spring haiku – a farm, blue trees = une ferme, arbres bleus

spring haiku -  a farm, blue trees = une ferme, arbres bleus

a farm, blue trees
reflected in the pond 
a rowboat becalmed

une ferme, arbres bleus
leur reflet dans l’étang
une barque immobile

Richard Vallance

painting, Piet Mondrian, a farm (1901) = peinture, une ferme ( 1901 )

autumn haiku d’automne – the autumn breeze = la brise d’automne

autumn haiku d’automne – the autumn breeze = la brise d’automne

the autumn breeze
vanishes –  

la brise d’automne
disparaît –
flocons de neige

Richard Vallance

photo © by/ par Richard Vallance 2017

autumn haiku (Tom Thomson, 1877-1917, Autumn’s Garland, 1915) – aureate leaves = feuilles dorées

autumn haiku (Tom Thomson, 1877-1917, Autumn’s Garland, 1915) -  aureate leaves = feuilles dorées

aureate leaves
sweeping a rock face,
autumn’s garland

autumn autumns garland tom thomson 620

feuilles dorées
sur une paroi rocheuse,
guirelande d’automne

Richard Vallance 

This is the first of many haiku I shall be composing based on the magnificent paintings of the most famous of the illustrious Canadian Group of Seven painters of the early twentieth century, Tom Thomson (1877-1917). Tom Thomson disappeared on Canoe Lake on July 8, 1917. He was presumed drowned.

Cet haiku est le tout premier de plusieurs que je vais écrire, qui sont tous basés sur les peintures magnifiques du peintre Tom Thomson ( 1877 – 1917 ), le plus renommé de tous le peintres illustres du Groupe des Sept canadien au début du vingtième siècle. Tom Thomson a disparu au Lac Canoe le 8 juillet, 1917. Il est présumé mort. 

winter haiku d’hiver – two wilted trees = deux arbres flétris

winter haiku d’hiver –  two wilted trees = deux arbres flétris

two wilted trees
on the brushwood path –
skeletal mirage

2 wilted trees

deux arbres flétris
dans les brousailles –
mirage de squelettes

Richard Vallance

This photo was taken by my friend, Willem Tensen, while on a hike in the Hollywood Hills, late January 2019.

Mon ami, Willem Tensen, a pris cette photo, lors d’une randonnée dans les collines de Hollywood, vers la fin de janvier, 2019.

winter haiku d’hiver – fractured trees = arbres brisés

winter haiku d’hiver – fractured trees = arbres brisés

fractured trees
in the Hollywood Hills –
victims of winter

fractured trees in the hollywood hills 620

arbres brisés
sur les collines d’Hollywood –
victimes de l’hiver

Richard Vallance

summer haiku d’été – the buddhist monk = le moine bouddhiste

summer haiku d’été – the buddhist monk = le moine bouddhiste

the buddhist monk
roaming the greenwood mountains
is the forest

buddhist monk forest

le moine bouddhiste
qui erre dans les montagnes vertes
est la forêt

Richard Vallance

winter haiku – fractured by the snow storm = brisés par la tempête de neige


winter haiku – fractured by the snow storm = brisés par la tempête de neige 

trees on the slope
fractured by the snow storm
now a ghost

trees on the slope640

arbres sur la pente
cassés par la tempête de neige 
enfin un fantôme 

Richard Vallance

winter haiku d’ haiku – silver grass = herbe argentée

winter haiku d’ haiku - silver grass = herbe argentée

silver grass
bowing to the blast -
trees whip-lashed

haiku snowstorm grass

herbe argentée
s’agenouillant à la rafale -
arbres fouettés

Richard Vallance

If we yield to life we survive better than if we put our backs up. Si l’on cède à la vie, on réussit mieux que si l’on reste têtu.

Minoan Linear A poetic vocabulary (11 pages)

Minoan Linear A poetic vocabulary (11 pages):

goddesses on signet Minoan prince saffron goddess



adara/adaro/adaru = having to do with the measurement of grain crops 
ade/adu = large unit of measurement for grains, something like bales?
adureza = dry unit of measurement, usually for grains
akara/akaru a1kra (arch. acc.) - or - = end, border + akaru a0gro/j = field

akiro a1kairoj = not in season, unseasonable -or- a1grioj = living in the fields; uncultivated, unreclaimed

