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 an apple/pear: This is TU, with the vertical line in the triangle removed. As it doubles as a pear cartoon, TU-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) TU-NASI NA-(GO/TE) (Damaged)
•Right to Left:
……泣いてなし。強いな。よし、抜く/ 焼く。
You‘re not crying. So strong! Okay, now to remove/ burn.
•Left to Right:
悔しいな、膣なし、なんて。
How regrettable, to lack a vagina.
Together, this reads as follows:
“You‘re not crying. So strong! Okay, now to remove/ burn.” “How regrettable, to lack a vagina.”
(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."
“You‘re not crying. So strong! Okay, now to remove/ burn.”
“How regrettable, to lack a vagina.”
“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?
3. Silver Pin (KN Zf 31) (GORILA IV: 154-155, 162) (Discovered in the cemetery Mavro Spelio near Knossos. Heraklion Museum No. 540)
This is a slender, silver pin about 15 cm in length, shaped like a staff, with a U-shaped handle. It can be found online by searching for “silver pin from Mavro Spelio”. The photo in GORILA shows the upper and lower parts separately. Here, the photo is positioned so that the handle is curved at the lower left, with the long end extending to the right.
I. From Top to Bottom
1. Simple Reading
This is generally based on the transcription by J. Younger. Short dots [・] are construed as word separators and filled in with I, YA, SI, or NO, as appropriate.
(1) Upper Part
(a) Irregular Symbols
〇 3rd from the left, symbol resembling a rainbow: NA-RA.
〇 5th from the left, symbol akin to a clothes hanger: TU.
〇 10th from the left, a circle covered by a cross: KA.
〇 9th from the right, A (AB08) with a dot in the upper center: A/NA.
〇 4th from the right: DE.
〇 3rd from the right: SE(AB09) with 5 fingers, to be read as GOSE.
〇 2nd from the right, symbol resembling the kanji 南 (south): Combination of RA and NA, to be read as RANA.
〇 Symbol on right end: I.
(b) Decipherment
SI-[undecipherable]-SI-ZA-NE-NARA-[・]-DA-TU-MI-NE-[・]-QA-MI-KE-NA-RA-[・]-A/NA-WA-PI-[・]-TE-SU-DE-GOSE-NARA-I-[・]
SI-ZA-NEN-NARA-[I]-DA-TU-MI-NE-[NO]-QA-MI-KE-NA-RA-[I]-A/NA-WA-PI-[NO]-TE-SU-DE-GOSE-NARA-I-[I]
……し、残念ですが、イダ山の立つ峰の、神の家/髪の毛に習って、あな、お詫びする、アワビ（祝い/銀髪）のテス（鉄）でございます。「なら良い」
...regrettably, but as this peak on Mount Ida, with snowy hair, happens to be the abode of the Deity, oh, I must apologize for coming here despite my silvery hair. I have just celebrated my age with the customary abalone, and I go by the name of TESU (iron). “That is fine, then.”
(c) Summary
The lines convey the idea that the mountain peak is covered with snow, in the color of silvery hair, and this matches the silver color of the pin. In Japanese, QAMI can mean either “hair,” or "Deity." In classical Greek, kome (κομη), with a similar sound, means hair.
Mount Ida, the highest peak on Crete, is known for the legendary Idaean Cave, where Zeus was hidden after he was born, and the guard may have been on duty at the entrance.
Photos of this cave are found online, and the entrance seems to resemble an abalone shell. Thus, AWAPI points to the Japanese word for abalone (awabi), customarily eaten during festivities, as well as to the Idaean Cave, and doubles as the word for apology, OWABI.
(2) Lower Part
(a) Irregular Symbols
〇 5th symbol from the left (6 dots/short vertical bars with horizontal bar above, in the image of bowling pins): each dot/ bar must correspond to “10” in Cretan hieroglyphs, and the symbol must stand for "60 years."
〇 3rd symbol from the right: RA, in a wavy form.
(b) Decipherment
-A-DA-RA-[・]-TI-60-TE-QA-TI-[・]-TA-SA-ZA-[・]-TA-TE-I-NARA-ZO-RE-[・]
-A-DA-RA-[I]-TI-60-TE-QA-TI-[YA/SI]-TA-SA-ZAN-TA-TE-I-NARA-ZO-REN
素晴らしい、６０歳 なら勝ちだ/で徒歩のお参りとは。通しましょう。
立って下さい！ それなら、道を空けましょう。
That’s wonderful, 60 years old is a winner/ and yet a pilgrim on foot. I will let you pass. Now stand up! Thus, I will make way.
