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diff --git a/39149-h/39149-h.htm b/39149-h/39149-h.htm new file mode 100644 index 0000000..3509662 --- /dev/null +++ b/39149-h/39149-h.htm @@ -0,0 +1,1352 @@ +<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" + "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> + +<html xmlns="http://www.w3.org/1999/xhtml"> + <head> + <meta http-equiv="Content-Type" content="text/html;charset=iso-8859-1" /> + <title> + Ciphers for the Little Folks, by Helen Louise Ricketts—A Project Gutenberg eBook + </title> + + <style type="text/css"> + + p {margin-top: .75em; text-align: justify; margin-bottom: .75em;} + + body {margin-left: 12%; margin-right: 12%;} + + .pagenum {position: absolute; left: 92%; font-size: smaller; text-align: right; font-style: normal;} + + h1,h2,h3,h4,h5,h6 {text-align: center; clear: both;} + + hr {width: 33%; margin-top: 2em; margin-bottom: 2em; margin-left: auto; margin-right: auto; clear: both;} + + table {margin-left: auto; margin-right: auto;} + + .giant {font-size: 200%} + .huge {font-size: 150%} + .large {font-size: 125%} + + .blockquot {margin-left: 5%; margin-right: 10%;} + .title {text-align: center; font-size: 150%;} + + .right {text-align: right;} + .center {text-align: center;} + + .smcap {font-variant: small-caps;} + + .figcenter {margin: auto; text-align: center;} + + .bbox {border: solid 2px; color: gray; margin: auto; text-align: center;} + + a:link {color:#0000ff; text-decoration:none} + a:visited {color:#6633cc; text-decoration:none} + + .spacer {padding-left: 1em; padding-right: 1em;} + .spacer2 {padding-left: .5em; padding-right: .5em;} + + </style> + </head> +<body> + + +<pre> + +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.) + + + + + + +</pre> + + + + + +<p class="center"><span class="large">THE DOROTHY CRAIN SERIES</span></p> +<p> </p> +<p class="center"><span class="giant">Ciphers<br /> +For the Little Folks</span></p> +<p> </p> +<p class="center">A Method of Teaching<br /> +<span class="large">The Greatest Work of Sir Francis Bacon</span><br /> +Baron of Verulam, Viscount St. Alban</p> +<p> </p> +<p class="center">Designed to Stimulate Interest in Reading, Writing and Number Work,<br /> +by Cultivating the Use of an Observant Eye</p> +<p> </p> +<p class="center">With an<br /> +Appendix on the Origin, History and Designing of the Alphabet<br /> +<i>By</i> Helen Louise Ricketts</p> +<p> </p> +<p class="center">RIVERBANK LABORATORIES<br /> +<small>EDUCATIONAL DEPARTMENT</small><br /> +<span class="smcap">Dorothy Crain</span>, <i>Director of Kindergarten</i><br /> +GENEVA, ILLINOIS</p> + + +<p> </p><p> </p> +<p class="center">Copyright, 1916<br /> +GEORGE FABYAN</p> + + + +<p> </p><p> </p> +<hr style="width: 50%;" /> +<p><span class="pagenum"><a name="Page_3" id="Page_3">[Pg 3]</a></span></p> +<h2>INTRODUCTION</h2> + +<p>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.</p> + +<p>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.</p> + +<p>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.</p> + +<p>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.</p> + +<p>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>i</i> and <i>j</i>, <i>u</i> and <i>v</i> 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.”</p> + +<p><span class="pagenum"><a name="Page_4" id="Page_4">[Pg 4]</a></span>By reference to Lesson I it will be seen that variations in the grouping +of <i>a</i>’s and <i>b</i>’s, five at a time, are made to represent each letter of +the alphabet, except that <i>i</i> and <i>j</i> and <i>u</i> and <i>v</i> are regarded as +interchangeable. In all the succeeding lessons, objects are chosen to +represent <i>a</i> or <i>b</i>, and the order or succession of their grouping, when +compared with the code (Lesson I), will determine the letter they +represent.</p> + +<p>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.