Rules for Consonant/Vowel Alternation


* * * 

RULES FOR CONSONANT/VOWEL ALTERNATION


Exposing an Underlying Binary Pattern


This is a set of simple rules by which we can render the Voynich text into a series of alternating vowels and consonants.


Note well, that what I am calling ‘vowels’ and ‘consonants’ may not be linguistic at all: 


Yet in the Voynich script glyphs that stand for vowels or consonants in Latin (or elsewhere) have been ascribed to these places in the underlying sequence. 


At root, by my account of it, the fundamental cycle is astronomical: the sequence concerns the starting and stopping of the sun at the solstices in its yearly course. 


At root the pattern is: stop/start/stop/start.


The stops have been given consonant glyphs and the starts have been given vowel glyphs. 


I call them vowels and consonants for this reason, and only for this reason. The underlying binary pattern is non-linguistic. 


My argument is that [o] is the primal vowel, and that the underlying text is a sequence of [o] glyphs alternating with consonants. Thus:


o|o|o|o|o|o|


VCVCVCVCVC


The gallows glyphs are, by my account, the primal consonants, (representing the solstices and equinoxes), the others being derivative.


The vowels are [o] and modifications of [o], namely [e] and [a]. 



* * *


RULES


1. [y] can act as vowel or consonant, (but not both at once), as required, in any circumstances 


2. [ee] is a single (long) vowel – breaking [o] in half - , and so are variants: [eee], [ea], [ea] and where an [o] replaces an [e] as in [oa]. 


That is, double (and triple and other multiple) vowels – all vowel clusters - are counted as variants of [ee] which is counted as a single vowel (and itself a variant of [o].) 


3. [iin] counts as a single consonant configuration, as do the variants [in] and [iiin] as well as the same forms with [r], [iir], [ir], [iiir].


4. [ch] and [sh] are single consonants, as are the benched gallows. Even if we accept them as double consonants in some way, they count as single units.


5. The double consonant form [ld] counts as a single unit, a consonant. 


6. Like [y], the glyph [ch] (and [sh]) can act as vowel or consonant, as required, in any circumstances. The glyph [ch] is a variant of [ee]. 


With these rules – supplying a consonant or vowel value to the word spaces as we proceed – we can bring almost the entireity of the Voynich text into CV conformity.


Even if we object that these rules are too flexible, they still serve to illustrate a deep bedrock of alternating CV glyphs matched to a basic binary pattern. 


R.B. 

A Case for Cusanus

Nicholas of Cusa remains a suspect.  

If we take the Voynich language as a separate creation, removing it from the accompanying illustrations and the codex, and just consider it in isolation as a textual-linguistic phenomenon, Nicholas of Cusa must be among those considered. 


The manuscript itself is certainly not likely to be a project in which he would be directly involved, but the language is a sophisticated invention in itself; it is impressive, the work of a formidable, inventive mind, and Cusanus is a candidate on those grounds. 


Everything depends upon how we view the language and text. I regard it as a unique fusion of linguistics and cosmology


Much counts against Cusanus, but let me briefly rehearse some points in his favor.


I am considering him as the inventor of Voynichese. 


1. He was exactly contemporary with the Voynich ms. His dates are 1401-1464. The window for the Voynich is about 1400-1440. 


This leaves a 20 year window, a period during which Cusanus was in his intellectual prime, his early twenties to his late thirties. 


During this time, moreover, he was an independent person who pursued independent projects. Though often in the employ of the Church, he did not become a cardinal (as he is remembered) till late in life, and then reluctantly. 


That is, he is remembered as a Catholic clergyman, but he was not beholden to a narrow orthodoxy and pursued an adventurous intellectual life, especially in his youth.


2. Most obviously, he was a leading Humanist scholar with deep secular intellectual and scientific interests.


It is generally agreed that the Voynich text, by design, reflects the open style of the early Renaissance revival of Carolingean miniscule. More generally, the manuscript displays wide-ranging intellectual curiosity that arguably reflects Humanist interests. 