(c) Summary
The pin’s shape is in the shape of a staff or walking stick. The scene involves an elderly person visiting the sacred Mount Ida in Crete, who is stopped by a guard, probably at the entrance of Idaean Cave. He allows the old man to proceed, learning that he is 60 years old and on pilgrimage. The guard could be the mountain deity in disguise. Given the deciphered lines, the silver pin may be a hair accessory.
2. More Precise Reading
In the simple reading above, the lines read from top to bottom have resulted in a rather perplexing interpretation, and a more precise analysis of the irregular symbols may be required to clarify the text, as follows:
(1) Upper Part
(a) Irregular Symbols
〇 3rd from the left, shaped like a rainbow (NIJI): NIJI-YA-PA.
〇 5th symbol from left, like a clothes hanger: KU-(NI/RA)-(I/YA/SI/NO).
〇 10th from left, circle covered by a cross: KA-KUSI, to mean, KA, hidden away.
〇 Right end, SE(AB09) with 4 feathers, like I (AB28) and also, a tear: YO/SI-SE/I-NA.
〇 2nd from right, like the kanji 南 (south): a combination of NA, KU, ZO, to be read as NAKUZO.
〇 3rd from right: Upper part (comb with 5 teeth) is TE-KU, and the lower part is added, as I/YA/SI/NO.
〇 4h from the right: DE and MA are combined, and the 3 stripes or lines (SEN) inside the triangle are counted, to result in, DE/MA-SA/MI-SEN.
〇 6th from right, TE (AB04), but with 4 branches on each side: (YO/SI)-TE.
〇 9th from the right, A (AB08), with added dot: A-(I/YA/SI/NO) or NA.
(b) Decipherment
ZA-NE-(NIJI-YA-PA)-[・]-DA-[KU-(NI/RA)-(I/YA/SI/NO)]-MI-NE-[・]-QA-MI-KAKUSI-NA-RA-[・]-AI-WA-PI-[・]-SITE-SU-(DE/MA-SA/MI-SEN)-(KUTE-I/YA/SI/NO)-NAKUZO-(YO/SI-SE/I-NA)-[・]
ZA-NE-(NIJI-YA-PA)-[I]-DA-[KU-NI-NO]-MI-NE-[YA]-QA-MI-KAKUSI-NA-RA--AI-WA-PI-SITE-SU-(MI-MA-SEN-DE)-KUITE-NAKUZO-(YO-SE-NA)
……残念。虹やわ！ イダ国の峰や。神隠しがあるなら、相詫びして、すみませんで。「悔いて泣くぞ、よしな」。
...That’s too bad. Look at the rainbow! This is the peak of Ida country, but if QA-MI-KAKUSI (disappearance, by divine intervention) does happen here, I must apologize, I am sorry. "You will regret and cry for making the attempt, so frankly, you should not try it."
(2) Lower Part
(a) Irregular Symbols
〇 3rd from right: The combined symbol (NAKUZO) from the upper part has been emptied of its center, leaving 2 wavy lines on right and left, and this is read as NAKA-NAI-NI/RA, meaning, 2 lines, with the content gone.
〇 Right end, read above as RE : Recognizing the symbol TI at the top, and also adding on the vertical support at the bottom, as I/YA/SI/NO, the symbol is read as TI-RE-(I/YA/SI/NO).
(b) Decipherment
[・]-A-DA-RA-[・]-TI-60-SITE-QA-TI-[・]-TA-SA-ZA-[・]-TA-(TE-YO/SI)-(YO/SI-SE/I-NA)-(NAKA-NAI-NI)-ZO-[TI-RE-(I/YA/SI/NO)]-[・]
A-DA-RA-TI-60-SITE-QA-TI-[YA]-TA-SA-ZA-TA-TEYO-YOINA-NAKANAI-NI-ZO-TIREYA
「あんたら、素晴らしい！６０歳で、勝ち/徒歩や。通しましょう。立てよ、良いな。泣かない様に、散れ/知れや」。
That is wonderful! You are 60 year of age, that's victory/and still walking. I will let you pass. Stand, OK? But do not to let yourself end in tears. Now go!
