Tag: LinearB

Secondary School Graduation Diploma in Mycenaean Linear B for Mrs. Rita Roberts, Crete: Click to ENLARGE

Secondary School Graduation Diploma in Mycenaean Linear B for Mrs. Rita Roberts, Crete: Click to ENLARGE



It is my pleasure and honour to announce that Mrs. Rita Roberts, having satisfied all the scholarly requirements which qualify her for a Secondary School Graduation Diploma in Mycenaean Linear B, including mastery of:

1. the entire Linear B Syllabary, Homophones & Ideograms
2. translation of at least 25 Linear B tablets of intermediate to intermediate advanced level
3. her all-new, excellent translation of Pylos Tablet PY 1952 (Ventris)
4. mastery of all of the major supersyllabograms in Mycenaean Linear B and with all the credits deemed necessary to proceed to the University Level of Mycenaean Linear B

is hereby granted her Secondary School Graduation Diploma with all its attendant rights and privileges.

Signed,

Richard Vallance Janke,
H.B.A. 1968 (Sir Wilfred Laurier University, Waterloo, Ontario, Canada)
M.L.S. 1975 (The University of Western Ontario, London, Ontario, Canada)

Associative versus Attributed Supersyllabograms Illustrated in Mycenaean Linear B

Associative versus Attributed Supersyllabograms Illustrated in Mycenaean Linear B: Click to ENLARGE

This is Slide H of my lecture, “The Rôle of Supersyllabograms in Mycenaean Linear B ” I shall be giving at the Conference, “Thinking Symbols” at the Pultusk Academy of the Humanities, associated with the University of Warsaw, Poland, between June 30 & July 2, 2015. It clearly illustrates the marked difference between an associative (as) and an attributive supersyllabogram (at).

Associative Supersyllabograms:

Associative SSYLs relate to physical objects or items, places, specific locations & geographic identifiers which are independent of the ideograms they are associated with, and which do not define them in any way, except as additional information relative to the latter. A sheep is still a sheep, a horse is still a horse & an ox is still an ox, even when it has no associative supersyllabogram modifying it. However, associative SSYLS are extremely informative, since they always circumscribe the circumstances in which the ideograms, almost always animate and animal, find themselves placed. As such, associative SSYLS (as) replace whole words and even entire phrases, which offer us a great deal more insight into the ideogram involved than would have been supplied by the ideogram alone. There is a huge difference between the ideogram for “sheep” or “ram” all on its own, and the same ideograms accompanied by an associative supersyllabogram. For instance, in this illustration, the SSYL (as) KI informs us that “the ram is on a plot of land”. That is an entire sentence in English symbolized by the SSYL (as) KI + the ideogram for “ram” (only two characters!). The SSYL (as) O + “sheep” is even more informative, telling us that “the sheep is on a lease field.” and even “the sheep is on a usufruct lease field.” Not only that, the scribes frequently combined two or more SSYLs (as), such as KI & O with an ideogram, usually for “ram”, “ewe” or “sheep”, replacing a very long sentence in both Mycenaean Linear B and in English (or any other target language into which the source – Mycenaean Greek – is translated). Thus, the SSYLs (as) KI + O + the ideogram for “ewe + the number 114 mean no less than,

“114 ewes on a plot of land which is a usufruct lease field”.

Associative supersyllabograms proliferate in the agricultural sector of the Mycenaean economy, and are also characteristic of the military sector. Associative SSYLS are not symbiotic.

Talk about a shortcut! Of course, many of us already know by now that the Mycenaean scribes frequently resorted to this clever stratagem to save plenty of space on what are, after all, very small tablets, rarely more than 30 cm. wide by 15 cm. deep, and usually much smaller.

Attributive Supersyllabograms:

On the other hand, attributive SSYLs (at) always modify the the sense of ideograms on which they simultaneously depend as the ideograms themselves depend on them through the attributive qualities they assign to the latter. In other words, the relationship between the attributive supersyllabogram and the ideogram which it modifies is both symbiotic and auto-determinative. The plain ideogram for “cloth” has nothing inside it. But when the ideogram for “cloth” is assigned an attribute (usually defined as an adjectival modifier) that ideogram contains inside itself the supersyllabogram which unequivocally modifies its meaning. Thus, the ideogram for “cloth” with the SSYL NE inside it can mean one thing and one thing only, “new cloth”. Likewise, the SYL PU inside the ideogram for “cloth” can only mean “purple cloth”, and nothing else. Similarly, the SSYL TE inside the same ideogram has the specific meaning, “well-prepared cloth” or “finished cloth prepared for market or sale”. Thus, all attributive supersyllabograms modify the unqualified meaning of the simple syllabogram for “cloth” in the textile sector, while similar SSYLS in other sectors, especially the vessels, pottery & vases sector of the Minoan/Mycenaean economy operate in the exact same fashion. Associative supersyllabograms proliferate in these two sectors.

Richard

Review of the Pocket Oxford Classical Greek Dictionary for General Users & for Researchers in Mycenaean Linear B

Review of the Pocket Oxford Classical Greek Dictionary for General Users & for Researchers in Mycenaean Linear B: Click cover to order

I just bought the Pocket Oxford Classical Greek Dictionary yesterday, and I can tell you I am fairly pleased with it. It has its drawbacks. The most notable of these is found in the paucity of vocabulary in the English-Greek section, pp. 357-431, which contains only about 5,000 words. Such a lexicon is probably more than adequate for beginners in ancient Greek, at whom this dictionary appears to be mainly aimed, though I cannot say that for sure. On the other hand, the English-Greek section is prefaced with a glossary of proper names, pp. 357-365, which is quite useful to Graecophiles, whether they be beginners or not. The pronunciation guide for the ancient Greek alphabet, pp. ix-xii, is the one of the best I have ever encountered, as it takes into consideration not only Classical Attic, but also early Homeric pronunciation. This feature has real implications for theoretical considerations, as well as practical applications of pronunciation, for not only the Mycenaean Linear B syllabary, but the Arcado-Cypriot syllabary as well, as you shall soon discover for yourselves on upcoming posts on our blog relevant to Mycenaean Linear B and Arcado-Cypriot orthography, considerations that have to date been largely overlooked by linguists, translators and researchers in the field of the archaic Greek dialects, Mycenaean and Arcado-Cypriot.

The dictionary also features an appendix of Numerals (pp. 433-435), although it is very basic, as well as appendix of the elementary conjugational paradigms for the “Top 101 irregular verbs ” (pp. 436-447), as arbitrary yet as eminently useful as any other so-called basic table of the top ancient Greek verbs. While persons at the intermediate or advanced level in ancient Greek will find this table inadequate, it is more than adequate for beginners. The dictionary also has a generic map of ancient Greece on pp. 448 & 449, which once again serves its purpose well enough for beginners, but is less than adequate for persons more familiar with ancient Greek. This, however, is understandable for an introductory dictionary for ancient Greek, which we can be sure is all it claims to be, especially in light of the fact that Oxford University Press has had the prescience to co-publish both An Intermediate Greek-English Lexicon and an Abridged Greek-English Lexicon, the latter presumably aimed at scholars proficient in ancient Greek. I look forward to reviewing the latter two dictionaries later on, once I have come up with the resources to purchase them.

Of course, this dictionary also has its strengths, which the editors were careful to make the most of. These are:

(1) The Greek-English section, the first in the dictionary, is much more comprehensive than the English-Greek, containing far in excess of 5,000 words and phrases. The editors have even taken into account early Homeric Greek vocabulary to complement the Classical Attic. While the entries in the Greek-English section are not as heavily annotated as they otherwise are in an advanced ancient Greek dictionary such as the Greek-English Lexicon, by Liddell & Scott (1986), I would argue that too much lexical, grammatical and etymological information would amount to nothing less than overkill in a basic ancient Greek dictionary such as this one. Aficionados with advanced knowledge of ancient Greek, being perfectly aware of this, always have recourse to more sophisticated tools for translation and research, including Liddell and Scott, as well as the numerous online lexical resources available at the Perseus Catalog, here:

(2a) The font is quite large and eminently readable. This is an extremely important consideration in the compilation of any Greek dictionary, ancient or modern, given that Greek accents (acute, grave & circumflex) and especially the initial breathings, soft or unaspirated (’) and aspirated (‘), as well as the numerous compound accents, are so annoyingly difficult to see in small font. The editors of this dictionary are to be congratulated for having the foresight to realize this. If there is anything I cannot stand, it is the use of fonts which are too small to adequately display (ancient) Greek accents. Sadly, most editors of ancient Greek dictionaries and lexicons blithely ignore this most paramount of considerations in the format and presentation of entries. Even the eminently renowned Greek-English Lexicon (1986) by Liddell and Scott, the very last Greek dictionary which should be guilty of this practice, makes use of a font far too small for readers to easily read accents, even those with good reading vision. To my mind, this falls just short of being unforgivable, unless the editors of any such dictionary or lexicon passed over the issue of adequate font size by sheer oversight – something I find quite difficult to swallow. So a word to the wise. If the editors of an inexpensive paperback dictionary could make a real effort to make certain the entries would be readable off the top, why wouldn’t – or shall we say, shouldn’t – the editors of top-end hard-cover dictionaries and lexicons take the same trouble? This is even more obvious when the publisher of the inexpensive editions is the same one as the one for the expensive, hard-bound ones – by which I mean Oxford University Press, in this particular instance.

(2b) In the Greek-English section, the Greek entries are in bold, set in Greek 486 Polytonic, while in the English-Greek section the English entries are in Monotype Arial bold, so that they stand out very clearly on the page. Once again, kudos to the editors.

(3) Likewise, the layout of the entries, at 1.5 line spacing, in both the Greek-English and the English-Greek sections is very attractive.

(4) Throughout the dictionary, the alphabetical entries are flagged with gray tags running vertically down the page, from left to right from alpha to omega in the Greek-English section, and from a to z in the English-Greek. Once again, a big plus.

