Linear B tablet HT 93 (Haghia Triada). What happens when there are not enough Mycenaean-derived words to decipher a Linear A tablet:
While it is a relatively straightforward matter to decipher Linear A tablets which contain a substantial portion of Mycenaean-derived vocabulary, the situation rapidly deteriorates the fewer Myenaean-derived words there are on the tablet or inscription. In fact, there is a point of no return in all too many cases. This is not quite the situation we are faced with when confronted with Linear A tablet HT 88 (Haghia Triada). But we are getting close to the precipice. There appear to be only 4 Mycenaean-derived words on this tablet, SERE = a corn silo, ASE = surfeit, OTI = with handles and KIRO, which seems to be a scribal error, since this word appears on the VERSO of the tablet with the large number 165 + fraction following it. So I suspect the scribe meant to inscribe KURO. As for the later archaic or classical Greek words to which these four words correspond, see the actual figure of the tablet above.
As for the remainder of the tablet, most of the vocabulary simply eludes us, with the exception of one word, DARIDA (HT 10, HT 85, HT 93 and HT 122), an old Minoan (OM) word, appearing in the Minoan substrate language, which definitely refers to some kind of vase. And if our interpretation of OTI is correct, then the vase is two-handled. The decipherment of OTI as two-handled is buttressed by the presence of the ideogram for a vase with two handles nearly adjacent to it. As for the rest of the tablet, with the exception of SARA2, which is ancient Semitic for barley or a similar grain crop, your guess is as good as mine. However, I suspect that QAQARU is another type of (large) vase, which in this case is used to store SARA2.
Cretan pictograms 118-156 represent the complex forms of unknown, indecipherable pictograms:
Of these pictograms, a few might be susceptible to some sort of interpretation. These have note numbers following them in this form    .  appears to be a variant of the pictogram, later the Linear A and Linear B syllabogram NI, which means “figs”. Both  and  could represent a bee, since the bee insignia is commonplace on Minoan pendants and necklaces.  appears to represent ships.
All 156 of the pictograms I have posted here on Linear A, Linear B, Knossos & Mycenae, are Class B pictograms, because they are incised on tablets, nodules and pendants in the same way Linear A and Linear B texts are incised in their respective syllabaries. Class A pictograms are more archaic than Class B, and appear mostly on stamps and seals. I shall display a few of the latter in upcoming posts. Class A pictograms, which often resemble Egyptian hieroglyphics, are all but indecipherable, although a very few may lend themselves to tentative decipherment. A few Class B pictograms, especially in the moderately complex to complex range, also close mirror Egyptian counterparts, and may convey similar or the same meanings. On the other hand, some, most or all of them may not. There is simply no way of knowing.
Cretan pictograms 85-117 represent the moderately complex forms of unknown, indecipherable pictograms:
Cretan pictograms 53-84 represent the simplest forms of unknown, indecipherable pictograms:
Earth-shattering linguistic data from the Movie, Arrival (2016) Not too long ago, I had the distinct pleasure of watching what is undoubtedly the most intellectually challenging movie of my lifetime. The movie is unique. Nothing even remotely like it has ever before been screened. It chronicles the Arrival of 12 apparent UFOs, but they are actually much more than just that. They are, as I just said, a unique phenomenon. Or more to the point, they were, are always will be just that. What on earth can this mean? The ships, if that is what we want to call them, appear out of thin air, like clouds unfolding into substantial material objects ... or so it would appear. They are approximately the shape of a saucer (as in cup and saucer) but with a top on it. They hang vertically in the atmosphere. But there is no motion in them or around them. They leave no footprint. The air is undisturbed around them. There is no radioactivity. There is no activity. There are 12 ships altogether dispersed around the globe, but in no logical pattern. A famous female linguist, Dr. Louise Banks (played by Amy Adams), is enlisted by the U.S. military to endeavour to unravel the bizarre signals emanating from within. Every 18 hours on the mark the ship opens up at the bottom (or is it on its right side, given that it is perpendicular?) and allows people inside. Artificial gravity and breathable air are created for the humans. A team of about 6 enter the ship and are transported up an immense long black hallway to a dark chamber with a dazzlingly bright