(3) Summary
This reading, with more attention to detail, results in the appearance of a rainbow and in the tale, the guard tries to stop the elderly climber from making further adventure but, eventually, allows him to proceed at his own risk, after learning that the climber is commemorating a personal achievement that is, 60 years of age.
II. From Bottom to Top (Simple Reading)
(Upper Part)
[・]-I-RANA-ITE-MAWA-SU-TESI-[・]-PI-WA-NA-[・]-RA-NA-KA-MI-QA-[・]-NE-MI-TU-DA-[・]-NARA-NE-ZO
[SI]-I-RANA-ITE-MAWA-SU-TESI-PI-WA-NA-RA-NA-KA-MI-QA-[SI]-NE-MI-TU-DA-[SI]-NARA-NE-ZO
〇知らないで、まあ、捨てた 琵琶なら、中身貸して。音は３つ（弦は３本）だ。鳴らないぞ。
〇知らないで、まあ、捨てたビワなら、中身は菓子ね、蜜（果汁）だ。知らないぞ。
-Without knowing it was a biwa (lute), this was thrown away. Then, lend me the contents. It has 3 strings but can’t be played.
-Without knowing it was a biwa (loquat fruit), this was thrown away. The content is sweet, like nectar. Now, I am not too sure about this turn of events.
In ancient Greece, the loquat was known to be consumed. "Mitz" means nectar in Hebrew.
(Lower Part)
[・]-RE-ZO-RA-I-TEYO-TA-[・]- ZA-SA-TA-[・]-TI-QA-TEYO-60-TI-[・]-RA-DA-NA
[SI]-RE-ZO-RA-I-TEYO-TA-[YA]- ZA-SA-TA-[NO]-TI-QA-TEYO-60-TI-[NO・]-RAN-DA-NA
出まかせ言って酔っているうちに事情が変わり、６０歳の乱だな。
The situation changed while we were drunk and given to haphazard mutterings. Now, this is a rebellion by 60-year-olds.
Thus, the silver pin is likely to be a plectrum for playing the biwa, a decorative item and probably a gift for a 60th birthday.
4. Golden Ring from Mavro Spelio
This is a work of art in gold, with an inscription in spiral fashion, from the outer rim toward the center. Many of the symbols are ambiguous and John Younger has underlined 4 of them; they must be combined symbols.
It can be read in both clockwise and counter directions, to make sense as a continuing story that discloses the troubled thoughts of a sexagenarian.
(1) Simple Reading
（Clockwise, from outer rim）
A-RE-NE-SI-60-DA-PI-KE-PA-JA-TA-RA-I-TE-
晴れねえ氏 60歳だ。聞けば、やたら（に）いて
Mr. Inclement Weather, 60 years of age. From hearsay, they are all over the place.
MURI-ZO- SINE-JA- SOKU
無理だ。死んでしまえ、即刻。
What a nuisance, go to h---, ASAP.
The symbol interpreted as 60, the same as in the silver pin above, must stand for 60 years of age, and the ring must have been created in commemoration.
（Counter-clockwise, from center）
The symbol read as DA above, is construed to be a sign of repetition.
KU -JA- SI -I- MU/RI/-TE-I- RA-TA-JA-PA-KE-PI-PI-
悔しい！ 無理して届いた化けヒヒ
How regrettable! I overplayed my hand to reach this age.
60-SI-NE-RE-A
60氏、眠れや。/ 60歳。死ねれん。
Now a ghost of a baboon at 60, go off to sleep/ I can’t seem to leave the scene.
(2) More Precise Reading
In this version, the many ambiguous symbols are construed as combined symbols created by adding on, line segments.
（Clockwise, from outer rim）
ASI-RE-NEMU-SI-60-NOSI-MATIDA-KE-DAPA-JA-TA-RA（下線）-I-TENI-
走れないし、眠い60歳の死に待ちだけだわ。やたら痛いに
I can’t run any more, a sleepy sexagenarian, just waiting to die off.
MU/RI（下線）NEKU（下線）-SIA-JA- KUSOKU（下線）
むり なく しは や く そく
無理なく しは/ 死は、約束だ。
With pain everywhere, I should never strain myself/ death must be around the corner.
（Counter-clockwise, from center）
The symbol read as DA at the outset is read as DA-A, given the long limb, extending leftwards from the top.
