Topic: The Slavic element in Homer's epics Posted: 14-Jun-2008 at 11:13
"Hateful to me as the gates of Hades is that man who
hides one thing in his heart and speaks another."
Homer, The Iliad
Greek epic poet (800 BC - 700 BC)
"Homer (ancient Greek: Ὅμηρος,
Homēros) is an ancient Greek epic poet, traditionally said to be the author of
the epic poems the Iliad and the Odyssey. The ancient Greeks generally believed
that Homer was a historical individual, but some modern scholars are skeptical:
no reliable biographical information has been handed down from classical
antiquity.
According to Martin West, "Homer" is "not the
name of a historical poet, but a fictitious or constructed name."[1] The
poems are now widely regarded as the culmination of a long tradition of orally
composed poetry, but the way in which they reached their final written form,
and the role of an individual poet, or poets, in this process is
disputed."
"The Homeric Question is the doubts and consequent
debates over the identity of Homer, the authorship of the Iliad and the Odyssey
and their historicity. These debates have roots in classical antiquity and the
scholarship of the Hellenistic period, but reached a floruit among Homeric
scholars of the 19th and 20th centuries. The main subtopics of the Homeric
Question are:
* "Who is Homer?"[1]
* "multiple or single authorship?"[2]
* "By whom, when, where, and under what circumstances
were the poems composed?"[3]
To these questions the possibility of archaeological answers
have added a few more:
* "How reliable is the tradition embodied in the
Homeric poems?"[4]
* "How old are the oldest elements in Homeric poetry
which can be dated with certainty?"
Now if we take all of this into consideration and observe
Homer from the point of view of the oral tradition, which was handed down from
antiquity to classical times when it was first recorded, we may say that the
final product was a work of many authors who have retold the epic poem over and
over again, over the centuries, adding to it words from various languages!
Take a look at the following study:
"More evidence that gives credence to the existence of
an ancient prehistoric Macedonian civilization comes to us from ancient
literature. One such source that greatly influenced our impression of the
ancients and inspired Alexander the Great to seek adventure was Homer’s epic
poems. About five hundred years after the Trojan Wars, Homer wrote the Iliad
and the Odyssey. Homer’s work captivated his audience with events that,
according to Tashko Belchev, began and ended in Macedonia. Homer was born in the
8th century B.C. and created true literary masterpieces that are enjoyed as
much today, as they were in the days of Alexander the Great. Originally,
Homer’s stories were folktales told and retold for millenniums until they were
immortalized in print in the 6th century B.C."
"Most Classicists would agree that, whether there was
ever such a composer as "Homer" or not, the Homeric poems are the
product of an oral tradition, a generations-old technique that was the
collective inheritance of many singer-poets (aoidoi). An analysis of the
structure and vocabulary of the Iliad and Odyssey shows that the poems consist
of regular, repeating phrases; even entire verses repeat. Could the Iliad and
Odyssey have been products of Oral-Formulaic Composition, composed on the spot
by the poet using a collection of memorized traditional verses and phases?
Milman Parry and Albert Lord pointed out that such elaborate oral tradition,
foreign to today's literate cultures, is typical of epic poetry in an
exclusively oral culture. The crucial words are "oral" and
"traditional." Parry started with "traditional." The
repetitive chunks of language, he said, were inherited by the singer-poet from
his predecessors, and they were useful to the poet in composition. He called these
chunks of repetitive language "formulas."[6]
Scholars generally agree that the Iliad and Odyssey underwent a process of
standardization and refinement out of older material beginning in the 8th
century BC. This process, often referred to as the "million little
pieces" design, seems to acknowledge the spirit of the oral tradition. As
Albert B. Lord notes in his magnum opus, The Singer of Tales, poets within an
oral tradition, like Homer, create and modify their tales whilst they perform
them. Thus, Homer may have “borrowed” from other bards, but he certainly made
the piece his own when he performed.[7]"
So over the ages, as Homer's epics were retold by many a poets, the language of
the original author of the epics of Iliad and Odyssey must have been influenced
by all those who have participated in the process of poetry singing! At that
time it was customary for those who retold myths and legends in a form of
poetry to prove their expertise by adding up to the contents of the original
poem they learned fro their predecessors! That is how we get folklore today! A
conglomerate of authorships!