</p> + +<p>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 <i>a</i> form and a small letter for the +<i>b</i> form. Of course the differences between the <i>a</i> form and the <i>b</i> 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<span class="pagenum"><a name="Page_5" id="Page_5">[Pg 5]</a></span> 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.</p> + +<p>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.</p> + +<p>Any further information which the instructor may care to secure will be +furnished on application to the Riverbank Laboratories.</p> + +<p class="right"><img src="images/sig1.jpg" alt="Dorothy Crain" /></p> + + + +<p> </p><p> </p> +<hr style="width: 50%;" /> +<p><span class="pagenum"><a name="Page_6" id="Page_6">[Pg 6]</a></span></p> +<h2>TRAINING THE EYE TO SEE</h2> + + +<p>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:</p> + +<div class="blockquot"><p>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.</p></div> + + +<p> <span class="pagenum"><a name="Page_7" id="Page_7">[Pg 7]</a></span></p> +<p class="center">LESSON I</p> + +<p>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.</p> + +<p>To facilitate the use of the code the red and the blue circles may be +designated by small <i>a</i> and small <i>b</i> 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 <i>a</i> form, and the +other will be called the <i>b</i> form. On account of the nature of the code, +the <i>a</i> forms always predominate; and in getting together materials for +this work, the teacher should be guided accordingly.</p> + +<p><span class="pagenum"><a name="Page_8" id="Page_8">[Pg 8]</a></span> </p> +<p> <span class="pagenum"><a name="Page_9" id="Page_9">[Pg 9]</a></span></p> + +<div class="figcenter"><img src="images/img01tmb.jpg" alt="" /><br /> +<a href="images/img01.jpg"><small>Larger Image</small></a></div> + +<p><span class="pagenum"><a name="Page_10" id="Page_10">[Pg 10]</a></span></p> + + +<p> <span class="pagenum"><a name="Page_11" id="Page_11">[Pg 11]</a></span></p> +<p class="center">LESSON II</p> + +<div class="figcenter"><img src="images/img02.jpg" alt="" /></div> + +<p>Short lines represent the <i>a</i> form, long lines, the <i>b</i> form. The cipher +word is “the.” Various forms of sewing cards, or yarns of different colors +may be used.</p> + +<p><span class="pagenum"><a name="Page_12" id="Page_12">[Pg 12]</a></span></p> + + +<p> <span class="pagenum"><a name="Page_13" id="Page_13">[Pg 13]</a></span></p> +<p class="center">LESSON III</p> + +<div class="bbox" style="width: 400px; height: 386px;"><img src="images/img03.jpg" alt="" /></div> + +<p>In this weaving mat the light squares represent the <i>a</i> form, the dark +ones, the <i>b</i> 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.</p> + +<p><span class="pagenum"><a name="Page_14" id="Page_14">[Pg 14]</a></span></p> + + +<p> <span class="pagenum"><a name="Page_15" id="Page_15">[Pg 15]</a></span></p> +<p class="center">LESSON IV</p> + +<div class="figcenter"><img src="images/img04.jpg" alt="" /></div> + +<p>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 <i>b</i> form, orange +sticks, the <i>a</i> form. The arrow marks the starting point, and the reading +proceeds in a clockwise direction.</p> + +<p><span class="pagenum"><a name="Page_16" id="Page_16">[Pg 16]</a></span></p> + + +<p> <span class="pagenum"><a name="Page_17" id="Page_17">[Pg 17]</a></span></p> +<p class="center">LESSON V</p> + +<div class="figcenter"><img src="images/img05.jpg" alt="" /></div> + +<p>This is another symbolic cipher design picturing “Humpty-Dumpty.” The blue +squares represent the <i>a</i> form, the red squares the <i>b</i> 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.</p> + +<p><span class="pagenum"><a name="Page_18" id="Page_18">[Pg 18]</a></span></p> + + +<p> <span class="pagenum"><a name="Page_19" id="Page_19">[Pg 19]</a></span></p> +<p class="center">LESSON VI</p> + +<div class="figcenter"><img src="images/img06.jpg" alt="" /></div> + +<p>Another symbolic cipher design in which the hens represent the <i>b</i> form, +the chicks the <i>a</i> form. The cipher word is “egg,” reading from left to +right.