The Humanists of the period were not, in fact, a large circle.  Nicholas of Cusa, a young genius from Germany, was a prominent figure in that movement.


We could say: if Voynichese is not his creation, he may have known the creator – if we accept it is from the Humanist mileu, 1400-1440. 


3. Cusanus was a complex character and an accomplished polymath whose interests included linguistics, geography, cartography, cosmology, astronomy, mathematics, geometry, and a host of others. 


He was also close friend and correspondent with many of the great scientific minds of his day. He was thoroughly up-to-date.


Arguably, aspects of his (early modern) cosmology are reflected in the Voynich ms. 


In any case, and despite appearances, many of his known interests are encountered in the Voynich, especially in the cosmological sections. 


I see Voynichese as cosmological in nature, and connected to the cosmological dimensions of the work. 


Cusanus was a (Neoplatonic) cosmological philosopher, first and foremost. A cosmological language would reflect his specific interests.


Even more specifically, he was deeply engaged in the problems of Computus, and resolving the Eastern and Western calenders. He travelled Europe seeking out relevant manuscripts. He proposed his own calendar reforms. 


I present Voynichese as calendrical in nature. No one knew Computus and the intriciacies of soli-lunar calendars as well as Nicholas of Cusa. 



4. Another case of his independent intellectual pursuits was his dedicated study of Ramon Llull. 


He was the foremost Llullian of his age, and collected Llull’s works from throughout Europe, even though he was careful to keep those interests in the background of his public life. 


He rarely mentions Llull by name in his works or sermons. Llull, at the time, was being condemned as heretical and his name had become mixed up with alchemy and magic. 


Cusanus made a deep and serious study of Llull’s Ars Magna and its systems, and appropriated them into his own cosmology and metaphysics.


There has long been suspicion  of Llullian influence in the creation of the Voynich text – the generation of text through letter-wheels or volvelles. As well as the incipient idea of an artificial language.


It was from Llull that Leibniz would later explore the idea of artificial languages.


As one Voynich reseacher asked in the mailing lists years ago: Who, in the Middle Ages, could have created such a thing other than Ramon Llull? 


In our historical window – a young Nicholas of Cusa. 


5. Cusanus had a profound knowledge of Latin manuscripts. 


Arguably, this is on display in the Voynich glyph set and text. By most assessments, the glyphs and text were designed by someone deeply familiar with Latin manuscript traditions, if not Latin shorthand and arcane abbreviation systems. 


Cusanus was deeply learned in this field: profoundly well-read. He had a complete command of the esoterics of Latin texts. 


In his search for the manuscripts of Llull, and for other reasons, he spent years travelling the libraries of Europe, hunting for rare and important texts.


The folkish illustrations in the Voynich are deceptive. The language is the creation of a highly literate man. 


6. Nicholas read and spoke Greek. He was one of the first European intellectuals of the Renaissance to learn and master Greek. 


On many assessments, there is Greek influence in the Voynich: Hellenic in the case of the nymphs, and Oriental/Orthodox in the architecture on the Voynich map, and possibly Greek influence in the glyph set. 


Cusanus was deeply involved with attempts to reconcile Eastern and Western Christendom, and was of the view that many of their differences were linguistic.


He proposed ways that Latin and Greek theology and terminology might be reconciled. 


He travelled to Byzantium and recovered important manuscripts from Greek libraries. 


He was influenced by the Platonic school of Plethon, mainly through his close personal friendship with (Cardinal) Bessarion. He developed extensive Greek connections. 


A Latin Humanist scholar also adept at Greek in the relevant period? 


If there is a connection between MS Vaticanus graecus #1291 (Ptolemy’s Handy Tables)  and the Voynich ms. – with the work in the library of the Bishops of Brescia – Cusanus is a possible link.  It would be a work of natural interest to him. He would be one of the few intellectuals of the period well-positioned to understand it in depth.  