To summarize, this Greek-English, English-Greek dictionary of ancient Greek, in its physical layout and format, including all font formatting, is very pleasing to the eyes, hence, much easier to consult than practically any other ancient Greek dictionary I have ever encountered in print. The English-Greek section is woefully inadequate for anything but the most basic of ancient Greek vocabulary, so that even beginners are bound to outstrip its usefulness very quickly.

On the other hand, the Greek-English section is more than sufficient for the needs of beginners, and adequate for those scholars at the intermediate level in ancient Greek studies and literature. Given its reasonable price, $17.95 USD, I would recommend it for students who are also beginners in Mycenaean Linear B or Arcado-Cypriot Linear C, given the very restricted lexical base of both these archaic Greek dialects. On the other hand, it is readily apparent that this dictionary alone cannot possibly serve as the sole resource for researchers in Mycenaean and Arcado-Cypriot Greek. It must be complemented by other resources, such as:
1. Chris Tselentis’ thorough Lexicon of Linear B, available free online in PDF.
2. Chadwick, John. The Decipherment of Linear B (second edition). Cambridge University Press, © 1970 x, 164 pp.
3. Palmer, R.L. & Chadwick, John, eds. The Proceedings of the Cambridge Colloquium on Mycenaean Studies. Cambridge University Press, © 1966. 309 (310) pp. First paperback edition, © 2011. ISBN 978-1-107-40246-1 (pbk.)
4. A Companion to Linear B: Mycenaean Greek Texts and their World. Volume 3. Peeters: Louvain-La-Neuve: Bibliothèque des cahiers de l’institut de linguistique de Louvain. © 2014. 292+ pp. ISBN 978-2-7584-0192-6 (France)

I leave aside any comparison with online dictionaries and lexicons in the same class, preferring not to compare apples with oranges.

Overall Rating: 3.75/5

Richard Vallance Janke
April 2015

Mycenaean Greece & Linear B, our NEW Circle on Google +

Mycenaean Greece & Linear B, our NEW Circle on Google + Click to VISIT & Join:



Welcome to Mycenaean Greece & Linear B, our new Circle on Google +, and the only one of its kind. We shall be posting a great many Linear B tablets, photos, illustrations, tables, charts, graphics, etc. here so you will not want to miss our great new Google + Circle, and I suspect that many of you will certainly want to join. We shall also be posting information, photos and the like on Arcado-Cypriot Linear C, The Catalogue of Ships in Book II of the Iliad by Homer, ancient East Greek dialects (Mycenaean, Arcado-Cypriot, Aeolic, Ionic & Attic), and any other information we deem  relevant.

So if you are at all interested in these areas of interest and research into ancient Greek studies, linguistic or otherwise, and ancient Greece itself, you will probably want to join our circle.

Thanks

Richard

Ode to the Archangel Michael = Ode à l’Archange Michel (translated from Mycenaean Linear B = traduit du grec mycénien )

Ode to the Archangel Michael = Ode à l’Archange Michel: Click to ENLARGE = Cliquer pour ÉLARGIR :



As far as I am concerned, the French version of the original Ode in Mycenaean Greek is more successful and more convincing than the English.

Franchement et à mon avis, la traduction du texte intégral de l’Ode en grec mycénien est plus réussi, donc plus convaincant que celle en anglais.     

Richard

A Lovely Ode to the Archangel Michael in Mycenaean Linear B: Click to ENLARGE

NOTE that the English & French translations of my Ode to the Archangel Michael appear in the next post. Have you ever wondered what Mycenaean Linear B poetry would have sounded like? I know I have, many times over. I invite you to simply read aloud the Latinized version of the Ode in Mycenaean Linear B, even if you do not understand it. The point is to enjoy the music of the poetry, not to worry about your pronunciation or your accent. Nobody really knows how any ancient Greek dialect sounded anyway.

Here a few hints on how to bring out the music in the Mycenaean Greek.

1. Whenever you see the ending, oyo (genitive singular), pronounce it like “oiyo”, but in a single breath. It will sing that way.
2. If you put a little stress on the second-last syllable (penultimate) of words such as “peDIra ”“euZOno” “doSOmo” & “paraDEso”, this will also assist the melody of the poem.
3. Be sure to pronounce all “u”s & “eu”s (euzono) as you would “u” in French, if you can.
4. The disposition of the phrase “para paradeso para meso” is very peculiar for Greek poetry... “meso ” should be on the same line as the previous words. But I did this deliberately, again for melodic reason. If you read this phrase like this, “PAra paraDEso PAra MEso”, it should sound very nice.
5. The word “mana” (“manna” in English) is obviously not Mycenaean, and not even Greek. It is Hebrew. But I could take liberties introducing this word into a Christian poem. So I did.
6. Recite “pamako atanatoyo” (medicine of the immortal...) like this “PAmako aTAnaTOyo”...

So long as you are consistent and satisfied with how it sounds to you, that is all you need. Yes, and do read it aloud. Otherwise, you will not benefit from hearing the music and the harmony of the Mycenaean Greek, which is after all the earliest of the ancient East Greek dialects, the great-great-grandfather of dialects such as the Ionic & Attic. Besides, you can always allow yourself the pleasure of admiring the pretty Linear B script, however weird it may look to you at first. Just give it a chance.

Being a poet of sorts myself, I decided to write this lyric ode, somewhat along the lines of Sappho (although I cannot even remotely claim a foothold on her astonishing lyrical powers!) It is by no means inconceivable that poetry may very well have been composed in the Mycenaean era, ca. 1450 – 1200 BCE. Simply because we do not have any evidence at all of such activity does not mean that the Minoan/Mycenaean scribes never wrote any poetry at all. The problem lies not with the non-survival of any Mycenaean poetry, but with the impossibility of conserving anything written on papyrus in a humid environment, such as that of Minoan Crete and of Mycenae.

It is indeed fortunate, fortuitous and a great asset to us today that so many Egyptian papyri have been preserved intact since a distant period equal to that of the Mycenaean civilization at its apogee. Call it what you like, the extremely arid sand of Egypt was far far more favourable to the survival of ancient papyrus than the moist climate of Mycenaean Crete and the Mycenaean mainland. That is the real reason why we have no extant literature from their great civilization. But given the astonishing levels their civilization reached in so many areas, in art, architecture, fresco painting, the textile industry, crafts of all kinds, international commerce and even science, it strikes me as passingly strange that no literature of any kind survives, apart from the thousands of Linear B inventory, accounting and ritual tablets, which can hardly be called literature in any sense of the word.

There are those who contend that in fact the Catalogue of Ships in Book II of the Iliad was derived from an earlier Mycenaean epic poem, no doubt in a much simpler and more earthy guise, stripped of much of the telling Homeric metaphorical language which is his hallmark even in the Catalogue of Ships. You can count me among these. For this reason, it strikes me as a distinct possibility that, if the Mycenaeans were able to tackle even a mini-epic poem, even if it were a much shorter, stripped down version of its descendant (if ever there was) of the Catalogue of Ships in the Iliad, they surely would have been up to the task of composing considerably shorter poems along the lines of this one you see posted here. Of course, they would never have written about angels and archangels. But that is beside the point. Simply by successfully composing this lyric poem, I believe I have demonstrated that such poetry was, at least conceivably, within the grasp of soi-disant Mycenaean bards. We shall never know, but it is well worth the speculation.

A comment on the phrase epi pedira euzona. As a preposition, epi should take the dative. But here I have used the accusative plural. My reason is this: in archaic Greek, prepositions were less common than adverbs, and in many cases, what we would recognize as a preposition in classical, say, Attic Greek, could very well have been an adverb in Mycenaean Greek. This is how it should be read in this context... pedira euzona is thus to be seen as accusative of aspect or aspectual accusative, reading literally something like this:

with his feet on them...

I welcome comments on any aspect, as suggested above or otherwise, of my stab at composing a lyric poem in Mycenaean Linear B, Christian though it be.

English and French versions to follow in the next post.

Richard

Pultusk Academy of the Humanities, near Warsaw, Poland

Pultusk Academy of the Humanities, near Warsaw, Poland: Click to ENLARGE


This is the venue where I shall be giving my lecture on The Rôle of Supersyllabograms in Mycenaean Linear B between June 30 & July 2 2015. I am ready and raring to go!

Richard

Conference, “Thinking Symbols”, Pultusk Academy of the Humanities, University of Warsaw (June 30-July 2 2015)

“Thinking Symbols”, Pultusk Academy of the Humanities, University of Warsaw (June 30-July 2 2015):

Table of All 32 Supersyllabograms in Mycenaean Linear B for my Presentation at the Conference: Click to ENLARGE

As of spring 2015, I have discovered, isolated and classified a total of 32 supersyllabograms in Mycenaean Linear B, having found no new ones since autumn 2014. Let us review supersyllabograms, what they are, the 2 different types & how they are classified & sub-classified.

What Supersyllabograms are:

In Mycenaean Linear B, a supersyllabogram is almost always the first syllabogram only, in other words, the first syllable only of a Mycenaean Greek word or phrase. There are only three (3) exceptions to this operative principle. The 32 supersyllabograms account for more than 50 % of all syllabograms in Mycenaean Linear B. That this is a very significant subset of this discrete set of syllabograms goes without saying.

The 2 types of Supersyllabograms:

There are only two types of supersyllabograms:

(1) Independent supersyllabograms (i):

An independent supersyllabogram is one which stands alone, all by itself, on any Linear B tablet. There is just the one syllabogram, with nothing preceding or following it, except whenever several of them appear in a series, as on Linear B tablet Heidelburg HE Fl 1994. And even then, strictly speaking, they still stand alone, each one being a discrete entity naming only one thing, a city or settlement name.