screen. There, out of the mist, appear 2 heptapods, octopus-like creatures, but with 7 and not eight tentacles. They stand upright on their 7 tentacles and they walk on them. At first, the humans cannot communicate with them at all. But the ink-like substance the heptapods squirt onto the thick window between them and the humans always resolves itself into circles with distinct patterns, as we see in this composite: Eventually, the humans figure out what the language means, if you can call it that, because the meanings of the circles do not relate in any way to the actions of the heptapods. Our heroine finally discovers what their mission is, to save humankind along with themselves. They tell us... There is no time. And we are to take this literally. I extracted all of the linguistic data I could (which was almost all of it) from the film, and it runs as follows, with phrases and passages I consider of great import italicized. 1. Language is the foundation of which the glue holds civilization together. It is the first weapon that draws people into conflict – vs. - The cornerstone of civilization is not language. It is science. 2. Kangaroo... means “I don't understand.” (Watch the movie to figure this one out!) 3. Apart from being able to see them and hear them, the heptapods leave absolutely no footprint. 4. There is no correlation between what the heptapods say and what they write. 5. Unlike all written languages, the writing is semiseriographic. It conveys meaning. It doesn't represent sound. Perhaps they view our form of writing as a wasted opportunity. 6. How heptapods write: ... because unlike speech, a logogram is free of time. Like their ship, their written language has forward or backward direction. Linguists call this non-linear orthography, which raises the question, is this how they think? Imagine you wanted to write a sentence using 2 hands, starting from either side. You would have to know each word you wanted to use as well as much space it would occupy. A heptapod can write a complex sentence in 2 seconds effortlessly. 7. There is no time. 8. You approach language like a mathematician. 9. When you immerse yourself in a foreign language, you can actually rewire your brain. It is the language you speak that determines how you think. 10. He (the Chinese general) is saying that they are offering us advanced technology. God, are they using a game to converse with... (us). You see the problem. If all I ever gave you was a hammer, everything is a nail. That doesn't say, “Offer weapon”, (It says, “offer tool”). We don't know whether they understand the difference. It (their language) is a weapon and a tool. A culture is messy sometimes. It can be both (Cf. Sanskrit). 11. They (masses 10Ks of circles) cannot be random. 12. We (ourselves and the heptapods) make a tool and we both get something out of it. It's a compromise. Both sides are happy... like a win-win. (zero-sum game). 13. It (their language) seems to be talking about time... everywhere... there are too many gaps; nothing's complete. Then it dawned on me. Stop focusing on the 1s and focus on the 0s. How much of this is data, and how much is negative space?... massive data... 0.08333 recurring. 0.91666667 = 1 of 12. What they're saying here is that this is (a huge paradigm). 10Ks = 1 of 12. Part of a layer adds up to a whole. It (their languages) says that each of the pieces fit together. Many become THERE IS NO TIME. It is a zero-sum-game. Everyone wins. NOTE: there are 12 ships, and the heptapods have 7 tentacles. 7X12 = 84. 8 +4 =12. 14. When our heroine is taken up into the ship in the capsule, these are the messages she reads: 1. Abbott (1 of the 2 heptapods) is death process. 2. Louise has a weapon. 3. Use weapon. 4. We need humanity help. Q. from our heroine, How can you know the future? 5. Louise sees future. 6. Weapon opens time. 15. (her daughter asks in her dream). Why is my name Hannah? Your name is very special. It is a palindrome. It reads the same forward and backward. (Cf. Silver Pin, Ayios Nikolaos Museum and Linear A tablet pendant, Troullous). 16. Our heroine says, * I can read it. I know what it is. It is not a weapon. It is a gift. The weapon (= gift) IS their language. They gave it all to us. * If you learn it, when your REALLY learn it, you begin to perceive the way that they do. SO you can see what’'s to come (in time). It is the same for them. It is non-linear. WAKE UP, MOMMY! Then the heptapods disappear, dissolving into mere clouds, the same way they appeared out of nowhere in clouds, only in the opposite fashion. There is no time. They do not exist in time. The implications of this movie for the further decipherment of Linear A and Linear B (or for any unknown language) are profound, as I shall explain in greater detail in upcoming posts.
