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diff --git a/39149-8.txt b/39149-8.txt new file mode 100644 index 0000000..79f6891 --- /dev/null +++ b/39149-8.txt @@ -0,0 +1,1229 @@ +The Project Gutenberg EBook of Ciphers For the Little Folks, by Dorothy Crain + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: Ciphers For the Little Folks + A Method of Teaching the Greatest Work of Sir Francis Bacon + +Author: Dorothy Crain + +Release Date: March 15, 2012 [EBook #39149] + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK CIPHERS FOR THE LITTLE FOLKS *** + + + + +Produced by Chris Curnow and the Online Distributed +Proofreading Team at http://www.pgdp.net (This file was +produced from images generously made available by The +Internet Archive.) + + + + + + + + + + THE DOROTHY CRAIN SERIES + + + Ciphers + For the Little Folks + + A Method of Teaching + The Greatest Work of Sir Francis Bacon + Baron of Verulam, Viscount St. Alban + + + Designed to Stimulate Interest in Reading, Writing and Number Work, + by Cultivating the Use of an Observant Eye + + + With an + Appendix on the Origin, History and Designing of the Alphabet + _By_ Helen Louise Ricketts + + + RIVERBANK LABORATORIES + EDUCATIONAL DEPARTMENT + DOROTHY CRAIN, _Director of Kindergarten_ + GENEVA, ILLINOIS + + + + + Copyright, 1916 + GEORGE FABYAN + + + + +INTRODUCTION + + +These lessons are presented as suggestions with the idea that the teacher +or parent will adapt, lengthen, shorten, or remake, as the needs of the +little folk demand. Their value will depend on the way in which they are +brought before the children. + +The aim is not to impose on children adult knowledge and accomplishments, +but to afford them experiences that on their own account appeal to them, +and at the same time have educational value and significance. + +Children should have a great deal of handwork; they do their best thinking +when they are planning something to do with their hands. Their attention +is much more easily focused upon something they are doing with their hands +than upon something which they hear or read. Building with the blocks, +paper folding and cutting, painting and drawing, and what is known as +constructive work, are all means of self-expression. + +An explanatory paragraph will accompany each lesson. In order that the +workings of the Biliteral Cipher, from which these lessons were derived, +may be more readily understood, a short explanation will follow for the +guidance of the teacher or parent, to whom it is left to choose the best +methods of explaining the Cipher to the children, step by step. + +The Biliteral Cipher devised by Francis Bacon and explained in detail in +his Advancement of Learning (see Spedding's English edition of Bacon's +Works, Vol. IV, pages 444-447) is based upon the mathematical fact that +the transposition of two objects (blocks, letters, etc.) will yield 32 +dissimilar combinations, of which only 24 would be necessary to represent +all the letters in our alphabet (_i_ and _j_, _u_ and _v_ being used +interchangeably in the 16th Century). Lesson I of this series shows the 24 +combinations used by Bacon, and constitutes the "Code" or "Key." + +By reference to Lesson I it will be seen that variations in the grouping +of _a_'s and _b_'s, five at a time, are made to represent each letter of +the alphabet, except that _i_ and _j_ and _u_ and _v_ are regarded as +interchangeable. In all the succeeding lessons, objects are chosen to +represent _a_ or _b_, and the order or succession of their grouping, when +compared with the code (Lesson I), will determine the letter they +represent. + +Words in a language being made up simply of combinations of letters, it is +clear that as long as only two differences are available, words can be +built up by making the proper combinations according to the code. Any +differences will do, and to this fact are due the possibilities for the +exercise of the thinking powers, imagination, and skill on the part of +children in this work. Lesson VI, for example, combines elements of +instruction and play in an interesting manner. The transmission of words +and sentences can be accomplished even without the use of objects, for two +different motions of the fingers or hands will do; likewise two different +sounds--in fact any differences perceptible to any of the five senses can +be used. "Wig-wagging" as used by the U. S. Army Signal Service is based +upon this Cipher. Thus many games can be planned which will have an +educational value in training to a higher