</p> + +<p>This sort of symbolic cipher designing is susceptible of endless +variation, and gives a hint of the possibility of drawing cipher pictures.</p> + +<p>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.</p> + +<p><span class="pagenum"><a name="Page_20" id="Page_20">[Pg 20]</a></span></p> + + +<p> <span class="pagenum"><a name="Page_21" id="Page_21">[Pg 21]</a></span></p> +<p class="center">LESSON VII—THE TIME-TEACHING CLOCK</p> + +<p>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.</p> + +<p>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.</p> + +<p><span class="pagenum"><a name="Page_22" id="Page_22">[Pg 22]</a></span>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.</p> + +<p> <span class="pagenum"><a name="Page_23" id="Page_23">[Pg 23]</a></span></p> + +<div class="figcenter"><img src="images/img07.jpg" alt="" /></div> + +<p>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 <i>a</i>, the blues the <i>b</i>.</p> + +<p><span class="pagenum"><a name="Page_24" id="Page_24">[Pg 24]</a></span></p> + + +<p> <span class="pagenum"><a name="Page_25" id="Page_25">[Pg 25]</a></span></p> +<p class="center">LESSON VIII</p> + +<div class="figcenter"><img src="images/img08.jpg" alt="" /></div> + +<p>On this cipher necklace the square beads represent the <i>a</i> form, the round +beads the <i>b</i> 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.</p> + +<p><span class="pagenum"><a name="Page_26" id="Page_26">[Pg 26]</a></span></p> + + +<p> <span class="pagenum"><a name="Page_27" id="Page_27">[Pg 27]</a></span></p> +<p class="center">LESSON IX</p> + +<div class="figcenter"><img src="images/img09.jpg" alt="" /></div> + +<p>This is similar to the preceding lesson except that in this case the blue +beads represent the <i>a</i> form, the orange beads, the <i>b</i> form. The cipher +words are “A Cipher Chain.”</p> + +<p><span class="pagenum"><a name="Page_28" id="Page_28">[Pg 28]</a></span></p> + + +<p> <span class="pagenum"><a name="Page_29" id="Page_29">[Pg 29]</a></span></p> +<p class="center">LESSON X</p> + +<div class="figcenter"><img src="images/img10.jpg" alt="" /></div> + +<p>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.</p> + +<p><span class="pagenum"><a name="Page_30" id="Page_30">[Pg 30]</a></span></p> + + +<p> <span class="pagenum"><a name="Page_31" id="Page_31">[Pg 31]</a></span></p> +<p class="center">LESSON XI</p> + +<div class="figcenter"><img src="images/img11.jpg" alt="" /></div> + +<p>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 <i>a</i> form, the blue ones the <i>b</i> 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.</p> +<p><span class="pagenum"><a name="Page_32" id="Page_32">[Pg 32]</a></span></p> + + +<p> <span class="pagenum"><a name="Page_33" id="Page_33">[Pg 33]</a></span></p> +<p class="center">LESSON XII</p> + +<div class="figcenter"><img src="images/img12.jpg" alt="" /></div> + +<p>The cipher word is “pasture,” the red circles being the <i>a</i> form, the blue +ones the <i>b</i> form.</p> + +<p><span class="pagenum"><a name="Page_34" id="Page_34">[Pg 34]</a></span></p> + + +<p> <span class="pagenum"><a name="Page_35" id="Page_35">[Pg 35]</a></span></p> +<p class="center">LESSON XIII</p> + +<div class="figcenter"><img src="images/img13.jpg" alt="" /></div> + +<p>The cipher word is “Barking,” the red circles being the <i>a</i> form, the blue +ones the <i>b</i> form.</p> + +<p><span class="pagenum"><a name="Page_36" id="Page_36">[Pg 36]</a></span></p> + + +<p> <span class="pagenum"><a name="Page_37" id="Page_37">[Pg 37]</a></span></p> +<p class="center">LESSON XIV</p> + +<div class="figcenter"><img src="images/img14.jpg" alt="" /></div> + +<p>The word “CIPHER” contains the hidden name “Sir Francis Bacon,” the red +circles being the <i>a</i> form, the blue ones, the <i>b</i> 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 <i>a</i> and the <i>b</i> 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 <i>a</i> form, the circles, the <i>b</i> form. The cipher word is +“decipher.”