The poetic rules guiding the Planets in Nostradamus’ Prophecies.

 My  writings are aimed at finding  a definitive solution to the coding method used by Nostradamus to show dates. I have always believed that the key to this solution comes not from guesswork but by understanding Nostradamus’ own words and finding the sources that he used. I have previously shown the importance of music but not shown the nature of that music. I have also shown that it involves the three major planets together with the other planets but I have not illustrated how this works in every verse, I have also identified that Cornelius Agrippa’s work is the source that Nostradamus names as the  key to his prophecies. Each of these elements provide the bridge to finding the coding method and they are needed to clear away the futile chase along false trails.  Believing that the findings I have made can reliably be found in Nostradamus words I gained the necessary confidence to pursue the detail of his method. As a result I can now show how each verse relies on the music of each line to define the planets and the key to this is the following passage from the writings of Cornelius Agrippa.

 But understanding now, that of the seven Planets, Saturn, Mars, and the Moon have more of the voice then of the Harmony. Saturn hath sad, hoarse, heavy, and slow words, and sounds, as it were pressed to the Center; but Mars, rough, sharp, threatning [threatening] great and wrathful words: the Moon observeth a mean betwixt these two; but Jupiter, Sol, Venus and Mercury, do possess Harmonies; yet Jupiter hath grave, constant, fixed, sweet, merry, and pleasant Consorts; Sol venerable, settled, pure and sweet, with a certain grace; but Venus lascivious, luxurious, delicate, voluptuous, dissolute and fluent: Mercury hath Harmonies more remiss, and various, merry and pleasant, with a certain boldness……….. Agrippa Bk II Part III Chp XXVI

 In my first recognition of the import of this passage I attempted to build a code for several lines to illustrate their use but it was apparent that the results I achieved were not governed by discipline alone and were swayed by personal judgement. I have since set out to find a better way of analysing the verses that removed my personal judgement and relied solely on rules that a machine could use to identify each planet. The results and methods of that process are the subject of the follwing discussions.

The art I will describe in the following is ancient. I believe my rules are applicable to many of these old traditions and other languages. The ancients relied on poetry because it held more steadily in the memory than prose and steadiness is the necessary foundation for code. Accordingly I believe that these sounds I classify in the coming analyses are able to be used for other works including the Nordic sagas, the Psalms and other sections of the bible, the works of the alchemists and the operas of Richard Wagner. There is considerable evidence that these works are coded and they often give strong clues that this is the case, for instance the chapter titled Hattatal in  Snorri Sturluson’s  Prose Edda lays down a guide to code in Nordic poetry.

                 What kinds of verse form are there in poetry?

There are three kinds.

What are they?

Those that are are in accordance with rule, or licence or prohibition.

What kinds of rule for verse forms are there?

Two.

What are they?

Normal and varied

In what does the normal rule for verse-form consist?

In two things?

Number and distinction.

Etc…

 These are not greatly different from the ideas I will present but mine are shaped by Nostradamus and Agrippa.

Nostradamus’ Music- the measurement of Harmony versus Voice.

In earlier work I have shown that the mysterious verse, Centuries 6, Quatrain 100  holds secrets of the code and that its emphasis is on using music. Its header calls the verse an incantation while its second line contains the  hidden message Neat proof trace a num(ber)-valu(e) guest in music. I have also shown previously that Nostradamus states in the documents that preface his prophecies that he set a code into the verses based on the planets. When I realised that Agrippa’s work was Nostradamus source for his coding methodology the certainties stated above alerted me to the import of Agrippa’s section on the planets. Agrippa makes music the major distinguishing feature in sorting the planets into two groups when he says of the seven Planets, Saturn, Mars, and the Moon have more of the voice then of the Harmony… but Jupiter, Sol, Venus and Mercury, do possess Harmonies. Using these ideas I set out to build a program that would distinguish between the voice and the harmony in each verse. It has a very simple basis that is the same as that mentioned in Snorri Sturluson’s Hattatal where the rule of verse is founded on both number and distinction. My method counts the number of letters in a line and also counts the number of unique letters in the line. I use a multiple of the ratio of these two counts as a measue of harmany and voice. The high numbers are harmonious and low numbers are of the voice. I also analyse the line for repetitions of the consonants in three letter groups in the line to generate another count that is scaled to the same range as the letter ratio (Note consecutive vowels are counted as one letter in my three letter groupings).  Repetion is my measure of distinction and it is added to the letter ratio value to determine the musical worth of the line. This music system is seen in the following two lines from the Prophecies where the first generates the highest musical value of all the verses while the second has the the greatest voice.

