Inhalt

Leseprobe

Metainformation about the book

Voynich manuscript and Codex Rohonczi have been known for decades or even centuries as previously not decrypted books with unknown content.

The CusyA corpus is a collection of works in an unknown script and in an unknown language. Due to the shapes of the glyphs, the script is called Cusy (cubic-symmetrical), the language CusyA, as a precautionary measure, should further documents with the same characters, but with other words, appear in the future.

In this collection, further extensive works in unknown script and in an unknown language are now being made available. This is also being done in digital form.

This is a supplementary volume to Corpus CusyA in the sense of an extension to make further works available in this mysterious language.
It contains the works P, Q, R, S.
Works A, B, C, D, E, F, G, H and Z can be found in the main volume.
Works I, J, K, L, M, N and O can be found in the supplementary volume.
The Analysis volume contains statistics in the sense of quantitative linguistics.

Corpus CusyA Addition

Contents

Front Matter
1. Cover
2. Metainformation
3. Epigraph
4. Foreword
  1. About the Content
  2. Techniques
5. Font Test
Text P
1. #0 (title page)
2. #1
3. #2
4. #3
5. #4
6. #5
7. #6
8. #7
9. #8
10. #9
11. #10
12. #11
13. #12
14. #13
15. #14
16. #15
17. #16
18. #17
19. #18
20. #19
21. #20
22. #21
23. #22
24. #23
25. #24
26. #25
27. #26
28. #27
29. #28
30. #29
31. #30
32. #31
33. #32
34. #33
35. #34
36. #35
37. #36
38. #37
39. #38
40. #39
41. #40
42. #41
43. #42
44. #43
45. #44
46. #45
47. #46
48. #47
49. #48
50. #49
51. #50
52. #51
53. #52
54. #53
55. #54
56. #55
57. #56
58. #57
59. #58
60. #59
61. #60
62. #61
63. #62
64. #63
65. #64
66. #65
67. #66
68. #67
69. #68
70. #69
71. #70
72. #71
73. #72
74. #73
75. #74
76. #75
77. #76
78. #77
79. #78
80. #79
81. #80
82. #81
83. #82
84. #83
85. #84
86. #85
87. #86
88. #87
89. #88
90. #89
91. #90
92. #91
93. #92
94. #93
95. #94
96. #95
97. #96
98. #97
99. #98
100. #99
101. #100
102. #101
103. #102
104. #103
105. #104
106. #105
107. #106
108. #107
109. #108
110. #109
111. #110
112. #111
113. #112
114. #113
115. #114
116. #115
117. #116
118. #117
119. #118
120. #119
121. #120
122. #121
123. #122
124. #123
125. #124
126. #125
127. #126
128. #127
129. #128
130. #129
131. #130
132. #131
133. #132
134. #133
135. #134
136. #135
137. #136
138. #137
139. #138
140. #139
141. #140
142. #141
143. #142
144. #143
145. #144
146. #145
147. #146
148. #147
149. #148
150. #149
151. #150
152. #151
153. #152
154. #153
155. #154
156. #155
157. #156
158. #157
159. #158
160. #159
161. #160
162. #161
163. #162
164. #163
165. #164
166. #165
167. #166
168. #167
169. #168
170. #169
171. #170
172. #171
173. #172
174. #173
175. #174
176. #175
177. #176
178. #177
179. #178
180. #179
181. #180
182. #181
183. #182
184. #183
185. #184
186. #185
187. #186
188. #187
189. #188
190. #189
191. #190
192. #191
193. #192
194. #193
195. #194
196. #195
197. #196
198. #197
199. #198
200. #199
201. #200
202. #201
203. #202
204. #203
205. #204
206. #205
207. #206
208. #207
209. #208
210. #209
211. #210
212. #211
213. #212
214. #213
215. #214
216. #215
217. #216
218. #217
219. #218
220. #219
221. #220
222. #221
223. #222
224. #223
225. #224
226. #225
227. #226
228. #227
229. #228
230. #229
231. #230
232. #231
233. #232
234. #233
235. #234
236. #235
237. #236
238. #237
239. #238
240. #239
241. #240
242. #241
243. #242
244. #243
245. #244
246. #245
247. #246
248. #247
249. #248
250. #249
251. #250
252. #251
253. #252
254. #253
255. #254
256. #255
257. #256
258. #257
259. #258
260. #259
261. #260
262. #261
263. #262
264. #263
265. #264
266. #265
267. #266
268. #267
269. #268
270. #269
271. #270
272. #271
273. #272
274. #273
275. #274
276. #275
277. #276
278. #277
279. #278
280. #279
281. #280