Another Linear A tablet bites the dust… Troullos TL Za 1… horsemanship and hunting:
This tablet or nodule completely eluded me for over 2 years. Then tonight, all of sudden, its meaning literally burst wide open. The first hint came when I began to decipher the obvious Linear words, all of which happen to be Mycenaean-derived New Minoan NM1. The most obvious word, which stands out like a sore thumb, is WAJA = #ai/a in Mycenaean-derived Greek, in other words land. The rest of the Mycenaean-derived words were more difficult to extract from the agglutinated text, since in an agglutinative language such as Minoan, words which would otherwise be separate in a fusional or inflected language, such as ancient or modern Greek or German, are simply strung together in long strings. So it is difficult to know where one word ends and another begins … but far from impossible. Because so many words on this tablet are agglutinated, it presents a particularly challenging target for decipherment. But decipher it I did, as you can see below.
If we break apart the agglutinated words, meanings start to surface. For instance, ATAI*301 appears to mean 0astai= from oastei=a, meaning of the town, community.
Moving on, we have QARE0 = ba/lei ba/loj = at the threshold (locative singular). For the time being, I do not know what OSU, which is almost certainly Old Minoan, means but I am confident I shall soon figure it out. If we then decipher the first 2 agglutinated words ATA*301WAJA. OSUQARE, we get something along these lines (OSU being omitted for the time being), on the … threshold of community of town, i.e. “on the … outskirts of the community or town”
The the next two agglutinated words are UNAKANASI. UNA is Old Minoan. KANASI is instrumental plural Mycenaean-derived New Minoan (NM1) for ka/nnasi (instr. plural) = made of reeds, i.e. wicker. This almost certainly refers to the chariot itself, which like almost all Mycenaean chariots, is probably made of wicker, as illustrated below. If my hunch is correct, given that KANASI means made of wicker, then UNA must necessarily mean chariot, hence a chariot made of wicker. Remember: UNAKANASI is a composite agglutination of 2 words, first Old Minoan (UNA) and the second Mycenaean-derived New Minoan (NM1) = KANASI.
IPINAMASIRUTE is another agglutination, this time consisting of 3 words, all of them Mycenaean-derived New Minoan (NM1). The tablet or nodule above provides us with the full translation, which in its actual order reads, with horsemanship + running + (towards) prey. In other words, we have a charioteer, whose name is JASASARAME, clearly a highly skilled charioteer and hunter, whose ridership or horsemanship allows him to run towards his prey, and at a fast pace at that, given that NAMA always refers to something flowing fast, usually a stream, but in this context, clearly horses, 2 of them, of course, since Mycenaean chariots always have two horses.
So the free translation runs along these lines, and very well indeed,
Jasasarame, the hunter-charioteer, in his chariot made of wicker, is exercising his (considerable) ridership skills, by running at break-neck speed (or: running by a stream) towards the wild prey he is hunting on the outskirts of his town (community).
This decipherment, which is almost entirely in Mycenaean-derived New Minoan (NM1) hangs together admirably well. It is a major breakthrough in the ongoing saga of the decipherment of Linear A. It is also buttressed by the fact that the tablet or nodule actually looks like a horses halter. While the word halter appears, at least at first sight, not to figure in the text, this is of little consequence. The tablet itself makes it quite clear enough that here we have two horses (always two with Mycenaean chariots) and that a well-heeled, and most likely aristocratic or warrior-class charioteer, Jasasarame, is at the reins.
I rest my case.
New interpretation of Linear A tablet HT 7 (Haghia Triada):
A few months ago, I tentatively deciphered Linear A tablet New interpretation of Linear A tablet HT 7 (Haghia Triada), but when I look back on that decipherment now, I find it implausible. So I have re-interpreted here in light of new data I have acquired since then. As the tablet is inscribed mostly in Old Minoan, it is rather difficult to make complete sense of it. However, the two Mycenaean-derived New Minoan (NM1) terms offer us a clue. These are iruja = “a priestess” and tanati, which appears to be dative singular for “death”. However, although iruja is nominative singular, it is followed by the number 3, which would seem to indicate that there are 3 priestesses. And the Minoan plural of a is e, hence iruje. The only explanation I can find for this discrepancy is that the 3 priestesses are operating independently, one by one, each one making at least 1 offering, while 1 priestess makes 2, for a total of 4. But this translation, which is rather convoluted, remains in doubt because I cannot verify with any real certainty the meanings of the Old Minoan words. However, it does manage to hold together. Perhaps someday in the future, we shall unearth more Linear A tablets, which will provide us with insight into the significance of the Old Minoan vocabulary.