• C.10 Q.80 L.1 Au regne grand du grand regne regnant
• C.10 Q.91 L.4 Qui onc ne feut si maling

The above method allows a value to be given that is free of personal judgement and it is easily detemined by a short computer program. Of course such a value system will have its faults but it does allow those lines that are heaviest and lowest in musical content to be readily identified. It might be argued that the case for harmony given above relies on the repetition of words to generate its outcome but this type of repetition merely exaggerates  the harmony score. Lines such as C.1 Q.1. L.2 Seul repose sur la selle d'aerain have no such word repetition but still rate highly on my musical scale. Even lines where there is no three letter group repetition can register as musical because of the letter ratio alone. Such a line is C.1 Q.20 L.4 Fleuues dards Renes terre et mer tremblement.

It might seem that shortness of any line favours it being classed as voiced as in the case given above but C.10 Q.90 L.3 D'vn gris et noir de la Compagne yssu and C.8 Q7 L.4 Vnique choir d'hault en bas faisant maye, like a great many others, show this isn’t so.

I can classify every line in this way and use it in naming the planet according to Agrippa. The test of the usefulness of this method for detecting planetary code in Nostradamus’ Prophecies is whether the final groupings contain separations by meaning for the lines. This provides a valid test as there is nothing in my methods which involves the meaning of words or lines and I believe that the work to follow illustrates patterning does exist.

My analysis then involves dividing the lines into three groups of about equal size based on their harmonic value. The high and low value groups form the basis for harmony and voice respectively. In the Harmony group the lines will be assigned to one of four planets ,Jupiter, Sol, Venus or Mecury. While in the secong group the assignments will be to one of three planets; Saturn, Mars or the Moon. There is a middle group where the harmony/voice classification is not strong so these are drawn from all seven planets without reference to their musicality. The sorting between the planets is based in every case on other attributes nominated by Agrippa. The detail of this will be given as I proceed with my presentation.

Nostradamus’ words provide another guideline that directs the settings I use. I adjust the cut-off points for each planet so that about a quarter of the lines favour Saturn, Jupiter and Mars and the remaining quarter is divided amongst the other four and I do this so that the following occurs.

• “All these figures represent the just integration of Holy Scriptures with visible celestial bodies, namely, Saturn, Jupiter, Mars and othersconjoined, as can be seen at more length in some of the quatrains.” Nostradamus in his Epistle to King Henry, 1558

In ancient Roman religion, Jupiter was the chief of the gods. The name "Jupiter" means "the best and greatest" (Optimus Maximus). He was identified with the Greek god Zeus. Jupiter was the spirit of the sky and worshiped as the god of thunder and lightning. During wartime he was sought to protect in battle and was the 'giver of victory.' During peacetime he was the god of justice and morality. He was believed to be present during the giving of oaths and transactions.

Jupiter forms one of the keystones to understanding Nostradamus’ coding system. This is because it is easily separated from the other two major planets using Agrippa’s reference system which gives Jupiter an harmonic attribute. Agrippa also states that Jupiter hath grave, constant, fixed, sweet, merry, and pleasant Consorts Agrippa Bk II Part III Chp XXVI. It is evident that we should be able to check if Nostradamus used this scheme to dictate the sound-code of his verse by establishing measurements for such things as sombre tones and evenness together with vowels (consorts) that give a lighter tone. It then seems appropriate that the sounds of Jupiter should be the sounds of thunder, rumbling from a distance and it is this theme that dictates the way I defined my measures for Jupiter.