282. #281
283. #282
284. #283
285. #284
286. #285
287. #286
288. #287
289. #288
290. #289
291. #290
292. #291
293. #292
294. #293
295. #294
296. #295
297. #296
298. #297
299. #298
300. #299
301. #300
302. #301
303. #302
304. #303
305. #304
306. #305
307. #306
308. #307
309. #308
310. #309
311. #310
312. #311
313. #312
314. #313
315. #314
316. #315
317. #316
318. #317
319. #318
320. #319
321. #320
322. #321
323. #322
324. #323
325. #324
326. #325
327. #326
328. #327
329. #328
330. #329
331. #330
332. #331
333. #332
334. #333
335. #334
336. #335
337. #336
338. #337
339. #338
340. #339
341. #340
342. #341
343. #342
344. #343
345. #344
346. #345
347. #346
348. #347
349. #348
350. #349
351. #350
352. #351
353. #352
354. #353
355. #354
356. #355
357. #356
358. #357
359. #358
360. #359
Text Q
1. #0 (title page)
2. #1
3. #2
4. #3
5. #4
6. #5
7. #6
8. #7
9. #8
10. #9
11. #10
12. #11
13. #12
14. #13
15. #14
16. #15
17. #16
18. #17
19. #18
20. #19
21. #20
22. #21
23. #22
24. #23
25. #24
26. #25
27. #26
28. #27
29. #28
30. #29
31. #30
32. #31
33. #32
34. #33
35. #34
36. #35
37. #36
38. #37
39. #38
40. #39
41. #40
42. #41
43. #42
44. #43
45. #44
46. #45
47. #46
48. #47
49. #48
50. #49
51. #50
52. #51
53. #52
54. #53
55. #54
56. #55
57. #56
58. #57
59. #58
60. #59
61. #60
62. #61
63. #62
64. #63
65. #64
66. #65
67. #66
68. #67
69. #68
70. #69
71. #70
72. #71
73. #72
74. #73
75. #74
76. #75
77. #76
78. #77
79. #78
80. #79
81. #80
82. #81
83. #82
84. #83
85. #84
86. #85
87. #86
88. #87
89. #88
90. #89
91. #90
92. #91
93. #92
94. #93
95. #94
96. #95
97. #96
98. #97
Text R
1. #0 (title page)
2. #1
3. #2
4. #3
5. #4
6. #5
7. #6
8. #7
9. #8
10. #9
11. #10
12. #11
13. #12
14. #13
15. #14
16. #15
17. #16
18. #17
19. #18
20. #19
21. #20
22. #21
23. #22
24. #23
25. #24
26. #25
27. #26
28. #27
29. #28
30. #29
31. #30
32. #31
33. #32
34. #33
35. #34
36. #35
37. #36
38. #37
39. #38
40. #39
41. #40
42. #41
43. #42
44. #43
45. #44
46. #45
47. #46
48. #47
49. #48
50. #49
51. #50
52. #51
53. #52
54. #53
55. #54
56. #55
57. #56
58. #57
59. #58
60. #59
61. #60
62. #61
63. #62
64. #63
65. #64
66. #65
67. #66
68. #67
69. #68
70. #69
71. #70
72. #71
73. #72
74. #73
75. #74
76. #75
77. #76
78. #77
79. #78
80. #79
81. #80
82. #81
83. #82
84. #83
85. #84
86. #85
87. #86
88. #87
89. #88
90. #89
91. #90
92. #91
93. #92
94. #93
95. #94
96. #95
97. #96
98. #97
99. #98
100. #99
101. #100
102. #101
103. #102
104. #103
105. #104
106. #105
107. #106
108. #107
109. #108
110. #109
111. #110
112. #111
113. #112
114. #113
115. #114
116. #115
117. #116
118. #117
119. #118
120. #119
121. #120
122. #121
123. #122
124. #123
125. #124
126. #125
127. #126
128. #127
129. #128
130. #129
131. #130
132. #131
133. #132
134. #133
135. #134
136. #135
137. #136
138. #137
139. #138
140. #139
141. #140
142. #141
143. #142
144. #143
145. #144
146. #145
147. #146
148. #147
149. #148
150. #149
151. #150
152. #151
153. #152
154. #153
155. #154
156. #155
157. #156
158. #157
159. #158
160. #159
Text S
1. #0 (title page)
2. #1
3. #2
4. #3
5. #4
6. #5
7. #6
8. #7
9. #8
10. #9
11. #10
12. #11
13. #12
14. #13
15. #14
16. #15
17. #16
18. #17
19. #18
20. #19
21. #20
22. #21
23. #22
24. #23
25. #24
26. #25
27. #26
28. #27
29. #28
30. #29
31. #30
32. #31
33. #32
34. #33
35. #34
36. #35
37. #36
38. #37
39. #38
40. #39
41. #40
42. #41
43. #42
44. #43
45. #44
46. #45
47. #46
48. #47
49. #48
50. #49
51. #50
52. #51
53. #52
54. #53
55. #54
56. #55
57. #56
58. #57
59. #58
60. #59
61. #60
62. #61
63. #62
64. #63
65. #64
66. #65
67. #66
68. #67
69. #68
70. #69
71. #70
72. #71
73. #72
74. #73
75. #74
76. #75
77. #76
78. #77
79. #78
80. #79
81. #80
82. #81
83. #82
84. #83
85. #84
86. #85
87. #86
88. #87
89. #88
90. #89
91. #90
92. #91
93. #92
94. #93
95. #94
96. #95
97. #96
98. #97
99. #98
100. #99
101. #100
102. #101
103. #102
104. #103

