#QI/QA

[hislop3]

Friday Feature: Back to the Future and Care Rounds

TGIF! A frequent reader sent me a note earlier in the week and asked if I would drop in more clinically oriented stuff from time to time. I asked for details, and she said stuff “that is germane to patient care and operational improvements – QA/QI stuff”. So, today’s post is by request, sort of. I ran across a little case study piece from Sound Physicians about their work in a North Texas…

[transparentgentlemenmarker]

Ol y a trois principaux types d'intelligence:

* Quotient intellectuel (QI)

* Quotient émotionnel (QE)

* Quotient social (QS)

1. Quotient d'Intellectuel QI c'est votre capacité de compréhension, résoudre des mathématiques; mémoriser des choses et rappeler des sujets souvent complexes.

2. Quotient émotionnel QE c'est la mesure de votre capacité à maintenir la paix avec les autres; respecter le temps; être responsable; être honnête; respecter les limites; être humble, authentique et attentionné.

3. Quotient social QS c'est la mesure de votre capacité à construire un réseau d'amis et à le maintenir sur une longue période.

Les personnes qui ont un Quotient Emotionel et un Quotient Social plus élevés ont tendance à aller plus loin dans la vie que celles qui ont un Quotient Intellectuel élevé. Mais le niveau de Quotient Emotionel et de Quotient Social est en baisse car la plupart des écoles capitalisent leurs efforts pour améliorer le niveau de Quotient Intellectuel tandis que les Quotients Social et Emotionel sont minimisés. Un homme ayant un Quotient Intellectuel élevé et même très elevé peut finir par être employé par un homme de Quotient Emotionel et Social élevé, même quand celui ci a un Quotient Intellectuel moyen. Votre Quotient Emotionel représente votre personnage; votre Quotient social représente votre charisme. Adoptez des habitudes qui amélioreront ces trois Quotients mais surtout donnez la priorité aux Quotients Emotionel et Social. Il est bien d'enseigner aux enfants la maîtrise de leur Quotient Intellectuel mais il est bcp plus avantagieux pour eux de dominer leurs Quotients Emotionel et Social. Cependant il y en a un quatrième, un nouveau paradigme

4. Le Quotient d'Adversité QA c'est votre capacité à traverser une période difficile dans la vie et à sortir sans perdre la tête. Le Quotient d'Adversité détermine qui abandonnera face aux aléas/troubles, qui abandonnera sa famille ou qui envisagera le suicide

[tenebriism]

❝ Baaaaaabe. ❞ Comes a call from the living room. Nothing of an urgent or distressful quality, merely a beckoning tone. However, when Ignis does finds Cindy, she is lounging upon a fluffy beanbag, finished novel now resting upon ever growing middle, and in a bit of a predicament.

❝ Iggy… ❞ She looks up to him with mossy hues, wide as saucers and a misty resignation to her ordeal. She does not want to cry over this, tries so hard to keep those sudden waves of emotion at bay. But her chin occasionally lifts with each inhale as she stifles down any sobs attempting to break loose.

❝ I think … ❞ she tries in vain to wiggle herself free, ❝ I think m’stuck. ❞ // forever crying over mama and papa scientia (⁠･ั⁠ω⁠･ั⁠)

" --- yes, darling? " His response is immediate, cooking tools already being lowered to the counter so he may prioritize her in full without delay. Since childhood, he has always been overly mindful of tone and response time... NEEDED to be, to keep Noctis alive and out of trouble, for the boy had not been given the easiest or most merciful of health records. Natural, then, that his dutiful advisor would continue this habit even in the presence of others, and especially so, his wife.

Well loved and worn leather protests as he adjusts his gloves before peeking into the room, trying to deduce what need she has of him before having to ask. The remote, is it too far away? Mayhap she is hungry, thirsty? A pregnant woman differs only somewhat from a spoiled prince, in that their needs are largely similar, but Ignis is not against ENCOURAGING the former to make use of him even for the smallest, most mundane of tasks.

Including, but not limited to, helping her from this cushioned prison.

" Oh, darling... " He tries not to laugh, he really, TRULY does, but his amusement is clear as day 'pon his visage even without an audible sign. " 'Tis inevitable that this would occur at some point. You need not feel ashamed. " The moment they'd found out they were to be parents, Ignis had consulted every female he knew for advice and beyond, and read more books and articles than even he could keep track of. One thing that been both notable and recurring? ' Stuck Stories, ' as they had humorously named them. The couch, the car, the bathtub--- it seems every location imaginable, even UNimaginable, made the list of places a woman heavy with child had gotten stuck.

His expression finally stops betraying his endeavor to refrain from making her feel worse, and now, he may focus on freeing her. Lowering to her level, he first plucks the book from the swell of her belly and sets it atop the nearby table to be retrieved later on, before an arm nudges its way 'round her backside for support. Opposite hand slips into hers, and on the count of three, he carefully pulls her upwards and onto her feet with a light grunt.

