Cretan pictograms 85-117 represent the moderately complex forms of unknown, indecipherable pictograms

Cretan pictograms 85-117 represent the moderately complex forms of unknown, indecipherable pictograms:

 

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Cretan pictograms – the first 14: the origins of syllabograms

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.

An Easy Guide to Learning Arcado-Cypriot Linear C & I mean easy!

An Easy Guide to Learning Arcado-Cypriot Linear C & I mean easy!: Click to ENLARGE


If any of you out there have already mastered either Minoan Linear A or Mycenaean Linear B or both, Arcado-Cypriot Linear C is likely to come as a bit of a shock. Although the phonetic values of the syllabograms in Linear C are identical to their Linear B counterparts, with very few exceptions, the appearance of Linear C syllabograms is almost always completely at odds with their Linear B counterparts, again with very few exceptions. If this sounds confusing, allow me to elucidate.

A: Appearance of Linear B & Linear C Syllabograms. Linear C syllabograms look like this. If you already know Linear B, you are probably saying to yourself, What a mess!, possibly even aloud. I can scarcely blame you. But courage, courage, all is not lost. Far from it. Click to ENLARGE:

 
Only the following syllabograms look (almost) alike in both Mycenaean Linear B & Arcado-Cypriot Linear C [see (a) below]:

NA PA TA * SE * LO * PO *

* There is a slight difference between those syllabograms marked with an asterisk *

DA in Linear B is identical to TA in Linear C because Linear C has no D + vowel series, but uses the T + vowel series instead.
SE in Linear B has 3 vertical strokes, whereas in Linear C it has only 2.
RO in Linear B is identical to LO in Linear C. While Linear C has both and R + vowel series, it uses the L + vowel series as the equivalent of the Linear B R series.
PO stands vertically in Linear B, but is slanted about 30 degrees to the right in Linear C.

All other syllabograms in these two syllabaries are completely dissimilar; so you might think you are on your own to learn the rest of them in Linear C. But in fact, you are not. I can help a lot. See below, after the section on the Phonetic Values of Linear B & Linear C Syllabograms.

B: Phonetic Values of Mycenaean Linear B & Arcado-Cypriot Linear C Syllabograms:

Here the reverse scenario applies. Once you have mastered all of the Linear C syllabograms by their appearance, you can rest pretty much assured that the phonetic values of almost all syllabograms in both syllabaries are identical, with very few exceptions. Even in those instances where their phonetic values appear not to be identical, they are in fact identical, for all intents and purposes. This is because the ancient Greek dialects were notorious for wide variations in pronunciation, ergo in orthography. Anyone at all familiar with ancient Greek dialects can tell you that the pronunciation and spelling of an identical document, were there ever any such beast, would vary markedly from, say, Arcado-Cypriot to Dorian to Attic alphabetic. I can hear some of you protest, “What do you mean, the Arcado-Cypriot alphabet? I thought the script for Arcado-Cypriot was the syllabary Linear C.” You would be only half right. In fact, the Arcadians and Cypriots wrote their documents either in Linear or in their version of the ancient Greek alphabet, or in both at the same time. This is the case with the famous Idalion decree, composed in the 5th. Century BCE: Click to ENLARGE


The series of syllabograms beginning with the consonant R + any of the vowels A E I O & U is present in Mycenaean Linear B.  However, the series of syllabograms beginning with the consonant L + any of the vowels A E I O & U is entirely absent from Mycenaean Linear B, while Arcado-Cypriot Linear C has a series of syllabograms for both of the semi-consonants L & R. It rather looks like the Arcadians & Cypriots had already made the clear distinction between the semi-vowels L & R, firmly established and in place with the advent of the earliest form of the ancient Greek alphabet, which sported separate semi-vowels for L & R.

Likewise, the series of syllabograms beginning with the consonant Q + any of the vowels A E I & O is present in Mycenaean Linear B, but entirely absent from Arcado-Cypriot Linear C. Conversely, the series of syllabograms beginning with the consonant X + the vowels A or E (XA & XE) is entirely absent from in Mycenaean Linear B, but present in Arcado-Cypriot Linear C.

For the extremely significant socio-cultural linguistic explanation for this apparent paradox (I say, apparent, because it is in fact unreal), we shall have to defer to the next post.

WARNING! Always be on your guard never to confuse Linear B & Linear C syllabograms which look (almost exactly) alike – the sole exceptions being NA PA TA SE LO & PO, since you can be sure that their phonetic values are completely at odds.

