The Voynich Ninja

(22-07-2025, 09:24 PM)tavie Wrote: You are not allowed to view links. Register or Login to view.But there is a descender going down into the next line. It kind of looks as if the scribe did the descender for a q then changed their mind and wrote an o over it.

Interestingly, if it is a EVA O, it's noticeably larger than the normal EVA O. And there is another EVA O here that is also unusually large (and has a tiny loop inside?), it starts line 3 of the same folio, both O's are roughly the same size:

[attachment=11061]

If anyone has something to add on this topic, I also think it makes sense to split the thread.

EVA’s Collapse of the Harmonic Glyphs — Humoral Structure Confirmed
I’ve now logged all paragraph starters across the plant folios, and the pattern is absolutely consistent: the tonal glyphs that begin each paragraph correspond directly to the classical humors.
There are five tone glyphs involved:

• k = Mars, Choleric
  
• p = Jupiter, Sanguine
  
• t = Saturn, Melancholic
  
• q = Venus, Phlegmatic
  
• f = Divine origin, Fertility or cosmic generation
  

Every paragraph opens with one of these. The structure is deliberate, visible, and matches the traditional medical framework exactly. It’s the foundation for the entire plant section. The tones define the type of ritual and the body-state or energetic field being targeted.
But here’s the problem: EVA ruins this completely.
EVA groups these tone glyphs into upper and lower case letters based on how high or low the crossbar sits. A glyph with one bar is called “t”; with two bars, it becomes “T”. Same for p/P, k/K, f/F. The assumption behind this was that it’s a language and these are letters with case.
But it’s not a language. There is no case. These are not letters.
They’re symbolic tones. And the differences between them are functional. A second crossbar isn’t stylistic — it likely represents a modal shift, a subharmonic gate, or a deeper ritual anchor. The forms with two bars are not the same glyphs. EVA’s system collapses them into one transcription and hides the difference under the false idea of capitalisation.
So I’m now classifying them properly. For example:

• t = standard Saturn tone
  
• t+ = variant with an additional lower bar, functionally distinct
  
• same applies for the others
  

EVA’s handling of these glyphs has actively suppressed the tonal structure of the manuscript for decades. It flattened distinct forms into a typographic shortcut and destroyed the functional reading of the tone system.

Full data sheets, images and logs will be added to the public folder soon.

So not only did the EVA collapse the second layer of the harmonic glyphs ftpk which are now distinct by adding a + to them, it also compressed a version of c into an s when they are clearly different. So many errors in here have to transcribe it again myself. 
c is the vessel/world soul and the c'  that was hidden as an s is   Nous, the divine intellect, another layer of the onion just revealed itself.
I love this book, really it's absolutely incredible and I've loved every moment of this puzzle.

[b]The Evolution of c, cc, and Reclassification of y: A Manual Reconciliation of Form and Function in the Voynich Manuscript[/b]
This evolution began a few days ago with Nous — a distinctive elevated glyph resembling the number 2. In the EVA this had been classified as the pairing sh but the s was clearly distinct from the standalone s. After using image enhancement software to clean and isolate the shapes on high-resolution scans, it became clear that the ‘2’-shaped glyph was positioned more directly above the second ‘c’ in the pair. This realization suggested that it was not a variant of a single glyph, but rather a deliberate marking above a two-glyph bridge: a compound symbol indicating a layered structure of meaning. This was the first step that triggered the re-evaluation and understanding of multiple glyphs.
[b]1. Manual Blackout and Glyph Isolation[/b]
A systematic blackout process was applied. Spiritus, tones, Subject, Vital Fluid, and known alchemical stages were all visually masked across working transcriptions of folios like You are not allowed to view links. Register or Login to view. and f1v. What remained were uncertain or inconsistently interpreted glyphs, especially those resembling ‘s’, ‘c’, or ‘y’. Upon manual overlay and scrutiny, inconsistencies in form became obvious — particularly among glyphs previously labeled as ‘s’.
[b]2. Paired c and Bridged Glyphs[/b]
The repeated ‘ch’ glyph pair was reevaluated. These always occurred as a tightly bridged pair of c-shaped glyphs — best described as ‘cc’ with a bar — and often contained a tone glyph (k+, t, etc.) placed in between. It became evident these were not arbitrary glyph collisions but fixed symbolic structures.
From this analysis, three distinct forms emerged:

• cc
  (bridged with no tone): World Soul and Subject as a sealed pair
  
• cc
  (bridged with tone): World Soul and Subject under harmonic influence
  
• c2c
  (symbolic ‘c2h’): World Soul + Subject under Nous — the elevated ‘2’ symbol signifying Divine Intellect presiding above the pair
  

This sequence came [i]before[/i] the reanalysis of the single glyph forms, and established the first major correction: that cc-bridges are not composites, but symbolic units.
[b]3. c and y: Resolving Shape and Function[/b]
Once the cc and c2c structures were defined, attention returned to the basic c-form, understood as EVA ‘e’. It maxes at four in any block — an alchemical quantifier. However, another shape persisted: a tailed ‘c’ resembling a backward ‘s’ or fishhook — traditionally rendered as ‘y’.
If tone glyphs are visually distinct and not derived from ‘c’, then why would a tone share ‘c’s exact structure with a slight tail modification? The answer: it wouldn’t. The glyph known as ‘y’ must belong to the same category as ‘c’ — meaning it is not harmonic, but alchemical.
[b]4. y Reclassified as Alchemical Phase Marker[/b]
The reclassification followed:

• c
  = alchemical stage (Nigredo, Albedo, etc.)
  
