ミノア人は日本語を話した
(ABSTRACT)
The following is an attempt to highlight the remarkable similarities that can be found in the language of the ancient Minoans of Crete as recorded in the Linear A script and the Japanese language, in a suggestion to researchers that Linear A may not necessarily be an Indo-European language found in Europe and the Mediterranean area, and that therefore they should try to expand the scope of candidates when trying to find the language underlying Linear A.
In the opinion of this writer, the language underlying Linear A must be an old form of Japanese. This may sound far-fetched but is readily verifiable and in line with the views of Gretchen Leonhardt. It can be demonstrated that Linear A symbols were invented by people who spoke a language that shared basic words with Japanese, and the meaning of Linear A texts can be interpreted in Japanese to a high degree of “refinement” as to recognize a play on words, including puns and hidden meanings.
At the same time however, we cannot rule out the possibility that traces of the Minoan language may be found in countries other than Japan as a result of their dispersal, dissemination and migration from the Eastern Mediterranean to different regions in the world.
Therefore, there could be other candidates for the language underlying Linear A or descended from the ancient Minoan tongue, and these claims need not be mutually exclusive. For this writer, the Japanese language is the key that fits best in terms of unlocking the secrets of Linear A, but other keys may also do a good job. What is important is that the Linear A text interpretations should all agree in the end and, in that case, all the strong candidates should be languages that are related.
Why people (except Leonhardt) never thought of Japanese as a possible candidate is well understandable. Scholars who form the mainstream of researchers in Linear A may be versed in the classic languages of Europe, such as Greek and Latin, or of the Middle East, but perhaps not in the Japanese language, so they might not have recognized striking similarities in Japanese. Simply put, the strongest point for this writer is that he happens to be a native speaker of the Japanese language.
Moreover, the geographic distance from Crete to Japan in ancient times must have appeared as a formidable barrier between languages in the Mediterranean region and the Far East. However, we must allow for the possibility of a process of Minoan migration that may have taken years and decades, if not centuries.
It is only because of the internet and 21st century IT that photos and videos of Linear A texts, sites in Crete and other islands in the Aegean, not to speak of the work of researchers around the world, have become easily accessible without frequent travel. As a result, linguistic analysis and mutual collaboration is now unimaginably efficient, allowing for much more flexible thinking and a wider range of choices and possibilities.
Cf. Gretchen E. Leonhardt. 2018. Fifteen, Linear -Script Signs with Correspondences in Japanese Kanji and Hiragana (Academia. edu)
I. Overview
1. Introduction
(1) The Minoans gave birth to a bronze age civilization on the island of Crete in the Aegean circa 3000 BCE that centered around the palace of Knossos and reached their peak in the 2nd millennium BCE.
In the Pre-palatial Period (2600-1900 BCE), they built their wealth and enjoyed prosperity through trade in the Mediterranean region with partners such as Egypt, importing copper, tin and gold.
Around 1900 BCE, new cities and palaces were built in Knossos, Phaistos, Malia and Zakros, marking the beginning of the Proto-palatial Period (1900-1700 BCE), during which the Minoans expanded their sphere of influence to colonize islands such as Thera, Milos and Kythera.
In and around 1700 BCE, there was a great disturbance on Crete, thought to have been an earthquake or war caused by outside invaders. The 4 palaces were destroyed and had to be rebuilt, and this marked the start of the Neo-palatial Period (1700- 1400 BCE).
Then, circa 1628 BCE, the Thera (Santorini) volcanic eruption took place, causing tsunamis to sweep over Crete, wreaking havoc and destruction.
Circa 1450 BCE, there was a transition of writing systems from Linear A (yet undeciphered) to Linear B (representing an old form of Greek), and this was evidently caused by the influx of Mycenaeans from the Greek mainland who became the new rulers in Crete. Crete flourished and its golden age continued until about 1375 BCE, when Knossos Palace was apparently destroyed by an earthquake.
This civilization is thought to have finally disappeared during the Bronze Age collapse, circa 1177 BCE, together with other civilizations such as the Mycenaeans and the Hittites.
Some theorize that the lost civilization of Atlantis, described by the Greek philosopher Plato, must have been none other than the Minoan civilization.
(2) Excavations on Crete have revealed 2 ancient languages, Linear A and Linear B, that share many symbols or letters. Linear B was deciphered and identified as ancient Greek in between 1951 and 1953, but Linear A, probably its immediate ancestor, has yet to be decoded and understood, i.e. the underlying language is unknown. It is believed that Linear A came into use around 1800 BCE.
Experts believe they can read out Linear A by applying the same phonetic rules as in Linear B, so that Linear A may be read out loud to reproduce the language as it must have been spoken by the Minoans.
Nevertheless, Linear A has long frustrated those who have tried to identify and understand it as being related to any of the known languages in Europe or the Mediterranean.
(3) Consequently, researchers are beginning to entertain the idea that, if there are any existing languages descended from Linear A, they should be found outside the realm of the Indo-European languages.
In that case, the scope of research should be expanded to cover languages in areas geographically distant from Crete and the Mediterranean, to see if any exotic language outside the Indo-European domain may possibly fit its description.
(4) This may include Japanese, as it is a language based on syllables, just like Linear A, and because there seem to be striking similarities in the way the 2 languages sound, when spoken or read out loud.
Japanese seems to be a language in a category of its own, together with Korean, which closely resembles Japanese, so that the 2 languages form an isolated language group in Northeast Asia, and researchers are curious to know how they came into being.
(5) In Japan, experts have pointed out that the Japanese language seems to be related to languages such as Mongol and Turkish, judging from word order and, as a group, these may be referred to as the Altaic languages. They also consider another linkage, i.e. with the Polynesian languages, and that the Japanese language must have developed under these two important sources of influence.