amaja a3maca= wagon
arura a0rou/ra = unit of land -or- plough Cf. Linear B arura 
arudara a1lutra <- a1lutron = threshing instrument (arch. acc.) 
asesina = sowing or harvesting
asadaka a1staxa (arch. acc.) <- a1staxu (Minoan nom. sing.)= ear of corn
Asara2 TOP = Linear B Asaro A0sa/roj -or- may refer to Assur, hence Assyria -or- asara2 (asarai) = without flax
atare a0ta=lei/ <- a0ta=lo/j = tender; delicate (of crops?) -or- a0qa/lei <- a0qa/loj = without a branch, twig; without an olive branch -or- a9dro/j = full-grown – or – a0qa/rh = groats, meal, green fodder, forage, provender Cf. kupari = galingale
atiru a0te/lu <- a0te/loj = without boundaries 
dame/dami/daminu OM dame = a type of grain -or-  da/mei = in the village
data2 (datai) = olive
datu = olive tree 
dideru = einkorn wheat Cf. Linear B didero
durare = a type of grain, durum wheat?
dureza/durezase = unit of dry measurement? (variation of: adureza?)
ero e0llo/j = young deer, fawn 
etori e1tori <- e1toj = for a year 
itaja = unit of liquid volume for olive oil? (exact value unknown)
kami ka/mi (dat./instr. sing.) <- ka/ma = (on a) unit of land Cf. Linear B ka/ma 
kasaru = surviving? (drought)
kasitero kasite/loj = boundary of...?
kikadi = cicada (cricket) 
kireta2 (kiretai) kri/qai = barley
kiretana kriqani/aj = like barley, barley (attributive)
kiro/kirisi/kiru = owed Cf. Linear B oporo = they owed
kunisu = emmer wheat (derivation: Semitic kunnisu) 
madi = a ram? (probably, because it appears to be masculine and is used in conjunction with the ideogram for sheep 
maru/maruku/maruri mallo/j = flock of wool Cf. Linear B mali mali/ = wool 
meza me/za (fem. sing.) = greater, bigger Cf. Linear B mezo me/zwn me/zoj
minute (sing. minuta2 – minutai) = type of grain – or – Mi/nute\ <- Mi/noste\ = and Minos
mireja mhle/a = apple tree -or- mh/leia (gen. sing.) = belonging to a sheep
miru mh=lon = a sheep or goat -or- mh1lon = apple, tree fruit 
mirutarare = sheep pen? -or- apple orchard?  
naka na/ka (arch. acc) <- na/koj = sheep’s fleece    
nea ne/a = new Cf. Linear B ne/#a = new                                                                                                                                                                                                                        
pa3ni/pa3nina/pa3niwi =  millet -or- spelt 
pa3qe -or- qepa3 i.e. paiqe -or- qepai  (+ ideogram for wheat”) = a kind of grain similar to wheat
paja/pajai/pajare = contracted, indentured, hired?
para para\ = beside, from beside, by the side of, beyond etc.
pasarija = pa=sa + rija = all-encompassing, international? 
pura2 = a type of grain 
qanuma = a type of grain
qareto = lease field? Cf. Linear B onato
qaqisenuti xalkei/a=senuti = with bronze craftsmanship 
qera2u/qera2wa = a type of grain, probably millet or spelt
qeria = probably millet or spelt
reza = standard unit of linear measurement
rima lei=mac = garden -or- lei=mma = remnant, remains -or- lh=mma = income, receipts  (dative/instrumental plural) 
ruma/rumu/rumata/rumatase lu=matase <- lu=ma = offscourings from grain, i.e chaff
sara2 (sarai)/sarara/saru = flax
saro/saru/sarutu sa/ron = broom, threshing floor
sato sa/ton = Hebrew unit of measurement.
sedina = celery Cf. Linear B serino se/linon
seikama = seika/ma = a unit of land dedicated to a/the goddess
setamaru  = something to do with wool/spun wool?
sika  shka/ (arch. acc.) <- shko/j = fold, enclosure; (sheep) pen; sacred precinct, shrine = <- zhka/zw = to pen in Cf. Linear B periqoro peri/boloj = sheep pen 
Sikine TOP loc. sing. of Sikinos -or- OM = a type of grain
simita = mouse (arch. acc.) simito/simitu PGS  = zmi/nqoj mouse 
sitetu See situ below
situ si/tu si/tun = wheat Cf. Linear B sito si/ton 
suniku (common) su/noiku <- su/noikoj  living together, joint inhabitant,  dweller
suzu su/zuc = yoked together; paired Cf. Linear B zeukesi zeu/gesi = yoked (instr. pl.)
taikama taika/ma = a unit of land, something like an acre?
ta2re/ta2reki sta=rei<-  stai=j wheaten flour mixed into dough + tasise sta/sisei
tai2si (taisi) stai=sei <- stai=j = with wheaten flour mixed into a dough (instr. pl.)
teke/teki = small unit of measurement for wine @ 27 1/2 units per tereza
tereza = liquid unit of measurement
terikama te/leika/ma = extent of land, i.e. something like acreage, lit. land to its extent or boundary 
tero/teroa te/loj = end, boundary 
Tumitizase TOP -or- = linen Cf. Linear B rino li/non
udiriki u3driki <- u3droj = with water 
ukare = sowing or harvesting
Uminase TOP  Cf. Linear B Aminiso = harbour 
waja #ai/a = earth, land

