Re:VMs as Divine Comedy Was: VMs: Something for the list to check out.

[<elillie@xxxxxxxxxxxx>]

Hello to the list:

Elmar wrote:
> Zitat von elillie@xxxxxxxxxxxx:
>
>> ...
>> That said, everyone sharpen up those axes and take a look at the paper
>> I've posted at:>>             http://members.localnet.com/~elillie/VoynichDante.doc
>>
>
> I don't mean to sound overly negative, but -- No.
>
> Your paper might just as well prove that the VM is an early version of
> Batman,  since the common "qokedy" string looks a bit like "Gotham". The
> other  coincidences you cite are trivial and marginal. And where is
> Vergil?>
> I think you fell for the "Nostradamus" effect, matching vague stanzas 
> arbitrarily with in this case even more vague VM images.>
> Unfortunately you hid the most interesting part of your paper in the
> appendix:  I find your tentative explanation for the gallows very
> interesting, and well  worth further pursuit.>
> Sorry for the bashingly negative review,
>
>   Elmar, still working on the Fincher hypothesis
>

I'm puzzled. I would have thought something like I posted would have
generated a little more discussion than one quick dismissal.
In reply to Elmar:

If your reference to "qokedy" looking like "gotham" is meant to suggest
that I assigned the transcription "daiin" to "Dante" because of the way it
looks, you are wrong. I focused on it because of where it turned up as a
label in relation to the diagrams that I've identified in the manuscript.
As to my "coincidences" being trivial and marginal, perhaps if there were
only a few I could see how that would be construed as coincidental, but
when I've plotted a correspondence between the two that matches them
together from start to finish , IN ORDER --- how can that possibly be
coincidental?
Where is Vergil?

If you read the correspondences that I've written between the individual
folios of the VMs and Dante's text, you'll see that I've indicated the
drawings that have Vergil on them quite clearly. If you're menaning is
that I haven't supplied a "Vergil String" of Voynich characters to go with
the "Dante String" that I highlighted throughout, that's because at this
time I haven't yet teased definite character string out to represent it.
With the "Dante String", there are several labels to cross reference and
highlight the proper pattern; Vergil is a lesser character in the text and
as such has been given a proportionatly lesser treatment. Also, as the
Voynich text is not a word-for-word transcription of Divine Comedy, the
Voynich author may not have even included him in his comentary for unknown
reasons. This is illustrated by the fact that the VMs rendition of
Cocytus(the ninth circle of the Inferno/ Folio 70R2) is barely represented
but Dante's drean of the Siren (Canto 19 of Purgatory) is extended in the
VMs to cover three folios (79R/79V/80R).
"matching vague stanzas  arbitrarily with in this case even more vague VM
images"
I believe the only place I made use of the word "arbitrary" in my paper
was intended to apply to the fact that several sections of the VMs do not
have an equivalent in the text of Dante's Divine Comedy. Not only are they
outside of the 3 books that make up the Comedy, but nothing like them
exists in the extensive literature of commentaries that go with the
Comedy. This is clearly stated in each section. For the sake of writing a
complete paper, I attempt to give a logical explanation for these sections
based on their structure and location relative to the rest of the text.
There is nothing "arbitrary" about the correspondances I've drawn between
the 3 books of The Divine Comedy and the appropriate sections of the
Voynich manuscript. They are the result of sitting down and carefully
examining each individual drawing for the tiny details that define them.
That is how you get around the vague VM images.
There is nothine "vague" about the Stanzas of The Divine Comedy. Dante
describes his world in exquisite detail with the intent of giving his
readers a vivid experience of the Horrors of Hell and the Wonders of
Heaven.
I've formatted my paper in such a way as to allow someone to take a copy
of the Voynich manuscript and look at each folio in terms of what its
essential graphic elements are and then cross-reference them to the the
stanzas of Dante where he describes just those elements.
And as I've shown, the sections of Inferno, Purgatory and Paradise are all
depicted FROM BEGINNING TO END.  What's more they are ALL IN THE CORRECT
ORDER.
When I first began this line of research, I was drawn by the images of the
Rosette/Paradise foldout. Everything is there from the clouds that circle
the Sphere of the Moon to the "Urns" of the Primum Mobile --- exactly as
Dante described it. If you are having trouble seeing what I've done, begin
at the place I started from. I've shown a few people what I'm talking
about in person and they've all been speechless that no one else has
discovered this in all these years of study.

Thank you

Erni



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