Linear B Tablet Pylos TA 716, bridle chains and swords:
This tablet speaks for itself.
Linear B Tablet Pylos TA 716, bridle chains and swords:
This tablet speaks for itself.
4-sided Cretan pictogram bar with end shown & interpretations of pictograms:
Cretan pictograms, Medallion E, Knossos, after Sir Arthur Evans:
A few of the Cretan pictograms on Medallion E, Knossos, lend themselves to possible/probable/definite decipherment. These are:
definite: 5. & 8. (adze, labrys)
probable: 3. & 7. (spice container, saffron)
possible: 9. 11. 12. (olive oil lamp, some kind of floral crop, dagger)
Everything else is indecipherable.
Cretan pictograms dealing with the military and textiles/cloth are the last of the possibly/probably/definitely known pictograms out of a grand total of around 165, thus accounting for 31.5 % of all Cretan pictograms. So the number of possibly/probably/definitely known pictograms is significantly higher than had been previously thought. Of the military + textiles/cloth pictograms, 41. 42. 48. & 51. are definite, the remainder being probable/possible.
Cretan pictograms – the first 14: the origins of syllabograms:
Cretan pictograms – the first 14: the origins of syllabograms:
There are 14 Cretan syllabary-like pictograms, most of which look like primitive syllabograms in Linear A, but almost certainly are not syllabograms. But all of them but one (the crescent moon on its side) are (almost) identical to the Linear A syllabograms A, DA, DI, NI, NU, RU, QE, SE, TA, TE and TU. But it is without a shadow of a doubt a mistake to identify any of them as syllabograms as such. They are the primordial templates of the latter.
In my previous posts on Cretan pictograms, I asserted that there were only 45 of them. That was a grievous mistake. I was way off the mark. Upon close examination of all of the Cretan pictograms so meticulously identified by Sir Arthur Evans in Scripta Minoa (1909, 1952), I discovered to my amazement that there are around 200 of them, exclusive of numerics, which have been successfully deciphered by Evans. From here on in, all posts on Cretan pictograms, whether (possibly/probably/definitely) known or unknown, i.e indecipherable, will be numbered sequentially until the absolute total of them all is reached. As we can see, the first 14 are those which look like Linear A syllabograms. In the next post, I shall introduce the Cretan pictograms for crops, which number sequentially from 15 to 23. Subsequent posts will identify Cretan pictograms from 24 onward.
In spite of the fact that many researchers call Cretan pictograms hieroglyphs, they simply cannot be, since 200 is far too small a figure for hieroglyphics or for scripts like Cuneiform. Both of the latter contain at least 1,000 figures or characters. This clearly disqualifies Cretan pictograms as hieroglyphs. In 1909 Sir Arthur Evans correctly identified them as pictograms right from the outside, and his conclusions are sound.
The first two examples of so-called Cretan hieroglyphs appear to be 4 separate palm-leaf tablets, but are in fact one 4 sided-bar:
The first two examples of so-called Cretan hieroglyphs appear to be 4 separate palm-leaf tablets, but are in fact one 4 sided-bar from Knossos. This is of great significance, because if I am right and the text is sequential, from start to finish, and runs dextrograde on each side (which it almost certainly does) then a clear pattern emerges. 5 distinct links are found on the four sides. These are clearly marked on the facsimile of this 4 sided bar (Knossos Hh (04) 03). Consequently, we can assume that this bar tallies contents, for which 5 key ideograms recur, signifying that there is a distinct coherence to the contents they tag. The four-sided bar appears to inventory not only agricultural items, namely, the produce of olive trees (olive oil) and some kind of grain crop, symbolized by the logogram which looks like the Linear A & B syllabogram ZU, but military ones as well. The ideogram for adze or labrys, which is the origin of the syllabogram A in Linear A and B, appears on face 1. Then we have what looks like a helmet on face 2 and a boar’s tusk helmet (L5) on face 4. (the latter the precursor, it would seem, of the Linear A & B syllabograms for E). Finally, we find an ideogram (L4) which looks like some kind of animal, and my bet is that it is a horse. All of these ideograms and logograms lend credence to a military interpretation.
