Thursday, December 8, 2016


The Voynich manuscript has been carbon dated to the 15th century (~1430). 
   Housed in Yale's Beinecke Library, it depicts largely middle-aged women dancing naked in the water of a cave, and also around star designs and zodiac signs. Other pages illustrate plants and herbal jars. 
   Statistical analysis of the manuscript's text reveals patterns similar to those of natural languages, in fact more complex than English, meaning that it is highly unlikely to be a codified language or a hoax. That much is scientifically proven. 
   Astonishingly, no one has been able to read the Voynich manuscript or figure out where it originated, who wrote it, or what its purpose was. 

   The theory in this blog establishes the following:
A progenitor of Scottish Secretary Hand most closely akin to medieval Cornish manuscripts such as the Ordinalia and northern Scottish/Irish manuscripts, including the preserved letter from Robert the BruceThis blog contains a new and original transcription alphabet.
A combination of old Finnish and Old Norse with some Slavic, the arcane Kven tongue OR a dialect that evolved where Austria, Hungary, and Croatia meet remain the best bet; however, a plethora of dialects in north Europe, many of them extinct, are viable candidates, perhaps especially dialects spoken around A) Torne Valley and northern Norway B) the island of Naissaar, Estonia, when it was inhabited by the aibofolket, Estonian Swedes, in the 15th century; C) the medieval towns of Lohja, Porvoo, and Naantali, or D) the older villages of Karelia.
The many women drawn in it, called "nymphs" or elided altogether in other theories, are central instead of peripheral to it. They themselves actually wrote and drew it. They are possibly the legendary Huldra, participants in a Neolithic cult of tripartite Rhea (later [f]Reya), the original Finnic practitioners of what was then appropriated and dubbed by the Norse as Seiðr during the Late Scandinavian Iron Age. In Finland, Estonia, and Scandinavia, the Church later terminated the sacred HIIS and the underworld called Hiiela by substituting the hiis with the Church graveyard. They were healers, herbalists, midwives, brewers, bakers, cooks, spinners, weavers, embroiderers, well-water guards, water navigators, jewelry makers, tradespeople, land owners or birkarls, noblewomen, singers, dancers, and diviners. The manuscript celebrates these occupations. 
Literary Form
BaltoFinnoNorse poetry and song. Trochaic chant in the tradition of the great Finnish epics, possibly even in Kalevalan meter itself. Akin to Seto Leiko Hõpõhelme, leelo song, which is said to be able to bring down walls. Alliterative, repetitive, and playful with words. Nonlinear, with depth symmetry, like a joik. The manuscript could in fact be a guide (akin to the zibaldone)--songbook, calendar, and map--for these women to go south on a specific pilgrimage in the springtime, according to an ancient, pre-Christian folkloric belief system, the remnants of which can still be discovered in Europe today.
Origin Hotspots
LofotenNorway coming around the Gulf of Bothnia to Southern Finland (Naantali, Lohja) are definite candidates with almost as high a likelihood running from the Baltic region down to the Alpine mountains bordering Slovenia/Croatia, Austria, and Hungary. In these areas particularly, a patchwork of the oldest European belief system can be found in remnants, and the Voynich manuscript echoes them.
Geographic scope
Rosette map contains Fennoscandia, the Baltic, Danubian EuropeRussia's Golden Ring, the Black Sea, Mount Elbrus, and the Urals.
The women were depicting themselves performing a shamanistic water/cave ritual celebrating the sempiternal cycle of nature manifest in the seasons and in the span of human life from birth to death. The backdrop for this ritual is north European (Finno-Ugric) cosmology that reaches back into the Neolithic. Sauna/banya, still enjoyed today, echo these ancient rites, as do pilgrimages to sacred springs that have been in more recent times dedicated to saints, as well as several seasonal festivals, such as one known in English as Twelfth Night.

In the center of many of the star charts is a woman's face. These star charts may depict a celebrated Nordic ancestor (disir) and her descendants (represented by the smaller, surrounding stars) and not astronomical bodies or constellations. Indeed, these star charts resemble the large, circular brooches worn by Nordic women during the phase in their lives when they are fertile. These brooches are often said to represent the sun. The women's faces in the centers of the star charts often have rays like the sun. These symbols all hark back to an ancient female sky deity celebrated under various names throughout northern Europe.