Moreover, Homeric tradition of poetry reciting has survived in the Slavic
cultures of today such as the Montenegrin "Guslari" or Macedonian
"Mourners", who at funerals retell an old poem presenting the life of
the deceased using the same old outline, but indenting the name and events from
the deceased life! We call it "Zheljanje" - "Жељање"!
South Slavic oral epic has long played a significant and controversial role in
Homeric studies. Milman Parry’s epochalstudies
of the traditional nature of Homeric verse in the 1920’sled him to consider the analogy of living oral epic from theformer Yugoslavia to explain what he
contended was also, andnecessarily,
an oral tradition in ancient Greece. To ground theanalogy in firsthand observation, Parry and Lord then traveled
to what is present-day Bosnia to collect and record performances by
twentieth-century Balkan bards, seeking to discover evidence of what they had
theorized by conducting a seriesof
experiments in the living laboratory of the South Slavic“guslari”.
There are a great many examples like this in the 1800
dictionary compiled by the German linguist Ludwig Franz Passoff on the basis of
the most ancient extant manuscripts of Homer’s Iliad. The English edition was
prepared by Henry George (New York, 1850).
Not knowing the Macedonian language, Passoff concentrated on
the most contrasting preserved words, unknown in Greek and Latin with the Czech
and Slovak languages of that time. So these words were identified, in fact, as
Slavic words. Hence, in my opinion the golden rule for analyzing a language is
the aforementioned Functional Etymology. Since the functional relations of
words are the fundamental building blocks of word forms, I name this rule the
‘GOLDEN RULE OF FUNCTIONAL ETYMOLOGY.’
The very meaning of Odissy is "to go" in
Macedonian, or "a journey" as it meant to Homer.
There are other words like:
daver, dever (brother in law);
When a young woman marries, the brother of her husband
(usually the youngest) becomes a ‘dever’. This is an ancient tradition done to
ensure that the young male is entrusted with the care of the family in case the
husband dies or is killed.
In such circumstances the youngest brother becomes the new
husband and takes over the family. This was necessary to protect the children
and keep accrued wealth and property within the same family. The meaning of the
word in Macedonian, according to functional etymology could be extracted as
follows: vera-verba-doverba-doveri-dever ‘to be entrusted’. This word belongs
to a large cluster of Macedonian words containing the root (-verba-).
In ancient Macedonian (1000 BC), according to Homer (p.305
L.L.) there is da-DAVER; dao(s), where the digama stands for/v/ and the word
means ‘brother in law’. In the word daver-daer we note the missing consonant
/v/ in inter vocalic position. This indicates that the rule of the speech
economy has been in force for a long time in the language. Dropping consonants
has been a rule quite often occurring in Macedonian as in the examples: to
private >to praoite; covekot ojde > coekon ojde, etc. Yet in Greek
‘brother in law’ ginaika delfos ‘ginaika delfoos’, could obviously not be
related to the Homeric daver-davero(s).”
( Odisej K. Belchevski, Pages 29, 30, 31 and 32, Number 503,
III 1995, Makedonija magazine).
bia,bie - bie,ubie - sfodros,ormitikos - to beat by force
dolicho - dolgo - makros - long
foinos - vino - krasi - wine
mortos - mrtov - nekros - dead
pricis - pretci - kovo - ancestors
______________________________________
The most intriguing of all the proto Slavic words found in
Homer's works are the words related to family names! These have survived in its
purest form in the modern Macedonian, probably because family ties stay most
intact from civilizational influences from outside! In other words, even though
Macedonia
was conquered and influenced by many cultures, which might have caused changes
in the language used by the indigenous population, it couldn't reach the
innermost circles of family ties, where the most sacred rituals were preserved,
and the most sacred titles remained:
Just to compare with modern day Greek, the word DEVER
meaning brother-in-law, can be found in the form: κουνίαδος, γαμπρός
(kouniados, gampros) which has nothing to do with DOVER as given in Homer's language!
While daughter-in-law = νύφη nyfi in modern Greek, nothing
to do with SNUKO or SNAJKA again!!!
Now, if we can find some words or even phrases like the
"family relations" I posted above in Homer's final product, that have
survived in modern Slavic languages, then we may say that one of the earliest
languages used in the Illiad was a form of proto-Slavic language!
Later on as it was transmitted orally by other people who
used other languages, Homer's epic might have suffered a drastic change, to
reach its final Greek form! Since the Slavic words have survived in the final
product than it is a BIG question how they got there?!?!