efficiency every faculty the +child possesses. + +The lessons have been arranged in a sequence according to their increasing +order of complexity, leading up gradually to the presentation of the +possibility of sending hidden messages in an open communication without +arousing any suspicion as to the presence of anything secret. In Lesson +XIV the phrase "Biliteral Cipher" is made to contain the hidden word "Key" +by the use of a capital letter for the _a_ form and a small letter for the +_b_ form. Of course the differences between the _a_ form and the _b_ form +can be made much less apparent than the differences between capital and +small letters; in fact the differences can be made so small that they +would be imperceptible to the casual observer, but it still would be +possible to distinguish them. It is in this phase of the work that +accuracy and care in the formation of letters may be taught, not only in +script or handwriting, but also in printing, both of which are now fast +becoming lost arts. Cipher writing, if properly taught, will give practice +in penmanship that will be interesting and not onerous to children. + +The adaptability of the Biliteral Cipher to the manifold uses to which it +can be put makes its pedagogical possibilities far-reaching; and the field +for the exercise of the faculties of both teacher and pupil, parent and +child, is one of the broadest, most instructive and entertaining that has +ever been opened to the little folks of primary age. + +Any further information which the instructor may care to secure will be +furnished on application to the Riverbank Laboratories. + +Dorothy Crain + + + + +TRAINING THE EYE TO SEE + + +That the faculty of sight needs training will be admitted by every +reasonable person, but how best to give the eye this advantage is a +question which has never been settled. An English hunter, the author of a +book on Norway, gives some interesting hints upon the matter: + + The reason that the different characteristics of tracks are not + observed by the untrained eye is not because they are so very small as + to be invisible, but because they are--to that eye--so inconspicuous + as to escape notice. In the same way the townsman will stare straight + at a grouse in the heather, or a trout poised above the gravel in the + brook, and will not see them; not because they are too small, but + because he does not know what they look like in those positions. He + does not know, in fact, what he is looking for, and a magnifying glass + would in no wise help him. To the man who does not know what to look + for, the lens may be a hindrance, because it alters the proportions to + which his mind is accustomed, and still more because its field is too + limited.--Youth's Companion. + + +LESSON I + +This lesson is intended to teach the code or key. Attention is called to +the mathematical regularity of its construction, which will enable the +teacher to demonstrate it in a very simple manner. First write the column +of numbers from 1 to 24. Then opposite number 1 place five red circles in +a row. Under the last one in this row, and on a line with number 2 place a +blue circle, and continue alternating red and blue down the column. Then +under the 4th red circle in the 1st row place another red one, then two +blue ones, alternating 2 reds with 2 blues down the column. In the 3rd +column the reds and blues alternate in sets of four; in the 2nd column, in +sets of eight, and in the 1st column, in sets of 16. Since only 24 +combinations are necessary, the last eight of the possible 32 have been +omitted. Now opposite these 24 combinations place the letters of the +alphabet in regular order, remembering that I and J, U and V are used +interchangeably. + +To facilitate the use of the code the red and the blue circles may be +designated by small _a_ and small _b_ respectively. The right hand section +of this lesson gives the code worked out on this plan and makes future +reference easy. In all the succeeding lessons one form (whether it be +blocks, beads, yarn or what not) will be called the _a_ form, and the +other will be called the _b_ form. On account of the nature of the code, +the _a_ forms always predominate; and in getting together materials for +this work, the teacher should be guided accordingly. + +[Illustration: + + 1 o o o o o A = a a a a a + 2 o o o o o B = a a a a b + 3 o o o o o C = a a a b a + 4 o o o o o D = a a a b b + 5 o o o o o E = a a b a a + 6 o o o o o F = a a b a b + 7 o o o o o G = a a b b a + 8 o o o o o H = a a b b b + 9 o o