Here is a further refinement in the presentation of the vord paradigm I am using as a working tool for the exploration of the Voynich text. As I stated previously, the model is based on that of Thomas Coon's Voynich Vord Verifier. I have modified it somewhat and added further information, high lighting further categories and structures.
The main additions to this version arise out of the realization that the consonant/vowel structure is fundamental. There are alternating slots for consonants and vowels. In this new version, additional possible vowels have been added to allow for many permutations.
The model must also allow for the VC pattern in compartment A. Instead of the usual consonant/vowel we also find vowel-consonant prefixes such as ar-, al- and ol-.
The basis of the model is that the default vord (QOKEEDY) is tripartite with each of its three parts consisting of a simple consonant-vowel structure.
In a default vord there are three parts, prefix, stem and suffix, here marked as compartments A and B and C. A combination consonant-vowel (CV) is made from the available glyphs in each compartment.
However, in most cases vords are consonant final, so there is an extra class of consonant final glyphs in compartment C. These require a word-break after them.
We can speak of the first consonant, second consonant, third consonant and final consonant. And the first, second and third vowels, with [y] being a final vowel (if it is not an abbreviation.)
Bench gallows (KTPF) are not shown but can intrude into any of the benched glyphs (in red).
The main value of the template is to study vords that don't conform.
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Problem. On many counts the Voynich text seems artificial and is likely to be the result of some form of procedural generation. And yet, as our model shows, one of the fundamental principles of the vords generated is the alternation of consonants and vowels. These are phonological categories. Can a procedurally generated text be phonological?
The question of whether or not the text was created to be spoken or not arises. The CV structure of vords strongly suggests the text is made to be spoken. Indeed, phonology seems to be an important structural principle. This is counter to how I have been thinking about the text up to this point.
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As a matter for consideration, I am inclined at the moment to think of the gallows glyphs as double letters, and so perhaps it might be better to depict them as kk, tt, pp and ff respectively, as a further innovation to the presentation of the paradigm. How it is depicted determines what we see.
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