7. Cusanus was German. 


German seems to be part of the linguistic matrix behind the manuscript.


Latin. Greek. German. Those languages would point to Nicholas.


There is German marginalia and underwriting in the text. More generally, we can detect a distinct Germanic element in the work. Blonde nymphs. Zodiac motifs from German almanacs. 


Modern studies of Cusanus’ life like to emphasize that he was a German in Italy. The geographical heart of his intellectual world was Brixen, half German/half Italian. 


I think there are reasons to connect the Voynich ms. to that region: alpine northern Italy, the Sud Tyrol, the border between the Germanic and Italian worlds. 



8. Most importantly, Cusanus was given to thought-experiments. That was his primary method. He was not an empiricist. His method was to explore matters with reason, and he would typically create thought-experiments to test ideas. 


This experimentalism was very typical of him, and it is quite conceivable that such a creation as Voynichese could be a case of such a thought-experiment. 


The Voynich manuscript itself is not in character, but a thought-experiment such as a cosmological language and (synthetic) script would not be alien to Cusanus. It is something he might do. 


Moreover, we find evidence of linguistic experimentalism in his extant writings, an imaginative and symbolic appreciation of the possibilities of language. 


We need only suppose that Cusanus attempted a synthetic language as part of his wide-ranging philosophical experiments. 


9. He was a high-level diplomat involved in some of the most delicate negotiations of the era. 


As such, we can be confident he was familiar with diplomatic ciphers. And he was smart enough, and curious enough, to know how they worked. 


There is no evidence in his writings (that I’ve encountered) of any active interest in cryptography – why would he write about things that are secret? - but it might be a fair assumption that a diplomat in his position would be up-to-date with the most sophisticated ciphers of his day. 


If the Voynich language is cryptological, such a thing would be within his reach. 


10. Cusanus took an active interest in the affairs of the ‘layman’ and practical affairs more generally. 


It is wrong to cast him as a high-brow theologian disconnected from mundane matters. 


He was prolific and wide-ranging and was noted for his sympathy for the common man. Common matters like weights and measures, engineering, hydrology, were within his ambit. 


He engaged in extensive thought-experiments on practical and non-theological matters. 


An invented language, proposed for some practical purpose, is conceivably within his range of interests and intellectual habits. 


* * *


Various areas of my research intersect at Nicholas of Cusa. 


Even when I give up on him as too unlikely and look elsewhere, and cast other scenarios, he keeps reemerging. 


This may only be because he was such a notable intellectual in the period, but he is still unusually qualified for such a sophisticated (and experimental) marriage of linguistics and cosmology as we encounter in Voynichese. 




R.B. 

Rings of the Nymphs



A key part of my reading of the Voynich ms. is to identify the terrestrial nymphs (as distinct from the zodiacal or celestial nymphs) with the nymph lore of the Dolomite mountains in northern Italy. 


Assuredly, the Voynich nymphs are very different to the nymphs of that folklore – they have been Hellenized – but there are enough allusions and motifs to make the identification clear.


Primarily, the golden hair and rosy cheeks of the Voynich nymphs are motifs from the Dolomite mythology concerning King Laurin and his ‘Rose Garden’. 


That mythology concerns the ‘Alpenglow’, or Enrosadira in the Ladin language: the sacred light that illumines the central peaks of the Dolomites like a rose garden.


As part of that myth cycle (a very ancient myth cycle preserved in the Ladin languages) there are nymphs who are agents of the alpenglow and accordingly have golden hair.


Similarly, as part of the myth cycle, King Laurin gives the nymphs the power to heal, signified by restoring the rosy cheeks of the ailing: the nymphs administer the rosy light of the alpenglow. 


Golden haired rosy cheeked mountain nymphs… in northern Italy. I argue that these are the nymphs – removed from their folk setting and Hellenized – who we meet in the nymph or balneological (bathing) section of the manuscript. 


