Chapter XIV <<< French Version >>> Chapter XVI
Translating Linear A of the Minoans will be an exceptional opportunity for the scientific community to understand the Cosmology of these Cretans. But to get there and bring out their divine signs, we must find an unprecedented method to decipher these symbols from another time. And one of them is called the method of equivalent Egyptian hieroglyphs which consists in finding the most similar hieratics. Why this method and not another? Firstly because Charmutha was the divine land of the Minoans and the frescoes of Akrotiri represented this port with its mountainous landscapes visible from the sea (Chapter XIII: Charmuthas and the Akrotiri’s frescoes). Then because the only military and political power in this region was Egypt and their writing had to be that of all the diplomats and merchants of the Eastern Mediterranean. If so, this Linear A of the Minoans would be a simplified form of the Egyptian hieroglyphs that the sailors of Punt (another name for Charmutha) exported and disseminated all along the Mediterranean coasts. On the shores of Crete, their encounter with the local population allowed the development of a civilization which was a successful symbiosis between the Indo-European inhabitants and the Arab settlers. Today, my new method is simple but relevant since we will be able to deduce the habits and customs of the Minoans from their tablets, and especially their theogony. It will also bring us a new vision of the commercial and diplomatic relations of Cretans with their African and Asian neighbors.
Between the Minoans’ Linear A and the Egyptian hieratics, I had already noticed many similarities for different symbols of the HT1 tablet (Chapter XIV: Charmuthas and the linear A of the minoans): QE with the hieroglyph N5/XIII.8 to express the sun [ra] or a date (QE at the beginning of tablet HT1 would thus express a season); SA-SA with hieroglyph XXI.8 to express diseases (A-SA-SA-RA, a smelling powder for the sick); DI-DI with the Egyptian word [dydy] to express a cauldron… All these similarities allowed me to consolidate my method of equivalent Egyptian hieroglyphs. However, the interest for the whole scientific community will be to regroup these symbols by groups and to bring out one of the most important, that of the gods and goddesses.
Attention, before embarking on such a translation, we need a reference document that can help us compare Cretan and Egyptian symbols. And this work is the first volume of Möller (reference 125, 128, 129) in which all the hieratics known to the Egyptians are listed there, especially those of the 2nd millennium BC. This work will be our main support for our study but it has its own limits. An example is the symbol TO which is the God hieroglyph [Neter] either via G7 for Möller or via A40 (I.117) for Champollion (reference 109, 110) and Moldenke (Papyrus Orbiney, reference 112). In view of the possible evolutions, the second hieroglyph seems to be the best to describe a simplification towards the symbol PO. However, the two are not contradictory since they each express a divine being and the second G7 seems to have quickly replaced the first A40 while having kept the original hieratic (Gardiner, reference 108). We therefore have here a limit of this work which, despite the immense work of its author, may contain errors or rather inexactness.
/!\ Nota Bene: There are three different lists of Egyptian hieroglyphs. To simplify our analysis, these lists will be defined as follows: Gardiner’s list (reference 108): 1 letter + numbers (for example N1 for the sky); Budge’s list (reference 105): Roman numerals + classical numerals (eg XIII.1 for the sky); Müller’s list (reference 125): N° + classic numbers (for example N°300 for the sky).
List of divine symbols of the historical piece KO ZF2 and its divine cartouche PO-NI-ZA:
Figure XV.a: Comparison of PO-NI-ZA with the pharaoh of the Orbiney papyrus and the god Amon according to Champollion.
Our figure XV.a makes it possible to compare the three symbols PO-NI-ZA with the pharaoh in hieratic in the history of the brothers (papyrus of Orbiney, reference 112) and the god Ammon according to Champolion (page 146, Champollion, reference 109). The similarity between the Cretan and Egyptian scriptures is obvious since the symbols PO and ZA of the Minoans resemble the Lord and Ankh the sacred amulet, which gives us the Immortal Sovereign. So we have a PO-NI-ZA divine cartouche. And the only unknown of this group is the deity and/or the king represented by **NI**. Answering this question will be the beginning of a new study to reconstruct Minoan cosmology.
To begin, we must note the resemblance between FIC and NI (see the following tablets: HT27a, HT100, HT114a), which are one and the same symbol. From this symbol, we can then find all divine symbols. For this, we must make the following assumption: “If two symbols are located between three numbers, then they will be in the same category.” To understand the interest of this hypothesis, here is an example applied to line 8 of the HT27 tablet with three symbols separated by four numbers: [335] *303 2JEB FIC 10B VINa 7 (in bold, the groups of a single symbol; underlined, the numbers). Based on our hypothesis described above, we can conclude that these three symbols *303, FIC and VINa belong to the same group. Applied to all the tablets, this hypothesis reveals to us all the symbols which are in reality those of the gods and goddesses. Therefore, we can list ten of them: *303, *626, VINa, *304, BOSm, OLIV, *304a, NE, OLE and GRA.
Below, figure XV.b describes my schematic reconstruction of this gods and goddesses group:
Figure XV.b: Reconstruction of the divine symbols’ category with NI and FIC at the top, on the left the mono-symbol groups and on the right the tablets from which the divine associations were deduced:
• *303/FIC ==> HT27a, line 8 ; HT89, line 5 ; HT94, line 4
• *626/FIC ==> HT12, line 5
• VINa/FIC ==> HT27a, line 8 ; HT30, line 2 ; HT44, line 4 ; HT114, line 3 ; HT114, line 3
• *304/FIC ==> HT129, line 2
• OLIV/*304 ==> HT14, line 2 ; HT21, line 4 ; HT91
• BOSm/FIC ==> HT114a, line 3 ; HT121, line 3 ; /VINa ==> HT30, line 5
Brief description of the Egyptians and Phoenicians’ Theogony :
As PO-NI-ZA represents a divine cartouche, we must begin by making a brief reminder of the Cretans theogony, but this civilization has left us few testimonies of their gods and goddesses. On the other hand, we can bring it closer to another cosmology, that of a great Mediterranean maritime power, the Phoenicians. This proximity of the two cosmologies turns out to be logical since we have four different testimonies which support this hypothesis:
1 – Akrotiri’s frescoes of Akrotiri which recall the mysterious country of Charmutha (Chapter XIII: Charmuthas and the Akrotiri’s frescoes) and its fauna with lions, deer, Diedrich cuckoos, elephants, leopards, Arabian oryx…
2 – the first inhabitants of Sidon who had fled their native land because of the earthquakes: « The Tyrians are Phoenicians’ descendants, who, forced by an earthquake to abandon their homeland’s soil, came to settle near the Assyrian lake and later on the sea shore. There they founded a city which they named Sidon, because the fish abounded in these parts: for Sidon, in the Phoenician language, means fish. (Justin, Universal History, book XVIII.3, reference 130). This testimony is interesting since the Tyrians are Phoenician settlers who left to settle on a land but were forced to abandon it without being able to return. To my knowledge, the only inhabitants who abandoned their city because of the repeated earthquakes are those of Akrotiri and Pompei just before the explosion of the two most famous European volcanoes: the island of Santorini and Etna. The Sidonians could be the old inhabitants of this island which almost disappeared in the 2nd millennium BC.