Most independent supersyllabograms were deciphered,

(a) first by Prof. John Chadwick, who deciphered the syllabograms NI = suko (figs) & SA = rino (flax), and the homophone RAI = kanako (crocus or saffron) in his ground-breaking book, The Decipherment of Linear B (1959,1970), in which he divulged to the world the arduous road over several years to the decipherment of Linear B in 1952 by the brilliant cryptographer, Michael Ventris.

It is essential to realize that these three independent supersyllabograms alone are the only ones for which the single syllabogram symbolizing the Mycenaean Greek word they each replace is not the first syllabogram, i.e. the first syllable of that word, as we can clearly see with NI, SA & RAI. This being the case, the remaining 29 supersyllabograms of a total of 32 are, by default, the first syllabogram of the Mycenaean word or phrase each of them represents.

(b) The second person to identify independent supersyllabograms was Prof. Thomas G. Palaima, in his superb translation of Heidelburg tablet HE Fl 1994, here:

In this case, all 5 of the independent supersyllabograms, KO, ZA, PA, PU & MU are the first syllabogram, i.e. the first syllable of a Minoan or Mycenaean city or settlement name. While these 5 independent SSYLS appear in sequence, each one should and must be interpreted as standing alone in its own right.

There are thus a total of 3 + 5 = 8 independent supersyllabograms (i). However, it is absolutely essential to understand that some of these 8 SSYLS are also dependent (d).

I am obliged to point out that neither John Chadwick nor Thomas G. Palaima recognized or identified these 8 supersyllabograms as such, since after all, one of them (Chadwick) discovered only 3 syllabograms which fit this description, while the other (Palaima) hit upon only 5 more. In retrospect, we have to be honest with ourselves and admit that it would be unrealistic, if not downright disingenuous, to expect them to have isolated supersyllabograms in the first place, given that they only just happened to stumble upon these 8, all of which are independent SSYLS, and none of which fit into the default paradigm of the rest of the supersyllabograms, all of which are dependent (d). In a word, neither of them could conceivably have even identified a phenomenon one could call the supersyllabogram, because they did not find any others. And it was the others, of which there are so many, that were, as we say, the real McCoy.

(2) Dependent supersyllabograms(d):

A dependent supersyllabogram (d) is one which always appears as a single syllabogram, but which is also always immediately adjacent to (da) or inside (di) an ideogram. It is the dependent supersyllabogram I discovered early 2014, and which has given true meaning to the term as I have come to define it. The basic formula for the layout of the dependent supersyllabogram on any Linear B tablet is:

SSYLa (left) + ideogram (right) -or-
ideogram (left)+ SSYLb (right) -or-
SSYLc on top of an ideogram -or-
SSYLd under an ideogram -or-
SSYLe inside an ideogram.

If there is only one (1) dependent supersyllabogram (d) adjacent to only one (1) ideogram, that ideogram, upon which that SSYL depends, determines the exact meaning of the SSYL. Change the ideogram, change the meaning. In other words, the meanings of all dependent supersyllabograms (d) are determined by the specific ideogram to which they are adjacent. The meaning of any adjacent dependent SSYL must therefore be strictly contextual (dc).

More than one dependent supersyllabogram can be adjacent to one or more ideograms, and in any order. However, the order in which the SSYLS & the ideograms appear together is never random. It is always structurally contextual. Change the order, change the meaning.

Sub-classification of Dependent Supersyllabograms:

Dependent supersyllabograms are sub-classified as either associative (as) or attributive (at).

(1) Associative dependent supersyllabograms (as) are those which are immediately adjacent to the ideograms upon which they depend. An associative SSYL is one which informs of us of some external element, for instance, the factor of land tenure relating to the ideogram itself, or one which circumscribes its environment, especially in the livestock raising sub-sector of the agricultural sector. For instance, in the Table of All 32 Supersyllabograms in Mycenaean Linear B above, the supersyllabogram O adjacent to the ideogram for sheep + the number of sheep accounted for in the inventory of any particular tablet, informs us that the sheep are being raised on a lease(d) field, more specifically a usufruct lease field (i.e. a lease field which a farmer tenant cultivates for the use of his own family and village neighbours, with a taxation imposed by the overseer). In other words, the supersyllabogram O = onato (lease field) is associated with the raising of x no. of sheep.

(2) Attributive dependent supersyllabograms (at) always appear inside the ideogram which they qualify, never adjacent to it. They always describe an actual attribute (usually known as an adjectival function) of the ideogram. For instance, the syllabogram PO inside the ideogram for “cloth” is the first syllabogram, i.e. the first syllable of the Mycenaean word ponikiya = “purple”, hence the phrase = “purple cloth”. Likewise the syllabogram TE, when it appears inside the ideogram for “cloth” is the supersyllabogram for the Mycenaean word tetukuwoa, which means “well prepared” or if you like, “well spun”. Hence, the syllabogram TE inside the ideogram for cloth must mean one thing and one thing only, “well-prepared cloth”. I have discovered, identified & classified well over a dozen examples of associative supersyllabograms.

The first person to identify and correctly translate two of the most frequently occurring supersyllabograms was Chris Tselentis, who deciphered the two SSYLS ZE & MO on Knossos Tablet KN So 4439, in the appendix TEXTS of Linear B tablets of his excellent Linear B Lexicon. On this tablet, which is strictly military, these syllabograms each appear immediately adjacent to the ideogram for chariot wheel, ZE appearing after the ideogram, and MO before it. It was obvious to Chris Tselentis that, in the military context of this tablet, the syllabogram ZE could mean one thing and one thing only, “a pair of (wheels)”, while MO could only mean “a single wheel”. And he was bang on. Unfortunately, he had his hands full just compiling his comprehensive Lexicon, and so he never got around to a thorough examination of a large enough statistically significant cross-section of Linear B tablets, to ascertain whether there were any more like this one.

But there were – plenty more, in fact some 700 of 3,000 Linear B tablets I meticulously poured through from the corpus at Knossos. If it weren’t for Chris Tselentis in particular, or for John Chadwick and Thomas G. Palaima before him, I would never have followed my intuition to ferret out more examples of the same phenomena, only to be so richly rewarded for taking this decisive step in the first place in the winter of 2014. There was no guarantee that anything concrete would come out of my year-long investigations. But it did, to say the very least. The ultimate result of my painstaking search through 3,000 tablets from Knossos, and the meticulous research which ensued were to pay off in droves. The Table you see above is the true fulfillment of a hard-won struggle.

To read a detailed account of the function of dependent supersyllabograms in Mycenaean Linear B, please refer to this post:

Richard

The Archangel Michael in Mycenaean Linear B, Ancient Greek, English & French

The Archangel Michael in Mycenaean Linear B, Ancient Greek, English & French: Click to ENLARGE

I found this stunning painting of The Archangel Michael on the Internet, and I could not resist posting it here on our blog, with his name emblazoned in in Mycenaean Linear B, ancient New Testament or Koine Greek, English & French. The problem with the Mycenaean Linear B text is that you cannot say Archangel, and so I wrote his name as Mikaro akero ouranoyo, which literally means, “Michael, the messenger of the sky” or “Michael, the messenger of heaven”, where akero = messenger (nominative sing.) & ouranoyo = of heaven (archaic Greek genitive sing., also often found in Homer, the Iliad, especially in Iliad II, The Catalogue of Ships). After all, the Mycenaean Linear B meaning of akero was “messenger”. And when you come right down to it, that is what it literally means in the New Testament as well. The word “Michael” is not Greek at all, but Hebrew, here translated into Greek. “Michael” in Hebrew means, “who is like God”, and who is referred to only three times in the Old Testament, always in the Book of Daniel, where he is called “Prince of the First Rank” as follows:

10:21
... but first I will tell you what is written in the Book of Truth. No one supports me against them except Michael, your prince.

12:1

At that time Michael, the great prince who protects your people, will arise. There will be a time of distress such as has not happened from the beginning of nations until then. But at that time your people--everyone whose name is found written in the book--will be delivered.

How beautiful are the feet of those who walk with God.

Perhaps you can guess who my angel, or more to the point, my patron saint is. Yes, you are right. He is none other than Michael Ventris. How strange & wonderful that his name is the same as that of the Archangel!

How astonishing! I just realized that I am posting this beautiful image of the Archangel Michael on the 23rd. anniversary of my recovery from alcoholism, March 25, 1992. Although I have not attended Alcoholics Anonymous meetings for 18 years now, I credit AA for bringing me around to my first real experiences with God, though it has been a slow and slogging path towards his grace, at least until this year, when He suddenly burst in on my soul, and has illuminated me with His Light since then.

Matthew 5:14-16
14: You are the light of the world - like a city on a hilltop that cannot be hidden.
15: No one lights a lamp and then puts it under a basket. Instead, a light is put on a stand, where it gives light to everyone in the house.
16: In the same way, let your good deeds shine out for all to see, so that everyone will praise your heavenly Father.
(NLT: New Living Translation)

Richard

POST 800: An Introductory Glossary of General Linguistics Terminology: Part B: H-P

POST 800: An Introductory Glossary of General Linguistics Terminology: Part B: H-P



NOTE: This glossary is ostensibly not comprehensive in any sense of the term, but it serves as a solid baseline introduction to linguistics terminology. 

This is our 800^th. Post in less than 2 years. 

H

habitual aspect: the imperfective aspect that expresses the occurrence of an event or state as characteristic of a period of time prior to the tense aspect of the same verb. Example:

Tense aspect: she lived here for some time (simple past = aorist in Greek) or she was living here for some time (imperfect aspect).