" There. Welcome back to the world of the upright. Are you okay? " He remembers how it had felt being so helpless. Having to rely on others for the most basic of things whilst he was recovering following the moments after Noctis and Lunafreya had saved him from a self-chosen death. He hadn't been down for long, much to Gladio and Noctis' worry, but the few days his independence had been stripped from him had been agonizing.

Cindy, too, is much like her husband in that she prefers to do everything on her own, oft running herself ragged as a result. 'Tis a wonder they've both made it this far, surviving both daemons and terrible work habits, the latter just as dangerous as the former.

" Come now, do not cry; I've got you. I am here. " He peppers kisses along her cheeks and jawline, hoping to offer a smidgen of comfort in a time where emotions and stress were high, and only certain to worsen as the fated day got closer. " What may I do to make it better? "

@topmechaniic ;;

[postsofbabel]

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[tellschrodinger1survived]

more conlang bs because yes!

(pt 0.2/many. many more.)

okay onto the second page of my coffee-stained notes i've written that adverbs work similar to adjectives, adverbs are derived from adjectives and are added between the verb body and everything that attaches to the verb (aux. verbs, markers, etc.) so for context every verb has the actual meaty part, and a marker (-hhi, -qi, -rri, -ci) which governs how it behaves with the grammar n whatnot, there's distinctions between -hhi -qi and -rri -ci for the sole purpose of causing chaos and confusion among my speakers (literally just me so i guess it backfired huh?) so yes to attach aux. verbs you remove the verb ending and slap on the entire verb with its ending. also tense aux. verbs go before mood (?) aux. verbs.

so for example "i run quickly" would be "mar ake min rri" (mar - i, akerri - to run, min - quick.) "i ran quickly" would be "mar ake ja min hhi" (mar – i, akerri – to run, jahhi – to do (past tense aux.), min – quick). "i made (caused) you (to) run quickly" would be "mar joe ake ja rop min hhi" (mar – i, joe – you, akerri – to run, jahhi – to do (past tense aux.), rophhi – to cause (causative aux.), min – quick)

see how i said this whole language is based on japanese? those who had to suffer through nakerebanarimasen would understand.

anyways time and place come first in the sentence, first the time then the place. i think i tried to justify it as "because they’re an adjective for the entire sentence", but i have no say on how linguistically sound that actually is.

anyways, when the sentence is a question, the verb marker / ending changes. -hhi -qi goes to -hha -qa and -rri -ci goes to -rreh -ceh.

for negation, -hhi -qi goes to -hhim -qim, -rri -ci goes to -rrin -cin.

for rhetorical questions which is a Quirk i decided to add because tone is hard, -hhi -qi goes to -hham -qam and -rri -ci goes to -rren -cen.

also there’s a sarcasm grammar (aux. verb "to lie" aka sapirri is used) because tone is hard. and theres ✨ grammar for nouns (sap is added at the end of a noun, yes it’s pure coincidence that it’s similar to the sarcasm grammar.) because this is my language and i can do whatever i want with it.

finally subjunctive "i would have" is very simple, just slap in "tuqi" (must) as an aux verb. subjunctive goes after passive / causative, because i said so. this language has no real linguistic basis, only linguine basis.

ps: constructive criticism is appreciated! even though i kinda intended this language to be a mess, i’d still like to know what i can improve for maybe future conlangs?

[plangentia]

KN Sd 4422

.a ] , o-pa // o-u-qe , pe-qa-to , u-po , CUR [ .b ]ị-qi-ja , / a-ro-mo-te-me-na , o-u-qe , a-ni-ja , po-si , e-e-si[

Translation

Chariot: fully assembled, and there are no reins on it, nor is there a footplate under it. Work:...... CHARIOT [

Commentary

i-qi-ja - "chariot." Nominative singular. Acting as the title of the tablet - written bigger than everything else.

a-ro-mo-te-me-na - "assembled." Perfect middle participle.

o-u-qe - οὐ τε - "and not."

a-ni-ja - haniai - "reins."

e-e-si - ehensi - not being. From PIE root *h1es-.

po-si - "on it." From προς from proti or poti depending on dialects, then apocapy.

pe-qa-to - peggwaton - ped-gwm-ton - "footplate." Literally foot-go-thing.

u-po - "under it." Equivalent to ὑπό, sub, upa < *(s)upo.

o-pa // - hopa - "work." See Latin opus. This is a smaller font size - usually oreceded by a personal name, but the tablet is broken. This seems to be an instruction for the materials to be finished by the workman.