SO/KU-JA-SI/NE-NE/KU-MU/RI-NI/TE-I-RA-TA-JA-DAPA-KEZO-PIMA- DA-A-60-SI-NEMU-RE-SI/NE
すぐには死ねなく、無理して届いたが、嫌だ。たわけ！ 暇だぁ。
There is no immediate coup de grace, however. I overplayed my hand to reach this age, and now I hate it. That’s stupid! What idleness anyway!
60歳なら眠れ、死ね。
At 60 years of age, go to sleep, pass away.
5. Bronze Bowl (Chania Museum, 1385. Mitsotakis Collection) (GORILA IV : 158~159 )
Many of the symbols inscribed on this bowl are irregular, including the 5th symbol from the far left, and decipherment must start with an approximation.
(1)From Left to Right (Simple Reading)
A-RA-KO-KU-KA-WA-SA-TO-MA-RO-AU-TA- DE-PO-NI-ZA
アラシヤ国 川 里 マロ 青田（銅）工房のポニザ（紅座）
Alashiya, River County, Maro, Copper Workshop, Poniza (the Red)
(a) Since KO-KU means “country” in Japanese, A-RA may be its name. According to ancient maps of the eastern Mediterranean region, Cyprus was called Alashiya in the Bronze Age, and A-RA KO-KU may point to the island of Cyprus. In the Bronze age, Cyprus was an important producer of copper and bronze, an alloy of copper and other metals such as tin.
(b) In Japanese, KA-WA is river, and SA-TO means county or region. Upon scrutiny of old maps of Cyprus, on the south coast and west of Larnaca, one finds the Maroni River, known for an ancient settlement, and this could be where MA-RO was located. In fact, the symbol for MA seems to be a cartoon image of a chestnut (marron).
(c) AU-TA, interpreted as AO-TA, or blue paddy fields in Japanese, may point to a copper mine, as copper ore often takes on a distinct blue color. PO-NI-ZA is interpreted to be a workshop, where PO-NI must be BE-NI, a synonym for red (A-KA) in Japanese. Since A-KA GANE (red metal) is another name for copper, PO-NI- ZA may stand for copper workshop, whereas GIN-ZA is silver workshop.
(2)From Left to Right (More Precise Reading)
(a) The following symbols are irregular and should be a combination of syllables:
〇 KA: This is reread as MARU-NI-KA, because it also resembles a circle (MARU) that covers the symbol NI (*30).
〇 WA: WA-NI, because there are 2 extra supporting legs.
〇 AU: AU-YA, to take account of the extra line, short and horizontal, on the far right.
〇 TA: TA-I, as there is a short diagonal line that crosses the bottom segment.
(b) The reading is revised as follows:
A-RA-KO-KU-MARUNIKA-WANI-SA-TO-MA-RO-AUYA-TAI- DE-PO-NI-ZA
アラシヤ国、マローニ川の里/ワニ/倭人の里 マロ（村）。停まろう、青屋台の紅座
In Alashiya, Maro Village on the Maroni River/ of the crocodile/ WA people. Let’s stop at Poniza (Red Workshop), with the blue stalls.
Thus, the inscription proudly identifies the creators of the bronze bowl exported to Crete.
(c) According to GORILA, each of the first 3 symbols, A, RA, KO, has a dot underneath, and this may be a sign calling for repetition, as A-A RA-RA KO-KO. Then, the inscription should be read together with the phrase, “Oh, my! This must be,” that adds a touch of pleasant surprise at the beginning, apparently from a woman.
(3) From Right to Left
ZA-NI-PO-DE-TAI-YAAU-RO-MA-TO-SA-WANI-KANIMARU-KU-KOKO-RARA-AA
散歩に出たいや。往路の目的は、沢ガニ、丸いやつ。ここら、ならな。
I want to go out for a walk to catch some swamp crabs, the round kind. This area should be good enough.
Now the MA symbol starts to look like a small crab.
6. Gold Needle from Aghios Nikolaus Museum (CR Zf1. GORILA IV. 146-147, 162)
This gold needle measures about 15cm in length and, on one side of the handle, there are Linear A inscriptions and ornate decorations cover the other.
(1) Simple Rendition
(a) From Left to Right
The ambiguous symbol at the end will be taken as a combined symbol of DE and MA.