Prior to the previous aspect expressed above:
She used to live here (English). Languages such as ancient Greek & Latin cannot directly express the habitual aspect, which they must subsume under the imperfect.

heteronym: a word having the same spelling as another, but a different pronunciation and meaning. Examples: bow (weapon) & bow (to a King or Queen) + wind (atmospheric) & wind (verb to wind up). See also, homograph & homonym

homograph: a word that has the same spelling as another. Homographs differ from each other in meaning, origin and sometimes pronunciation. Example: bow (of a ship) + bow (to bend down) + bow (in archery, with a different pronunciation from the first two. See also, homonym 

homonym: A word that sounds or is spelled the same as another word but has a different meaning. Examples: down, light, mean, strike and also  bear (concrete, animal) & bear (abstract, suffering) + dive (plunge) & dive (cheap living quarters) + find (verb) & find (noun, discovery)

homophone: 1. A word which is pronounced the same as another word but differs in spelling and meaning, for example: carat, caret, carrot and karat. 

homophonous: having the same pronunciation. "cot" and "caught" are in some American accents, as are "there" and "they're".

hyperthesis aka long-distance metathesis = the metamorphosis of orthography from the source language, being older, and the target language, being more recent. Examples:
Latin miraculum > Spanish milagro  > English miracle
Latin periculum > Spanish peligro  > English, peril
Latin crocodilus > Italian cocodrillo > English crocodile
See also, metathesis 

hyponym: a hyponym is a word or phrase whose semantic range is included within that of another (generic or umbrella) word, and which usually is more specific than the umbrella word. Examples: dog, hound, fox, wolf under their umbrella, canine + scarlet, vermilion, carmine & crimson are all hyponyms of red (their generic hypernym)

hypothetical mood: an epistemic mood that signals that the speaker evaluates a proposition as counterfactual, although possible. The subjunctive is a hypothetical mood in English (rare), French, German, Italian, Latin & Spanish, among many other languages. Greek has two hypothetical moods, the optative and the subjunctive. Examples: I should (would) like to meet her, she would like to meet you, they would like to live in Ottawa + If I were you, I should (would) not do that.   

I

ideogram: a symbol which represents the idea of something without indicating the sequence of sounds used to pronounce it. Examples include numerals, many Chinese characters, traffic signs, or in alphabetic languages or syllabaries, (a) graphic symbols such as & and @ + single alphabetic letter or (b) concrete symbols, either of which symbolize an entire phrase (nominal or verbal). Examples: (a) (alphabetic) H = hospital, P = parking & (b) a red illuminated circle = stop & a green illuminated circle = go (verbal) & a red cross = (international) red cross (nominal). In Mycenaean Greek, the graphic symbol is a syllabogram. Thus, O = onato (a lease field), KI = kitimena (a plot of land), KO = Konoso (Knossos), PA = Paito (Phaistos) & ZE = zeuko, zeukesi (nominative sing. & dative plural) (a pair of, a team of). These syllabograms, when single or used alone, are called supersyllabograms in Mycenaean Linear B. As such, they stand in for or symbolize complete words or phrases in Linear B, as illustrated above.

ideograph = ideogram.

illative case: the case that expresses motion into or direction toward the referent of the noun it marks. Examples: Aminisode, Konosode (to, towards Amnisos, Knossos) in Mycenaean Greek.

indefinite pronoun: a pronoun that belongs to a class whose members indicate indefinite reference. Examples: a, anybody, no-one, someone in English. The indefinite pronoun -a- is inexistant in ancient Greek and Latin.   

inflection: in grammar, inflection or inflexion is the modification or marking of a word (or more precisely lexeme) to reflect grammatical or relational information, such as gender, tense, number or person. The concept of a "word" in an inflected language only (such as German, Greek, Latin & Russian) is designated as being independent of its various inflections, but bound to them, is called a lexeme. The form of a word considered to have no or minimal inflection is called a lemma. An organized set of inflections or inflected forms of a given lexeme is called an inflectional paradigm. Examples: carmen = English, song (lexeme, nominative), carminis (bound inflection, genitive singular) & carminibis (bound inflection, dative plural)in Latin.

intension. See, connotation 

intonation: the variation of pitch when speaking. Intonation and stress are two main elements of linguistic prosody. Many languages use pitch syntactically, for instance to convey surprise and irony or to change a statement to a question. Such languages are called intonation languages. English and French are well-known examples. In rising intonation the pitch of the voice increases (over time) & in modern (not ancient) Greek, rising = acute accent); in falling intonation the pitch decreases with time (Greek = grave accent). In dipping intonation, the pitch falls and then rises & in peaking intonation, the voice rises and then falls (Greek = circumflex). 

K

Koine: the "common" Greek language, directly derived from the dominant Attic dialect of the fourth century BCE, that developed and flourished between 300 BC and AD 300 (the time of the Roman Empire), and from which Modern Greek descended. It was based on the Attic and Ionian dialects of Ancient Greek.

L

language associate: a person who helps you learn a language, provides you with data or information about a language or helps you with linguistic research. For instance, Richard Vallance Janke at this blog, Linear B, Knossos, Mycenae is the language associate of Rita Roberts. Synonym: teacher

lemma: 1. canonical (i.e. uninflected) form of a term, particularly in the context of highly inflected languages. 2. lexeme: all the inflected forms of a term.

lenitive language: a language in which lenis consonants are predominant. English is a lenitive language & the only lenitive language among the major Occidental languages: French, German, Italian, Romanian, Spanish etc. See also, semi-consonant, semi-vowel

lenis consonant: a “weak” consonant produced by the lack of tension in the vocal apparatus. Weak consonants tend to be short, weakly voiced or voiceless, aspirated, low, and the following vowel tends to be lengthened.  Examples: l, m, r (especially l & r) in English. See also, semi-consonant, semi-vowel  

lexeme: The abstract unit of vocabulary, roughly corresponding to the set of words that are different forms of the same lemma. 
lexical: 1. concerning the vocabulary, words or morphemes of a language 2. concerning lexicography or a lexicon or dictionary + lexicology: specialty in linguistics dealing with the study of the lexicon 

lexical word: a morpheme/word which has a dictionary meaning. Examples: cat, green, house, sell, take  

lexicon: 1. A dictionary that includes or focuses on lexemes. 2. A dictionary of Classical Greek, Hebrew, Latin, or Aramaic. 3. The vocabulary used by or known to an individual. (Also called lexical knowledge)

lexis: 1. The total set of words in a language. 2. The vocabulary used by a writer

lingual: 1.(phonetics) a sound articulated with the tongue 2. related to language or linguistics.

literal translation: a translation that follows closely the form of the source language. Also known as: word-for-word translation.

litotes: the use of a negated antonym to make an understatement or to emphatically affirm the positive. Examples: She is not unqualified for: she is somewhat qualified + It was not a great victory : It was a Pyrrhic victory -or- It was a partial victory. 

locative case: the case that expresses location at the referent of the noun it marks.  In ancient Greek, it is indistinguishable from the dative.

M

metathesis: from Greek "putting in a different order" = Latin transpositio is the re-arranging of sounds or syllables in a word, or of words in a sentence. Most commonly it refers to the switching of two or more contiguous sounds, known as (1) adjacent metathesis or (2) local metathesis. Examples = foliage > foilage + cavalry > calvary

mora: term used in traditional metrics to refer to a minimal unit of metrical time equivalent to a short syllable + also used in recent phonological theories of prosodic features. Long vowels are often considered to be bimoraic (double the length of a mora), while short ones are monomoraic. This would explain the difference in behaviour with respect to stress-rules between these two classes of vowels in quantity-(in)sensitive (ancient Greek) versus quality-sensitive (English) languages. 

moraic language: a language exhibiting a syllable weight distinction typically also has a vowel length distinction, and vice versa. The term "mora-timing" does not mean "moraic". In a mora-timing language, each mora takes approximately the same time to pronounce- thus a heavy (2-mora) syllable will take twice as long as a light one (See, mora above). This phenomenon is also called isochrony, and is mainly a phonetic one. Moraic is a phonological phenomenon, in which a language is sensitive to the heavy/light distinction, regardless of timing (especially in stress or accent). So a language could be moraic but not mora-timing. The two ideas are quite different. Examples of moraic Languages: English, German & modern Greek. Examples of mora-timing languages: Sanskrit, ancient Greek & Latin.

morpheme: the traditional approximate definition: the minimal unit carrying meaning. More precise but less informative definition: the minimal unit relevant to morphological and syntactic analysis. Examples: the English word -trees- has two morphemes = tree + s & the Greek word -apudosis- (delivery, attribution) has four.

N

nonce word: a word invented for the occasion. Synonym: neologism.

O

onomasticon: a book, list, or vocabulary of names, especially of people. One could say, "I looked  up the origin of her name" in an onomasticon.

onomastics: the branch of lexicology devoted to the study of names and naming.

onomatology: the study of the origins of names; onomastics.

P

patronymic: name acquired from one's father's first name. Some cultures use a patronymic where other cultures use a surname or family name; other cultures {like Russia} use both a patronymic and a surname.

philology: the humanistic study of historical linguistics. 

phonetics: the study of the characteristics of human sound-making, especially of those sounds used in speech.

phonology: the study of the sound systems of languages, and of the general or universal properties displayed by these systems.

polysemy: the concept that words, signs and symbols may have multiple meanings + association of a lexical item with different but related meanings. Examples: bright = brilliant, intelligent, sunny 

polysynthetic: said of a language, characterized by a prevalence of relatively long words containing a large number of morphemes. Typically, the morphemes are bound (i.e., they cannot stand alone as independent words). Examples of polysynthetic languages: German & Greek.  

pragmatics: the study of the use of language in context. Research into Mycenaean Linear B & Arcado-Cypriot Linear C relies heavily on pragmatics on this blog. Any attempt to decipher or translate Mycenaean Linear B (tablets), without taking context into consideration on an obligatory basis, is bound to fail. 

prefix: an affix which precedes the element it is attached to. Examples: -in- in -indiscreet & -un- in -unlikely-

progressive spelling”, as promoted by Roger Woodard et al. This practice inserts consonants where none exists in Linear B to agree with Greek words (e.g. pe-ma to (sperma) “seed”), on the premise that the “borrowed” phonetic system was inadequate to represent the language. Progressive spelling is characteristic of syllabaries such as Linear B & Linear C.