Various strategies you can resort to in order to master Linear C fast!   

(a) The Linear B & Linear C syllabograms NA PA TE SE LO & PO are virtually the same, both in appearance and in pronunciation.

(b) Taking advantage of the real or fortuitous resemblance of several syllabograms to one another &
(c) Geometric Clustering: Click to ENLARGE

What is really astonishing is that the similarities between the syllabograms on the second line & their geometric clustering on the third are identical! So no matter which approach you adopt (b) or (c) or both for at least these syllabograms, you are a winner.
     
Failing these approaches, try
(d) Mnemonics: For instance, we could imagine that RO is a ROpe, PE = Don’t PEster me!, SA = SAve $, TO is TOFu etc. or we could even resort to
(e) Imagery! For instance, we could imagine that A E & I are a series of stars, RI NI & KE all look like variations on the letter E, that LE is the symbol for infinity, WE is an iron bar etc. For Mnemonics & Imagery, I am not suggesting that you follow my own arbitrary interpretations, except perhaps for LE, which is transparent. Take your imagination where it leads you.
Finally (f) the really great news is that the Linear C syllabary abandoned homophones, logograms and ideograms, doing away with them lock-stock-and-barrel. This should come as no surprise to anyone familiar with the Minoan Linear A & Mycenaean Linear B syllabaries. The first had so many syllabograms, homophones, logograms and ideograms that it can be a real pain in the butt to learn Linear A. Mycenaean Linear B greatly simplified the entire mess, reducing the number and complexity of syllabograms & homophones, but unfortunately retaining well over a hundred logograms and ideograms, which are equally a pain in the you know what. In other words, the process of greater and greater simplication was evolutionary. This phenomenon is extremely common across the spectrum of world languages. 

What the Linear C scribes agreed upon, the complete elimination of anything but syllabograms, was the last & greatest evolutionary phase in the development of the Minoan-Greek syllabaries before the Greeks finally reduced even Linear C to its own variable alphabet of some 24-27 letters, depending on the dialect. But even the 3 syllabaries, Linear A, B & C, all had the 5 vowels, A E I O & U, which already gave them an enormous advantage over almost all other ancient scripts, none of which had vowels, with the sole exception of Sanskrit, as far as I know. That alone was quite an achievement. If you have not yet mastered the Linear B syllabary, it goes without saying that all of these techniques can be applied to it. The same goes for the Minoan Linear A syllabary, though perhaps to a lesser extent.

The Real Potential for Extrapolation of these Principles to Learning any Script:
Moreover, at the most general level for learning linguistic scripts, ancient or modern, whether they be based on pictographs, ideograms alone (as with some Oriental languages, such as Chinese, Japanese & Korean, at least when they resorted to the Kanji script), or any combination of ideograms, logograms & syllabograms (all three not necessarily being present) or even alphabetic, they will almost certainly stand the test of the practical validity of any or all of these approaches for learning any such script. I have to wonder whether or not most linguists have ever considered the practical implications of the combined application of all of these principles, at least theoretically.

Allow me to conclude with this telling observation. Children especially, even from the age of 2 & a half to 3 years old, would be especially receptive to all of these techniques, which would ensure a rapid assimilation of any script, even something as simple as an alphabet of anywhere from 24 letters (Italian) to Russian Cyrillic (33 letters), as I shall clearly demonstrate with both the modern Greek & Latin alphabet a little later this month.

PS. If any of you are wondering, as I am sure many of you who are familiar with our blog must be, I have an extremely associative, cross-correlative mind, a rather commonplace phenomenon among polyglot linguists, such as myself. In fact, my thinking can run in several directions, by which I mean I frequently process one set of cross-correlative associations, only to consider another and another, each in quite different directions from the previous.  If that sounds like something Michael Ventris did, it is because that is precisely what he did to decipher almost all of Mycenaean Linear B - almost all, but not quite. As for the remaining 10 % or so which has so far defied decipherment, I promise you you are in for a great surprise very soon, perhaps as early as the spring of 2015, when my research colleague, Rita Roberts, and I shall be publishing an in-depth research paper in PDF on the Internet - a study which is to announce a major breakthrough in the further decipherment of Linear B. Those of you who frequent this blog on a regular basis already know what we are up to. As for those of you who are not regular visitors, if you read all the posts under the rubric, Supersyllabograms (at the top of this page), you are going to find out anyway.       

