I recently jumped on the Twitter bandwagon of writing poems in the style of William Carlos Williams, since it was pretty clear to me that the internet could only be improved by having more poems based on Linear B tablets:
This is just to say
I have counted the tripods that were in the storeroom
and which you were probably wanting for the feast
Unfortunately one has only one foot and another is burned off at the legs
I thought now I’d talk a bit more about the actual Linear B tablets which inspired the poem, starting with the famous ‘tripod tablet’ from the palace of Pylos. This tablet famously proved that Linear B had been correctly deciphered as representing an early form of Greek, since the symbols representing different kinds of vessels matched their Greek descriptions: the three-legged vessels were preceded by the Greek word tripodes ‘tripods’, and jars depicted with four, three, and no handles were described as kwetrōwes ‘four-eared’, triōwes ‘three-eared’, and anōwes ‘with no ears’. (You can read more about this, and about the process by which Linear B was deciphered, here).
Once, while working in the National Archaeological Museum in Athens, I turned over a Linear B tablet from Pylos to find four deep marks left by the fingers of someone handling the tablet (presumably its maker and/or writer) soon after it was made, while the clay was still wet. For all that my research is all about trying to use the evidence the tablets provide to reconstruct the activities of their writers, I still felt pretty overwhelmed by the fact that I was putting my own (gloved!) hand into fingermarks made by a person who lived more than 3,000 years ago. But ancient hand- and fingerprints can do much more than make us feel a connection to the person who left those marks. There’s a wide range of archaeological research now being done on fingerprints, especially on ceramics, where they can give important information about the identities (particularly the gender) of the people making them — and they also play a part in the study of the Linear B tablets. Continue reading “CSI Knossos: palmprints on the Linear B tablets”
I’m pleased to say that next week I’ll be giving a paper in the ‘Research on Language and Linguistics at Sussex’ (ROLLS) seminar series, 1pm on Wednesday April 18th. The title is ‘Scribal spelling: studying the orthography of the Linear B writing system’, and here’s my abstract:
This talk will explore different approaches to studying the orthography of the Linear B writing system, used within the Mycenaean palatial administrations of Late Bronze Age Greece (c.1400-1200 BCE), which employs a relatively complex set of orthographic conventions in order to represent the Greek language. I will first discuss attempts to establish a theoretical linguistic basis for these conventions based on syllable structure or the sonority hierarchy, and show that neither of these principles can fully explain Linear B orthography; instead, any explanation of this system’s development must take into account the process by which Linear B was adapted from its parent script, Linear A (used to write an unknown, non-Greek language). I will then discuss the orthographic practices of the scribes working at the palace of Pylos in south-western Greece, focusing on the issue of orthographic variation, and on the evidence this offers for the way in which the scribes may have been trained to write. This talk will therefore demonstrate the variety of ways in which the study of Linear B orthography can contribute to an understanding of the wider context of the writing system’s development and use.
More details about the seminar series in the poster below, or here on the Sussex linguistics blog. If I have any readers at Sussex, then I hope you’ll come along and I look forward to meeting you next week!
This weekend I went to visit an exhibition in the Bodleian Library in Oxford called ‘Designing English: Graphics on the Medieval Page‘ (on until April 22 2018, and free to visit) – a display of medieval manuscripts, but with the focus not on the content but the way that their writers and illustrators went about creating them. The layout of the text itself and any accompanying images, the use of different coloured inks in different parts of the text, the addition of marginalia, and even the physical format of the book or manuscript were all shown to be just as important to the writer – and the reader – as the actual words themselves.
Illustrations aided understanding (as in herbals, for instance, whose pictures were vital in showing which plants were being described, or in the chess manual which included diagrams of chess boards); key words or passages could be highlighted by the use of colour or through the spacing of the text to draw the reader’s attention (particularly important for texts intended to be read out loud, such as sermons); physical form could relate to function, e.g. in making a book small enough to fit in a pocket to carry around, or to ideology, as shown by the books of royal genealogies, designed to fold out into a single long sheet so as to present one unbroken line of inheritance. Continue reading “Designing English and Linear B”