The Prophecies of Paracelsus Translated by J.K
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Johann Georg Faust
Johann Georg Faust Dr. Johann Georg Faust (approx. 1480 – 1540) was a German alchemist who was born in the village of Knittlingen, Württemberg (it is also claimed in Roda in the province of Weimar, and also in Helmstadt near Heidelberg in 1466). He has alternatively been known by the names “Johann Sabellicus” and “Georg Faust.” In 1507, Johannes Trithemius of Sponheim wrote that Faust was a con-man and a drifter who preyed on the gullible. He said he had fled a teaching position in Kreuznach after molesting several of the boys there. He may have then gone on to the University of Heidelberg to study, obtaining a degree in divinity from Heidelberg University in 1509, and then to Poland where a friend of Martin Luther, Philip Melanchthon, says Faust studied magic at the University of Kraków. Martin Luther and Philipp Melanchthon are said to have alleged Faust’s companionship with the devil. After that, he appears at the University of Ehrfut in central Germany. It is said that when he lectured on Homer he conjured up Homer’s heroes for his students. He was expelled from Ehrfut by the Franciscan monk Dr. Klinge (who was the cathedral preacher from 1520-1556). Dr. Klinge asked for Faust’s repentance. Faust refused the monk’s offer of intervention and admitted having signed a pact with the Devil, and said that he trusted the Devil more than God. In 1523 he is said to have visited Auerbach’s Tavern in Leipzig where he conjured wine out of a table, and rode a barrel of wine. -
An Archeology of Cryptography: Rewriting Plaintext, Encryption, and Ciphertext
An Archeology of Cryptography: Rewriting Plaintext, Encryption, and Ciphertext By Isaac Quinn DuPont A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Faculty of Information University of Toronto © Copyright by Isaac Quinn DuPont 2017 ii An Archeology of Cryptography: Rewriting Plaintext, Encryption, and Ciphertext Isaac Quinn DuPont Doctor of Philosophy Faculty of Information University of Toronto 2017 Abstract Tis dissertation is an archeological study of cryptography. It questions the validity of thinking about cryptography in familiar, instrumentalist terms, and instead reveals the ways that cryptography can been understood as writing, media, and computation. In this dissertation, I ofer a critique of the prevailing views of cryptography by tracing a number of long overlooked themes in its history, including the development of artifcial languages, machine translation, media, code, notation, silence, and order. Using an archeological method, I detail historical conditions of possibility and the technical a priori of cryptography. Te conditions of possibility are explored in three parts, where I rhetorically rewrite the conventional terms of art, namely, plaintext, encryption, and ciphertext. I argue that plaintext has historically been understood as kind of inscription or form of writing, and has been associated with the development of artifcial languages, and used to analyze and investigate the natural world. I argue that the technical a priori of plaintext, encryption, and ciphertext is constitutive of the syntactic iii and semantic properties detailed in Nelson Goodman’s theory of notation, as described in his Languages of Art. I argue that encryption (and its reverse, decryption) are deterministic modes of transcription, which have historically been thought of as the medium between plaintext and ciphertext. -
Agrippa's Cosmic Ladder: Building a World with Words in the De Occulta Philosophia
chapter 4 Agrippa’s Cosmic Ladder: Building a World with Words in the De Occulta Philosophia Noel Putnik In this essay I examine certain aspects of Cornelius Agrippa’s De occulta philosophia libri tres (Three Books of Occult Philosophy, 1533), one of the foun- dational works in the history of western esotericism.1 To venture on a brief examination of such a highly complex work certainly exceeds the limitations of an essay, but the problem I intend to delineate, I believe, can be captured and glimpsed in its main contours. I wish to consider the ways in which the German humanist constructs and represents a common Renaissance image of the universe in his De occulta philosophia. This image is of pivotal importance for understanding Agrippa’s peculiar worldview as it provides a conceptual framework in which he develops his multilayered and heterodox thought. In other words, I deal with Agrippa’s cosmology in the context of his magical the- ory. The main conclusion of my analysis is that Agrippa’s approach to this topic is remarkably non-visual and that his symbolism is largely of verbal nature, revealing an author predominantly concerned with the nature of discursive language and the linguistic implications of magical thinking. The De occulta philosophia is the largest, most important, and most complex among the works of Heinrich Cornelius Agrippa von Nettesheim (1486–1535). It is a summa of practically all the esoteric doctrines and magical practices ac- cessible to the author. As is well known and discussed in scholarship, this vast and diverse amount of material is organized within a tripartite structure that corresponds to the common Neoplatonic notion of a cosmic hierarchy. -