So-called Cretan hieroglyphs are not hieroglyphs at all. Example 1
These 2 palm-leaf tablets incised with Cretan symbols are the first example of why so-called Cretan hieroglyphs are not hieroglyphs at all. We note right off the top that there are only 6 symbols, all of which are in fact ideograms or logograms. The numeric symbols, 40 and 100 on the fist tablet and 50, 10 & 80 on the second, do not conform to Linear A and B standards. In Linear A & B, decimals to the tens (10…90) are represented by horizontal bars, 1 for 10, 2 for 20, 8 for 80 etc. It appears instead that the dots on these tablets represent decimals to the tens. This is partly because the figure for 100 on the first tablet accords with Linear A & B practice, making it more likely that the dots are indeed in the tens.
Some other symbols are clearly identifiable. No. 1. is definitely the ideogram for an adze or labrys, which in Linear A and B is metamorphosed into the syllabogram for the vowel A. 2. is more likely to represent olive tree(s) rather than olive(s), for reasons which will become apparent in upcoming examples. 5. is very likely the ideogram for helmet, because it is very similar to same ideogram in Linear B.
So what are these palm-leaf tablets about? The first appears to be primarily military, te second primarily agricultural, with the sole exception of the ideogram for helmet, which appears out of place. But perhaps it is not. Perhaps the olive tree crops are being defended by the military. We shall never know.
Early Minoan hieroglyphic roundels and seals may lend some insight into the later development of the Linear A syllabary:
As illustrated above, early Minoan hieroglyphic roundels and seals may lend some insight into the later development of the Linear A syllabary. Notice that the the hieroglyphic for an axe or labrys looks remarkably like the Linear A and Linear B syllabogram for A, while the Y shaped hieroglyphic, whatever it is supposed to represent (and no one knows what), is similar to the Linear A syllabogram for SA. So it is conceivable, however remotely, that this hieroglyphic seal may actually read asa or saa, whichever way you read it (not that we have any idea what that is supposed to mean).Then we have the hieroglyphic marked with an asterisk (*). This looks very much like a vase, amphora or flask to hold wine, water or possibly even olive oil. There is another one which looks like a fish. That should not be too surprising, given that the ideogram for fish does appear on at least one extant Linear A fragment from Phaistos, as we have witnessed in a recent previous post. Finally, on the bottom line, the seal marked (f) bears a hieroglyphic which looks like a bat, and this in turn may very well be the antecedent to the Linear A syllabogram MA. But this hieroglyphic is not that of a bat, but rather of a cat, which we can see from the beautiful seal on the top left of the illustration. This is substantiated by the some of the variations in the scribal hands for Linear A MA, which indeed look like the visage of a cat, as we see here:
So I guess it is a cat.
Complete decipherment of the Kafkania Pebble, ca. 1700 BCE. Is this the first ever inscription in proto-Greek? This medallion is particularly striking, insofar as it actually appears to be inscribed entirely in proto-Greek. So even though this medallion dates from the Middle Helladic or Middle Minoan era (ca. 1700 BCE), the text appears not to be Minoan at all, but proto-Greek! If this is the case, this is by far the earliest inscription ever unearthed actually inscribed in proto-Greek. The decipherment makes perfect sense. Moreover, the presence of the king is clearly implied in this inscription. And what is even more astonishing is this: the Royal Seal of Malia, equally archaic, inscribed in Cretan hieroglyphics, appears to describe in no uncertain terms the word, wanaka! If this is true, then wanaka, which as we all know means “king” in Mycenaean Greek, in other words, in a language which came to the fore much later than the Minoan language, is in all probability either a Minoan word or, failing that, in the pre-Greek substratum. It is just as conceivable that all of the words on the Kafkania Pebble fall within the pre-Greek substratum, in other words, that all of these terms were to be taken over by the Mycenaeans at least a century later (ca. 1600 BCE at the earliest). This is an amazing discovery, to say the very least.
