キプロスの二か国語テキストと日本語 (Bilingual Text from Cyprus)
９/３０ 冒頭のEnkomi Clay Tablet (No. 1885)に関し、内容を更新し、再度掲載しました。
９/２８ Bilingual Text from Amathusに関し、キプロス音節文字の日本語訳を改訂しました。
９/２１ Bilingual Text from Amathusに関し、ギリシャ文字の解読部分に手を入れた。右から読んだら、日本語が隠れていた次第。
This analysis has been carried out on Cypro-Minoan script and its successor, Cypriot syllabic script, that survived into the 4th century BCE, to find out if Japanese could have been in use on Cyprus (Alashiya) by examining, among others, the bilingual text from Amathus, inscribed in Cypriot syllabary and in Greek, with the understanding that the background language of Linear A is Japanese.
I. Cypro-Minoan Text : Enkomi Clay Tablet (No. 1885)
This clay tablet, dated from approximately 1525–1425 BCE, was discovered in 1955 inside the fortress at Enkomi, Cyprus, in a copper-smelting area. Cypro-Minoan symbols are inscribed in 3 lines. It appears as Figure 30 in J. Chadwick's, Linear B—The Scripts of the Ancient Mediterranean, and also in Yves Duhoux's online paper, “Cypro-Minoan Tablet No. 1885.” On Brian Colless's website, “Early Enkomi Tablet,” the inscription is transcribed into the alphabet, although many difficult composite signs remain.
As Cypro-Minoan script is derived from Linear A and uses the open syllable (consonant + vowel) as basic unit, I tried to decipher the inscription as Japanese, adjusting sound values as necessary.
1. Simple Version
(1) Upper line
The symbol at the far left is LA+YA (“arrow”). The second symbol from left is the double-axe sign (A); since in Linear A, this symbol can be read as, TENMA (天馬, “Heavenly Steed”), the same idea is applied here.
LAYA A/TENMA SA NA MU WA LO YA
Reading from right to left, this is interpreted as follows:
「野郎は、無念さ。天馬待てん、乱や」
“Poor fellow—what a disappointment. The Heavenly Horse—I cannot wait; it is chaos.”
Reading from left to right produces the following:
「乱や。天馬／待てんさ。悩むは、牢屋」
“It's chaos. The Heavenly Steed / I cannot wait. What troubles me is this prison.”
(2) Middle line
KA KO TI ME DE-TE SE TI
Reading from right to left, in continuation from the upper line, this is interpreted as follows:
「らちせい（何とかしてくれ）！」「出て、飯、乞うか（乞食になるか）？」
“Help me!” “Do you want to leave and go begging for food?”
Reading in reverse direction produces the following:
「囲い地め、出てせし」
“This enclosure—I’ll leave, somehow.”
(3)Lower line
The third sign from the right is interpreted as to match the Linear A symbol for E (*38).
NI KE SA/TA E LO I
Reading from right to left, this is interpreted as follows:
「火炉が猛るに」
“The furnace is raging.”
Reading in reverse direction produces the following:
「逃げた、偉い！／人間さ、耐えろ」
“He escaped—well done!” / “You are human; bear with it.”
2. Detailed Version
Here, the symbols that deviate from basic forms are treated as composites (multiple syllables) and, furthermore, the I/YA/SI/NO rule is applied, where I/YA/SI/NO is abbreviated as α.
(1) First line
(a) Sound Values
Numbering the 8 symbols from left to right gives the following.
① Tongue-shaped sign: LAYA/SITA. Alternatively, if the U-shape is interpreted as WA, in Indus style, and the short diagonal stroke from upper left, as α, this is, WA-α.
② Double-axe sign: This can be read as (NU/RU)-SI in the Cypriot syllabary, and with the short horizontal bar in the center, this becomes, (NU/RU)-SI-α. Alternatively, based on the bridge (HASI) shape, HASI-(NI/RA)-α.
③ Combination of TA and SA gives, SATA.
④ TO, according to Y. Duhoux, in Linear A style; B. Colless, reads this as NA. Here, TONA will be used.
⑤ Lily-flower: The symbol consists of an inverted TI, an Indus-script style RI (triangular roof), and YU in Linear A. This gives, TI-RI-YU.
⑥ WA, in Linear A.
⑦ LO. Alternatively, if the vertical and horizontal bars are separated, α-α.
⑧ JA
(b) Interpretation (right to left)
YA LO WA TI-RI-YU TONA SATA [(NU/RU)-SI] / [HASI-(NI/RA)]-α LAYA/SITA
「野郎は、ユリ地／湯治里に、との沙汰 知るのう／ワシらや、知った」
“The fellow is in Lily-land / a hot-spring resort; such are the tidings, so that we know.”
Note: Because symbol ⑤ denotes a lily, the message may have come with an illustration of the flower.
(c) Interpretation (left to right)
WA-α [(NU/RU)-SI] / [HASI-(NI/RA)]-α SATA TONA TI-RI-YU WA LO/(α-α) YA
「縄橋にや／死ぬや。通そうとな／揺れ地は、いやや」
“A rope bridge! / This is the end. To get across! I hate places that sway.”
(2) Second line
(a) Sound values
Numbering the 7 symbols from left to right gives the following:
① In Linear A, this is KA. The bold “triangular roof” on the right side, treated separately, gives KO. The central cross is LO. Hence, KA-KO-LO.
② TI. Alternatively, since the “rounded roof” is divided into the left and right parts, adding the vertical stroke below produces three strokes, or 3α.
③ TI. Alternatively, if the semicircle at the top is read as SO/WA, this becomes, (SO/WA)-α.
④ The 2 vertical lines on the sides can be NI/RA/HASI. The central area is interpreted either as KO-KO, or as a diamond-shaped WO, giving, (NI/RA/HASI)-(KOKO/KONI/WO).
⑤ Two TE/DE signs are joined vertically to give, 2 (TE/DE). Otherwise, if the 6 horizontal strokes on each side are divided into groups of 4, they are counted, 3 times 4 or, (SA/MI)-(SI/YO). Together, this gives, 2(TE/DE)/[(SA/MI)-(SI/YO)].