Epigraph

The world is a riddle, we ourselves are a riddle, life is a riddle, death is a riddle.

Helene von Druskowitz

If poetry is a riddle in itself, then poetry is the riddle of riddles.

Carl Spitteler

Only one book lies open before all eyes, the book of nature.

Jean-Jacques Rousseau

If a book and a head collide and it sounds hollow, is that always in the book?

Georg Christoph Lichtenberg

A good book needs time.

Friedrich Nietzsche

Foreword

Content

About the author names: The letters P, Q, R, S serve merely as placeholders. The names in CusyA script appear on the title page of each work in the section after the title.

As early as 2018, when the main volume of the CusyA corpus was published, it was more or less known that there were more works in this language, which, however, were not yet available for digitisation at that time.

Partly, because of the fragility of the originals, the first step of digitisation was very time-consuming, and partly there were still some reservations about whether the works should be published digitally, which simply had to do with who had the originals in question. However, the latter reservations have now been dispelled in the case of some of the works, which are finally also being made available digitally and to the general public with the supplement volume.

Poor preservation is, however, a real obstacle that cannot be removed by persuasion. Rather, great care and effort must be taken here. However, because work on the works requires general access anyway in order to discuss the content, which does not further burden the originals, digitisation is ultimately unavoidable in order to be able to use these works practically at all. As a supplement to the already existing digital old corpus, these works are also very important for research because they provide a broader basis for analysis.

In terms of content, there were also certain concerns with most of the works that have now been digitised, because unlike the first corpus, there is mostly a different structure here: The number of chapters is no longer necessarily a power of two. This now makes speculation on this matter seem obsolete, although there is now a refined hypothesis that the works with a power of two follow a strict structure, while the others follow a different, looser structure. Corresponding differences are also known in various forms of poetry.

However, the results of the supplementary volume have now persuaded other owners of fragments to make them available for digitisation. In particular, after digitisation it was relatively easy to combine the contents of fragments from different owners.

This was particularly successful in the case of work Q, where it turned out that three parts of the same copy were distributed to three different owners or archivists without overlapping. These could now benefit considerably from digitisation. Without the overlap, however, the digital collation would not have been successful. Instead, two other owners had fragments from other copies, which provided the necessary overlap. As a result, Werk Q could now be made available digitally in its entirety.
After some negotiations and the exchange of further fragments, the three fragments without overlap are now even in the possession of one owner or archivist. Further fragments of different copies could be brought together with an overlap to form a further edition, which in turn is now managed by a different owner. As compensation, the third archivist in particular has received a collection of smaller fragments in exchange for his large fragment, most of which have not yet been analysed further.

The work R has in turn been reconstructed from a larger number of fragments from four copies, although no agreement could be reached regarding the originals, which therefore remain distributed among various archives. Only the digital version can therefore be viewed as a complete edition.