Is the Minoan Linear A labrys inscribed with I-DA-MA-TE in Minoan or in proto-Greek? PART B: OR is it in proto-Greek? “What?” I hear you asking, “... is that even even remotely possible?” The keyword here is remotely. Remotely, yes, but only remotely. Recall that in the last post, in which I postulated that the four consecutive supersyllabograms ID + DA + MA + TE might conceivably stand for the first syllabogram, i.e. the first syllable of 4 consecutive Minoan Linear A words, though which ones among God knows how many possibilities it is exceedingly difficult to determine. On the other hand, the four consecutive supersyllabograms ID + DA + MA + TE might conceivably stand for the first syllabogram, i.e. the first syllable of 4 consecutive proto-greek Greek words, most likely proto-Mycenaean. If that is the case — and, mark my words, it is far more likely than not that it is not the case — we are once again confronted with a myriad of combinations and permutations of proto-Greek words which have the potential, however thin, of standing in for the 4 consecutive supersyllabograms I + DA + MA +TE. So be forewarned. The putative decipherment of these 4 supersyllabograms into the one possible decipherment I have arbitrarily posited among hundreds is just that, putative and tentative, and nothing more. The tentative decipherment I have come up with runs as follows when the Mycenaean Greek of which it is the apparent forerunner is Latinized: The supersyllabograms in turn might conceivably mean (but only as a long shot): I = iyereya (feminine nominative singular), meaning “priestess” DA = Damateroyo (feminine genitive singular), meaning “of Damater” MA = Matereteiyai (feminine dative singular, meaning “to Mater Thea (the Divine Mother” TE = temenoi (masculine dative or locative singular), meaning “(in) the temple” yielding this Latinized decipherment (which is but one possibility out of 100s): iyereya Damateroyo ... matereteiyai (eni) temenoi ... which roughly translates as: The priestess of Damater... (is making offerings -or- sacrificing to) Mater Thea (i.e. the Divine Mother) (in) the temple. In this partial sentence, the phrase (is making offerings -or- sacrificing to) and the preposition eni = “in” do not appear in the original supposed proto-Greek text, which I have extrapolated forward to Mycenaean Greek to make it fully accessible. Although these words are in fact absent from the original putative proto-Greek, they be supplied with relative ease to fill in the gaps. This proto-Greek translation is neatly encapsulated in this chart: On closer examination, it turns out that, although this decipherment is only one among 100s of possible candidates, it is nevertheless one of the most plausible decipherments, for the following reasons: 1. If as I have pointed out in the previous post, Idamate is an actual Minoan word, as well as being in addition a series of 4 supersyllabograms. Thus, in the Minoan language it may very well mean something along the lines of Damate in Mycenaean Linear B: in other words, Idamate in the Minoan language may be the approximate equivalent of Damate in Mycenaean Linear B and of Demeter in ancient Greek. And if that is the case, the second supersyllabogram (DA) in my parallel proto-Greek translation, which I have deciphered as Damate, almost perfectly matches the Minoan word. This co-incidence, if co-incidence it is, is far too great to be ignored, and it lends a great deal of credence to my proto-Greek translation extrapolated forward to Mycenaean Greek of the second supersyllabogram DA in idamate. 2. But there is more, much more. As it so turns out, there is a sacred cave dedicated to Zeus on Mount Ida, which is very close to the Minoan site of Phaistos. Another co-incidence? The name of the cave dedicated to Zeus on Mount Ida is the “Dictaean Cave”, as illustrated here: 3. It is nothing short of a remarkable co-incidence that Idamate, as inscribed on the labrys, may very well signify “Mount Ida”, as I have clearly indicated in the previous post. But what does that imply? I have to wonder whether or not there was a Minoan peak sanctuary on the summit of Mount Ida. This is what a Minoan peak sanctuary probably looked liked: And if there was, it was of course a temple. Referencing our proto-Greek translation of Idamate, we find that the last supersyllabogram, TE, may readily and realistically rendered as temeno, which in Mycenaean Greek means “a temple”. How fascinating! Does this imply that the priestess to Damater might have been sacrificing to Mater Thea in a temple or peak sanctuary which may possibly have existed on the summit of Mount Ida? The correlation is truly tempting. However, I must sound a strong note of caution. Such an interpretation of the last supersyllabogram of Idamate = TE, as the putative Mycenaean word, temeno = “a temple” as being a peak sanctuary is nothing less than a real stretch of the imagination. So it must be taken with a huge grain of salt. Nevertheless, it is possible, however remotely, that the temple in which the priestess of Damater is worshipping just might have been a peak sanctuary. But I wouldn’t bet my bottom dollars on it. It is thus remotely possible that Idamate signifies both “Mount Ida” in Minoan and “Mater Thea” in proto-Greek extrapolates forward to later Mycenaean Greek. Further credence is possibly lent to this decipherment by the fact that Mount Ida is clearly visible in the near distance behind the ancient site of Phaistos, as illustrated here and on map below: But we must be extremely skeptical of such an interpretation. Why so? Just as Pavel Serafimov and Anton Perdith erroneously read proto-Slavic into Minoan Linear A tablet HT 31 (Haghia Triada), thereby grossly misinterpreting it, my own attempt to superimpose proto-Greek on the 4 supersyllabograms I + DA + MA +TE may amount to the same genre of fundamental (and gross) inaccuracy in the putative decipherment into proto-Greek of a Minoan Linear A text, in this case, of the word idamate inscribed on the labrys. So we must exercise extreme caution in hypothesizing that the 4 supersyllabograms I + DA + MA +TE are the first syllabograms, i.e. the first syllables of the 4 consecutive proto-Greek words I have arbitrarily assigned to them. So the fact remains that these 4 supersyllabograms are far more likely to be the first syllabogram, i.e. the first syllable of 4 consecutive Minoan words than of proto-Greek words. I cannot stress this enough.