Flowers/fruit/spices etc:

adakisika a0dakissi/ka = adorned with ivory
adoro a1doroj = receiving no gifts; unpaid; giving no gifts
akumina a0ku/mina = without cumin? (arch. acc.)
amawasi a3mai#asi = with violets
asidatoi a0si/datoi = without pomegranate (dat. sing.)
atade a1ttade = from father 
ditamana = dittany
dudama = a kind of fruit = dates? (found in context with figs)
ia i0a/  (n. pl.) = an arrow (sing.) & i1a (n. pl.) = violets/ija See i0a/ (n. pl.) = an arrow (sing.) & i1a (n. pl.) = violets (variation) 
kanaka kna/ka (arch. acc. of respect) = saffron Cf Linear B kanako kna/koj
kapa/kapaqe/kapate/kapi  karpa/ (arch. acc.) + karpa/te\ = fruit, and fruit, with fruit -or- kara 
kera/kero ke/raj = horn (ivory) -or- khr/oj = bees-wax Cf. Linear B kera
kikina = some kind of fruit, quite likely grapes (from context)
kireza = measurement of figs = 1 basket of figs carried on a shoulder
kitai/kitei = kestai/ kestei/ = embroidered (lit.), but in context = basketry, basket(s)
kupari ku/pairi (instr. sing.) <- ku/pairoj = marsh-plant used to feed horses, galingale or ginger
kuruku kro/koj = crocus, saffron
mera mela/j = black  - or – me/la (arch. accus.) = honey 
merasasaa/merasasaja (very common) = something to do with honey/ honeycomb or honey drink? 
meto mesto/j = full, filled
mireja mhle/a = apple tree -or- mh/leia (gen. sing.) = belonging to a sheep
miru mh=lon = a sheep or goat -or- mh1lon = apple, tree fruit 
mirutarare = sheep pen? -or- apple orchard? 
mita  mi/nqa = mint Cf. Linear B mita 
muru mu/ron = sweet oil extracted from plants; sweet oil; unguent; perfume Cf. Linear B musaja
nira2 (nirai) -or- nita2 (nisai) OM = figs + ideogram = NI (in both Linear A & B)
oteja o1steia <- o1streia = oyster pigment; oyster purple Cf. Linear B otawero o1streioj 
para para\ = beside, from beside, by the side of, beyond etc.
patane OM = lentils? (fem. pl.)
pimata PGS = pimento
pita/pitaja pista/kion = pistachio-nut 
pitakase/pitakesi pista/kesi = with pistachio-nuts (instr. pl.) 
punikaso funi/kasoj = crimson, red (of wine) Cf. Linear B ponikiya ponikiyo foini/kioj = crimson 
ra2ri (rairi) = lily 
rima = lei=mac = garden -or- lei=mma = remnant, remains -or- lh=mma = income, receipts  (dative/instrumental plural)
rimisi See above (instr. pl.) 
rosa = rose 
rosirasiro = rosebush? 
sasame sasa/me = sesame Cf. Linear B sasa/ma
sedina = celery Cf. Linear B serino se/linon
tuma/tumei/tumi qumi/a = incense
turunu qo/rnoj = throne Cf. Linear B tono qo/rnoj 
unana = penny royal?
uro ou0=loj = entire, total. Cf. kuro ku=rwn = reaching, attaining i.e. = total
waja #ai/a = earth, land