[444namesplus]

Ba Ban Bang Be Ben Beng Bi Bia Bian Biang Bie Bien Bieng Bing Bio Bion Biong Biu Biun Biung Bo Bon Bong Bu Bun Bung Cia Cian Ciang Cie Cieng Cii Ciia Ciian Ciiang Ciie Ciien Ciieng Ciin Ciing Ciio Ciion Ciiong Ciiu Ciiun Ciiung Cio Cion Ciong Ciu Ciun Da Dan Dang De Deng Di Dia Dian Die Dien Dieng Din Ding Dio Dion Diong Diu Diun Diung Do Don Dong Du Dung Fa Fan Fang Fe Fen Fi Fia Fian Fiang Fie Fien Fieng Fin Fing Fio Fion Fiong Fiu Fiun Fiung Fo Fon Fong Fu Fung Ga Gan Gang Ge Gen Gi Gia Gian Giang Gie Gien Gin Ging Gio Gion Giong Giu Giun Giung Go Gong Gu Gun Ha Han Hang He Hen Heng Hi Hia Hian Hiang Hie Hien Hieng Hin Hing Hio Hion Hiong Hiu Hiun Ho Hon Hu Hun Jia Jiang Jie Jien Jii Jiia Jiiang Jiie Jiien Jiieng Jiin Jiing Jiio Jiion Jiiong Jiiu Jiiun Jio Jion Jiu Jiung Ka Kan Kang Ken Keng Ki Kia Kian Kiang Kie Kien Kieng Kin Kio Kiong Kiu Kiun Kiung Ko Kon Kong Ku Kun Kung La Lan Le Len Li Lia Lian Liang Lie Lien Lieng Lin Ling Lio Lion Liong Liu Liun Lo Lon Long Lu Lun Lung Ma Me Men Meng Mi Mia Miang Mie Mieng Min Ming Mio Mion Miong Miu Miung Mo Mon Mong Mu Mun Mung Na Nan Nang Ne Neng Ni Nia Niang Nieng Nin Ning Nio Nion Niu Niung No Non Nong Nu Nung Pa Pan Pang Pe Pen Peng Pi Pia Pian Piang Pie Pien Pieng Pin Ping Pio Pion Piong Piu Piun Piung Pon Pu Pun Pung Qa Qang Qe Qen Qeng Qi Qia Qian Qiang Qie Qien Qieng Qin Qing Qio Qion Qiong Qiu Qiun Qiung Qo Qon Qong Qu Qun Qung Ra Ran Rang Re Ren Reng Ri Ria Rian Riang Rie Rien Rieng Rin Ring Rio Rion Riu Riun Ro Ron Rong Ru Run Rung Sa San Sang Se Si Sia Sian Siang Sie Sien Sieng Sin Sing Sio Sion Siong Siu Siun Siung So Son Song Su Sun Sung Ta Te Ten Teng Ti Tia Tian Tiang Tie Tien Tieng Tin Ting Tio Tion Tiong Tiu Tiun To Ton Tong Tu Tun Tung Wa Wang Wen Wi Wia Wian Wiang Wie Wieng Win Wing Wio Wion Wiong Wiu Wiun Wo Won Wong Wu Wun Wung Xia Xian Xiang Xie Xien Xieng Xii Xiia Xiian Xiiang Xiie Xiieng Xiin Xiing Xiio Xiiong Xiiu Xiiun Xio Xion Xiong Xiu Xiung Za Zan Zang Ze Zeng Zi Zia Zian Ziang Zie Zieng Zin Zing Zio Zion Ziong Ziu Ziun Ziung Zo Zon Zu Zung

[seewetter]

Jul 3, 2019

A Letter from “Crawly” to Azirapil

This remarkable letter of unknown provenance surfaced recently in the cuneiform collection of the University of West Wessex.  Addressed to Azirapil from a Mr. “Crawly,” it appears to be begging for the other’s return to Ur from a western journey with another individual, Abiraham.  The relationship between the two (brothers? business partners? friends?) is unknown, and all three names are quite unusual.  The letter also mentions a Mr. Ea-naṣir in Ur; if this is the same Ea-naṣir as the merchant mentioned in UET V 22, 29, 71, and 81, then the original letter would be dated to the Larsa period, around 1800 BCE.  However, this particular copy appears to be a scribal exercise; the writing is relatively unskilled, and the cuneiform is Neo-Assyrian in form.  It is unclear whether the text is based on a historical letter, or if its unusual names and content were invented for scribal practice.

Text:

Tell Azirapil [1]:

Thus says "Crawly" [2]:

When will your time in the West be finished?  Abiraham [3] seems very dirty, and I am weary [4] in Ur.  [There is] a talented mirsu-maker [5] on Wide Street!

Watch out, for I have acquired a new friend.  His name is Ea-Naṣir [6], and I may play wickedly with him if you do not return.  

Come quickly!

Notes:

[1] The name Azirapil (āzir-āpili) is an unusual one.  The first element, āziru (sometimes spelled ḫāziru) is a known theophoric element meaning "helper, the one who helps"; it may connect with Hebrew עזר.  The second element appears to be āpilu, literally "the one who answers," but also used to mean "the one who dissents, the one who talks back."  Thus, together, the name would mean "the one who helps the dissenter."

[2] "Crawly" is literally Našallulu (NIM.NIM), a verb that means "to crawl or slither like a snake or demon."  The word is otherwise unattested as a personal name, so it may be an epithet of some kind.