 My program contains two elements that generate my scale of thunderousness and they measure the growl (fr. grogner) and the rumble (fr. grondement). The growl is found by counting the occurrences in a line of consonant pairs one of which is the letter r and the other a hard consonant (gr br dr tr cr rg rd rt rc). The rumble relies on a count of the letter pairs "mb nn mm mn ng gn nd on om em am nt". Using this measure I can once again produce a scale that helps in the decision as to whether any line refers to Jupiter. I can’t claim my choice is final and I may well find a need to adjust these letter sets at a later stage. However they do uncover strong evidence of patterning in the words of the lines which is not a result of any bias produced by the above method. Lines which produce the higher scores on my thunder scale and have a high score on the harmony scale include:

C.1 Q.20 L.4 Fleuues dards Renes terre et mer tremble.
Rivers, darts at Renes, shaking of land & sea

C.1. Q.31 L.3 Victoire incerte trois grands couronneront.
An uncertain victory will crown three great ones.

C.5. Q.63 L.3 Non loing du Tymbre de sang la terre taincte.
Not far from the Tymbre the land stained with blood

C.8 Q.2 L.4 Fouldre grand gresle mur tombe dans Garone
Lightning, great hail, a wall falls into the Garone

C.10. Q.87 L.1 Grand roy viendra prendre port pres de Nisse.
 A Great King will come to take port near Nisse.

The above lines  illustrate the major themes found in the thunder and harmony classification; kingship with reference to a mis-spelled geographic place , water, blood, objects from the sky. This class includes the lines in which three royal brothers are found as well as the ideas of prophecy and the stories of scandal, conspiracy and treachery. Although there are frequent hints of war it is not the story of the warriors but of those  people and events that lie at its origin or cessation.

It is my intent to publish a fuller list of all the verses at a later stage and until that occurs it should be possible for any reader to check for themselves that these claims of mine are not idly made. To do so find the verses that mention the great king , the three brothers or other topics in the paragraph above and you will see that the sound follows the lettering pattern I have used. The forty-five lines at the top of my scale are included below.

The forty-five highest ranking Jupiter lines

Ref                 EnglishLine

MARS- The brutal voice of Battle

Mars was the Roman god of war and is linked to the Greek god Ares. In early incarnations as Ares , Mars was a fertility god and a protector of cattle but over time his role as an earth god expanded to include death and the underworld, and finally battle and war.  The Romans then bestowed greater honour on their warrior God favouring his strengths over the more erratic attributes of Ares. The Romans high reverence for Mars is thought to be based on the god’s protective inspiration which they saw as leading them to victories in Africa , Europe and the Middle East .

Agrippa’s description of the symbols for Mars once again sets the frame on which my analysis of Nostradamus’ prophecies is based.  Cornelius says Mars [has] rough, sharp, threatening, great and wrathful words and this statement leads directly to the three elements I use. The first element of roughness is measured by the count of the letters "r g k q” in any line while the second element, sharpness, is found by counting the letters “t p c b”. Although these same letters are often involved in defining Jupiter their use for Mars is markedly different in that they are not necessarily part of a combination of consonants but more often are singular in nature. The third element I use in determining whether the line refers to Mars relies on a property that is the antithesis of  that used for Jupiter; it uses the relative absence of the letters “m n” to enhance the measure of roughness (non-smoothness).  The difference between the two planets is also emphasised by Mars being more of the voice than of harmony meaning  there are fewer repetitions and a less orderly use of letters. All these aspects result in  the sound being shorter, rougher and sharper than that used for Jupiter  and thereby simulates a staccato rattle (fr. battement) of spears and shields, the brutal noise (fr., bruit) of battle that drives warriors into combat. Below are given two of the the highest ranking examples of lines that are consistent with the sound of Mars.

