Mycenaean Linear B tablets on olive oil dedicated to all the gods as templates for cross-correlation to Minoan Linear A tablets

Mycenaean Linear B tablets on olive oil dedicated to all the gods as templates for cross-correlation to Minoan Linear A tablets:

Linear B tablets pasi teoi all the gods

These two Mycenaean Linear B tablets and the Mycenaean Greek phrase on olive oil dedicated to all the gods serve as templates for cross-correlation to Minoan Linear A tablets in the same vein. In the last post on the delivery of olive oil, I stated that the immense number of permutations and combinations attributable to activities and terms related to olive oil severely mitigated against the possibility of extracting any real meaning from Minoan Linear A tablets. There is another side to this coin. Wherever the same activity or term is repeated at least 3 times on 3 Mycenaean Linear B tablets versus those terms which appear only once on 1 Linear B tablet (which is the case with all the other Mycenaean Greek terms we shall be posting), the likelihood for successful cross-correlative regressive extrapolation to Minoan Linear A tablets on olive oil rises dramatically. This is because recurrent vocabulary appearing at least 3 times on at least as many tablets in any sector of the Minoan/Mycenaean economy, agricultural, military, textiles and vessels and pottery, tends to promote the likelihood that said terms might also appear on Minoan Linear A tablets. Nevertheless, cross-correlation of terms recurring at least 3 times is still risky. There is no guarantee that such cross-correlation can or will work in dredging up the “same” tablets in Minoan Linear A.    

We shall see soon enough.

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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