This post has been shortened and edited, after the author was ‘eldered’ by older and kinder (and non-Voynich-connected) friends.
The last couple of weeks have brought some interesting correspondence.
Some of the email-writers complain that they can hardly refer to original work I published online if it’s no longer online. One describes me as ‘the Gordon Ramsay of Voynich studies’ and a couple more echo the sentiment with less humour. The most interesting invites me to write an addendum for their planned paper about the Voynich plant pictures. The subject is ‘mnemonic elements’.
While I declined the offer, I appreciate the fact that those authors got the timeline right. It is quite true that I was the first to describe the plant-pictures as containing – usually in the position of the ‘roots’ – mnemonic devices which serve as additional commentary on the plants forming the subject of each drawing. The information was not well received at the time. Somewhat later, Don of Tallahassee began using the word, was brave enough to mention his source, and while he received a poor reception, the ‘idea’ began to become more popular although those using it seemed to think that a mnemonic was little more than a simple ‘associative doodle’. One person hunted d’Imperio, found a reference to Frances Yates’ book about Giordano Bruno (1548-1600) and claimed that the analytical studies I’d published were ‘nothing new’. This made the word ‘mnemonics’ acceptable to many, though I’d already explained that Yates’ book had nothing to offer, and that readers hoping to understand how these elements work in plant drawings should begin with the studies by Mary Carruthers, which would not explain the Voynich pictures but would give some idea of the complexity and sophistication of mnemonic techniques in a world before printing, and where many remained illiterate all their lives.
The reason I cannot provide the commentary those authors want is that the details in the Voynich plant pictures are devised to supplement information about the plants referenced by a given drawing, so that if the authors’ analyses and identification is flawed, the mnemonic will either make no sense or will conflict with their posited identifications. There is no easy set of correspondences, and the mnemonic elements are no key to understanding a drawing, but are a helpful means to cross-check a developing analysis of any Voynich plant-drawing because they are very well informed and refer to the plants’ common uses and value for commerce. They are quite unlike the simplistic devices used in western herbals of the type Aldrovandi called ‘the alchemists’ herbals’ which (by comparison) read as a bit flat-footed and leaden.
I won’t name those authors yet, but once their paper is published and the risk of its content’s ‘co-opted’ that much less, I’ll direct readers to that paper.
In terms of the manuscript’s story, one can map the rise of poor practice in parallel with the rise of a ‘central European’ theory, and the consequent shift of focus from investigation and research aimed at better understanding the manuscript to a focus on promoting and attempting to persuade others, of that imaginative story, or of some other.
But the effort to promote a theory was accompanied for the first time by a refusal to engage with persons whose research (and I mean research beyond picture-matching) constituted opposition to the theory. Again, purely as a matter of fact, those who refused to discuss or engage in debate and who behaved as if their theory was the only ‘logical’ position were promoting the ‘central European Rudolfine’ sort of story.
I’m not sure whether they also brought to the study a particularly obnoxious practice, one which might be described as plagiarism at one remove or ‘deniable plagiarism’.
I’ve been watching its affects in this study for more than a decade, though it certainly began before 2008, and before Nick Pelling’s experience in 2011.
What happened in 2011?
Well, Nick was gob-smacked by a particularly glaring example of the most sickening of all forms of plagiarism- what you might call ‘plagiarism at one remove’ or ‘disownable plagiarism’. It involves conning some third party to ‘launder’ the stolen property and the phenomenon has become so common in Voynich studies that it is an important reason so few eminent and independent scholars are now willing to address problems presented by Beinecke MS 408.
Nick described his experience so well that I won’t try to improve on it.
In his case, the (fairly-) innocent third-parties weren’t Voynicheros but employees of a television company.
- Nick Pelling, ‘review of “The book That Can’t Be Read” Voynich Documentary’ ciphermysteries, (February 21st., 2011).
Here’s the crux (emphasis is mine):
It wasn’t even that they were ignoring me, but rather that they gave every impression of trying to re-create my results by other means so as to avoid having to credit (or even name-check) me.
Nick treats the issue by normal standards of fair and unfair.
I tend to see it in terms of its corrupting the normal, and formal standards of scholarly research – of integrity versus corrupt practice.
I’m not criticising ‘new comers’ who’ve been conned into thinking they are exploring for the first time some ‘idea’ presented to them as if never before explored.
On the contrary, I think the amateurs are being badly misused, their enthusiasm abused and their reputations as honest individuals likely to be demeaned in the long run.
It also means that the study sees an endless ‘re-invention’ of matter already studied, but of which studies a majority are left in ignorance.
I should probably offer a current example so I’ll take a fairly easy and current topic – the ‘swallowtail merlons’ theme which is undergoing another revival.
I’d like to say that the topic was being ‘revisited’ or ‘re-considered’ but it’s shaping up as another of those ‘groundhog day’ conversations, whose only joy is ‘team spirit’ and where all involved appear to be oblivious of what has been said, thought and argued about it since 1996.
Some of the guys engaged in the ‘revisiting’ are very nice people. It’s rather depressing to see them repeating mistakes made quarter of a century ago.
But you might like to consider what Koen reports of it, in his latest post, and then compare that material with what turns up if you search Reeds’ mailing list and Pelling’s blog for ‘swallowtail’ ‘fishtail’ ‘dovetail’ and ‘Ghibbeline’ (Reeds list) and ‘merlons’ and ‘castle’ (Pelling’s blog). Most of the references in those sources, reflecting individuals’ ongoing research come with their cited sources.
It’s a pity that the posts from Rich Santacoloma’s mailing list haven’t yet been issued as a searchable database.
With many – even most – of Nick’s opinions I disagree. I find his efforts at iconological analysis ill-informed. But I’d bet there’s not a single instance of his trying to pretend another person’s insight his own, or any instance of his pretending that the research conclusions reached by any other person was just an ‘idea’ wafted to him on the wind by reason of some innate ‘genius’. He does not expect others to do the work of researching ‘an idea’ for him, or engage in ‘deniable plagiarism’ either.
I have a high opinion of Koen’s intellectual integrity, too, and if so much of what is being offered now by his forum- team reads to other readers as earlier research ‘label-stripped’, I’d lay odds he doesn’t know it is.
- Koen Gheuens, ‘A map of Swallowtail merlons’, Herculeaf, (September 21st., 2021).
In the next post, I’ll treat the earliest phase of the ‘swallowtail’ discussion in Voynich studies and comment on some of the more common errors in the way the Voynich drawing has been treated. The oldest and most persistent error has been to forget that the subject of study is supposed to be a drawing in a six-hundred year old manuscript, and what significance might be implied by this motif. One can hardly determine this fairly complex question by a tour of such ‘Ghibbeline’ battlements as happen to survive in the twenty-first century. Sorry.