Throughout Voynich Studies one encounters the argument: Italians aren’t blonde! Look at those blonde nymphs! The manuscript must be Nordic, Germanic, Scandinavian, Latvian…. 


But, in fact, there is an indigenous folk lore throughout the Dolomite region – northern Italy – featuring a race of blonde nymphs. Their golden hair is emblematic of the Alpenglow. 


In any case, this is a remnant mythos from much earlier strata, perhaps going back to the Ice Age, and has Rhaeto-Celtic roots. It perhaps once came with migrations from more arctic regions. And it became entangled with Germanic heroic legend. But there is a folk lore featuring golden haired nymphs in alpine Northern Italy. We do not need to look further north. 


* * *


On the basis of this identification, I understand some of the odd depictions in the balneological section as allusions to stories about the nymphs of the Alpenglow mythology. 


For instance, we see their shape-shifting powers illustrated. And the motif of rainbows. We find these motifs in Ladin nymph stories. 


I also want to explain the strange “magic rings” sported by several nymphs in this way.


These, like other details, have attracted considerable speculation. The codicological comparison approach – hunting for similar rings in other manuscripts – leads into a mire of marriage symbolism.


But if the Voynich mountain/water nymphs are Hellenized renderings of the Dolomite nymphs, another explanation presents itself. 


In the central stories about King Laurin and the mythic origins of the alpenglow, the fair bride Similde (who King Laurin had impriosoned inside his mountain for seven years) is able to overcome King Laurin with the help of magic rings. 


(As an aside, there is a school of thought that argues that Tolkein drew heavily upon this specific mythology.)


In the Voynich, we find several nymphs holding up - conspicuously – large, oversized rings. 


I suppose this to be an allusion to the magic rings of Similde. 


The rings have no nuptial associations, except that King Laurin has taken Similde as his bride. 


(Why do many Voynicheros assume rings = marriage? Have they not read Lord of the Rings? Those rings have nothing to do with marriage.) 


Rather, the rings represent elemental powers. They thwart the magic powers of King Laurin’s dwarves. 


In the Voynich, we notice that one of the rings is red – as if red hot. I think the idea is that these rings are forged inside the mountain and represent elemental powers.


In the Voynich, I suggest, they are shown as protective rings: the mountain nymphs have them to keep them safe from malevolent chthonic forces. 


It is because they have the protection of the magic rings that they are free to bathe and frolic. 


Certainly, there are no dwarves to be seen. And no King Laurin, or other features of the folk lore. But there are enough motifs and allusions to allow us to make the identification. 


As I understand it, what has happened is this: 


1. The author has a body of (ancient Hellenic) astrological material that features celestial nymphs in the Hellenic manner. 


2. The author has matched those celestial nymphs with the indigenous nymphs of the Italian alpine landscape. 


The feral, rustic (late Ice Age) nymphs of the King Lauren myths have been civilized into frolicking (but poorly drawn) Hellenic nymphs (who, moreover, are Christians.)


They retain their golden hair, and rosy cheeks, and magic rings. 


In the Voynich we see them depicted as agents of the alpenglow and keepers of the streams, ponds and underground hydrology of the mountains. 


In the context of the Voynich ms. they are the terrestrial counterparts of the celestial nymphs who populate the zodiac. 


The scenario I see in the manuscript is the celestial nymphs informing the terrestrial nymphs.


The whole construction should be seen as ‘Humanist’ – a fusion of classical models with vernacular Italian traditions (made nominally Christian.) 


R.B. 


Consonant/vowel - Part 2

 Further to the excercise I presented two posts ago, demonstrating consonant/vowel alternation in the Voynich text:


Using a fixed set of rules, we are able to show that the large majority of Voynich words conform to a basic consonant/vowel pattern. 


The interesting cases are the words that do not. 