In this context, the contention to be expounded here, that the language underlying Linear A is Japanese, or that the Minoan language was one of the most important ancestral languages of Japanese, must pertain to the Altaic influence from the Eurasian continent.
2. Geographic Names in the Aegean Sea
If a Japanese speaker takes the time to carefully peruse through a map of Crete and of the Aegean Sea with focus on the Cycladic Islands, there will be many geographic names, including islands, that sound as though they might have come right out of the Japanese language so as to arouse curiosity, such as follows:
(1) ZAKROS This is the name of a mountain range on Crete, and it means pomegranate in Japanese.
(2) MATALA This is an ancient port, close to Phaistos. It is known for the man-made caves dotting the cliffs along the shore that were used as dwellings by the ancients. The name evokes the Japanese word MADALA, that may mean dotted, or suggest crotch (MATA) of the island Crete. There is a strange deity in the form of a bull who appears in the Bull Festival of Oh-Sake Shrine, close to Ho-Ryu-ji Temple in Kyoto, and whose name is MATALA.
(3) CHANIA This city is located on the northwestern coast, just before a large promontory or headland, and is the 2nd largest city in Crete. The whole island of Crete may be described as a caricature of a man standing with his feet on the eastern end, head on the western end, and head turned northwards, toward the Greek mainland. Then Chania will be located at the base of the nose, and nose in Japanese happens to be, HA-NA.
(4) SEITAN LIMANIA Beach
This is a beautiful, secluded beach rather close to Chania, known for its turquoise blue waters. It is apparently called Satan’s Harbors in English, but SEITAN means “clear blue” in Japanese, and the color of the waters there, as recognizable in photos and you-tube programs, may easily convince Japanese speakers that the name must have Japanese roots.
(5) MALIA To continue with the above metaphor on Crete island, this city on the northern coast is located at the base of the male genitalia, MALA, in more vulgar Japanese terminology.
(6) KNOSSOS This may correspond to KU-NI-SU(くにす、国巣or国津。The country’s nest or harbor) in Linear A.
The Japanese word “kuni” is said to have appeared in the Yayoi era to denote a unit group of hamlets, and eventually developed into what may correspond to the notion of a country or kingdom, whose areas were then limited to cover regions in Japan, such as Izumo. Thus, the resemblance with the first syllable in the word Knossos.
(7) KEFTIU The Minoans were apparently called the Kef-tiu, according to records kept in ancient Egypt. When this word is transcribed into Japanese of an older style, “kef” may be pronounced as “kyo,” and so Kef-tiu may be the original form of the city’s name, Kyoto.
(8) NAXOS This is the island in the Aegean on which Theseus is supposed to have abandoned Ariadne, despite his original intention of taking her back to Athens. He was compelled to do this at the behest of the deity Dionysus who had fallen in love with her. In Japanese, the name may be translated as Crying Island or Wailing Island, and this may very well describe the scene on the island after Theseus had left for Athens, leaving Ariadne behind.
(9) KEA, KYTHERA, MILOS, THERA
These are islands in the Aegean where Linear A inscriptions have been found, and whose names sound very Japanese.
THERA must be the older name for the island of Santorini, known for the cataclysmic, volcanic earthquake in ancient times thought to have devastated Crete with ensuing tsunamis and to be behind the decline and disappearance of the Minoan people. In Japanese, it means temple, or a place of worship.
KYTHERA is a Japanese surname, and Japanese people will associate MILOS with the word milo, that means “take a look.”
(10) MIKONOS This island name evokes the word MIKOTO in Japanese, that means the words of the sacred one, and which is often attached to the end of names of deities.
(11) ALASHIYA This was the name of Cyprus in the Bronze Age, known for copper production. The ancient language of Cyprus was written in the Cypro-Minoan syllabary that was, similar to Linear A. In Japanese, ALASHI means storm, and ALASHIYA, storm shelter.
There is an interesting parallel in the Story of Wenamun from a literary Egyptian text in papyrus, circa 1000BCE. Wenamun, a priest of Egypt, is sent to Byblos for business and, blown off course on his return sea journey to Egypt, finds shelter on Alashiya.
3. Similar Cultures
Furthermore, if one takes time to compare the characteristics of the Minoans and the Japanese people, one will find many similarities, perhaps owing to common factors in the living environment, as follows:
(1) Island people living close to volcanoes and on land prone to earthquakes and tsunamis. Latitude 35 degrees north, running across southern Crete, crosses just north of Hiroshima. Temperate climate and plenty of water, with mountainous terrain rich in verdure, with diverse flora and fauna.
(2) Seafaring nations with attachment to fish and other sea creatures that were important in their diet, and which achieved economic prosperity through trade with other countries in the Mediterranean region.
(3) Worship of a Goddess.
(4) No city walls. The palace of Knossos has been described as a labyrinth because the pathways and chambers are designed like a maze that would confuse visitors; Japanese castles are known for the typical maze-like construction, so designed to confuse strangers and enemies.
(5) Possibly, a Communist-like mentality, with egalitarian values.
(6) Minoan Art
(a) Urns bearing horizontal decorations marked with ropes, somewhat resembling Jo-mon pottery from ancient times in Japan.
(b) Chrysanthemum Design
In the palace of Knossos, there is a room with frescoes of a school of dolphins on the upper walls, below which are the entrances decorated on 3 sides with repeated use of a symbolic flower design, resembling a chrysanthemum with 12 petals. This has an uncanny resemblance to the emblem of the Imperial family of Japan, which is a chrysanthemum with 16 petals.
(c) Brightly colored frescoes depict people and animals that may remind observers of traditional Japanese paintings and wood-block printings, as well as present- day manga and anime.
(d) Young females with elaborate facial make-up, including white foundation and lipstick, and attire somehow resembling kimonos in length, that may recall the Maiko ladies, i.e. young apprentice geishas in Kyoto.
