my findings to the vessels sector alone of the Minoan-Mycenaean economy, I was quick to isolate and classify the supersyllabograms-cum-ideograms in the vessels sector alone of the Minoan-Mycenaean economy. There are 10 all told, and they are: Click to ENLARGE

10 Supersyllabograms in the Vessels Sector of Mycenaean Linear B

Here, two supersyllabograms in particular call for clarification.

The fist of these is ka , to which I have assigned four (4) possible variants. The most obvious of these is the first, kako or kakeyapi = copper. This SSYL (supersyllabogram) ka  might also possibly refer to kapo = fruit, hence, to a fruit jar, or to a stirrup jar, sometimes referred to as kararewe in Linear B or even to kati, a kind of (water) vessel or flask. Since the last under consideration here obviously overlaps with the incharged SSYL u,  which clearly designates a water jug, flask or flagon, I have no choice but to dispense with that meaning. While the vessel could be of copper, it is just as likely that the scribes were referring to the stirrup jar.  Of the latter two explanations, the last strikes me as the most convincing.

Next we have the SSYL po , which could refer to any of the following: posedao(ne) -or- (ni) = Posedaon i.e. Poseidon (god’s name) or to posidaewe, related to a cult apparently associated with Poseidon, potiniyaweya (adjectival/attributive), referring to the priestess or follower of the Minoan-Mycenaean/Homeric goddess, Potnia, to porenaya, attendants in sacrificial ceremonies, to porupode, an octopus, generally on a vase or amphora, to ponike, decorated with a griffin or ponikeya, crimson, and finally, to popureya, purple. Since we are confronted yet again with the conundrum, what did the scribes themselves intend the SSYL po   to signify, I felt obliged to account for all of these variants. Yet in light of the research literature on religious and sacrificial rites in the Minoan and Mycenaean societies, it strikes me that the most tenable translation or the SSYL po   is the adjectival attribute potiniyaweya, referring to a priestess or follower of the Minoan-Mycenaean/Homeric goddess, Potnia, since only only was their religion eminently matriarchal, but also this goddess in particular is frequently mentioned on extant tablets.

Now because we were not there when the scribes so often resorted to employing these supersyllabograms, we cannot ever really know what the SSYL po   or others like it resistant to interpretation meant to them. They certainly knew, and as a guild, they invariably assigned one meaning and one only to each supersyllabogram they deployed on the Linear B tablets. The supersyllabograms are therefore all standardized and all formulaic .  No variations were countenanced. Not that they ever cared one jot whether or not any one would understand their meaning in the future, since after all they were accountants, and accounts are by definition ephemeral. The extant inventory tablets from Knossos, Pylos and elsewhere only survive due to massive conflagration or other preservative factors at each archaeological site. But we still owe it to ourselves to make every effort to reconstitute a few variants on putative meanings assigned to each supersyllabogram which remains ambiguous, otherwise we learn nothing new of further value in the field of archaeological linguistics in either Mycenaean Linear B or Minoan Linear A.

Supersyllabograms (SSYLS) in Mycenaean Linear B are so information rich that they call for further clarification.

1. Previous researchers, most of them linguists specializing in Mycenaean Linear B, have, without exception, referred to supersyllabograms as “adjuncts” to the ideograms they qualify. But many of these are in fact far more than merely that. Close examination of a small cross-section of extant Linear B tablets concerned with pottery and vessels from Knossos, as illustrated  in the chart above, clearly demonstrates that this is the case. Here are just a few tablets in the pottery and vessels sector of the Minoan-Mycenaean economy illustrative of what I mean: Click to ENLARGE each illustration

supersyllabogam Libation DI in Linear B
supersyllabogram water flask U udor in Linear B

2. My translations of even these few tablets alone reveals this astonishing finding: supersyllabograms replace not only single words but often entire phrases in Mycenaean Linear B. Effectively, they telescope what would have otherwise been discursive and space-wasting text on what are ostensibly small tablets in Linear B (ranging from 15 cm. wide to a maximum of 60 cm. by 60 cm deep), into a single discrete element, namely, themselves.

3. This reveals another prime characteristic of Linear B tablets deploying supersyllabograms as replacements or stand-in markers, i.e. subject headings, for Mycenaean words or phrases. Supersyllabograms in the pottery and vessels sector alone (as in every other sector of the Minoan-Mycenaean economy) boil down to being shorthand . This discovery sets back the time frame for the first known use of shorthand some 3,300 years from the late nineteenth and early twentieth centuries, when it was previously assumed shorthand originated. In this respect alone Mycenaean Linear B attains a high degree of versatility and sophistication virtually unknown to any other contemporaneous script, hieroglyphic or syllabogrammatic, inclusive of Linear C, which abandoned ideograms altogether as the very last step in the evolution from the pre-alphabetic syllabaries (Minoan Linear A, Mycenaean Linear B and Arado-Cypriot Linear C) into the earliest known forms of the ancient Greek alphabet.

