C.I Q.01
Estant aSsis de nuict Secret eStude....Sitting alone at night in secret study;
Seul repose Sur la Selle d'aerain.........it is placed on the brass tripod.
Flambe exigue fortant de Solitude.......A slight flame comes out of the emptiness
Fait pSperer q'neSt a croire vain.........making successful that which should not be believed in vain
…….1568 Benoist Rigaud first  full edition  

I had taken an interest in the potential for code in Nostradamus’ Prophecies from 1970 onwards but in 1994  I  tried a new approach, I started my search for a code based on anagrams.  The reason I did so was that I had realised the only person that could help me break the code was Nostradamus himself and there was no real hint in his other works as to where the vital keys could be found, except one. In the beginning of his letter to Cesar, his son, which is the preface to his first publication of his prophecies (1555) he says ‘car la parole hereditaire de l’occulte prediction sera dans mon estomac intercluse’ (the remarks passed on for the secret predictions are shut up within my stomach).  Now this fits the idea that he left a key in the works to which his letter is a preface. In 1994 I reasoned that the key had to be inside the verses themselves and that in such circumstances there are obvious places to hide it. When looking for a hidden house-key one would begin with the door-mats, the flower-pots, the gutters and the uncovered beams.  In a work of poetry the task is similar and the first and last verses became paramount, especially those that are unusual. I had a strong interest therefore in his first verse. Now if there is a key then one would expect to find certain words that relate to Nostradamus’ Prophecies. Words like centuries, quatreins, secret, hidden, prophecies, Michel, Nostradamus and Nostredame are obvious candidates.

 At that time the version of his prophecies I was using presented the verse in a different form to that shown above.

C.I Q.01
Etant assis de nuit secret etude
Seul repose sur la selle d'airain
Flamme exigue sortant de solitude
Fait prosperer qui n’est a croire vain
……based on Bonhomme edition 1555 as presented  by Edgar Leoni (1982)

Now I can show what I saw in the first line on that very first analysis after shifting the word breaks and re-arranging first the letters in the words then the order of the words.

Etant assis de nuit secret etude
Etan tassised enuitsecr tet tude
Neat assisted centuries te(s)t duet
Neat test assisted Centuries’ duet

 And in the last line

Fait prosperer qui nest a croire vain
Fa itprospere rquinesta croirev a in
Fa properties quatreins covrier in a
A faint courier in Quatreins properties

In these few words is the source of my interest.  I looked in other verses and soon saw that these words were not frequently found in the text so the ones found in the first verse presented a compelling reason for me to undertake all the research that has followed. At the same time I was able to show to my own satisfaction that the lines in this verse identify the properties as musical attributes as used in European lyrics.

 Line two yields:

Seul repose sur la selle dairain
Seu lreposesul asel ledai  aira in
Use Europes-rules seal ideal aria in
Use ideal Europes-rules seal in ari  

There can be no doubt that this presents itself in the form of a key to code in which musical sounds link verses as though they are part of a dialogue in an aria. I have known this for a long time and each step that I uncover brings support rather than destruction to that original finding.

In this verse Nostradamus tells the method by which he evokes the presence of a divine being. I have good reason to believe Nostradamus saw this presence as Metatron, the Angel linked most closely to God or Zeus. This connection takes us closer to the means of code used by Nostradamus as I will show in my next sessions. And I had already noted the oddity that the anagrams went beyond the French to make sense in English.  

Nostradamus’ ancient language source.

I have shown that Centuries I Quatrein 1 implies there is a code hidden in the verses. I also stated that the logical place for hiding the keys to the code is the early verses and the last verses. I have already demonstrated how Centuries I Quatrein 10 is a key to the astronomy side of the code and I now want to develop another aspect of the code to show that the structure of the poetry is an important coding tool.  

C.1 Q21 lines 1 and 2
Profonde argille blanche nourrit rochier……. The rock holds in its depths white clay
Qui d'vn abisme iStra lacticineuSe…………. which will come out milk-white from a cleft

This is truly an enigmatic statement and sufficiently unusual as to suggest it holds a key to the code in its depth. The first line holds several sequences of highly relevant anagrams which emerge as we split the line in various places. From these clefts emerge quite pure anagrams that are not to be found elsewhere in the text of Nostradamus Prophecies. Amongst these RHETORIC and LABELLING are the most distinctive since rhetoric means the study of language and labelling implies a process. CIPHER is another anagram that occurs infrequently elsewhere (two other occurrences). It is surely worth examining these sequences.

 Profonde argille blanche nourrit rochier
Profo ndeargi …........................… trochier
Proof reading…..…....................rhetoric

rofonde argille blanche nourrit rochierP
rof on dear gilleblan cheno …............ chierP
for on read labelling Enoch …cipher
Read on for  Enoch labelling cipher.