3 – the Phoenicians who came from the Red Sea (Herodotus, book I, Clio, reference 131): “They (the most savants Persians) say that these (the Phoenicians) came from the shores of the Eritrean Sea (Red Sea) .”.
4 – the similarities between the Phoenician and Minoan representations that Pr Best had noted (reference 132), which had enabled him to propose a method of translating the Byblos scripts based on the supposed phonemes of Linear A.
These four different testimonies evoke a coherent entity between Charmutha(s), Akrotiri and Phoenicia. The first in this list (the mysterious port of the Red Sea) could be the origin of the other two maritime powers of the Mediterranean. And so the theogony of these Minoans should logically resemble that of the Phoenicians. This is why we must recall their cosmology mainly reported by Eusebius of Caesarea.
According to Sanchoniaton of Berytus (Eusebius of Caesarea, book I, chapter IX, reference 133), there are first two types of divinity among the Phoenicians: the Celestial Gods (immortal gods) and the Eternal Men (mortal gods) ”To better clarify the matter and give a more particular knowledge of it, we must establish above all that the most ancient of the barbarian peoples, and in particular the Phoenicians and the Egyptians, from whom the other nations received the same doctrine, regarded, as the most great gods, those who had invented the things necessary for the life’s needs, or who had distinguished themselves toward nations’ benefits. Considering these beings as benefactors and as the authors of a great quantity of goods, they adored them as gods, and devoting themselves to their worship in the temples already built, they also erected columns and statues to them which bore their names. The Phoenicians had the greatest veneration for these new gods, and they established the most solemn festivals in their honor. What was remarkable was that they gave the names of their kings to the elements of which the world is composed, and even to some of those whom they regarded as gods. In nature, they recognized as gods only the sun, the moon, the other planets, the stars, the elements and all that participated in their nature; so that they had mortal gods and immortal gods.”
The world creation according to the Phoenicians begins with the genesis of the Celestial Deities: « It supposes that the principle of the universality of beings consists in a thick and windy air, or in a wind of thick air, and in an obscure chaos like Erebus. This air and this chaos, he says, extend to infinity, and it was only after a long series of centuries that they found their limits. For when the spirit conceived love for its own principles, and there was a mixture between them, this union received the name of desire, and this desire was the principle of the creation of all beings; the spirit has not known its own origin. From the union of this spirit with its own principles was formed Maut. Some say it is a slime, others a corruption of a watery mixture, from which resulted all seed of creation and the production of all beings. There were certain insensitive animals from which intelligent animals were born: they were called zophasemin, that is to say sky’s contemplators. They were formed on the same model. We saw shining at the same time as Maut the sun, the moon, the stars and the great stars.”
Then follows the Humanity birth and the first Eternals, men and women who through bravery or ingenuity became Gods: Colpia the Wind and his wife Baan the Night; Eon, discoverer of nourishing trees, and his wife Protogone; their children Fire, Flame and Light; Hypsuranius, first builder of reed and rush huts; Usoüs, first manufacturer of clothing in animal skins and especially first sailor; the two brothers Hunter and Fisherman, sons of Hypsuranius; two brothers, sons of Hypsuranius, the first blacksmiths; one of the two, Chrysor also called Vulcan or Diamichius, the first navigator; two brothers, Artisan and Terrestre Autochtone, discoverers of mortar which allowed them to build houses with roofs; two sons, Champ and Agricole, also called Errants and Titans, discoverers of Agriculture and the domestication of dogs; two sons, Amynus and Magus, inventors of domestic animal husbandry; two sons, Misor and Sydec, discoverer of salt; Taaut, son of Misor, inventor of writing called Thoth among the Egyptians and Mercury among the Greeks; the Dioscuri, also called Cabires, Corybantes or Samothraces, two sons of Sydec, inventors of navigation; next were born Elian, named Most High, and his wife Beruth; their son Epigea then named Uranus (the Sky) and their daughter Earth; four sons, Ilus (also called Saturn), Betylus, Dagon (also called Siton) and Atlas… The genealogy continued after Saturn but the acts and gestures of this king remained in the collective memory. Following his father Uranus’ multiple assaults on his mother Earth, he had come to his mother’s defense and seized his father’s empire for his own account. One of his most famous actions was to surround his home with walls, which enabled him to build Byblos, one of the largest cities in Phenicia. He also succeeds in seducing Ashera (equivalent to Hera, daughter of Chronos, sister and consort of Zeus), Astarte (equivalent to Aphrodite the goddess of Love) and Anat (equivalent to Athena the goddess of War), the three daughters of Uranus sent by their father to restore his authority over his pantheon.
As for the Egyptians theogony, it presents some similarities with that of the Phoenicians, which could suggest an ancestral belief. For the Old and Middle Kingdoms, the writings transmitted are unfortunately few in number and concern only one cosmology, that known as “Heliopolitan”. From this distant time, in the 2nd millennium BC, the Egyptians imagined, for the World beginning, an aqueous universe called Noun which resembled the dark chaos of the Phoenicians. From this cosmos in liquid form, arises Atum the demiurge, the first god for the Egyptians who meant “the one who came into existence by himself”. This original deity is the equivalent for the Phoenicians of the god Desire who came into the world following the encounter between the different elements in this windy and chaotic space. The name of Atum itself is intriguing since [Itmw] can be broken down into two words: father [it] (page 1066, Vygus, reference 106) and death [mw] (page 1070, Vygus, reference 106 ), resulting in the Father of Death called Maut. Another point of attention, this first god called demiurge evolved according to periods and dynasties (Egyptian Cosmology, reference 134): the goddess Neith, then the god Atum (renamed Atum-Re-Amon) and finally the god Amon-Re (named at the beginning Amon-Re-Atum). Here, for our study, we must make a distinction between period and theogony because the Minoan civilization was contemporary to the dynasties of the Middle Kingdom with a cosmology close to the demiurge Atum while that of the Phoenicians were of the same period as the New Kingdom and therefore more close to the divinity Amon-Re.