4. Above all other considerations, the majority of supersyllabograms in Linear B in the pottery and vessels sector of the Minoan-Mycenaean economy are attributive, dependent on the ideograms they qualify. Attributive dependent supersyllabograms are never adjacent to the ideogram they qualify, but are always bound inside it. Without exception, they describe an actual attribute of the ideogram.

For instance, as we can see from the table of the 10  supersyllabograms in the pottery and vessels sector of the Minoan-Mycenaean economy, the syllabogram a  inside the ideogram for a vessel with 2 handles is the first syllabogram, i.e. the first syllable of the Mycenaean word apiporewe, clearly identifying the vessel as an amphora. But why even bother tagging vessel as an amphora, when it is obvious that the ideogram in question looks so remarkably like an amphora in the first place? Recall that the Mycenaean scribes never used any linguistic device without a reason. In this case, the reason, I believe, is that the scribe deliberately inserts the syllabogram  a  inside the ideogram for what is probably an amphora anyway to call our attention to the fact that this vessel in particular is an extremely valuable, more than likely ornate specialty amphora intended for the Minoan or Mycenaean nobility in any one of the major palace complexes. I can see no other reason why any Mycenaean scribe would resort to such a tactic other than to identify it as a precious commodity.

Likewise, the simplified, streamlined syllabogram sa  (stripped of its small arms at 90 degrees to its Y arm) incharged   in the ideogram for a vessel is almost certainly the supersyllabogram for an unknown pre-Greek, probable Minoan word beginning with the syllabogram sa   (a distinct clue in and of itself) for raw flax, the agricultural crop the Mycenaeans Greeks called rino = flax (as an unrefined agricultural crop) or the refined product, linen cloth. Both of these supersyllabograms are incharged,  in other words, attributive,  as can clearly be deduced from their significance noted here. Although we can readily cite further examples from the table illustrative of the 10 supersyllabograms in the pottery and vessels sector of the Minoan-Mycenaean economy, I must leave that analysis for another time and place. However, it is worthwhile noting that I have discovered, isolated and classified some twenty-five (25) attributive supersyllabograms alone (exclusive of associative) in all sectors of the Minoan-Mycenaean economy to date. That is a very great deal from a syllabary consisting of 61  syllabograms all told.

The phenomenon of ambiguity in the meaning of certain syllabograms incharged or surcharged to their ideograms in Mycenaean Linear B is a really nasty stickler in the interpretation of incharged supersyllabograms (if that is what they actually are) on extant tablets in Linear A in the Minoan language, which has stubbornly resisted all attempts at decipherment to date. Any attempt to decipher incharged supersyllabograms in Minoan Linear A amounts to a daring plunge into an unknown sea. But I for one love to dive, and I swim well enough to take the plunge.   

Now it just so happens that everything we have just noted about supersyllabograms in the pottery and vessels sector in Mycenaean Linear B may indeed apply just as well to the same sector in the earlier Minoan economy. This we shall demonstrate in the next post.

Richard
 

Just added to my academia.edu page, Translation of the Introduction to Book II of the Iliad, and its Profound Implications in the Regressive-Progressive Reconstruction of Unattested, Derived (D) Mycenaean Greek Vocabulary and Grammar, here:

The Iliad of Homer in academia edu Richard Vallance
This is the first of a series of several papers I shall be publishing this year and next (2016) on my hypothesis underpinning the theoretical and proposed actual links between the archaic Greek of Book II of the Iliad by Homer, and in particular of the Catalogue of Ships (lines 459-815). These papers are of extreme significance to the methodology, process and procedure of regressive extrapolation of Mycenaean Greek vocabulary or grammatical constructs derived from the most archaic Greek in the Iliad, considered by many researchers to be an in)direct offshoot of Mycenaean Greek itself. Vocabulary or grammatical constructs thus derived are then progressively applied to reconstruct parallel elements missing from any attested Linear B sources regardless.

I cannot stress too much the extreme significance of this particular line of research I am pursuing in the reconstruction of numerous elements (possibly even into the hundreds) of Mycenaean Greek derived from these sections alone of the Iliad.

Richard


New article on academia.edu. My translation of Sappho’s Ode, “The Moon has set, and the Pleiades...” from Aeolic Greek to Mycenaean Linear B, Arcado-Cypriot Linear C, English and French, here: Click to OPEN

academiaedusublimesappho
This article with my translation of Sappho’s Ode, “The Moon has set, and the Pleiades...” into two archaic Greek dialects (Linear B & Linear C), as well as into English and French, is the first of its kind ever to appear on the Internet.