…lanche nourrit roch….
…lanchen our r  Itroch….
…Channel our r  rhotic….
Rhotic R ( fricative R) our channel.

 This last sequence is again highly pertinent and the word Rhotic is again an anagram that only occurs once.  The RHOTIC-R is an actual linguistic reference that impacts greatly on French pronunciation of the letter R. It refers to the European pronunciation of this letter and is quite distinct since the French, Spanish, Germans and Danes use the soft palate or the uvula for producing their standard r’s. This gives a harsh or grating sound when this letter occurs in speech. So we can see already that there is a highly targeted message that tells us what sound to look for in seeking out code. It also adds meaning to the reference in the very first verse which refers to Europe ’s rules for sound. But there is also another directive where we are told to read on to gain Enoch’s labelling cipher. This I am about to do but it is worth commenting before doing so that line two of the above verse lines holds anagrams for  Materials, Queues, Asterism and Astral Times.

THE SOUND BY WHICH THE ASTRONOMIC CODE IS FOUND  

I have shown that Centuries I Quatrein 21 has hidden in Line 1 an unexpected but explicit instruction to Read on for Enoch labelling cipher. Line 2 hinted at asterisms and queues. Logically, if this instruction is real and not a phantom of chance, we should go to the next verse and find more answers. The first two lines of  Quatrein 22 are as weird and enigmatic as those of Quatrein 21 This is, as I pointed out when discussing the first verse, Centuries I Quatrein 01, the sort of clue we could expect as a marker to Nostradamus’ keys.  

C.1 Q22 lines 1 and 2
Ce que viura et n'ayant aucun Sens…… A thing existing without any senses
Viendra leser a mort Son artifice……….. will cause its own end to happen through artifice.  

It turns out that the second line does hold a remarkable set of anagrams with one anagram in particular highly correlated to one in Quatrein 21. The sequences are again linear and they link to the themes already established. The discovered words are powerful and do give more answers about the means of coding.

Viendra leser a mort Son artifice (V)
 .i endrale leseramort SonartificeV
I learned mortal-seer versification

(ce) Viendra leser a mort Son artifice
ceViendrale seramortSon art if I
Deliverance astronomers art if I
If Astronomers art  deliverance

Viendra leser a mort Son artifice
..................................On artifice v
..................................On fricative

Viendra leser a mort Son artifice
end rale seramortS onartificeVi
Nostredame’s-R real verification

In the fourth sequence given above Nostredames-R is a composite anagram but it uses all the remaining letters of the line not used in creating real and verification. Surely this less strict use is justifiable given the extraordinary relevance given by the other anagrams. Those who read this for the first time cannot have expected such relevant correlations to be found when they commenced this analysis of mine, yet it holds no trickery, it just uses a simple artifice to create indisputable word patterns that give meaning to lines that have no sense, thereby terminating the seemingly senseless nature in their visible words.

The word fricative (sounds made by friction) is applied to a set of letters of which R is one.  Fricatives (or spirants) are consonants produced by forcing air through a narrow channel made by placing two articulators (lips, teeth, tongue, palate etc) close together.  The letters s, z, x, v, f, and R are all capable of being spoken in a fricative form. The fricative R is also called the French-R or Throaty-R and applies to the pronunciation of Rhotic (r-like) consonants. Once again the major anagrams found in these lines occur infrequently in Nostradamus’ Prophecies. Words such as Fricative, Frication, Versification and Verification only occur here.  There is one other occurrence of ‘Deliverance’ and ‘Astronomers’ only occurs in two other places despite its complexity.

These two adjacent verses fulfil all the prerequisites expected of a hidden key and they continue to defy the logic of the real world that we know; they shouldn’t be so consistent in their message; they shouldn’t be so correlated; the methodology shouldn’t be so unambiguous; there shouldn’t be so many strings that link as they do; the strings shouldn’t use so many words that have little probability by chance alone; and above all it surely shouldn’t be in English. Yet the work that I produce has one unquestionable scientific quality; every person can see the means and understand the logic I use and replicate my results for themselves.

The second line is not the only source of information since the first line also includes significant anagrams albeit that there is part of the line that seems to have no relevance to the coding message.

Ce que viura et n'ayant aucun Sens
viura et n...................... Sens Ce que
vi uraetn ....................... SensCeque
VI nature ...................... sequences

 The anagram for sequences is once again unique occurring only in this verse and it too correlates to the previous verse and the process being used by me. The previous verse had yielded an anagram for queues and the process has been revealed through a sequence of adjacent anagrams so a degree of confidence can be granted to this particular series of words. It identifies a number and implies they come from nature. This helps define the process but doesn’t specify the nature of the sequences. That is yet to come.  

The nature of these anagrams implies that Nostradamus is talking of an oral tradition since Rhotic-R and fricatives are only relevant to the spoken word. This is an important clue as to the sources on which Nostradamus drew.