"We cannot draw conclusions from studying the Achaeans
and Trojan cultures alone, we need archeological evidence to corroborate our
theories. Based on cultural evidence alone, we can equally assume the Trojans
were a Slavic people. According to historian Alexander Donski, if one reads the
description of the customs practiced by Trojans as per Homer’s Iliad, without
knowing who the Trojans were, one would get the impression that they were the
modern Balkan Slavic peoples.
On a side note, many contemporary scholars today believe
that the ancient Pelasgi, the inhabitants of the GreekPeninsula,
before the classical Greeks, were proto-Slavic. Other ancient Balkan peoples
such as the Thracians, Paeonians, Dardanians, Veneti, Bryges, Illyrians,
Minoans and people from Asia Minor such as the Lydians, Phrygians, Mysians and
even Scythians and Sarmatians (Amazons) are also believed to be proto-Slavic
speaking people. Several factors have led scholars this conclusion, art,
customs, ancient relics with inscriptions of written languages, etc. Scholars
Vasil Ilyov, Sergei V. Rjabchikov, Prof. V. A. Chudinov, Matej Bor, Anthony
Ambrozic and others have deciphered many ancient scripts from Phrygian,
Venetic, Etruscan, Linear A, ancient Macedonian, Vincha, ancient Russian and
other sources with the use of contemporary Slavic languages. In fact a number
of so-called undecipherable scripts have now been deciphered and translated by
using the Slavic languages, something never seriously done before.
Why didn’t anyone think of using Slavic, the vast family of
languages of one of the largest nations on Earth? I believe because of
political reasons: communism and all the propaganda surrounding it, not to
mention the isolation the Slavic states suffered.
What is also interesting is that contemporary scholar Odisej
Belchevsky and others are now studying the language in which Homer wrote the
Iliad & Odyssey and are finding that it was written in a proto-Slavic
language, closely related to modern Macedonian dialects."
"South Slavic epic offers classicists an opportunity to
do what we cannot do with archaic Greek epic: attend an actual performance by
an oral epic singer. In a few minutes, thanks to the generosity of the Milman
Parry Collection at Harvard University and its curator, Stephen Mitchell, we
will be doing just that--listening to the beginning of an epic song performed
by the South Slavic guslar Salih Ugljanin, and then both watching and listening
to the 'greatest of singers' from that same tradition, Avdo Medjedovic. Perhaps
only appropriately, then, I will leave the last word to the guslari."
Then if we take all of this into consideration and suggest
that the oral tradition of "guslari", as well as the style of epic
poetry has remained in the South Slavic languages until modern times, just as
Homer did it in antiquity, and if we add the poem written by Grigor Prlichev,
the Macedonian writer who was born in 1830 and died in 1893 in Ohrid; (In
Athens in 1860, he won the highest prize for literature - The Laurel Wreath,
for his epic poem "The Sirdar", and was praised as the Second Homer.
The story is based on old Macedonian folk tales which honored Kuzman - the
Sirdar, as the leader of patriotic combat group and brave guardian of Christian
people against the Albanian gangs); then, we might conclude that the modern day
Macedonians are direct descendants of Homer and the culture he represented, or
better say the culture that existed before the Dorian tribes invaded the region
and took it over!!!
"But the son of Peleus again addressed with violent words the son of
Atreus, and in no way ceased from his wrath: HEAVY WITH WINE, with the face of
a dog but the heart of a deer, [225] never have you had courage to arm for
battle along with your people, or go forth to an ambush with the chiefs of the
Achaeans."
"Pêleïdês d' exautis* atartêrois* epeessin*
Atreïdên proseeipe, kai ou pô lêge choloio:
OINOBARES*, kunos* ommat' echôn*, kradiên* d' elaphoio*,
oute pot' es polemon** hama laôi thôrêchthênai*
oute lochon d' ienai sun aristêessin* Achaiôn
tetlêkas** thumôi: to de toi* kêr eidetai einai.
ê polu lôïon esti kata straton eurun Achaiôn."
As one can clearly see, the term OINOBARES corresponds with HEAVY WITH WINE!
OINOS of FOINOS (as also attested with the Liner B script from the Mycenaean)
was a term used in Homer's works for WINE. The term in use in Macedonian, as
well as in all Slavic languages, is VINO.
This allows us to pose the following equation:
FOINOS=OINOS=VINO
In modern Greek, the term used for the sacred drink of the Macedonians is, KRASI (κρασί).