[3] Surely not the Abraham of Hebrew scriptures, despite the similarity of name and the biblical legend that Abraham originated in the city Ur.

[4] "Weary" - from the Štn stem of anāḫu.  The term refers to dejection or depression; in one medical text (Labat TDP 178:9), it is a sign of "love-sickness."

[5] Mirsu (or mersu) was a popular sweet confection in Mesopotamia.  Its composition included dates, butter, and a variety of other ingredients; modern reconstructions of the recipe vary.

[6] There was an infamous copper merchant named Ea-naṣir in Ur during the Larsa period; several letters to him are collected in UET V.  It is unclear whether this is the same individual.

Transliteration:

a-na az-ir-ap-il qí-bí-ma um-ma NIM.NIM-ma ma-ti u-mu-ka ina IM.MAR.TU i-qa-at-tu Ab-i-ra-ha-am ur-ru-šu in-na-mar ú uš-ta-ni-ih ina URIM.ki ša me-er-si e-mu-uq-tu ina su-qi ra-ap-ši pa-ga-ar-ka uṣ-ur ana ša ib-ra eš-ša ar-ši šum-šu É-a-na-aṣ-ir ú rag-giš am-me-el-le-el it-ti-šu šum-ma la ta-ta-ar ar-hi-iš a-la-ak

#fan fiction#good omens#not a translation#not a real translation#i can't believe i actually made this#yes the tablet actually says that#akkadian#fanart#fanfic#ineffable husbands#cuneiform

A Letter from “Crawly” to Azirapil

This remarkable letter of unknown provenance surfaced recently in the cuneiform collection of the University of West Wessex.  Addressed to Azirapil from a Mr. “Crawly,” it appears to be begging for the other’s return to Ur from a western journey with another individual, Abiraham.  The relationship between the two (brothers? business partners? friends?) is unknown, and all three names are quite unusual.  The letter also mentions a Mr. Ea-naṣir in Ur; if this is the same Ea-naṣir as the merchant mentioned in UET V 22, 29, 71, and 81, then the original letter would be dated to the Larsa period, around 1800 BCE.  However, this particular copy appears to be a scribal exercise; the writing is relatively unskilled, and the cuneiform is Neo-Assyrian in form.  It is unclear whether the text is based on a historical letter, or if its unusual names and content were invented for scribal practice.

Text:

Tell Azirapil [1]:

Thus says “Crawly” [2]:

When will your time in the West be finished?  Abiraham [3] seems very dirty, and I am weary [4] in Ur.  [There is] a talented mirsu-maker [5] on Wide Street!

Watch out, for I have acquired a new friend.  His name is Ea-Naṣir [6], and I may play wickedly with him if you do not return.  

Come quickly!

Keep reading

[litteratura-historia]

Mycenaean Greek:

a-ko-ra (𐀀𐀒𐀨): substantive (fem.)

The generally accepted interpretation is ἀγορά (cf. ἀγείρω: 'to bring together, gather together') but its concrete meaning remains subject to discussion, with proposed interpretations oscillating between the etymological sense: ‘action of gathering’, or the derivatives: ‘group, flock’, or even ‘place of gathering, sheepfold’. It could even be considered that the term designates a ‘communal grazing place’, used collectively in certain periods of the year.

cf. Ancient Greek ἀγορά, ᾶς (ἡ): 'marketplace' < ἀγείρω: 'to bring together, gather together' < IE: *h₂ger- : 'gather'

Examples:

KN Dk(1) 969

.A ] si-ja-du-we , [

.B ]ki-to / a-ko-ra[

PY Cn(4) 453

.1a CAP:f

.1b ka-pe-se-wa-o , wo-wo , pạ-ṛọ[ ]ne , a-ko-so-ta-o , a-ko-ra 46

inf. mut. [ ] reliqua pars sine regulis

PY Cn(3) 655

.1 ma-ro-pi , qe-re-wa-o pa-ra-jo OVIS:m 136

.2 ma-ro-pi , to-ro-wi-ko , pa-ra-jo OVIS:m 133[

.3 ma-ro-pi , ke-ro-wo-jo OVIS:m 85

.4 ma-ro-pi⌞ ⌟ra-pa-sa-ko-jo OVIS:m 69

.5 ma-ro-pi , pu-wi-no , a-pi-me-de-o , a-ko-ra OVIS:m 190

.6 ma-ro-pi , i-wa-so , we-da-ne-wo , a-ko-ra OVIS:m 70

.7 ma-ro-pi , ti-ḳẹ-wo , pa-ra-jo OVIS:m 70

.8 ma-ro-pi , o-ka-ri-jo , pa-ra-jo OVIS:m 95

.9 ma-ro-pi , e-ti-ra-wo , pa-ra-jo OVIS:m 70

.10 ma-ro-pi , a-ta-ma-ne-u , pa-ra-jo OVIS:m 60

.11 ma-ro-pi , qi-ri-ta-ko , a-ke-o-jo , a-ko-ra OVIS:m 90[

.12 ma-ro-pi , a-ri-wo , a-ke-o-jo , a-ko-ra [ ]14

.13 ma-ro-pi , ṛọ-ḳị-j̣ọ , we-ḍạ-ne-wo , a-ko-ra [ ]80

.14 ma-ro-pi , o-pe-re-ṭạ , we-da-ne-wo OVIS:f 86

.15 ma-ro-pi , po-ro-qa-ta-jo , we-da-ne-wo OVIS:f 63

.16 ma-ro-pi , to-ru-ko-ro , we-da-ne-wo OVIS:f 88

.17 ma-ro-pi , ma-ma-ro , we-da-ne-wo OVIS:m 90

.18 ma-]ṛọ-pi , ma-du-ro⌞ ⌟we-da-ne-wo OVIS:m 100

.19 ma-ro-]pi , se-no , we-da-ṇẹ-wo OVIS:f 40

.20 ma-ro-]p̣ị , ta-ta-ke-u , [we-]ḍạ-ne-wo OVIS:f 30

TH Wu(-) 49

α

OVIS:m supra sigillum=E

β

qe-te-o

γ

a-ko-ra

TH Wu(-) 50

α

CAP:f supra sigillum=E

β

qe-te-o

γ

a-ko-ra

TH Wu(-) 63

α

SUS:f supra sigillum=E

β

qe-te-o

γ

a-ko-ra

[reallycool12345]

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[savoir-entreprendre]

"Selon les psychologues, il existe quatre types d'intelligence : 1) Quotient Intellectuel (QI) 2) Quotient émotionnel (QE) 3) Quotient Social (QS) 4) Quotient d'adversité (QA) Quotient Intellectuel (QI) : c'est un type d'intelligence qui mesure de votre niveau de compréhension. Vous avez besoin de QI pour résoudre des problèmes mathématiques, mémoriser des choses et vous rappeler des leçons. Quotient émotionnel (QE) : c'est la mesure de votre capacité à maintenir la paix avec les autres, à respecter le temps, à être responsable, à être honnête, à respecter les limites, à être humble, authentique et attentionné. Quotient social (QS) : c'est la mesure de votre capacité à vous constituer un réseau d'amis et à le maintenir sur une longue période. Les personnes qui ont un QE et un QS plus élevés ont tendance à aller plus loin dans la vie que celles qui ont un QI élevé mais un QE et un QS faibles. La plupart des écoles capitalisent sur l'amélioration des niveaux de QI tandis que le QE et le QS sont minimisés. Un homme de QI élevé peut finir par être employé par un homme de QE et de QS élevés même s'il a un QI moyen. Votre QE représente votre personnage, tandis que votre QQ représente votre charisme. Cédez aux habitudes qui amélioreront ces trois Q, en particulier votre QE et votre QS. Maintenant il y en a un 4ème, un nouveau paradigme : Le quotient d'adversité (QA) : La mesure de votre capacité à traverser une période difficile dans la vie et à en sortir sans perdre la tête. Face à des problèmes, QA détermine qui abandonnera, qui abandonnera sa famille et qui envisagera le suicide. Parents, veuillez exposer vos enfants à d'autres domaines de la vie que l’académique. Ils doivent adorer le travail manuel (ne jamais utiliser le travail comme une forme de punition), les sports et les arts. Développez leur Coefficient intellectuel (QI), ainsi que leur coefficient émotionnel (QE), leur coefficient social (QS) et leur coefficient d’adversité (QA). Ils devraient devenir des êtres humains aux multiples facettes capables de faire des choses indépendamment de leurs parents. Enfin, ne préparez pas la route pour vos enfants. Préparez vos enfants pour la route." https://savoirentreprendre.net/?p=13017&feed_id=3717

[ngocngadotnet]

Q: Who enjoys discussing others' scandals the most? 🤔🗣️🔍

A: Those born under #QiSha often do not care about trivial matters. They never miss stories that interest them and may even disclose secret information to others, which can make them feel proud. However, discussing others' scandals in this way often brings trouble to Qi Sha people.

Read details at https://ngocnga.net/zi-wei-dou-shu-qa-who-enjoys-discussing-others-scandals-the-most/?utm_source=tumblr&utm_medium=social&utm_campaign=ziwei

[nyabac]

Thursday, 30 November 2023, 12 pm ET (US & Canada)

Online Zoom Lecture

70 Years of Wa/ondering: The Pylos Ta series and Mycenaean Ceremonies

TOM PALAIMA (Department of Classics & Program in Aegean Scripts and Prehistory, University of Texas at Austin)

The thirteen tablets of the Ta series at Pylos are arguably the most informative set of documents pertaining to paraphernalia used in ceremonies and rituals in the Linear B corpus.