New interpretation of Linear A tablet ZA 20 (Zakros):
This new interpretation of Linear A tablet ZA 20 (Zakros) varies only slightly from my original one. I interpret the syllabogram on line 0 (the indecipherable line) as being NI, since the bottom of NI is a vertical line. And figs often figure prominently in Linear A tablets. The actual reading of the text is not quite clear, since there are at least 2 damaged syllabograms following MI on line 1. It is impossible to determine with any accuracy what the actual units of measurement are for anything on this tablet, although of course the units of chaff from wheat would have to be considerably less than the total units of wheat. So 1 unit + 6 units of wheat probably refers to something like bushels (a mere approximation), from which we would not get all that much chaff… which may explain the presence of the container, supposedly containing 3 smallish units of chaff. But why would anyone want to place chaff in a container? So we see problems with the decipherment.
Just uploaded to academia.edu = Exhaustive Linear A lexicon of 1030 New Minoan and Old Minoan words, with extensive sectional commentaries.pdf What with its 1030 entries of New Minoan (NM1), Pre-Greek substratum and Old Minoan terms, this is the most exhaustive Linear A Lexicon ever published in history, exceeding Prof. John G. Younger’s (at 774 intact words) by 226, with the emphasis squarely on intact exograms (words). Every possible origin of Linear A words is investigated, with extensive sectional commentaries. This lexicon, 65 pp. long, includes 4 appendices and a bibliography of 108 items. You will not want to miss out on reading this paper, representing one of the most significant historical breakthroughs in the decipherment of the Linear syllabary. If you are a member of academia.edu, please download it, and read it at your leisure. If you are not already a member of academia.edu, you can sign up for free, and then download it. My recent research into (Minoan) Linear A has meant that I have been catapulted from the top 5 % to the top 0.1 % of users on academia.edu in the past three weeks, here:
Silver pin from Mavro Spelio: A.Y. Nikolaos Museum PL Zf 1:
This silver pin, PL Zf 1, from Mavro Spelio, now housed in the A.Y. Nikolaos Museum, Crete, bears an inscription which may read dextrograde (left-to-right) or sinistrograde (right-to-left), but either way the text reads the same way. The inscription is a mixture of Mycenaean-derived New Minoan (NM1) and Old Minoan. The words Tanunikina (nom. fem. sing.) and Ninuni (dat. sing.) are almost certainly eponyms, with the former acting in some way as an agent of healing to the latter. Apart from the eponyms, the Old Minoan text is indecipherable. But that does not mean we cannot catch the drift of the inscription, because we can. It certainly makes sense that Tanunikina, despite her best efforts to spin or weave a magic spell, cannot heal Ninuna. We can infer that Tanunikina is a healer priestess. Such personages were extremely common in the ancient world, and certainly in Minoan Crete and on the Mycenaean mainland, with this practice surviving into archaic and classical Greece. She may even be an oracle, such as we find at Delphi much later on in ancient Greek history. If she is an oracle, she probably worked from a Minoan peak sanctuary.
Linear B syllabograms, homophones and special characters missing from the Linear A syllabary:
A considerable number of Mycenaean Linear B syllabograms, homophones and special characters missing from the Linear A syllabary. But the same can be said for a fairly large number of Linear A syllabograms, homophones and special characters missing from Linear B. Thus, students of both syllabaries must master, first the overlap, which accounts for most of the characters in both syllabaries, and secondly, the discrepancies, of which there are scores. There is simply no way around it. If you are a student of both Linear A and Linear B you have to learn the syllabograms, homophones and special characters found in one of the syllabaries but missing in the other.
Notably, the O series of syllabograms in Linear B suffers from several lacunae in Linear A. This is simply because Linear A has an aversion the ultimate O, and nothing more. Words which terminate in O in Linear B, which is to say, masculine and neuters, much more commonly end in U in Linear A. And this includes a great many exograms which are common to both syllabaries.