Is the Minoan Linear A labrys inscribed with I-DA-MA-TE in Minoan or in proto-Greek? PART A: Is it in the Minoan language? In my previous post on the Minoan Linear A labrys inscribed with I-DA-MA-TE, I postulated that the word Idamate was probably either the name of the king or of the high priestess (of the labyrinth?) to whom this labrys has been ritually dedicated. But in so doing I was taking the path of least resistance, by seeking out the two most simplistic decipherments which would be the least likely to prove troublesome or controversial. In retrospect, that was a cop-out. No sooner had I posted my two alternate simplistic translations than I was informed by a close colleague of mine in the field of diachronic historical linguistics focusing on Minoan Linear A and Mycenaean Linear B that at least two other alternative decipherments came into play, these being: 1. that the term Idamate may be the Minoan equivalent of the Mycenaean Linear B Damate, which is apparently an early version of the ancient Greek, Demeter, who was the goddess of cereals and harvesting: 2. that the term Idamate may be Minoan for Mount Ida, in which case, the word Mate = “mount”, such that the phrase actually spells out “Ida mount(ain)” : Since both of these decipherments make eminent sense, either could, at least theoretically, be correct. But there is a third alternative, and it is far more controversial and compelling than either of the first two. 3. It is even possible that the four syllabograms I DA MA & TE are in fact supersyllabograms, which is to say that each syllabogram is the first syllabogram, i.e. the first syllable of a word, presumably a Minoan word. But if these 4 supersyllabograms represent four consecutive Minoan words, what on earth could these words possibly signify, in light of the fact that we know next to nothing about the Minoan language. It appears we are caught in an irresolvable Catch-22. Yet my own recent research has allowed me to tease potential decipherments out of 107 or about 21 % of all intact words in Prof. John G. Younger’s Linear A lexicon of 510 terms by my own arbitrary count. Scanning this scanty glossary yielded me numerous variations on 3 terms which might conceivably make sense in at least one suppositious context. These terms (all of which I have tentatively deciphered) are: 1. For I: itaja = unit of liquid volume for olive oil (exact value unknown) 2. FOR DA: either: daropa = stirrup jar = Linear B karawere (high certainty) or datara = (sacred) grove of olive trees or data2 (datai) = olive, pl. date = Linear B erawo or datu = olive oil or daweda = medium size amphora with two handles 3. For TE: tereza = large unit of dry or liquid measurement or tesi = small unit of measurement But I cannot find any equivalent for MA other than maru, which seemingly means “wool”, even in Minoan Linear A, this being the apparent equivalent of Mycenaean Linear B mari or mare. The trouble is that this term (if that is what the third supersyllabogram in idamate stands in for) does not contextually mesh at all with any of the alternatives for the other three words symbolized by their respective supersyllabograms. But does that mean the phrase is not Minoan? Far from it. There are at least 2 cogent reasons for exercising extreme caution in jumping to the conclusion that the phrase cannot be in Minoan. These are: 1. that the decipherments of all of the alternative terms I have posited for the supersyllabograms I DA & TE above are all tentative, even if they are more than likely to be close to the mark and some of them probably bang on (for instance, daropa), which I believe they are; 2. that all 3 of the supersyllabograms I DA & TE may instead stand for entirely different Minoan words, none of which I have managed to decipher. And God knows there are plenty of them! Since I have managed to decipher only 107 of 510 extant intact Minoan Linear A words by my arbitrary count, that leaves 403 or 79 % undeciphered! That is far too great a figure to be blithely brushed aside. The > impact of combinations of a > number of Minoan Linear A words on their putative decipherment: To give you a rough idea of the number of undeciphered Minoan words beginning with I DA & TE I have not been able to account for, here we have a cross-section of just a few of those words from Prof. John G. Younger’s Linear A Reverse Lexicon: which are beyond my ken: For I: iininuni ijadi imetu irima itaki For DA: dadana daini daki daku daqaqa For MA: madadu majasa manuqa masuri For TE: tedatiqa tedekima tenamipi teneruda But the situation is far more complex than it appears at first sight. To give you just a notion of the enormous impact of exponential mathematical permutations and combinations