The contents of the Ta tablets are diverse and significant for research in Aegean cultural history. There are a. clearly drawn ideograms of ceremonial vessels along with phonetic renderings of their names: pouring vases, receptacle vases, ritual heirloom tripods; b. references to the materials used to construct and decorate pieces of furniture; c. descriptions of abstract or figural motifs of decoration; d. observations on the state of repair of specific objects; e. likely identification of the region of manufacture of particular items (ke-re-si-jo); f. entries referring to implements connected  with sacrificial actions (pa-sa-ro, wa-o and qi-si-pe-e) and equipment to use with fire (au-te, pu-ra-u-to-ro, -qa-ra-to-ro and e-ka-ra); g. inlaid tables (whether slaughtering tables or banqueting tables is now under discussion) with varying numbers of ‘feet’; h. throne and stool ‘sets’, other stools.

All this rich and detailed, if occasionally tantalizingly opaque, information was registered as the results of an inspection inventory involving a person named pu2-ke-qi-ri, whose status as an elite functionary, perhaps even a collector, is undebatable, although whether he is the actual tablet-writer of the Ta series and other important tablets that are identified as the work of Hand 2 is still being discussed.

Moreover, the header line for the Ta set specifies that the records were written on the occasion when the king (wa-na-ka) did something important (te-ke) with regards to an individual named au-ke-wa and the significant office of da-mo-ko-ro. What he did is in my view no longer a settled matter nor should it ever have been thought to be.

There are also other important socio-political terms embedded in the descriptions of individual items: for example, wa-na-se-wi-ja and ­a-mo-te-wi-ja.

I have myself turned to this series periodically since I wrote 49 years ago, as an advocatus diaboli, my M.A. thesis in fall semester 1974 trying to prove to myself and Emmett L. Bennett, Jr., that the tablet writer of the Ta series really was not Hand 2, but Hand 1, the master record-maker, whom Hand 2 closely resembles.

What I will do here today is give a reading of these texts that demonstrates how problematical it is (1) to address critical questions relating to their interpretation looking for either-or solutions; and (2) to keep the forest in mind when studying the roots, bark, branches and leaves of the trees and vice versa.

For seventy years now, the full Ta series of thirteen tablets (discovered in the 1952 excavation season at Pylos) has hardly ever not been under discussion. However, the last five years have seen a veritable renaissance. Behold:

Pierini, Bernabé, Ercoles (eds) 2021. THRONOS: Historical Grammar of Furniture in Mycenaean and Beyond.

Morton, J., N. Blackwell and K. Mahoney 2023. “Sacrificial Ritual and the Palace of Nestor: A Reanalysis of the Ta Tablets,” AJA 127.2, 167–187

Palaima, T.G. and N.G. Blackwell 2020. “Pylos Ta 716 and Mycenaean Ritual Paraphernalia: A Reconsideration,” SMEA NS 6, 67–95.

Blackwell, N.G. and T.G. Palaima 2021. “Further Discussion of pa-sa-ro on Pylos Ta 716: Insights from the Ayia Triada Sarcophagus,” SMEA NS 7, 21–37.

Perna, M. and R. Zucca 2021. “Il ta-ra-nu nel Mediterraneo antico,” in THRONOS, 97–104.

Petrakis, V. 2020. “Mycenaean thórnoi, Homeric θρόνοι: Textual Perspectives,” in L. Nosch, D. Brostowsky Gilboa (eds) The Ancient Throne: The Mediterranean, Near East, and Beyond, from the 3rd Millennium BCE to the 14th Century CE, 61–84.

Pierini, R. 2021. “Mycenaean Wood: Re-thinking the Function of Furniture in the Pylos Ta Tablets within Bronze Age Sacrificial Practices,” in THRONOS, 107–135.

Piquero, J. 2021. The Tables of the Pylos Ta Series: Text and Context, in THRONOS, 43–53

Díez Platas, F. 2021. “Imagining Chairs: Models and Representations of Mycenaean thronoi,” in THRONOS, 75–88.

Aura Jorro, F. 2021. Las interpretaciones de la serie Ta de Pilo en su context,” in THRONOS, 7–30.

Bernabé, A. 2021 How to Describe Things? Depictions of Tables on Mycenaean Tablets and in Present Day Furniture Catalogues, in THRONOS, 55–64.

Varias, C. 2016 “Testi relativi a mobilio e vasi pregiati,” in M. Del Freo, M. Perna (eds) Manuale di epigrafia  micenea. Vol. 2: 551–563.

Murphy, J.M.A., S. R. Stocker, J. L Davis and L.A. Schepartz 2020. “Late Bronze Age Tombs at the Palace of Nestor at Pylos,” in J. M. A. Murphy (ed.) Death in Late Bronze Age Greece, 26–44.

Palaima, T.G. 2021. “Mycenaean *a-mo-te-u, Greek ἁρμόζω, and the Ideology of Joining,” MASt@chs Harvard Center for Hellenic Studies February 5, 2021. https://classical-inquiries.chs.harvard.edu/mastchs-winter-2021-seminar/  §§1–13.

Palaima, T.G. Forthcoming. “Historical Reflections on the Pylos Ta Series: Putting te-ke in Its Place,” in J. Bennet, A. Karnava and T. Meißner (eds) KO-RO-NO-WESA: 2021. Rethymno: School of Philosophy, University of Crete.