C.7 Q.33 L.2 Competiteur aura proche bastard…For his competitor he will have a near bastard.
C.6. Q.60 L.2 Sera trahy deceu par interprete….. Will be betrayed, deceived by the interpreter.

 Using the above scheme for Mars a patterning  can once again be seen and these patterns are consistent with the image of this god as given in the first paragraph of this section.  The tales in the lines discovered by the above means are of  war leaders, battles and the conduct of war together with the particpants and events of these wars. This can be seen in  the lines shown below which consist of forty-five high ranking Mars’ lines selected by a randomising formula. This shows that patterning isn’t restricted to the highest ones but exists across the spectrum.   And once again my method of selection by letter/sound structures generates the patterns even though it is independent of the meaning of the wording. These lines show clearly show threatening, great and wrathful words as mentioned by Cornelius but these attributes are not used by me in my analysis.  My  method of analysis for Mars, like that for Jupiter,  provides evidence that Nostradamus did use the ideas of Cornelius Agrippa to shape the sounds of his lines of verse in order to reflect and encode each of the planets.

 Forty-five high ranking Mars lines selected at random by a maths formula.

Ref                 EnglishLine       

 Saturn- The Sounds of  Destiny.

 Saturn hath sad, hoarse, heavy, and slow words, and sounds, as it were pressed to the Center.. Agrippa Bk II Part III Chp XXVI

In mythology Saturn’s mother was Terra /Gaia (Mother Earth) and his father was Caelus, the sky . He was the infanticidal father of Jupiter, who having escaped, his father’s evil plans for him, returned to depose Saturn and become the Chief of the Gods.. The Romans saw Saturn (Lat: Saturnus) as a god of agriculture and harvest, whose reign was depicted as a golden age of abundance and peace by many Roman authors. In medieval times Saturn was known as the Roman god of dance, agriculture, justice and strength.  These attributes still remain with the emblem of Saturn often shown in the Roman style, holding a sickle or scythe in his left hand and a bundle of wheat in his right. He is also identified with the Greek deity, Cronus, the keeper of time and the mythologies of the two gods are commonly mixed. Astrologers consider that while Saturn is considered an extremely beneficial planet, it often teaches harsh lessons through building up and tearing down an individual. It would seem Agrippa by his choice of sad and heavy references, sees Saturn more in its astrologic role of the Great Malefic rather than Saturn of the Golden Age or  Saturn the benefactor of mankind.

 I achieve the Saturn settings for my analysis of  Nostradamus’lines  by finding three measures;  the length of sounds in words, the way in which the lettering is either centre or end biassed and by counting the letters used to signify sad sounds.

1. I produce a measure of sound length by counting and summing the non-unitary sequences of vowels and consonants and then dividing this sum by the number of letters in the line.
2. My measure of centredness takes each word and measures how close the vowels and consonants are to the ends of the word. The ratio of the sum of the consonants distance to the end of words divided by the sum of the vowels distance creates the basis for the measure that I use.
3. The sounds of sadness are found by counting the occurrence of letter couples from the following string  "SS sS ff ss ch sh th dd dr tr rt rd rn nr ou oo au uu eu ue em on an un om um em en” and once again dividing by the number of letters in the line.

Multiplying each of these by a scaling factor and adding them together I  find a measure from one to thirty for Saturn that approximates Cornelius’ depiction of sad, hoarse, heavy, and slow words, and sounds, as it were pressed to the Center. They are the sounds of destiny; hoarse sounds of  the slowly turning wheel of life. It is the sad sound of death (fr. mort), murder (fr. meurtre) and grief (fr. douleur) waiting to swallow the vigour of youth The following examples typify the structure of lines I believe are dedicated to Saturn. 