Above all else, the masculine and neuter genitive singular always terminates in O in Linear B, and always in U in Linear A. The feminine genitive singular ultimate in Linear A, just as we find in Linear B, appears to be ija, and there are plenty of examples (for instance, jadireja, kiraja, kupa3rija, musajanemaruja, namarasasaja, nenaarasaja, nemaruja, nenaarasaja, nukisikija, sejarapaja, sidija, sudaja and Sukirteija, to cite just a few) . The problem is that no examples of masculine or neuter genitive singular with the ultimate ijo exist. Only a few words terminate in iju, (aju, araju, kumaju, kureju, pirueju and sareju), but these are almost certainly masculine and/or neuter genitive singular, hence likely validating the notion that the feminine genitive singular is ija.
HT 123 (Haghia Triada) VERSO, deciphered for the first time ever:
As follows: 1. 2 shares in an enclosed plot land for 11 months, 1 scythe for sowing 2. tidata . pisa . 4 2 shares in 1 enclosed plot 3. in 1 enclosed plot *188 tupadida 4. sowing *... kadi . repu 5. paputuito harvesting to full harvest 6. kuro 20 . kiro 5 NOTES: 1. the lop-sided square with a cross in it in line 1 is an enclosed plot of land with 2 shares for the tenant farmers, which was sown 11 months ago, the tenants using a scythe for sowing. The scythe also appears in line 1, looking somewhat like a sword. 2. In line 2, the 2 shares are repeated. The words *188 and tupadata are indecipherable, although tupadida is obviously some kind of crop. 4. In line 4, the word kadi refers to an amphora (large) for the storage of the paputuito (also indecipherable, also a crop) 5. which in line 5 has been harvested to full harvest. This makes perfect sense, since the harvest occurs in the 11th. month, i.e. lunar November. This particular season, it appears to be still warm enough that month to cash in on the full harvest. This is possible in a Mediterranean climate such as in Crete. 6. In line 6, kuro references the total return for the full harvest, while kiro stands for the 5 shares owed (4 for the tenants, 1 for the landlord). This also makes sense, since 2 shares are listed on line 1, and 2 more in line 2. As for the extra share, this is apparently the tithe for the landlord.
Supersyllabograms on the large Linear A tablet in the A.Y. Nikolaos Museum, Crete:
There are a total of 6 supersyllabograms on the large Linear A tablet in the A.Y. Nikolaos Museum, Crete, far more than on any other Linear A tablet. In fact, there is no text at all on this tablet, which makes it unique in the Linear A repertoire. All in all, there are 27 supersyllabograms in Linear A, versus 36 in Linear B. The Minoans and not the Mycenaeans invented supersyllabograms. Since many visitors to our site are unfamiliar with supersyllabograms, even though they have been defined here on several occasions, a supersyllabogram is the first syllabogram, i.e. the first syllable of a particular word of major import in any of the major sectors of the Minoan economy. On this tablet, we find 7, of which one is not actually a syllabogram but a symbol. They are as follows:
1 SU (a) OM (Old Minoan) supa2 (supai) + supa2ra (supa2ra) = a small cup with handles
2 A2/AI OM? unknown, currently indecipherable
3 U NM1 (New Minoan) udiriki = with water (instr. Sing.) = hudriki (archaic Greek Latinized
4 PO NM1 potokuro = reaching a full drink, i.e. a draught (agglutinative) = poton + kurwn (archaic Greek latinized)
5 a hook which symbolizes a handle
6 A NM1 aresana = an embossed cup (archaic acc.) = aleissana (archaic Greek Latinized)
SU (b) OM sup1/supu/supu2 = the largest size pithos
NOTE that all of the supersyllabograms on this tablet deal with vessels and pottery.
