In her recent (2020) Manuscript Studies paper “How Many Glyphs and How Many Scribes? Digital Paleography and the Voynich Manuscript“, Lisa Fagin Davis builds up to the conclusion (p.179) “The fact that all of these collaborative methods involve Scribe 2 may suggest that she or he was in charge of the project in one way or another.“
If this is the case, then I think the implicit question it suggests we ask is: what mistakes did Scribe 2 never make? That is, if Scribe 2 ‘knew what she or he was doing’ with Voynichese more than Scribes 1 and 3-5, we might sensibly expect Scribe 2 to make fewer scribal errors than the others. So, might we be able to use this prediction to tell good Voynichese (well, Currier B-ese, anyway) apart from miscopied Voynichese, hmmm?
The list of places where we can find Scribe 2 is as follows:
- All the Herbal B pages (apart from the f41-f48 bifolium, which was written by Scribe 5)
- The entire Q13 Balneo section
- One side of the nine rosette foldout (Scribe 4 wrote the other side)
- The first 12 lines of f115r (everything else in Q20 was written by Scribe 3)
One general problem with Voynichese is that – contrary to the wisdom of much of the Internet – it isn’t quite a game of two halves, i.e. a Currier A half and a Currier B half. Within those distinct variants, individual sections vary yet further: so, even though Q13 and Q20 are both ‘Currier B’, each one’s use of Currier B presents plenty of differences from the other. So if we are looking for differences, we have to be careful not to get caught up in the subtleties of how the (for want of a better word) style of Voynichese itself shifts between sections.
As a result, the two specific comparisons I think we should interested in here are the Herbal B pages (i.e. how does Scribe 5’s use of Voynichese differ from Scribe 2’s?) and the Voynichese on f115r (i.e. how does Scribe 3’s use of Voynichese differ from Scribe 3’s?). Let’s dive in and have a closer look…
Herbal B: Scribe 5 vs Scribe 2
The issue here is essentially comparing Scribe 5’s writing on f41 and f48 with Scribe 2’s writing on f26, f31, f33, f34, f39, f40, f43, f46, f50 and f55. Sadly, voynichese.com only offers a single filter of Currier A vs Currier B pages, which makes it not quite as useful as it might be (i.e. we’d like to do tests on [Herbal B + Scribe 2] vs [Herbal B + Scribe 5]). Maybe someone will add an LFD Scribe filter at some point in the future. 😉
But there is yet another dimension of difficulty to throw into the mix: transcription ambiguities. Because transcribers have quite a torrid time distinguishing characters (e.g. “a” vs “o” vs “y”, “cc” vs “ch”, “sh” vs “se”, and please don’t get me started on half-spaces vs spaces, *sigh*), we have to be careful we don’t mistake a transcriber’s whim for a scribal tell.
So the way I started was by grabbing the Takahashi transcriptions for f41r (Scribe 5) and f26r (Scribe 2), and comparing them really closely to high resolution images (on Jason Davies’ Voyage the Voynich website). My plan was to try to get a feeling for whether there was any visual evidence that indicated Scribe 2 was an author (i.e. who understood the internal construction of Voynichese) and the other just a dumb scribe (i.e. who was just copying what they saw).
However, I quickly found a fair few examples of what seemed (to my eyes) to be basic Voynichese scribal errors by Scribe 2.
- f26r line 2: second word looks like it should be “daiin”, but the first glyph is somewhat malformed
- f26r line 2: third word “adeeody” looks like a scribal slip for “odeeody”
- f26r line 2: free-standing word “lr” looks like a scribal slip for “ar”
- f26r line 3: word-terminal “-oy” looks like a scribal slip for “-dy” or possibly “-ey” (particularly in Currier B, though “qoy” is probably OK)
- f26r line 3: shapchedyfchy looks like a scribal slip for shopchedyfchy
- f26r line 3: penultimate word “saiin” looks like a scribal slip for “daiin”
By way of contrast, Scribe 5’s writing – though typically a little harder to transcribe – was generally quite clear, without any obvious scribal errors. So I would say that comparing these two pages (while only a relatively small sample) offers no obvious support to the notion that Scribe 2 might have had a more authorial understanding of Voynichese. On the contrary, it seems more likely to me from this that Scribe 2 was, well, just a scribe.
f115r: Scribe 3 vs Scribe 2
The first twelve lines of f115r (that Lisa Fagin Davies attributes to Scribe 2) present what look to me like yet more scribal errors by Scribe 2. For example:
- f115r line 1: “oechedy” (a hapax legomenon) looks like a scribal slip for “orchedy”
- f115r line 1: “oroiir” looks like a scribal slip for “oraiir”
- f115r line 3: the penultimate word “daar” (another hapax legomenon) looks like a scribal slip (possibly for “-dy ar-“)
- f115r line 3: the final word “oraro” looks like a scribal slip for “orary”.
