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| First Glyph Words |
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Posted by: don of tallahassee - 20-02-2016, 05:09 PM - Forum: Analysis of the text
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Hello folks.
I thought I'd offer something different...a glyph word story.
It may not mean anything to you. Maybe it will. You decide. Maybe it is just a story.
First Glyph Words
Here's how to read your first words in the Voynich Manuscript in the glyph text.
Not deconstruct - read.
There aren't many that read rather than deconstruct.
Turn to folio 16r. Look at the second line of text.
The EVA = ychykchy glyphs at the start of the line, do you see them?
Good.
They read, in English, hshesh (with a long e). That's how hashish is still, after a thousand years, sounded in some areas of the world.
Look at the plant image on the page.
That's a pot plant.
And there aren't many likelier repeated words to be expected on a page with an image of a pot plant with the same glyph/letter/sound at both ends and in the middle - and another glyph/letter/sound, the EVA = ch, sounded as s, in exactly the two expected places.
Okay, you say, you don't believe it.
Wait a minute...repeated?
Go to the last glyphs at the end of the third line from the end in the third paragraph on the page.
They're the same glyphs in line 2 of the first paragraph.
It's hshesh, again.
Now you have read your second word in the VMS.
Those of you that can do such things with your magic computer gizmos report back how many times this combination of glyphs in this order are repeated in the VMS, please.
I don't know, but don't think it is very many.
Look at the plant image again. Go find or email anyone you know that has ever grown pot and ask that person what the image of the plant on You are not allowed to view links. Register or Login to view. is.
They'll tell you,
"That's a pot plant."
Now you've read the word twice and you've looked at the plant image twice or thrice and you say, no, you're still not convinced.
Okay.
On the next to last line on the page, the first glyphs read EVA = dychokchy shcthy.
This is where I ask you to bear with me for a bit. I think the EVA = o glyph should have a downstroke to make it into an EVA = y glyph. This is possibly because the downstroke was omitted through scribal error or because the author didn't want the same obvious progression of glyphs found at three places on such a brief page.
Whatever.
If you will allow me this small addition, the text reads ahshesh i(ng)h (with a long e). (I think the EVA = y at the end of the second word makes the glyph before it have a long sound so maybe the EVA = shcthy is sounded as ieen rather than the normal i(ng)h).
This word may be a Fifteenth Century phonetic equivalent of ahashishieen (assassins in modern English) - the fanatic followers of The Old Man of the Mountain in Syria from the early Crusader stories brought back by returning Crusaders and also later in Marco Polo's travelogue in the Thirteenth Century. They reportedly (and arguably) got their name from being hashish eaters, the meaning of ahashisheen.
That's your third word.
That's enough. I've strained your credulity enough for one day.
Go read two or three of the Old Man of the Mountain stories. Some go way, way back. Read Marco Polo's account. And/or the Bishop of Acre's.
You have read your first glyph words.
That's the end of my little story for today.
I hope you liked it.
It's a true story.
Thank you.
Don of Tallahassee
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| Proof for [i] and [n] equivalence? |
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Posted by: Emma May Smith - 18-02-2016, 11:20 PM - Forum: Analysis of the text
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Many people who have studied the text of the Voynich Manuscript have come to see the character [n] as not different or independent from [i]. Either it they see it as simply a final variant or they see [in], [iin], and [iiin] as single characters. I'm slowly believing that one of these is likely to be true.
But how can we prove that this is the case? The three bits of evidence I would put forward are:
1) the strong link between [i] sequences and [n]: over 90% of [i] are followed by another [i] or [n], and something like 97% of [n] are preceded by [i]; and
2) [i] and [n] have complementary distribution at the end of words: [i] is practically never word final while [n] is practically always word final; and
2) both [i] and [n] greatly prefer following [a] than [o]: the ratio is 20:1 and 25:1 respectively.
What else could we say to strengthen the case, and what would prove it?
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| The Golden Key |
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Posted by: R. Sale - 17-02-2016, 08:31 PM - Forum: Analysis of the text
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The Golden Key is a text segment located in the outer text ring of White Aries. If the investigation of correspondence between traditional heraldic patterns and the designs of the tubs in the VMs Zodiac continues to its historical grounding, then it is clear that the pope has two keys and this is the one that is golden. The pair of Stolfi's markers, in the textual bands, have essentially been given a sort of sacred validation.
