Dealing, as the limits of the subject compel, only with the traces
of inscriptions on remains from Mycenæ itself, the earliest to be
noted is a stone pestle with one incised character which resembles a
Cypriote sign. But one sign does not make an alphabet, and hence the
satisfaction at the recent discovery of the handle of a stone vase,
apparently of a local material, which has four or five signs engraved
upon it, and of the handle of a clay amphora from a chambered tomb
in the lower town of Mycenæ with three characters, while a tomb at
Prousia, near Nauplia, yielded a genuine Mycenæan vessel with three
ears, on each of which is graven a sign resembling the Greek H. These
may not suffice to demonstrate the existence of a pre-Phœnician system
of writing in Greece, but, taken in conjunction with the numerous
discoveries of inscribed signs in Crete, they go far in support of it.
What, then, are the facts as thus far, ascertained?
There have been discovered in Crete a number of objects bearing two
sorts of writing, one hieroglyphic or pictographic; the other linear
and approaching the alphabetic. The pictographic is the older of the
two, dating from the earlier part of the third millennium before
Christ. It was probably derived from a primitive picture-writing by the
non-Hellenic inhabitants of the island, who were called Eteocretans,
or "true Cretans," by the Dorians, whose invasion dates, according to
the traditional Greek chronology, from about the middle of the twelfth
century B.C. These "true Cretans" may not, however, be the
aboriginal inhabitants, although as to this, and as to their language,
we are in ignorance. The recent discovery of an inscription in an
unknown language, written in archaic Greek characters, among the ruins
of Præsos, the chief Eteocretan settlement, warrants the inference
that the old script of the language had been abandoned for the Greek
alphabet. That script, the use of which never passed outside the
island, obviously had no influence on Mycenæan civilisation.
Public-domain text, read in full here on John Shaqi.
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