on the potential for gross errors in any one of a substantial number of credible decipherments of any given number of Minoan Linear A terms as listed even in the small cross-section of the 100s of Minoan Words in Prof. John G. Younger’s Reverse Linear A Lexicon, all we have to do is relate the mathematical implications of the chart on permutations to any effort whatsoever at the decipherment of even a relatively small no. of Minoan Linear A words: CLICK on the chart of permutations to link to the URL where the discussion of both permutations and combinations occurs: to realize how blatantly obvious it is that any number of interpretations of any one of the selective cross-section of terms which I have listed here can be deemed the so-called actual term corresponding to the supersyllabogram which supposedly represents it. But, and I must emphatically stress my point, this is just a small cross-section of all of the terms in the Linear B Reverse Lexicon beginning with each of the supersyllabograms I DA MA & TE in turn. It is grossly obvious that, if we allow for the enormous number of permutations and combinations to which the supersyllabograms I DA MA & TE must categorically be subjected mathematically, it is quite out of the question to attempt any decipherment of these 4 supersyllabograms, I DA MA & TE, without taking context absolutely into consideration. And even in that eventuality, there is no guarantee whatsoever that any putative decipherment of each of these supersyllabograms (I DA MA & TE) in turn in the so-called Minoan language will actually hold water, since after all, a smaller, but still significant subset of an extremely large number of permutation and combinations must still remain incontestably in effect. The mathematics of the aforementioned equations simply stack up to a very substantial degree against any truly convincing decipherment of any single Minoan Linear A term, except for one small consideration (or as it turns out, not so small at all). As it so happens, and as we have posited in our first two alternative decipherments above, i.e. 1. that Idamate is Minoan for Mycenaean Damate, the probable equivalent of classical Greek Demeter, or 2. that Idamate actually means “Mount Ida”, these two possible decipherments which do make sense can be extrapolated from the supersyllabograms I DA MA & TE, at least if we take into account the Minoan Linear A terms beginning with I DA & TE (excluding TE), which I have managed, albeit tentatively, to decipher. However, far too many putative decipherments of the great majority of words in the Minoan language itself are at present conceivable, at least to my mind. Yet, this scenario is quite likely to change in the near future, given that I have already managed to tentatively decipher 107 or 21 % of 510 extant Minoan Linear A words, by my arbitrary count. It is entirely conceivable that under these circumstances I shall be able to decipher even more Minoan language words in the near future. In point of fact, if Idamate actually does mean either Idamate (i.e. Demeter) or Ida Mate (i.e. Mount Ida), then: (a) with only 2 possible interpretations for IDAMATE now taken into account, the number of combinations and permutations is greatly reduced to an almost insignificant amount & (b) the actual number of Minoan Linear A words I have deciphered to date rises from 107 to 108 (in a Boolean OR configuration, whereby we can add either “Demeter” or “Mount Ida” to our Lexicon, but not both). A baby step this may be, but a step forward regardless.
Minoan Linear A labrys inscribed with the word Idamate... what does it mean? Revisiting the Minoan Linear A labrys inscribed with the word Idamate, I believe I may have managed to decipher it the second time around. Previously, it just stumped me. However, as can be seen in the illustration of this labrys below, I believe that the term Idamate can be interpreted in one of three (3) ways: Compare this labrys with the Minoan Linear B term for labrys, illustrated here:
Minoan Linear A qajo = Mycenaean Linear B dapu = labrys or double-edged axe: Sometimes the best strategy is to accept what is staring us in the face. On the Kafkania Pebble (Middle Helladic, ca. 1700 BCE?) the term qajo is inscribed immediately below the image of a double-edged axe, which in Mycenaean Linear B is called dapu, or labrys in English, as seen here: Compare these with an actual Minoan Linear A double-edged sword, on which is inscribed with the word idamate, which in a previous post I deciphered as meaning either “King” ( wanaka in Mycenaean Greek ) or the name of the King, “Idamate” or “god” (diwo) in Linear B: This brings the number of Minoan Linear A words deciphered more or less accurately to 66.