Richard

Chinese Ideograms Compared to Linear B Syllabograms, Homophones, Logograms & Ideograms

Chinese Ideograms Compared to Linear B Syllabograms, Homophones, Logograms & Ideograms: Click to ENLARGE:



Chinese (Oriental):

Each Chinese character represents a monosyllabic Chinese word or morpheme. In 100 CE, the famed Han dynasty scholar Xu Shen classified characters into six categories, namely pictographs, simple ideographs, compound ideographs, phonetic loans, phonetic compounds and derivative characters. Click on the banner below to read this entry in full:



Chinese Character Classification:

Pictograms:

Roughly 600 Chinese characters are pictograms (xiàng xíng "form imitation") — stylised drawings of the objects they represent. These are generally among the oldest characters. These pictograms became progressively more stylized and lost their pictographic flavor... passim...

Ideograms:

Ideograms (zh? shì, "indication") express an abstract idea through an iconic form, including iconic modification of pictographic characters. Low numerals are represented by the appropriate number of strokes, directions by an iconic indication above and below a line, and the parts of a tree by marking the appropriate part of a pictogram of a tree. Click on the banner below to read this entry in full:

 

The Relationship Between Minoan Linear A (unknown) + Mycenaean Linear B & Arcado-Cypriot Linear C (Occidental Greek):

Both Linear A, which was used to write the undeciphered Minoan language & Linear B, its immediate descendent, which was used to write Mycenaean Greek, shared character sets which were uncannily similar and in the case of a fair number of syllabograms, identical. However, given that Mycenaean Greek did not require anywhere near as many characters as had the Minoan language, Linear B, all for the sake of greater simplicity, abandoned a great number of the more complex Linear A syllabograms, homophones, logograms and ideograms as plainly extraneous. When the Linear B scribes devised the new syllabary, they simply tossed out everything from Linear B which was of no further use in representing early ancient Mycenaean Greek.

And we must never forget that these two syllabaries, Linear A and Linear B, its much simplified offshoot, were used to write two entirely unrelated languages. Because the first, Minoan, is undeciphered, we have no way of knowing to which class of languages it belongs, except that so far at least, it has utterly defied decipherment as anything like an Indo-European language. On the other hand, Linear B was used for early ancient Greek, which is an Indo-European language. The point I am trying to make is that these two syllabaries, which are so much alike not only in appearance but to a large extent in phonetic values, represent languages belonging to completely different classes. While the scripts look uncannily alike, the languages underlying them are entirely unalike. Conclusion: even scripts, in this case scripts which make use of a combination of syllabograms, logograms and ideograms by and large (nearly) equivalent, may easily represent languages which have nothing to do with one another.

The direct opposite scenario can, and does often occur. Linear B and Linear C used completely different syllabaries to write two extremely closely related dialects of the same language, ancient Greek, the first, Linear B for Mycenaean and the second, Linear C, for Arcado-Cypriot. No two dialects in ancient Greek are nearly as closely related as are these two, not even Ionic and Attic Greek. In the majority of cases, in fact, although morphemes (words) in Linear B & Linear C of course look completely unalike in their respective syllabaries, their phonetic values, far more often than not, sound & are (almost) exactly the same, because they are phonetically (practically) one and the same Greek word. Moreover, Arcado-Cypriot was written using both Linear C and the Greek alphabet. Same document, different scripts. So in Arcado-Cypriot, regardless of the script, the words (morphemes) and their phonetic values are identical. Moreover, in a great many cases, any given Greek word written in Linear B, Linear C or in alphabetical Greek in either of these two germane dialects is, plainly and simply, the (exact) same word. This phenomenon is of vital, if not critical, significance to the translation of tablets composed in Linear B and in Linear C alike into alphabetical Greek. Phonetically, the results can often be astonishingly alike, if not identical, for all three scripts (Linear B, Linear C & alphabetical Arcado-Cypriot).