⑥ A composite of SE and TA/DA, giving, SE-(TA/DA).
⑦ TI, or KO with a diagonal stroke, KO-α. Thus, TI/(KO-α).
(b) Interpretation (right to left)
TI/(KO-α) SE-(TA/DA) 2(TE/DE)/[(SA/MI)-(SI/YO)] (NI/RA/HASI)-(KOKO/KONI/WO) TI/[(SO/WA)-α]
TI/3α KA-KO-LO
⇒ KONO/TI DA-SE DE-TE-MI-YO
HASI-KOKO SO-YA YASINO/TI KAKOLO
「この地だぜ、出てみよう。橋は、ここ。そうや。ヤシのチンコロか」
“This is the place. Let's come out. The bridge is here. Yes, indeed. The palm trees, with their balls.”
(c) Interpretation (left to right)
KAKOLO TI/3α TI/[(SO/WA)-α] (NI/RA/HASI)-(KOKO/KONI/WO) 2(TE/DE)/[(SA/MI)-(SI/YO)] SE-(TA/DA) TI/(KO-α)
「軽く、癒し。ワシら、ここに出てみよう。そうだ、こっちや。」
“Easy and healing. We should come out here. That's right, this way.”
Note: Symbols ④ and ⑤ double as cartoons of a rope bridge that tends to sway.
(3) Third line
(a) Sound values
Numbering the 6 symbols from left to right gives the following:
① This must symbolize palm trees that extend toward the left and right. If the left and right sides are respectively taken as SA-α, this gives, 2 × (SA-α).
② A form resembling TI with 6 hair-like projections on each side. On the left there are 3 strokes above and 3 below; on the right, they are in clusters of 4 and 2. Thus, TI-2(MI/SA)-YO-NI
③ Given the large dot above SA/TA, (SA/TA)-α.
④ Short strokes extend outward from the roof-shaped KO; On the left there are 2 + 1 strokes; on the right are 2 strokes that form a bracket shape. This gives, KO-(NI/RA)-α-(NI/RA/WA)
⑤ Short strokes extend from the 4 ends of a cross (LO), giving, LO-4α.
⑥ This is I, with a horizontal stroke added in the middle. Recognizing the open loop (WA) formed, this is read as, I-α-WA.
(b) Interpretation (right to left)
I-α-WA LO-4α KO-NI/RA-α-(NI/RA/WA) (SA/TA)-α TI-2(MI/SA)-YO-NI 2(SA-α)
⇒ I-WA-YA IYASINO-LO KO-NI-YA-WA TA-NO TI-MISA-YO-NI SAYA-ISA
「岩屋社/癒し楼。今夜は、楽しみさ。世にさよう、言うさ。」
“The shrine/ healing tower of the rock shelter. Tonight will be enjoyable. I’ll say farewell to the world.”
(c) Interpretation (left to right)
2(SA+α) TI-2(MI/SA)-YO-NI (SA/TA)+α KO-NI/RA-α-(NI/RA/WA) LO-4α I-α-WA
「兄さんや、寂しい夜に、やったさ！ 今夜は、ヤシの慰労、祝い」
“Brother, on this lonely night, we did it! Tonight is a celebration, consolation with palm-trees!.”
(4) Summary
(a) Holiday Story
The 3 lines, when read as a continuous story, produce the following.
(First line)
“The fellow is in Lily-land / a hot-spring resort; such are the tidings, so that we know.
“A rope bridge! / This is the end. To get across! I hate places that sway.”
(Second line)
“This is the place. Let's come out. The bridge is here. Yes, indeed. The palm trees, with their balls.”
“Easy and healing. We should come out here. That's right, this way.”
(Third line)
“The shrine/ healing tower of the rock shelter. Tonight will be enjoyable. I’ll say farewell to the world.”
“Brother, on this lonely night, we did it! Tonight is a celebration, consolation with palm-trees!
The overall sequence is therefore interpreted as follows:
Someone has escaped from the work place to a hot-spring resort sends a message to report back on the pleasures he encountered. This incites others to follow on and visit the place.
Incidentally, other Cypriot syllabary texts also promote and advertise Cyprus/Enkomi as a health or holiday resort.
(b) Cartoons
(i) The central symbol in the first line closely resembles a lily/orchid. Orchids are a famous flower of Cyprus.
(ii) If symbols ② and ③ of the second line are viewed together as 2 eyes, then ② of the third line may be viewed as a mouth with a beard/ a coconut, and together, they form a cartoon of a drunken, bearded man.
(iii) Symbols ④ and ⑤ of the second line are cartoons of a rope bridge that sways when crossed.
(iv) The left-most symbol of the third line represents two palm trees.
(c) Photograph on right-hand side
The photograph on the right appears to show the right side edge of the clay tablet. There are 2 symbols that closely resemble the 2 symbols on the far right in the upper line. They can be read as LO-YA, meaning, prison and must represent the door of a detention cell.
3. Overall interpretation
The detailed version produces different results from the initial, simple interpretation. Nevertheless, the simple version should not be discarded; the two should be connected as parts of a coherent story.
The basic plot deals with a fellow who could no longer endure the work at the furnace, and escaped. Later, a message arrives from him saying that h e was at a hot-springs resort, with an illustration of a lily. Enticed by this message, others too, decide to visit the place for themselves.
The clay tablet was therefore, an advertisement for a health resort. It is an exceptional artifact in which considerable ingenuity was employed: the inscription was carefully designed so that it could be read in two directions, while concealed cartoon illustrations were incorporated into the symbols.
II. New York Metropolitan Museum Collection
These pieces can be found by searching images with “Met Art Cypriot Syllabary.”
1. Trapezoid (Pentagon)-shaped Stone Tablet (3rd century BCE)
There is a photo on the book cover of “Writing and Society in Ancient Cyprus,” by the English researcher, Philippa Steele.
The tablet is made of limestone. A floor separates the top one-third from the rest. On the upper floor, there is a seated man; below, two men face each other and one of them is about to grasp the other by the hands. They seem to be in a confined environment, and a pickaxe lies between them.
On the right side of the lower level, there are three lines inscribed with Cypriot syllabary, and they are deciphered as Japanese.