- f115r line 5: the final word “ro” looks like a scribal slip for “ry”
- f115r line 12: the final word “choloro” should probably be “cholory”
(Incidentally, I should note that 12 out of all 13 instances of the word “ry” appear right at the end of a line [the other one appears right at the start of a line]. There is no shortage of patterns in Voynichese on all sorts of levels!)
Again, the remainder of f115r (attributed to Scribe 3) seems basically OK, so Scribe 2 again seems to be copying in the letters quite a lot worse than Scribe 3.
So… Scribe 2 was not the Voynich’s author, right?
From all this, it’s looking to me as though we can infer that Scribe 2 was not the author: or, more precisely, that Scribe 2’s errors seem consistent with the idea that Scribe 2 had no authorial level of understanding of the internal structure of Voynichese. Which, of course, would seem to be the opposite of what Lisa Fagin Davis’ paper suggested (if you read its conclusions in the strongest way possible).
However, I think this does imply something quite deep about the reliability of different sections of the Voynich, which is that some would seem to be less tainted by scribal errors than others. Though based on what is only a small sample, I suspect that Scribe 2 is a more unreliable Voynich scribe than both Scribe 3 and Scribe 5.
For a long time, I’ve been telling Voynich researchers that they should avoid treating the whole of the Voynichese corpus as if it were a single coherent text (because it isn’t): and that they should instead run their statistical analyses on individual sections, such as Q13 and Q20. However, because Scribe 2 wrote the entirety of Q13, I’m now revising that opinion: my particular concern is that Scribe 2’s copying errors (and I’ve only highlighted the errors I can see, there could easily be many others I can’t see) might well enough to disrupt any statistical studies.
Hence my recommendation going forward is that researchers should focus their decryption attempts on Q20, specifically excluding the top twelve lines of f115r (written by Scribe 2).
Why did Scribe 2 write the top part of f115r?
Might there have been a good reason why Scribe 2 wrote the top few lines of f115r?
Possibly. I’ve blogged a number of times about Q20 (which contains far too many bifolia to be a single quire), and how I think it may originally have been constructed as two separate gatherings Q20A and Q20B. The fancy gallows at the top of f105r looks a pretty good bet to have been the start of Q20A, and the current back page (f116v) similarly looks a good bet to have been the end of Q20B. I also wondered whether f104, f105, f107 and f108 may all have been cut from the same piece of vellum (an hypothesis which could at least be tested using DNA now).
(As an aside, I suspect that the seven dots on f105r imply that this marked the start of “Liber VII”. Just so you know.)
All of which would seem to point away from the (long-standing) suspicion that Q20 was written as a single monolithic slab, and instead towards the suggestion that Q20 / Q20A / Q20B might well have included separate sections. Might the first few lines of f115r have been written as the start of a section? Or might it even have been the end of a section, running on from a previous page (say, in Q8)? These are all no more than suggestions at this stage, make of them what you will. Possibly a nice risotto.
Q20 bifolio content notes
Finally: as Rene Zandbergen pointed out in 2016, the paragraph stars for the majority of f111r look to be fake. Yet the same seems true for the top half of f111v, as well as the bottom half of f108v, and the middle third of f115r; and there’s a paragraph star apparently missing from the middle of both f106v and f113r (though the latter of these two might possibly have just slid down the page). So we have to be extraordinarily careful when we try to draw inferences about the original section structure of Q20 based on the paragraph stars.
Here’s a brief summary for anyone trying to figure out the original nesting arrangement:
- f103: both recto & verso have no ‘x’ character (Tim Tattrie)
- – f104: recto has non-repeating star pattern (Elmar Vogt)
- – – f105: recto has fancy gallows at top, possibly start of Liber VII?
- – – – f106: verso has single paragraph star missing
- – – – – f107:
- – – – – – f108: recto has non-repeating star pattern (Elmar Vogt); verso has fake paragraph stars on bottom half
- – – – – – f111: recto & verso both have many fake paragraph stars (Rene Zandbergen)
- – – – – f112: both sides have a gap by the outside edge (possibly a copy of a stitched vellum tear, cf Curse 2006)
- – – – f113: recto has single paragraph star missing
- – – f114:
- – f115: recto has Scribe 2 writing at top (Lisa Fagin Davis) & fake paragraph stars in middle third
- f116: recto has no ‘x’ character, verso has michitonese + pen trial doodles