Linear A contains 27 supersyllabograms, some of which are Mycenaean-derived New Minoan (NM1) and others Old Minoan, i.e. in the original Minoan substratum, as illustrated in this table:
The Decipherment of Supersyllabograms in Linear A will be the feature article in Vol. 13 (2017) of Archaeology and Science (Belgrade) ISSN 1452-7448 , to be published early in 2019. This article is to be the follow-up to The Decipherment of Supersyllabograms in Linear B, Vol. 11 (2015), currently online on academia.edu here:
Linear A tablet ZA 4 RECTO (Zakros) is quite a mess, since so much of the text is damaged:
As you can see for yourself, Linear A tablet ZA 4 RECTO (Zakros) is quite a mess, since so much of the text is damaged. I have attempted to restore some of the badly scratched syllabograms. These include tu and e on line 1, pi and se on line 2 & se on line 4 (which can also be read alternatively as the ideogram for “olives/olive oil”). Many of my interpretations of syllabograms are at odds with those of Prof. John G. Younger, but this is nothing unusual, especially in instances where tablets are as badly damaged as is this one.
With the exception of situ, which obviously means “wheat”, I have made no effort to decipher this tablet, as it would be a fruitless endeavour given its poor state of preservation, and the uncertainty of the values of several syllabograms resulting from it.
Rational partial decipherment of Minoan Linear A tablet HT 117 (Haghia Triada) & the first real glimpse of Minoan grammar actualized: This albeit partial decipherment of Minoan Linear A tablet HT 117 (Haghia Triada) incorporates an approximately equal admixture of Old Minoan, i.e. the original Minoan language, also known as the Minoan substratum (of which I am unable to decipher most of the words) and of New Minoan, i.e. the superstratum of words of probable Mycenaean provenance, most of which I have been able to decipher with relative ease. While some of the New Minoan translations obviously appear to break the grammatical rules of Mycenaean Greek, such as mitu for “mint”, which is after all mita (and feminine) in Mycenaean Greek or daminu for “in 1 village”, which is damo in the nominative in Linear B, these adjustments can be readily accounted for by the fact that Old Minoan grammar is not at all the same beast as Mycenaean grammar. Although we are not yet familiar with much of Old Minoan grammar, which is after all the grammar of Minoan, just the same as modernized Anglo-Saxon grammar is the grammar of English, in spite of the enormous superstratum of French, Latin and Greek words in the latter language, this tablet alone perhaps affords us a first glimpse into the mechanics of Minoan grammar. Thus, it would appear that mitu may be the Minoan accusative of mita, and daminu may be the locative of damo in Minoan. Although there is no scientific way for me to substantiate this claim, I believe I am onto something, and that I may be making the first cracks in the obdurate wall of the grammar of the Minoan language substratum. If this is so, then I may be actually pointing the way to unravelling at least a subset of Old Minoan grammar. To illustrate my point, let us take a look at these phrases in English, as adapted from their Norman French superstrata. In French, the phrases would read as follows: “ avec la menthe”& “ dans le village”, whereas in English they read as “with mint” & “in the village”. Take special note of the fact that, while the Norman French superstrata words in English, “mint” and “village” are (almost) identical to their Norman French counterparts, the grammar of the phrases is entirely at odds, because after the grammar of French, which is a Romance language, and of English, which is a Germanic, cannot possibly coincide. But here again, I must emphatically stress that English grammar is an entirely different matter than English vocabulary, of which the latter is only 26 % Germanic, but 29 % French, 29 % Latin and 4 % Greek, the latter 3 languages, namely, the superstrata, accounting for fully 64 % of all English vocabulary! We must always make this clear distinction between English grammar, which is essentially Anglo-Saxon modernized, and English vocabulary, which is only minimally Germanic. If we carry this hypothesis to its logical outcome, we can readily surmise that the same phenomenon applies to the Linear A syllabary. Where grammar is concerned, the Linear A syllabary is Old Minoan, i.e. the original Minoan language or substrate. Where vocabulary is concerned, Linear A represents an admixture of Old Minoan vocabulary, such as uminase, kuramu, kupa3nu (kupainu), tejare and nadare (all of which I cannot decipher) and of New Minoan Mycenaean derived vocabulary, such as makarite, mitu, sata, kosaiti and daminu on this tablet alone. The orthography of the latter words is not actually consistent with Mycenaean grammar, because constitutionally it cannot be. Once again, the grammar is always Minoan, whereas the vocabulary often falls into the New Minoan (Mycenaean derived) superstratum. In the case of makarite, it would appear that, if the word is dative in Minoan, the Minoan dative is similar to the Mycenaean, ending as it seems to in i. The ultimate te in makarite appears to be the Mycenaean or ancient Greek enclitic te (and). In the case of mitu, which is mita and feminine in Mycenaean Greek, it would appear that the Minoan word is either masculine or that in this case at least, it is instrumental, meaning “with mint”, in which case the Minoan feminine instrumental appears to terminate with u. The word kosaiti appears to follow the same lines. The first two syllables, kosai, apparently are Mycenaean, but the ultimate ti is Minoan, and once again, instrumental (plural). Again, daminu appears to repeat the same pattern. The word damo is masculine (or neuter) in Mycenaean. But the ultimate is inu here, which appears to be the Minoan locative, inu. To summarize, we must make a clear-cut distinction between any New Minoan vocabulary on any Linear A tablet, and its orthography, which must of necessity follow the orthographic conventions of the Minoan language, and not of the Mycenaean, from which any such words are derived. I intend to make this abundantly clear in subsequent posts.