A-MA-WA-SI-[・]-KA-NI-JA-MI-[・]-I-JA-[・]-QA-KI-SE-NU-TI-[・]-A-TA-DE/MA
A-MA-WA-SI-[NO]-KA-NI-JA-MI-[SI]-I-JA-[SI]-QA-KI-SE-NU-TI-[JA]-A-TA-DE / A-TA-MA
海ワシ/アマワ氏はカニを病的に好み、卑しい。掻き出していない場所は、後でと/自分の頭。
Mr. AMAWA (sea eagle) is a crab maniac and greedy. Well, for the parts not yet picked out, in due course / that’s his head.
At first glance, this strange needle may be intriguing, but KA-NI at the beginning of the 2nd word is “crab” in Japanese, and this suggests it was used for picking out crab meat from the shell. In that case, Mr. Amawa was a rich man, as to use this refined, decorative gold pin for such a mundane purpose.
A-MA -WA-SI also means sea eagle in Japanese, and this lends a double meaning to the inscription, that insinuates at Mr. Amawa’s sharp eye for collecting taxes or rent from every household without fail.
Thus, QA-KI-SE-NU-TI may be interpreted as “places with no records (of payment)” and this leads to the idea that the needle may have been a pen for inscribing Linear A on clay tablets.
If the last word is read as A-TA-MA, meaning head, the line turns into a slander, with the suggestion that the needle should be used to clean the ears.
(b)From Right to Left
MA/DE-TA-A-[・]-TI-NU-SE-KI-QA-[・]-JA-I-[・]-MI-JA-NI-KA-[・]-SI-WA-MA-A
MA-TA-A-[NO]-TI-NU-SE-KI-QA-[I]-JA-I-[NO]-MI-JA-NI-KA-[I]-SI-WA-MA-(N)A
またあの親戚かい。ヤイ、「飲み屋」にかい？ しまわないと。
Yet again, that relative. Hey, you think this is a tavern! Better put it away now.
(2) QA-QA
Upon scrutiny, there is a dot beneath QA, a sign of repetition.
(a)From Left to Right
A-MA-WA-SI-[・]-KA-NI-JA-MI-[・]-I-JA-[・]-QA-QA-KI-SE-NU-TI-[・]-A-TA-DE
A-MA-WA-SI-[NO]-KA-NI-JA-MI-[SI]-I-JA-[JA]-QA-QA-KI-SE-NU-TI-[JA]-A-TA-DE
忌まわしい、カニにはまり、いやだ。「母の来ないうちに、後で」。
Deplorable, what with crab mania, I hate this situation. “Mother is coming, so later on.”
(b)From Right to Left
MA/DE-TA-A-[・]-TI-NU-SE-KI-QA-QA-[・]-JA-I-[・]-MI-JA-NI-KA-[・]-SI-WA-MA-A
MA-TA-A-[NO]-TI-NU-SE-KI-QA-QA-[NO]-JA-I-[NO]-MI-JA-NI-KA-[I]-SI-WA-MA-(N)A
またあの義理の母の「ヤイの！」が、「飲み屋」に。しまわないと。
Yet again, that noisy mother-in-law, on a visit to this, tavern! Better put it away now.
The first version may be the original intention, because of the way it hints at the use of the needle. The dot may have been placed beneath QA simply for obfuscation.
(3)In-depth Rendition
Many of the inscribed symbols diverge from the standard model common to Linear A/B, for example, by having vertical lines split into two parts, and their sound values are adjusted as follows:
A⇒ ANO/ASI/ SINO/SINIJA; MA⇒ MAMA; WA⇒ WA/WANO; SI⇒ JASI;
KA⇒ KA/KANI; I⇒ SEI/REI; JA⇒ JA/BA.
(a)From Left to Right
ANO-MAMA-WA-SINO-[・]-KA-NI-JA-MI-[NO]-SEI-JABA-[・]-QAQA-KI-SE-NU-TI-[・]-JASI-TA-MA/DE
あのままワシのカニや。カニ病みのせいで、ヤバ。母来せぬ地で、明日まで（お預けだ）。
That crab is still mine. This crab mania is a big problem. Hide it somewhere, Mother would not know of, until tomorrow.
(b)From Right to Left
DE-TA-ANO-[・]-TI-NU-SE-KI-QAQA-[YA]-BA-REI-[NO]-MI-JA-NI-KANI-[NO]-JASI-WANO-MAMA-SINIJA
出た、あの親戚、義理の母や、無礼の。「飲み屋」にカニの足。我が儘、死にや。
There she is, that rude mother-in-law! She is here for a drink, with crab legs. How egotistical! She had better disappear quickly.