Richard

An Introductory Glossary of General Linguistics Terminology: Part A: A-G

NOTE: This glossary is ostensibly not comprehensive in any sense of the term, but it serves as a solid baseline introduction to linguistics terminology.

abstract noun: a noun that denotes something viewed as a non-material referent, as opposed to a concrete noun. Examples: abstraction, attitude, communication, constitution, dependency, language, linguistics, magic, proliferation, rectitude, telecommunications.

acrolect: the variety of speech that is considered the standard form. For example: the Attic dialect by the fourth century BCE.

affix: a functional bound morpheme, typically short and with a functional meaning. Example: re in re-write.

ambiguity: the property of words, terms, and concepts (within a particular context) as undefined, undefinable, or without an obvious definition, thus having an unclear meaning. A word, phrase, sentence, or uttered communication is called “ambiguous” if it can be interpreted in more than one way. Ambiguity is distinct from vagueness, which arises when the boundaries of meaning are indistinct. See also, connotation

analytic language: language that conveys grammatical relationships without using inflectional morphemes. A grammatical construction can similarly be called analytic if it uses unbound morphemes, which are separate words, and/or word order. English, which began as a synthetic language, has become more & more analytic over time. Afrikaans & Hebrew are also analytic. Contrast with synthetic language (below).

anaphora: anaphora is the co-reference of a second expression with its antecedent. For example: This lexicon of Greek terms is comprehensive; it is very useful.

anthroponymy: the study of personal names.

antonym: from Greek anti ("opposite") and onoma ("name") are word pairs that are opposite in meaning, such as -hot- -cold- + -fat- -skinny- & -down- -up-. Words may have different antonyms, depending on the meaning. Both -long- and -tall- are antonyms of -short-. Antonyms are of four types:
Gradable antonyms stand at opposite ends ends of the spectrum: Examples: -cold- -hot- + -slow- -fast
Complementary antonyms are pairs that express absolute opposites, like mortal and immortal.
Relational antonyms are pairs in which one describes a relationship between two objects and the other describes the same relationship when the two objects are reversed, such as parent and child, teacher and student, or buy and sell.
Auto-antonyms are the same words that can mean the opposite of themselves under different contexts or having separate definitions. Examples: to enjoin (to prohibit, issue injunction -or- to order, command) + fast (moving quickly -or- fixed firmly in place) + sanction (punishment, prohibition -or- permission) + stay (remain in a specific place -or- postpone)

aspect: a grammatical category associated with verbs, which expresses the temporal view of the event or state expressed by the verb. Examples: she learns (simple present aspect + she is learning (progressive present aspect) + she has learned (present perfect aspect)

auxesis: an exaggeration of the importance of a referent by the use of a referring expression that is disproportionate to it. Example: referring to a scratch as a wound. Synonym: exaggeration

basilect: a variety of a language that has diverged greatly from the standard form. For instance, the West Greek Doric dialect is a basilect quite far removed from the standard East Greek Attic dialect of the fifth century BCE. Doric Greek is also a basilect of Mycenaean Greek, for the obvious reason that the latter was predominant prior to the Doric invasion of Greece.

bound morpheme: a morpheme which cannot stand alone to make a word, but must be combined with something else within a word. Examples: the -s- in the plural for tree = trees is a bound morpheme. Similarly, -cran- in cranberry.
See also, free morpheme.

case: the grammatical category determined by varying syntactics or semantic functions of a noun, adjective or pronoun. Case is a function of only those languages which indicate certain functions by the inflection of nouns, adjectives, pronouns, or numerals. Greek, German, Latin & Russian are inflected languages.

circular definition: definitions can be circular or recursive. The definition refers to itself, thus defining an infinite number of things. Example: a thing is an object and an object is a thing. Circular definitions are always self-referential, hence closed. They can be dangerous traps. See also, recursive definition.

classifier: is an affix (often a suffix) that expresses the classification of a noun. Examples: Italian -raggazzo, raggazzi - (boy, masculine, sing. & pl.) + raggazza, raggazze (girl, feminine, sing. & pl.), where nouns are classified by gender & number.

collocation: a grouping or juxtaposition of words that commonly occur together. Example: by me, on a, with & the.

comitative case: this is the case expressing accompaniment, expressed in inflected languages such as Greek & Latin by a preposition with the meaning "with" or "accompanied by." In Greek, meta = with + para = by (plus other prepositions expressing subtle distinctions). The usage of the comitative case in Greek is complex, and must be determined by context.

concrete noun: a noun that refers to what is viewed as a material entity, i.e. a thing . Examples: box, car, flag, lumber, post, rock, stump, table.

connotation: 1. a meaning that is suggested or implied, as opposed to a denotation, or a literal definition. A characteristic of words or phrases, or of the contexts that words and phrases are used in. Connotations of the phrase, "You are a dog" = you are physically unattractive or morally reprehensible, not that you are a canine. 2. In semiotics, connotation arises when the denotative relationship between a signifier and its signified is inadequate to serve the needs of the community. A second level of meanings is termed connotative. These meanings are not objective representations of the thing, but new usages produced by the language group.

consonant: a speech sound produced with a significant constriction of the airflow in the oral tract.

co-ordination: the linking of two or more elements as conjuncts in a coordinate structure such as -and- or -or- + in a list.
corpus: a collection of writings, often on a specific topic, of a specific genre, from a specific demographic, a single author etc.

co-reference: a reference in one expression to the same referent in another expression. Example: You said that you would come (English). Est-ce que vous me dites que vous viendrez? (French).

corruption: word that has adopted from another language but whose spelling has been changed through misunderstanding, transcription error, mishearing, etc.

continuous aspect: the imperfect(ive) aspect that expresses an ongoing, but not habitual, occurrence of the state or event expressed by the verb. Examples: he is running, he was running (English) + amant, amabant (they love, they loved: Latin). Ancient Greek & Latin cannot distinguish between continuous habitual & inceptive aspects in the present, future & imperfect tenses, and their compounds.

copula: an intransitive verb which links the subject with an adjective, a noun phrase or a predicate. Examples: The book is on the table (English) Le livre est sur la table (French).

definite pronoun: a pronoun that belongs to a class whose members indicate definite reference. Examples: the, this, that in English. The indefinite pronoun -the- is non-existent in Latin, in Mycenaean Linear B & in Homer but existent in Arcado-Cypriot, Classical Ionic, Attic, Hellenic & Koine (New Testament) Greek.

denotation: 1. The act of denoting, or something (such as a symbol) that denotes. 2. the primary or explicit meaning of a word, phrase or symbol. 3. something signified or referred to; a particular meaning of a symbol. 4. In semiotics, denotation is the surface or literal meaning encoded to a signifier, and the definition most likely to appear in a dictionary.

derivation: 1. formation of new words by adding affixes. Example: -singer- from -sing- + -adaptation- from -adapt- 2. derivation in linguistics is the process of changing the meaning and/or lexical class of a lexeme by adding a morpheme.

derivative: 1. In a lexical database or lexicon, a derivative is sub-entry. Only irregular, semantic derivatives are entered as separate major entries. 2. a stem formed by combining a root with an affix to add a component of meaning that is more than inflectional. The meaning of a derivative is determined by its context, not its parts. Also known as: derived form, derived stem 3. A derivative is a stem formed by derivation, which is a morphosyntactic operation.
Kinds of derivatives:
1. Grammatical derivatives: Example:
nominalized stems, such as encouragement from encourage
adverbialized stems, such as courageously from courageous
2. Semantic derivatives such as generation from generate + isolation from isolate.

diachronic linguistics: the study of language change over time, is also called historical linguistics. This is extremely important to research in ancient Greek, which was subject to significant changes in all of its dialects over time, especially when the time frame is extreme (i.e. a millennium, from Mycenaean to Attic Greek).

diachrony: the study of change over time, especially changes to language.

dialectology: the study of dialects.

diphthong: a phonetic sequence, consisting of a vowel and a glide, that is interpreted as a single vowel. Examples: ai, ei, oi in English.

dummy word: a grammatical unit that has no meaning, but completes a sentence to make it grammatical. Examples: It is raining + Do you understand?

elision: the omission of sounds, syllables, or words in spoken or written discourse. Unstressed words are the most likely to be elided. Examples: camra for camera + evry for every in English. Elision is very common in ancient Greek, but not in Mycenaean Linear B or in Arcado-Cypriot Linear C, since the latter are both syllabaries, in which all syllabograms must end with a vowel, making elision impossible.

enclitic: a clitic (suffix) that is phonologically bound to (i.e. inseparable from) the end of a preceding word to form a single unit. Examples: can’t, won’t & shouldn’t in English. Aminisode & Konosode (towards Amnisos, towards Knossos) in Mycenaean Greek. Enclitics are very common in ancient Greek.

epigraphy: from the Greek: epi-graph, literally "on-writing", "inscription" is the study of inscriptions or epigraphsas writing + the science of identification, classification, dating & drawing conclusions about graphemes.

epigrapher: person using the methods of epigrapher or epigraphist, who studies inscriptions, most of which are brief.

epistemic modality: a modality that connotes how much certainty or evidence a speaker has for the proposition expressed by his or her utterance. Examples: We will come (certainty) + She must have come + He may have come (uncertainty) + They might come (uncertainty) (English). The subjunctive expresses uncertainty in several languages, including English (rarely), German, French, Italian, Latin & Greek. Greek also has the optative to express uncertainty. In a lexicon as general as this one, it is not expedient to attempt to express the distinctions between the optative and the subjective in ancient Greek, as the relationship between the two is complex. In other words, you have to know ancient Greek very well to understand these distinctions and their several applications.

etymology: 1 the study of the historical development of languages, particularly as manifested in individual words. 2 an account of the origin and historical development of a word. 3. the study of the origins of words. Through old texts and comparison with other languages, etymologists reconstruct the history of words — when they entered a language, from what source, and how their form and meaning have changed. From Greek: true meaning = etymos (true) + logos (word). Etymology is extremely important in the archaic in Mycenaean and Arcado-Cypriot, which in turn determine the etymology of a number of words in several later ancient Greek dialects.