The rosette map in the manuscript records an ancient pilgrimage from Fennoscandia to the Perm in the northern Urals marked by passage via waterways, many of which were subterranean. The blooming of plants on riverbanks beside castles helped pilgrims know when it was time to rendezvous. Stars with their varying numbers of rays may represent acolytes.

The belief system depicted in the Voynich manuscript was alluded to in sagas such as the Edda. In time it was subsumed under the spread of Christianity and re-emerged as the cult of Mary and Saint Birgitta, which was centered in Reval (Tallinn) though widespread throughout the Baltic region and into Germany. The murals of Saint Lawrence cathedral in Lohja, Finland, serve as a semiotic bridge between the pre-Christian Voynich Manuscript and the more classical, Judeo-Christian iconography of later churches around the Baltic region. 
As with all shamanism water and caves were main metaphors for travel between life and death. The belief system played out on every folio is a remnant of the Neolithic fertility paradigm that once spanned Europe under names like Freya, Holda, Nerthus, Perchta, Holle, Akka, Rán [raun or raahn], and Frau Gauden. These former deities can be traced only vaguely in their later surrogates--the docile, vapid vessels of the Virgin Mary, Freya, and myriad saints who have taken over wells and springs, etc. In order to survive, the old belief system went deep underground and obviously at some point, and oftentimes with inhuman brutality, died out so thoroughly as to mystify us whenever any actual historical remnant of it gets unearthed.
The wisdom throughout the Voynich manuscript is that of the folk. It is not classical, not Judeo-Christian, not Hebrew, not Islamic, not Chinese, not South American, not Arabic, not scientific, not a cipher, not gibberish, and not a hoax. One of the duller attacks made on this theory is that nothing in it reflects any of the current research going on elsewhere about the Voynich manuscript. Indeed,  little to no real light has been shed on the Voynich since the statistical analysis and carbon dating. Most certainly this theory is a radical departure from the many blind alleys down which other scholars are still camped. Beautifully, none of the actual science done about the Voynich conflicts with the theory presented here in this blog--not the carbon dating of the vellum, not the consistency of the vellum (more like calf than the goat often used in more southerly locations), not the statistical language that suggests that it is a natural language. 
Sauna and Banya, herbal knowledge, embroidery, folk songs, Twelfth Night traditions, lore (fairy tales, myth, and legend, including Tannhauser's), folk design (octogram and kolovrat), coracle design, the shell grotto of Margate, and, oh um, the Voynich manuscript. The herbal jars are treenware, household implements made from wood, often involving being turned on a lathe, further carved, and then painted. The containers in the Voynich most resemble wooden sewing nécessaires, needle cases, spice grinders and spice towers owned and used by women in their everyday work of cooking, brewing, healing, and sewing from the 11th to the 17th century. The plants in the Voynich are rendered by artists inured in the tradition of embroidery and other women's handicrafts. The flowers are often drawn and painted in a style reminiscent of needlework from, say, Muhu Island. 

30 Keys to the Voynich Manuscript

The research outlined below indicates northern Europe as the Voynich manuscript's origin, and it goes further.
1. Transcription Alphabet - Well over 80 words gleaned using the transcription alphabet in this blog suggest constructions of an old Finno-Ugric origin with a substantial amount of Old Norse. In addition, there is a distinct Slavic influence. (Below is apai, aunt in Udmurt)

2. Female suns  The Voynich manuscript with its heliocentric star charts was written 105 years before Copernicus’ publication that posited the sun in the center, causing the Copernican Revolution. That's a dead giveaway that the Voynich was created outside of the scientific canon. Having little to do with astronomy, the Voynich suns represent some core elements of north European mythologies that can be found in Scandinavian, Finno-Ugric, north Germanic, and even to some extent Celtic traditional belief systems. These belief systems go back thousands of years.

3. A location with the topographic features depicted in the Voynich manuscript: marble caverns with extremely green water

4. Kolovrat – swirled star

5. Head-dresses

6. Spa/Sauna/Banya

7. Held objects: torcs and Seidr staff

8. Folk art motifs similar to those found in Karelia and elsewhere in N. Europe

9. Seasonal calendar and the Wheel of the Year

10. Architecture

11. Design reminiscent of Sami shamanic drum

12. Plants from northern hemisphere
Bog rosemary, only found in bogs in cold peat-accumulating areas
    And Pedicularis flammea found mostly in subarctic regions

 13. A congruence between the graphics and translations of the text, which speaks of seasonal folk rites within discrete north European belief systems to bring abundance and protection.

