SUMMARY
The Voynich text is based upon two verbum potentiae, two keywords, words of power or potential.
These words are: QOKEEDY and CHOLDAIIN.
The vocabulary, but also the grammar and the structures of the text, arise out of the interaction of these two terms.
The two terms stand in a relationship of coinciding opposites. Together they represent the coincidentia oppositorum.
The text arises from the similarities and the differences of these words and their glyphs; both the coincidentia and the oppositorum.
Both words contain the glyphs [o] and [d], for example. That is a point of coincidence.
And both contain a double vowel.
But in QOKEEDY there is a series of c-curve based glyphs, while in CHOLDAIIN there is a series of line (backslash \) based glyphs. That is a point of opposition.
QOKEEDY contains only c-curve glyphs ([q] and [k] are special cases, not part of the curve/line system.)
CHOLDAIIN contains both curve-based and line-based glyphs, and the transition between them [a].
Only QOKEEDY contains a gallows glyph.
Only CHOLDAIIN contains a bench glyph.
QOKEEDY is tripartite.
CHOLDAIIN readily bifurcates and breaks up into common short words and particles.
I propose that [k] is a double consonant and corresponds to the [ld] in CHOLDAIIN.
And, moreover, I propose that [y] is an abbreviation (when it is word final) and so the [dy] in QOKEEDY is equivalent to the [daiin] in CHOLDAIIN and the two words match on that basis.
Importantly, the benched [ch] in CHOLDAIIN should be understood as a contraction corresponding to the [e e] in QOKEEDY, a resemblance obscured in the EVA transcription.
Everything in the text has been extrapolated from the keywords on the basis of these samenesses and differences. Words are formed on this basis: the rules of the language encode them.
The permutations of words is the result of the interaction of the two streams of text. The glyph set is designed to accommodate the permissible permutations.
QOKEEDY is stable, but the gallows have multiple forms.
CHOLDAIIN is mutable. CHOLDAIIN is mutable. Many glyphs – especially the final [n] - mutate. [ch] becomes [sh], and so on.
The bench-gallows glyphs are conspicuous points of contact or overlap between the two words.
The two words – the verbum potentiae – are in counterpoint. The junctures of the counterpoint are the places where they either agree or oppose.
(A model for this might be late medieval two-line vocal counterpoint.)
The movement of the text – its dynamic – is that QOKEEDY moves it towards a continuous sequence (flow) of c-curves, but this is interrupted (broken) by the line-based elements of CHOLDAIIN.
QOKEEDY shapes the text into paragraphs.
CHOLDAIIN breaks the text into lines.
CHOLDAIIN predominates in the text called Currier A.
QOKEEDY predominates in the text called Currier B.
In the context of the manuscript, I propose that QOKEEDY is the ‘dialect’ of the celestial nymphs and CHOLDAIIN is the cognate ‘dialect’ of the terrestrial nymphs, and the text is presented as their discourse containing secrets about the celestial powers of herbs.
These words are: QOKEEDY and CHOLDAIIN.
The vocabulary, but also the grammar and the structures of the text, arise out of the interaction of these two terms.
The two terms stand in a relationship of coinciding opposites. Together they represent the coincidentia oppositorum.
The text arises from the similarities and the differences of these words and their glyphs; both the coincidentia and the oppositorum.
Both words contain the glyphs [o] and [d], for example. That is a point of coincidence.
And both contain a double vowel.
But in QOKEEDY there is a series of c-curve based glyphs, while in CHOLDAIIN there is a series of line (backslash \) based glyphs. That is a point of opposition.
QOKEEDY contains only c-curve glyphs ([q] and [k] are special cases, not part of the curve/line system.)
CHOLDAIIN contains both curve-based and line-based glyphs, and the transition between them [a].
Only QOKEEDY contains a gallows glyph.
Only CHOLDAIIN contains a bench glyph.
QOKEEDY is tripartite.
CHOLDAIIN readily bifurcates and breaks up into common short words and particles.
I propose that [k] is a double consonant and corresponds to the [ld] in CHOLDAIIN.
And, moreover, I propose that [y] is an abbreviation (when it is word final) and so the [dy] in QOKEEDY is equivalent to the [daiin] in CHOLDAIIN and the two words match on that basis.
Importantly, the benched [ch] in CHOLDAIIN should be understood as a contraction corresponding to the [e e] in QOKEEDY, a resemblance obscured in the EVA transcription.
Everything in the text has been extrapolated from the keywords on the basis of these samenesses and differences. Words are formed on this basis: the rules of the language encode them.
The permutations of words is the result of the interaction of the two streams of text. The glyph set is designed to accommodate the permissible permutations.
QOKEEDY is stable, but the gallows have multiple forms.
CHOLDAIIN is mutable. CHOLDAIIN is mutable. Many glyphs – especially the final [n] - mutate. [ch] becomes [sh], and so on.
The bench-gallows glyphs are conspicuous points of contact or overlap between the two words.
The two words – the verbum potentiae – are in counterpoint. The junctures of the counterpoint are the places where they either agree or oppose.
(A model for this might be late medieval two-line vocal counterpoint.)
The movement of the text – its dynamic – is that QOKEEDY moves it towards a continuous sequence (flow) of c-curves, but this is interrupted (broken) by the line-based elements of CHOLDAIIN.
QOKEEDY shapes the text into paragraphs.
CHOLDAIIN breaks the text into lines.
CHOLDAIIN predominates in the text called Currier A.
QOKEEDY predominates in the text called Currier B.
In the context of the manuscript, I propose that QOKEEDY is the ‘dialect’ of the celestial nymphs and CHOLDAIIN is the cognate ‘dialect’ of the terrestrial nymphs, and the text is presented as their discourse containing secrets about the celestial powers of herbs.
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