(1)Transcription and Interpretation
The dots [・] are filled in with either I, JA, SI, or NO, according to a rule common to Linear A scripts. Some are construed as combined symbols. They are laid out in the order of appearance. JA at the beginning of a sentence is mostly silent.
(Upper Line) (JA) O TE I TO (SI/JA) MI TE I JA KA
（left to right）「 お手、いとし」「やめて」「いやか？」
“Your hands, please,” “Don’t do that,” “You don’t like it?”
（right to left）「早い手を見て、やっといておや」
Seeing the quick worker, “Please get on and do the work.”
(Middle Line) (JA) RI TE (SI/JA) PE (I/JA) O (JA) RITE LO KATI A TO
(left to right）「やり手氏、夜番をやっていろ」「貸しな、と」
“Mr. Fast-worker, take the night shift,” “Give me the pickaxe,”
(right to left)「と（ツルハシ）預かりおいてや。お、夜這い事しているや」
And taking it up, “This stuff is dangerous,”
(Bottom Line) (JA) KA RUNO MI
(right to left)「実るのかい？」”Is this going to bear fruit? ”
(left to right）「いや、刈るのみ」”Just keep on digging.”
(2) Overall Perspective
One man is trying to draw the other into work using the pickaxe. This could well be a coal mine, but the two men are probably prisoners; one of them is plotting to escape by digging a hole with the pickaxe and trying to persuade the other to cooperate and do the night digging. In that case, the large “square” behind the man on the right must be the prospective tunnel into the wall, and the person on the upper floor, the warden. Put together, the deciphered contents are as follows:
“Your hands, please.”
“Don’t do that.”
“You don’t like it?” Seeing the quick worker,
“Please get on and do the work. Mr. Fast-worker, take the night shift.”
“Give me the pickaxe,” and taking it up,
“This stuff is dangerous. Do you think it will work? ”
“Just keep on digging.”
Although the two men are agreed on this project, they are squabbling over who is to do the night digging, given the one pickaxe available.
2. Limestone Object with Tail Projection (5th c BCE)
This object is shaped like a soy sauce dispenser. There are three lines, here, numbered from top to bottom as (1) to (3), inscribed in Cypriot syllabary that can be transcribed as follows:
(1) TETA WO TO SE O TI TO
(2) SA I A NO
(3) [TORA] ZO JE TI E
（On the third line, the symbol on the far left, ambiguous as Cypriot syllabary, is read as TO in Linear A, to be followed by RA, also read as Linear A. This gives us TO-RA, tiger, and this cluster of symbols also projects the image of a tiger, in cartoon fashion.）
(From top to bottom)
Reading the symbols on the far right, from top to bottom, reveals, TO-NO-E (殿へ) or, “To my lord.”
(Right to Left)
(1)年の瀬と/年の生徒 尾立て/ の縦
“For the year’s end/ From this year’s student, a standing tail/ a vertical”
(2)の挨拶
“Gesture of greeting”
（For the word “Greeting,” TU is added, as the shape of the object resembles the symbol for TU, and this results in NO-A-I-SA-TU）
(3)へ知恵ぞ トラ
A wily approach from Tiger
Linked together, this becomes,
“For the year’s end/ From this year’s student, a standing tail/ a vertical, gesture of greeting, a wily approach from Tiger.”
Thus, the protruding part of the limestone object must be a tiger’s tail.
(Left to Right)
(1)縦、落とせ、をちと
“Turn it vertically, a bit,”
(2)さ言い、あの
“Of advice from”
(3)トラぞ、入れ知恵
“Tiger, who inputs an idea.”
Joined together,
“Turn it vertically, a bit of advice from Tiger, who inputs an idea.”
Accordingly, when the object is turned counterclockwise 90 degrees, so that the protruding tail points upwards, cartoon images appear from the clusters of symbols. In fact, between lines (2) and (3), there is a smeared line, on each side of which there emerges a human face.
〇The face on the left side has a pointed nose, a closed eye, and is about to take a drink. He/she appears somewhat over-stressed.
The symbols inscribed below this face, WO-TATE, may be read alternatively as TIKA-NETE that means, “How are you,” in Greek. In this case, line (1) can be read as, NETE TIKA TO SE O TI TO.
Then, read from right to left,
年の瀬と貸してね “For the year’s end and to ask for a loan”
From left to right,
寝て勝ちとせ、をちと “Sleep the season away and call it a victory, a bit”
〇 The face on the right side has a laid-back expression. He is in a good mood, probably after drinking alcohol. The symbols inscribed below the face are the ones read as TO-RA, tiger, that is a cliché for drunkard in Japanese. The overall shape of the object may also represent a server for alcohol.
With all these elements together, this becomes,
“To my lord,
For the year’s end and to ask for a loan / From this year’s student, a standing tail/ a vertical, gesture of greeting, a wily approach from Tiger.
Turn it vertically, a bit of advice from Tiger, who inputs this idea.
Sleep the season away and call it a victory.”
If we assume that the language written is Japanese, the following words will have their meanings easily recognized, TORA= TIGER= DRUNKARD, O= TAIL, TATE= STAND/VERTICAL, and they bring us to understand why the object is shaped as it is, and to uncover the cartoons hidden within the inscribed lines.
The letters on the left side of line (3), just below the drunken face, were written in Linear A as TO＋RA (tiger) perhaps because the sender was Minoan, and/or the Minoans were known to be great drinkers.
The object may have been an end-of-year gift from a (Minoan) student to a teacher of Greek language. If the Oriental Zodiac were already in use, the student could have been born in the year of the tiger, and/or that very year, or the following year, happened to be the year of the tiger.
3. Triangular Stone Tablet (Male with Bared Shoulder. 3rd c BCE)
There is a man on the right side of the tablet, drawn with a disgruntled expression on his face. He has longish red hair, balding near the temple. His clothes and the inscribed symbols, to the left, are also painted red. There are 3 lines inscribed in Cypriot syllabary, numbered here, from top to bottom, and read as follows:
(1) A RO O SI NA O
(2) KA I TO SALO TE NE SO
(3) TE LO KA I TO
From right to left, the lines can be interpreted in Japanese, as follows:
(1) オネシラスは; Is Onesilus
(2) すねて去ろうとしているのか; Frustrated and trying to leave?