ia i0a/  (n. pl.) = an arrow (sing.) & i1a (n. pl.) = violets/ija See i0a/ (n. pl.) = an arrow (sing.) & i1a (n. pl.) = violets (variation) 
ima i9ma/c = leather strap, thong; lash of a whip 
ira2 i1la=i = troops, companies, squadrons
kara kara/ = head Cf. Linear B kara(pi) kara/afi
kipisi ci/fisi <- ci/foj = with swords (instr. pl.) 
kito xitw/n = chiton Cf. Linear B kito
koiru koi/ru <- koi/roj = hollow (ships) 
koru ko/ruj = helmet Cf. Linear B koru
kuro/kurotu ku=roj = supreme power, authority & ku=rwn = reaching, attaining i.e. = total Cf. Linear B tosa to/sa
kuto/kutu ku/toj = shield, cuirass
qaro ba=lo/j = threshold 
qero be/loj = arrow, dart
radu r9a/bdu <- r9a/bdoj = rod, switch; spear-staff or shaft
ra2ti (raiti) r9aisth/r = a hammer, crusher
sama/samaro sama/ro = burial ground Cf. Linear B Sama/ra sama/ra = place name -or- monument -or- grave mound OR sa/meron = today
sere -or- rese seirei/ <- seira/ = with a cord or rope (instrumental sing.)
tarasa = sea Cf. Linear B tarasa qa/lassa
toraka qw/rac  = breastplate, cuirass = Linear B toraka
toro tau/roj = bull -or- qolo/j = dome or circular vault; vaulted building
zuma zw=ma girdle, belt; girded tunic


aresana a1leisana <- a1leison = an embossed cup (arch. acc.) = de/paj (Homeric) Cf. Linear B dipa/arisu  a1leisu <- a1leison = embossed cup 
daqera = a type of vase? 
darida = large vase, slightly smaller than a pithos
daropa = stirrup jar 
depa/depu de/paj de/pu (acc.?)= cup Cf. Linear B dipa di/paj & Homeric de/pa
dipa3a (dipaia) di/paia <- di/paj de/paj = from a cup 
dipaja di/paia <- di/paj de/paj = from a cup (alternate?)
ipinama/ipinamina i0pneume/na (fem. sing.) = baked (bread)

itisapuko i1tija = round + pu/coj = box-wood -or- NMOM i1tija = round + puko = tripod = round tripod Cf. puko below

kadi kadi/ (instr. sing.) <- ka/doj = with a jar or vessel for water or wine
kadusi ka/dusi <= ka/doj = with buckets or pails (instr. pl.) 
kairo kairo/j = due measure 
kaki/kaku xalku/ <- xalko/j = copper, bronze
kakunete = bronze alloy - or – crafted in bronze 
karopa2 (karopai) = kylix with 2 handles-or-   ka/rdoph = wooden vessel/vase
kataro ka/nqa=roj = scarab (Egyptian) + drinking cup
kera/kero ke/raj = horn (ivory) -or- khr/oj = bees-wax Cf. Linear B kera
meto mesto/j = full, filled
meza me/za (fem. sing.) = greater, bigger Cf. Linear B mezo me/zwn me/zoj
nere = larger amphora size (fem. plural) 
posa po/sa= (arch. acc.) <- poi/si=j = drink(ing), beverage -or- po/sa <- po/soj = how great, how much, of what value?  
posi -or- sipo posi/ = on, upon Cf. Linear B posi -or- sipo = si/fwn = reed, straw, siphon
puko= tripod Cf. Linear B pukoso pu/coj = box-wood. Apparently unrelated 
qapa3 (qapai)  = (large) handle-less vase or amphora
qapaja/qapajanai qapaja (genitive sing. of qapa3 (qapai))
qaqisenuti xalkei/a=senuti = with bronze craftsmanship
qedi = a flagon (for wine) 
qeti (instr. sing.)/qetiradu = a very large pot, pithos Cf. Linear B PGS qeto pi/qoj
supa3 (supai)/supa3ra (supaira) =small cup with handles Cf. Linear B dipa mewiyo
supi/supu/supu2 = largest size pithos -or-   supu/h sipu/h sipu/a i0pu/a = meal tub = suropa = some kind of vase?
tisa = pottery worker/working on pottery/pottery wheel (tourney)


