Dorabella: one step forward, two steps back…

by ⋅ 16 Comments

According to a nice little 2004 New Scientist article by Kevin Jones (Professor of Music at Kingston University, my most recent alma mater), even though Elgar composed his cipher note to Dora Penny in 1897, he appears to have reused the same 24-token cipher alphabet in an exercise book 30 years later. (Kevin Jones doesn’t mention in which collection the exercise book is to be found: there’s a nice listing of Elgar’s notes and immense collection of letters here.)

As with the majority of self-conceived ciphers, it was born of a simple idea:-

[Elgar] listed the symbols used in the Dorabella cipher matched against the letters of the alphabet. The cipher follows a simple pattern, with single, double and triple E-like characters, each in eight possible orientations – upright, rotated 45 degrees clockwise, 90 degrees clockwise and so on. This gives a total of 24 potential characters, and as with many ciphers, I and J share a single character, as do U and V.

Elgar then tries it out on some samples, which when deciphered read:-

M-A-R-C-O E-L-G-A-R (Marco was his pet spaniel) and A V-E-R-Y O-L-D C-Y-P-H-E-R. But when applied to the Dorabella cipher this key does not generate anything that makes obvious sense.

It certainly was “a very old cypher” (probably 30+ years old at that stage). But there’s something a bit back-to-front about this whole thing. If he was reusing an old cipher, why would he be going through the palaver of trying it out again? He would surely have gone through his experimenting phase decades before? But according to Kevin Jones’ subsequent notes to the 2007 BBC Proms:-

Elgar scribbled an 18 character code using the same cipher symbols in the column of printed programme notes for a concert he attended at Crystal Palace in April 1886 – opposite a musical example from Liszt’s “Les Preludes”. (Copy at the Elgar Birthplace Museum.) Annotations on other pages are not ciphered – so it’s possible that this may have been added at a later date.

And so even though this was used as a cipher circa 1886 (probably), and post 1927 (probably), was it also one circa 1897? All these scraps muddy the water once again – which is perhaps what Elgar was hoping to achieve. I just wish we knew what Dora Penny’s favourite song was…

Interestingly, one of the comments to this page was by Peter Brooks, who said he was “increasingly confident that the message consists of two parts separated by an evident period on the last line”, with a first apart in Latin and the second in some kind of vertically arranged English. Personally, I’m not sure how that would be any less obscure than the solution proposed by Eric Sams discussed here recently: but I’m sure Peter Brooks has plenty of sensible reasons to back his notion up.

Following on from the Proms post, “The Elgar Apostle” (“the Elgar on-line newspaper”) held a Dorabella cipher competition, which “seven individuals were brave enough to submit entries”.

The final Dorabella bombshell of the day comes from Peter Brooks, who noted (in his comment) that “there is a moderated Yahoo group Elgar-Cipher“. If you want to find out more about the Dorabella Cipher, this is surely the first place you’d want to head towards.

Incidentally, the “enigma” of the 1899 “Enigma Variations” was Elgar’s claim that they all played in counterpoint to a well-known melody (which he never disclosed, and which has never been worked out) – might the Dorabella Cipher be enciphering this tune, too? (The timing would be basically right.)

PPS: the German WWII Enigma machine was (apparently) specifically named after the Enigma Variations: yet another non-obvious connection between music and cryptography…

BL cipher manuscript update…

by ⋅ 6 Comments

I’ve just heard back from the British Library Manuscript department about BL MS Add. 10035, “The Subtelty of Witches”, which I mentioned here a few days ago: “unfortunately it does not begin in English. The whole of the manuscript is written in cipher.”

So: was Eric Sams mistaken? Might the British Library actually have two unreadable books? Well… after a rather longer trawl through the various BL catalogues, I’ll say that “The Subtelty of Witches” is still the best candidate. There are plenty of enciphered letters there, but nothing else of any major size: all the same, I should probably consult Sheila Richards’ (1973) book “Secret writing in the public records, Henry VIII-George II” (actually 1519-1738), just in case there’s any fleeting reference to it there.

Incidentally, Eric Sams wrote a piece for Musical Times in 1970 (now online) on Edward Elgar’s ‘Dorabella’ Cipher, where he suggested the 87 encrypted symbols could be decrypted to read…

STARTS: LARKS! IT’S CHAOTIC, BUT A CLOAK OBSCURES MY NEW LETTERS, α, β
BELOW: I OWN THE DARK MAKES E. E. SIGH WHEN YOU ARE TOO LONG GONE.