</p> + +<p><span class="pagenum"><a name="Page_38" id="Page_38">[Pg 38]</a></span></p> + + +<p> <span class="pagenum"><a name="Page_39" id="Page_39">[Pg 39]</a></span></p> +<p class="center">LESSON XV</p> + +<div class="figcenter"><img src="images/img15.jpg" alt="" /></div> + +<p>The phrase “Biliteral Cipher” is made to contain the hidden word “key” by +the use of a capital letter for the <i>a</i> form, and a small letter for the +<i>b</i> form. The borders to the lines contain the cipher word “letter,” the +blue sticks being the <i>a</i> form, the red ones the <i>b</i> 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.</p> + +<p><span class="pagenum"><a name="Page_40" id="Page_40">[Pg 40]</a></span></p> + + +<p> <span class="pagenum"><a name="Page_41" id="Page_41">[Pg 41]</a></span></p> +<p class="center">LESSON XVI</p> + +<div class="bbox" style="width: 550px; height: 372px;"><img src="images/img16.jpg" alt="Design for Peacock Lodge. For Col. George Fabyan." /></div> + +<p> </p> +<table width="65%" border="0" cellpadding="0" cellspacing="0" summary="table"> +<tr><td align="center">CIPHER CODE</td><td><span class="spacer"> </span></td> + <td align="center">Explanation</td></tr> +<tr><td style="white-space: nowrap">a a a a a = A<br /> +a a a a b = B<br /> +a a a b a = C<br /> +a a a b b = D<br /> +a a b a a = E<br /> +a a b a b = F<br /> +a a b b a = G<br /> +a a b b b = H<br /> +a b a a a = I-J<br /> +a b a a b = K<br /> +a b a b a = L<br /> +a b a b b = M<br /> +a b b a a = N<br /> +a b b a b = O<br /> +a b b b a = P<br /> +a b b b b = Q<br /> +b a a a a = R<br /> +b a a a b = S<br /> +b a a b a = T<br /> +b a a b b = U-V<br /> +b a b a a = W<br /> +b a b a b = X<br /> +b a b b a = Y<br /> +b a b b b = Z</td> + <td> </td> +<td valign="top">This architect’s sketch presents an interesting method of making use of +the Biliteral Cipher. The white bricks are supposed to represent the <i>a</i> +form letters, the shaded bricks the <i>b</i> 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 <i>a</i> or <i>b</i> to each brick on that principle, dividing +off the resultant <i>a</i>’s and <i>b</i>’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.</td></tr></table> + +<p><span class="pagenum"><a name="Page_42" id="Page_42">[Pg 42]</a></span></p> + + + +<p> </p><p> </p> +<hr style="width: 50%;" /> +<p><span class="pagenum"><a name="Page_43" id="Page_43">[Pg 43]</a></span></p> +<h2>The Origin, History and Designing of the Alphabet</h2> + +<p class="center">By <span class="large"><span class="smcap">Helen Louise Ricketts</span></span></p> + +<p><span class="pagenum"><a name="Page_44" id="Page_44">[Pg 44]</a></span></p> + + + +<p> </p><p> </p> +<hr style="width: 50%;" /> +<p><span class="pagenum"><a name="Page_45" id="Page_45">[Pg 45]</a></span></p> +<p class="center"><span class="huge">THE STORY OF THE ALPHABET</span></p> + +<p> </p> +<p class="title"><span class="smcap">Chapter I</span></p> + + +<p>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.</p> + +<p>It is one of the oldest things in the world, so old that no one knows when +it was first used.</p> + +<p>It is a more wonderful thing, a great many people think, than the +invention of steamboats and steamcars, or of airships and submarines.</p> + +<p>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?</p> + +<p>It is so common that you see it and hear it and use it almost every minute +of the day.</p> + +<p>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.</p> + +<p>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 <i>Alphabet</i>.</p> + +<p>You never knew before that the Alphabet was such a wonderful thing, did +you? Would you like now to hear the story about it?