7. Large Vase from Epano Zakros（ZA Zb 3）
This is a vase (pithos), approximately 170cm in height and estimated to hold up to 1000 liters. Around the circular rim, there is a decorative chord pattern and, just below, there is an inscription in Linear A, in 2 lines.
The first symbol (AB131a）can be interpreted as wine, in a similar vein to Linear B. In Japanese, DI-DI or TI-TI can mean either father or milk and, according to this translation, father drinks wine and milk is for the baby.
(Top Line)
The 4th symbol from the left is taken to be a combination and read as DINA; the symbol to its right combines ME and RU, to be read as MERU; the symbol on the far right, SE/I.
(From Left to Right)
（AB131a）32 DI-DINA-KA-SE-[・]- A-SA-MERU-NE-[・]- A-SE/I
（AB131a）32 DI-DINA-KA-SE-[SI]-A-SA-MERU-NE-[SI]- A-SE
ワイン換算32単位。父/乳 泣かせや 朝 覚めるね 幸せ。
32 units in wine.
Father/ Milk, a cry of relief in the morning, this wakes one up with a feeling of happiness.
(From Right to Left)
I/SE-A-[・]-NE-RUME-SA-A-[・]-SE-KA-NADI-DI-32-（AB131a）
I/HI-A-[SI]-NE-RUME-SA-A-[NO]-SE-KA-NADI-DI-32-（AB131a）
癒し/冷やし。温めさ。あの盛んな父/盛んに出る乳。ワイン換算32単位。
Relaxation/ cold, or lukewarm, rather.
That upbeat father / a rich outflow of milk. 32 units in wine.
(Second Line)
The 6th pictogram from the far right looks strange, and while many read it as PI, it is read here as YAMA, because MA seems to sit on top of the nock of an arrow, YA, in Japanese.
(From Left to Right)
A-TA-I-*301（TO）-DE-KA-[・]- A-RE-YAMA-RE-NA-[・]-TI-TI-KUME
HA-TA-I-*301（TO）-DE-KA-[I]- A-RE-YAMA-RE-NA-[JA]-TI-TI-KUME
はた、とても大きく、山のよう。あれ、病まれたので、乳を汲もう。
This is so big, like a mountain! / Alas, you have fallen ill, so I will draw milk for you.
(From Right to Left)
MEKU-TI-TI-[・]-NA-RE-YAMA-RE-A-[・]-KA-DE-(TO)-I-TA-NA
MEKU-TI-TI-[SI]-NA-RE-YAMA-RE-A-[I]-KAN-DE-(TO)-I-TA-NA
ときめく父に死なれ、病まれた。「逝かんで」と言ったのに。
My exuberant father has passed from illness, though I implored him not to go.
The author recalls days in the distant past when still a baby and the father gave milk in the morning; recently, the father fell ill and it was the author’s turn to give him milk, but now he has passed.
8．Cup from Knossos（KN Zc7）(GORILA IV : 122-125)
This is a short conical cup, with inscriptions painted in ink along 2 concentric circles in the interior. The signs are to be read while looking into the cup. It says WI-PI in large letters at the end of the line closer to the rim, probably a signature.
At the very bottom of the cup, there are holes punctured as with a needle. They seem to create a person’s face in profile, whose sex is uncertain. From the rim, in concentric circles, there are strong lines intentionally razed in.
Here, reference to the cup and the writing inside will be made on the assumption that the cup is viewed from such an angle, so that the written lines appear in the shape of a U.
I. Simple Interpretation
（1）Clockwise
（a）Bottom Row
[・]-RA-ZAMA-NA-[・]-RE-RA-DU-[・]-TI-RI-NU-KA-NA
[・]-RA-ZAMA-NA-[SI]-RE-RA-DU-[NI]-TI-RI-NU-KA-NA
成果なし 知られずに散ってゆく 悲しさ
How sad, the flower scatters away, without any fruit to be known for
RA-ZA-(N)A has been translated as fruit, as it sounds close to raisin and REZA means fulfilment in Persian. GORILA reads ZA as ZU, and RI as ZA.
（b）Outer Row
[・]-NE-NA-A-RA-SA-JA
[SI]-NE-NA-A-RA-SA-JA
根を荒らされてしまった故に。
As the roots have been forcibly laid waste.
Here, the cup is construed as a saffron flower with holes at the bottom where the pistil and stamen have been picked out; this flower can no longer bear fruit or provide seed.