o o o I-J = a b a a a + 10 o o o o o K = a b a a b + 11 o o o o o L = a b a b a + 12 o o o o o M = a b a b b + 13 o o o o o N = a b b a a + 14 o o o o o O = a b b a b + 15 o o o o o P = a b b b a + 16 o o o o o Q = a b b b b + 17 o o o o o R = b a a a a + 18 o o o o o S = b a a a b + 19 o o o o o T = b a a b a + 20 o o o o o U-V = b a a b b + 21 o o o o o W = b a b a a + 22 o o o o o X = b a b a b + 23 o o o o o Y = b a b b a + 24 o o o o o Z = b a b b b +] + + +LESSON II + +[Illustration] + +Short lines represent the _a_ form, long lines, the _b_ form. The cipher +word is "the." Various forms of sewing cards, or yarns of different colors +may be used. + + +LESSON III + +[Illustration] + +In this weaving mat the light squares represent the _a_ form, the dark +ones, the _b_ form. The arrow marks the starting point, and the reading +proceeds from left to right in each line. The cipher message is "Mary had +a little lamb." Any sentence containing the requisite number of letters +can be inserted on the same principle. + + +LESSON IV + +[Illustration] + +This lesson embodies what may be designated as a symbolic cipher design. +This design conveys the idea of the setting sun, and hence the cipher word +contained within is "sunset." Red sticks represent the _b_ form, orange +sticks, the _a_ form. The arrow marks the starting point, and the reading +proceeds in a clockwise direction. + + +LESSON V + +[Illustration] + +This is another symbolic cipher design picturing "Humpty-Dumpty." The blue +squares represent the _a_ form, the red squares the _b_ form. The cipher +message is "sat on a wall." The blank squares can be filled by colored +crayons or blocks, and the children can thus practice the building of the +message by referring to the code in Lesson I. + + +LESSON VI + +[Illustration] + +Another symbolic cipher design in which the hens represent the _b_ form, +the chicks the _a_ form. The cipher word is "egg," reading from left to +right. + +This sort of symbolic cipher designing is susceptible of endless +variation, and gives a hint of the possibility of drawing cipher pictures. + +A sufficient supply is furnished so that when cut out, the hens and chicks +may be utilized to spell out various words under the direction of the +teacher. + + +LESSON VII--THE TIME-TEACHING CLOCK + +In this clock the movable colored dots indicating the minutes are used to +spell out the time in cipher. In the working cards to be provided for the +child the colored dots are to be inserted in the holes made for the +purpose around the face of the clock. There being sixty dots, any phrase +expressive of time not exceeding twelve letters in length (that is, twelve +times five dots for each letter equals 60) is available for indicating the +time in cipher. That is to say, any phrase such as "half-past ten," +"nine-thirty," etc., can be indicated on the clock by using five times as +many dots as there are letters in the phrase selected. Should there be +less than twelve letters in the phrase, the holes remaining are to be left +blank. + +This lesson is extremely flexible in respect to the many combinations +which it makes possible. The teacher or parent should bear in mind that +the most effective use of the clock is to be attained by first choosing a +phrase designating some time of the day which is significant in the daily +experience of the child--such as the opening or closing hour of school, +the play hour, the dinner hour, or "bed-time." This phrase is converted +into cipher by having the child place the dots representing the letters of +the phrase, beginning at the figure twelve, around the clock face. After +this has been done the child should be asked to "decipher" the phrase by +naming the letter which each group of five dots stands for. When this is +accomplished, the ability to read the time becomes an unconscious +achievement, since the hands of the clock are then placed by the parent or +teacher, or by the child under her direction, in the proper position to +indicate the deciphered phrase. If, for example, the phrase "half-past +nine" is selected and the child has extracted this from the colored dot +combination, the hands of the clock are moved to nine-thirty. The child, +with the phrase fresh in his mind, learns from this the position of the +hands of the clock representing the time, since the mental image of the +clock face with the hands in the required position establishes an +association which becomes indelibly impressed on the child's mind. + +The method here described is the best for young