</p> + +<p><span class="pagenum"><a name="Page_46" id="Page_46">[Pg 46]</a></span>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—</p> + +<div class="figcenter"><img src="images/img17.jpg" alt="" /></div> + +<p>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!</p> + +<p>To the north of Egypt there is a small country called Phœnicia. If you +will look on your map you will find that the sea comes to the very shores +of this country. In Phœnicia there were many beautiful things that +people in other countries wanted to buy. So the Phœnicians 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 Phœnicians brought the picture writing they had +learned from the Egyptians with them. By this time they were beginning to<span class="pagenum"><a name="Page_47" id="Page_47">[Pg 47]</a></span> +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—</p> + +<div class="figcenter"><img src="images/img18.jpg" alt="" /></div> + +<p>We cannot understand this either, can we? But you can see it is much +better than the way they wrote before.</p> + +<p>The Greek people were very happy that the Phœnicians brought such a +wonderful way of writing with them and soon began to copy it, and use it +in their country, too. When the Phœnicians 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, <i>Alpha</i> which means “ox,” and <i>Beta</i> which +means “house.” If you put these two words, <i>Alpha</i> and <i>Beta</i>, together, +what do you have? ALPHA-BET—the word we use today.</p> + +<p>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 Phœnicians 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.</p> + + + +<p> </p><p> </p> +<hr style="width: 50%;" /> +<p><span class="pagenum"><a name="Page_48" id="Page_48">[Pg 48]</a></span></p> +<p class="title"><span class="smcap">Chapter II</span></p> + + +<p>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?</p> + +<p>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?</p> + +<div class="figcenter"><img src="images/img19.jpg" alt="" /></div> + +<p>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<span class="pagenum"><a name="Page_49" id="Page_49">[Pg 49]</a></span> +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.</p> + +<p>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.</p> + +<p>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>i</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>i</i>?—the <i>n</i> is made by putting two <i>i</i>’s +together; the <i>m</i>, three <i>i</i>’s, and the <i>r</i>, one <i>i</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.</p> + +<p>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<span class="pagenum"><a name="Page_50" id="Page_50">[Pg 50]</a></span> 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 <i>E</i>, 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.</p> + +<p>Here are the three <i>A</i>’s that you see in Plate III. You will find that +they are not exactly alike. Can you see the difference between them?—<i>A</i>, +1, is cut off in a curve at the top, <i>A</i>, 2, goes straight up in a sharp +point, and <i>A</i>, 3, is cut off flat. Do you notice, too, the difference in +the thickness of the letters?</p> + +<div class="figcenter"><img src="images/img20.jpg" alt="" /></div> + +<p>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 <i>A</i>’s.</p> + +<p>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.</p> + + + +<p> </p><p> </p> +<hr style="width: 50%;" /> +<p><span class="pagenum"><a name="Page_51" id="Page_51">[Pg 51]</a></span></p> +<p class="title"><span class="smcap">Chapter III</span></p> + + +<p>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 <i>A</i>’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 <i>a</i> form and a small letter for the <i>b</i> form you were able +to hide within the phrase “<i>Biliteral Cipher</i>” the word, “<i>key</i>.” 