Another similarity, according to Eusebius of Caesarea, the Phoenician demiurge Desire gave birth to the Celestial deities, without knowing if this relationship is direct or not: Death Maut, the Moon, the Sun, the Sky and all the great stars. For the Egyptians, their demiurge Atum gave birth to the Ennead (Mesu Temu, the children of Atum, page 323, reference 105) made up of the nine main deities: « the Ennead of the primordial gods did not exist, it was still in me” (reference 134). This group of nine divinities called the Ennead came in three stages: Atum gave birth to the first consort, Shu the god of air and Neftou the goddess of water; Shou and Neftou gave birth to the second couple, Geb the god of the Earth and Nut the celestial vault; Nut then gave birth to two sets of twins, Osiris, Isis, Seth and Nephthys. Then followed a series of humans, who by their acts or their bravery became gods such as Taaut for the Phoenicians or Horus for the Egyptians. Attention, Isis and Osiris can be considered as humans since they lived their youth on Earth among men and women.
The Celestial Deities subcategory:
Among all the symbols of the gods and goddesses, four of them turn out to be interesting since they form a first group with a vertical line, this vertical line that we could associate with the authority’s scepter S42 and/or the celestial scale P6.
. Symbol n°1 ==> NI/FIC: Nut or Ba’al Shamin, the Heaven’s deity
According to volume I of Möller (references 127 and 128), this hieratic symbol appears only once in Egyptian documentation, in the Hatnub’s papyrus under the form U23a (X or XI dynasty). We could therefore bring it closer to the word « Desire » U23+D58+D58 [Abeb] (page 4, Budge Dictionary, reference 105) and indirectly to the hieroglyph XXII.20 [Åb] (page 37). If U23a was this equivalent hieroglyph, **NI** would then be the demiurge called Desire among the Phoenicians and Atum among the Egyptians. But this symbol seems to me to be an intruder since it is alone among all the other hieratics of U23 (approximately twenty).
Another possibility is Maqet the celestial scale P6 which has for hieratic a vertical line surmounted by a single star. This ladder was sacred since it allowed Osiris to access the celestial world. She was also one of the attributes of Nut, the Heaven’s goddess. My very personal opinion is that this Minoan symbol **NI** represents an S42 scepter surmounted by two stars N14 to represent the sky. The cartouche PO-NI-ZA would then be the Immortal Lord of Heaven called Ba’al Shamin among the Phoenicians or the goddess Nut among the Egyptians.
. Symbol n°2 ==> *303 and *626: Shou or ba’al Zephon, the Wind’s god
Here we have two similar forms to express the same deity, the Wind’s god:
. Symbol n°2a: *303 (see line 5 of HT 89): this symbol is identical to the hieratic version of an ostrich feather which was one of the attributes of the Wind’s god [shou] (hieroglyph III .33; Gardiner’s list, page 472, reference 135). Among the Phoenicians, this god was Ba’al Zephon.
. Symbol n°2b: *626, also noted *303+E: this is another version of the ostrich feather. The difference with *303 could be here the representation of two legs.
. Symbol n°3 ==> *304: Ah or Aglibôl, the Moon’s God (ligne 2, HT129)
In the « papyri of Kahun and Gurob » (page 108, plate XLI.1, reference n°113), we find there an almost identical hieratic: a line surmounted by a crescent. According to Robarts, this symbol would be the combination of a star and the Moon, which gives the god of the Moon called Aglibôl among the Phoenicians or Lah among the Egyptians.
. Symbol n°4 ==> OLIV: Ra or Ba’al Malek, the Sun’s God (HT91)
For this symbol, we have no equivalent in the list of hieratics but, in the series of Celestial Gods, we lack one: the Sun called Malakbêl. And one of her attributes was a diadem represented by a crown with three rays in the form of a flame, these flames identical to those of the symbol OLIV. Here we can suppose a combination of a star and/or a scepter surmounted by three flames, which gives us the Sun god called Malakbêl or Rê.
The main Deities other than the Celestial Gods:
After the group of Celestial Divinities represented by a vertical line symbolizing a celestial scale and/or a scepter of authority, the second series is more difficult to discern since we cannot bring out a common symbol on which we could rely. On the other hand, certain signs emerge: the Gamma between VINa and BOSm; the double dash between BOSm and E. It is therefore necessary to find this complementary hieroglyph associated with these symbols to deduce the deities absent from the first list: Maut the Death’s god, Yam the Seas’ god, Astarte the Love’s goddess, Anat the War’s goddess, the Lady of Byblos and/or Punt…
. Symbol n°5 ==> VINa: the City’s Lady (Punt and/or Byblos)
For this symbol VINa, we have no equivalence in Möller’s list. And here my hypothesis is a combination of several hieroglyphs as would be the symbols of the first group. Three hieroglyphs are possible for the reference symbol:
. Either R8a the hieroglyph of the three flags (No. 548 Möller) for the « Gods » represented by a Gamma and two vertical lines that we find in many papyri including copy 3230 of the Louvre (plate I, page 143, reference 136) or in the Astarte Papyrus (Astarte Papyrus, line 2.17, line 8.8, reference 137). Negative point: it lacks two diagonals and a horizontal line (Figure XV.c, symbol in red).
. Either N1 the sky’s hieroglyph (Möller 300 or Budge XIII.1) associated with the semi-circle X1 (Möller 575, Budge XXV.14) which would give, according to Chester Beatty, the Nut’s son (Plate IV, line 4, XIII. 1+XXV.14, page 62, Chester Beatty). Here, we should rather see the hieroglyph N1 with F31, which would translate to “Nout gave birth” (Figure XV.c, in purple).