children. With children of +more advanced age and greater ability to use their own minds, the reverse +practice may be followed. The teacher may name the phrase designating the +time, and direct the child to put in place the colored dots representing +the letters of the phrase by referring for each letter to the code. This +requires an intelligence of a higher order than the method first +described. + +[Illustration] + +By reference to the code the arrangement of the dots on the clock will be +found to spell the time indicated by the hands, i. e., "five past four." +The red dots represent the _a_, the blues the _b_. + + +LESSON VIII + +[Illustration] + +On this cipher necklace the square beads represent the _a_ form, the round +beads the _b_ form. The cipher words are "Yankee Doodle." For working this +or any other appropriate phrase, the child should string the beads on one +of the laces provided. + + +LESSON IX + +[Illustration] + +This is similar to the preceding lesson except that in this case the blue +beads represent the _a_ form, the orange beads, the _b_ form. The cipher +words are "A Cipher Chain." + + +LESSON X + +[Illustration] + +This cipher necklace combines both Lessons VIII and IX, and shows how two +ciphers may be infolded at once. Reading the beads first as regards their +shape and using the same system as in Lesson VIII, the necklace still +spells out the word "Yankee Doodle." Then reading the beads as regards +color, the words "A Cipher Chain" are deciphered, as in Lesson IX. This +lesson gives a hint of the possibility of enfolding three, four, or five +cipher messages at once. + + +LESSON XI + +[Illustration] + +In this lesson comes the first step in showing how a cipher message may be +hidden within an ordinary architectural example. The red circles represent +the _a_ form, the blue ones the _b_ form; the reading proceeds in exactly +the same way in which the figure is written. The cipher phrase is "United +States." Any figures can be selected for the children to form, provided, +when formed, they contain the requisite number of circles of each color. + + +LESSON XII + +[Illustration] + +The cipher word is "pasture," the red circles being the _a_ form, the blue +ones the _b_ form. + + +LESSON XIII + +[Illustration] + +The cipher word is "Barking," the red circles being the _a_ form, the blue +ones the _b_ form. + + +LESSON XIV + +[Illustration] + +The word "CIPHER" contains the hidden name "Sir Francis Bacon," the red +circles being the _a_ form, the blue ones, the _b_ form. The reading +proceeds in the same manner as the strokes of the letters would be made by +the hand. The design in the margin contains a double cipher, similar in +construction to the necklace in Lesson X. The red and blue pieces still +represent the _a_ and the _b_ forms respectively, as before, and the +cipher word is "alphabet." This constitutes the first cipher. The second +cipher is based upon the difference in shape of these pieces, the long +ones being the _a_ form, the circles, the _b_ form. The cipher word is +"decipher." + + +LESSON XV + +[Illustration] + +The phrase "Biliteral Cipher" is made to contain the hidden word "key" by +the use of a capital letter for the _a_ form, and a small letter for the +_b_ form. The borders to the lines contain the cipher word "letter," the +blue sticks being the _a_ form, the red ones the _b_ form. The reading +proceeds from left to right in each line, beginning with the line at the +top. The children may be directed to cut out any set of letters of +appropriate size to form any desired phrase, using capital and small +letters on the same principle as in the example. + + +LESSON XVI + +[Illustration: Design for Peacock Lodge. For Col. George Fabyan.] + + CIPHER CODE + + a a a a a = A + a a a a b = B + a a a b a = C + a a a b b = D + a a b a a = E + a a b a b = F + a a b b a = G + a a b b b = H + a b a a a = I-J + a b a a b = K + a b a b a = L + a b a b b = M + a b b a a = N + a b b a b = O + a b b b a = P + a b b b b = Q + b a a a a = R + b a a a b = S + b a a b a = T + b a a b b = U-V + b a b a a = W + b a b a b = X + b a b b a = Y + b a b b b = Z + +Explanation + +This architect's sketch presents an interesting method of making use of +the Biliteral Cipher. The white bricks are supposed to represent the _a_ +form letters, the shaded bricks the _b_ form. Begin with the top of the +wall, at the left-hand, below the tower, read the lines from left to +right, and assign an _a_ or _b_ to each brick on that principle, dividing +off the resultant _a_'s and _b_'s into groups of five. Then refer to the +accompanying cipher code which will show you for which letter of the +alphabet each group stands. The result will be amusing as well as +interesting and instructive. + + + + +The Origin, History and Designing of the Alphabet + +By HELEN LOUISE RICKETTS + + + + +THE STORY OF THE ALPHABET + + + + +CHAPTER I + + +I want to tell you a story about something you use every day, something +you could not get along without, and yet that you never think about or are +glad to have. I do not believe that even after I tell you several things +about it you can guess what it is. + +It is one of the oldest things in the world, so old that no one knows when +it was first used. + +It is a more wonderful thing, a great many people think, than the +invention of steamboats and steamcars, or of airships and submarines. + +It is so important that you could not have any books without it, and if +there were no books, you would not go to school, and then how could you +learn all the things you want to know? + +It is so common that you see it and hear it and use it almost every minute +of the day. + +It is made of twenty-six different parts. You can make me know what these +are with a pencil or crayon. With them you speak and write and read. There +are machines which hold these parts separately or form them in groups, and +then leaving their likeness on paper give us books and stories to read. + +Now I am afraid that I have told you too much! Have you guessed what these +twenty-six little tools are called? We call them, and so did your +grandfather and greatgrandfather and all the people that lived hundreds +and hundreds of years ago--the _Alphabet_. + +You never knew before that the Alphabet was such a wonderful thing, did +you? Would you like now to hear the story about it? + +Long, long ago in a country called Egypt, which is far across the sea (you +may find it on your map, and that will make it more interesting for you) +they had a very curious way of writing. They had no letters like our A, B, +C's, but did what we call picture writing; that is, they drew pictures +instead of writing letters and words as we do today. Their writing looked +like this-- + +[Illustration] + +That does not look much like writing, does it? You do not know what it +means, either, do you? Yet the people at that time could read their +picture writing just as easily as we can the Alphabet writing. This is the +way they sent messages to each other and wrote down the things they wanted +to remember. Do you know that they did not have any paper in those days +long ago, either? What do you think they used? They cut their pictures on +stone, on walls of buildings, and sometimes on wood and the bark of trees. +They also had a material called papyrus, which was made from reeds growing +in the swamps of Egypt. Think what a long time it must have taken them to +write in this way, and how much easier and quicker it is for you and me +today! + +To the north of Egypt there is a small country called Phoenicia. If you +will look on your map you will find that the sea comes to the very shores +of this country. In Phoenicia there were many beautiful things that +people in other countries wanted to buy. So the Phoenicians built big +ships and filled them full of the beautiful things and sailed away. Across +the water they came to a land by the name of Greece, the country you know +about where Hercules and Ulysses lived, and here they unloaded their +ships. Of course the Phoenicians brought the picture writing they had +learned from the Egyptians with them. By this time they were beginning to +think pictures took too long to draw, and they gradually changed the +pictures into signs so that they could write easier and quicker. So the +writing they brought to Greece was quite different from the picture +writing they had learned from the Egyptians. It looked like this-- + +[Illustration] + +We cannot understand this either, can we? But you can see it is much +better than the way they wrote before. + +The Greek people were very happy that the Phoenicians brought such a +wonderful way of writing with them and soon began to copy it, and use it +in their country, too. When the Phoenicians went back to their own +country the Greeks continued to use the sign writing, but changed it and +made it more beautiful. They gave it a name, too, and called it by the +names of the first two signs, _Alpha_ which means "ox," and _Beta_ which +means "house." If you put these two words, _Alpha_ and _Beta_, together, +what do