(3)…と、怒りながら; angrily commenting that…….
In 499 BC, the Ionian Revolt broke out in Anatolia against the ruling Achaemenid Persians and, eventually, spread to Cyprus, where the local rebellion was led by Onesilus, King of Salamis. This won wide support across the island except for Amathus, and Onesilus laid siege on the city. The revolt was quelled, however, and Onesilus was killed.
Judging from his facial expression, the male figure must portray Onesilus after his campaign was rejected in Amathus. His long hair and clothes in red drop hints that Onesilus is like a woman, with a play on words, as Onesilus can be pronounced as, ONNA-SILUS, or SILUS, the Woman. The stone tablet was probably created in Amathus.
4. Limestone Plinth with the Feet of a Female Statuette (Late 4th century BCE - 2nd century BCE)
The photo shows the surface on the long side, oblong in shape, on which there is a Cypriot syllabic inscription in two lines.
On the top right-hand corner, there sits a decoration that appears to be the tip of a right foot, wearing a sandal. The big toe is on the far right and a strap sets it apart from the other toes to the left. The toenail appears to be colored darker than for the other toes.
In the inscription, the upper row looks difficult to read; the lower row, with 9 symbols, is analyzed and deciphered as follows:
(1) Irregular symbols
Numbering the symbols from left to right as (i) to (ix), the sound values for the irregular symbols are determined as follows:
(i) This symbol is normally read as A; if the lower part is read as TI, and the upper part, standing on the lower, vertical bar, as RE, this becomes A/ TIRE.
(ii) If the long vertical bar is read as I/YA/SI/NO and the pair of short vertical bars on the sides, as NI/RA, this becomes (I/YA/SI/NO)-(NI/RA).
(iii) This symbol is inscribed with a vertical bar in the center of SA, and so it is read as SA- (I/YA/SI/NO).
(viii) By writing KS diagonally and bridging the center with a line, this becomes, KSA- (I/YA/SI/NO).
(2) Decipherment
A/TIRE (I/YA/SI/NO)-(NI/RA) SA- (I/YA/SI/NO) TA NA KO I KSA- (I/YA/SI/NO) TA
(From left to right)
A SI-NI SA- I TA NA KO I KSA-I TA
足／端 に 咲いたな 恋咲いた/濃い、臭いのだ。
On the foot/At the edge, like flowers, there blooms love/ that smell strong.
(From right to left)
TA KSA-NO I KO NA TA SA-I NO-RA TIRE
沢山の良い子。こんな多彩。さいなら、散れん。
Look at my good children of diverse colors and variety. Now goodbye, thus I scatter away.
(3) Summary
Combining the above, this becomes:
“On the foot/At the edge, like flowers, there blooms love, that may smell so strong. Look at my good children of diverse colors and variety. Now goodbye, thus I scatter away.”
This must be the tombstone of a craftsman of women's sandals with fancy straps. The ladies of the time must have painted their toenails, and the toenail on this plinth must also have been painted, like a flower.
It is the right foot placed on the right end of the plinth, and for a reason; if it were the left foot, the big toe would shift slightly to the left, and the idea of “bloomed at the edge,” would not apply.
The tombstone was likely designed by the craftsman himself, or by his family, relatives, or acquaintances.
5. Limestone Plinth with the Feet of a Male Statuette (Mid-to-Late 6th Century BCE)
CESNOLA Collection, no.74.51.2336. Someone’s feet, cut off just below the ankles, are placed on a stone slab; the left foot is positioned slightly ahead of the right. 3 lines of Cypriot syllabic script are inscribed before the feet.
(1) Combined Symbols and Sound Values
(Upper Row)
〇 Long vertical line, that is the 2nd symbol from the left and also, 3rd from the right: I/YA/SI/NO.
〇 Ambiguous symbol at the right end: A/E.
(Middle Row)
〇 Leftmost symbol: Typically, I/HI, but reinterpreted as a short vertical line on top of X, this is read as I-KSA.
〇 2nd symbol from the left: Shorthand, for "repetition."
〇 3rd from the left that resembles RE: seen as 2 diagonal lines below KO, KO-(NI/RA).
〇 4th from the left (2 dots side by side like a colon): NI.
〇 6th from the left (2 parallel lines on a long diagonal line): RA-SI.
〇 2nd symbol from the right (Open box in diagonal position): This is read as WA in Indus script and so, (NI/RA)-WA.
〇 Rightmost symbol that resembles TI: KO-(I/YA/SI/NO), if seen as a vertical line under a triangular roof.
(Lower Row)
〇 3rd symbol from the left (XA with a dot in the center, and a diagonal line crossing the right side at the top): KSA-NO.
〇 4th from the left: Typically read as A, but if the lower part is read as TI and the upper part, a vertically placed fork, is read as RE (cf. Linear A script), this becomes RETI.
〇 3rd from the right (2 dots lined horizontally under KO): KO-(NI/RA).
〇 2nd from the right: RE, but with short diagonal lines on either side of triangular roof, to resemble MA in Linear A script, this becomes REMA. Furthermore, as the roof juts out to the upper left, this is read as NOREMA.
(2) Transcription
The inscribed symbols read from left to right as follows:
(Symbols at the very far left are omitted)
(Upper Row)
SE I/YA/SI/NO SE TE KA SE I/YA/SI/NO KO-(I/YA/SI/NO) A/E
(Middle Row)
I-KSA (々) KO-(NI/RA) : TE RASI I/YA/SI/NO I-KSA (NI/RA)-WA TI/ [KO-(I/YA/SI/NO)]
(Lower Row)
HI/(I-KSA) I/YA/SI/NO KSA-NO A/ RETI I-KSA KO-(NI/RA) NOREMA I-KSA
(3) Decipherment
(a) From Left to Right
(Upper Row)
SEIZEN DE KASE NO KO-I WA
生前で、風の声は
In life, the voice of the wind said,
(Middle Row)
IKUSA (HIKUWA) KORA NI TERASHI YA, IKUSA NIWA IKOU
戦さ、引くさ。子らに 照らしや、戦さには行こう
Although I would back away from war, for the kids, I will have to go.