extraposition: the movement of an element from its normal place to one at the end, or near the end, of a sentence.

family: a group of languages believed to have descended from the same ancestral language, e.g. the Indo-European language family from Proto-Indo-European.

finite verb: a verb form that occurs in an independent clause, and fully inflected according to the inflectional categories marked on verbs in the language.

fossil: in linguistics, a fossilized word or term is extremely old, extinct, or outdated. Some words in Mycenaean Greek were already fossilized by the time Homer wrote the Iliad, and a much more significant number of Mycenaean words completely disappeared from later ancient Greek dialects. On the other hand, a number of Mycenaean words, such as apudosi (delivery) were never fossilized.

free morpheme: 1. a grammatical unit that can occur by itself. Additional morphemes such as affixes (prefixes, suffixes) can be attached to it. Examples: berry, blue, cat, colour (hence: colourful, colourless), dog, elephant, green (hence: greenery), house, intern (hence: internship), orange, red, white, yellow. 2. a morpheme which can stand alone to make a word by itself. Example: -blue- in -blueberry- See also, bound morpheme.

function word: a word which has little or no meaning of its own but which has a grammatical function. Examples in English: a, of, on, in, the. Function words play a key obligatory role in all languages. They are the glue that hold languages together syntactically.

gender. See, grammatical gender

gloss: A gloss (from Koine Greek glossa, meaning 'tongue') is a note made in the margins or between the lines of a book, in which the meaning of the text in its original language is explained, sometimes in its own language, sometimes in another language. Glosses vary in comprehensiveness and complexity, from simple marginal notations of difficult or obscure words, to entire interlinear translations of the original text and cross references to similar passages.

glossary: 1. a collection of glosses is a glossary 2. a collection of specialized terms with their meanings. Example: An English-Mycenaean Linear B Glossary 3. a list of terms defined in a particular domain of knowledge. Glossaries often appear at the end a book and often include either newly introduced or uncommon terms.

glottochronology: the study of languages to determine when they diverged from being the same language. For instance, the divergence of Italian from Latin.

glottogony: 1. the genesis of language, i. e. the emergence of a system of verbal communication from proto-linguistic or non-linguistic means of communication 2. the study of language origins.

grammatical gender: a class system for adjectives & nouns, composed of two or three classes, whose nouns have at least human male and female referents and in some languages an inanimate referent (neuter). In many languages, gender is very often not classed by any correlation with natural sex distinctions. The genders of nouns classified in this fashion (masculine, feminine, neuter) do not necessarily refer to the masculine (male gender), feminine (female gender) or inanimate (neuter gender). In many cases a masculine noun can also be feminine or even neuter, or any other combination of genders. Genders for the exact same word may differ in different languages. Examples: il mare (sea, masculine Italian) + la mer (sea, feminine, French), mare (sea, neuter, Latin) le tour (walk, stroll, run, e.g. le Tour de France) + la tour (tower, French) etc. Examples of languages with two genders are French, Italian & Spanish & with three genders: German, Greek & Latin.

by Richard Vallance Janke, 2015

Photos of Michael Ventris (1922-1956) & Richard Vallance Janke (1945 – )

Photos of Michael Ventris (1922-1956) & Richard Vallance Janke (1945 - ): Click to ENLARGE each composite

Here is a composite of 2 photos, one of Michael Ventris (1922-1956) just before his tragic death in a car accident in 1956, and one of myself, Richard Vallance Janke, still younger, at age 23, upon my graduation for my first degree, Honours Bachelor of Arts in Latin and French (majors), English and German (minors) from Sir Wilfred Laurier University, Waterloo, Ontario, Canada, 1968.



I have no hesitation whatsoever in declaring that I consider Michael to be my patron saint, and that I pray to him instead of to God, because he is the greatest inspiration in my entire life. I shall do so until God informs me otherwise.

And here is another composite of myself, first as a Reference Librarian, University of Ottawa, Ottawa, Ontario, Canada, taken at the age of 43 in 1988, and the second of a lovely couple and  myself at the age of 63, taken while I was on holidays in Quebec in the summer of 2008.



I will be using these photos for my talk on The Rôle of Supersyllabograms in Linear B at the Pultusk Academy of the Humanities, University of Warsaw, Poland, June 29 – July 2, 2015.


Richard

Standard Keyboard Layout for Arcado-Cypriot Linear C. This is the only place you can find it!

Standard Keyboard Layout for Arcado-Cypriot Linear C: Click to ENLARGE

The standard keyboard layout for Arcado-Cypriot Linear C is quite unlike that for Mycenaean Linear B, with very few exceptions. The only key maps which correspond are those for the vowels, a e i o u, which you type with q w e r t in both fonts + da de di do du in Linear B, which is identical ta te ti to tu in Linear C, since the latter has no D series syllabograms, substituting the T series. Linear C also lacks any means to type numbers, but since the Linear B numbering system is almost the same as the Linear C one, you can switch to the Linear B font to type numbers in Linear C, with the proviso that you watch out for any differences in the numeric systems (there are some). But since numbers are rarely used in Linear C, it is not really much of a problem. Arcado-Cypriot Linear C abandoned all logograms & ideograms, of which Mycenaean Linear B has an abundance (over 100), with the sole exception of the ideogram for talent or scale, which is the same in both syllabaries. But since there is no way to type this ideogram with the Linear C font, once again, you will have to switch to the Linear B font and type |. The only other real problem with the Linear C font is that there is no way to type the syllabogram for ye, unless you first switch to an English font and type a period . These are minor inconveniences, which I am sure you will get used to... I did.

You must first download the Arcado-Cypriot Linear C font here:

and then install it in your Fonts before you can use it. Remember to switch to the font called Cypriot before typing in Linear C. You will also need to switch back and forth from Linear C to Linear B to your English font as required.

This keyboard layout is the only one you will find anywhere on the Internet. If you are going to use this keyboard layout, you can laminate it with clear mactac, and hang it above your computer.

Richard

Sublime Sappho. The moon has set & the Pleiades (in Aeolic Greek, Linear B, Linear C, English & French)

Sublime Sappho. The moon has set & the Pleiades (in Aeolic Greek, Linear B, Linear C, English & French): Click to ENLARGE

This is the first of many exquisite poems by the sublime Sappho (ca. 630-570 BCE), who was considered by the ancient Greeks to be second only to Homer, as well as the greatest lyric poet of their age. Indeed, even today, a great many poets and poetry critics, including myself, consider her to hold this exalted station still. You will all see this for yourselves as I post one after another of her exalted lyrics. I have decided to go all the way, by presenting you each poem in the original Aeolic Greek, as well as in Mycenaean Linear B & Arcado-Cypriot Linear C, and even English and French! Throughout history, to this very day, no one has ever done this. I am the first. I am so in awe Sappho’s consummate skill and artistry that I will do anything to broadcast her name and her sublime poetry to the whole world.

This particular poem is my absolute favourite. It flows so naturally in Aeolic Greek that it washes over me, emotionally and spiritually. Like Italian, Aeolic Greek is superbly suited for lyric poetry, as it has no aspirates. Aspiration can and sometimes does sound harsh in lyric poetry. Aeolic Greek is notable for its sublime melody. If you could only hear this stunning poem, even if you could not even read Aeolic Greek, the Harmony of the Spheres would fairly floor you. Sappho knew this perfectly well. Her lyrics were, of course, sung to the accompaniment of the lyre. I have never read any lyric poet in any language (English, French, Spanish, Italian, German or Russian) who has ever been able to rival her consummate artistry. I adore her. Click to ENLARGE her portrait.

A few linguistic notes:

Being an East Greek dialect, Aeolic Greek is related to both the Mycenaean & Arcado-Cypriot dialects. There are many striking similarities and some notable differences in these three dialects.

Mycenaean Greek in Linear B:

Mycenaean Greek has no L series of syllabograms. The R series must be substituted, hence “serana” for Aeolic “selanna”. Since Linear B is an open syllabary, in which all syllabograms must end with a vowel, it is impossible to spell any word with two consecutive consonants, hence the last syllable of “serana” has only 1 N. For the same reason, final consonants, which are normative in almost all ancient Greek dialects, must be omitted in Mycenaean Greek. Hence, we have “me” for “men”. It is difficult to express the plural in Mycenaean Greek. However, there are precedents. The plural of “apore” (amphora) is “aporewe”. This allows us to write the Pleiades as “Periadewe”.

Arcado-Cypriot Linear C:

Similar bizarre (parallel) spelling conventions plague Arcado-Cypriot Linear C . Unlike Linear B, which has a dental D series of syllabograms, Linear C lacks it, and must substitute the dental T series. On the other hand, Linear C has both an L and an R series, and so both liquids can be accounted for. Since documents in alphabetic Arcado-Cypriot must express the final consonant, in line with almost all other ancient Greek dialects, Linear C has no choice but to resort to the opposite strategy from Mycenaean Linear B for the orthography of the ultimate, when it is meant to express the dative singular, the nominative plural and for all other Greek words ending with a consonant. The consonant must be expressed in Linear C, since it is always written in the alphabet. This is absolutely de rigueur, since many documents are simultaneously composed in Linear C and in the alphabet. In order to achieve this, Linear C has no choice but to use syllabograms, which still end in a vowel. It neatly skirts this annoying problem by expressing the ultimate consonant, following it with a filler vowel. A weird solution, but it works. If it works, it works. No hay problema nada.

Hence, we have “mene” for “men”, which is the opposite of “me” for “men” in Linear C. Likewise, the plural is always clearly expressed, as in “peleitese”, where Linear C must also insert a final filler vowel, in most cases SE (to express the consonantal plural in sigma), as well as NE for all nouns ending in the consonant N. Such nouns are extremely common in ancient Greek dialects. Notice also the “te” in “peleitese”, since Linear C has no D series of syllabograms. On the other hand, both Mycenaean Linear B & Arcado-Cypriot have no G series of syllabograms.