C.1 Q.36 L.3  Mais viendra bien a plus hault conSentir... But he will soon come to agree to far greater things
C.6. Q.74 L1  La deSchaSSee au regne tournera…………..She chased out will return to the realm,
C.10 Q.4 L.2 Se Sauluera Subit eSuanouy………………....Will save himself, suddenly vanished

A mathematical formula is never enough to totally define ideas expressed in words but language tends to follow rules of association between the sound of letters and the underlying concept which  allows mathematical formulas to help. This is how I see the results I achieve, a help but not the final answer and it is patterning of word-meaning that shows whether it is of use, especially where meaning and a known purpose (such as that provided by Agrippa) can be compared.  Towards this end I once again present the highest ranking Saturn lines but this time I take twenty-two of those that also have the highest voice ranking and twenty-two that are in the middle outside the ranking I use  for either harmony or voice.  The samples, although from different sections both cover the same topics. They speak of the human masses and their assemblies, of  royal births,  and issues of growth, worship, death, murder, harvest  and fate.  They also refer to earthly tragedies such as flood, fire, the collapse of buildings as well as religious and internecine feuds. In total they deal with fate's intervention in the affairs of men..

The forty-four  highest ranking Saturn lines    (top 22 by voice + top 22 by NOT harmony nor voice.)

Ref (by Vce)   EnglishLine

Ref NOT H<    EnglishLine

Venus- the sounds of domestic life.

Venus lascivious, luxurious, delicate, voluptuous, dissolute and fluent ……….. Agrippa Bk II Part III Chp XXVI

It is my intent to present brief analysis of  the minor planets since the main principles of my method are covered through the preceding discussions of the major planets.  It is clear that Cornelius sees the sound of Venus being about sensual qualities while that for Mercury is pleasantly turbulent.

The Goddess Venus had, from her gleaming fair hair to her silvery toes, the quality of charm, beauty and total femininity. Her beauty could stir all the Gods even Jupiter. She became the Goddess of Love, in its purest form as well as Lust and Fertility, taking a mischievous pleasure in rousing the desires of the other Gods to entice them to take amorous adventures. Although the Supreme Goddess of Beauty, Venus married Vulcan who was the ugliest of all Gods and lame in both legs in a totally ill-matched union. Venus would find comfort therefore in the arms of the other Gods. Venus in astrology  is associated with love and creativity.

I accomplish my analysis of Venus by using a measure based on letter-pairs only. These letters are based around two sets of consonants x, z, s and l,m, n and the sounds as found in luxurious (fr. luxueux), Voluptuous (fr. voluptueuse), lascivious (fr lascif), dissolute (fr. dissolue), fluent (fr. coulante), delicate (fr. delicatesse), love (fr. amour), Venus and Isis. The list I use is "ou ux us uz uc ue eu ol lo li ly sc lu ul sl nu am ma mu mo ns sn en an is ys iz ez"

The following lines represent those of highest rank for Venus and are taken from those lines whose soundst are not distintively of the voice. It is apparent that the theme of children, women and church predominate and although I have titled this chapter the sounds of domestic life it would be more appropriate to call it the sounds of the institutions and persons that are not part of war and warriors but that is too long for a chapter header.

Ref                 EnglishLine

Mercury- the sounds of travel.

… while Mercury hath Harmonies more remiss, and various, merry and pleasant, with a certain boldness……….. Agrippa Bk II Part III Chp XXVI

Mercury was a messenger of Jupiter, carrying orders from the Master of Gods to earth. He was also looked on as the God of Travellers, guiding them on their journeys. Since most voyages of the time were undertaken for commercial purposes, he became the God of Commerce and the God of lawful and unlawful gain. Mercury, in astrology is associated with communication in all form: letters, messages, mind, intellect and imagination.

My analysis of Mercury is based around two elements, brevity of sound and the repetition of the letter R. It is by this simple means that I can achieve a measure that fulfills Agrippa’s criteria. Additionally they are the sound qualities defined by Mercury, Hermes and courier. But Agrippa makes a special comment that the harmonies are more remiss and this suggests it is not the highest ranking harmony lines that hold the key to Mercury and with this in mind  the planet Mercury is not given a ranking based on harmony or voice but is chosen from amongst the lines that remain. And because of this reference and the one stating Mercury  can be various I assigned all lines which fall outside the filters used for all the other planets thereby ensuring every line is assigned at least one planet.