A Comparison Between Chinese Pictograms/Ideograms and Linear B Syllabograms, Homophones, Logograms & Ideograms:

Any attempt to make sense of any comparison between the ideograms of an oriental language such as Chinese and those of a script used for an Occidental language, in this case, Linear B for Mycenaean Greek, may seem to be an exercise in utter futility. Yet, in some senses, it turns out not to be so. This is quite clearly demonstrated in the chart of only 10 ideograms for Chinese words, compared with 10 similar looking syllabograms, homophones, logograms and ideograms in Linear B. The point I am trying to make here is simply this: as far as the assignation of ideograms is concerned, even languages as disparate and as geographically distant from one another as Mycenaean Greek and oriental Chinese, often end up using ideograms which either look almost exactly the same or are uncannily similar in appearance, even though the morphemic values underlying them are almost always completely unrelated, which goes without saying. Or does it?

B. Same Ideogram, Same Meaning (a Rare Bird indeed, but...):

In one case and one case only, the ideogram for “month” in Chinese is the exact mirror image of the same ideogram in Linear B! Can this be so surprising, that the Chinese and Linear B scribes alike took the cue for the symbolism for the ideogram, “month”, from the exact same astronomical phenomenon, the moon? Of course not, given that almost all ancient societies had recourse to the lunar, not the solar, month.

I have made no effort here to compare the Linear B & Chinese ideograms in the chart above with the ideogram for “month” in any other ancient language, undeciphered or not, but of course there are scores of languages based either completely (ancient & modern Chinese, Korean & Japanese) or partially on ideograms (such as Linear A & B, but not Linear C). Rummage through as many of them as you like and you are bound to turn up ideograms very similar to those for “month” in both Linear B & Chinese. In a sense, this striking similarity is in part accidental, since anyone can use any symbol even remotely resembling the moon for “month”, yet at the same time, chances are good that people speaking languages as geographically and linguistically remote as ancient Mycenaean Greek and (ancient or modern) Chinese can and will come up with practically the same ideogram. This phenomenon of (striking) similarity in the appearance of ideograms between two entirely unrelated languages will (in the very rarest circumstances) result in the same meaning, but even then, of course, the pronunciation will be utterly different, because it must be. The ideograms for “month” in Linear B & Chinese look like mirror images of one another, but their pronunciation is totally alien, the Linear B for month being some variation on the Greek, “mein”, the Chinese being “yuè”.

Same Ideogram, (Almost Always) an Entirely Different Meaning: 

Of course, the obverse also holds true. Take one look at our chart above, and you can see right away that the very first ideogram in the Linear B column looks almost identical to its Chinese counterpart in column 1.1.  Yes, they look like kissing cousins. But they mean something entirely different. This can come as no surprise to anyone familiar with linguistics.

C. One is an Ideogram, the Other is Not!

C.1 A Chinese Ideogram looks like a Logogram in Linear B:

Of course, in the vast, vast majority of cases, ideograms which look the same from one language to another almost always mean something entirely different. But there is more. The first example we see in the Linear B column is not an ideogram at all, but a logogram composed of two Linear B syllabograms, ME & RI, the one superimposed on the other. In other words, what is an ideogram in one language (Chinese) is not an ideogram at all in another (Mycenaean Greek), even though they look almost identical, as is the case with our first example in the chart above, the logogram for MERI “honey” in Linear B, which looks almost identical to the ideogram in Chinese for “elephant”! 

C.2 A Chinese Ideogram looks like a Combination of Syllabograms & or Homophones & or Logograms in Linear B:

Referring to Linear B entries 4. 6. & 7. in our chart above, we see that we have the syllabograms JA, SA & TE respectively. JA looks quite similar to the Chinese ideogram for “eye” (4.2) and SA + TE again like “sheep, ram” (10.2). Now of course, things get really messy, because Linear B uses two (2) ideograms, one for “ewe”, another for “ram”, and Chinese only one for both, with absolutely no resemblance between the Linear B & Chinese. This of course is the scenario for practically all syllabograms, homophones, logograms and ideograms on the one side (Linear B) and the ideograms on the other (Chinese), say 99.9 %. What is true for Linear B and Chinese is also true of any two languages which either use pictograms and ideograms almost exclusively (Chinese) or ideograms in combination with other signifiers such as syllabograms, homophones & logograms (Linear B).

Conclusion:

Many of you are surely asking, “What on the earth is the point of this, if not an exercise in futility?  Why even bother with it?” The answer is simple enough: why climb a mountain? - because it is there. A great many researchers specializing in comparative linguistics are fascinated by just this sort of thing... which is why I brought it up in the first place. But there is another reason, even more compelling than this, which I shall reveal to you in our next fascinating post, before we have done with this topic once and for all.

Richard