. Either B1 the woman’s hieroglyph [st or hmt] represented by a Gamma (for the torso and the head) and two diagonals (for the legs) but which would lack a horizontal line and two other vertical ones. Associated with the house symbol O4 (Möller 342), we would have a perfect combination to explain the lower part of the symbol: a horizontal line with two small verticals and two diagonals. In this case, it would be the City’s Lady (Figure XV.c, B1 in dark blue and O4 in light blue).
Figure XV.c: VINa symbol with its three possible hieroglyphs.
Of these three possible interpretations, we can exclude the first since the Ennead is the pantheon of Egyptian deities and FIC the Sky’s Goddess is one of them. As for the other two, it is difficult to choose which of the two could be the real combination but they exceptionally give us the same goddess: Hathor the City’s Lady. The first of the two interpretations N1+F31 suggests one of the Nut’s children (“Sky gave birth”), three of whom lived their youth in Happy Arabia: Isis, Osiris and Seth. Of these three divinities who came from the Arabian Peninsula, Isis was the only one to be intimately linked to a city beyond the Egyptian borders (often associated with Hathor the Lady of Dendera and Byblos). For the second combination B1+O4, it would give us the City’s Lady whose name changes according to the city or the country: the Lady of Dendera, the Lady of Byblos, the Lady of Punt… Among the Egyptians, it was Hathor, the mother goddess of Horus ([Hrs] the house of Horus) and especially daughter of Nut and Ptah. For me, this VINa symbol had to be Hathor and/or Isis for the Egyptians but also Astarte for the Phoenicians. Attention, among the Greeks, Athena the Lady of Athens strongly resembles Anat the War’s goddess, this goddess who can be another possibility.
. Symbol n°6 ==> BOSm: Mouth, Death’s God (see HT114)
This BOSm symbol here seems to be a combination of several hieroglyphs grouped around the Gamma sign:
. Either R8 the god’s flag [neter] associated with the skeleton (F37b or Budge IV.39, along the vertical line) and the NE chief (AA8 or Budge XXV.15), which would give the Chief of the Dead.
. Either the combination of the skeleton F37b (Budge IV.39, vertical line cut by two others) and the elongated scepter O29 (Gardiner O29, Möller 363, half-segment cut by a line), which would give “the Death’s Master”.
Whatever the interpretation, both give here the same divinity which would be Maut/Mouth the Death’s God (the « death », see [M] and [Mut] for the Egyptians, page 266, Budge Dictionary, reference 105).
. Symbol n°7 ==> E: Yam, Seas’ God
This symbol E (see HT23a, HT35, HT91) can be compared to four Egyptian hieroglyphs:
. Either a divine tripod surmounted by two belemnites R118 (Budge XIV.71) for the god Menu [mnw]. Negative point: the double belemnites are above the tripod.
. Either Mehen the Anaconda hieroglyph IX.18 (page 319, Budge Dictionary, reference 105) with a bell-shaped tail to protect Amun-Re from the terrifying serpent Apophis. Among the Phoenicians, there was a serpent with several heads: Lothan, one of the servants of Yam. Negative point: the snakes’ tail is always straightened, whereas it is not in this symbol.
. Either the undefined hieroglyph XXV.11 [her] (perhaps a wicker object) often associated with “terror” and especially with the verb “terrify” ([ari her], page 66; [heru], page 499) but also to “a place of rest” [netm] (page 309, Budge Dictionary, reference 105). « Terror » and « Rest’s place » may seem contradictory but we find this antagonism among the Egyptians as for example between the good and the bad Anacondas (Apophis and Mehen). Negative point: the dashes are single and not double.
. Either hieroglyph of a water’s shores XIII.57 (Budge XIII.56) associated with the djedd pillar XVII.11, which would be translated as « the God Lord of the shores ». Among the Phoenicians but also among the Egyptians, this deity was called Yam, the sea’s god.
Figure XV.d: symbol E with its four possible hieroglyphs.
Of these four hieroglyphs, my preference is for the water’s shores since the double dashes (Figure XV.d) seem to me to be an addition as in BOSm. By removing them, this symbol E becomes de facto hieroglyph XIII.57, which strongly suggests the god Yam. Another remark, this double dash seems to express a sibling between BOSm and E, this sibling which can be explained by Elius and his two sons: Maut the Death and Yam the Sea.
. Symbol n°8 ==> OLIVbis and/or OLIV+TU: the gods Phos/Light, Pyr/Fire and Phlox/Flame
Here, these two fairly similar symbols could represent the God of Fire in the form of the brothers Light, Fire and Flame from Phoenician mythology:
. OLIV+TU represents an urn from which escape three flames, which corresponds to the hieroglyph U28.
. OLIVa another variant of OLIV (without the vertical line) with a fire and its three flames
To support the hypothesis of the Fire’s god, we can notice that the symbol OLIV+TU is mentioned three times at the same time as OLIV the Sun’s god as if there was a relationship between them. If OLIV is the flaming star, OLIV+TU should logically be his son, the Fire’s God represented by three flames for Light, Fire and Flame of Phoenician mythology.
The more or less large subcategories deduced from generic names:
. Symbol n°9 ==> GRA: the Eternals called Neter or El
Figure XV.e: Scepters of Seshat (reference 138), Heh (reference 139), Horus the Falcon god (reference 140) and Nekhbet the Vulture goddess (reference 141).
GRA is a generic name since it can be unique and/or associated with thirteen symbols (from *573 to *586). One of the possible interpretations is here the combination of the divine cartouche V9 associated with Shen the sacred ring symbol of Eternity (Hieroglyph XI.13 of the scorpion with Shen, Budge Dictionary, reference 105) and the Was scepter S40, one signs of divine authority. This combination V9+S40 could therefore represent the god [neter] among the Egyptians or Bel among the Phoenicians. There are two scepters that support this theory, those of Seshat and Heh (figure XV.e).
. Symbol n°10 ==> OLE: the Masters called Neb
Like the previous symbol GRA, OLE is another generic name since it is alone or associated with at least twelve signs, from *608 to *622. The hieratic closest to the symbol is here either the hieroglyph A30 of a man standing with his arms towards the sky to « pray », or the A47 of a man seated with his two arms towards the sky for « guardian » or « protector ». « . These two interpretations suggest here either a « Guardian » via [nu] (page 351, reference 105), or a « Protector » via [saiu]/[saiti] (I129 or IV70, page 586). We can therefore consider that the symbol OLE+Z represents the “Master of Z”.