(7) Lovers of Sport
Minoans are known for the strange custom of bull-leaping; Japanese Olympic gymnasts are a source of national pride. Scenes of boxing have also been depicted in Minoan frescoes.
(8) Dancing (Bon-Odori)
Women dancing in unison, all with both hands high in the air, in synchronized fashion, seems to be a favorite theme in sculpture and for adorning ornaments, notably the golden signet ring from Isopata, Crete (Heraklion Museum).
Anyone who has stayed in Japan over a summer to watch the Bon-Odori festival will appreciate striking similarities with Bon-Odori dancing that mimic the same movements and gestures.
(9) Obsession with Hatti, or the Number 8
The Minoans seem to have an affinity with bees, as they kept them for honey and often used them in designing ornaments. As discussed later, the words KU-RO and KI-RO may be rooted in the abdomen of bees, striped in black and yellow.
Some scholars point to the possibility that Minoans may be descended from the ancient Hatti people in Anatolia and thus the obsession with bees, as they are called HA-TCHI in Japanese.
This word also denotes the number 8, perhaps because bees, with their head, tail and 6 legs, point in 8 directions. If Minoans gave the word HA-TCHI the same meaning, their obsession may extend to the number 8, as in their “figure of 8” shields.
The Japanese are known for an obsession with the number 8, written as 八 and read either as Hatchi or Ya, as in Yasaka Shrine in Kyoto and the deity Hatchi-Man, worshipped in many shrines across Japan.
This may come from the fact that people in the Harappan civilization, who also spoke an ancient form of Japanese, believed in a colossal entity that made the night sky revolve around the North Star, and this was the Octopus of the North. Situated beyond the North Star, this giant spaceship of an octopus encompassed the universe with its 8 legs, stretching them onto the sky as onto the bones of an umbrella, and made the universe revolve. They may also have believed that when someone dies, their soul will ascend to heaven, to become part of the Northern Octopus.
(10) Purple Dye from Snails
The Minoans are known to have extracted a purple dye from the sea snail known as murex, and a diagram of this snail appears to have become the Linear A symbol for the sound MU, where MU stands for the word Murasaki, meaning purple in Japanese.
Because of the toil and trouble as well as the unpleasant procedure in preparing the dye in sufficient quantities for soaking garments, it became a prized commodity in the eastern Mediterranean from the bronze age to times of the Byzantine Empire, giving rise to the terms, royal purple and imperial purple.
In Japan, purple cloth fragments unearthed from Yoshinogari, a Yayoi age settlement in Kyushu, have been found to be dyed using this method. Furthermore, in 603 CE, Prince Shotoku adopted the 12 Orders of Caps, in which the highest order was represented by a cap in purple.
Thus, purple was considered as the color of highest order in Japan, much in the way it was prized in the eastern Mediterranean. In contrast, the Chinese proffered the highest rank to yellow, a color set aside for emperors and in Korea, the corresponding color was red.
II. Written Language
The analysis below is based on the list of Linear A symbols as presented by Gia Kvashilava in his paper On Decipherment of the Inscriptions of Linear A in the Common Kartvelian Language : ku-ro and ki-ro (ATINER Conference Presentation Series LNG2018-0153). The numbers are according to E. Bennett.
(By the way, we may infer that, if Gia is correct in his analysis of the language behind Linear A, Japanese and the Kartvelian languages must be related to each other.)
1. Linear A Symbols Represent Japanese Words
The efforts of researchers such as Alice Kober, Michael Ventris and John Chadwick have led to the conclusion that Linear B inscriptions from excavations led by Sir Arthur Evans on Crete were in fact an archaic form of the Greek language, and so the phonetics of the Linear B symbols are now well known and established.
Linear A shares many symbols with Linear B and the latter writing system is considered as an offshoot of Linear A. This has led to the established view that Linear A symbols must represent the same sounds as the corresponding Linear B symbols; they are known to represent either a vowel or a syllable, formed by a consonant plus a vowel as in Japanese hiragana.
(1) Some of the Linear A symbols, judging from their visual effect, are reminiscent of Japanese hiragana (or katakana) letters that represent the same sound. A most convincing example, with uncanny resemblance, may be the symbol for JU, pronounced YU in Japanese.
(2) We may also notice that, for many of these Linear A signs and others, the sound values point to certain short words in the Japanese language that can be visualized in the images thrown by these signs or symbols, when construed as pictograms fraught with meaning.
(3) After a careful examination of the Linear A symbols, the phonetics represented and their connotation in Japanese, we are led to discover a simple rule by which these letters were created.
That is to say, the ancient Minoans chose a group of short words with 1 or 2 syllables, such as hand or ear; then they decided to represent each word with a simple, consistent sign. Eventually, these graphics became Linear A symbols that represent the first syllable in each of these words.