Roman Reading Permits for the Works of Bruno and Campanella Leen Spruit
ROMAN READING PERMITS FOR THE works OF Bruno AND Campanella Leen Spruit Summary Since the second half of the sixteenth century the Roman Congregations of the Holy Office and the Index granted licences for reading forbidden books. As a rule, reading permits for books by authors who were condemned for heresy, could not be issued. However, after the promulgation of the Clementine Index in 1596, the congregations gradually attenuated the total prohibitions, and started to issue licences for books prohibited in the first class of the Index. Here, the cases of Bruno and Campanella are discussed. eading permits started being issued after the Church of Rome had R begun to systematically censure ideas and works. The grant of licenc- es for reading forbidden books was not the effect of an official decision, issued on a certain date, but rather a practice that arose with individual epi- sodes related to quite dissimilar cases. The licences granted by the Roman Congregations of the Holy Office and the Index are the main, or rather the only, instrument for assessing the difference between the hypothetical and the real efficacy of ecclesiastical censorship, and this is because the inten- tional or casual inobservance of the prohibitions, the other factor determin- ing this difference, can only be measured in an indirect way and solely for individual cases. Initially, the prohibition to grant licences for works that were considered heretical, due to the author or the content, was total. Considering that the reading of suspect or prohibited works granted to confutate « haereses et errores » frequently led to contrary results, in 1564 the licences were limited to Inquisitors only. -
John Dee, Willem Silvius, and the Diagrammatic Alchemy of the Monas Hieroglyphica
The Royal Typographer and the Alchemist: John Dee, Willem Silvius, and the Diagrammatic Alchemy of the Monas Hieroglyphica Stephen Clucas Birkbeck, University of London, UK Abstract: John Dee’s Monas Hieroglyphica (1564) was a work which involved a close collaboration between its author and his ‘singular friend’ the Antwerp printer Willem Silvius, in whose house Dee was living whilst he composed the work and saw it through the press. This article considers the reasons why Dee chose to collaborate with Silvius, and the importance of the intellectual culture – and the print trade – of the Low Countries to the development of Dee’s outlook. Dee’s Monas was probably the first alchemical work which focused exclusively on the diagrammatic representation of the alchemical process, combining diagrams, cosmological schemes and various forms of tabular grid. It is argued that in the Monas the boundaries between typography and alchemy are blurred as the diagrams ‘anatomizing’ his hieroglyphic sign (the ‘Monad’) are seen as revealing truths about alchemical substances and processes. Key words: diagram, print culture, typography, John Dee, Willem Silvius, alchemy. Why did John Dee go to Antwerp in 1564 in order to publish his recondite alchemical work, the Monas Hieroglyphica? What was it that made the Antwerp printer Willem Silvius a suitable candidate for his role as the ‘typographical parent’ of Dee’s work?1 In this paper I look at the role that Silvius played in the evolution of Dee’s most enigmatic work, and at the ways in which Silvius’s expertise in the reproduction of printed diagrams enabled Dee to make the Monas one of the first alchemical works to make systematic use of the diagram was a way of presenting information about the alchemical process. -
Early Modern German Biographical Lexicons and Encyclopedias
Quidditas Volume 29 Article 8 2008 Alphabetical Lives: Early Modern German Biographical Lexicons and Encyclopedias Richard G. Cole Luther College, Emeritus Follow this and additional works at: https://scholarsarchive.byu.edu/rmmra Part of the Comparative Literature Commons, History Commons, Philosophy Commons, and the Renaissance Studies Commons Recommended Citation Cole, Richard G. (2008) "Alphabetical Lives: Early Modern German Biographical Lexicons and Encyclopedias," Quidditas: Vol. 29 , Article 8. Available at: https://scholarsarchive.byu.edu/rmmra/vol29/iss1/8 This Note is brought to you for free and open access by the Journals at BYU ScholarsArchive. It has been accepted for inclusion in Quidditas by an authorized editor of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. Cole 121 Notes Alphabetical Lives: Early Modern German Biographical Lexicons and Encyclopedias Richard G. Cole Luther College, Emeritus Those who appear obvious to us as “major players” in past eras may in part result from an unintended consequence of the work of early modern biographical lexicographers. By the eighteenth century, there were enough printed sources and available archival materials to deluge or even overwhelm historians and biographers with information about past actors of sixteenth century history. Those biographical lexicographers made choices about whom to give prominence and whom to minimize or ignore in their works. Much has been written about the impact of printing from the time of Gutenberg through the early modern period of European history. New methods of storing and retrieving data, producing accurate maps and printing biographical lexicons are but a few of the contributions of early modern European printing presses.1 By the end the seventeenth century, a new book genre, the biographical lexicon and encyclopedia, emerged from sixteenth century German print technology. -
