summer haiku d’été − Russian sailor = marin russe Russian sailor on his tall ship − some tall order! marin russe sur son grand voilier − mais quel grand défi ! Richard Vallance NOTE that a tall ship is a special kind of sailing vessel with very tall masts.
summer haiku d’été – two Russian sailors = deux matelots russes two Russian sailors by the tall ship’s rigging – one on his laptop deux matelots russes près du gréement du voilier – l’un et son portable Richard Vallance
senryu – Russian sailors = matelots russes Russian sailors sweet on one another posing arm in arm matelots russes qui s’ adorent l’un l’autre bras dessus bras dessous Richard Vallance
Romantic senryu – Eastern Boy Eastern Boy, my Russian heart throb – how stunning you are! Eastern Boy, mon idole russe – que tu es beau ! * Richard Vallance I find this young Russian actor, Kirill Emelyanov, from the movie “Eastern Boys” just out of this world! But of course I am crazy about young Slavic men! And the movie is amazing, whether you are gay or not. La phrase « Que tu es beau ! » est tiré du beau film Eastern Boys.
Je suis Charlie - in French, English & Greek + 11 modern languages & 3 ancient Greek dialects! I beg you, please be sure to RETWEET this, folks! As a polyglot Canadian, fluent in English and French, conversant with both modern languages and ancient, especially ancient Greek, with some 20 dialects under my belt, including Mycenaean Linear B & Arcado-Cypriot Linear C, I hope to reach not only everyone alive now, but as many of our ancestors as possible. I do this out of love for all the millions upon millions of people who have been slaughtered by warmongers, manaics, religious fanatics & terrorists, past, present and... God forbid... future! Je vous prie de tout mon coeur de faire des RETWEETs de ce message des plus urgents! Tout en étant canadien parfaitement bilingue, je suis également polyglotte, connaisseur de plusieurs langues modernes et anciennes, dont une vingtaine de dialèctes grecs tels que le mycénien en linéaire B et le chypro-arcadien en linéaire C. Dans ce but, j’espère communiquer ce message de solidarité bienveillante à tous ceux qui sont encore vivants autant qu’à tous nos ancêtres, dont d’innombrables millions qui ont perdu la vie, tous massacrés par des bellicistes, des maniaques, des fanatiques religieuses et des terroristes d’antan, de nos jours et... à Dieu ne plaise ... incontournablement à l’avenir. Richard Vallance Janke, Ottawa, Ontario, Canada
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