Mycenaean Linear B must substitute either the K or the Q series. Arcado-Cypriot has no guttural Q series either, so all words with G + vowel must be expressed by K + vowel, hence “eko” for “ego” in both Linear B & C. I can hear you who read ancient Greek well or who are ancient Greek linguistics loudly protest that there were no personal pronouns in either Linear B or Linear C. And you are right. However, I had to take liberties with the Aeolic Greek, because it does use personal pronouns, and frequently. As for the likelihood that Mycenaean Greek would have used the Q series of syllabograms to express words with guttural G + vowel, I would readily grant that this may have been true, except for one critical consideration. Mycenaean & Arcado-Cypriot were the closest ancient Greek dialects by far, being kissing cousins. So if Arcado-Cypriot expresses G + vowel with the guttural K series of syllabograms, it stands to reason that it is more likely than not that Mycenaean Greek must have done the same thing. But there is no guarantee of this. Still, the Q series of syllabograms would have fit the bill just as well.

And there you have it.

Richard

Our Twitter Account is growing rapidly! 15 new followers in the past 10 days: Click to visit & follow us:

It no longer comes as any surprise that the number of followers on our Twitter account is growing as fast as it is. We had about 800 followers in December 2014, and now we are at 855. Some months we grow as fast as 25 new followers. This is an extremely encouraging sign with respect to the considerable attention our Twitter account is getting, and for this we have to thank our blog’s newly acquired position as the largest Linear B blog on the Internet... and all this in less than 2 years. Now that we are on the brink of making a newsworthy announcement to the world on a major breakthrough in the decipherment of Mycenaean Linear B and our participation as an invited speaker at the Conference, Thinking Symbols, at the Pultusk Academy of Humanities, University of Warsaw, June 30-July 2, 2015, it is more than likely that the number of followers we have will increase to beyond 1,000 by the end of 2015 at the latest. For a blog as specialized and as narrowly focused as ours is, that is quite a spectacular accomplishment. And for this I have only to thank the hundreds of supporters who have already been so kind as to follow us so closely.

In passing, I should like to point out that a large number of the most prestigious language and linguistics Twitter accounts, especially those devoted to Greek, ancient and modern, as well as several major international archaeological associations & archaeologists, are following us assiduously, as we are of course following them.

And if you want to learn modern Greek, you can pick up quite a lot of it on our account, since I have already retweeted hundreds of quotations from modern Greek Twitter accounts.

Richard

Associative Versus Attributive Supersyllabograms in Mycenaean Linear B: Appendix H

Appendix H neatly summarizes the rôle of supersyllabograms in Mycenaean Linear B. Click to ENLARGE:

I wish to stress one thing in particular. There is a marked difference in associative supersyllabograms, which account for the greatest number of SSYLS in Mycenaean Linear B, and attributive supersyllabograms, which appear primarily in the textiles and vessels (pottery, amphorae, cups etc.) sectors of the Late Minoan III & Mycenaean economies.

Associative supersyllabograms inform of us of some element, usually a land tenure factor, which relates to the ideogram itself, or which circumscribes its environment, especially in the livestock raising sub-sector of the agricultural sector. For instance, the supersyllabogram O, which you see in this Appendix, plus the ideogram for sheep + the number of sheep accounted for in the inventory of any particular tablet, informs us that the sheep are being raised on a lease(d) field, more specifically a usufruct lease field (i.e. a lease field which a farmer tenant cultivates for the use of his own family and village neighbours, with a taxation imposed by the overseer). In other words, the supersyllabogram is associated with the raising of x no. of sheep. The scribe could have simply informed us that x no. of sheep were raised, and left it at that. But he did not. By adding just one syllabogram, in this case a simple vowel = O, he has given us a great deal more information on the raising of the sheep (rams & ewes) on this particular tablet. And he has done all of this without having to resort to writing it all out as text. Since it was critical for the scribes to use as little space as possible on what were (and are) extremely small tablets, the use of supersyllabograms as a substitute for wasteful text is illustrative of just how far the scribes were willing to go to save such invaluable space. They did not do this only occasionally. They did it a great deal of the time, and they always followed the exact same formula in so doing. Not only are syllabograms such as O (on a lease field), KI (on a plot of land) & NE (in their sheep pens) in the field of sheep husbandry associative, they are all what I designate as dependent supersyllabograms, since they are meaningless unless they are immediately adjacent to the ideograms they qualify. No ideogram, no supersyllabogram. Period.

To illustrate the radical difference between a Linear B tablet on which a supersyllabogram + an ideogram is used, and another on which the text is spelled out, take a good hard look at this comparison: Click to ENLARGE

This comparison between the real tablet from Knossos using only supersyllabograms and ideograms (left) and a putative one using text in full (right) is precisely the reason why so many scribes much preferred the former formulaic approach to inscribing tablets to the latter discursive and space wasting technique. A textual version of this tablet would have been twice as long as the actual tablet. Even if no one nowadays has ever managed to decipher dependent supersyllabograms until now, that cannot conceivably mean that the Linear B scribes did not know what they were, since otherwise, they would never have used them so liberally in the first place. In other words, using SSYLS for no reason at all is tantamount to a reductio ad absurdum. There are thousands of supersyllabograms found on 700 tablets from Knossos. They are there because all of the scribes, as a team or, if you like, as a guild, all understood each and every supersyllabogram to mean one thing and one thing only in its proper context. In other words, supersyllabograms are standardized and always formulaic. This should come as no surprise to anyone familiar with Homer, who also heavily relied on formulaic expressions, though for entirely different reasons. My point is that formulaic language is a key characteristic of ancient Greek texts, right on down from Mycenaean times through to Attic and beyond. We should never overlook this extremely important characteristic of ancient Greek, regardless of period (1450 – 400 BCE).

Attributive dependent supersyllabograms always appear inside the ideogram which they qualify, never adjacent to it. They always describe an actual attribute (usually known as an adjectival function) of the ideogram. For instance, the syllabogram PO inside the ideogram for “cloth” is the first syllabogram, i.e. the first syllable of the Mycenaean word ponikiya = “purple”, hence the phrase = “purple cloth”. Likewise the syllabogram TE, when it appears inside the ideogram for “cloth” is the supersyllabogram for the Mycenaean word tetukuwoa, which means “well prepared” or if you like, “well spun”. Hence, the syllabogram TE inside the ideogram for cloth must mean one thing and one thing only, “well-prepared cloth”. I have discovered, identified & classified well over a dozen examples of associative supersyllabograms.

Neither type of dependent supersyllabogram, associative or attributive, was ever isolated and tabulated in Mycenaean Linear B until I systematically studied, deciphered and classified scores of them on some 700 tablets from Knossos.

Richard

Conference on Symbolism: The Rôle of Supersyllabograms in Mycenaean Linear B: Selected Appendices A-C

Since the presentation I shall be giving at the Conference, Thinking Symbols, at the Pultusk Academy, University of Warsaw, is under wraps until then, I am posting for your information just 5 of the 11 Appendices to that talk (3 in this post), to give you at least some idea of where I shall be leading the attendees at the Conference in the course of my talk. In this post, you can see the first three Appendices. The first one (Appendix A) illustrates the use of what I choose to call Modern International Superalphabetic Symbols, as you see here:

It is readily apparent from this appendix that we are dealing with modern ideograms, all of which are international standards, and which are recognized as such world-wide. For instance, everyone in the world knows that the first symbol or ideogram means “under copyright protection”, while the fourth means “no parking”.

Proceeding to Appendix B, we have:

The abbreviations in this appendix are so strikingly similar to what I have identified as supersyllabograms in Mycenaean Linear B that it is immediately obvious to anyone seeing the latter for the first time can instantly correlate the former with the the city codes or supersyllabograms in Linear B, as seen here in Appendix C:

Clearly, the abbreviations for modern city codes, even though they consist of the first two letters only of the 10 city names are identical in structure and format to the ancient city names, represented by the first syllabogram, in other words, the first syllable in each, which we find in Appendix C. This astonishing co-incidence reveals something of the sophistication of Mycenaean Linear B taken to its limits.

It was in fact Prof. Thomas G. Palaima who first identified these city names (Knossos, Zakros, Pylos etc.) in his superb translation of Linear B tablet Heidelburg HE Fl 1994. What he failed to realize was that he had in fact discovered the sypersyllabogram, which I finally came to realize in 2014 was always the first syllabogram, in other words, the first syllable only of a particular Mycenaean Greek word, in this instance, a city or settlement name. In retrospect, we cannot blame him for this apparent oversight, because that is all it was, apparent. He never got around to a meticulous examination of the 3,000 relatively intact tablets from Knossos, which I took upon myself to carry through to its ultimate revelation(s). And what a revelation they proved to be, when in the course of over a year (2014-2015), I discovered to my utter astonishment that some 700 (23.3%!) of the 3,000 tablets I examined all had at least one supersyllabogram on them, and some as many as four!

Some of the tablets I examined had supersyllabograms only on them, and no text whatsoever. The question was, I had to wonder – and I mean I really had to wonder – what did they all mean? The answer was not long in coming. Within 2 weeks of identifying the first new supersyllabogram, I had already isolated & defined more than 10 of them!

When I speak of supersyllabograms, I do not mean simply city or settlement names. Far from it. These are just the tip of the iceberg, and they are atypical. There are at least 30 supersyllabograms in all, out of a syllabary comprised of only 61 syllabograms, in other words 50% of them. That is a staggering sum. Supersyllabograms range in meaning from “lease field” to “plot of land” to “sheep pen” to “this year” (among the first 10 I discovered) referring to sheep husbandry in the agricultural sector, from “cloth” to “well-prepared cloth” to “gold cloth” and “purple dyed cloth” in the textiles sector, and on and on. That this is a major discovery in the further decipherment of Mycenaean Linear B goes practically without saying. In fact, nothing like it has been achieved in the past 63 years since the decipherment of the vast majority of Mycenaean Linear B by the genius, Michael Ventris, in 1952-1953.