Seeing the Word : John Dee and Renaissance Occultism
Seeing the Word : John Dee and Renaissance Occultism Håkansson, Håkan 2001 Link to publication Citation for published version (APA): Håkansson, H. (2001). Seeing the Word : John Dee and Renaissance Occultism. Department of Cultural Sciences, Lund University. Total number of authors: 1 General rights Unless other specific re-use rights are stated the following general rights apply: Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal Read more about Creative commons licenses: https://creativecommons.org/licenses/ Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. LUND UNIVERSITY PO Box 117 221 00 Lund +46 46-222 00 00 Seeing the Word To Susan and Åse of course Seeing the Word John Dee and Renaissance Occultism Håkan Håkansson Lunds Universitet Ugglan Minervaserien 2 Cover illustration: detail from John Dee’s genealogical roll (British Library, MS Cotton Charter XIV, article 1), showing his self-portrait, the “Hieroglyphic Monad”, and the motto supercaelestes roretis aquae, et terra fructum dabit suum — “let the waters above the heavens fall, and the earth will yield its fruit”. -
Solved: the Ciphers in Book III of Trithemius's Steganographia
Solved: The Ciphers in Bo ok iii of Trithemius's Steganographia Jim Reeds AT&T Labs | Research Florham Park, New Jersey 07932 [email protected] DRAFT: 26 March 1998 Abstract Bo ok iii of Trithemius's Steganographia written ca. 1500 contains hidden cipher messages within what is ostensibly a magic work. After almost 500 years these ciphers have b een detected and solved. Since 1606 it was known that similar ciphers were present in Bo oks i and ii. This has implications not only for the history of cryptography but also for the history of 16th century magic. Trithemius has b een considered one of the main gures in the rise of the o ccult movement in the 1500's, but it now turns out that the evidence is less clear. Quis divinabit, quid in hoc libro tertio Steganographiae scripsit & 1 scripturus erat Trithemius? 1 Johannes Trithemius and the Steganographia Johannes Trithemius 1462{151 6 is a man with at least three distinct rep- utations, the apparent contradictions among whichhave generated contro- versy for almost ve centuries. WehaveTrithemius the German Renaissance humanist, advisor to Emp erors, one of the most erudite b o ok collectors of Germany, author of more than fty b o oks himself, the founder of scienti c 2 bibliography. Then, there is Trithemius, one of the founders of the mo dern 1 science of cryptology, the author of the rst printed work on cryptography, 3 the Polygraphia of 1518. And nally, there is Trithemius the o ccultist, stu- dent of the Cabala, the mentor of Agrippa of Nettesheim 1486{1535, the author of an ambiguous mysterious demonological and cryptographic b o ok, the Steganographia, comp osed ca. -
Benedek Láng Why Don't We Decipher an Outdated Cipher System? The
Benedek Láng Why don’t we decipher an outdated cipher system? The Codex of Rohonc1 A neglected source The Codex of Rohonc is in a paradoxical situation: it is privileged to be in the elegant company of the nine most famous hitherto unsolved writing-systems (together with the Phaistos disk and the Linear A),2 while – in contrast to all the other unsolved writings – almost no serious research has been published on it since it turned up in 1838.3 This situation becomes particularly surprising if we compare it with that of the (in)famous Voynich manuscript. There are a couple of similarities between the two manuscripts: both have been written in a mysterious and unsolved cipher, both are fairly lengthy (and thus offer themselves to professional code breakers), both can be equally well a cipher, an artificial (or perfect) language or a hoax, both of them contain illustrations that might help the process of deciphering or might equally well misguide us, and both could have been written – or forged – sometime between the 16th and the 19th centuries. However, while the Voynich manuscript enjoyed the attention of the best code breakers of World War II, many twentieth century philologists researched it, and it has been offered several monographs, articles, web pages and e-mail lists, the Codex of Rohonc has only received a few aborted attempts at deciphering it and one meager e-mail list. There is not even a reliable piece of secondary literature on what can be actually known about it. The Codex of Rohonc is a nearly 450-page long handwritten paper book filled with 9-14 lines of unknown sign-strings on each page and with more than 80 illustrations. -