Here are some from the samples I used previously:


qokchdy

cthres

kchy.

chkain

qokchory

polchedy.

olkeey.

lkey.

chcthy.

lkar

dsheeoteey

cholkeeedy

tcheo

olcheody

okchedy

rcheey

ald.

cheeokseo.

qorky

okolchy

otaldy

shckhey


We could resolve most of these cases by introducing one more rule:


The glyphs [ch] and [sh] can act as vowels or consonants. 


Typically, I have portrayed these glyphs (part of the CHOLDAIIN paradigm) as consonants formed – hardened – from the long vowel [ee] in QOKEEDY. 


[ch] is [ee] with a ligature. 


It acts as a consonant, as in CHOL. 


But if we allow that it may act as a vowel (and [sh] along with it) then we can resolve almost all instances where CV alternation is disrupted in Voynich words. 


Let us take the non-compliant word: qokchdy. 


It is obviously a variant on the paradigm QOKEEDY. 


All that has happened, in fact, is that the [ee] in QOKEEDY has been joined by a ligature to make [ch]. 


Here we could justifiably count [ch] as a variant of [ee], and so count it as a vowel in our sequence. 


Similarly, qokchory becomes qokeeory which complies. The difference is only the ligature. 


Similarly, kchy is keey. The difference is only the ligature.


If we do this we very often end up with strings of vowels which, by my rules, are all counted together as a single unit. 


I am very aware that this seems an exceedingly flexible rule. It eliminates all cases of double (or more) vowels in a single stroke, so only the placement of consonants remains in question. 


But vowel clusters are a feature of the text and it is a possible explanation that they represent single units. What are we to make of a word like [oteeeodar]? Might not the whole vowel cluster be a variant on [ee]?


By my account, it is a variation on the paradigm QOKEEDY. 


Thus the non-compliant word polchedy becomes the compliant poleeedy.


Besides, by my rules in this exercise we only allow two flexibilities: [y] and [ch] (and) [sh] can be either vowels or consonants. 


They are similar cases. [y] looks like an [o] but has a tail that seems to render it a consonant at times. [ch] seems like [ee] with a ligature that renders it a consonant but it seems to act as a vowel (or double vowel) at times. 


In any case, by this method we can bring the text close to full compliance. 


In the main, the only cases that remain are those involving the [ld] consonants from CHOLDAIIN as in [otaldy]. 


* * *


Please note that I am using ‘vowel’ and ‘consonant’ only loosely in these studies. They may or may not be vowels and consonants. They may not be linguistic at all. I am only describing how they behave. I could just as easily describe them as 'night glyphs' and 'day glyphs'. . 



R.B. 


The Whip of Helios

What is the inspiration for the gallows glyphs? 

That becomes the core mystery. 


The manuscript as a whole is odd, but if we remove the text and just consider the illustrations it is not entirely odd. The iconography is eccentric, but not unfathomable.


But the text is confounding. The text is the mystery. 


And at the heart of that mystery is the glyph-set, the script – a strangely eclectic collection of letters, numbers, symbols, abbreviations and orthographic conventions.


And amongst those, the most mysterious are the so-called gallows glyphs. 


Everything suggests that if we understand the gallows glyphs we will expose the core of the enigma and all, or much, will become plain. 


As a research strategy then, a focus on the gallows glyphs makes sense. 


* * *


My studies – detailed in previous posts - suggest the gallows glyphs represent the solstices and equinoxes. Four gallows glyphs and four quarters of the year. 


But whence came this idea?


There is no doubt that the gallows glyphs strongly resemble forms that appear in Latin manuscripts as decorations or pilcrows (paragraph markers), and elevators (legs) are a way of lifting elements of text into superscript. There are precedents. 


Moreover, as they are used in the Voynich text, the gallows glyphs seem connected to the paragraph as a textual unit. Paragraphs often begin with gallows glyphs, and the first line of many paragraphs feature gallows glyphs. 


