A Closer Look at Sir Arthur Evans’ Attempts at Deciphering Certain Linear B Syllabograms (Part 1)

A Closer Look at Sir Arthur Evans' Attempts at Deciphering Certain Linear B Syllabograms (Part 1) [Click to ENLARGE]:

Sir Arthur Evans Scripta Minoa decipherment Linear B syllabograms AB 4 5 15

As we can readily see in the entries above (AB 4, 5 & 15) which I have excerpted from Sir Arthur Evans' Scripta Minoa, published by Oxford in 1952, the distinguished archaeologist and self-made linguist made some truly remarkable conjectures on the presumptive values of at least a few syllabograms in the Linear B syllabary, coming very close to the truth of the matter in spite of himself, or should I say rather, in spite of the absolute dearth of any supportive evidence whatsoever to support his claims. There is simply no way on earth he could have known that his assumptions were even remotely close to the mark, but as it turns out for favourable future prospects for the decipherment of Linear B as undertaken by Alice Kober and Michael Ventris respectively, his own ground-breaking research was to vindicate at least a few of the meticulous observations in his voluminous notes on the script.

As for the note [1] in the excerpts above, please see the previous post, in which I discuss at some length the apparent disparity between the Linear B and Cypriot (Linear C) syllabaries.  I say, apparent, because that is all it is. The 2 syllabaries are far more alike than they are unalike. 

Richard

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Sappho, spelled (in the dialect spoken by the poet) Psappho, (born c. 610, Lesbos, Greece — died c. 570 BCE). A lyric poet greatly admired in all ages for the beauty of her writing style.

Her language contains elements from Aeolic vernacular and poetic tradition, with traces of epic vocabulary familiar to readers of Homer. She has the ability to judge critically her own ecstasies and grief, and her emotions lose nothing of their force by being recollected in tranquillity.

Marble statue of Sappho on side profile.

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