Below I present the following  lines, chosen on a basis of their rank for Mercury. These lines for Mercury make frequent mention of land, sea and sky  which implies journeys are undertaken. Supporting this there is a sense of movement (such as retrogression, follow, pass, way, course, spread etc.) and non-movement (such as seated,stop).  Additional mentions of news, law and deliveries also fit to the the known symbols of Mercury and even the reversed side metalled could be seen as a form of message. This filter for Mercury relies only on a single letter and the shortness of sounds and yet the planet Mercury emerges.  It is apparent that once again the filters nominated by Agrippa have the result of identifying lines with a consistent planetary pattern. The implication is surely that Nostradamus did use Agrippa’s ideas to help classify his verse

Ref                 EnglishLine

 The Sun -  the sounds of Mithra.

 Sol venerable, settled, pure and sweet, with a certain grace……….. Agrippa Bk II Part III Chp XXVI

 My analysis for the Sun relies on a filter based on  Cornelius’ statement the the Sun is settled, pure and sweet with a certain grace.  To this end my measure for the Sun uses the low end of my scales for the evenness, the roughness, the sharpness and centredness of sound (see other planets for details of each scale).  It does not rely on any double letters and is built on the low occurrence of single-letter sounds that generate sharpness and roughness.  The result that emerges for Sol is significant precisely because the structure of the filters has no built in mechanism to seek “so” or “ol” or any other favoured lettering. Yet, despite this, the full listof lines produced by my analyses of Nostradamus’ prophecies contains direct references to the Sun as can be seen in the last two lines of the partial list given below.

The lines once again can be seen as taking their substance from the ancient myths. In Mesopotamian mythology Shamash was the god of the sun, and of law. The semites thought of Shamash as a warrior and a god of wisdom and in ancient times was considered to be a feminine God. The Sun and Moon exchanged gender in the early years of Christianity. The stories of the sun held by many cults include references to the Wolf (called Skoll in Nordic tales), Ox/Bull and Lion (Mithraic mysteries) and Ass (Christian- see Mary on a Donkey legend under Donkey in Wikipedia). In the lines given below there are frequent references to drink and thirst and  fire in the sky, all things able to be linked to the Sun. Bread and Wine are also common elements and much of these lines can be seen as related to the Mithraic cult of the sun. Its rituals dedicated to the Sun include the slaughter of a bull in a pit that received the victims blood. It was in this pit that initiates drank of the spilling blood.

·          According to the archetypal hero myth recited in Roman Mithraic rituals, the infant Mithras formed an alliance with the sun and set off to kill the bull, the first living creature ever created. While the bull was grazing in a pasture, Mithras seized it by the horns and dragged it into a cave. The bull soon escaped, but was recaptured when Mithras was given the command by the raven, messenger of the sun, to slay the bull. With the help of his dog, Mithras succeeded in overtaking the bull and dragging it again in the cave. Then, seizing it by the nostrils, he plunged deep into its flank with his knife. As the bull died, the world came into being and time was born. From the body of the slain beast sprang forth all the herbs and plants that cover the earth. From the spinal cord of the animal sprang wheat to produce bread, and from the blood came the vine to produce wine. The shedding of the sacrificial blood brought great blessings to the world, which Ahriman tried to prevent. The struggle between good and evil which at that moment first began was to continue until the end of time. "This ingenious fable carries us back to the very beginnings of civilization. It could never have risen save among a people of shepherds and hunters with whom cattle, the source of all wealth, had become an object of religious veneration" ( Franz Cumont Les Mystères de Mithra –read more).