ara a0ra/ = a prayer 
araju a0ra=u <- a0ra=oj = prayed for 
arati a0ra=ti/ <- a0ra/toj = with something unblessed Cf. makarite  below
atanate a0qa/na=te = with an immortal (instr. sing.) 
damate Da/mate = Damater Cf. Linear B Damate -or- da/matei = in the village 
dare da=lei/ <- da=lo/j = (with) a firebrand or torch/daro LIG  da=lo/j = firebrand
dewa -or- wide de/#a = goddess? 
dija/dije Di/ #a Cf. Linear B Diwija Di#i/a = priestess of Zeus
dumitatira2 (dumitatirai) = left or right side of a spindle? (or verso) 
dura2 dou/lai = slaves (fem.) Cf. Linear B doera doe/la 
esija e3sti/a = hearth of a house 
Idamate/Idamete  0Idama/te = Mother goddess of Mount Ida
Idarea  0Idar9ea = Rhea, goddess of Mount Ida 
ijate i0a/ter = doctor, physician Cf. Linear iyate  i0a/ter
iruja i0e/ruia = priestess Cf. Linear B iyereya i0e/reia
jamauti i1amauti = as a means of healing <- i1ama i1amatoj = healing, remedy
jarisapa  = some kind of dress? Cf. Linear B sapa
jasaja  0Ia=sai/a <-  0Ia=sw/ of/from the goddess of healing and health  
jasidara i0a=sida=la/ = healing torch/firebrand (arch. acc.) 
jate/jateo i0a=th/r = physician 
jatimane i0a=th/j mannei= = with the bread of healing  
mana/manapi (common) Hebrew manna= = (of spiritual food) bread from heaven, the supernatural food eaten by the Israelites in the desert  
maza/mazu  ma=za  = kneaded or unbaked bread, barley bread/cake
miturea mi/toj 9Re/a= thread of a warp for Rhea 
narepirea narepir9e/a = Rhea, goddess of the snake/ snake goddess?   
pimitatira2 (pimitatirai) = right of left side of a spindle? -or- verso  
qajo ba/i"on = a palm branch (Kafkania pebble)
ranatusu (agglutinative?) -or-  r9anatusu < - r9anti/zw = to cleanse, purify 
rani r9a=ni/j = anything sprinkled (as in a libation); rain drop See also ratise
ratise (ritise?) = la/tise <- la/taj = with drops of wine (instr. pl.)
rea r9e/a = goddess, Rhea
sea/sei se/a se/ei (dat. sing.) = snake goddess (from K. Bouzanis)
seikama= seika/ma = a unit of land dedicated to a/the goddess
taro tau=roj = bull
tejai qei/ai = goddesses
tuma/tumei/tumi qumi/a = incense
turunu qo/rnoj = throne Cf. Linear B tono qo/rnoj
wanaka = king 
wireu #i0eru/ <- #i0ero/j = priest Cf. Linear B iyero i0ero/j


arako a0ra/c = weaver Cf. Linear B arakateya a0laka/teiai = weavers

arakokuzu = weavers establishment?


datu = olive tree
keda = cedar
kidapa = ash wood? (a type of wood) Appears only on Linear B tablet KN 894 N v 01
kidaro kidaro ke/dron = juniper berry-or- kedri/a = oil of cedar Cf. Linear B kidaro
kitanasija/kitanasijase kitanisija (gen. sing.) ki/rtanasia <- ki/rtanoj = terebinth tree Cf. Linear B kitano ki/rtanoj 
tarawita = terebinth tree Cf. Linear B kitano ki/rtanoj & timito ti/rminqoj 
tarina qalli/na (arch. acc.) <- qallo/j = a young shoot, twig; festive olive-branch 


aka -or- kaa a0ska/ (arch. acc.) <- a0sko/j = leather bag, wine skin
apero a1mpeloj = a vine  Cf. Linear B apero 
kupazu kou/fazu <- kou/fazoj = light (of wine) 
kuqani = a type of (fine) wine
kuwa -or- waku ku/#a = girl Cf. Linear B kowa ko/#a – or – #a0sku/ <- #a0sko/j = leather bag or wineskin 
punikaso funi/kasoj = crimson, red (of wine) Cf. Linear B ponikiya ponikiyo foini/kioj = crimson 
qesizue (plural) = wine goblets? 
ratise (ritise?) = la/tise <- la/taj = with drops of wine (instr. pl.)
unaa oi0nai/a = wine vessel, wine jug, wine jar
winadu #i1nadu = vineyard Cf. Linear B winado
winu #i/nu = wine Cf. Linear B wono  #oi/noj
winumatari #i/numa/tari = wine dedicated to Mother Earth


Akanu/Akanuzati  OP A0rxa/nej = Archanes (Crete) 
Asuja Cf Linear B Asiwiya A0si/#ia
Dawa = place name Cf. LB dawo Da/#oj / Da/#on 
Dikate = Mount Dikte Cf. Linear B Dikatade Diktai/oj 
Dupu3re Cf. Linear B Dupu2razo Dupurai/zoj 
Ida/Idaa/Idada/Idapa3  = Mount Ida
Itinisa = female resident of Itanos?
Kana/kanatiti/kanau Kanna
Kanijami Kaniamis (female name)?
Kina Kinna
Kiso Kissos
Kosaiti Cf. Linear B Kutaito Ku/taistoj (not necessarily the same place) 
Mekidi Megi/di <- Me/gaj = the Great
Raja/Raju  9Rai/a = Raia Cf. Linear B Raja 
rea PGS r9e/a = goddess, Rhea
Tejare TOP Cf. Linear B Tejaro qei/aroj = place of the gods?
Tita = Ti=ta/n



The pristine beauty of Canada. Lac Philippe. Only 40 km. outside Ottawa, the Capital City

The pristine beauty of Canada. Lac Philippe. Only 40 km. outside Ottawa, the Capital City:






The most beautiful and one of the most peaceful countries on Earth. The entire country looks like this! Impressive eh!