"Wine was always diluted with water before drinking in a vase called
"kratiras," derived from the Greek word krasis, meaning the mixture
of wine and water. The word Krasi is now currently used in the Greek language
as the term for wine."
Do not misinterpret it with the notion that the term OINOS does not exist in modern Greek. IT does indeed, but its etymology shows that it was somehow misplaced in the Dimotiki spoken by the masses in post-Turkish times, at the time of the Independence for Greece, and was probably reintroduced into modern Greek via Katharevousa.
My question though, is how did all Slavic languages then receive the term VINO,
where from, and how come they managed to preserve the term, while only the
Greeks, who apparently created it, departed from it. Why?
"My hypotesis for the etymology of PHORKYS would most likely from a
Mycenaean or preclassical word, *FORKYS (not yet documented), "a large
kind of tunny or sea-monster, a big-crab, or any sea-monster". The letter
Digamma, or F, disappeared into the Greek classic, for example, FOINOS
(documented in Linear B and other ancient dialects) after, in the Greek Classic
is Oinos, 'wine'. "
Posted by Georgeos Díaz-Montexano (a hispano-american investigator on the
location of Atlantis).
This is yet another confirmation that FOINOS meant WINE in Homer's Iliad which
coincides with the Liner B! And it translates into VINO in Macedonian.
So if Linear B was a writing syllabic system originally designed for a non-Greek language, where the term FOINOS is first recorded, before entering the Homeric epics, and thus reaching the Doric dialects, of post-Tojan era, and if the term is still in use by all the Slavic languages, then we might assume that FOINOS, VINO is of Slavic origin.
As in the case with OINOS, which derives from FOINOS ,which can be easily
connected to VINO (F-V being a phonemic pair which is has been lost in OINOS),
similar to this there are words such as say, EIDON or IDEI which means TO SEE
or TO BEHOLD, in Homer's work that resemble VIDI, or VIDEN in modern day
Macedonian which means exactly the same, "to see, to behold"!
So EIDON, EIDEI, IDEI = VIDEN, VIDEJ, VIDE = TO SEE, TO BEHOLD
In modern Greek however the term for TO SEE or TO BEHOLD is:
Here is an extract from Homer's Iliad transcribed in Latin script:
"kai** min phônêsas** epea pteroenta* prosêuda:
tipt'* aut' aigiochoio Dios tekos* eilêlouthas**;
ê hina hubrin IDEI** Agamemnonos Atreïdao;
all' ek* toi ereô*, to de kai teleesthai* oïô: 205
hêis* huperopliêisi* tach' an* pote thumon olessêi."
"Then he addressed her with winged words, and said: Why now, daughter of
aegis-bearing Zeus, have you come? Is it so that you might SEE the arrogance of
Agamemnon, son of Atreus? One thing I will tell you, and I think this will be
brought to pass: through his own excessive pride shall he presently lose his
life."
Therefore, if we take into consideration the latest discoveries that point
at the fact that there were Slavic languages in the Balkans prior to the
supposed Slavic migrations, which is the subject matter of Venetology and many
other scientific branches, and if we take into consideration the fact that oral
tradition has survived, in very much similar form to the Homeric, in the
culture of the South Slavic people, then we might assume that Homer, or better
say the original singer of the epics, must have used a language that was of
proto-Slavic origin!
This language has been altered due to the influence of other languages mostly
the Doric and Ionic dialects, who cam later after Homer's time, and new words
entered the epic, however, some of the words from the first languages, that you
so well assume might have been the one spoken in Mycenae might be of proto-Slavic
substratum!
To this we add the discovery of Slavic language in the Demotic text of the
Rosetta stone and that makes the story complete!
Homer was of Slavic speaking group however created a poem that was orally
transmitted through generations, until it reached the Athenian Greeks who
recorded it as they received it from those before them with vocabulary from
various dialects or languages, however, preserved some of the words that were
used in the original ages before!
The fact that VIDI (Macedonian) corresponds with IDEO (Homer) and not with
modern Greek βλέπω (blepo), makes us all ask the question Who was Homer? What
language did he speak? Was he maybe a Slavic bard or "guslar"! Since
the "guslars" still exist and they still recite epic poetry, in a similar
manner as done in Homer's time, and transmit it orally from generation to
generation in the Slavic culture!