. Symbol n°11 ==> NEa (HT100): the altar’s servant
Normally NE represents the hieroglyph AA.8/XXV.15 (a line crossed by three small perpendiculars), which gives a « chief ». But this symbol is slightly different since the middle line is not straight. My interpretation here is a combination of the altar R2 and an arm D37 associated with the action of giving [imi], which gives the altar’s servant, the one who brings the offering.
Association of divine symbols with the Egyptian and/or Phoenician theogony:
Figure XV.f: List of Linear A divine symbols and its equivalence of a god or a goddess.
The different GRA symbols and their equivalence in the Egyptian and/or Phoenician theogony:
According to our analysis on this symbol, GRA would be a generic name composed of Shen (for Eternity) and the Was scepter (for divine authority), which would translate to the Eternals. If this were the case, the GRA subcategory with its different forms would give us a pantheon that we must find either among the Egyptians or among the Phoenicians. The gods and goddesses detailed below (see figure XV.g) seem to favor the cosmology of the Ptah god and his family: Sekhmet his wife, Ra his father-in-law the Sun god and Nefertoum his son the Lotus god.
/!\: my study today is just one interpretation that needs improvement.
Figure XV.g: list of gods and goddesses associated with the GRA+** symbols.
<9.1> Symbol *574 named GRA-PA/GRA-PO: god Ptah
This variant is the most used shape in the GRA+* category (11 times, HT43, HT93, HT102, HT120, HT125 and HT128). So we should expect this to be one of the Major Gods in the pantheon. And here the reference hieroglyph could be:
. Either PA the skeleton F41, which would give the god of Death, therefore Osiris or Maut. But it’s not a Major God in this pantheon.
. Either TO the Djedd pillar R11, symbol of authority.
Figure XV.h: symbol TO through the scepter of Ptah
This second solution is the most interesting for two reasons: first, this Djedd pillar is present in PO-TO-KU-RO: “the total offered to Lord TO”; and then, among the Egyptians, it is a symbol of stability and authority that we find in the Was (strength) scepter of Ptah (figure XV.h). This expected divinity of this Pantheon would therefore be the god Ptah.
<9.2> Symbol *578 named GRA+QE: Re the Sun god, father-in-law of Ptah.
This symbol (5 times) is identical to the N5 hieroglyph of the Sun, which gives us Ra or Ba’al Malek. Be careful, there could be another possibility since QE can mean a date or a season. And there, we would have the Time’s master (Osiris or Chronos). As Ptah is the son-in-law of Re, I favor here the Sun god symbolized by GRA+QE.
<9.3> Symbol *580 named GRA+B: Sekhmet, Wife of Ptah.
For this symbol B (“+”, 2 times: HT86, HT120), it is possible to associate it with four hieratics:
. Either M23 the reed’s foot, a characteristic plant of Upper Egypt. Negative point: it’s a dead end since this solution doesn’t directly give a god.
. Either M42 the flower. Negative point: like the previous one, it is another dead end.
. Either G26 the sacred ibis which represents the god Ibis [dhwty] called Thoth among the Egyptians and equivalent to Taaut among the Phoenicians. Negative point: only the interior of the hieratic resembles the symbol RO and not the exterior.
. Either O29 a column. Positive point: we have an identical hieratic in the papyri of Chester Beatty (line 1, plate IVa, reference 148).
From the four hieroglyphs, the one that seems to me the most appropriate is the column O29, which gives two possible interpretations: either “great” via its translation (Gardiner, reference 135; Budge Dictionary, reference 105); either the papyrus rod which was the Sekhmet scepter. Because of Ptah and Re, our two gods mentioned above, the symbol GRA+B seems to me to be the goddess Sekhmet.
<9.4> Symbol *579 named GRA+KU: Sekhmet-Sekhet, Wife of Ptah.
This symbol KU (7 times) turns out to be the hieratic of the three reeds M2, which makes it possible to propose three possible deities:
. Either the god Hâpy (divinity of floods and soil fertilization) with his hat made of reeds. Negative point: this deity isn’t a major god of the Egyptian pantheon.
. Either Sekhmet with its papyrus stem which was one of its attributes and which we find via the phoneme associated with hieroglyph M2: [ha/hai] (papyrus, page 459, Budge Dictionary, reference 105) and [nār] (papyrus, page 347, budget, reference 105).
. Either the reed meadow called Sekhet-Åaru which represents Paradise (page 21, Budge Dictionary, reference 105) and the goddess Sekher.
After excluding the first solution, the other two interpretations give the same goddess Sekhmet, either directly or via one of her forms, which was Sekhet.
<9.5> Three symbols *584, *585 and *586: Nefertum, the Lotus god, son of Ptah and Sekhmet.
These three fairly similar symbols represent the fourth god of this pantheon since we find him 5 times: *584 (GRA+K+L2: HT86 (x2); HT120), *585 (GRA+L2: HT22) and *586 (GRA +L3L3: HT15). Here three hieroglyphs are possible for L2 and L3:
. D22 a fraction (two thirds, …). Negative point: L2 and L3 are directly related to GRA and therefore cannot be fractions.
. R14 a feather on a support (Egyptian Grammar, page 545, Champolion). This hieroglyph is the symbol of the West, which would give the deity of Åmenti (“god of Åmenti”, page 53, Budge Dictionary, reference 105) also known as the god Khenti-Åmenti or the goddess Imentet. /!\ The combination of Khenti (the leader, page 554) and Åmenti can give the « Chief of the Westerners » which is also one of the honorary titles of Osiris (page 554, Budge Dictionary, reference 105) or one of the 75 forms of Ra (page 555, Budge Dictionary, reference 105). Negative point: there are more representative hieroglyphs for Osiris and for Ra.
. M9 the Lotus flower: As this group GRA+* seems to represent the pantheon of Ptah, in this divine family (Ptah, Re his father-in-law, Sekhmet his wife,…), we are missing the son, the Lotus god Nefertoum, which gives us another possibility: the Lotus flower via the hieroglyph M9 in the form of a floral receptacle with two or three pistils, these pistils being small horizontal lines and identical to those of the flowers picked in the frescoes of Akrotiri (figure XV.i).
Figure XV.i: GRA+KU symbol and the flowers picked from the Akrotiri frescoes.