Sorry, but somehow I just don’t think Sams quite nailed it on this particular occasion. Sams also wrote a 1987 note explaining his reasoning in more detail: but that just seems a bit too eager to tie things up. All the same, he wraps up the final note by pretty much coming round to my opinion:-

[…] But what if that cipher-table served another purpose?

Dr. Percy Young’s standard biography tells us that Elgar used a music cipher; the names of people he disliked were thus consigned to the Demon’s Chorus in The Dream of Gerontius. An Oxford professor of music, Sir Jack Westrup, has suggested that Elgar used cipher in the Enigma Variations.

Perhaps interested readers would like to consider on what lines (or spaces) ex 3 might make a music cipher?

However, a musicological Ventris has yet to take up this challenge: what haunting melody might be encrypted there? As Elgar said to Dora Penny, “I thought you of all people would guess it“… but what was her favourite song? 😉

Review of “The Six Unsolved Ciphers”…

by ⋅ 7 Comments

…or, in all its prolixitous glory, “The Six Unsolved Ciphers: Inside the Mysterious Codes That Have Confounded the World’s Greatest Cryptographers“, by Richard Belfield (2007). It was previously published by Orion in the UK as “Can You Crack the Enigma Code?” in 2006.

You’d have thought I’d be delighted by this offering: after all, it covers the Voynich Manuscript, the Beale Papers, Elgar’s “Dorabella” cipher, the CIA’s Kryptos sculpture, the Shepherd’s Monument at Shugborough, and the “Zodiac Killer” ciphers, all things that a Cipher Mysteries blogger ought to get excited about. But there was something oddly disconsonant about it all for me: and working out quite why proved quite difficult…

For a start, if I were compiling a top six list of uncracked historical ciphers, only the Voynich Manuscript and the Beale Papers would have made the cut from Belfield’s set – I don’t think anyone out there could (unless they happened to have cracked either of the two) sensibly nitpick about these being included.

Yet as far the other four go, it’s not nearly so clear. I’ve always thought that the Dorabella cipher was a minor jeu d’esprit on Elgar’s part in a note to a dear friend, and most likely to be something like an enciphered tune. The Kryptos sculpture was intended to bamboozle the CIA and NSA’s crypto squads: and though it relies on classical cryptographic techniques, there’s something a bit too self-consciously knowing about it (its appropriation by The Da Vinci Code cover doesn’t help in this regard). And while the Shugborough Shepherd’s Monument (Belfield’s best chapter by far) indeed has hidden writing, placing its ten brief letters into the category of cipher or code is perhaps a bit strong.

Finally: the Zodiac Killer ciphers, which I know have occupied my old friend Glen Claston in the past, forms just about the only borderline case: its place in the top six is arguable (and it has a good procedural police yarn accompanying it), so I’d kind of grudgingly accept that (at gunpoint, if you will). Regardless, I’d still want to place the Codex Seraphinianus above it, for example.

Belfield’s book reminds me a lot of Kennedy & Churchill’s book on the Voynich Manuscript: even though it is a good, solid, journalistic take on some intriguing cipher stories, I’m not convinced by the choice of the six, and in only one (the Shugborough Shepherd’s Monument) do I think Belfield really gets under the skin of the subject matter. While he musters a lot of interest in the whole subject, it rarely amounts to what you might call passion: and that is really what this kind of mystery-themed book needs to enliven its basically dry subject matter.

It’s hard to fault it as an introduction to six interesting unbroken historical codes and ciphers (it does indeed cover exactly what it says on the tin), and perhaps I’m unfair to judge it against the kind of quality bar I try to apply to my own writing: but try as I may, I can’t quite bring myself to recommend it over (for example) Simon Singh’s “The Code Book” (for all its faults!) as a readable introduction to historical cryptography.

PS: my personal “top six” unsolved historical codes/ciphers would be:-

  1. The Voynich Manuscript (the granddaddy of them all)
  2. The Beale Papers (might be a fake, but it’s a great story)
  3. The Rohonc Codex (too little known, but a fascinating object all the same)
  4. John Dee’s “Enochian” texts (in fact, everything written by John Dee)
  5. William Shakespeare’s work (there’s a massive literature on this, why ignore it?)
  6. Bellaso’s ciphers (but more on this in a later post…)

Feel free to agree or disagree! 😉