-Another interesting asset to the theory of
the Slavic character of Homer’s epics is the following example:
In Modern Greek the past tense of VLEPO is είδα (eída)!!! While in Homer's
it is not listed as past tense but INFINITIVE! TO SEE means EIDON in Homer's
Iliad, TO SEE is VLEPO in Modern Greek!
Therefore, there must have been a transformation that occurred over the ages! I
am not saying that the form EIDON was lost in modern Greek, I am merely
suggesting its similarity to VIDEN, VIDE, VIDOV, Slavic words, that exist in
all Slavic languages with the same root, and can be traced as far as Sanskrit
in VEDI, which means LIGHT or KNOWLEDGE!!!
Maybe the first authors of the Iliad, since it was orally transmitted before it
was written down in Classical times, used a form of the verb to SEE which was
of proto-Slavic origin or even Sanskrit!!!
The modern Greek being a fusion of Dimotiki and Katharevousa from the 19th
century might have taken the term as the form for past tense of the verb VLEPO,
similarly to the past tense form of the verb to GO in English which changes
into WENT.
Let me demonstrate it:
"The preterit, (or 'simple past tense') in no way etymologically relates
to GO, for WENT comes from WENDAN in Old English, which is also the source of
WEND."
"Theories concerning the origin of gone are discussed below."
Origin of ēode
Old English didn't have the preterite WENT in any form, instead using the word
"ēode", a word which has not left any trace in modern English in any
form"
The term for GO in Macedonian is surprisingly "ODI"!!!
"The root itself, ēo, came from the unattested Proto-Germanic *ijjôm. The
Gothic form of this root is iddja, but this form hasn't produced any other
attested root words in the other Germanic languages."
So IDDJA or IDAM is also another form of ODAM (to go), in most of the Slavic
languages! ODI SI means GO AWAY!
Now I am surprised what ODYSSEY means at all!!!
Let us check: (Merriam Webster Dictionary)
Odyssey
Etymology: the Odyssey, epic poem attributed to Homer recounting the long
wanderings of Odysseus
1 : a long wandering or voyage usually marked by many changes of fortune
2 : an intellectual or spiritual wandering or quest
So my question is the following: if "ODI SI" means GO AWAY even today
in Macedonian, and the form of GONE comes from an older proto-German word
"ēode" which is not in use in English as such today, however has
transformed into GONE, then if we have "Odyssey" in Homer that means
a "journey" or "GOING AWAY", isn't it logical to say that
the word is of Slavic or proto-Slavic origin that has entered the Greek, German
and other languages since the Slavic linguistic element is one of the primary
in the Indo-European linguistic substratum, and has been best preserved into
modern day Macedonian language! This curiously makes Macedonian language one of
the oldest languages in Europe, a language
that supposedly the first authors of the epic Odyssey were using! Maybe the one
used with Linear B in the Mycenaean epoch!?!
In other words, Homer's Odyssey which means a JOURNEY means the same in modern
day Macedonian!
While say JOURNEY in modern Greek is:
journey = ταξίδι (taxidi)
and TO GO is:
go = πηγαίνω (pigaino)
while to WALK is:
walk = περπατώ, περίπατος (perpato, peripatos)
No trace of ODISI or ODYSSEY or EODE or any Indo-European form of the word in
the Modern Greek! While everyone knows that Odyssey meant JOURNEY in Homer's
time!
So my question is the following: if "ODI SI" means GO AWAY even today in Macedonian, and the form of GONE comes from an older proto-German word "ēode" which is not in use in English as such today
What is a proto-German language??? I've never heard of it. And I've never heard of that 'ēode' form. Could you tell me what your source is?
Exactly Flipper! And I didn't deny that the term OINOS exists in modern Greek! However, it is in secondary use to the term KRASI!!!
It indicates that the term OINOS reentered the modern Greek language after the intervention with the Katharevousa. Should I explain that better?
You say that based on what Stefov says? Cause I guess you don't speak Greek to make such a conclution. Please, whenever you cross the border, enter a liquer store and pick any bottle of wine you want. Tell me how many times you will see Οίνος and how many times you will see Κρασί.
To all the others...I guess you can find a Greek wine in your countries stores. Just for this case, have a look on the bottles and let me know what word you will see.