• y
  = alchemical [i]phase[/i] marker — not a quantifier but a bracket for ritual transition
  

The function of ‘y’ is now determined by its position:

• Initial = [b]Initiation[/b] — alchemy begins
  
• Medial = [b]Conjunction[/b] — merging or transition
  
• Terminal = [b]Fixation[/b] — the process concludes and is sealed
  
• yy
  = [b]Double Fixation[/b] — an amplified or reinforced closure (e.g. heading block
  ytchodyy
  )
  

This glyph shares the base form of ‘c’, has a backward tail, and never initiates tone, Spiritus, or Fluid. It interacts with the Subject and alchemical stages rather than energetic forces — reinforcing its new classification.
[b]5. Causal Chain of Discoveries[/b]
The full sequence of insight was as follows:

• Nous (‘2’ above bridge) was clarified through image enhancement — it belongs above the second glyph of the cc bridge
  
• Misclassified ‘s’ forms triggered scrutiny of lone and paired ‘c’ glyphs
  
• Regularly bridged cc units with and without tones confirmed fixed ritual structures
  
• Nous above the bridge (c2c) introduced a trinitarian harmonic model: World Soul + Subject + Intellect
  
• The backward-tailed ‘c’ (y) matched neither tone glyphs nor procedural ones, but tracked alchemical sequencing
  
• Functional tests showed that ‘y’ was a procedural bracket, not a tone or transformation agent
  
• Frequency and block placement confirmed its roles as Initiation, Conjunction, and Fixation
  

[b]Conclusion[/b]
This reanalysis did not complicate the code — it clarified and condensed it. The following are now fully resolved:

• c
  = single-stage alchemical glyph (EVA ‘e’)
  
• cc
  = World Soul + Subject (bridged)
  
• c2c
  = World Soul + Subject + Nous
  
• y
  = Alchemical Phase Marker: Initiation, Conjunction, or Fixation
  

These refinements bring structural order to previously inconsistent interpretations and restore glyph shape, function, and ritual role to a coherent symbolic logic. I'm currently updating all previously decoded folios, a new spreadsheet will be added to the main folder with the full updated transcription for the entire manuscript replacing the old EVA. Updated Key =  You are not allowed to view links. Register or Login to view.

More analysis and info that the updated EVA has revealed,  the “moon” glyph has been updated to Lunar Potency — this clarified its role and organised the day counts.
The 8 harmonic glyphs p,t,k,f,o,d,l,g map directly to Dante’s celestial circle — their shapes are drawn from the paths taken through the elemental and planetary spheres in Paradiso. Once that connection was made, it was possible to label each with its correct mode, upper or plagal, matching the movement of each tone in the ritual space.
Folio f1r has now been fully revised. The folder contains:

• The full 144-day schedule
  
• All the data spreadsheets
  
• And its overall explanation:
  

Folio You are not allowed to view links. Register or Login to view. serves as the harmonic blueprint for the entire system — the foundation score against which plant folios are calibrated. The four-paragraph progression ensures the sap is first archetypally generated, then practically applied, rhythmically modulated, and finally sealed into an enduring form. Lunar potency follows a deliberate tide across this arc: light in P1 for calibration, held in reserve during P2, saturating in P3 to anchor transformation, and tapering in P4 for closure. This curve mirrors the harmonic wave’s progression from ignition-heavy upper modes to terminal locks, while the red-ink gallows in P2 and P3 mark intensified “fire” phases. Together, tone, lunar force, and chromatic cues make You are not allowed to view links. Register or Login to view. both the operational template and precise timekeeper for all subsequent folios.

Other folios being updated daily
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Still working steadily on the decode in spare time (farm & rescue first as always).
Quick note: I’ve clarified one point. The glyph i isn’t just “canonical hours” as I first thought — the data shows it’s really encoding harmonic ratios (the old Pythagorean intervals):

• i = unison (1:1)
  
• ii = octave (2:1)
  
• iii = fifth (3:2)
  
• iiii = fourth (4:3, only before sunset)
  

So instead of reading “Spiritus for two hours before sunset,” the correct sense is “Spiritus carried across the octave, closing at sunset.”
This doesn’t overturn anything — it actually tightens the system. Carriers, tones, and cadences are the same; now we know the i-runs are harmonic measures, not clock hours.
No big “update,” just a refinement that brings the manuscript even closer to the musica universalis framework.

All spreadsheets being updated to reflect the change.........again!

Update on Code -  Folio 1r revision
Over the last day or so, the code has undergone an important refinement. What I had originally identified as canonical hours are now confirmed to be intervals and ratios — harmonic measures (unison, octave, fifth, fourth) rather than hours of the day.
Applying this updated framework back onto Folio 1r has clarified its role beyond any doubt. You are not allowed to view links. Register or Login to view. is not a plant folio or a practical instruction page, but a constitutional charter for the entire manuscript. Its 144 days are divided across four paragraphs (23, 22, 64, 35), each acting as a movement in a larger theurgic cycle. Every line/block follows the same operational order: Reset → Tone → Fluid → Interval → Cadence.
The harmonic spine of the page is carried in the title lines, which progress i → i → iii → ii (unison → unison → fifth → octave). This provides the structural arc:
Paragraph 1: Extraction, sealed by Unison.
Paragraph 2: Transition, anchored again by Unison.
Paragraph 3: Transformation, marked by the Fifth and volatilisation.
Paragraph 4: Resolution, closed in the Octave.


The paragraph emblems reinforce this: faint closure seal, vessel ignition, vapour volatilisation, and final silence.
What emerges is a theurgic constitution: You are not allowed to view links. Register or Login to view. establishes the universal rulebook of how fluids, tones, intervals, and cadences must interact. Later folios instantiate this framework in specific domains, but this page is the master charter.


Google drive being updated as and when I have time
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