(Lower Row)
HI NO KUSA NO ARECHI, IKUSA NI IKO/ KORA NOREBA, IKUSA
日/ 火の草の荒れ地、行くさ。戦さに行こう。こら、乗れば、行くさ
On the rough terrain, where grows the grass of fire/periwinkle, let's go to war. Come, onto my shoulder, kid! We are on our way!
(b) From right to left
(Upper Row)
A YA-KO NO SE KA TE SE NO SE
やや子 乗せ、 肩背、乗せ/ 勝たせの戦
Carrying the baby, on my shoulder/ for a war made to win,
(Middle Row)
I-KO NI-WA I-KSA (or) KO-NO RA-WA KSA-I SI
IKSA SI RASI TE NI NIKO-NIKO I-KSA TE : KO-(NI/RA) (々) I-KSA
行こう、庭の戦さ/ この乱は臭いし、戦さの知らせ手に、ニコニコ行くさ。
Let’s go to this war in the garden/ this uprising sounds a bit false,
So, with the notice in hand, I will go to war with a smile.
(Lower Row)
I NORE MA KO-RA I-KSA A/ RETI KSA-NO NO I-KSA
祈れ。まあ、こら逝くさ。荒れし、草野の戦さ。
But now pray for me, this blow had to be fatal, in this war of the untamed grasslands.
(4) Summary
All put together, we have the following passage:
The voice of the wind brings back the words he used to say:
“Although I would back away from war, for the kids, I will have to go. On the rough terrain, where grows the grass of fire/periwinkle, let's go to war. Come, onto my shoulder, kid! We are on our way! Carrying the baby, on my shoulder/ for a war made to win, let’s go to this war in the garden/ This uprising sounds a bit false, so, with the notice in hand, I will go to war with a smile.
But now pray for me, this blow had to be fatal, in this war of the untamed grasslands.”
This tells the story of a man who was conscripted and went to war after playing "war games" with a child on his shoulders; he is eventually killed in battle. The position of the feet, with the right foot drawn back, likely indicates his strong hesitation from being involved.
(5) Manga
Given this information, the following cartoon illustrations (manga) can be found:
(a) Straight
〇 At the left end of the upper row, the SE symbol appears twice, almost consecutively, in the image of a child on the father’s shoulders.
〇 On the right side of the lower row, a child’s face appears.
(b) Upside Down
The following images appear when the slab is viewed upside down:
〇 The upper row of symbols change into a row of spears, obviously a line of marching soldiers behind a fence.
〇 On the right side of the text, there appears a cartoon image of a skull with prominent teeth and eyes. The cross mark on the head must show the fatal blow.
〇 On the left side, between the feet, there is a cartoon of a child’s head, probably on his father’s shoulders. The teeth are not yet fully grown, so that “fangs” protrude from the lower jaw, and the child looks like a demon, or ONI.
III. Bilingual Text from Amathus
This bilingual text, written in the Cypriot Syllabary and Greek, was inscribed on a black marble stone broken in two. Ernst Sittig found it in an antique shop in Limassol, and he publicized the discovery with a photograph in 1914, but the stone itself was subsequently lost.
The marble slab was originally found on the Acropolis of Amathus, high above a hill near the coast. It is classified as ICS196 by Olivier Masson, and mentioned in the following sites: Eteocypriot, Oxford Classical Dictionary, Eteocypriot Language (Wikipedia).
Thierry Petit, in his 2007 thesis, The Hellenization of Amathus in the 4th century B.C., dates this text between 332 BCE and 312 BCE, on the grounds that 2 other bilingual texts from Amathus are from the reign of Androkles, the last king of Amathus. It was during this period that the Amathusians started to use Greek for official inscriptions alongside the local language, and so the same should hold true for this 3rd bilingual text as well.
1．Greek Inscription
(1) From Left to Right
Η ПΟΛΙΣ Η АΜАΘΟΥΣΙΩΝ ΑΡΙΣΤΩΝΑ
ΑΡΙΣΤΩΝΑΚΤΟΣ ΕΥΠΑΤΡΙΔΗΝ
Which is converted into modern script as:
Ἡ πόλις ἡ Ἀμαθουσίων Ἀριστῶνα
'Ἀριστώνακτος, εὐπατρίδην.
He polis he Amathousion Aristona Aristonaktos eupatriden
Cyrus H. Gordon translates this text as,
“The city of the Amathusans (honored) the noble Ariston (son) of Aristonax.”
アマサス市の人々は、アリストナックスの令息アリストンに敬意を表した。
(2) From Right to Left
When the same 2 lines are read from right to left and transcribed into the alphabet, this can be interpreted in the Japanese language as follows:
ANOTSIRA NOISUOTHAMA HE SILOP HE
あの城の/知らない、奏賜えん、しらべ
That unknown tune, played from the castle,
NEDIRTAPUE SOTKANOTSIRA
ねじれた笛、外かのう/そっと悲しいしら（べ）
The twisted flute, is it from outside? That faint tune, with sadness
“Twisted flute” must refer to the ancient Greek instrument, AULOS, known for its 2 pipes, played at an angle to each other. In this case, the 2 lines in the Greek alphabet must double as a cartoon of an AULOS, with the pipes laid out in parallel.
2. Cypriot Syllabic Inscription
The inscriptions have been read from right to left by Cyrus Gordon as follows:
(First Line)
A-NA-[・]- MA-TO-RI-[・]- U-MI-E-SA-I-MU-KU-LA-I-LA-SA-NA-[・]-A-RI-SI-TO-NO-SE-[・]- A-RA-TO-WA-NA-KA-SO-KO-O-SE
(Second Line)
KE-RA-KE-RE-TU-LO-SE-[・]-?- TA-KA-NA-?-?-SO-TI-[・]- A-LO-[・]- KA-I-LI-PO-TI
３．Japanese Translation of the Cypriot Syllabary
(First Line)
(1) Straightforward Interpretation
[・] is filled in with I, YA, SI, or NO, in line with common practice in Linear A. According to C. Gordon, the A at the beginning can also be read as HA.