Sign for horse or U-MA ⇒ Linear A symbol for U
The inevitable conclusion is that the people who invented the Linear A script spoke the Japanese language, as illustrated below. （* stands for AB）
(Symbol) (Image) (Corresponding Japanese Word)
A (*08) Sacred cow from Egypt ⇒ Apis (Hapis)
E(*38) Pyramid of Egypt ⇒ Egypto= Egypt
I (*28) Torch/ Squid ⇒ Hi = Fire, Ika=Squid
O (*61) Mother of pearl ⇒ classical Greek, οςτρεον (oyster)
U(*10) Horse’s head with long neck ⇒ Uma = Horse
AU(*85) Fish on a hook, head pulled out of water ⇒ Ao = Blue, Uo = Fish
DE(*45) Ornate building ⇒ Den = Palace, Dekai= Big
DU(*51) Mammal with hump, looking left ≈ 丑 ⇒ Ushi = Cow or bull
JU (*65) Lily/ Cradle ⇒ Yuri (Lily) / Yurikago (Cradle)
KA(*77) Circle with cross inside ⇒ Kame = Turtle, Kagami = Mirror
KI(*67) Minoan rhyton or conical container ≈ き, キ ⇒ Ki = Container
KO(*70) Nail pointing downwards ⇒ Koko = Right Here
KU(*81) Bird, wings spread ≈ く ⇒ Karasu = Crow, Kamome = seagull
MA (*80) Head of demon ⇒ Mamono = Demon
ME(*13) Young sprout ≈ め ⇒ Me = Sprout
MI(*73) Ear, plant bearing fruit or snake ⇒ Mimi = Ear, Mi = Fruit,
Mi = Snake, as Zodiac sign
MU(*23) Person notices creature on arm ≈ む ⇒ Mushi = Insect
Murex sea snail, source of purple dye ⇒ Murasaki = Purple
NA(*06) Tears falling from an eye ⇒ Namida = Tears
NE(*24) Mouse running through, 王 ≈ 子 ⇒ Nezumi = Mouse
NI(*30) T or Y, with marks on each shoulder ⇒ Ni = Luggage
PO(*11) Side view of breast ⇒ Oppai=Breast
(P ⇒ B Be-ni = Pink. Cf. Minoan fashion)
PU (*29, *50) Bellows ⇒ Fuigo = Bellows
QA(*16) Flower on stem ⇒ Hana = Flower
QE(*78) Face with surprised expression ⇒ Ke ? (interjection)
QI(*21) Sheep’s head ≈ 未 ⇒ Hitsuji = Sheep
RA(*76) Double Z’s or S’s (Aquarius sign) ⇒ Rasen = Lines repeating,
RI(*53) Glance of right eye ≈ り ⇒ Ri = Reason
RO(*02) Cross, oar or punt ≈ ろ ⇒ Ro = Punt
SA(*31) Shape of Y ⇒ San=three, Sakana = Fish
SE(*09) Ear of wheat or barley ⇒ Σιτος = Grain, in classical Greek
SI(*41) Vertical line beneath wicket ⇒ Shi = Branches, offshoots
SU(*58) Spiral, labyrinth ⇒ Su = Nest
TA (*59/ *66) Dragon/ Kite ⇒ Tatsu = Dragon/ Tako = Kite
TE(*04) Palm leaf ⇒ Te = Hand
TI(*37) Woman’s breast ⇒ Titi = Breast, for nursing
TO(*05) Dragonfly ⇒ Tombo = Dragonfly
TU(*69) Downward arrow ⇒ Tsuchi = Earth, Tsuma = Wife
WA (*54) Loom, for weaving ⇒ Wata = Cotton
ZA(*17) Circle on altar ⇒ Za = Seat,Throne
ZO(*20) Upwards arrow ⇒ Zoku = Arrowhead
ZU(*79) Head ⇒ Zu = Head
(4) Combined Symbols
Most of the Linear A symbols with attached numbers greater than (A501) are created out of 2 or more simple signs, in a similar way to Chinese kanji.
(a) Oil
The symbols from（A548）to（A552）are based on a diagram of a spoon or ladle. They are all filled with a liquid of strong surface tension, so that the fluid takes on a globular appearance. It can be construed as either mercury or oil. The ladle resembles JU（*65）and will be read as YU, meaning oil in Japanese.
A548 ： TA-YU. The symbol on the left side, ] is a representation of a dragon and, taken together with the ladle on the right side, can be interpreted as mercury because, in Japanese, Shin-Sha (Dragon Sand) is the red mineral from which mercury is extracted.
A549 ： The sign [ ] above the ladle can be read as TU (for TUI, or pair) and taken together, TU-YU means dew or broth.
A551 : If I (*28) on the ladle represents fire (HI), then lamp;
otherwise, oil from fermented squid (I-KA).
A552 : YU-KA(GAMI). The KA（*77）above the ladle represents mirror,
so this must be a mirror polished with mercury.
(b) Potter’s Wheel
The silhouette on the right side of (AB*180）traces the left half of a vase, and it may be a signify a potter’s wheel, as the form of a vase should emerge when it is revolved 360 degrees around its perpendicular axis on the right side. Potter’s wheel in Japanese is RO-KU-RO and the radical can be read as RO-KU. Then the relevant composite symbols can be interpreted as follows:
（A599） To the right side of RO-KU（*180）is inscribed the sign for North Star [・]. This must point to the heavens revolving around North Star and can be read as KI-RO-KU, that means records in Japanese.
(A602) To the right of RO-KU（*180）is RO (*02）and this should be read as RO-KU-RO, potter’s wheel.
(A600) This is an elaborate form of RO-KU-RO (A602), with SA(*31) inscribed inside RO-KU; SA(*31) takes the shape of Y and lets one imagine something lifted off the ground. This must be the symbol for pulley that the Minoans must have used to load and unload ships.
（A603） To the right of RO-KU（*180）there is an A turned 90 degrees counter-clockwise with 「・」 just below. The right half must show an object lifted above ground and the whole symbol must stand for pulley.
（A601） This is（A603）with SA(*31) inside the radical RO-KU（*180）and must also signify pulley.
(c) Others
A512 ： QI（*21）＋ SI(*41) ⇒ QI－SI（Shore）
If (A301)is read as TO,
A519 : I(*28)+TO(A301) ⇒ I-TO （Thread）
A520 : TO(A301)+ I(*28) ⇒ TO-I （Gutter）
A526 ： KA（*77）above E（*38） ⇒ KA-E （Sea、World）
KA stands for mirror and E, pyramid; this must be the mirror to the north of Egypt.
A532 ： SI（*41）＋ TA（*66） ⇒ SI-TA（Below）
A535 ： KU（*81）＋ WA（*54） ⇒ KU-WA（Mulberry）
A547 ： TA（*59）+ TU（*69） ⇒ TA-TU （Dragon）
A553 ： TO（*301）＋ MI（*73） ⇒ TO-MI（Wealth）
A554 ： A（*08） + KA（*77） ⇒ A-KA（Red）/ HA-KA （Tomb）
2. 12 Signs of the Oriental Zodiac
The 12 animals of the Oriental or Chinese zodiac are represented by a special set of symbols that differ from ordinary kanji in Japan or China, and the tradition is considered very ancient, with roots other than China.
