Psalm 19: E. Henry, O. Hidden

“The words of my mouth”:

Psalm 19, facs., JPEGFig. 1

Psalm 19, Vere, words of my mouth, JPEG

Fig. 2

Psalm 19, E. HENRY O. hyd, JPEG

Fig. 3

Psalm 19, ECO Code declare JPEG

Fig. 4


   Although the Psalms of the Old Testament (150 in all) were originally meant to be sung, no musical notation has surived.  It is possible there was no musical notation, much in the same way stories in many cultures originated in an oral tradition.  It’s more likely, however, that such written records of the Psalms were lost.  Support for this point of view rests in the person and role of the “cantor” in Jewish prayer sevices.  The cantor in biblical times (as well as today) was customarily a trained and/or skilled musician whose role it was to assist the rabbi in prayer services.  It seems probable the Psalms were accompanied by musical notation.  We know that verbal written records of religious belief have survived, indicating that the written word was set down with precision and detail.  That the music for the Psalms was not written down as well, is difficult to believe.  However, it is also quite possible a musical template of sorts was passed down from cantor to cantor, allowing for improvisation in singing, much in the same way that poetry (for example) can be expressed in many ways by different people, analogous to actors interpreting the same words in a play, but with different intonation, providing humour, or not, as is their choice.

   The letter-string in Psalm 19, Array 10 is a visually complicated cluster; perhaps even a clumsy one.  Before addressing possible syntactical arrangements, one might ask why bother with such a seemingly cherry-picked example, an example whose plaintext appears tortured to make a non-existant encryption seem valid.

   Over the years I have heard many teachers, as well as writers, interpret any given Shakespeare sonnet in various ways.  Metaphors, symbols, in fact any figurative language, is flexible by design.  This is not questioned as an attribute of interpreting written text.  My argument is that, keeping in mind that codes are the focus of what I have to say, interpreting letter-strings in the clusters of a transposition code is as acceptable as a dozen different interpretations of, say, the metaphorical language in a Shakespeare plaintext, or of any other form of poetic expression.

   My argument assumes the cluster language in Array 10, Psalm 19 is likely important for the following reasons:

   First of all, compared to all arrays I have so far presented, the vertical letter-string  “E.C.O.DE” (E.C.O. code) corresponds pertains to Edward de Vere.  We know he was a musician and composer.  One arrangement of the syntax in the first three lines suggests Oxford wrote music for the Psalm (“E.C.O. psalm musician), that Psalm 19 was translated and interpreted by him, and that the music of the words of the translation were set by him to music as well.

   Secondly, Oxford identifies himself in Array 44 (see Fig. 2 above) as “E. (Edward) Vere, E.O. (Earle of Oxenforde; and with his Latin appellation, “E.C.O.” (Edwardus Comes Oxoniensis).  The phrase, “the words of my mouth” are connected to and touch “E. Vere, E.O.” at the horizontal base.  The phrase states point-blank to whom this refers.  Furthermore, the original plaintext was not in English; hence, someone had to provide the  English translation.  The strategic location of the phrase and the vertical letter-string strongly suggests placement by intelligent design.

   Thirdly, this strong suggestion of intelligent design indicates that equidistant letter sequence transposition coding as an encryption method, not only was used in Elizabethan writing, but was obviously used in Psalm 19, and in hundreds of Elizabethan era writing as well.

   Fourth of all, the word “CODE” is used in an in-your-face demonstration that this method of encryption was used, and that Edward de Vere used it.  We know this, as the beginning of the letter-string (“E”) fuses the meaning of the letter-string to say the code is an “E.C.O.” code (“E.C.O.DE”), and that de Vere announces this (“DECLARE”).

   One sentence arrangement of the cluster can say:  “The writer and musician/composer of the Psalm is E.C.O., and is declared by my (E.C.O.) code.”







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