More Appendices to follow in the next post.

Richard

Breaking NEWS: Conference “Thinking Symbols”, University of Warsaw, Pultulsk Academy of Humanities, June 30 – July 2, 2015: Click to ENLARGE

Richard Vallance Janke, the moderator of this blog, has been cordially invited to give a talk on The Rôle of Supersyllabograms in Mycenaean Linear B at the Conference “Thinking Symbols”, University of Warsaw, Pultulsk Academy of Humanities, June 30 – July 2, 2015. His talk will serve as the official public announcement of his discovery of some 30+ supersyllabograms in Mycenaean Linear B throughout 2014 and early 2015.

This is the probably the most significant breakthrough in the decipherment of Mycenaean Linear B in 63 years since the genius, Michael Ventris, first deciphered the vast majority of the syllabary in 1952-1953. Although Michael Ventris and his mentor Prof. John Chadwick were able to decipher almost all of the syllabary, and there have been significant developments in further decipherment since then, one very large chunk of the syllabary (consisting of some 700/3,000 or 27 % of intact tablets from Knossos I meticulously examined in the course of 2014) have remained recalcitrant to decipherment for the past 63 years. From my intensive analysis of these 700 tablets, I have come to the conclusion that there has been no serious concerted effort in the past 63 years to thoroughly inspect the 3,000 or so tablets which I took the trouble to examine so closely. No doubt the task was not undertaken, since to do so would have required a team effort on the part of several specialists in Linear B linguistics.

But I could not wait on the problem any longer. So I took it upon myself alone to meticulously examine that many tablets! And what an exhausting job it was! But the pay-off in the exciting discovery I made was more than well worth the effort, to say the very least. When the Association of Historical Studies, Koryvantes, in Athens, Greece, happened upon our blog late in 2014, they were immediately impressed by the extensive research I had carried out, and very soon asked me whether I would like to participate in the Conference “Thinking Symbols”, at the Pultulsk Academy of Humanities, University of Warsaw, between June 30 & July 2, 2015. Of course, I accepted.

I shall be giving a 20 minute talk, more like a presentation, on the discovery of supersyllabograms in Mycenaean Linear B, and the significant rôle they play in the decipherment of at least 700 tablets which had previously proven recalcitrant. This talk is to serve as the premier public forum for the official international announcement of the rôle of supersyllabograms in Mycenaean Linear B. The University of Warsaw will consequently be publishing the presentation in its entirety, along with those of all the other speakers at the Conference. The University of Warsaw is in the ideal position to publish our book, The Decipherment of Supersyllabograms in Linear B, likely to run to 200 pp. or more, sometime late this year or early in 2016. This would be a huge feather in their cap, as the book itself represents the most significant breakthrough in the further decipherment of Linear B since 1952. Cambridge University Press had the honour of publishing the original book by Prof. John Chadwick, The Decipherment of Linear B (1958, 1970). So the University of Warsaw has much to celebrate in the publication of the second major book, The Decipherment of Supersyllabograms in Linear B, which takes the inspiration of its title directly from the title of the original.

Richard

Re: Mycenaean Linear B Ideograms Level 5.1 Advanced/Military B 230 – 259

Re: Mycenaean Linear B Ideograms Level 5.1 Advanced/Military B 230 – 259:



For some time now I have been studying the Linear B Military Ideogram no 259 and could not think or even imagine what it could possibly be.

It was only when I recently had cause to refresh my memory as to the Military ideograms in readiness for the next Linear B  Translation I have to work on that it suddenly appeared to me this ideogram may quite possibly resemble a “bow and arrow”. Could this be I wondered, or is it meant to be just a bow?

My Research: 

With this image in mind I carried out my research hoping to find some proof of my idea by first consulting ‘Wikimedia Commons’ but here I found no evidence except for the actual ideogram as above, but with no meaning. The only significant information I found was on SALIMBETI.COM “The Greek age of Bronze”. Here there was  one picture (see below) of a man with a simple curved bow which I thought looked anything near the ideogram 259, if in fact, it corresponds to what I think it to be. If not, maybe someone else may have an idea what this Ideogram 259 could be. There is more info about bows but more to do with Hunting on the site mentioned
 
Man with a Simple curved bow (Seal from Malia)

   


Rita Roberts

An Archaeologist’s Thoroughly Researched Translation of Pylos Py Tablet 641-1952 (Ventris)

An Archaeologist’s Thoroughly Researched Translation of Pylos Tablet Py 641-1952 (Ventris)

This Linear B Tablet PY 641 is by far the most difficult one I have had to translate. It was the first ever Linear B tablet which Michael Ventris deciphered in 1952. I was in my teen years then and knew nothing of his great achievement and in fact nothing about the Linear B Ancient script writings whatsoever.

I am aware that many scholars have translated this tablet such as the archaeologist Carl Blegen, and also Prof. John Chadwick, who assigned the first range of standard values to ideograms for the vessels on Linear B Tablet 641.

Ref: Chadwick, John. The Decipherment of Linear B (2nd edition) London: Cambridge University Press 1970. ISBN 521-09596. pg. 117.

I now submit my translation of this very important Linear B tablet from the great Minoan Palace at Pylos: Click to ENLARGE

TRANSLATION:

Aigeus a worker is making tripods of the Cretan style.
There are 2 Tripods with three legs and two handles,
1 Tripod with a single handle on one foot,
1 Tripod with the legs burnt from the legs up *,
3 Big pots with two handles,
2 Big pots with three handle,
1 Smaller pot with four handles,
1 Small type of cup/ goblet with three handles,
1 Small type of cup/goblet without handles.

WITH REGARD TO THE POTTERY VESSELS:

COMMENTS

As an archaeologist working on Minoan pottery for the past ten years, I feel that adding a few descriptions of the pottery vessels mentioned on this Linear B tablet will further our understanding of their important shapes and uses. Also, we must remember that due to the lack of sufficient room on these very small clay tablets, the Minoan scribe recording so many items would not have been able to write all the details for us to read in our modern times. But of course, his fellow Minoan scribes understood exactly what the pottery items were.

The following is my idea of what I believe the Minoan scribe has listed on this Linear B tablet PY 64l and what they were used for.

Tripods - Sometimes referred to as Cauldrons and were mainly used for cooking purposes and for boiling water

Pithoi - Because the Linear B word mezoe means ‘greater/bigger’, I interpret these pots which have three and those with four handles as being Pithoi. They were used for the storage of large quantities of agricultural produce such as grain crops, olive oil and wine. These huge pots could have as many as eight handles.

Large Pithoi (singular, pithos) in storage at Knossos

Amphorae – (singular, amphora) These pots having two handles or even three handles were used for the storage and transport of oil or any other liquid substances.

Early Minoan Amphora from Knossos

Amphora – mewijo means smaller. The other amphora listed on this tablet with four handles was most likely used for the storage of perfume.

With regard to the Linear B word dipa meaning “cup”:

After further research into archaeological reports and illustrations at The Institute for Aegean Prehistory Study Centre for East Crete and The History of Minoan Pottery by Philip Betancourt 1985 Princeton University Press, Princeton, New Jersey, I found that the two cups listed on this tablet PY 64l can only mean a (type of cup). I therefore interpret them as being goblets, although the one with three handles possibly being a kylix Both were drinking vessels.

CONGRATULATIONS, Rita Roberts!

Congratulations to Rita Roberts for her excellent translation of Pylos Tablet 641-1952 (Ventris), which she has grounded on her thorough research as an archaeologist into every last type of vessel illustrated by Prof. John Chadwick’s classification of ideograms for vessels. What is particularly impressive here is her insistence on checking one by one all of the ideograms (which are after all symbolic representations of the real thing) against prominent archaeological finds of each type. This very effective approach is novel, in so far as all of translators to date of tablet Pylos 641-1952 (Ventris), whether or not they were archaeologists themselves, have never taken the trouble to cross-correlate the various ideograms with their actual hardware counterparts. By taking this critical step in gathering concrete evidence to back up her choices for the name of each and every type of vessel on this extremely significant tablet, Mrs. Roberts has provided us empirical evidence as confirmation of the types of vessels named and flagged by ideograms on the tablet. Why no one has done this in the past is beyond me... and beyond Mrs. Roberts as well.

At any rate, it was this technically challenging tablet which I assigned to Rita Roberts as the final step in her Secondary School Level studies. I am delighted to announce that Mrs. Roberts has achieved a mark of 98% for the extreme thoroughness of her research, especially in the archaeological sphere. Rita is thus granted her Secondary School Matriculation with all its attendant rights and privileges. I shall be designing a Secondary School Graduation Certificate on fine linen 25% cotton paper, beautifully framed, to send to Rita Roberts. I shall also post her Certificate right here on our blog for all to see. It goes without saying that I myself shall not attempt to translate this famous tablet, because to be perfectly honest, I could not have come up with a translation as thoroughly researched or as minutely detailed and accurate as this one by Rita Roberts.

Mrs. Roberts is now at the first year level of university studies, and as such, she is now confronted with even greater challenges, being obliged as she is to translate tablets (much) more complex than Pylos 641-1952 (Ventris), to master all of the logograms and ideograms in Mycenaean Linear B, and to thoroughly learn all of the vocabulary in the military sphere from the comprehensive English – Mycenaean Linear B – Archaic Greek – Modern Greek Lexicon of Military Affairs she and I are to publish by June 2015. In effect, her studies for the first two semesters of her first year will focus primarily on the translation and the mastery of Mycenaean Linear B tablets on military affairs.

She is also hereby granted the status of co-moderator of this blog.

Richard

Tag: LinearB

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