Upon scrutiny, if the 12 symbols are examined in their original form, as oracle bone script from the Shang dynasty, they seem to be derived from either the Japanese or classical Greek language and culture.
(Symbol) (Sound Value) (Animal) (Related Symbol)
子 NE Mouse
〇Early oracle bone script: NA/NE from Indus script.
〇Late oracle bone script: Northern Octopus.
〇Post-Warring States Period: Root (NE) of germinated seed/ Sleeping baby, for NERU (sleep).
丑 USHI Ox
〇 Early oracle bone script: From Linear A, U(*10)+SI(*41)
〇 Later: DU（*51）
寅 TORA Tiger
〇Symbol for Mars, deformed to show a drunken man/ Cypriot syllabary TI+RO.
卯 U Rabbit U（*10）,a pair in combination.
辰 TATSU Dragon Cypriot syllabary TA+ TU
巳 MI Snake
〇Early oracle bone script: Mirror of Venus, for MIRU (to see).
〇Post-Warring States Period： Snake.
午 UMA Horse
〇 In early oracle bone script Classical Greek HIPPOS (horse) is construed as IPPO (one step).
未 HITSUJI Sheep QI（*21F）
申 SARU Monkey SA（*31）+ RU（*26）
酉 TORI Bird
〇 The symbol in oracle bone script resembles a goblet, or wine vessel. It is an upside-down triangle (TRIGONON, in Classical Greek), with a TORII (Gateway to a Shinto shrine) placed on top, to be read as TORI in Japanese as well; this represents the Great Summer Triangle, formed by the brightest stars in Aquila (i.e. Altair), Cygnus (i.e. Deneb) and Lyra (i.e. Bega).
戌 INU Dog
〇 Archer, to depict the word INU(shoot an arrow) / Cypriot syllabary I+NU
亥 I Wild Boar I(*28), a combined pair, one upside down
3. Other Resemblances
(1) No distinction between the sounds L and R.
(2) Consonant Z and Dakuten
(a) In Japanese, the syllables formed with Z + vowels, are represented by hiragana that show the heavy Z sound with a “dakuten” or 2 diagonal slashes, akin to “close quotation marks,” that appear on the top right hand side of each letter, as
ざ じ ず ぜ ぞ.
(b) In Linear A, there is a similar presentation in the symbols for Zu and Ze, as they both have 3 dots aligned vertically on the right hand side. Zo has an arrow with the tip pointing upward. So the 3 dots and the arrow tip may have all changed into “dakuten” as they were transformed into hiragana.
(2) Consonant W
(a) In modern Japanese, the syllabics formed with W + vowels have all but disappeared from hiragana and katakana through disuse, except for Wa and Wo, because people no longer distinguish the sounds Wi, Wu, We, from the vowels I, U, E.
(b) There is a similar situation in Linear A, as only the 2 symbols, Wa and Wi, are known to date. Their symbols show a marked similarity with the katakana symbols, ワ (Wa) and ヰ (Wi). This latter Wi symbol is an older form that has all but disappeared from written Japanese.
III. Text Interpretations in Japanese
With the understanding that Linear A texts are written in the Japanese language, there has been significant progress in decipherment.
Except for ideograms that represent wine, olive oil, numerals, etc., researchers have tended to consider Linear A symbols as monosyllabic, as in Linear B, and in this vein, they often consider that the diverse symbols in Linear A that far exceed the number needed for a syllabary, are due to allographs that represent monosyllables, as well as to individuality of the scribes. However, such an understanding may be insufficient.
This is because Linear A texts contain countless composite symbols that are created by combining monosyllabic symbols, so that they represent multiple syllables. For instance, in the case of ambiguous symbols that resemble both A (AB08) and SI (AB41), one should simply read them as A-SI without hesitation.
Since Linear A texts are full of these composite symbols that reflect innovation to economize on space, it is important to analyze them and elucidate their intended phonetic values, that contain multiple syllables. This task might be akin to analyzing the cursive writing of a skilled penman.
The [・] or short vertical lines often seen in between Linear A symbols, often considered as punctuation marks, should be interpreted as shorthand for I (一), YA (矢), SI (支), or NO (ノ). Furthermore, when there is a dot directly below a Linear A symbol, it should be understood either as NG (ん), or a sign to indicate the repetition of a sound.
1．Balanced Ledger Tablets
(1) Linear A is known for clay tablets that present balanced ledgers or lists of what are presumably nouns followed by numerical values. The nouns may indicate the respective sources of origin including the names of suppliers pertaining to farms and workshops.
Many of these tablets have been found in Haghia Triada, hence HT preceding the designated numbers. GORILA with page numbers refers to the online resources provided by the Ecole francaise d’Athenes as compiled by Olivier and Godart.
(2) KU-RO
At the bottom of each list, the total amount is registered, as can be ascertained by simple addition, and this sum is very often preceded by the word KU-RO. For this reason, notwithstanding the difficulty of deciphering Linear A, it has been known from the times of Chadwick that KU-RO must mean, total. KU-RO means “black” in Japanese and so the original meaning of KU-RO in the Minoan tongue may also have been “black.” Here are some possible explanations.
〇 Black denotes the color of ink that is spewed out by squid, cuttlefish and octopi. This was used to practice writing, on slabs of light- colored pieces of rock, etc., and eventually took on the meaning of, FOR THE RECORD.
〇 While the columns in the Palace of Knossos were painted red, the capitals were black, as if to imitate the hair color of the Minoans. Thus, KU-RO may have come to denote height, and in turn, total value. In fact, the English word CROWN, meaning both head ornament and unit of money, may possibly be rooted in KU-RO.