you have? ALPHA-BET--the word we use today. + +Now the Greeks were an adventurous people, and one day they set sail in +their ships, and went to the land of the Romans, which is now called +Italy. They liked this new country, and some of them settled there. Like +the Phoenicians long ago, they brought their new Alphabet with them. The +Romans were a great and wonderful people, but they did not know the easy +way of writing by signs that the Greeks used. They saw right away what a +fine thing this Alphabet was, and began to use it for their writing, too. +At first they wrote the signs exactly the way the Greeks did, but soon +they changed them, and made them simpler and better. + + + + +CHAPTER II + + +You know the story of the Alphabet from its beginning so long ago in far +Egypt to the time when it came to the Romans and how it changed from +pictures to signs and from signs at last to the letters of the Alphabet. +You know, too, how hard it was for the people to write in those days when +they had no better material than papyrus, wood and stone. That was a long, +long time ago. Would you like to hear a story about what has happened to +writing since the time of the Romans and the changes that have taken place +in the Alphabet in its travels through the countries of Europe? + +The first great thing of importance was the discovery of a new material to +write on. What do you think it was?--the skins of sheep and calves! That +seems strange to us and we like the paper we use today better, but think +what a great improvement this discovery was then and how much easier +writing could be done on the smooth surface of the skin with a pen and +ink. In all of the countries except Italy this change of writing material +brought about a change in the style of lettering too. The Romans alone +kept to the simple form of lettering they had always used and did not +change it when writing on the skins. The other European countries +gradually came to vary this style and make the letters more pointed, +heavier and blacker and in some cases more elaborate. This style of +lettering was called the Gothic. Do you see the difference between these +two alphabets? + +[Illustration] + +The Alphabet had not been in these countries long enough yet for all the +people to have learned to write. Only a very few knew the letters, and as +all the writing was done by hand, it took a long time to write a whole +book. The few books that were written were so precious that they were +chained in the churches and monasteries and the people were only allowed +to read them there. At last in the country of Germany a man by the name +of Gutenberg thought of a way to make more books and make them faster. And +this way was by printing. Just as the Alphabet spread to the different +countries so this new way of writing spread, until all of the people of +Europe were using printing machines and making many books. + +In Germany the Gothic lettering had been used when the writing was done by +hand and Gutenberg copied this style in printing the first book. When the +art of printing spread to the different countries the Gothic alphabet, of +course, came with it and was accepted as the correct style of letter. The +Romans, however, still believed their Alphabet to be the better and cut +their printing type after the Roman model. So a great quarrel sprang up +between the different countries as to which Alphabet should be used, the +Roman or the Gothic. In Italy a man called Manutius tried to settle the +quarrel by making a letter which all the printers would use and he called +his style of lettering the Italic. The printers who used the Gothic and +Roman letters also used these Italic letters, but were not willing to give +up their own style and use the Italic entirely. + +We are so used to seeing and using the Alphabet today that we never ask +ourselves how the letters came to look the way they do now. Look at Plate +I, which shows a beautiful Alphabet of Gothic letters made by a famous +German artist, Albert Dürer. There are twenty-nine of them, all entirely +different, but still you can see that they are all brothers and sisters in +one big family. Do you wonder how this came about? Look at Plate II and +you will learn. The first letter _i_ is made by putting together a number +of small squares in a certain way. Can you see the way the other letters +are made from this letter _i_?