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 <i>a</i> form and a small letter +for the <i>b</i> 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—</p> + +<div class="figcenter"><img src="images/img21.jpg" alt="" /></div> + +<p>you see the same phrase “<i>Biliteral Cipher</i>,” but it does not look strange +to you, does it? Still, if you will study it carefully you will see that +the first<span class="pagenum"><a name="Page_52" id="Page_52">[Pg 52]</a></span> <i>i</i> is different from the second, and that the first <i>l</i> in +“<i>Biliteral</i>” is different from the second <i>l</i>. You have guessed by this +time that the phrase “<i>Biliteral Cipher</i>,” as it stands here, also +contains a hidden word. The word is “<i>the</i>.” This phrase was made to +contain the word “<i>the</i>” by using the two forms of letters which you see +in the upper part of Plate IX and which were called “<i>doubles</i>” by the +printers who used them several hundred years ago. Now do you begin to see +how important these two forms are?</p> + +<p>Look again at the little Shakespeare poem in the Italic alphabet on Plate +VIII. Now that you know about <i>doubles</i> 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 <i>Classifier</i> which will make it easy to <i>decipher</i> 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 +<i>a</i> form letters are above the shaded part and all the <i>b</i> 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 <b>H</b> of <i>Have</i>, is between the <i>a</i> form and the <i>b</i> form +capital <b>H</b> on the Classifier. You will see that this capital <b>H</b> of <i>Have</i> is +the <i>a</i> 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 <b>H</b> of +<i>Have</i> belongs to the <i>a</i> form, we have placed an <i>a</i> beneath the <b>H</b> in the +first group of five letters. Now move the Classifier so that the <b>a</b> in +<i>Have</i> comes between the <i>a</i> form <b>a</b> and the <i>b</i> form <b>a</b> on the Classifier. +You will see that this letter also belongs to the <i>a</i> form. If you will do +the same to the rest of the letters of this first group you will find that +they are all <i>a</i> form letters. Now what letter of the Alphabet does a +group of five <i>a</i>’s stand for?—<b>A</b>, does it not? So the first letter in our +secret is <b>A</b>. Now place the Classifier over the rest of the letters of the +poem and<span class="pagenum"><a name="Page_53" id="Page_53">[Pg 53]</a></span> 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.</p> + +<p>If we can hide one word in “<i>Biliteral Cipher</i>” 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?</p> + +<p class="right"><img src="images/sig2.jpg" alt="Helen Louise Ricketts" /></p> + +<p><span class="pagenum"><a name="Page_54" id="Page_54">[Pg 54]</a></span></p> + +<p> </p> +<p> <span class="pagenum"><a name="Page_55" id="Page_55">[Pg 55]</a></span></p> +<p class="center">PLATE I</p> +<div class="figcenter"><img src="images/img22.jpg" alt="" /></div> +<p class="center">ALPHABET by ALBERT DÜRER (A. D. 1525)</p> + +<p><span class="pagenum"><a name="Page_56" id="Page_56">[Pg 56]</a></span></p> + +<p> </p> +<p> <span class="pagenum"><a name="Page_57" id="Page_57">[Pg 57]</a></span></p> +<p class="center">PLATE II</p> +<div class="figcenter"><img src="images/img23.jpg" alt="" /></div> +<p class="center">CONSTRUCTION OF ALPHABET</p> + +<p><span class="pagenum"><a name="Page_58" id="Page_58">[Pg 58]</a></span></p> + +<p> </p> +<p> <span class="pagenum"><a name="Page_59" id="Page_59">[Pg 59]</a></span></p> +<p class="center">PLATE III</p> +<div class="figcenter"><img src="images/img24.jpg" alt="" /></div> +<p class="center">ALPHABET, with construction: A. DÜRER (A. D. 1525)</p> + +<p><span class="pagenum"><a name="Page_60" id="Page_60">[Pg 60]</a></span></p> + +<p> </p> +<p> <span class="pagenum"><a name="Page_61" id="Page_61">[Pg 61]</a></span></p> +<p class="center">PLATE IV</p> +<div class="figcenter"><img src="images/img25.jpg" alt="" /></div> +<p class="center">ALPHABET, with construction: A. DÜRER (A. D. 1525)</p> + +<p><span class="pagenum"><a