A/HA-NA-[NO]- MA-TO-RI-[YA]- U-MI-E-SA-I-MU-KU-LA-I-LA-SA-NA-[NO]-A-RI-SI-TO-NO-SE-[YA]- A-RA-TO-WA-NA-KA-SO-KO-O-SE
花の祭りや、海へさ、イムクライ（出向こう）。らさな（成果/子種）（の）アリシト乗せ（や）。アラト・ワナカ（王）、そこ/その子、押せ。
Let us head for the sea, on the festive day of flowers. It’s the offspring, Ariston on the boat. Aratus is King, lend support to the son.
A-RI-SI-TO-NO-SE-[YA] (アリシト乗せや) is translated as, carrying Ariston/ to carry Ariston, and taken to mean, “Ariston is on the boat.”
WA-NA-KA may be interpreted as king, from WANAX, Mycenaen king, and this becomes a message of exhortation to support Ariston, son of the king.
(2) Revised Sound Values
A/HA is alternatively read as, TENMA. Also, the symbols read above as MA and SE are irregular “misfits” that can be construed as combined symbols, where MA can be read as SILO, and SE as KESINA or KESE. Then, the following message will result:
A/HA/TENMA-NA-[YA]-MA/SILO-TO-RI-[NO]-U-MI-E-SA-I-MU-KU-LA-I-LA-SA-NA-[YA]-A/HA/TENMA-RI-SI-TO-NO-SE/KESINA/KESE-[YA]-A/HA/TENMA-RA-TO-WA-NA-KA-SO-KO-O-SE/KESINA/KESE
あな/天馬、待てんのや。山鳥/白鳥/城取りの海へさ、出向く。暗いラサナ（成果/子種）や。天馬、ARISTON消せや。天馬、反乱徒ワナカ（王）泣かそう。家族を消せ。
Alas, he can’t wait for the Heavenly Steed (grim reaper)! The mountain bird/swan, heads for the sea, from where the castle is besieged. It is the dark offspring. Heavenly Steed, kill ARISTON. Heavenly Steed, make the rebel king, cry! Kill his family!
Onesilus, King of Salamis, joined the Ionian Revolt of 499 BCE against the Achaemenid Persians, and tried to spread the rebellion in Cyprus. This won wide support except for Amathus, and Onesilus laid siege on the city. The revolt was quelled, however, and Onesilus killed.
The “swan” may refer to the 2 huge, white bowls found on the Acropolis of Amathus, one of which is now on permanent display in the Louvre. The first 3 explicit symbols, read as A-NA-SILO could refer to Onesilus.
(3) In Reverse Direction
Here, the first symbol is read as SILO.
SILO/KESINA/KESE O KO SO KA NA WA TO RA A/HA/TENMA
[JA] SE NO TO SI RI A/HA/TENMA [NO] NA SA LA I LA KU MU I SA E MI U [・] RI TO MA [I] NA A/HA/TENMA
毛無し、「城を起こそうかな」。かなわん。トラ（酔っ払い）の天馬、野生の、と知り。あの行動は（能天気な）楽虫さえ、「身売りだ」と。舞いな、天馬。
The bald one (cries), “Let’s wake up the castle!” We’re fed up with that! It’s the drunkard of a Heavenly Steed (grim reaper), gone wild. His behavior is seen as betrayal even by the most uninitiated. Go do your dance, Heavenly Steed!
On the Triangular Stone Tablet (Cypriot syllabary Stock Photos and Images, ALAMY) that describes ONESILUS the rebel, he is depicted as a balding male (with bared shoulder) and so the “bald one” here could also point to ONESILUS.
(Second Line)
(1) From Right to Left
The 5th symbol, read as TU, should be construed as KOYA/YAKO, and this is consistent with the shape of a hut (KOYA); the 7th symbol, read as SE, should be SINAKE/NAKESI; the last symbol is TIWO, rather than TI. Accordingly, the line is reread as follows:
KE-RA-KE-RE-YAKO/KOYA-LO-SILO/KENASI-[SI]- TA-KA-NA-?-?-SO-TI-[NO]- A/HA/TENMA-LO-[YA]- KA-I-LI-PO-TIWO
ヘラクレスや、殺しけなし/この野郎、毛無し！城知ったかな（？）（？）そち（の）天馬、待てん/そちのは、牢屋/摩天楼や、帰り、ポチを。
Hercules, you show no sign of a kill. You hairless idiot! Did you find out about the castle? You can’t wait to meet your Heavenly Steed (grim reaper) . The one you face is a skyscraper/jail. Be a poodle on your way back!
KE-RA-KE-RE is interpreted as Hercules, who was worshipped in Amathus, as one of his sons, Amathos, is believed to have settled there.
Hercules must refer to a leader of Greek stock, like Ariston in the Greek text. Upon arrival, he must have behaved with arrogance, and the people of Amathus felt they had to teach him a lesson, after which he was a more subdued character.
The Second Line is left out of the Greek version intentionally, to cover up any signs of sedition. Even the First Line has been corrupted in the Greek translation for obfuscation, lest there be any controversy.
(2) In Reverse Direction
Here, SIKENA is read as KESINA/SINAKE、and KOYA as KOSI.
WOTI-PO-LI-I-KA-[・]-LO-A/HA/TENMA-[・]-TI-SO-？-？-NA-KA-TA-[・]-KESINA/SINAKE-LO-KOSI-RE-KE-RA-KE
落ちぶれイカ野郎。天馬、後……中だ。焼けて死ね/石投げろ。子を知れ、ヘラクレス。
The fallen squid-man. The grim reaper appears, and later, ……inside. Let him burn to death/ throw stones at him. Recognize your children, Heracles!
Heracles is known to have died after being tricked into wearing a garment immersed in the poison of a former enemy. The agony was so unbearable, that he had to ask someone to set him on fire.
Squid-man may be a disparaging term for the Greeks, because of their headdress. Squid may also hint at a pretender, that claims to be related to the all-powerful “octopus of the north” that supposedly turned the heavens around the pole star.