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[postsofbabel]

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[litteratura-historia]

Mycenaean Greek:

a-ke-re-se (𐀀𐀐𐀩𐀮): ? to pick, to receive, to harvest ? Probably Verb (3rd pers. sing. fut. indic. act.) : ἀγρήσει

cf. ? Ancient Greek ἀγρέω-ῶ: 'to capture, seize' < ἄγρα, ας (ἡ) : 'hunt' (noun) < IE : *h₂éǵreh₂ : 'hunt'

Example:

PY Aq(-) 64

.1 ]-re-wi-jo-te

.2 ]-ja , mo-ro-qa , to-to , we-to , o-a-ke-re-se ZE 1 *171 3

.3 ka-do-wo , mo-ro-qa , o-u-qe , a-ke-re-se ZE 1

.4 ru-ro , mo-ro-qa , o-u-qe , a-ke-re-se ZE 1

.5 ku-ru-me-no , mo-ro-qa , i-te-re-wa , ko-re-te , to-to ,̣ ẉẹ-ṭọ⌞ ⌟ọ-a-ke-re-se *171 6̣

.6 pe-ri-mo , ti-mi-ti-ja , ko-re-te , to-to-we-to⌞ ⌟ọ-a-ke-re-se ZE 1 *171 3

.7a o-a-ke-re-se

.7b pe-ri-me-de-o , i-*6̣5̣ , po-so-ri-jo-no , te-ra-ni-ja , a-ke-re-se , to-to-we-to , *171 12̣

.8 po-ki-ro-qo , e-qe-o ,̣ a-to-mo ZE 1

.9 vac.

.10 vac.

.11 vac.

.12 o-da-a2 , ko-to-na e-ko-te

.13 e-ta-wo-ne-u , to-to-we-to , o-a-ke-re-se ZE 1 *171 6

.14 a-qi-zo-we , to-to , to-to , we-to , o-a-ke-re-se ZE 1 [

.15 ne-qe-u , e-te-wo-ke-re-we-i-jo , to-to , we-to , o-a-ke-re-se ZE 1 [

.16 me-wi , e-ru-ta-ra , me-ta-pa , ki-e-wo , to-to-we-to , o-a-ke-re-se ZE 1 [

.17 vac.

.18 vac.

.19 vac.

.20 vac.

.21 vac.

.22 vac.

.23 vac.

[agox]

Last night I got high and wrote a program to find all of the unused elemental symbols. It turns out there’s 585 of them and it’s much less interesting the next day.

One interesting finding: I couldn’t be bothered to generate all possible one and two letter strings, so I asked ChatGPT to write me code that would do all that for me. It worked surprisingly well!