AND here are some close-up & personal photos of my neighbourhood in Ottawa, Canada’s Capital City!

AND here are some close-up & personal photos of my neighbourhood in Ottawa, Canada’s Capital City!

a Ottawa in front of my place

b Ottawa my place

c Ottawa patio

d Ottawa V bicycle

e Ottawa cat Argentee outside

f Ottawa NCC pathway

Minoan Linear A terms deciphered with a high degree of certainty thus account for 37 % of all Minoan Linear A terms I have attempted to decipher. They also account for 9 % of all intact Minoan Linear A terms

A Glossary of 126 Minoan Linear A words more or less accurately deciphered to date (the largest ever glossary of Linear A) accounting for at least 24.7 % of all intact Minoan Linear A terms in Prof. John G. Younger?s Linear A Liner A texts in phonetic transcription = 510. Terms deciphered with a high degree of certainty thus account for 37 % of all Minoan Linear A terms I have attempted to decipher. They also account for 9 % of all intact Minoan Linear A terms in Prof. John G. Youngers:

Minoan Linear A Glossary126
That is a pretty good return.

All terms in Minoan Linear A and in Mycenaean Linear B have been Latinized for ease of access to persons not familiar with these syllabaries. 

aka = wineskin (two syllabograms overlaid)
akii = garlic
darida = large vase  
daropa = stirrup jar = Linear B karawere
daweda = medium size amphora with two handles 5
ditamana = dittany (medicinal herb)
kanaka = saffron = Linear B kanako
karopa3 (karopai) = kylix (with two handles & smaller than a pithos) 
keda = cedar
kidema*323na = type of vessel (truncated on HT 31)10
kireta2 (kiritai) = delivery = Linear B apudosis
kiretana = (having been) delivered (past participle passive) = Linear B amoiyeto
kiro = owed = Linear B oporo = they owed 
kuro = total
kuruku = crocus 15
maru = wool (syllabograms superimposed) = Linear B mari/mare
nere = larger amphora size
orada = rose 
pazeqe = small handle-less cups = Linear B dipa anowe, dipa anowoto
puko = tripod = Linear B tiripode (100 % certain) 20
qapa3 = qapai = large handle-less vase or amphora 
quqani = medium size or smaller amphora
ra2ri = rairi = lily 
sajamana = with handles = Linear B owowe
sedina = celery 25
supa3 (supai) = small cup = Linear B dipa mewiyo
supu = very large amphora
tarawita = terebinth tree 28


Akaru 30
Makarita 35
Sirumarita2 = Sirumaritai
Watumare 40


Almost all the toponyms do not require decipherment as they are either identical or almost identical in Mycenaean Linear B:

Akanu = Archanes (Crete)
Dikate = Mount Dikte
Idaa = Mount Ida
Kato = (Linear B Zakoro)45
Kudoni = Kydonia
Meza (= Linear B Masa)
Paito = Phaistos ( =Linear B)
Radu = Lato (= Linear B Rato)
Setoiya (= Linear B Seteia) 50
Sukirita/Sukiriteija = Sybrita
Winadu = Linear B Inato 52


This Glossary accounts for at least 24.7 % of all intact Minoan Linear A terms.
There are 45 terms deciphered with a high degree of certainty (> 75 %). These terms thus account for 37 % of all Minoan Linear A terms I have attempted to decipher. They also account for 9 % of all intact Minoan Linear A terms in Prof. John G. Youngers Lexicon.

As for eponyms and toponyms, I can only claim to have deciphered no more than 10 %, since they are so obvious and since so many of them are almost identical to their Mycenaean Linear B counterparts, in those cases where the latter exist. 

All of my decipherments operate on The principle of cross-correlative cohesion on the assumption that terms in Minoan Linear A vocabulary should reflect as closely and as faithfully as possible parallel terms in Mycenaean Greek vocabulary. In other words, the English translations of Minoan words in a Minoan Linear A Glossary such as this one should look as if they are English translations of Mycenaean Greek terms in a Linear B glossary. I have endeavoured to do my best to achieve this goal, but even the most rational and logical approach, such as I take, does not and cannot guarantee reciprocity between Minoan Linear A and Mycenaean Linear B terms. It is precisely for this reason that I have had to devise a scale of relative accuracy for terms in this Linear A Glossary.