name="Page_62" id="Page_62">[Pg 62]</a></span></p> + +<p> </p> +<p> <span class="pagenum"><a name="Page_63" id="Page_63">[Pg 63]</a></span></p> +<p class="center">PLATE V</p> +<div class="figcenter"><img src="images/img26.jpg" alt="" /></div> +<p class="center">ALPHABET, with construction: A. DÜRER (A. D. 1525)</p> + +<p><span class="pagenum"><a name="Page_64" id="Page_64">[Pg 64]</a></span></p> + +<p> </p> +<p> <span class="pagenum"><a name="Page_65" id="Page_65">[Pg 65]</a></span></p> +<p class="center">PLATE VI</p> +<div class="figcenter"><img src="images/img27.jpg" alt="" /></div> +<p class="center">ALPHABET, with construction: A. DÜRER (A. D. 1525)</p> + +<p><span class="pagenum"><a name="Page_66" id="Page_66">[Pg 66]</a></span></p> + +<p> </p> +<p> <span class="pagenum"><a name="Page_67" id="Page_67">[Pg 67]</a></span></p> +<p class="center">PLATE VII</p> +<div class="figcenter"><img src="images/img28.jpg" alt="" /></div> +<p class="center">ALPHABET, with construction: A. DÜRER (A. D. 1525)</p> + +<p><span class="pagenum"><a name="Page_68" id="Page_68">[Pg 68]</a></span></p> + +<p> </p> +<p> <span class="pagenum"><a name="Page_69" id="Page_69">[Pg 69]</a></span></p> +<p class="center">PLATE VIII</p> +<div class="figcenter"><img src="images/img29.jpg" alt="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." /></div> +<div class="figcenter"><img src="images/img29b.jpg" alt="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." /></div> +<div class="figcenter"><img src="images/img29c.jpg" alt="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." /></div> + +<p><span class="pagenum"><a name="Page_70" id="Page_70">[Pg 70]</a></span></p> + +<p> </p> +<p> <span class="pagenum"><a name="Page_71" id="Page_71">[Pg 71]</a></span></p> +<p class="center">PLATE IX</p> +<div class="figcenter"><img src="images/img30.jpg" alt="" /></div> +<p class="center">ITALIC ALPHABET, BY FRANCISCO LUCAS</p> +<p> </p> +<div class="figcenter"><img src="images/img30b.jpg" alt="" /></div> +<p class="center">ROMAN ALPHABET, BY FRANCISCO LUCAS</p> + +<p><span class="pagenum"><a name="Page_72" id="Page_72">[Pg 72]</a></span></p> + +<p> </p> +<p> <span class="pagenum"><a name="Page_73" id="Page_73">[Pg 73]</a></span></p> +<p class="center">PLATE X</p> + +<p class="center">THE BI-FORMED ALPHABET CLASSIFIER<br /> +For Use with the Lucas Alphabets, 1577</p> + +<div class="bbox" style="width: 600px; height: 310px;"><img src="images/img31.jpg" alt="" /></div> + +<p class="center"><i>a</i> forms above the shaded parts, <i>b</i> forms below</p> +<p class="center"><small>COPYRIGHTED, 1916. GEORGE FABYAN<span class="spacer"> </span>CUT OUT SHADED PART WITH SHARP KNIFE</small></p> + +<p> </p> +<p class="center">TRANSCRIPTION</p> + +<table border="0" cellpadding="0" cellspacing="0" summary="table"> +<tr><td>Havem<span class="spacer2"> </span>oreth<span class="spacer2"> </span>antho<span class="spacer2"> </span>ushow<span class="spacer2"> </span>estSp<span class="spacer2"> </span>eakle<span class="spacer2"> </span>sstha<span class="spacer2"> </span>nthou<span class="spacer2"> </span>knowe<br /> +aaaaa<br /> +<span style="margin-left: .75em;">A</span><br /> +<br /> +stLen<span class="spacer2"> </span>dless<span class="spacer2"> </span>thant<span class="spacer2"> </span>houow<span class="spacer2"> </span>estLe<span class="spacer2"> </span>arnmo<span class="spacer2"> </span>retha<span class="spacer2"> </span>nthou<span class="spacer2"> </span>trowe<br /> +<br /> +stSet<span class="spacer2"> </span>lesst<span class="spacer2"> </span>hanth<span class="spacer2"> </span>outhr<span class="spacer2"> </span>owest<span class="spacer2"> </span>Shake<span class="spacer2"> </span>spear<span class="spacer2"> </span>e</td></tr></table> + + + + + + + + + +<pre> + + + + + +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-h.htm or 39149-h.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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