This is consistent with them evoking pilcrows. It would seem the gallows glyphs were intended as paragraph markers in some way, and were selected from Latin precedents on that basis. 


This might be sufficient to explain their inclusion in the glyph set, yet they constitute a singular design, a sub-system of the text. There is a carefully designed set of four glyphs. 


* * *


I can suggest a direct source of inspiration for these glyphs.


The basis for the idea is: the whip of Helios


The direct source for the inspiration is the iconography of the Helios figure in the Handy Tables of Ptolemy. (MS. Vaticanus graeco 1291)


Here are some pictures. 


We see Helios with two of his emblems: the globe, and the whip with which he commands his four horses.











Notice, though, how the whip is positioned to be the axis of the globe. 


It follows from the basic symbolism of the composition. 


The four horses of Helios are the solstices and equinoxes. Helios controls them with his whip: his whip is the axis of the year. 


His depiction as a universal deity, with a globe, is later Roman/Hellenistic symbolism, but the four horses and the whip go back to early Greek models. 


His whip, and horses, and flaming aureole are standard emblems. 


In context, we see him surrounded by Horai (female personifications of the Hours) but here as nymphs, as per Ovid?


* * * 




Note the stellar associations of the whip of Helios here.



* * *


In any case, as markers of the four quarters of the solar year, might not the Voynich gallows glyphs be the whip of Helios


What we must suppose is that someone – our author – or at least the designer of the script – someone deeply familiar with Latin conventions - has taken inspiration from this particular stylization of the whip of Helios


We can see how it resembles a Voynich gallows glyph, or rather how the gallows glyphs resemble it. 


To continue, we might be then tempted to see the various flourishes of the glyphs that we find in parts of the text as the flailing of Helios’s whip.


Is that the relevant (solar) symbolism at the root of this idea? Is MS. Vaticanus gr. #1291 its source?







R.B. 






Consonant/Vowel alternation

The purpose of this exercise is to demonstrate the persistence of the CV structure – consonant/vowel alternation - running throughout the text. 

My argument is that [o] is the primal vowel, and that the underlying text is a sequence of [o] glyphs alternating with consonants. Thus:


o|o|o|o|o|o|


VCVCVCVCVC


The gallows glyphs are, by my account, the primal consonants, the others being derivative.


The vowels are [o] and modifications of [o], namely [e] and [a]. 


We only need a few firm rules:


1. [y] can act as vowel or consonant.


2. [ee] is a single long vowel, and so are variants: [eee], [ea], [ea] and where an [o] replaces an [e] as in [oa]. That is, double (and triple and other multiple) vowels are counted as variants of [ee] which is counted as a single vowel. 


3. [iin] counts as a single consonant, as do the variants [in] and [iiin] as well as the same forms with [r], [iir], [ir], [iiir].


4. [ch] and [sh] are single consonants.

The benched gallows glyphs are single consonants.


The main latitude allowed by these rules is that [y] can act as C or V, but this is necessary and justified on many grounds. In the main, [y] acts as a vowel, a variant of [o] and is word-final or word-initial. 


The other allowance is that vowels are clustered. Multiple vowels are all treated as variants of [ee] so that a sequence of vowels such as [oeeee] is counted as a single configuration. 


Note that we have, in effect, considerably reduced the size of the Voynich alphabet. 


It might be objected that, by these rules, I am manipulating the text to force it to conform to a predetermined pattern which is then an artifact of the rules. 


I argue (elsewhere) that the rules are well-founded and consistent and that the rules expose rather than create the underlying pattern. 


Even if the rules were being imposed without justification, it is remarkable that the text can be made to conform to such a pattern so readily. 


* * *


Note that the two keywords, or verbum potentiae, upon which the text is founded are, by my account: QOKEEDY and CHOLDAIIN. 


Vowel clusters such as [eeeody] are counted as a variant of the long vowel [ee] in the QOKEEDY paradigm. 