Osbert sapho ou  la poésie lyrique
It will eventually be followed by my translations of several other splendid lyrics by Sappho, as well as by serial installments of my translation of the entire Catalogue of Ships in Book II of the Iliad by Homer, and several haiku which I have already  composed in parallel Mycenaean Linear B, English & French (I kid you not!)

If you would like to keep up with my ongoing research on academia.edu, you should probably sign yourself up with them, and follow me. Additionally, you can follow anyone else you like, especially those researchers, scholars and authors who are of particular interest to you (not me). And of course, once you have signed up with academia.edu, which is free, you can upload your own research papers, documents, articles, book reviews etc. to your heart’s content.

Oh and by the way, we have a surprise coming up for you all, a research paper by none other than my co-administrator, Rita Roberts of Crete. 

Richard


Review of the Pocket Oxford Classical Greek Dictionary for General Users & for Researchers in Mycenaean Linear B: Click cover to order

pocket-oxford-classical-greek-dictionary

Morwood, James & Taylor, John, eds. Pocket Oxford Classical Greek Dictionary. Oxford, New York etc.: Oxford University Press, © 2002. xii, 449 pp. ISBN 13:978-0-19-860512-6

I just bought the Pocket Oxford Classical Greek Dictionary yesterday, and I can tell you I am fairly pleased with it. It has its drawbacks. The most notable of these is found in the paucity of vocabulary in the English-Greek section, pp. 357-431, which contains only about 5,000 words. Such a lexicon is probably more than adequate for beginners in ancient Greek, at whom this dictionary appears to be mainly aimed, though I cannot say that for sure. On the other hand, the English-Greek section is prefaced with a glossary of proper names, pp. 357-365, which is quite useful to Graecophiles, whether they be beginners or not. The pronunciation guide for the ancient Greek alphabet, pp. ix-xii, is the one of the best I have ever encountered, as it takes into consideration not only Classical Attic, but also early Homeric pronunciation. This feature has real implications for theoretical considerations, as well as practical applications of pronunciation, for not only the Mycenaean Linear B syllabary, but the Arcado-Cypriot syllabary as well, as you shall soon discover for yourselves on upcoming posts on our blog relevant to Mycenaean Linear B and Arcado-Cypriot orthography, considerations that have to date been largely overlooked by linguists, translators and researchers in the field of the archaic Greek dialects, Mycenaean and Arcado-Cypriot. 

The dictionary also features an appendix of Numerals (pp. 433-435), although it is very basic, as well as appendix of the elementary conjugational paradigms for the “Top 101 irregular verbs ” (pp. 436-447), as arbitrary yet as eminently useful as any other so-called basic table of the top ancient Greek verbs. While persons at the intermediate or advanced level in ancient Greek will find this table inadequate, it is more than adequate for beginners. The dictionary also has a generic map of ancient Greece on pp. 448 & 449, which once again serves its purpose well enough for beginners, but is less than adequate for persons more familiar with ancient Greek. This, however, is understandable for an introductory dictionary for ancient Greek, which we can be sure is all it claims to be, especially in light of the fact that Oxford University Press has had the prescience to co-publish both An Intermediate Greek-English Lexicon and an Abridged Greek-English Lexicon, the latter presumably aimed at scholars proficient in ancient Greek. I look forward to reviewing the latter two dictionaries later on, once I have come up with the resources to purchase them.

Of course, this dictionary also has its strengths, which the editors were careful to make the most of. These are:

(1) The Greek-English section, the first in the dictionary, is much more comprehensive than the English-Greek, containing far in excess of 5,000 words and phrases. The editors have even taken into account early Homeric Greek vocabulary to complement the Classical Attic. While the entries in the Greek-English section are not as heavily annotated as they otherwise are in an advanced ancient Greek dictionary such as the Greek-English Lexicon, by Liddell & Scott (1986), I would argue that too much lexical, grammatical and etymological information would amount to nothing less than overkill in a basic ancient Greek dictionary such as this one. Aficionados with advanced knowledge of ancient Greek, being perfectly aware of this, always have recourse to more sophisticated tools for translation and research, including Liddell and Scott, as well as the numerous online lexical resources available at the Perseus Catalog, here:

perseus catalog
    
(2a) The font is quite large and eminently readable. This is an extremely important consideration in the compilation of any Greek dictionary, ancient or modern, given that Greek accents (acute, grave & circumflex) and especially the initial breathings, soft or unaspirated () and aspirated (), as well as the numerous compound accents, are so annoyingly difficult to see in small font. The editors of this dictionary are to be congratulated for having the foresight to realize this. If there is anything I cannot stand, it is the use of fonts which are too small to adequately display (ancient) Greek accents. Sadly, most editors of ancient Greek dictionaries and lexicons blithely ignore this most paramount of considerations in the format and presentation of entries. Even the eminently renowned Greek-English Lexicon (1986) by Liddell and Scott, the very last Greek dictionary which should be guilty of this practice, makes use of a font far too small for readers to easily read accents, even those with good reading vision. To my mind, this falls just short of being unforgivable, unless the editors of any such dictionary or lexicon passed over the issue of adequate font size by sheer oversight – something I find quite difficult to swallow. So a word to the wise. If the editors of an inexpensive paperback dictionary could make a real effort to make certain the entries would be readable off the top, why wouldn’t – or shall we say, shouldn’t – the editors of top-end hard-cover dictionaries and lexicons take the same trouble? This is even more obvious when the publisher of the inexpensive editions is the same one as the one for the expensive, hard-bound ones – by which I mean Oxford University Press, in this particular instance.