Comprehensive Linear A lexicon of 903 words in Linear A: the third one hundred = 201-300 = JA - KU jatituku + jatituku jatoja jawi jedi jeka jemanata jua judu juerupi juka 210 juma/jumaku juraa jureku juresa jutiqa juu ka (extremely common) kada/kadasaa kadi kadumane 220 kae kai/kaika kairo kaji/kaju kaki/kaku kakunete kami kana kanatiti kanau kanita kanuti kapa/kapaqe kaporu kapusi kaqa/kaqe kara karona karu karunau/karunau 240 kasaru kasi kasidizuitanai kasikidaa katanite kati kaudeta keire kekiru kero keta/kete ketesunata kezadidi kida/kidi kidaro kidata kidini kidiora kii/kiipa kikiraja 260 kija kika kikadi kina kinima/ kinite kipaa kipisi (fairly common) kiqa kira/kiro/kirisi/kiru kireta2 270 kiretana kisusetu kitai kite kitiqa koiru koja kopu koru kosaiti 280 kuda kuja kujude kuka kukudara kumaju kumapu kunisu kupa/kupi kupatikidadia 290 kupa3natu kupa3nu kupa3pa3 kupa3rija kupaja kupari kupazu kura/kuramu kurasaqa kureda 300
Minoan Linear A tablet HT 14 (Haghia Triada) almost completely deciphered + the 4 categories of Linear A tablets: Here you see Minoan Linear A tablet HT 14 (Haghia Triada), which I have been able to decipher almost completely. This is because the tablet is comprised mostly of ideograms, making it much easier to reconstruct the original text. In addition, I have already translated the supersyllabogram TE = tereza (on the first line) as being a large unit of liquid measurement, which in the case of wine might be something like “a flask”, “a jug” or something along the lines of “a gallon”, on the explicit understanding that there was no such thing as a gallon in Minoan times; this is merely an approximation. The supersyllabograms PU & DI are unknown, i.e. indecipherable, at least to date. Likewise, the Old Minoan word, apu2nadu (apunaidu) is also unknown, but it might mean “harvest”. The units of wheat are probably equivalent to something like a bushel. The supersyllabogram MI = mini signifies “for a month” (dative) or “monthly”, and is New Minoan, i.e. a word of Mycenaean origin superimposed on Linear A. The rest of the decipherment is self-explanatory. Decipherment of Minoan Linear A tablets falls into four (4) categories: 1. Tablets on which we find only Old Minoan words, or on which the vast majority of words are Old Minoan. These tablets are pretty much indecipherable. 2. Tablets on which we find a combination of Old Minoan and New Minoan (words of Mycenaean origin). The more New Minoan words on a tablet, the more likely we are going to be able to decipher it. Ideally, there should be more New Minoan (Mycenaean) words than Old Minoan (the original Minoan substratum), in order to divine the meanings of Old Minoan words immediately adjacent to New Minoan words. This is of course contextual analysis. Such tablets are at least partially decipherable. 3. Linear A tablets containing ideograms almost exclusively are susceptible to decipherment. HT 14 (Haghia Triada) falls into this category. 4. A very few Linear A tablets are written mostly, almost entirely and in one case only, entirely in New Minoan (the Mycenaean superstratum). These tablets can be be mostly and in some cases entirely deciphered.