--the _n_ is made by putting two _i_'s +together; the _m_, three _i_'s, and the _r_, one _i_ and an extra square +at the top. Go through the rest of the Alphabet and see if you can find +out the way it is made. + +Now look at Plates III, IV, V, VI, and VII showing another Alphabet by the +same artist, which he patterned after the Roman letters. He found that +they were made according to a certain rule and proportion, and it was +these he worked out in making his Alphabet. Here you see the pattern is a +large square, and the letters are drawn very carefully in them. Did you +know before there was as much figuring and measuring done in the making of +the Alphabet as there is in building a house? Look at the letter _E_, for +example, and all the circles and squares that have been measured and drawn +to make it. You will find that every letter is made just as carefully. + +Here are the three _A_'s that you see in Plate III. You will find that +they are not exactly alike. Can you see the difference between them?--_A_, +1, is cut off in a curve at the top, _A_, 2, goes straight up in a sharp +point, and _A_, 3, is cut off flat. Do you notice, too, the difference in +the thickness of the letters? + +[Illustration] + +Look at the other letters in this Alphabet (Plates III, IV, V, VI, and +VII) and see if you can tell me about them in the way I have told you +about the _A_'s. + +For many, many years, the printers in the different countries used +Alphabets the artists had made for them, without being able to decide +which they liked the best, the Roman, Gothic or Italic. On Plate VIII you +will find a little poem by Shakespeare printed in these three Alphabets. +Which one do you like the best? I am sure you will choose the one that is +the simplest, the easiest to read and at the same time the most +beautiful--the Roman. In the quarrel which had been going on for so many +years, the Roman alphabet won the victory, and that is how it came about +that the Roman is used in printing all our newspapers and books today. At +last after so many hundreds of years it has traveled through the other +countries to us. Many times you cannot recognize the letters, and they +look very different from the Roman models from which they were patterned, +but that is because we are not as careful with the measurements and +proportions as were Albert Dürer and the other Masters in that time long +ago. + + + + +CHAPTER III + + +You know now the beginning of the Alphabet, the careful way it was planned +and made, and how finally after so many years it has come to be used in +the form in which we have it today. Do you remember that when Albert Dürer +made his Alphabet of Roman letters he made more than one form of each +letter--there were three _A_'s, for example. Would you like to know why he +did this? Plate IX shows you two other kinds of Alphabets made long ago by +a Spanish artist, Francisco Lucas. Look at the Italic capital letters in +the upper part of this Plate. You can easily see that there are two +different forms of the same letters, can you not? But now look at the +small letters. You still see that there are two examples of each letter, +but they are so much alike that you will have to look very carefully to +see the difference between the two forms. Why do you suppose this artist +went to the trouble to make these letters so much alike, and yet +different? Do you not think that this would be a very strange thing to do +unless there was a good reason for it? Look at the lower part of the Plate +and you will see that there are two different forms of the small Roman +letters also. Now turn back to Lesson XV. You see that by using a capital +letter for the _a_ form and a small letter for the _b_ form you were able +to hide within the phrase "_Biliteral Cipher_" the word, "_key_." You can +easily see that this would not be a good way to hide a secret, for the +difference between the large and small letters is not only easy to see, +but looks so strange that it is the first thing you notice. Now suppose +that instead of using a capital letter for the _a_ form and a small letter +for the _b_ form you use for each letter of the Alphabet, both capital and +small, two forms which were very much alike but still were different. In +the following line-- + +[Illustration] + +you see the same phrase "_Biliteral Cipher_," but it does not look strange +to you, does it? Still, if you will study it carefully you will see that +the first _i_ is different from the second, and that the first _l_ in +"_Biliteral_" is different from the second _l_. You have guessed by this +time that the phrase "_Biliteral Cipher_," as it stands here, also +contains a hidden word. The word is "_the_." This phrase was made to +contain the word "_the_" by using the two forms of letters which you see +in the upper part of Plate IX and which were called "_doubles_" by the +printers who used them several hundred years ago. Now do you begin to see +how important these two forms are? + +Look again at the little Shakespeare poem in the Italic alphabet on Plate +VIII. Now that you know about _doubles_ you can see, if you have learned +to use your eyes, that we have hidden a secret within this poem too. Would +you like to know what it is? We will help you to work it out by giving you +what is called a _Classifier_ which will make it easy to _decipher_ the +verse. On this Classifier, which you will find on Plate X, the very same +Italic letters that you saw in Plate IX have been arranged so that all the +_a_ form letters are above the shaded part and all the _b_ form letters +below. Now if you will tear out this whole page and carefully cut out +these shaded parts you can place this page over the lines of the poem in +italic letters. This will help you to decide to which form the letters of +the poem belong. Place the Classifier over the poem so that the first +letter, the capital =H= of _Have_, is between the _a_ form and the _b_ +form capital =H= on the Classifier. You will see that this capital =H= of +_Have_ is the _a_ form. Now below the Classifier has been placed something +which will help you still more. All the words of the poem have been +divided and have been placed into groups of five letters. As we decided +that the =H= of _Have_ belongs to the _a_ form, we have placed an _a_ +beneath the =H= in the first group of five letters. Now move the +Classifier so that the =a= in _Have_ comes between the _a_ form =a= and +the _b_ form =a= on the Classifier. You will see that this letter also +belongs to the _a_ form. If you will do the same to the rest of the +letters of this first group you will find that they are all _a_ form +letters. Now what letter of the Alphabet does a group of five _a_'s stand +for?--=A=, does it not? So the first letter in our secret is =A=. Now +place the Classifier over the rest of the letters of the poem and see to +what form they belong, just as we have done for you in the first group. If +you do your work carefully you will find the hidden secret. + +If we can hide one word in "_Biliteral Cipher_" and a sentence in a short +poem, do you not see how a whole story could be hidden so carefully within +a book that it might not be discovered for many, many years? + +Helen Louise Ricketts + + + + +[Illustration: PLATE I + +ALPHABET by ALBERT DÜRER (A. D. 1525)] + + +[Illustration: PLATE II + +CONSTRUCTION OF ALPHABET] + + +[Illustration: PLATE III + +ALPHABET, with construction: A. DÜRER (A. D. 1525)] + + +[Illustration: PLATE IV + +ALPHABET, with construction: A. DÜRER (A. D. 1525)] + + +[Illustration: PLATE V + +ALPHABET, with construction: A. DÜRER (A. D. 1525)] + + +[Illustration: PLATE VI + +ALPHABET, with construction: A. DÜRER (A. D. 1525)] + + +[Illustration: PLATE VII + +ALPHABET, with construction: A. DÜRER (A. D. 1525)] + + +[Illustration: PLATE VIII + + Have more than thou showest, + Speak less than thou knowest, + Lend less than thou owest, + Learn more than thou trowest, + Set less than thou throwest. + --SHAKESPEARE. +] + + +[Illustration: PLATE IX + +ITALIC ALPHABET, BY FRANCISCO LUCAS + +ROMAN ALPHABET, BY FRANCISCO LUCAS] + + +[Illustration: PLATE X + +THE BI-FORMED ALPHABET CLASSIFIER + +For Use with the Lucas Alphabets, 1577 + +_a_ forms above the shaded parts, _b_ forms below + +COPYRIGHTED, 1916. GEORGE FABYAN + +CUT OUT SHADED PART WITH SHARP KNIFE + + +TRANSCRIPTION + + Havem oreth antho ushow estSp eakle sstha nthou knowe + aaaaa + A + + stLen dless thant houow estLe arnmo retha nthou trowe + + stSet lesst hanth outhr owest Shake spear e] + + + + +Transcriber's Notes: + +Passages in italics are indicated by _italics_. + +Passages in bold are indicated by =bold=. + + + + + + +End of Project Gutenberg's Ciphers For the Little Folks, by Dorothy Crain + +*** END OF THIS PROJECT GUTENBERG EBOOK CIPHERS FOR THE LITTLE FOLKS *** + +***** This file should be named 39149-8.txt or 39149-8.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/3/9/1/4/39149/ + +Produced by Chris Curnow and the Online Distributed +Proofreading Team at http://www.pgdp.net (This file was +produced from images generously made available by The +Internet Archive.) + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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