"The Ancient Greeks loved to organize intellectual
gatherings called "symposia"
where they would eat and talk about predetermined philosophical
subjects while drinking wine. While moderation was strictly adhered
to, the Greeks would utilize the beneficial effects of wine to help
achieve greater intellectual clarity and spiritual awareness. Wine
was always diluted with water before drinking in a vase called "kratiras,"
derived from the Greek word krasis, meaning the mixture of wine
and water. The word Krasi is now currently used in the Greek language
as the term for wine."
"The Ancient Greeks loved to organize intellectual
gatherings called "symposia"
where they would eat and talk about predetermined philosophical
subjects while drinking wine. While moderation was strictly adhered
to, the Greeks would utilize the beneficial effects of wine to help
achieve greater intellectual clarity and spiritual awareness. Wine
was always diluted with water before drinking in a vase called "kratiras,"
derived from the Greek word krasis, meaning the mixture of wine
and water. The word Krasi is now currently used in the Greek language
as the term for wine."
Well, i guess that statement is partially correct. We use both (like many other words), not just krasi and I have already demonstrated that to you. No point going in circles unless you believe the pictures i posted are fake. I guess as a native speaker i know much more than any author of a foreign site.
Why not use http://babelfish.yahoo.com/ and try writting the word to see what you get?
There are several denotations regarding the use of the term OINOS in ancient Greece.
1) The Liddell and Scott Greek-English
Lexicon of classical Greek defines oinos as
‘the fermented juice of the grape.’
Interestingly, classical Greek apparently used oinos as
a functional equivalent for ‘fermented juice,’
as Liddell and Scott note . . ."
In the light of such a categorical
claim, it is important to ascertain if indeed it is true
that in classical Greek oinos meant only fermented
grape juice. If this claim can be shown to be
untrue—by submitting literary examples where
oinos refers also to unfermented grape
juice—then it is certainly possible that the same
dual meaning of oinos is present also in the New
Testament and in the Greek translation of the Old
Testament, known as the Septuagint
2) In the light of such a categorical
claim, it is important to ascertain if indeed it is true
that in classical Greek oinos meant only fermented
grape juice. If this claim can be shown to be
untrue—by submitting literary examples where
oinos refers also to unfermented grape
juice—then it is certainly possible that the same
dual meaning of oinos is present also in the New
Testament and in the Greek translation of the Old
Testament, known as the Septuagint
3) Athenaeus, the Grammarian (about
A.D. 200), explains in his Banquet that "the
Mityleneans have a sweet wine [glukon oinon], what
they called prodromos, and others call it
protropos."
4) Oinos as Pressed
Grape Juice. In several texts the freshly squeezed
juice of the grape is denominated oinos
"wine."
5) The above sampling of texts, from
both secular and religious authors, makes it abundantly
clear that the Greek word oinos, like the Latin vinum
and the English wine, was used as a generic term
to refer either to fermented or unfermented grape juice.
Now, having all of this in mind, as well as the fact that the term FOINOS was first recognized in Linear B as confirmed in the following extract:
"My hypotesis for the etymology of PHORKYS would
most likely from a Mycenaean or preclassical word, *FORKYS (not yet
documented), "a large kind of tunny or sea-monster, a big-crab, or any
sea-monster". The letter Digamma, or F, disappeared into the Greek
classic, for example, FOINOS (documented in Linear B and other ancient
dialects) after, in the Greek Classic is Oinos, 'wine'. "
Posted by Georgeos Díaz-Montexano (a hispano-american investigator on the location of Atlantis).
So if the letter F disappeared in classical Greek to get OINOS, and the term FOINOS which is of much older use in the Mycenaean language, when compared to VINO (F-V voiceless and voiced complementary phonemes), then the assumption that the term FOINOS is closer to the Macedonian VINO is inevitable.
The fact that the term Krasi is in primary use in modern Greek as a term denoting Wine, makes it even more ambiguous to understand why the modern Greek has not preserved the original OINOS or FOINOS, where in modern day Macedonian, and other Slavic languages, it has preserved the W/V sounding as well as more or less the same form of the term!
Maybe because the term OINOS derived from FOINOS which is closer to VINO, and very much distant from KRASI, GLUKOS, PRODROMOS...
L. vinum "wine," from PIE *win-o-, from an Italic noun related to words for "wine" in Gk. (oinos), Armenian, Hittite
As for FOINOS...Linear B is a syllabic system, which means that they couldn't write just OI but they had to use a syllable. They didn't say FOINOS, as the didn't say qippos nor Alekusadara nor Wanax.
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