〇 In classical Greek, ΚΥ⁀ΡΟΣ means, confirmation, validity, certainty.
〇 KU⇒ SIKU
The symbol KU in KU-RO, can be understood as a composite symbol, consisting of SI (AB41), written horizontally, to overlap with KU (AB81).
- Read as SIKU-RO, this could denote ΚΥΚΛΟΣ, circle, in classical Greek;
-Read as KURO-SIRO (black and white), this recalls the game of GO.
If the Minoans were familiar with the game of Go, then they would have been accustomed to counting the number of stones for white and black at the end of every game to determine the winner, and this would have meant, summation.
Sometimes, underneath KU-RO and followed by a number, there appears the term PO-TO-KU-RO (HT 131) that seems to denote, grand total. If pronounced as PON-TO-KU-RO, this translates into HON-TO-KU-RO in modern Japanese, to be construed as, KU-RO, IN REALITY. Furthermore, since the Greek word PANTA means, ALL, the word PO-TO-KU-RO may be a hybrid invention pointing to, grand total.
(3) KI-RO
This is another term that often appears at the bottom of a list, e.g. HT 30. Gia Kvashilava interprets this to mean subtraction or lessening. He, in turn, draws from translations of KI-RO by other researchers including Younger, as “owed,” “deficit” or “balance.” As a matter of fact, KI-RO means “yellow” in Japanese, and often signifies “caution.”
The Minoans may have attached the meaning of “deficit” to the word KI-RO (meaning yellow) because, while they kept bees for their honey, they observed their abdominal parts, striped in black and yellow, and thought the yellow stripes gave the impression of “emptiness.”
A word that sounds similar but with a different meaning is the verb KI-RU meaning “cut” or “cut off” in Japanese. The past participle type adjectives appear in Linear A as follows:
(HT 85) (GORILA I : 130-133)
KI-RE-TA : きれた、切れた (Cut in pieces, truncated)
(HT 114) (GORILA I : 186-187)
KI-RI-TA : きりた、切った (Cut in pieces, truncated)
(4) Examples
（HT 13, GORILA I, 26-27）
（Heading）This part is normally read as KA-U-DE-TA (こう出た), “Here are the results,” but if the U symbol is taken to be a combined symbol read as U-RO, this becomes KA-URO-DE-TA (高炉/航路 出た/で得た), “From the hot furnace/ voyage.”
(2nd Line) VIN ・TE-RE-RU・ZA 51/2
ワイン・照れる（の）座 Wine, Embarrassing, 5+(1/2)
(Items)
TE-TU 56; TE-KI 27+(1/2); KU-DO-NI 18; DA-RESI-*118(RYO?) 19; I-DU-NE-SI 5
(Last Line)
KU-RO (Total) 130 +(1/2)
(HT 87, GORILA I, 136)
(Heading) QI-TU-NE MA-KA-RI-TE （With the Visitation of the Fox）
（Items） Each one is followed by the numeral 1.
PI-TA-KE-SI；JA-RE-MI; DI-KI-SE；QE-SU-PU; KU-RU-KU; A-RA-？-A-TU
From ancient Mesopotamia, there is a manual on astrology written in cuneiform on clay tablets, known as the Enuma-Anu-Enlil. In number 50 of this series, asterisms and constellations are linked with earthly events, to the effect that the appearance of the “crow” is associated with stability in commerce transactions and the “fox,” with burglary. In that case, the heading may be indirectly saying, disappeared or, whereabouts unknown.
In that case, the listed items that follow may be the names of boats or sailors.
(HT 117, Side A above, GORILA I, 196)
(Heading) MA-KA-RI-TE KI-RO U-MI-NA-SI
(Departed, presumably lost at sea.)
（Items） Each is followed by the numeral 1, and summed up in the end with KU-RO, calculated as 10.
U-SU；MI-TU; KU-RA-MU; MA-RU; KU-PA-NU; TU-JU-MA; U-DI-MI; MI-RU-TA-RA-RE; TE-JA-RE; NA-DA-RE ⇒ KURO 10。
While the heading may resemble HT87, it could have an entirely different meaning. The 10 items on the list may be names of boats, as MA-RU means wool, and is also a typical ending in the names of large Japanese ships. U-DI-MI may mean immortal.
(HT 122) (GORILA I,209)
(No Heading)
(Items)
U-DE-ZA 2 ; 〇-〇-〇 2 ; DA-SI-*118 2 ; PA-I-TO 〇; MA-DI 1 ; TE-KI 2 ; JA-MI-DA-RE 1 ; SI-DA-RE 1 ; *324-DI-RA 1; PA-DE 1; KU-PA-NU 1 ; PA-TA-NE 1 ; *306-TU 1; RA-DU 1; KU-PA-NU 1 ; DA-RI-DA 1;KU-RO 31; KU-DA 1
The names may refer to boats or sailors. Many researchers believe PA-I-TO is Phaistos.
2. The Libation Formulas
In Minoan times, they apparently performed libation rituals where they offered oil and other liquids, and on the cups, ladles and tables that were used, there are inscriptions of a stylized nature.
About 30 of these texts have been found, and they are made available from Linear A sources such as the GORILA website. They vary in length from a single word to about 10 words, and are very similar to one another, with different variations.
Reading them as Japanese is not difficult, and they seem to convey prayers or requiems to console those who have passed away.
They may not mention names of any individuals, for these prayers must have been for general purpose, i.e. to serve all those who wished to honor and appease the spirit of their loved ones.
Here, the unknown symbol *301, akin to an inverted R, looks like a bird perched on a branch when turned 45 degrees counter-clockwise, so we shall read it as TO as in Tori, bird in Japanese.