As a result of these successes in bringing them together, a previously rather reluctant archivist felt encouraged to make the P and S works available. Both are collections of smaller individual works, each of which is not identified by author. Only the respective collection as a whole is labelled with a name, which is why it remains unclear whether this person is merely the editor of the respective collection or also the author of the individual works. As with the Brothers Grimm's fairy tale collection, it is also possible that these are revised stories in the case of work P and revised or annotated poems in the case of work S. Each work in these collections has a short summary at the beginning and a footnote or annotation at the end. This means that the structure here also differs significantly from the works in the main volume.

All in all, it should be noted that the recording in the form of a digitisation of the entire corpus of surviving works on CusyA is by no means complete. There are other works in a difficult state of preservation for which digitisation has not even begun. However, due to technical and practical progress in handling, there is hope that these will also be made accessible to a broader public at some point.

Furthermore, there are still a few works that are still subject to the reservations of the current owners, who guard them like a treasure, whereby the state of preservation can be quite different. So there is still work to be done to convince them.

With regard to the research itself, there have been various new ideas and approaches to coding since the publication of the digital version of the corpus, thus the general accessibility. Some of these have also already been reliably refuted. Others are still awaiting refutation, or their proponents are still hoping to find confirmation, circumstantial evidence that can support their assumptions with further analyses. In this sense, this supplementary volume offers further material for analysis.

Either way, it remains to be said: CusyA has not yet been deciphered. The corpus continues to hold its secret.

Furthermore, there is a relevance discussion. Works that have not been deciphered, such as the Voynich manuscript or Codex Rohonczi, are individual works from a still roughly comprehensible social context. As a result, a decipherment may be interesting or entertaining, but it has little relevance culturally or cryptographically.

A work such as the Codex Seraphinianus by Luigi Serafini or Book of Heaven by Xu Bing, on the other hand, with well-known authors, well-known histories, are artistically relevant, but a decryption would also only have entertainment value.
The historical context of artefacts such as the Phaistos Disc - art from historical times or a document from antiquity?

In the case of works in extinct languages that no longer survive, on the other hand, there is an immediate cultural or historical relevance if a decipherment would be successful. This would be the case, for example, with Linear A, the Cretan hieroglyphs, the Kypro-minoic script, the Byblos script, the Indus script, the Issyk-Bactria script, the Jiahu script or the writing system of the Easter Islands, also called Rongorongo. The fact that available works belong to a vanished culture is indisputable in the case of these remnants, artefacts. The catch here is rather that the amount of surviving writings is rather small, which in turn greatly limits the information content of the still available works. In the case of ancient artefacts, the correlation between the content of the work and the extinct culture is also difficult to establish.

Archaeologically relevant finds with inscriptions such as the axe from Arkalochori, the Cascajal stone, the rune stone from Rogäsen, objects with Vinča symbols also remain enigmatic. The number of glyphs here is probably considerably too small to decode reliably. Thus, the cultural background or context of the inscriptions will probably remain in the darkness of history.

Cryptographically, on the other hand, those documents or writings have relevance where one can assume that interesting information has been successfully encrypted in them, which can now no longer be deciphered without knowledge of the key. In the classical approach of cryptography by a clever other assignment of glyphs to known letters, syllables or words, in the case of an encryption in the sense of a transcription from a known language, statistics can subsequently help in the decoding without an existing key. With an unknown language, on the other hand, known references to other languages or concrete assignments to objects, activities are useful for decoding. If both are missing, there is a poor prognosis for decoding. Cryptography therefore always needs information that is embedded in a known context.

With CusyA, on the other hand, one has the attractive situation of having a broad basis with extensive writings by various authors.
The cultural context, on the other hand, is diffuse, so the relevance remains difficult to classify: Art, past culture or subculture with relevant historical information?

Technique

We have transcribed the script of the contained works for this work into common font files for the first time in order to make them generally available in the form of the international standard for digital books EPUB. In any case, the originals or facsimiles of these, which are available to us, point to clearly automated production processes; the glyphs are thus clearly identifiable as such, and can therefore also be transferred unambiguously into the form of a font file. This stage of the transcription can thus be regarded as safe and complete.

Therefore it is necessary for the further text analysis that the used representation program can interpret font files. Since there is no standard Unicode encoding for the script, a private Unicode usage block had to be used here. So display programs cannot have any font pre-installed for this unknown language, they are dependent on the font files offered.