(2) Reverse Direction
（a）Bottom Row
NA-KA-NU-RI-TI-[NI]-DU-RA-RE-[・]-NA-MAZA-RA-[・]
NA-KA-NU-RI-TI-[NI]-DU-RA-RE-[NO]-NA-MAZA-RA-[SI]
中を塗らないかと 誘われたので 打ち明けよう
Beckoned to paint inside this cup, I have decided to confess.
（b）Outer Row
JA-SA-RA-A-NA-NE-[・] WI-PI-[・]
JA-SA-RA-A-NA-NE-[NO] WI-PI-[SI]
やせた姉御の （署名）ウィピ氏
The thin sister, (Signed) WIPI.
(3) Interpretation
Reading in clockwise direction, the inscription conveys the lament of a saffron flower but read in reverse, this turns into the anguish of a person who cannot bear children for unnatural causes.
Given this message, the face at the bottom of the cup may indeed show a eunuch; the strong lines roughly spiraling the interior of the cup may convey graphic details of the tragedy. Eunuchs have been known from ancient Assyria and Rome.
II. Precise Interpretation
(1) Sound Values of Irregular Symbols (common to both rows)
•The short vertical bar [・] that resembles a punctuation mark is read as I/YA/SI/NO, as appropriate.
•If there is a dot at the upper center of A (AB08), the dot is read as I/YA/SI/NO. Otherwise, the symbol is read as NA.
(2) Bottom Row
(a) Sound Values
•The 2nd symbol from the right, ZA, has 2 horns on the right side and a horn on the left; it is read as ZAMA- (I/YA/SI/NO). Alternatively, ZA-I-(NI/RA).
•The [・] to the left of DU (AB51), toward the center, forms 2 vertical bars combined with the left side of the bull's head, and this is read as NI.
•The 4th symbol from the left must be RI (AB53), with lower half erased, and is read as KIE-RI (RI, disappearing).
•The 5th symbol from the left has "horns" protruding from both sides of TI (AB37), and the sound MA is added accordingly.
•The 2nd symbol from the left, KA, has a vertical line protruding from the upper part, and this protrusion is read as I/YA/SI/NO.
(b) Clockwise
[・]-RA-ZAMAYA-A-(I/YA/SI/NO)-[・]-RE-RA-DU-[・]-TI-KIERI-NU-KA-(I/YA/SI/NO)-NA
RA-ZAMAYA-A-I-[SI]-RE-RA-DU-[NI]-MATI-KIERI-NU-KAI-NA
成果や、愛を知られずに、混じり、消えぬかいな
Without any fruit or love to be known for, here, I will mix in, but then disappear.
(c) Counterclockwise
NA-KA-(I/YA/SI/NO)-NU-KIERI-TIMA-[NI]-DU-RA-RE-[・]-NA-ZA-I-(NI/RA)-RA-[・]
NA-KA-NO-NU-KIERI-TIMA-[NI]-DU-RA-RE-[SI/YA]-NA-ZA-I-(NI/RA)-RA-[YA]
中の塗り、消えし間に釣られた、いやな罪人が、俺や （あるいは）中の（もの）抜き切りし、島に連れられた罪人が、俺や
While the inner paint dries, I confess I am that hateful criminal, caught and taken to this island, after (the insides were) removed and severed.
(3) Outer Row
(a) Sound Values
•The symbol on the far left must be the lower left half of JA (AB57) and read as JA-NAKA/HANBUN (JA, in half).
•The 2nd symbol from the left is a split form of SA (AB31), and read as SA-WAKE (SA, separated). Alternatively, SA-RI (SA, departed).
•The 3rd symbol from the left is RA (AB60), with the lower half erased, and read as KIE-RA (RA, disappearing).
•The 4th symbol from the left is read either as A-(I/YA/SI/NO) or SI.
•While separated from the main line, the symbol at the end is SIYA.
(b) Clockwise
[・]-NE-NA-[A-(I/YA/SI/NO)]-KIERA-(SAWAKE/SARI)-NAKAJA [SI]-NE-NA-[A-(I/YA/SI/NO)]-KIERA-(SAWAKE/SARI)-NAKAJA
死ねないなら、消え去り 中や。
As I can't die, I am in the process of disappearing.