QOKEEDY conforms, but CHOLDAIIN must bifurcate into CHOL and DAIIN in order to conform (creating two of the most frequent words in the text.) 


That is, there is the in-built complication of a double consonant in the paradigms. The disruption occurs at [-ld-] – by sympathy at the gallows [k] in QOKEEDY. We can expect to see this disrupting CV alternation in the text. 


It is the words that do not conform – and why – that is the most important matter here. 


* * *


When we look at the first line of text in the manuscript we see that every word except [cthres] conforms:


fachys.ykal.ar.ataiin.shol.shory.cthres.y.kor.sholdy-


[cthres] breaks the rule by having two consonants together, the benched gallows [cth] and the [r].


The second line:


sory.ckhar.or.y.kair.chtaiin.shar.are.cthar.cthar.dan-


Here only [chtaiin] breaks the rule.


The third line of text:


syaiir.sheky.or.ykaiin.shod.cthoary.cthes.daraiin.sa-


Only the first word is problematic. The [oa] in [cthoary] is counted as a variant of [ee] which is counted as a single vowel. 


* * *


Further lines sampled at random (Takahashi EVA), with non-conforming words in bold. (Preferring to study words in the context of lines.) 


<f4v.P.10;H>       otaiin.sheo.okeody.chol.chokeody-


<f7v.P.3;H>        qokchy.dykchy.chkeey.kshy.ky.ty.dor.cheey.ol.cheol.dy-


<f13v.P.7;H>       dain.okal.chy.qokchory-dchy.koky.daiin-shoin-


<f25r.P.2;H>       otor.chor.chrky.chotchy.shair.qod.sho.chy.kchy.chkain-


<f26v.P.5;H>       deeol.eeeody.qoteedy.qokody.qotedy.qotedy.opchedy.ofchy.chs.ar-


<f29r.P.3;H>       qokchy.qoty.kchaiin.shear.cthor-dchor.choly-


<f30r.P.1;H>       okchesy.chey.shorchey.fcheody.shey.tchy.cher.d.o.shey-


<f31v.P.7;H>       olteedam.ches.chol.keeol.checkhy.okeol.okal.oky.cheokar.okor.ary-


<f32v.P.9;H>       otchol.daiin.daiin.ctho.daiin.qotaiin-otchy.d-shar-


<f34v.P.3;H>       ytal.seor.chdal.olchdy.char.or.ol.kedaiiin.chcthy.okchdy.chckhy.dasam-


<f34v.P.10;H>      daiin.chdy.tedy.kchdy.okeedy.checkhy.chdy.kain.cheor.or.okedy.okam-


<f37r.P.2;H>       ykoiin.cthor.okaiin.qotchy.ytody.qokaiin.sho.ytaiin-


<f39v.P.3;H>       daiin.chor.okain.okaiifchody.saiin.or.aiin.qokaiin.ytodaiin.okom-


<f41r.P.2;H>       ykeeo.alshey.ykedy.keshdy.dy-dor.ycheoky.qokeed.chpy.qokedy.dy-


<f47r.P.2;H>       chokchol.chol.choldy.dair.chad.aiin-



<f52v.P.4;H>       tchor.ctheor.ctheol.cheeor.cheol.chckheey.sody-


<f58r.P.30;H>      ytor.ar.alom.qokalor.chdy.dair.chody.cheol.okolchy.otaldy-


<f66r.R.10;H>      qocheky.shetey.dalal.shedy.chcta.r.sheod.shokaiir.chckhhy.dasd-


<f70r1.I.1;H>      otechg.tshey.ol.oteey.ched.ar.oteos.sheor.alal.otar.ary.oteodshey.keody.oteos.al.