Linear A labrys with inscribed Idamate = king? or god (Zeus)? no. 29: Does the inscription on the Linear A labrys with inscribed with Idamate simply mean that this labrys (double axe) is dedicated to a Minoan potentate at Knossos whose name is Idamate? Perhaps. But there are two other more cogent decipherments, and these are either (a) idamate = Linear B wanaka = “king” or just as convincingly (b) idamate = Linear B diwo = “god” or “Zeus.” I am far more inclined to the either of the latter two. Pylos tablet Py Ta 711 (Chris Tselentis) may lend some credence to the decipherment “king”. Certainly the King (Idamate or Wanaka) of Knossos would be highly deserving of such an honour. But so for that matter would Zeus, whose immortal power would certainly be strikingly symbolized by this inscription on a Minoan labrys! Recall the great importance the Minoans and Mycenaeans alike at Knossos imputed to the double axe or labrys. The Hall of the Double Axes is decorated with a whole series of them, one after another, on a magnificently painted frieze, so typical of the masterful artistry of the Minoans at Knossos.
Linear B tablet KN 755 A e 01, The 14 Temple Door Guards: The Mycenaean Linear B word turateu is very similar to the ancient Greek word. It is clear (at least to me) that such door guards, in this case 14 of them, would have been responsible for guarding the doors of sacred temples, such as the Hall of the Double Axes, Knossos (if it was one). I have added the genitive, temenoio, which means “of a temple” to indicate that these 14 are temple guards. Notice the double doors to the Hall of the Double Axes (double doors, double axes, probably intentional). These are the kinds of door that would have been guarded at major ceremonies, such as for the King (wanaka) and the Queen (wanakasa).
Knossos tablet KN 497 O a 06 & the supersyllabogram DA = labrys = double axe:
There isn’t much I can say about this tablet, apart from the fact that it inventories 6 double axes. The text on the left side is unintelligible, being left truncated. The importance of the labrys or double axe in the Minoan/Mycenaean religion cannot be over-stressed. This repetitive motif appears the whole length of the Hall of the Double Axes at Knossos – which I personally saw in May 2012 and which is a magnificent work of art. A nearly identical motif re-appears on frescoes at Mycenae. The presence of the labrys is all-pervasive in the Minoan/Mycenaean religious symbolism of the military. It is uncertain whether the religious or the military aspect predominates in such art, but I am inclined to say that it is the religious, since religious symbolism is rampant in the Minoan/Mycenaean pantheon. Moreover, their religion is primarily matriarchal, and not patriarchal. It is to be expected that religious mythology would trump military in matriarchal societies such as this.
Knossos tablet KN 496 O x 04 and the supersyllabogram da = labrys:
It is simply impossible to determine the meaning of the first word on this tablet, “tanopada”, left truncated, for which the previous syllabogram is probably “a”. In addition, there may be more than one syllabogram before the left truncation. Whatever the word it is, it appears not to be Greek. It may possibly be Minoan. As explained on the illustration of the tablet (above), it is also not possible to determine whether the number 3 refers to both the labrys and the small swords, in which case there would be 3 of each, or whether there is only 1 labrys and there are 3 small swords. My preference is for the latter. In addition, the mark following the number 3 cannot be 10, since the format for 13 is the reverse. It appears simply to a scratch.