 Before moving on from this verse I would like to illustrate the links to another verse since it is the only one to contain an anagram of French-R. I do so because it shows the sounds lead to numerals relating to the position of specific stars. This information is however contained in a verse whose main purpose is another topic. Nostradamus’ code is meant to serve the purpose of dating prophecies so this mix of themes is not unexpected.

C.VI Q.81
Pleurs crys et plaincts hurlement effraieur…….Tears, cries and laments, howls, terror,
Coeur inhumain cruel noir et tranSy……………Heart inhuman, cruel, black and chilly:
Leman les iSles de Gennes les maieurs……..….....Lake of Geneva the Isles, of Genoa the notables,
Sang eSpancher frofaim a nul mercy……….….....Blood to pour out, wheat famine to none mercy.  

Reading this verse it is easy to judge what might be its main theme if you also know that the first line contains anagrams for Pure element Affire  and the second line contains Nuclear-ion . But the purpose is not to pursue that theme but the other prominent set of anagrams. (NOTE: Naturally occurring elements  are placed in six sequences in the Periodic table which links to C.1 Q.22 L.1).  

Coeur inhumain cruel noir et tranSy…………..Numerical Cynosurae
Leman les iSles de Gennes les maieurs……..…Numerals
Sang eSpancher frofaim a nul mercy……….….Numeral.

In the last three lines anagrams for NUMERICAL, NUMERALS and NUMERAL occur (highlighted in bold). There is no other incidence of Numeral and the other two each have one other occurrence in separate verses. The occurrence of these obviously correlated words together in the current verse has very low probability of taking place by chance alone yet once again they are there for all to see. There is another significant anagram in the second line, that of CYNOSURAE, which is the name for the current polestar. This too only occurs in this verse. Now to a closer analysis of line four which contains the anagram for French-R.  

Sang eSpancher frofaim a nul mercy
San geSpa ncherf r of aim anulmer cy
Pages French-R of aim numeral Cyans
Cyans Numeral Aim of  Pages French-R

I could go further but the point is made. The letter R is critical to assigning a value to the Polestar.

The poetry channels used by Nostradamus.

 
I begin this section by inviting the reader to make sense of Nostradamus’ words in the following quatrein. I believe it is possible to give it sense by seeing it as part of what I have been doing in the previous verses yet it is difficult to ascribe a sense without this presumption.
 
C.07 Q.14
Faux expoSer viendra topographie……………….He will come to expose the false topography,
Seront les cruches des monumens ouuertes……… the urns of the tombs will be opened.
Palluler Secte Saincte philoSophie………………. Sect and holy philosophy to thrive,
Pour blanches noires et pour antiques vertes…….. black for white and the new for the old.
 
This verse is a logical extension from C.1 Q.21 in which I uncovered the following messages Proof reading rhetoric. Rhotic R ( fricative R) our channel. Read on for Enoch labelling cipher. By reading on to verse 22 I was able to demonstrate that the content of these messages held true. But there were aspects that were not covered when this was done. The channels were not uncovered and there was no further reference to Enoch. However although there is no other anagram for CHANNEL anywhere in Nostradamus text there is one for CHANNELS and it occurs in the fourth line of the verse above.
 
The fourth line is full of anagrams that relate to poetry. Poets.Verse, Quatreins, Poetries.Channels all exist within this line. The lettering once again yields expressive and meaningful coding clues in what are as always a series of adjacent anagrams and the different sequences seem to link to the visible message in three of the lines.
 
Black for white and the new for the old.
Pour blanches noires et pour antiques vertes
urb lanchesn oiresetp our antiqu esver tesPo
Urb channels poetries our quaint verse Poets
Urb channels our Poet’s quaint poetries verse.
 
The urns of the tombs will be opened
Pour blanches noires et pour antiques vertes
urblan chesno iresetpo uran tique svertesPo
Urblan Enochs poetries runa quite sets-prove
Urblan sets(sequences)-prove Enoch’s quite runa poetries .
 
He will come to expose the false topography
Pour blanches noires et pour antiques vertes
urblan chesno ires etpouranti qu esver tesPo
Urblan chosen rise reputation qu verse poets
Poet’s verse (quatreins) chosen Urblan reputation rise.
 
Although it may be disputed as to these relationships and the meaning of the letters Urblan, there can be no argument that this line is full of poetic references which are linked via channels to C.1 Q.22 which also referred to Enoch. There is only one other anagram for reputation while Quatreins, Poetries, Poets and Verse have an additional, four, two, ten and thirty-three occurrences respectively. However Poetries.channels and Poets.verse are made up of adjacent anagrams and there are no other places where this occurs even when the letters of the individual words are scrambled together.
 
I could spend some time on the further analysis of this verse but it is the context of the reference to Enoch and a fleshing out of the word channels that is my focus and these objectives have been achieved.  I need to now explain why Nostradamus is likely to have used the prophet Enoch as a source for his code.