The best and most reliable Linear B Lexicon is that by Chris Tselentis, Athens, Greece. If you wish to receive a  copy of his Lexicon, please leave a comment in Comments, with some way for me to get in touch with you.

10 Mycenaean Linear B & Minoan Linear A words for plants & spices (grand total = 27)

10 Mycenaean Linear B & Minoan Linear A words for plants & spices (grand total = 27):

Linear B and Linear A plants and spices

This chart lists 10 Mycenaean Linear B & Minoan Linear A words for plants & spices, with the Linear B in the left column, its Minoan Linear A in the middle column, and the English translation in the right column. It should be noted that I had to come up with a few Mycenaean Linear B words for plants on my own, because they are nowhere attested on Linear B tablets, regardless of provenance. Nevertheless, the spellings I have attributed to these words are probably correct. See the chart above. While most Mycenaean Linear B words and their Minoan Linear A words are equivalent, some are quite unalike. For instance, we have serino for celery in Mycenaean Greek and sedina in Minoan, and kitano in Mycenaean Greek versus tarawita in Minoan. There is a critical distinction to be made between Minoan Linear A kuruku, which means crocus, from which saffron is derived, and kanako, its diminutive, referring to its derivative, saffron,  which is identical in form and meaning to its Mycenaean Linear B counterpart. The ultimate termination U in Minoan Linear A always refers to larger objects. Hence, kuruku must mean “crocus” while its diminutive, kanako, means “saffron”, just as in Mycenaean Greek. This latter discovery is my own.

I wish to emphasize as strongly as I can that I did not decipher these words in Minoan Linear A. Previous researchers were able to do so by the process of regressive extrapolation in most of the cases. Regressive extrapolation is the process whereby later words in a known language, in this case Mycenaean Greek, are regressively extrapolated to what philologists consider to have been their earlier equivalents in a more ancient language, in this case, the Minoan language, which is the best candidate which can be readily twinned with Mycenaean  Greek. The primary reason why all of these words can be matched up (relatively) closely in the Minoan language and in Mycenaean Greek is that they are all pre-Indo-European. In other words, Mycenaean Greek inherited most of the words you see in this chart from the Minoan language. It is understood that these words are not Greek words at all, not even in Mycenaean Greek. Almost all  of them survived into classical Greek, and are still in use in modern languages. For instance, in English, we have: cedar, celery, cypress, dittany, lily & olive oil, all of which can be traced back as far as the Minoan language (ca. 3,800 – 3,500 BCE), or some 5,800 years ago.

It is to be noted, however, that I am the first philologist to have ever written out these words in both the Linear A and Linear B syllabaries.

This brings the total number of Minoan Linear A words we have deciphered to at least 27.

Alan Turing & Michael Ventris: a Comparison of their Handwriting

Alan Turing & Michael Ventris: a Comparison of their Handwriting

I have always been deeply fascinated by Alan Turing and Michael Ventris alike, and for obvious reasons. Primarily, these are two geniuses cut from pretty much the same cloth. The one, Alan Turing, was a cryptologist who lead the team at Bletchley Park, England, during World War II in deciphering the German military’s Enigma Code, while the other, Michael Ventris, an architect by profession, and a decipherment expert by choice, deciphered Mycenaean Linear B in 1952.

Here are their portraits. Click on each one to ENLARGE:

Alan Turing portrait

Michael Ventris Linear B grid AMINISO

Having just recently watched the splendid movie, The Imitation Game, with great pleasure and with an eye to learning as much more as I possibly could about one of my two heroes (Alan Turing), I decided to embark on an odyssey to discover more about each of these geniuses of the twentieth century. I begin my investigation of their lives, their personalities and their astounding achievements with a comparison of their handwriting. I was really curious to see whether there was anything in common with their handwriting, however you wish to approach it. It takes a graphologist, a specialist in handwriting analysis, to make any real sense of such a comparison. But for my own reasons, which pertain to a better understanding of the personalities and accomplishments of both of my heroes, I would like to make a few observations of my own on their handwriting, however amateurish.      