Top ranking lines for Sol (from those ranked as having strong harmony)

Ref                 EnglishLine

The Moon.. The Sounds of Southern France

 .the Moon observeth a mean betwixt these two [Saturn & Mars] ……….. Agrippa Bk II Part III Chp XXVI

 My analysis for the moon is the penultimate step in the process that leads to every line in Nostradamus’ prophecies being ascribed a planet (the ultimate is assigning those that remain unallotted to Mercury- see earlier). The filter for the Moon-lines involves two simple things, firstly that the line isn’t ranked high on harmony and secondly that it hasn’t been assigned to any other planet.  It is apparent this isn’t really a process of selection but one of previous rejection. Yet this filter like all the others shows patterning in its resultant lines and it is of a type that can be related to the Moon. The sun filter produced references that fitted well to the Sun-cult of Mithras while the Moon-lines produce references that match to the cult of Isis, Selene, Hecate, Diana, the Vestal Virgins and Luna i.e. the Mother/virgin Goddesses. Nostradamus’ use seems to be specific since the resultant patterns make most sense when interpreted as part of the heritage of the Roman occupancy of France . It is the story of Gallo-Roman Culture and the wedding of different Moon/Mother Goddess traditions in Languedoc and Provence in Southern France .

 “Eastern mystery religions penetrated Gaul early on. These included the cults of Orpheus, Mithras, Cybele, and Isis.” …..Wikipedia on Gallo Roman Culture

One factor that would have drawn Nostradamus to use the Gallo –Roman tradition in France for his source is that the ruins of Glanum lay within a kilometer of his home town of St Remy, Provence.

 “The city [Glanum], founded by Celto-Ligurians and subsequently Hellenised as Glanon, was already old when it became a Romanised settlement in the first century BC; a shrine to the Celtic god Glanis (glann, "shining"), who was associated with a local healing spring, had been erected on the site in the fourth century BC. The Romans adopted the shrine and the divinity, naming the town after Glanis, and also adopted a triad of local mother-gods, similar to the Matres, whom they termed the Glanicae” …..Wikipedia on Glanum

 The aqueduct that still supplies St Remy was built from the remnants of the one that once serviced Glanum. One of the funerary artifacts from Glanum (now held at the Chateau Roussan, St Remy)  has an inscription that is headed by the letters D.M. and both the foregoing events are mentionned in lines of Nostradamus’ Prophecies as shown in the list of Moon-lines below (see P188 in  Inscriptions antiques des Glanum  for details of the artifact). The lettering  D.M. was used on pillars to signify Di Manes, the three agencies thought to safeguard  the souls of the dead. The principal agent was Mater Larum, the mother Goddess who like Orpheus descended into the underworld and returned.  The Mother of the Lares was also a hearth Goddess of the type worshipped by the Vestal Virgins who are also mentionned in the lines that my analysis identifies as belonging to the Moon.

 The Mother Goddess is also part of the heritage of the Christian tradition through the Madonna cult featuring Mother and Child. The Madonna, Magdalene heresies of Southern France are enriched by the legacy of the regions many Goddesses whose legends were still highly respected in Nostradamus time. The ancient learnings did not die with the advent of Christianity but grafted themselves into the belief that following Jesus’ death his family came to Marseilles and then spread across Provence ,  Languedoc , the Pyrenees , Aquitaine and Guyenne . By such means the Mother Goddesses of the Moon and hearth survived with peculiar affects upon Southern France ’s religious culture.

 Below are nearly half the lines that my current processes identify as referring to the Moon.

 Ref                 EnglishLine

My strange Planetary Journey.

My last two sections suggest that Nostradamus used references in his lines that are based on the Mithraic cult and the Mother Goddesses. There is evidence suggesting these are meant to tell us that he was referring to the Sun (Sol) and Moon (Luna) respectively. The cults of these two entities are often intertwined with the rituals of Mithraism being exactly the same as that of Cybele, the Magnum Mater.

