Writ by Syllabaries Versus Alphabetic Writing: The Loss of Rigor & Why
Since Early Greek Mythology means for us oral source recitations in general, allow that other great scholars have ferreted out, or taken on faith, corroborations of historicity despite the lost writ of the Greeks by their formulized syllabaries of the Late Aegean Bronze Age. The latter is our real fiction. It evolves by supposition and suggestions of other classical sources, by doggedly studied materials such as masterful pottery and mosaic panels that illustrate historicity. Ceramic arts have affected content until the
enabled transformations of their subjects as described by Greek alphabetic writ. Homer, we believe, was the first to supplant myths written from syllabaries as recitals of his own bardic genius dictated master scribes of alphabetic writ. The Bardot Sisters who preceded Bardot Books were meant for such tasks of latter days. They were the once young female philologists who have become the nice old ladies that have been passing away from the Bardot Group. They taught me much that is new and otherwise inspired so that I can become the pseudonymous Master Translator of their own composed Oldest Greek. For without them, there could not become, in any way substantively, Saltonstall Weld Bardot. Without him, moreover, there couldn’t be Robert Bacon Whitney, his publisher and the founder of Bardot Books since 2007.
The history of writing is fascinating and should engross all readers of our Bardot Blogs as they make a habit of them. Further to their immense contributions of the Bardot Sisters, via their person of Mentör, have been teachings and learnings through many other linguists and scholars. They’ve been the best masters at the non-fiction of Antiquity; they’ve joined in the fictional processes and genres as the Bardot Group. All have been honorary members, including practitioners of the ceramic arts and forensic sciences and the providers of the tools and engineering which have rendered us before, and since 1924, their own “great finds” from Antiquity. Whether their contributions of such luminaries inspired a rigorous historicity by our mostly lost pasts or not; they enabled sufficiently the Bardot Sisters. All 16 of our great ladies were led by Alice Kobers to compose by a syllabic writ akin to the Linear B entablatures.
By such source compilations as were derived from archaeological digs, they accumulated through their own disciplined imaginings an expository fiction that both dates and sets to oldest names where and whatever Early Greek Mythology originated of prehistoric, orally originated myths within their duration from 1600 to 1230 B.C. No modern mean feat all of that: They finally restored to writ what the popular recitations by the Great Oral Tradition had originally achieved. They were very clever about their own rendition, too, for they recomposed from the Linear B Greeks as though they had a forbear alike them, a “Bardot Brother” if you, our blog readers, will allow. They named him after the best friend of the Trojan War hero Odysseus: Mentör, son of Alkimos, born upon Mount Erymanthos where the western Arkadian and Aigialian Highlanders of South Alpine, Greece. They dated his lifetime from 1285 to 1208 BC., for he was born and he died after Odysseus, 1286 to 1211. He became the Bardot Sisters’ period contemporary, the oldest of all Greek Masters of Writ, and thereby a primeval narrator who lived his own prehistoric lifetime. He composed a biography, an autobiography by colloquy, and the contemporary prehistory of the second millennium BC. His personages, their places, and their developments as protagonists of myth are, by their originally spoken phonology, the subjects of Early Greek Myths taken down in dictation to himself. That, indeed, was his paramountcy.
Our Publisher, R. Bacon Whitney, has treated such legacies through his own imprimatur as an author/translator since 1989. That span of greatest originations, aforesaid, were “rhapsodized” more narrowly than they were in pre-history. He cites 1480 to 1230 by span as a better modern reckoning of the peak mythical output of EGM recitations. That last date, he also asserts, serves solely for the prehistorical ending that been so many times re-estimated for the Trojan War Aftermath of early Greece. Although Homer’s two masterpiece epics drew from copious recitations about both the Wartime Era and the Aftermath, all were recited from long before the Greek alphabet derived from Levantine/Canaanite writ. The 8th century B.C. lyricists canonized Homer’s epics as sufficiently fulfilling the historicity that has supported the greatest war ever fought by the Greeks, as supposed Achaeans.
Bardot Books, therefore, has since 2008 recreated proto-histories and published books which reflect the much older oral recitals than can be read from Classical Greek Mythology as a whole opera. We try for their truest dated historicity possible. This has meant for the Trojan War an account that approximates what Homeric scholarship has rendered of the Greek, or “Achaean” points-of-view. Whitney, in recognition of Anatolian prehistory and what the Bardot Group learned about the Hatti Imperial Age, from 1400 to 1190 BC, has affected translations of realistic Trojan/Dardanian points-of-view – as though their heroes and their scribes survived to compose Early Anatolian Mythography through their cuneiform writ. For Mentör had ample opportunity and curiosity to compose such intellectual prehistory as a particularly honest representation of LABA Troias over the Trojan War Advent, the War, and the Aftermath. Of course, he had his best friend Odysseus at home at last, thereby to keep them honest at both their recollections of wartime experiences. The incipient and prosecuted hostilities are for a future book that shall follow upon the Trojan War Advent I: Embassy Outbound (2008, ab RBW).