(c) Counterclockwise
（JA-NAKA/HANBUN）-(SAWAKE/SARI)-KIERA-SI-NA-NE-[・] （Final）WI-PI-SIYA
(JA-NAKA/HANBUN)-(SAWAKE/SARI)-KIERA-SI-NA-NE-[NO] （Final）WI-PI-SIYA
夜中、去り消えらん。「死な/品ねえ」の （署名）ウィピ氏や
I will disappear at night. (signature) WIPI, the undying, or the vulgar one.
(4) Summary
All put together, the precise interpretation reads as follows:
“While the inner paint dries, I confess I am that hateful criminal, caught and taken to this island, after (the insides were) removed and severed. Without any fruit or love to be known for, here, I will mix in, but then disappear. As I can't die, I am going to disappear, and that will happen at night. (signed) WIPI, the undying, or the vulgar one. “
This aligns with the simple interpretation, and further reveals that the reason for becoming a “eunuch” was punishment.
9. Cup from Knossos（KN Zc 6）
Sir Arthur Evans’ Scripta Minoa (1909) has an illustration on page 29. On the interior, there are lines of Linear A written in ink along 2 concentric circles and in the center are symbols that read RA-TI-SE, arranged as a cartoon; it shows the closed eye and eyebrows of a man about to take a sip from a cup with one eye closed, in a grimace. The lines can be read in both clockwise and counter directions and make sense in Japanese either way.
Many of the symbols are ambiguous. A（AB08）with a dot in the top center, has been read as NA. On the outside ring read clockwise, the first symbol, a cross between SA（*31）and RI（*53）is read as SA-RI, and the second symbol, a cross between KE（AB44）and RU（AB26), as KERU.
On the inside ring, there are 3 consecutive symbols separated from the rest by a line or dot, read clockwise as NU-JA-I. These have been treated as part of the center.
（１）Clockwise
Outside Ring ：The first 2 ambiguous symbols must be a combination.
SARI-KERU-(TO?)-QI-NA-KU-PA-NA-KU-NE
別れの時には 泣くに 泣くね。
Before our separation, I cry and shed tears uncontrollably.
Inside Ring ：
KU-PA-TI-KUKI-DA-[・]-DI-NA-[・]
KU-PA-TI-KUKI-DA-[SI]-DI-NA-[I]
詳しく聞いたが、信じられない。
You told me why in detail, but I cannot believe it.
Center：RATI-SE-NU-JA-I-[・]
RATI-SE-NU-JA-I-[NO]
理解できないと言いながら。
Muttering, I can’t understand.
（２）Counter-clockwise
Outside Ring：
NE-KU-NA-PA-KU-NA-QI-(TO?)-RUKE-RISA
泣くな、 パコ/と言葉はく 泣いて忘れるからさ。
Don’t cry, sip / I utter, but I’m going to cry into oblivion.
Inside Ring：
NA-DI-[・]-DA-KIKU-TI-PA-KU-[・]
NA-DI-[I]-DA-KIKU-TI-PA-KU-[SI]
汝を抱き、 口パクし。
So, I embrace you and just gasp, for want of words.
Center：I-JA-NU-TI-RA-SE
嫌な 知らせだ。
Bad news indeed.
Given the caricature at the bottom of the cup, the lines may depict a man who has just been jilted or received news of a sudden departure and creating a scene in front of his lover/companion, taking sip after sip of alcohol. In the reversed reading of the inside ring, a more direct translation from Japanese of “just gasp” is “with mouth open,” and this perfectly describes the man’s face at the bottom.
（３）More Precise Translation（Outside Ring）
The symbols in the sequence NA-KU-NE are complicated anomalies that do not fit the standard format; taken to be combined symbols, NA is reread as SI-SAN-NA, KU as KU-YA and NE as SINE.
(a) Clockwise
SARI-KERU-(TO?)-QI-NA-KU-PA-SISANNA -KUYA-SINE
去る時に 泣くのは、資産亡くし、悔しいね。
In saying goodbye, we cry because of our lost fortune, isn’t it a shame?
（b）Reverse Direction
SINE-KUYA- SISANNA -PA-KU-NA-QI-(TO?)-KERU-SA
死ね、悔しい、悲惨な/ 資産が！ パコ。泣き溶けてしまう。
Oh my god, an impossibility! This is pathetic, with our resources gone, I utter. I’m going to cry myself into oblivion.
With this interpretation, the reason behind the emotional scene is revealed to be a lost fortune, probably from shipwreck.
