07-08-2020, 03:45 PM
(This post was last modified: 07-08-2020, 03:53 PM by Mark Knowles.)
(07-08-2020, 03:02 PM)Pepper wrote: You are not allowed to view links. Register or Login to view.Indeed. From what I understand so far, the Ardics have the following degrees of freedom:
1. The author used multiple dialects, so a word can be translated into any of half a dozen forms
2. One glyph can have 7+ sounds assigned to it
3. The author used "poetic" language that is "rhythmically matching" along with some kind of very clever word play
4. The author encoded information in an acrostic down the first line of every page
5. The author also used some Latin / Greek / other words
Seems to me if you take a five-glyph vord you could easily find 50+ interpretations from which you can choose to construct your sentence.
I think numbers 1, 2, 3, 5 could be said to essentially apply to Gerard Cheshire's theory. (Number 4 does not apply)
Cheshire's proto-romance theory draws on many European languages and non-European languages, that may not necessarily be romance languages, so point 1 applies; this is the most important parallel. In Cheshire's theory I believe that some Glyphs can have more than one sound, point 2. "Word salad" grammar free sentences, which can be interpreted in many ways, I think this is similar to point 3. Point 5 is in Cheshire's theory akin to point 1.
And your conclusion about the degrees of freedom in interpretation of a word also implies.
One thing I don't know if Ardic like Cheshire ignores spaces or places spaces where he sees fit.
I haven't studied lots of Voynich translation theories, so I am unable to comment on which other theories have the same problems, but my impression is that many have these kind of problems, where the degrees of freedom necessarily make it possible to construct many different translations from the text of the Voynich. Of course these multiple translations make it a very slow process for the decipherer to select their preferred translation, which they think best fits the imagery.


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