['a', 'd', 'e', 'g', 'h', 'j', 'l', 'm', 'q', 'r', 't', 'x', 'z', 'aa', 'ab', 'ad', 'ae', 'af', 'ah', 'ai', 'aj', 'ak', 'an', 'ao', 'ap', 'aq', 'av', 'aw', 'ax', 'ay', 'az', 'bb', 'bc', 'bd', 'bf', 'bg', 'bj', 'bl', 'bm', 'bn', 'bo', 'bp', 'bq', 'bs', 'bt', 'bu', 'bv', 'bw', 'bx', 'by', 'bz', 'cb', 'cc', 'cg', 'ch', 'ci', 'cj', 'ck', 'cp', 'cq', 'ct', 'cv', 'cw', 'cx', 'cy', 'cz', 'da', 'dc', 'dd', 'de', 'df', 'dg', 'dh', 'di', 'dj', 'dk', 'dl', 'dm', 'dn', 'do', 'dp', 'dq', 'dr', 'dt', 'du', 'dv', 'dw', 'dx', 'dz', 'ea', 'eb', 'ec', 'ed', 'ee', 'ef', 'eg', 'eh', 'ei', 'ej', 'ek', 'el', 'em', 'en', 'eo', 'ep', 'eq', 'et', 'ev', 'ew', 'ex', 'ey', 'ez', 'fa', 'fb', 'fc', 'fd', 'ff', 'fg', 'fh', 'fi', 'fj', 'fk', 'fn', 'fo', 'fp', 'fq', 'fs', 'ft', 'fu', 'fv', 'fw', 'fx', 'fy', 'fz', 'gb', 'gc', 'gf', 'gg', 'gh', 'gi', 'gj', 'gk', 'gl', 'gm', 'gn', 'go', 'gp', 'gq', 'gr', 'gs', 'gt', 'gu', 'gv', 'gw', 'gx', 'gy', 'gz', 'ha', 'hb', 'hc', 'hd', 'hh', 'hi', 'hj', 'hk', 'hl', 'hm', 'hn', 'hp', 'hq', 'hr', 'ht', 'hu', 'hv', 'hw', 'hx', 'hy', 'hz', 'ia', 'ib', 'ic', 'id', 'ie', 'if', 'ig', 'ih', 'ii', 'ij', 'ik', 'il', 'im', 'io', 'ip', 'iq', 'is', 'it', 'iu', 'iv', 'iw', 'ix', 'iy', 'iz', 'ja', 'jb', 'jc', 'jd', 'je', 'jf', 'jg', 'jh', 'ji', 'jj', 'jk', 'jl', 'jm', 'jn', 'jo', 'jp', 'jq', 'jr', 'js', 'jt', 'ju', 'jv', 'jw', 'jx', 'jy', 'jz', 'ka', 'kb', 'kc', 'kd', 'ke', 'kf', 'kg', 'kh', 'ki', 'kj', 'kk', 'kl', 'km', 'kn', 'ko', 'kp', 'kq', 'ks', 'kt', 'ku', 'kv', 'kw', 'kx', 'ky', 'kz', 'lb', 'lc', 'ld', 'le', 'lf', 'lg', 'lh', 'lj', 'lk', 'll', 'lm', 'ln', 'lo', 'lp', 'lq', 'ls', 'lt', 'lw', 'lx', 'ly', 'lz', 'ma', 'mb', 'me', 'mf', 'mh', 'mi', 'mj', 'mk', 'ml', 'mm', 'mp', 'mq', 'mr', 'ms', 'mu', 'mv', 'mw', 'mx', 'my', 'mz', 'nc', 'nf', 'ng', 'nj', 'nk', 'nl', 'nm', 'nn', 'nq', 'nr', 'ns', 'nt', 'nu', 'nv', 'nw', 'nx', 'ny', 'nz', 'oa', 'ob', 'oc', 'od', 'oe', 'of', 'oh', 'oi', 'oj', 'ok', 'ol', 'om', 'on', 'oo', 'op', 'oq', 'or', 'ot', 'ou', 'ov', 'ow', 'ox', 'oy', 'oz', 'pc', 'pe', 'pf', 'pg', 'ph', 'pi', 'pj', 'pk', 'pl', 'pn', 'pp', 'pq', 'ps', 'pv', 'pw', 'px', 'py', 'pz', 'qa', 'qb', 'qc', 'qd', 'qe', 'qf', 'qg', 'qh', 'qi', 'qj', 'qk', 'ql', 'qm', 'qn', 'qo', 'qp', 'qq', 'qr', 'qs', 'qt', 'qu', 'qv', 'qw', 'qx', 'qy', 'qz', 'rc', 'rd', 'ri', 'rj', 'rk', 'rl', 'rm', 'ro', 'rp', 'rq', 'rr', 'rs', 'rt', 'rv', 'rw', 'rx', 'ry', 'rz', 'sa', 'sd', 'sf', 'sh', 'sj', 'sk', 'sl', 'so', 'sp', 'sq', 'ss', 'st', 'su', 'sv', 'sw', 'sx', 'sy', 'sz', 'td', 'tf', 'tg', 'tj', 'tk', 'tn', 'to', 'tp', 'tq', 'tr', 'tt', 'tu', 'tv', 'tw', 'tx', 'ty', 'tz', 'ua', 'ub', 'uc', 'ud', 'ue', 'uf', 'ug', 'uh', 'ui', 'uj', 'uk', 'ul', 'um', 'un', 'uo', 'up', 'uq', 'ur', 'us', 'ut', 'uu', 'uv', 'uw', 'ux', 'uy', 'uz', 'va', 'vb', 'vc', 'vd', 've', 'vf', 'vg', 'vh', 'vi', 'vj', 'vk', 'vl', 'vm', 'vn', 'vo', 'vp', 'vq', 'vr', 'vs', 'vt', 'vu', 'vv', 'vw', 'vx', 'vy', 'vz', 'wa', 'wb', 'wc', 'wd', 'we', 'wf', 'wg', 'wh', 'wi', 'wj', 'wk', 'wl', 'wm', 'wn', 'wo', 'wp', 'wq', 'wr', 'ws', 'wt', 'wu', 'wv', 'ww', 'wx', 'wy', 'wz', 'xa', 'xb', 'xc', 'xd', 'xf', 'xg', 'xh', 'xi', 'xj', 'xk', 'xl', 'xm', 'xn', 'xo', 'xp', 'xq', 'xr', 'xs', 'xt', 'xu', 'xv', 'xw', 'xx', 'xy', 'xz', 'ya', 'yc', 'yd', 'ye', 'yf', 'yg', 'yh', 'yi', 'yj', 'yk', 'yl', 'ym', 'yn', 'yo', 'yp', 'yq', 'yr', 'ys', 'yt', 'yu', 'yv', 'yw', 'yx', 'yy', 'yz', 'za', 'zb', 'zc', 'zd', 'ze', 'zf', 'zg', 'zh', 'zi', 'zj', 'zk', 'zl', 'zm', 'zo', 'zp', 'zq', 'zs', 'zt', 'zu', 'zv', 'zw', 'zx', 'zy', 'zz']