Because of the pantheon of Ptah, the symbols L2 and L3 seem to me to be the sacred flower, which would give the god Nefertum.
<9.6> Symbols *584 named GRA+K+L2: Mother goddess Sekhmet and her son Nefertum.
This symbol GRA+K+L2 (3 times: HT86 (x2); HT120) seems to be a combination of *580 (GRA+B, +) for Sekhmet and GRA+L2 for Nefertum the Lotus god. So here we would have the Mother Goddess Sekhmet and her son Nefertum.
<9.7> Symbols *576 and *582: Nekhbet.
These little represented symbols (3 times: *582, GRA+F, HT44 and HT125; *576, GRA+22m, HT115) seem to correspond to the same goddess which would be Nekhbet:
. The first symbol F is the M22 hieroglyph of a rush with two leaves, one of the symbols of Upper Egypt which symbolized the goddess Nekhbet.
. The second symbol 22m is a rush M23 (XII.25), another emblematic plant of Upper Egypt.
<9.8> Symbol *573 named GRA+DA: God
This symbol (1 time: HT133) with a slight line looks more like GRA.
<9.9> Symbol *583 named GRA+H: Atum.
The second hieratic of this symbol (1 time: HT108) seems to be here a head D1 which represents the “chief”. We would then have the “god of the chiefs” or the “chief of the gods” which would then be Atum or Desire.
The different OLE symbols and their equivalence in the Egyptian and/or Phoenician theogony:
Like GRA, the OLE symbol is another generic name since it can stand alone or be combined with other signs. Here, the main hieroglyph seems to be that of a Master [neb] (page 357).
/!\: As for GRA, my analysis is only the beginning of a long process that deserves to be refined.
< 10.1 > Symbol *610a renamed OLE-RO (+ sign, 21 times): Atum or Desire the Supreme God.
For the symbol RO, I had retained the hieratic of a column O29 with an identical form in the papyri of Chester Beatty (line 1, plate IVa, reference 148) is identical. This interpretation gives us two possible interpretations: either the scepter of Sekhmet, or « great » via its translation.
As OLE+RO is one of the main gods in this series by total quantity, this hieroglyph O29 seems to me to be rather « large » (Gardiner, reference 135; Budge Dictionary, reference 105), which gives us the Supreme Master.
< 10.2 > Symbols *618 (20 times) and *617 (1 time, HT44) named OLE+KI: Osiris or Maut the Spirits’ Master
Two equivalent hieroglyphs seem possible for the symbol KI:
. Let W1 be a vase of fragrant oils of the ointment or ointment type, which would give the protector of potters or Bastet (daughter of Ra and Cat goddess of the house and of joy, reference 142). Negative point: KI is asymmetrical, which excludes this interpretation.
. Let W10* be an oil lamp [b3]. Positive point: we find this asymmetrical symbol in Ba the Spirit via the Egyptian word [b3]: G29 (the African jabiru) + W10* + G7 (the Horus the falcon).
Figure XV.j: The tablet of Chariot wheels (on the right the symbols related to fire).
Compared to these two possible hieroglyphs, the “carriage wheels” script (Figure XV.j, Evans, page 47, reference 147) brings a new look at the W10* oil lamp and several symbols of Fire. On the second line, two symbols close to Linear A look like a funeral urn with three flames (equivalent to hieroglyph R36C) and an oil lamp (equivalent to hieroglyph XXII.37/R7 or W10a Aa4), respectively. Here, without its flame, the oil lamp is similar to KI, this symbol which, yesterday, seemed to me to be a basket (hieroglyph W10) and which, today, seems to me rather to be hieroglyph W10* (oil lamp ) because of the asymmetry (top and left, opening closed by a valve).
Because of this asymmetry, I therefore favor the “Ba” Spirit for the KI symbol that we find in the Egyptian expression G29-W10*-G7. Another remark, on tablet HT1, the KI-RO group that we can associate with hieroglyphs W10*-G7 gives us the « Great Spirit », this Master of Souls who was one of the titles of Osiris and Maut the Death.
<10.3> Symbol *622 (15 times) named OLE+MI: Thoth the Messenger God or Ba’al Malek.
The MI symbol represents an arm that moves an object or offers it. OLE+MI could be here the god of merchants or the messenger god who carries the messages of men to the higher gods (identical to Hermes or Ba’al malak). Attention, this symbol via [Neb-ā] (page 357, Budge Dictionary, reference 105) can also mean a royal title.
<10.4> Symbol *608 named OLE+DI (11 times): Tefnout the Rain Goddess or Nout the Sky Goddess depending on the symbol.
This DI symbol repeated 11 times in the Minoan tablets (HT12, HT14 (2), HT28 (5), HT50, HT90, HT116, HT129) turns out to be one of the important deities of this pantheon. My first interpretation on this symbol via the DI-DI group of the HT1 tablet was [dydy] the « cauldron ». And so DI had to be the phoneme [dy] which in the Egyptian dictionary can mean “there” or “here”. With this possibility, the OLE+DI combination is the « Master of here » or rather the « Master of this earth ». But this translation today seems inconsistent to me compared to the whole OLE+* group. Since then I favor a new phased interpretation of a writing made of ideograms. On the other hand, there are two hieratics O29 and N1 in the papyri of A. Chester Beatty (plate XXb, page 94, reference 143) which combined together give a coherent interpretation:
. On line 22, we have a hieratic consisting of a vertical line surmounted by a point which turns out to be the scepter M3 and/or O29.
. On line 21, the horizontal line this time represents N1 the Sky’s hieroglyph.
Figure XV.k: Four symbols including DI in the form of O29+N1 and O29+N4.
The association of hieroglyphs O29+N1 gives the Sky’s deity called Nut. Attention for this symbol DI, we must be wary since there can be two different forms: the first DIa for O29+N1, the Sky’s goddess; the second DIb for O29+N3, the Rain’s Goddess (Figure XV.k).
<10.5> Symbol *613 named OLE+E: Yam the Sea’s Master.
The symbol E (4 times: HT2, HT21, HT50, HT58) seems to me here to be the combination of two Djedds at the foot of the XIII.57 shore, which gives the combination « shore » + « authority » and therefore Yam the Master of the Oceans and Rivers.