If the display program used has problems with the presentation of the texts, it should first be checked whether the program is allowed to use embedded fonts. If the display is still defective even after such activation of the book's own fonts, the use of a more suitable display program is recommended. It is therefore worthwhile not to give up on minor problems right away – alternatively, which is probably the more likely case – to be happy about a nice and correct presentation right from the start.

Technically, this EPUB has some built-in help to give the reader better access to the content. There are, for example, different style sheets to choose from. For a presentation program that can interpret EPUB completely, there will be such a choice. Therefore, you can easily switch between light glyphs on dark background and dark glyphs on light background. For your own settings you can use the alternatively available simple style, which only highlights or arranges some structures.

Available alternative style sheets:

dark on light: dark writing on light background (default)
light on dark: light writing on dark background
simple: simple style without colour specifications, especially suitable for combination with your own specifications

Authors as well as the coworker of this book have no influence on lack, errors, gaps in the interpretation of EPUB by the respective used representation program. With representation problems these should be analyzed first, localized. For this it can help among other things as the first step to check with different programs the reproducibility or also with special test programs to verify that in particular in the book itself really no error is present.
Correspondingly, it will subsequently be possible to correctly address a targeted error message. The authors as well as the coworker may well be the correct contacts depending on the error. With the quality of current representation programs these can be however likewise with high probability the developers of these representation programs. Accordingly as precise as possible data are always helpful to the problem with an error message.
. Generally the error rate is clearly smaller with representation programs of the type browser of usual offerers than with special programs or extensions for browsers for the interpretation of EPUB. In this respect it can be with larger problems with the representation likewise a way out to unpack the EPUB-archive (it concerns with EPUB always an archive of the type ZIP, to read the book then directly in the browser, for which first the file Inhaltsverzeichnis.xhtml is to be opened in the directory Inhalt, in order to get an entrance into the reading order as well as an overview of contents. Over the reference function of the directory can be called afterwards in each case the desired contents.
This procedure can be equally useful to locate problems or errors. For single documents, other check programs can also be used.

Automatic conversions of this book in the format EPUB to other formats can cause various defects, which can be caused by errors and problems of the too naive and simply designed conversion programs as well as by the format into which it is converted. The authors and staff of this book have no control over later manipulations or format conversions, so they have no influence on the complete availability of content and help information of such manipulated versions. They therefore strongly recommend to use the unchanged original and to have it presented by a powerful presentation program.

Manually it is quite easy to simplify some techniques and features of the book so far, to prepare content differently, to make it also available in reduced quality in other formats. Especially with still quite popular proprietary Amazon formats (Mobipocket or KF8) it is quite easy to create a simplified EPUB from which you can create a readable book in these inferior formats, if you are familiar with EPUB and the possibilities of these formats.

Font Test

For a reception of the work to be possible at all in a meaningful way, font files must be able to be interpreted in a meaningful way. To test this, two graphics are available below. These should look essentially the same. If this is not the case, or if the glyphs are not displayed at all, switch to a more powerful display programme in order to be able to receive the corpus.

The upper graphic contains the necessary glyphs, which the display programme takes from a font file. The lower graphic contains the glyphs directly as simple paths, therefore without a font file with formal definition of the glyphs.

Note for audiences with read aloud programmes or other than visual presentations: The works in the actual corpus are written in a font that has not yet been deciphered, which is represented here with its own font for a private Unicode block.
Only some glyphs, for example those for numerals, punctuation marks are taken from a general numeric block because these characters are already deciphered or a distantly related meaning is assumed. The correct graphic presentation, however, also differs here - if necessary, these glyphs could always be defined later with their own number.
In this respect, a presentation other than visual for the entire works is inevitably difficult.

However, the following file may be formally suitable for linking the Unicode number used in each case with an unambiguous definition of the glyph, as well as with a cubic path. At a sufficiently high level of abstraction, it is thus equally possible to imagine the glyphs without visual presentation, although certainly not trivial: Formal Definition of the Font for CusyA
Note on this: For a completely correct visual display, the presentation programme must interpret font definitions in SVG format. For other text passages in CusyA, other derived formats are used, which are less accessible but more likely to be interpreted by the usual programs. Consequently, a correct visual representation of this file is not necessary for the reception of the book; the visual representation corresponds to the following two graphics.

Impressum

Nächste Seite

Nächste Seite

Seite 1 /