3. Summary
Contrary to the Greek inscription that calls on locals to support ARISTON, the lines in Cypriot syllabary incite sedition against him, and bring one gradually to the conclusion that the story is about the siege of AMATHUS by the rebel ONESILUS, that turned out as a failure. In the second line of the Cypriot syllabary, totally omitted from the Greek version, Herakles appears as a pseudonym for ONESILUS. The person responsible for these inscriptions must have tried to hide the true nature of the message by using unique combined symbols to misguide Greek-speakers. Only native speakers of ancient Japanese, the language behind the Cypriot syllabary, would have recognized the dark intentions of the writer. Furthermore, the Greek populace may not have entertained the idea of reading the lines in reverse direction.
IV. Other Texts in Cypriot Syllabary
[ICS192] There is a photo of this stele in “The Syllabic Inscriptions of Amathous: Past and Present” by Artemis Karnava and the text is mentioned in the website, “History, prehistory and the languages of Cyprus.” The inscription can be deciphered into Japanese as follows:
（From left to right）
(1) WI-TI-LE-RA-NU-[・]-TA-NA-[・]-MU-NO-TI
(2) HA/A-I-LO-[・]-E-KI-YA-NO-TI-[・]-MA-NA-KO
(3) TO-U-[・]-PA-KI-MI-RA-NU-[・]-TA-NA MU
(4) NO-TI
NO-TI, appearing twice, is interpreted as 「の地」(land of); the [・] markings have been filled in with the sounds, I, YA, SI, or NO, in accordance with rules known in Linear A. The symbol for A can also be read as HA.
(1)ういてれらぬ[や]たの[し]むの地
浮いてばかりでないのは、楽しみの地
The land of fun and amusement is not entirely a floating world of diversion.
(2)は/あ いろ[や/の] えきやの地 [や] まなこ
入ろうや、隘路の駅屋の地は、眼で
Let’s enter, the land of stopovers, at the end of a narrow strip of water,
(3)とう[し]わきみらぬ[や]たのむ
遠くから見据え、脇を見ずに向かう/見飽きない、頼み
Recognized from afar with unswerving eyes, never to grow tired of watching,
(4)の地
This land of expectations.
If the land of stopovers (EKIYA-NO-TI) is construed as ENKOMI, this becomes,
浮いてばかりでないのは、楽しみの地。
隘路のエンコミは、遠くから見据え、脇を見ずに向かう、頼みの地。
“ENKOMI, land of fun and amusement, is not entirely a floating world of diversion. Let’s enter this land of stopovers, at the end of a narrow strip of water, recognized from afar with unswerving eyes, never to grow tired of watching, this land of expectations.”
In bronze age Cyprus, ENKOMI was an important city, where copper was traded. It was located at the root of Karpasia Peninsula and a narrow strip of land led to this destination.
（In reverse direction）
Given the slight divergence of sounds from what should be expected from a Japanese inscription written in this context, there may have been a twisting of phonetics to allow for a reading in reverse direction, as is often the case in Linear A, and this has been uncovered as follows:
TI-NO-MU-NA-TA-[NO]-NU-RA-MI-KI-PA-[SI]-U-TO-KO-NA-MA-[SI]-TI-NO-YA-KI-E-[NO]-LO-I-A/ HA-TI-NO-MU-[SI]-NA-TA-[SI]-NU-RA-LE-TI-WI
血飲むな との恨みを詳しく言うと、この町、エンコミの焼き枝の炉/牢屋は、血飲むし、死の田で、毒が塗られている。
Don’t drink blood, to explain the words of grudge against this town (of Enkomi), there are furnaces/ prisons to burn branches of the earth, and the people (become sick as to) drink their own blood, as the cells of death are smeared with poison.
ENKOMI was known for its copper industry, including smelting facilities. They are described here as hot prisons, where people showed symptoms of copper poisoning, notably, coughing up blood.
[ICS 193] Ashmolean Museum, Oxford. Bestowed in 1895 by Dr.J.L.Myres. AN118.
・NA MA・ KI JA WITE KI E・ SA KORO ・SI TA・NA A
RA LAKO KOSU/KORE ・ NA MA RI MA KI E ・ I PO A
MO NA PA ・ NA KA NE E/EXA ・ MI・ NI KA MI I
KA NA PI JA LI WA KA ・ WI/NE RA TA ・O・ NI KA
As deciphered below, the inscription on this stele tells the story of a father and his children on a trip to a lake or river to catch fish.
（１）From Left to Right
The dots in between symbols are replaced by the sounds, I, YA, SI, or NO, following a rule in Linear A, as appropriate.
なま（い）きやういて きへ（し）さん ころ（・）した（い）なあ
らら ここす（や）ナマリ まきえ（や）い ポア
もなぱ（の）なかね え（・）み（し）にかみ い
かなぴやり わか（い）うぃらた（し）お（や）にか
生意気や、浮いて消えた奴、殺してやりたいな。
あらら、ここ巣や。鈍る薬、まき餌だ。やい浮いてこい！
藻場の中ね。笑みし、死に神！
「行かない槍、若い！」 笑ったし、親父か！
That dastardly one, that surfaced and disappeared,
I do feel like killing that fish.
Oh, this must be its nesting place,
Where I will sprinkle some “lead,” feed to induce paralysis.
Come afloat and show yourself!
Amidst the algae, I see the Deity of Death, grinning.
“You withheld your spear, young one,”
It laughs, so that might be father.
Here, “lead” may refer to a poisonous substance that causes paralysis in fish, known to have been in used from ancient times for catching fish.
The Deity of Death can be found here as a cartoon, a smiling skull drawn in by means of symbols; the sequence RI-MA-KI on the second line shows the two eyes, with the nose in the middle; E/EXA on the third line depicts the mouth and KA, midway on the fourth line, is the jaw. This turns out to be the father’s head, reflected onto the water’s surface.