Here we have samples of their handwriting, first that of Alan Turing: Click to ENLARGE 

Alan Turing handwriting sample

and secondly, that of Michael Ventris: Click to ENLARGE

Michael Ventris handwriting letter 18 june 1952

A few personal observations:

Scanning through the samples of their handwriting, I of course was looking for patterns, if any could be found. I think I found a few which may prove of some interest to many of you who visit our blog, whether you be an aficionado or expert in graphology, cryptography, the decipherment of ancient language scripts or perhaps someone just interested in writing, codes, computer languages or anything of a similar ilk.

Horizontal and Vertical Strokes:

1. The first thing I noticed were the similarities and differences between the way each of our geniuses wrote the word, “the”. While the manner in which each of them writes “the” is obviously different, what strikes me is that in both cases, the letter “t” is firmly stroked in both the vertical and horizontal planes. The second thing that struck me was that both Turing and Ventris wrote the horizontal t bar with an emphatic stroke that appears, at least to me, to betray the workings of a mathematically oriented mind. In effect, their “t”s are strikingly similar. But this observation in and of itself is not enough to point to anything remotely conclusive.
2. However, if we can observe the same decisive vertical () and horizontal (|) strokes in other letter formations, there might be something to this. Observation of Alan Turing’s lower-case “l” reveals that it is remarkably similar to that of Michael Ventris, although the Ventris “l” is always a single decisive stroke, with no loop in it, whereas Turing waffles between the single stroke and the open loop “l”. While their “f”s look very unalike at first glance, once again, that decisive horizontal stroke makes its appearance. Yet again, in the letter “b”, though Turing has it closed and Ventris has it open, the decisive stroke, in this case vertical, re-appears. So I am fairly convinced we have something here indicative of their mathematical genius. Only a graphologist would be in a position to forward this observation as a hypothesis.

Circular and Semi-Circular Strokes:

3. Observing now the manner in which each individual writes curves (i.e. circular and semi-circular strokes), upon examining their letter “s”, we discover that both of them write “s” almost exactly alike! The most striking thing about the way in which they both write “s” is that they flatten out the curves in such a manner that they appear almost linear. The one difference I noticed turns out to be Alan Turing’s more decisive slant in his “s”, but that suggests to me that, if anything, his penchant for mathematical thought processes is even more marked than that of Michael Ventris. It is merely a difference in emphasis rather than in kind. In other words, the difference is just a secondary trait, over-ridden by the primary characteristic of the semi-circle flattened almost to the linear. But once again, we have to ask ourselves, does this handwriting trait re-appear in other letters consisting in whole or in part of various avatars of the circle and semi-circle? 
4. Let’s see. Turning to the letter “b”, we notice right away that the almost complete circle in this letter appears strikingly similar in both writers. This observation serves to reinforce our previous one, where we drew attention to the remarkable similarities in the linear characteristics of the same letter. Their “c”s are almost identical. However, in the case of the vowel “a”, while the left side looks very similar, Turing always ends his “a”s with a curve, whereas the same letter as Ventris writes it terminates with another of those decisive strokes, this time vertically. So in this instance, it is Ventris who resorts to the more mathematical stoke, not Turing. Six of one, half a dozen of the other.

Overall Observations:

While the handwriting styles of Alan Turing and Michael Ventris do not look very much alike when we take a look, prime facie, at a complete sample overall, in toto, closer examination reveals a number of striking similarities, all of them geometrical, arising from the disposition of linear strokes (horizontal & vertical) and from circular and semi-circular strokes. In both cases, the handwriting of each of these individual geniuses gives a real sense of the mathematical and logical bent of their intellects. Or at least as it appears to me. Here the old saying of not being able to see the forest for the trees is reversed. If we merely look at the forest alone, i.e. the complete sample of the handwriting of either Alan Turing or Michael Ventris, without zeroing in on particular characteristics (the trees), we miss the salient traits which circumscribe their less obvious, but notable similarities. General observation of any phenomenon, let alone handwriting, without taking redundant, recurring specific prime characteristics squarely into account, inexorably leads to false conclusions.

Yet, for all of this, and in spite of the apparently convincing explicit observations I have made on the handwriting styles of Alan Turing and Michael Ventris, I am no graphologist, so it is probably best we take what I say with a grain of salt. Still, the exercise was worth my trouble. I am never one to pass up such a challenge.

Be it as it may, I sincerely believe that a full-fledged professional graphological analysis of the handwriting of our two genius decipherers is bound to reveal something revelatory of the very process of decipherment itself, as a mental and cognitive construct. I leave it to you, professional graphologists. Of course, this very premise can be extrapolated and generalized to any field of research, linguistic, technological or scientific, let alone the decipherment of military codes or of ancient language scripts. 

Many more fascinating posts on the lives and achievements of Alan Turing and Michael Ventris to come!