The short, vertical lines that appear intermittently are abbreviated signs or shorthand, to be filled in with the sound values, I, YA, SI, or NO. Dots placed underneath symbols (.) are either signs of repetition or shorthand for the sound, NG.
When words begin with vowels, the consonant H (or F) is added before these vowels as appropriate. (The use of the consonant F conforms with the norms of pronunciation of old Japanese, dating back to the Nara period.)
The word JA-SA-SA-RA-ME that appears frequently, seems to be a hybrid expression with the Japanese meaning, “Tears fall from the eyes as, from a bamboo whisk/ ripple waves”; in classical Greek, I-a-sou is the Goddess of Healing, Tha-la-mos points to, inner room, chamber/ shrine or temple, and Sa-lo-s, the tossing or rolling swell of the sea. Furthermore, the scribes may have tried to draw the cartoon image of the face of a crying woman with Linear A symbols.
(TL Za 1) Heart-shaped stone ladle from Troullos (GORILA IV: 58-59)
The inscription is written along the edge of the heart-shaped triangle. Three of the symbols have dots underneath, and they are construed aa signs for repetition.
A/HA-TA-I-*301(TO)-WA-JA- [・]- O-SU-QA-RE- [・]
〇 A-TA-I-*301(TO)-WA-JA- [・]- O-SU-QA-RE- [NO]
あんた いとわん や [・] お すかれ（の）
貴方が、ふびんで気の毒だし、お疲れ様で
We feel so sorry for you, after all the work that you did, (OR)
〇 HA-TA-I-*301(TO)-WA-JA- [NO]- O-SU-QA-RE- [YA]
はた いと わ や（の）お すかれ（や）
命の機の糸輪が、追いつかれてしまい、
On the spindle of life, your thread has been caught up with,
JA-SA-SA-RA-ME-U-NA-KA-NA-SI –
JA-SA-SA-RA-ME(NG)-U/ FU-NA-KA-NA-SI-(NA-SI)
や ささらめ（ん） うな/ ふな かなし、なし
〇 悲しくて、ササラ波の様に、涙が出ます。ああ、悲しい話。
In grief, tears fall incessantly, as ripple waves. Such a sad story. (OR)
〇矢の刺さる様な雨を見舞い、船が悲しくも、見つかりません。
With torrential rain, falling like arrows, sadly, the ship is lost.
（I-PI-）NA-MA-SI-RU
（I-PI-）NA-MA-SI-RU(RU)
いきな ま し る（る）
生霊（の意味）を御存知の、癒しの女神よ
Oh, Goddess of Healing, most aware of the meaning of human sacrifice.
The phrase, I-PI-NA-MA, that appears frequently, conveys the message that the lives lost at sea should be recognized as human sacrifice by the deities, so that they should not be seized in vain.
(KO Za 1) Stone vessel from Kophinos, Heraklion region. Inscription on 4 sides.
(1)A-TA-I-(TO)-WA-JA (2) TU-RU-SA-[・]- PU-RA-RE-[・]-(H)I-DA-
HA-TA-I-(TO)-WA(NG)-JA TU-RU-SA-[JA]-PU-RA-RE-[SI]- HI-DA-
貴方が、ふびんで気の毒、/ 命の機の糸輪の、弦が切れてしまったのです。ヒダの神様！
Dearest, my poor darling! From your wheel of life, the strings have finally come apart, after a lifetime of dedication. Lo, Deity of Mt. Ida!
(3) A-[・]-U-NA-KA-NA-SI-[・]-I- (4) PI-NA-MA-[・]-SI-RU-TE
A-[NO]-FU-NA-KA-NA-SI-[JA]-I- PI-NA-MA-[YA]-SI-RU-TE(NG)
あ（の）ふなかなし（や） いぴなま（や）知るてん
あの船 放しや/ の話や/ が悲しい、生霊を知るて/ 天よ。
Let the ship be released/ This is the ship’s story/ Cast in deep sadness over the ship,
Oh Heavens, keenly aware of human sacrifice!
(SY Za 2) Earthenware from Syme, littoral, south of Malia.
A-TA-I-(TO)-WA-JA-[NO]-JA-SU-MA-TU (Olive oil sign)
貴方が、ふびんで気の毒、/ 命の機の糸輪が、とても早く、
休まずに献身され、
Dearest, my poor darling! The strings of your wheel of life ran out so quickly, after a lifetime of dedication.
U-NA-KA-NA-SI (Olive oil sign) A-JA
あな/ 船が 悲しい、お父様！
Oh, it is so sad that your ship, dear father!
These metaphors consistently refer to life as a wheel of thread, as in Greek mythology.
(AP Za2) Cylindrical Stoneware from Apodoulou, northwest of Haghia Triada. (GORILA IV: 4-5)
(1) Sound Values
The distinctive composite symbols are as follows:
• I, with 4 long vertical lines extending from the top: I - (SI/YO).
• Variation of PI, toward the center: As the top is replaced with RE, PI-RE
• NA, with 4 or 5 dots, vertically arranged and highlighted: Depending on the number of dots, NA-(SI/YO) or NA-(GO/TE).
• Ladder with 4 rungs, on right side: (JA/NU)-(SI/YO).
• Cartoon of a pear (NASI): Given the dark sedimentation (TAMARI) at the bottom, this is read as, TAMARI-NASI.
(2) Upper Row
The Left and Right sides are based on the separate photographs in GORILA.
(a) Left Side
(Damaged) NA-SI-[・] I-(SI/YO) PI-RE NA-(SI/YO) MA (Damaged)
• Right to Left:
迷うな、切れよ。酔い/良い の品。
Don’t hesitate, cut them off. Drunken/ quality items.
• Left to Right:
汝の意志/ 石。切れ、ナシよ/綺麗な死よ。
As your wish/stone may be. Cut them off, for nothing/ a beautiful death.
