Lament from the Sea, New Method! f2r

[stellar]

Looking over the Rainbow and hallucinating.  I guess you believe the Voynich is in German too.

Don't put words in my mouth, stellar, it's a childish and petulant way to respond. I have never said nor implied that I think the Voynich is in German. I've made it quite clear that I am 65% in the constructed-language camp and I have said that if it is a natural language, it bears more resemblance to Turkic and Asian languages than western European languages in the way the parts are put together.


Stellar wrote: ...and you imply I have not worked hard at this or that its really not my realm.

Stellar, I'm not implying it, I'm saying it. Every comment you have made on this forum regarding medieval languages and paleography indicates that you don't know much or anything about them and that you don't look beyond the first thing you find that resembles something you might be able to use to support your assertions. To make progress, you have to learn to let go of things that aren't working.

I think you DO work hard, but you stubbornly pursue avenues that are built on assumptions. It's work, but it's not productive research. It's theory-building, not data collection. There's a big difference.


The character you posted is typical for its time. Most of Europe, from Scotland to Italy, wrote in Gothic cursive in the 15th century.


Addendum: I grabbed some quick examples from my database to compare to the letters you posted. Most of these are early and mid-15th century. They are from nine different countries, which illustrates how widespread a specific style of writing could be, even in the middle ages when travel was difficult. They also show that the examples you posted are not unique, nor are they especially similar to one another when compared to these additional samples:



Stellar, I hope you were not basing your "hunch" that the text is Middle English because of a perceived similarity between the VMS glyph and the Chaucerian glyph.

Sorry JkP thanks for that and I will keep it, however each is unique to the Author of course and I see the hand of Chaucer in the Voynich, but I do agree only that the language is 100% constructed.  I'm light years ahead of you and I know what I see!

The Astrology Series not the Zodiac JKP, contains french words and Chaucer was extremely well versed in French!


The development of his genius has been attractively summed up as comprised in three stages, French, Italian and English, and there is a rough approximation to the truth in this formula, since his earliest poems are translated from the French or based on French models, and the two great works of his middle period are borrowed from the Italian, while his latest stories have no such obvious and direct originals and in their humour and freedom anticipate the typically English temper of Henry Fielding. But Chaucer's indebtedness to French poetry was no passing phase. For various reasons — a not very remote French origin of his own family may be one of them — he was in no way interested in older English literature or in the work of his English contemporaries, save possibly that of "the moral You are not allowed to view links. Register or Login to view.." On the other hand he knew the Roman de la rose as modern English poets know Shakespeare, and the full extent of his debt to his French contemporaries, not merely in 1369, but in 1385 and in 1393 (the dates are approximate), is only gradually being discovered. 

If Chaucer felt this himself he must have been speedily consoled by achieving in Troilus and Criseyde his greatest artistic triumph. Warned by his failure in Anelida and Arcyte, he was content this time to take his plot unaltered from the Filostrato, and to follow Boccaccio step by step through the poem. But he did not follow him as a mere translator. He had done his duty manfully for the saints "of other holinesse" in Cecyle, Grisilde and Constance, whom he was forbidden by the rules of the game to clothe with complete flesh and blood. In this great love-story there were no such restrictions, and the characters which Boccaccio's treatment left thin and conventional became in Chaucer's hands convincingly human. No other English poem is so instinct with the glory and tragedy of youth, and in the details of the story Chaucer's gifts of vivid colouring, of humour and pity, are all at their highest.
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Well I believe that this glyph will tell us something in the future about paleography ownership of the VMS's True Author.