@ oshfdk
@ PeteClifford
Yes, something like that. I didn't want to say that's how it is, but that similarities could be found.
You have to be a little careful. The aiin and other thing wasn't meant to be: That's the solution / that's the correct translation – but more like: Something like that could work well in the context that they are all incantations. It was more to show the structure of the text in a specific context.
The aiin family alone has over a hundred variants; there aren't that many angels (at least I don't think so). And it won't be that simple, but it could be that this ain family has something to do with angels, because the places where they appear could fit – but not translated 1 to 1.
To avoid the feeling of ‘what is the point of the incantations if it doesn't say what they are about’, I added the plants (and the other images).
Example: cough: thyme + marshmallow + liquorice root:
The plant shown depicts the three parts of the plant, and someone knowledgeable immediately knows that this is about coughs. But that was just a little side theory to illustrate how something like this could work. (didelideli i ve a theory
)
-------------------
Of course, I have since investigated this further. It becomes really interesting when you connect it to medieval Bavarian.
Did you know, for example, that scribes in the Bavarian region often worked with a greatly reduced graphemic system? Many handwritten manuscripts use a, o, e as collective vowels that could cover several sound values. i and u disappear conspicuously often or are replaced by o/e, especially in unstressed syllables. This is not a linguistic phenomenon, but a writing phenomenon.
The reduction in graphemes is based on the fact that unstressed vowels are already greatly weakened in Bavarian; writing practices then further abstract this diversity and level out differences.
This also fits with Voynich...
The theory that these are Bavarian incantations is, at least for now, still becoming more plausible.
But here are some nice examples from modern times:
Bavarian: Do taat a dar aa stinka
German: Da tut es da auch stinken.
English: There does it there stinks. (Word-for-word translation)
Des ko a tayra gspass wem, hob y gsag
Das kann ein teurer Spaß gewesen sein, habe ich ja gesagt
That could an expensive joke have been, I said. (Word-for-word translation)
If you look at how much it is shortened, how strongly Bavarian is monosyllabic (today) and was already moving in that direction back then, and how much it is pushed into the a / o corner, the vowels in Voynich may even make sense.
A beautiful New Year's Eve celebration
@ PeteClifford
Yes, something like that. I didn't want to say that's how it is, but that similarities could be found.
You have to be a little careful. The aiin and other thing wasn't meant to be: That's the solution / that's the correct translation – but more like: Something like that could work well in the context that they are all incantations. It was more to show the structure of the text in a specific context.
The aiin family alone has over a hundred variants; there aren't that many angels (at least I don't think so). And it won't be that simple, but it could be that this ain family has something to do with angels, because the places where they appear could fit – but not translated 1 to 1.
To avoid the feeling of ‘what is the point of the incantations if it doesn't say what they are about’, I added the plants (and the other images).
Example: cough: thyme + marshmallow + liquorice root:
The plant shown depicts the three parts of the plant, and someone knowledgeable immediately knows that this is about coughs. But that was just a little side theory to illustrate how something like this could work. (didelideli i ve a theory
)-------------------
Of course, I have since investigated this further. It becomes really interesting when you connect it to medieval Bavarian.
Did you know, for example, that scribes in the Bavarian region often worked with a greatly reduced graphemic system? Many handwritten manuscripts use a, o, e as collective vowels that could cover several sound values. i and u disappear conspicuously often or are replaced by o/e, especially in unstressed syllables. This is not a linguistic phenomenon, but a writing phenomenon.
The reduction in graphemes is based on the fact that unstressed vowels are already greatly weakened in Bavarian; writing practices then further abstract this diversity and level out differences.
This also fits with Voynich...
The theory that these are Bavarian incantations is, at least for now, still becoming more plausible.
But here are some nice examples from modern times:
Bavarian: Do taat a dar aa stinka
German: Da tut es da auch stinken.
English: There does it there stinks. (Word-for-word translation)
Des ko a tayra gspass wem, hob y gsag
Das kann ein teurer Spaß gewesen sein, habe ich ja gesagt
That could an expensive joke have been, I said. (Word-for-word translation)
If you look at how much it is shortened, how strongly Bavarian is monosyllabic (today) and was already moving in that direction back then, and how much it is pushed into the a / o corner, the vowels in Voynich may even make sense.
A beautiful New Year's Eve celebration