Together, this reads as follows:
"Don’t hesitate, cut them off. Drunken/ quality items.” "As your wish/stone may be." "Cut them off, for nothing, a beautiful death."
(b) Right Side
(Damaged) KU (JA/NU)-(SI/YO) NA-(SI/YO) TAMARI-NASI NA-(GO/TE) (Damaged)
• Right to Left:
こうなり、玉、なしなしよ。焼く。
This way, no more balls. Now for the firing.
• Left to Right:
悔しいな、なし。しんなり玉なんて。
How regrettable it is to lose them, now only crumpled hollows.
Together, this reads as follows:
“This way, no more balls. Now for the firing.”
“How regrettable it is to lose them, now only crumpled hollows.”
(3) Lower Row
The left side only, as the right side shows only an unknown symbol plus a dot.
(Damaged) PI-(I/YA/SI/NO) TI MI NA TE [・] I-(SI/YO) NA-(SI/YO) JA RE (?)
• Right to left:
（？）れや。養い師の手並み。道の碑や。
A monument to the skill of the healer, to display on the pathway.
• Left to right:
（？）の君なんて、良い品。ナシ、やれ。
You may be well qualified. Why don’t you try this surgery?
Together, this reads as follows:
“A monument to the skill of the healer, to display on the pathway.” “You may be well qualified. Why don’t you try this surgery?”
(4) Summary
In conclusion, the text reads as follows:
"Don’t hesitate, cut them off. Drunken/ quality items.”
"As your wish/stone may be."
"Cut them off, for nothing, a beautiful death."
“This way, no more balls. Now for the firing.”
“How regrettable it is to lose them, now only crumpled hollows.”
“A monument to the skill of the healer, to display on the pathway.”
“You may be well qualified. Why don’t you try this surgery?”
In ancient Greece, eunuchs were known, and they must have existed in the Minoan civilization as well. The inscription follows the steps of a castration procedure, that may have been recommended to qualify for certain jobs. The apple/pear symbol has a stain at the bottom, with NA symbols on either side, possibly to represent the removal of the scrotum, the testes dropping with the operation.
(IO Za2) (GORILA V: 18-19) Stone table from Iouktas/Juktas, near Knossos.
There are Linear A inscriptions on the 4 sides, in 2 rows. The 4 corners have been perforated, as if to create holes to attach a lid.
（Upper Row）
A-TA-I-*301(TO)-WA-JA-[・]-JA-DI/60-KI-TU-[・]-
HA-TA-I-*301(TO)-WA-JA-[NO]-JA-DI/60-KI-TU-[SI]-
貴方が、ふびんで気の毒、/ 命の機の糸輪が、矢の様に早く流れて、還暦を迎えられたのに。
Dearest, my poor darling! The strings of your wheel of life ran out quickly, with the speed of an arrow, after you reached the auspicious age of 60 years.
JA-SA-SA-RA-ME-[・]-U-NA-KA-NA-SI-[・]-I-PI-NA-MA-[・]
JA-SA-SA-RA-ME-[JA]-U-NA-KA-NA-SI-[JA]-I-PI-NA-MA-[NO]
（荒海の）癒しの女神よ、
ササラ波の様に涙が出ます。矢の刺さる勢いの雨で
あな、悲しい/ 船、放しや/ 船の話や。
貴方の生霊を
Oh, Goddess of Healing, of the rolling seas,
Tides of tears brim the eyes like ripple waves.
As torrential rain assailed the ship like arrows,
How sad! / Let the ship be released! / This is the ship’s story,
(Your sacrifice)
(Lower Row)
SI-RU-TE-[・]-TA-NA-RA-TE-U-TI-NU-[・]-I-DA－？
SI-RU-TE-[JA]-TA-NA-RA-TE-U-TI-NU-[JA]-HI-DA－？
知って/ 知る天や、弔いの太鼓を打ちます。 ヒダの神！
We hereby beat the drum of requiem toward the Heavens,
With recognition of your sacrifice. Hail, Deity of Ida!
The last line suggests that the holes on the 4 corners were there to attach an animal skin, to turn the table into a drum.
(PK Za 11) Square stone table from Palaikastro,in eastern Crete.
There are Linear A inscriptions on the 4 sides. A dot placed underneath a symbol marks the extension/repetition of a sound, or NG.
(Side 1)
A-TA-I-*301(TO)-WA-E-[・]-A-DI-KI-TE-TE-[・
HA-TA-I-(TO)-WA-E-[NO]-AN-DI-KI-TE-TE-[YA
貴方が、ふびんで気の毒、/ 命の糸輪の暗示が、聖なるDikte山から来ていて
Dearest, my poor darling!
There was an omen on your thread of life, from Mt. Dikte
(Side 2)
・]-DA-[・]-PI-TE-RI-[・]-A-KO-A-NE-[・]-A
TADA-[SI]-PI-TE-RIN [SI]-A-KO-AN-NEN- [SI]-A
正しく当たってしまいました。お香を上げるので安心なさい。
That accurately hit the target. Now rest in peace, as we burn incense for you.
(Side 3)
SA-SA-RA-ME-[・]-U-NA-RU-KA-NA-TI-[・]
SA-SA-RA-ME-[JA]-U-NA-RU-KA-NA-TI-[I]
（荒海の）癒しの女神よ、涙がささら波の様に出ます、唸る悲しみと共に。
Oh, Goddess of Healing, of the rolling seas,
Our eyes brim with tears in subtle waves,
As we moan in deep sadness.
(Side 4)
I-PI-NA-MI-NA-（missing）- SI-RU-[・]- I-NA-JA-PA-QA
I-PI-NA-MI-NA- NA-MI-NA-（missing）- SI-RU-(YA)- I-NA-JA-PA-QA
皆、生きていろ/生霊と、涙を流します。……と信じつつ、何処ですか？
Stay alive! / Sacrificed, all of them! We are all in tears. Surely ……where do we find you?