<10.6> Two Symbols *609 (OLE+A) and *612 (OLE+NE): Atum-Re the Demiurge.
The two symbols *609 (twice, OLE+A, HT2) and *612 (4 times, OLE+NE, HT23, HT32, HT100) must be processed at the same time since the complementary hieratic is that of head Aa8/XXV.15, one presented horizontally, the other vertically.
<10.7> Symbol *615 also called OLE-TA: Hathor the House of Horus (Isis or Astarte).
The symbol TA (3 times: HT30+77, HT35, HT91 (ole+u)) represents the hieroglyph O1 of a royal palace, which can mean the protector of the king and his family ([neb per], page 357, Bugde, Reference 105). We can also have the goddess Hathor which literally translates to the Horus’ House.
<10.8> Symbol *616 (x1, HT44) named OLE-RA: Geb the Earth God.
For this -RA symbol, we have three possibilities:
– Either an inverted jug W9 which would represent a fragrant oil [nethem] and which could mean the protector of nethem or rather the protector of the country from which this oil comes [nethem]. We would then have the god Khnum, master of fresh water (W9, « Chnum », page 528, reference 135).
– Either a B1/61 goddess who has a fairly similar hieratic in the Hatnub papyrus (Möller, reference 125).
– Either a combination of two symbols: the hieroglyph G40 of the duck (hieratic 221, papyrus Bulaq) with that D58 of a foot.
For me, the combination G40+D58 seems to me to be the most coherent interpretation since RA would be pronounced [ge]+[b] and it gives us one of the major gods of the Egyptian pantheon, the Earth god, Geb.
< 10.9 > Symbol *610b named OLE-U (sign T): Nut or Ba’al Shamin the Sky deity.
For the symbol U (2 times, HT2, T-shaped), we have two possibilities:
– either the sacred tripod R12 (this ideogram which accompanies many divinities to express a God);
– either the combination of the hieroglyphs of the Was Scepter and the Sky.
I favor here the second solution since it represents an important deity of the Egyptian pantheon. We would then have the Divinity of Heaven (Nout or Ba’al Shamin).
<10.10> Symbol *621 named OLE-TU: Bastet.
This symbol (twice: HT23, HT28) resembles hieroglyph W2 which represents a vase of fragrant oils such as an ointment or ointment. We would then have the protector of craftsmen (those who make vases) or Bastet daughter of Rê and Cat’s goddess of the house and of joy (reference 142).
<10.11> Symbol *614 also called OLE-RI: Anubis (x3, HT23, HT35, HT60).
Application of this hieroglyph method to the HT1 tablet:
Figure XV.l: Tablet HT1 (reference 115).
Following our study on the gods and goddesses, we can propose a new interpretation of the HT1 tablet (Figure XV.l) with the following equivalences between the Minoan symbols and the Egyptian hieroglyphs:
N5 – AA16 (XIII.56) – A14 • W10* – O29 – 197 • F32 – O1 (idem O4) – 70 • N1*+N14 – H6+N14 – N5 – M31 – 52 • M2 – N24 – N23 (idem N36) – 109 • V17 – G42 (idem G40)+D58 – N1+N14 – M16 – 105 •
From this list of Egyptian hieroglyphs, we can associate them with the following words: “Season” – “Shore” – “Tax” ([hemi], page 446, Budge Dictionary, reference 105) • “Ba l’esprit” – “Grand” – 197 • “Body” – “House” – 70 • Tefnu (Rain Godess) – Shou (Wind God) – “Burning Star” – “Gives Birth” – 52 • “Reed” (Åaru) – “Garden” (Sekhet) – “Country” – 109 • “Protection” – “Geb” (Earth God) – “Nout” (Sky Godess) – “Hammer” ([ha], page 459, Budge Dictionary, reference 105) – 105.
Then, from this series of words and numbers, we can propose a new interpretation of the HT1 tablet as follows: “the taxes of the rainy season. Osiris (the great Ba) 197. The Bodies House 70. Tefnu and Shou that Re gave birth 52. Ta Neter (the country of Sekhet-Åaru) 109. The protection of Geb and Nut 105.”
Attention, this new translation of the HT1 tablet obtained from our Gods and Goddesses is completely different from my first version (Chapter XIV: Charmutha, Betius: Charmuthas and Linear A of the Minoans). But all these consequential changes are not as hopeless as it may seem since my work is an exploration by « dichotomy » and it is not intended to find the answer from the start. Despite everything, this second interpretation brings us hope and confidence because we find there at least three associations that only Egyptian cosmology can explain: 1 – the association of Ba the Spirit and the Material Body (Djet or Sab or Khet); 2 – Father Rê and his daughter Tefnou; 3 – the couple Geb and Nut. But these associations thus obtained suggest new questions to us: What does ZU-SU really represent? Is the land of Sekhet really Ta Neter or Charmutha? Does Nut’s M16 hammer have anything to do with Ba’al Shamin’s weapon forged to destroy Yam? …
Analysis and Conclusion of this study on Minoan symbols and their associated deities:
In conclusion of this XVth chapter on the Minoan scripts, my method of equivalent hieroglyphs turns out to be a first for the scientific community since it offers an unprecedented description of the Cretan gods and goddesses. And here two groups emerge: the Celestial Divinities including the Sky, the Sun, the Moon and the Wind…; and the Terrestrial Divinities including Death, the Ocean, the City Lady… This divine distribution strongly reminds us of the Phoenician pantheon, with on the one hand Celestial gods (Ba’al Shamin, Ba’al Malek, Aglibôl and Ba’al Zephon…) and on the other hand terrestrial divinities (Maut the Death, Yam the ocean, Astarté the lady of Byblos…).
Be careful, this method is not intended to provide all the answers from the first analysis but to gradually get closer to the Truth. And one of the perfect examples of the significant developments in my translations is the interpretation of the DI-DI group (HT1 tablet) which I considered to be the phoneme [dydy] (Egyptian word for « cauldron ») and which I now conceive to be two distinct ideograms which are Shou and Neftou. Starting from my abacus of gods and goddesses, the second symbol of the DI-DI group seems to me to be O29+N4 (a line for the sky and 3 small ones for the rain), which gives us Neftou the Humidity goddess. As for the first, its upper part is too degraded to hope to find the true God. On the other hand, if Neftou is the daughter of Atum-Rê, the second child can only be Shou the Wind god: « Shou and Neftou whom Rê gave birth ». Another possible interpretation of the group DI-DI is a voluntary repetition of the same sign O29+N4, a repetition which we find in the papyri of Beattly (Plate IIa, page 58; reference 143) in order to express a divine essence, that of the goddess Neftou. Another example of a significant evolution in my translations compared to my first version concerns this time the group KU-RO which I had interpreted by the “Total des vases”. As the symbols *574 and *579 belong to the same Pantheon GRA+*, I will translate rather by « the Great Goddess » that was either Sekhmet for the Egyptians, or Ashera for the Phoenicians.