So in addition to being highly recommended by the internal workings of the Zodiac illustrations, the text found in the segment has some unusual characteristics. In a way, keeping with the multiple examples of pairing in the astrological medallions of the first five houses, and with numerous paired, heraldic examples, this text also has multiple examples of double and triple word repetition. Something that is unique in all VMs Zodiac text segments.
Secondly, there is a decided preference in this segment for words that start with the EVA letter "o". And this is the same letter generally conceded to be first in the seventeen symbol sequence from f57v.
And third, the words from the Golden Key text segment use a very limited selection of symbols that come from the seventeen symbol sequence almost exclusively.
Positional confirmation is found in VMs heraldry. It is used in the seventeen symbol sequence. Positional confirmation is objective, where illustrative interpretations are subjective. So I expect position to be significant in the process of interpretation for this VMs text segment.
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| Dragons, Dogs & Amadillos? |
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Posted by: VViews - 14-02-2016, 10:34 PM - Forum: Imagery
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Hi everyone,
Warning: Poorly researched post ahead! This thread would greatly benefit from the input of someone with proficiency in Serbian or in Balkan history.
This came up originally because of the "armadillo" on f80v, but I was hesitant to post about it. I made a quick note about it on S.Bax's site, but that was even more poorly researched.
Finally I decided to post this here after reading JuergenW's paper and its discussion, as it might bring an interesting angle, and maybe, just maybe, might point towards an interchangeability of dragons and dogs in certain contexts.
So: Dragons, armadillos, or... armored dogs?
Apparently there is a medieval tradition of armored dogs used in battle.
In Serbia, these dogs were called zmaj, which is also the word for dragon. The dog breeders who trained and kept these military dogs were called zmajari (dragoneers).
My dubious source for this is here, and I don't know what the poster is quoting from: You are not allowed to view links. Register or Login to view.
Apparently these armored dogs appear elsewhere in Europe too, although I can't find any link to dragons there:
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| The Voynich Manuscript is a cipher because...? |
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Posted by: Emma May Smith - 12-02-2016, 09:17 PM - Forum: Analysis of the text
- Replies (52)
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I'm curious to know what the best arguments are for the Voynich manuscript being a cipher.
I'm specifically interested in the thoughts of those who believe in a cryptological solution. What made you follow this path? What do you consider strong evidence for it?
I'm most wanting the positive arguments rather than the negative ones: why it is a cipher rather than why it isn't one of the alternative solutions.
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| The containers in the Pharma section |
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Posted by: ReneZ - 12-02-2016, 06:29 PM - Forum: Imagery
- Replies (181)
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Somewhere else in this forum I suggested that the 'simple' containers in the pharma section (3 bifolios in quires 15 and 19) look as if they could be made of wood. This could also be true for the more elaborate ones, but let's look at the simpler ones first.
These are found on the two bifolios of quire 19, up to and including f102 recto. On f102 verso the more elaborate containers start, which are then continued on the earlier bifolio in quire 15.
They look like 'open' containers that could also have a lid, and only one of them seems to have a lid, though this is far from certain from the drawings.
Typical "open" container on f99r:
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Perhaps only closed one on f100r:
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The following page (in German, with pictures) gives some real examples from our time frame of interest:
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This page tries to sell medieval-like containers and the point is that the modern 'replicas' (shown in the upper left corner) are accurate, as based on old receords and old finds. The picture in the right margin shows original examples found in East Germany.
Some of the text on the page is of interest. It says (among others):
Wooden boxes, at home and in the kitchen (11th - 15th Century).
Wooden objects found many different applications in the middle ages, and were manufactured in several different ways. (I would like to highlight: by turning).
Their shapes remained largely unchanged over several centuries.
Examples.
The larger container was based on finds in Brandenburg (i.e. East Germany) around the 10th-11th Century. Illustrations and finds of containers created and decorated in similar ways may be found up into the 15th Century.
The smaller containers were based on finds in the Augustine monastery of Contance. Also these are attested in similar forms until after 1500.
Often, these containers are shown (drawn) in connection with pharmacies, ointment containers of Saints, or for conservation of herbs and spices.
(end of summarised translation).
The bit I don't understand is about the ointment of/for Saints....
There are some sources listed under 'Quellen' which seem to be manuscripts with relevant illustrations. I have not seen any of them.
They should be of interest.
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