14. Complexion and build of the women

I have observed a connection with fertility in the case of the lizard motif (e.g. Figures 48, 51–52). This fits to the explanation according to which lizard symbolised Earth and the under-world, the world of the dead.  From: THE PERMIAN ANIMAL STYLE, Editors Mare Kõiva & Andres Kuperjanov & Väino Poikalainen & Enn Ernits.

16. Rain/water/fertility rituals in northern European folk traditions as documented by Sir James Frazer

17. A plausible, missing piece of provenance tying the manuscript to recorded history

18. Treenware

19. Mention in Legend and History
20. Norse words used throughout manuscript: eller, kor, ella, som, alla
21. Consonant gradation
22, Norse runic glyphs

23.  Heliocentric star charts resembling brooches

24. Labels on herbal jars include a base, a fertility booster, a wound salve, and a medicine for liver. Also, the herbs in the jars, are being identified.
25. Nordic names for women being used in the calendars.

26. Correspondence with northern European mythic cosmology.

27. Correspondence of handwriting style with another historical document from northern Europe.

28.  Correlations in phraseology to traditional rune songs and chants that use a distinct meter.

29.  Folk dance poses.

30.  A pronounced absence of symbolism that would indicate any other culture.

These various elements within the Voynich manuscript all converge on northern Europe as being the origin.

So who came up with all this, tying the Voynich manuscript to north Europe, the Huldra, and Finno-Ugric traditional beliefs, the transcriptions, and the translations in this blog?
I did. CV on LinkedIn

Wednesday, December 7, 2016

A Voynich Word List

Here are over 80 words found in the Voynich manuscript transcribed and translated. You can find an ongoing spreadsheet with these words here: Voynich Lexicon

For the transcription alphabet and an explanation of how it was derived, go to Transcription Alphabet and The Handwriting.

For an introduction to this blog, the Voynich manuscript, and the theory covered in this blog, go to Introduction

For a discussion on the language candidates for Voynichese and why it appears to be a mixture of Balto-Finnic and Old Norse with some Slavic, go to Language Candidates.

In Finnish, the word elokuu and elokuussa signify August (crop month)

tet: Finnish (personal, dialectal, including Kven) you (plural; in archaic English: ye)

Esaikkaisa, a word found on f23r could be an old spelling of the Sami word Isogaisa meaning superb.

Torup is in fact a name used throughout a region in western Denmark, as follows:

Graphic possibly on the spring thaw

Voynich word
Possible Meaning
play (I'm at last taking basic Norwegian and this word is now an absolute no-brainer)
A start, beginning, inception, incipience. (Finnish) Partitive singular form of alku.  From the verb alkaa (“to begin”) + -u.
From Proto-Finnic *alkadak, from Proto-Uralic *alka- (“beginning”). Cognates include Mansi овл (ōwl, “head”).
Name of a nature deity akin to Lagran Madre, la Madre de i dei, Ope (Ops), Cibelle, Vesta, Ceres, Proserpina, and others* Phes - From Proto-Indo-European *bʰehos (compare φάω (pháō), φαίνω (phaínō)). Cognates include Latin iubar (“radiance, light”), Sanskrit (bhās, “light, brilliance”),  (bhāsa, “luster, light”), and Old English basu (“purple”).
heat  (Finnish)
summer/gather/fallow (related to Proto-Finnic *kesä; Proto-Samic *keasē.)
when - From Old Norse þá and þó (adverb); and Old Norse þá er (when, conjunction), and German da (because, conjunction)
walk or path (Livonian)
to go, to travel. From Old Norse fara, from Proto-Germanic *faraną, from Proto-Indo-European *por- (“going, passage”).
refresh, waken
(a keperss)
From Middle Dutch keper, from Latin capreus, capreō, from caper (“male goat”), the same metonymy as modern Dutch bok. Cognate with Middle High German kepfer, French chevron.
the elk
kind (of animals)
south: from Old Norse suðr, from Proto-
Germanic *sunþrą.
moon/month - From Proto-Finnic *kuu, From Proto-Uralic *kuŋe. Cognates include Estonian
kuu and Hungarian hold.
thus or also
to go, to travel. From Old Norse fara, from Proto-Germanic *faraną, from Proto-Indo-European *por- (“going, passage”).
a fish in Germany/Poland OR a river in Poland called the Ukleja (formerly
in Livonia)
make a musical sound