“The most famous rite of Magna Mater introduced by the Romans was the taurobolium, the initiation ceremony in which a candidate took their place in a pit beneath a wooden floor. A bull was sacrificed on the wooden floor so that the blood would run through gaps in the slats and drench the initiate in a symbolic shower of blood.” Wikipedia in Cybele

Having presented the last of  the large solar-system objects, the Moon,  I can highlight a few points that will help generate new direction. I believe the foregoing analyses establish that I have achieved a large part of my my aim as set out in my original blogs; that was to unveil the method Nostradamus used for dating his Prophecies.  I took as my motivation Nostradamus own words at the end of the Epistle to Henry which imply that such a method exists. In my recent work I have first established his connection to the pre-eminent wizard of his time, Cornelius Heinrich Agrippa and from this connection identified the sections of Agrippa’s work that are relevant to a logical dating scheme. By using this as a basis I was able to build programs that placed each of the planets into a particular realm and to give each line of verse a planetary reference. As this process was unfolding I could show that the filters produced a result that had little to do with their mechanism; the lines contained tales that seemed patterned and further that these patterns were consistent with aspects of each planet’s symbolism.

When the British broke the German’s coded messages during World War II they were reliant on a Cipher book captured from a german submarine. Likewise the deciphering of ancient Greek texts relied on the use of the Rosetta stone.  What I believe I have shown in this last series of blogs is that Agrippa’s work provides the Rosetta stone for Nostradamus’ code.

All of the above is purely conventional, acceptable in any analytic technique but the bizarre feature is that I was given great aid by the element in my work that seems most improbable; I was granted clues by finding hidden anagrams written in English.

As long ago as 1994 my analyses using English anagrams told me that music was at the heart of Nostradamus’ code. This key to the code lies in the verse most likely to contain such a secret, Centuries 6, Quatrain 100 which reads like a warning to the ignorant. It was in the second line of this verse that I found a sequence saying proof num-valu guest in music (o Profanum vulgus et inscium.  And the first line of that verse reveals A true sum consequent verse length-chose ( legent hosce versus mature censunto Q). It is these words that caused me to take note of Agrippa’s comments on the musical/voice attributes of the planets and to find numeric methods of using  his scheme in the lines of Nostradamus’ poetry. This was a hypothesis that, like so many others I have tried, should have failed but instead the results leave me confident this is the first part of Nostradamus’ method. It now remains to find the symbols or logo’s for the fixed  stars and then a precise set of dates is determined.

I return to the verse (C.6 Q.100) and its import in initiating my current analysis because the third line bears directly on the discoveries  detailed in my recent blogs.  The content of this line I have also known since 1994 but it is only after completing the filters for the Sun and Moon that I could understand why it appears in the cornerstone verse holding Nostradamus’ keys. Line three says Arab prior Sun-cult Moon.. star logo (arbari pro cul sunto Omn…Astrolog). It is this enigmatic sequence that will provide the link needed for the next stage of Nostradamus’ date method and it is based on secrets of Mithraism and Women Goddess cults .

Centuries VI Quatrein 100                                  

Whereto Next?

For ten days in October 2010 I holidayed in northern New South Wales which gave me a chance to reflect on how much I had actually achieved and how much was left to do. I came back satisfied that the method of planetary coding detailed in my most recent writings is that used by Nostradamus.  I realized that this step takes me very close to completing the task of decoding Nostradamus’ Prophecies since I have only two more aspects that lack the degree of certainty I set as my goal. These two aspects involve the means of coding the fixed-stars and the relevance of Psalm 119 to the ciphers. In each case I have a broad understanding of what each involves but not the precision that allows me to say Yes, this is unambiguously the method Nostradamus used.

It is my intent to set out what clues I have as to the fixed stars and then find a means of testing the possibilities they suggest in order to determine the method used by Nostradamus. This involves, as always, Nostradamus’ words about his process, his verses that bear directly on the problem and the hidden messages that are found using the bizarre element of hidden English anagrams. These are the same aspects that have enabled me to make as much progress as I have and so it is seemly that I should rely on them once again.