<f71r.R1.1;H>      olkeeody.okody.okchedy.oky.eey.okeodar.okeoky.oteody.oto.otol.oteey.ar.ykooar.aiin.aekeeey.okeokeokeody.okeodar.chy.s.aiin.otokeoar.or.ar.al.otol.al.shckhey.oteeeodar.oteody.otol.aiin.shoekey.sal.al.ald.cheeokseo.qorky.choly=


<f76r.R.13;H>      chey.chckh.shey.qeeey.chol.lkain.shedy.qokeedy.okain.chedy.okeed.qokaloro-


<f77r.P.17;H>      otedy.qokor.shedy.qokal.shedar.dal.chedy.daror-


<f80r.P.35;H>      okain.shedy.qokan.chedy.qotain.cheky.lteey.lolom-


<f80v.P.16;H>      cheol.key.qotar.dy.qotal.dy.keedy.qokain.oty.loldy.tal-


<f82v.P.13;H>      orain.shedy.qok.char.okai.qokeedy.rcheey.qotedy.chtedy.rches.aly-



<f83r.P.22;H>      schedair.otchedy.qokeedy.chedain.chedy.qotedaiin.otaiin.otedy.ldy-


<f84r.P.16;H>      sor.ol.olaiin.oqol.yqor.or.ckhedy.chkedy.okain.shedy.qokolchedy.olain-


<f84r.P.29;H>      dshedy.oteedy.qotar.chekar.or.shedy.saiin-


<f88v.P1.3;H>      qoaiin.cheoy.olcheody.qoekeol.cho.chckhy.qoeey.key.cheokam-


<f89v2.P1.3;H>     yched.okeey.qoeol.daiin-chor.chor.cheos.qol.eeeey.dal.chody.cheor.chey.qoaiin.chody-


<f90v1.P.4;H>      kos.sheor.chockhor.qekeody.cheody-sy-s-olcheey.cthey.qoky-


<f93r.P.1;H>       kodshol.otolsheeos.octhodaly.opalefom.oepchksheey.qotodain.s.oar-


<f93v.P.9;H>       odeeeeodl.cheodar.oksho.chody.okchey.cthol.oly-ytchol.sar.dar-


<f102v2.P1.6;H>    ycheey.s.odeeeey.okeeor.cheol.or.oiin.oeees.okear.chey.keey.saiin.oteos-


<f103v.P.7;H>      daiin.shey.chol.chey.oteey.lkeeor.okaiin.shedy.shedy.qokaiin.ol.chedydy-


<f103r.P.41;H>     cheol.sheeey.qotey.oteeal.oteedy.shetsho.keeos.shey.qokeedy.qokal.dal-


<f104r.P.20;H>     dsheoy.qocthey.qokchdy.qokaiin.chol.rar.cheody.cheekan.ar.ain.ar.alam-


<f104r.P.37;H>   

okaiin.cheodal.qoaiin.okar.oraiin.okar.oteody.qokaiin.okal.qotir-


<f105v.P.8;H>      fodal.kedar.olpchesd.araiin.ksheeol.opchedy.pchedy.opcheddl.pchdar.air.odar-


<f105v.P.30;H>     dchedy.cheey.qokor.otaiin.otair.otair.okeedy.taiin.aiin.s.aiin.sy-


<f107r.P.9;H>      okoiin.sheey.tcheol.kain.okeey.chedy.okeedy.chdykchedy.chey.kain.an-


<f107v.P.35;H>     polchedy.olkeey.lkey.chcthy.lkar.shedy.qokaiin.chedy.qokeedy.lol-


<f111r.P.32;H>     dsheeoteey.qokeeo.lkeey.tear.qoteey.qotain.cholkeeedy.lchechdy.qokechy-


<f112v.P.33;H>     or.cheeor.okeedy.qokedy.qokeedy.chedaiin.okeeedy.otaiin.cheekey.chol-


* * *


We see from this sample, without any further investigation, that the large majority of words conform. It is the longer and rarer words that break the pattern.


As I say, it is the exceptions – the non-conforming words – that are of most interest here. They will be considered in further posts. 


R.B.