Decrypted Secrets
Decrypted Secrets Methods and Maxims of Cryptology Bearbeitet von Friedrich L Bauer Neuausgabe 2006. Buch. xiv, 525 S. Hardcover ISBN 978 3 540 24502 5 Format (B x L): 15,5 x 23,5 cm Gewicht: 992 g Weitere Fachgebiete > EDV, Informatik > Datenbanken, Informationssicherheit, Geschäftssoftware > Informations- und Kodierungstheorie Zu Inhaltsverzeichnis schnell und portofrei erhältlich bei Die Online-Fachbuchhandlung beck-shop.de ist spezialisiert auf Fachbücher, insbesondere Recht, Steuern und Wirtschaft. Im Sortiment finden Sie alle Medien (Bücher, Zeitschriften, CDs, eBooks, etc.) aller Verlage. Ergänzt wird das Programm durch Services wie Neuerscheinungsdienst oder Zusammenstellungen von Büchern zu Sonderpreisen. Der Shop führt mehr als 8 Millionen Produkte. 1 Introductory Synopsis En cryptographie, aucune r`egle n’est absolue. [In cryptography, no rule is absolute.] Etienne´ Bazeries (1901) 1.1 Cryptography and Steganography We must distinguish between cryptography (Greek kryptos, hidden) and steganography (Greek steganos, covered). The term cryptographia, to mean secrecy in writing, was used in 1641 by John Wilkins, a founder with John Wallis of the Royal Society in London; the word ‘cryptography’ was coined in 1658 by Thomas Browne, a famous English physician and writer. It is the aim of cryptography to render a message incomprehensible to an un- authorized reader: ars occulte scribendi. One speaks of overt secret writing: overt in the sense of being obviously recognizable as secret writing. The term steganographia was also used in this sense by Caspar Schott, a pupil of Athanasius Kircher, in the title of his book Schola steganographia, published in Nuremberg in 1665; however, it had already been used by Trithemius in his first (and amply obscure) work Steganographia, which he began writing in 1499, to mean ‘hidden writing’. -
1 Notes to Chapter 6 (1) C.R. Ch. 4, Pp. 11-12. "Her Majestie Very Gratiously Took Me to Her Service at Whitehall Before
Notes to Chapter 6 (1) C.R. Ch. 4, pp. 11-12. "Her Majestie very gratiously took me to her service at Whitehall before her Coronation" (on the recommendations of Pembroke and Leicester) "At which tyme her Majestie used these wordes unto the said Lordes `Where my brother hath given him a crowne, I will give him a noble.'" Dee however, as will appear, received little material benefit from Elizabeth—similarly his friend, another scholar—Ascham, also very close to the Queen, perhaps more so than Dee, and holding an official position at Court, only received from her a salary of £20 p.a. until his death in 1568. (2) C.R. Ch. 5, p. 21. It took place on the 14th Jan. 1559, which cannot be said to have been an unfortunate recommendation. Dee's services as a prognosticator do not on the whole appear to have been extensive, and the verdict is probably exaggerated at least as far as he is concerned, that "It was Queen Elizabeth and her famous Astrologer John Dee who did more than any persons to popularize astrology. Under them it became more or less of a court fad." (C. Camden Jr., Astrology in Shakespeare's Day, p. 45, Isis XIX, 1933, 26 ff.) (3) C.R. Ch. 4, p. 13. (This offer was not perhaps made until 1571, Dee records it among a list of preferments promised to him by Elizabeth.) If Foxe's accounts are accurate, Dee's experiences in filling this function as Bonner's Chaplain had been obviously far from encouraging. -
Blair Article Final Version
Reflections on Technological Continuities: Manuscripts Copied from Printed Books The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Blair, Ann. 2015. “Reflections on Technological Continuities: Manuscripts Copied from Printed Books.” Bull John Rylands Lib 91 (1) (April 1): 7–33. doi:10.7227/bjrl.91.1.2. Published Version doi:10.7227/BJRL.91.1.2 Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:27715961 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Open Access Policy Articles, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#OAP Reflections on technological continuities: Manuscripts copied from printed books Ann Blair, Harvard University Abstract: In our time of increasing reliance on digital media the history of the book has a special role to play in studying the codex form and the persistence of old media alongside the growth of new ones. As a contribution to recent work on the continued use of manuscript in the handpress era, I focus on some examples of manuscripts copied from printed books in the Rylands Library and discuss the motivations for making them. Some of these manuscripts were luxury items signaling wealth and prestige, others were made for practical reasons, to own a copy of a book that was hard to buy, or a copy that could be customised in the process of copying. The act of copying itself was also considered to have devotional and/or pedagogical value.