| Welcome, Guest |
You have to register before you can post on our site.
|
|
|
| Proposition intuitive. |
|
Posted by: Keriast - 30-04-2025, 06:11 AM - Forum: Theories & Solutions
- Replies (4)
|
 |
Une idée fugace sur le manuscrit de Voynich, posée là.
Pas une théorie béton, juste une sensation qui m’a traversé.
Et si ce bouquin… n’était pas fait pour être "lu", ni traduit, mais juste ressenti ?
J’ai repensé à ce que je ressens parfois quand je fais une petite création perso :
la feuille entière prend un sens, même les trucs involontaires — une tache, une pliure, l’odeur du papier…
Et ça m’a frappé : et si le Voynich, c’était pareil ?
Pas un langage avec des règles, mais une espèce de langage émotionnel, où chaque mot serait comme un son intérieur, une humeur.
Les lettres qui changent dans les mots, ce serait pas des erreurs ou des codes, mais des modulations sensibles : intensité, nuance, tension, douceur…
Les dessins aussi : ils font un peu test de Rorschach. Tu les regardes, et tu projettes quelque chose sans que ce soit clairement défini.
Ils t’orientent vers une émotion, une ambiance. Comme si le sens venait de toi, pas du livre.
Et tout ça, mis ensemble, ferait un truc presque synesthésique :
une lecture qui n’est pas dans les mots, mais dans les ressentis.
Comme une partition mentale que chacun joue différemment.
Et c’est peut-être pour ça qu’on n’arrive pas à le reproduire, ni à le décrypter.
Parce qu’il n’existe qu’à l’instant de sa création, à travers la personne qui l’a écrit, dans son état d’âme du moment.
C’est pas un message universel. C’est un instant unique, devenu objet.
Voilà. Une intuition, sans prétention.
Je la balance là comme elle m’est venue.
Bonne journée à tous.
|
|
|
| Linguistic Patterns Before Decipherment: A Key to Understanding Unknown Texts |
|
Posted by: Urtx13 - 29-04-2025, 12:32 AM - Forum: Analysis of the text
- Replies (32)
|
|
One of the significant challenges in working with unknown or undeciphered manuscripts, such as the VMS, is the temptation to immediately “decode” them by matching words, tokens, or glyphs to a known language through direct translation attempts.
However, I would like to reflect on the history of linguistic and philological studies. One lesson stands out clearly: understanding the internal structure of a language often precedes and enables successful translation, rather than being a consequence of it.
(This principle is not only historical but also literary)
I like the example of J.R.R. Tolkien: when he created his Elvish languages (Quenya, Sindarin, etc.), he built them from the inside out. Tolkien first designed phonological patterns, rhythms, internal grammars, and aesthetic structures before assigning stable translations to words. He understood that a credible language must have internal consistency and recognizable patterns, even if its dictionary is initially unknown. Without internal structure, a language feels artificial and cannot sustain meaning over time.
Similarly, even modern English, which seems globally dominant, will eventually fragment if left unchecked for a long time. Its internal rhythms, syntax, and patterns of use (formal, informal, poetic, administrative) will be essential clues for future scholars attempting to reconstruct it, should direct transmission of meaning be lost. Globalization has slowed geographic divergence, but internal linguistic evolution is unstoppable, just as Latin diversified into the Romance languages over centuries.
Why is this important for the VMS?
Because even without a direct decipherment, identifying structural patterns — whether in vocabulary frequency, thematic clustering, or phase-based rhythms — can offer us a way to understand how the text was composed. It can reveal whether it behaves like natural language, liturgical formula, mnemonic code, or something entirely different.
Just like Tolkien’s Elvish languages were immediately recognizable as coherent systems (even without knowing what every word meant), the Voynich Manuscript might reveal its internal organization independently of translation. Recognizing these structures is not just speculative: it follows the path historically used to decipher other ancient texts.
In short:
Suppose we can detect rhythm, structure, and phases in the Voynich Manuscript, even without complete translation. In that case, we are engaging with it in the most historically grounded and linguistically rigorous way possible.
What are your thoughts?
|
|
|
|
| Handwriting of the Codex Seraphinianus |
|
Posted by: RadioFM - 28-04-2025, 04:17 PM - Forum: Codicology and Paleography
- Replies (5)
|
 |
Has anybody with some expertise on the matter ever taken a look at the handwriting and calligraphy of the Codex Seraphinianus and analyzed it?
That kind of analysis has been done on the VMS, describing some of the handwriting as slanted and fast/fluid (at least w/ some hands) AFAIK, which has had some impact on the cipher question IMO.
I'd love to hear your (all) thoughts on the hwriting of the C.S., either as a whole or how it evolves over the pages.
I know this is not medievalia, but it seemed the proper subforum to post in given the common theme of handwriting style underlying the question. Feel free to move it mods
|
|
|
|
| "Abnormal" words |
|
Posted by: stopsquark - 28-04-2025, 08:16 AM - Forum: Analysis of the text
- Replies (20)
|
|
While I'm aware that we don't know what the grammatical rules are for Voynichese, we have some general sense of how common certain character combinations are- for instance, a minim sequence is almost never found at the start of a word, consecutive benched gallows are fairly uncommon, etc. I'm curious about how many words we can find that apparently violate the conventions of the system.
One that I can think of off the top of my head- in the Rosettes map on You are not allowed to view links. Register or Login to view. , the center of the upper-leftmost path contains the word "ddssSex" in EVA. This is one of very few places in the MS that we see an x, a doubled s, OR a doubled d. What other rare word-forms like this exist? Bonus points if they're robust to transcription choices- i.e., if no matter how you interpret ambiguous letterforms, the words incorporate characters or strings that are uncommon.
|
|
|
|
|
![[Image: Rule-of-St-Benedict-script-Beneventan-Mo....jpg?w=300]](https://cdn.britannica.com/17/131917-004-7FEFFE11/Rule-of-St-Benedict-script-Beneventan-Montecassino.jpg?w=300)