（２）From Right to Left
あな（い）たし（・）ころさ（ん）生きている やき（の）まな（や）
あほい（・）え きまけ まな（や）これ こら ら
いみかに（の）み（や）えさ ねえ かな（し/い）はなも
かに（や）お（い）たらね（・）か わりや ぴなか
ああ、痛い！ 殺すな、生きている。焼いてはならぬ。
アホ言え、気負けしてはならぬ！ これ、子供ら、
ライムに/来身（来世）は、カニの身だ。餌ねえ/かな、悲しい。イワナも/花藻カニだ。
いたらね、代わりに火の中に。
（老いたら、寝ようか？ 替わって、火の中に）
Ow, it is in pain! Don’t kill it, it’s still alive.
It must not be burnt in the fire.
Don’t be a fool, you shouldn’t be squeamish!
Now children, lime goes with crabmeat/ in the next life, you could be a crab.
No more/ Nothing more than, bait? Isn’t that sad.
Even the char like the crab of flower algae.
If you find them, put them into the bonfire, in their stead.
(If we are getting old, it may be time to go to sleep, into the bonfire, in their stead.)
[ICS194] For this stele, with many missing parts, where the sounds are unknown, much is left to the imagination, but the inscription can still be deciphered into Japanese as follows:
（From right to left）
(1)TU-[・]-?- A-LI-RA-NI-[・]-O-I-TE: TU-SU-[・]-TA-LE-YA-(?)- PA-KU-KE-[・]-A-NO-TI-[・]-?-TA-SO-TI
TU-[YA]-?- A-LI-RA-NI-[YA]-O-I-TE: TU-SU-[NO]-TA-LE-YA-(?)- PA-KU-KE-[YA]-A-NO-TI-[NO]-?-TA-SO-TI
つや、ありらに やおいて：とおすのたれや（と）ぱくけや あのちの（み）たそち
「ところで、あちらに矢を射て、通すのは、誰か」と聞けば、あの地でお会いした、そなたではないか。
Hey, I inquired, who is that fellow that dared to shoot that arrow over yonder and, to my surprise, it was you, who I met in that land!
(2) A-PU-?-PI-()-O-I-TE-()-A-:PI-？-MA-[・]-PI-NA-()-A-SO-NA(?)-TU-KA-I-MI-NO-NA
A-PU-?-PI-(YA)-O-I-TE-(SI)-A-:PI-？-MA-[NO]-PI-NA-(YA)-A-SO-NA(NO?)-TU-KA-I-MI-NO-NA
はく（い）きにおいて、矢を射たのは：ぴ（？）まの雛や アソナの使い、ミノナ
誓って、矢を射たのは、キ（ジ）マの民、アソナの使い、ミノナです。
“Let me vow I was the one who shot that arrow. I am Minona, native of KI-JI-MA, and an envoy from ASONA.”
(3) A-YA?-I?-A?-?-?-KO-TI-()-A-:NA-[・]-TA-I?-()-A-SO-NA-()-TU-KA-I-MI-NO-NA
A-LA-SI-YA-?-?-KO-TI-(JE)-A-:NA-[NO]-TA-RI-(TO)-A-SO-NA-(NO)-TU-KA-I-MI-NO-NA
アラシヤに……こちらに御出でとは。何と運の良い、アソナの使い、ミノナです。
“So, you are in ALASHIYA, what good fortune! I am Minona, envoy of ASONA.”
(4) TU-MI-RA-[・]-O-I-TE-[・]-I-MI-KA-NI-()-O-I-TE-[・]-TA-KO(?)-E-NE-MI
-NA-( )-O-
TU-MI-RA-[SI]-O-I-TE-[YA]-I-MI-KA-NI-(YA)-O-I-TE-[SI]-TA-KO(KU)-E-NE-MI-NA-(SI)-O-
積み出しを置いて、死に神に矢を射て、支度。エンコミ市を
“After unloading the ship, I shot that arrow to ward off the Deathly spirit as a precaution. Then, aiming for ENKOMI,
(5) I-TE-[・]-TA-RA-WO-[・]-E-NE-MI-NA-[・]-SE?-LA?-WA-TI-KE-[・]-MU-SO-TI
I-TE-[NO]-TA-RA-WO-[YA]-E-NE-MI-NA-[SI]-SE?-LA?-WA-TI-KE-[I]-MU-SO-TI
目指して乗ったら、おや。「エンコミ市へ？それは失敬」に、笑むそち。
I boarded but, alas!” Indeed, to ENKOMI? I’m sorry, I was not aware, said I, and you smiled.
If the text is read in reverse direction, the sailor’s troubles, as he tried to continue his journey, can be understood as a lack of wind and current, as follows:
（5）潜むし、ケチ。笑わせるくらい、波ねえや。笑ったのって、言
It is so sinister, we should explain, that the lack of wind and current was laughable,
（4）おうや。波ねえからって、言おうや。しかも二回目だって言おう。やたらに密
Because of the lack of current, we will say, and for the second time, too.
(3)なノミに勝つ謎が解けたぞ。何とチコ……かしら。あ
At last, I’ve found a way to counter the thick fleas, around the dick,
（2）あんなノミに勝つのだぞ。あや、波の増し日に走って行こうや。（ピプ）は
Never yield to the darn fleas. Let’s go skimming through the waves when they are stronger. Oops,
（1）きそうだ。ミノ地が危ないので、やれたのですって言おうや。やけに舌が回らない。
I’m about to puke. We’ll say, we came all this way because the land of Mino was in danger. Now I am tongue-tied and cannot speak clearly.
V. Conclusion
There is a marked resemblance between Linear A and Cypro-Minoan script, and the background language of Linear A is, most probably, proto-Japanese; the Cypro-Minoan text from Enkomi (II. above) can also be deciphered as an ancient form of the Japanese language.
Cypro-Minoan script gave rise to the Cypriot syllabary script and inscriptions written in the latter script can also be deciphered as proto-Japanese. If we take up the bilingual text from Amathus, inscribed in Cypriot syllabary and in the Greek alphabet, the former inscription, interpreted as Japanese, can be shown to contain a message that matches the message in Greek, and this attests to the correctness of the Japanese interpretation.
Although the results are preliminary, it is highly probable that proto-Japanese was spoken in Cyprus in the Bronze and Iron ages, and that Cypro-Minoan script, as well as the Cypriot syllabary, were used to record this language.