With this new, still partial abacus, the equivalences thus obtained are already a powerful tool for investigating the habits and customs of the Minoans. They suggest, for example, different phonemes between the symbols of Linear A and those of Linear B. Therefore, is there a real link between the two scripts? The answer is obviously yes since we have here an evolution from one to the other not on sounds but on ideograms. And one of the perfect examples is the DI symbol that we find in both Minoan scriptures. The phoneme for Linear B is [di]. Now dei-, deiə-, dï- or diā- is one of the Indo-European roots for God, which gives us here an interesting association between Neftou the Egyptian Sky goddess (and her hieroglyph equivalent O29+N4 equivalent to DI ), Ba’al Shamin the Phoenician Sky god and the Indo-European root [dï-]. This association around the Sky God (Neftou, Ba’al Shamin and dï-) could explain a possible evolution from the first linear to the second. This is why we must conceive of Linear B as an inheritance from the previous via ideograms and not via phonemes.
But what is the contribution of this chapter for my global study on Charmutha(s) and its influence beyond its lands? In reality, not much but the cosmology deduced from Linear A supports my theory of a huge, vastly underestimated civilization that encompassed the lands of Charmutha, the Minoans and the Phoenicians. The last traces of this immense civilization remain the Egyptian hieratics used by the Arab merchants of Punt. And all these hieratics were the result of an indirect influence of Egypt on the Old World, indirect since these people of the Nile had a visceral fear of the Sea (associated with the domain of the terrible Seth) and that, by necessity, the pharaohs used the people of Punt and then the Phoenicians as their main sailors. Anyway, Charmutha, with such an influence on the Mediterranean civilizations, was the sacred land of all the Greeks including Diodorus the Sicilian, a sacred land because this country called Ta Netjer was at the origin of the greatest maritime powers from the Mediterranean (Minoan, Phoenician, Carthage, etc.). At that time, its reputation exceeded the shores of the Red Sea, on the western side, towards the shores of the Eastern Mediterranean (Phoenicia, Crete, Carthage,…) but also on the other side, towards the East, towards the Persian Gulf (Iran and Pakistan). This influence of Arab merchants to Asian countries is reminded of us by Ptolemy’s maps with an undersized Gulf of Oman which seems to suggest a strong commercial link between the Arabian Peninsula and Pakistan. Taking into account its area ofinfluence, the extent of this civilization was impressive since it went from the Mediterranean to Harappan, an immense territory in which the different writings (Minoan, Phoenician, Harappan, etc.) were exchanged between them to the point of generating many similarities. My next study based on different scripts spread over several regions will reveal to us this incredible influence of Charmutha(s) mainly due to maritime trade with all its neighbors, those of the North the Mesopotamians, those of the East the inhabitants of Harappan, those of the West the Egyptians and those of the North-West the Minoans and Phoenicians.
Bibliographie/Bibliography (Ci-joint la bibliographie complète) :
101 – Indo-European Lexicon, University of Texas at Austin :
https://lrc.la.utexas.edu/lex/master#P4181
105 – ”An egyptian hieroglyphics dictionary”, John Murray and Albemarle Street, London 1920 :
https://archive.org/details/egyptianhierogly01budguoft/page/205/mode/1up?q=Ladder
106 – Dictionnary of Mark Vygus, 2015 :
https://fr.scribd.com/doc/294958634/Mark-VyGus-Dictionary
https://www.egyptologyarchive.com/2018/10/book-no2-middle-egyptian-dictionary.html
128 – « Hieratische Paläographie », Möller, Leipzig, 1909-1936 :
http://www.egyptology.ru/lang.htm#Moeller
129 -« Actualisation de l’ouvrage de Georg Möller, Tome I :
http://ecriture.egypte.free.fr/ressources/Moller-hieratique_actualise_tome1.pdf
130 – Histoire Universelle, Livre XVIII, paragraphe III, Justin :
http://remacle.org/bloodwolf/historiens/justin/livre18.htm
131 – Tome I, « Clio », Hérodote :
http://remacle.org/bloodwolf/historiens/herodote/clio.htm#02
132 – « How tout decipher the Byblos script », Best Jan.
133 – Préparation Évangélique, Livre I, Eusèbe de Césarée :
http://remacle.org/bloodwolf/historiens/eusebe/preparation1.htm
134 – « Cosmologie Egyptienne » , Bickel, 1994
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https://archive.org/details/gardiner.-egyptian-grammar/page/463/mode/2up
136 – Mémoire sur quelques papyrus du Louvre,
https://archive.org/details/memoiresurquelqu00masp/page/n141/mode/2up?q=D%C3%A9esse
137 – Papyrus d’Astarté, Wikipedia : https://commons.m.wikimedia.org/wiki/File:Astarte-Papyrus.jpg
138 – Seshat, Wikipedia : https://en.wikipedia.org/wiki/Seshat
139 – God Heh, Wikipedia : https://en.wikipedia.org/wiki/Heh_%28god%29
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https://egyptianocculthistory.blogspot.com/2017/11/lecture-shen-or-circle-of-protection.html
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142 – Déesse Bastet, Wikipedia : https://en.m.wikipedia.org/wiki/Bastet
143 – « The library of A. Chester Beatty, description of a hieratic papyrus with a mythological story, long-songs, and other miscellaneous texts », Alan H. Gardiner.
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https://www.persee.fr/doc/rhr_0035-1423_1966_num_169_1_8292
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146 – « Mémoire sur l’origine et le caractère véritable de l’histoire Phénicienne qui porte le nom de Sanchoniathon », Arnest Ronan :
147 – « Scripta Minoa », Evans Arthur :
https://archive.org/details/scriptaminoawrit01evanuoft/page/29/mode/1up
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