(2b) In the Greek-English section, the Greek entries are in bold, set in Greek 486 Polytonic, while in the English-Greek section the English entries are in Monotype Arial bold, so that they stand out very clearly on the page. Once again, kudos to the editors.

(3) Likewise, the layout of the entries, at 1.5 line spacing, in both the Greek-English and the English-Greek sections is very attractive. 

(4) Throughout the dictionary, the alphabetical entries are flagged with gray tags running vertically down the page, from left to right from alpha to omega in the Greek-English section, and from a to z in the English-Greek. Once again, a big plus.

To summarize, this Greek-English, English-Greek dictionary of ancient Greek, in its physical layout and format, including all font formatting, is very pleasing to the eyes, hence, much easier to consult than practically any other ancient Greek dictionary I have ever encountered in print. The English-Greek section is woefully inadequate for anything but the most basic of ancient Greek vocabulary, so that even beginners are bound to outstrip its usefulness very quickly.

On the other hand, the Greek-English section is more than sufficient for the needs of beginners, and adequate for those scholars at the intermediate level in ancient Greek studies and literature. Given its reasonable price, $17.95 USD, I would recommend it for students who are also beginners in Mycenaean Linear B or Arcado-Cypriot Linear C, given the very restricted lexical base of both these archaic Greek dialects. On the other hand, it is readily apparent that this dictionary alone cannot possibly serve as the sole resource for researchers in Mycenaean and Arcado-Cypriot Greek. It must be complemented by other resources, such as:
1. Chris Tselentis’ thorough Lexicon of Linear B, available free online in PDF.
2. Chadwick, John. The Decipherment of Linear B (second edition). Cambridge University Press, © 1970 x, 164 pp.
3. Palmer, R.L. & Chadwick, John, eds. The Proceedings of the Cambridge Colloquium on Mycenaean Studies. Cambridge University Press, © 1966. 309 (310) pp. First paperback edition, © 2011. ISBN 978-1-107-40246-1 (pbk.)
4. A Companion to Linear B: Mycenaean Greek Texts and their World. Volume 3. Peeters: Louvain-La-Neuve: Bibliothèque des cahiers de l’institut de linguistique de Louvain. © 2014. 292+ pp. ISBN 978-2-7584-0192-6 (France)   

I leave aside any comparison with online dictionaries and lexicons in the same class, preferring not to compare apples with oranges.

Overall Rating: 3.75/5


Richard Vallance Janke
April 2015



Standard Keyboard Layout for Arcado-Cypriot Linear C: Click to ENLARGE

standard keyboard layout for Arcado-Cypriot Linear C

The standard keyboard layout for Arcado-Cypriot Linear C is quite unlike that for Mycenaean Linear B, with very few exceptions. The only key maps which correspond are those for the vowels, a e i o u, which you type with q w e r t in both fonts + da de di do du in Linear B, which is identical ta te ti to tu in Linear C, since the latter has no D series syllabograms, substituting the T series. Linear C also lacks any means to type numbers, but since the Linear B numbering system is almost the same as the Linear C one, you can switch to the Linear B font to type numbers in Linear C, with the proviso that you watch out for any differences in the numeric systems (there are some). But since numbers are rarely used in Linear C, it is not really much of a problem. Arcado-Cypriot Linear C abandoned all logograms & ideograms, of which Mycenaean Linear B has an abundance (over 100), with the sole exception of the ideogram for talent or scale, which is the same in both syllabaries. But since there is no way to type this ideogram with the Linear C font, once again, you will have to switch to the Linear B font and type |.  The only other real problem with the Linear C font is that there is no way to type the syllabogram for ye, unless you first switch to an English font and type a period . These are minor inconveniences, which I am sure you will get used to... I did.

You must first download the Arcado-Cypriot Linear C font here:

download Arcado-Cypriot Linear C font

and then install it in your Fonts before you can use it. Remember to switch to the font called Cypriot before typing in Linear C. You will also need to switch back and forth from Linear C to Linear B to your English font as required.

This keyboard layout is the only one you will find anywhere on the Internet. If you are going to use this keyboard layout, you can laminate it with clear mactac, and hang it above your computer.
 
Richard

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