Linear B tablet 04-81 N a 12 from the Knossos “Armoury” While most of the Linear B tablets from the Knossos “Armoury” we have translated so far this month have posed few problems of any significance, and a few occasional problems of some significance, this tablet stubbornly defies an accurate translation, for the following reasons: 1 the literal word order on the first line is so jumbled up that it is almost impossible to determine what adjectives modify what nouns. So I have had to come up with at least two alternate interpretations of this line in my free translation. We are saddled with the burning question – 1.1 Is the chariot equipped with straps and bridles made of leather and horse blinkers made of copper? OR 1.2 Is the chariot equipped with straps and horse blinkers made of leather and bridles made of copper? OR 1.3 even some other probable concatenation? Then we are confronted with the mysterious Mycenaean word – (ko)nikopa – (if indeed the first syllabogram, which is partially obscured, is in fact – ko – ), leaving me no alternative but to rummage through an ancient Greek dictionary, in the hope that I just might be able to come up with a word concatenated from two ancient Greek words, and to my slight relief, I found both of the ancient Greek words you see in the illustration of the tablet above, transliterated into Latin script here for those of you who cannot read ancient Greek. These are the words – koniatos – , which means – whitewashed – or – painted white – and – kopis – which means – sword/axe – . See The Pocket Oxford Classical Greek Dictionary, pg. 189, for these definitions. But it is quite clear to any ancient Greek linguistic scholar that I am stretching the putative meaning of – (ko)nikopa – just about as far as one can without crossing over into the realm of ridiculous speculation. So please take my translation of this word with a very large grain of salt. I merely took this meaning because the word has to mean something, so why not at least try and take a stab at it? Every one and anyone who knows me is perfectly aware that I am always the first one to take the plunge and to attempt to translate even the most recalcitrant unknown words found on Linear B tablets. Someone has to, and I am a most willing guinea pig. Nevertheless, it is still possible, however remotely, that the word may mean just that, especially if we assume (and that is all it is, an assumption) that the chariot builder painted an axe motif onto both sides of the chariot body, just as we find the same motif painted onto frescoes in the Hall of the Double Axes at Knossos. This motif of the double axe, which is dubbed a – labrys – by the Minoans and Mycenaeans, is characteristic of wall frescoes at both Knossos and Mycenae, as illustrated here: clarified in turn by the illustration below of the ideogram – dapu – for – labrys – and with a similar ideogram of a labrys incharged with the supersyllabogram WE, which I have as yet been unable to decipher:
Military Ideograms in Linear B for spear, arrow, axe, (long) sword, short sword or dagger, horn, bow & arrow: Click to ENLARGE With the exception of the last one on the bottom right, these military ideograms speak for themselves. Mrs. Rita Roberts of Crete and I are of the opinion that her decipherment of B259 comes down to “bow and arrow”, in light of a Linear B seal inscribed with an archer wielding a bow and arrow she recently found on the internet and we posted here, which looks uncannily like the syllabogram itself. The very last ideogram (bottom right), with the arrow pointing at it, is as yet undeciphered. Mrs. Roberts, Spyros Bakas, in the graduate program for Mycenaean Studies at the University of Warsaw, the Association of Historical Studies (Koryvantes), Athens and I myself are all working together to find a solution for a tenable decipherment of this last ideogram. Should any one of you reading this post have any further suggestions for its decipherment, please feel free to leave a comment on this post. Richard
Military Syllabograms in Mycenaean Linear B, including 2 newly deciphered: Here we find 2 illustrations of military syllabograms in Mycenaean Linear B. Just click on each one to ENLARGE it. Illustrations of a typical Double Axe, Minoan (left) & Mycenaean fresco (right): Click to ENLARGE Military Syllabograms in Mycenaean Linear B for the Axe & Double-Axe or Labrys: Click to ENLARGE It is questionable whether or not the word dapu for “labrys” is in fact of Mycenaean Greek etymology, since it is somewhat of a stretch to correlate the Linear B spelling dapu with the corresponding ancient Greek orthography labrys. This sort of thing happens often enough in Linear B, making it difficult and sometimes even impossible to interpret a small cross-section of Mycenaean Greek words as Greek words (if that is what they are). Just as there are thousands of words in ancient Greek and modern Greek of non-Greek etymology, there were many of the same in Mycenaean Greek. I need only cite two examples, both of which make perfect sense even in English, but neither of which are of Greek etymology even in Mycenaean Greek, to drive my point home. We have for instance serino for “celery”, obviously the same as the English word, when you take into account that the Mycenaean “r” = Greek & English “l”. So also with sasama for “sesame”, a word which has quite literally been unchanged, apart from minor spelling variations to account for orthographic conventions in various languages, ancient & modern, ever since its first appearance in ancient languages right on down to today in English and other Occidental languages. It may possibly be Minoan. If it can ever be established that even a few of such words in Mycenaean Greek are actually of non-Greek origin, these words might provide a clue to the possible decipherment of the Minoan language, with the proviso that they are in fact Minoan. Unless any of these words actually appear either alone or as part of attested Minoan words from the online database of extant Minoan words in the Linear A texts in phonetic transcription by Professor John G. Younger, here: we are caught in a vicious circle. Of course, neither serino nor sasama appear in this database. Around and round we go on an endless merry-go-round. Military Syllabograms in Mycenaean Linear B on Chariots and related ideograms: Click to ENLARGE More in the next post... Richard