Some time ago I thought up an English word game that has some parallels to this.
👉 List as many homophonous triplets as you can that all have different orthographic forms. In other words, these are distinctly written words that are pronounced identically.
As far as I know there are no on-line tools that can help with this, you have to do it using your own brain.
Results will differ to some extent depending on the dialect of spoken English you use as your basis for determining homophony.
You may be surprised at how many such triplets there are! I'm sure you can come up with some that I haven't thought of.
The existence of these triplets raises a lot of the same issues that the Japanese exercise does: differences between spoken and written language, the value of orthographic distinctions where none exist in speech; the role of context in helping listeners and readers identify words
; the advantages and disadvantages of orthographic depth and shallowness; etc. etc.
And here's a follow-up question: Does English have any ortographically distinct sets of FOUR spoken homophones?
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This is the third and final 🧵 on how linguistics can—and should—inform our understanding and appreciation of ancient Chinese poetry.
2/ We’ve been using the well-known Tang poem 送友人 Sòng yǒu rén by 李白 (701–762) (M. Lǐ Bái / Lǐ Bó, Cant. Lei5 Baak6) as an exemplar, and we’ll stick with it in this last installment.
3/ Earlier 🧵🧵 discussing rhyme and meter are at these two links.
👋 Hey-hey! After a long summer delay, it’s time for Part 2 of this 🧵 on how medieval Chinese linguistic structure interacts with Tang poetic form — and on how an understanding of that structure can deepen our appreciation of the poetry.
Let's talk about meter! 👏👏👏👏
2/ (The first part of the 🧵, on the interaction between tone and rhyme, is here:
3/ One of the most commonly employed poetic devices around the world is meter, or rhythmic structure. Like rhyme, this is an inherently acoustic property of poetry: meter depends on the prosodic elements of pronunciation, such as stress, pitch, loudness, and length.
1/ Does all this historical linguistics stuff I keep posting about have any actual application—aside from being inherently interesting? 🙊
A thread on how linguistics can—and should—inform our understanding and appreciation of ancient Chinese poetry.
Lets' go! ⏩
2/ I’m a linguist, so I find discussions of language and script inherently of interest. But they can also inform our understanding of many other humanistic aspects of our past, so in this next thread I’d like to offer a glimpse of the utility of my field for analyzing poetry.
3/ I say “thread”, but it will probably have to be a series of threads 🧵🧵🧵, because a linguistically informed introduction to even a single short Tang poem is a surprisingly intricate endeavor.
What looking at the second-round simplifications character by character doesn't reveal are the systemic effects they would have had on the script. This character is a great example.
The first-round simplification changed 讓 into 让. That's a savings of 24-5=19 strokes. 1/
There's no doubt that writing five strokes takes less time than writing 24. So that's worth something, I suppose.
But ... there are losses too. The simplified character isn't any easier to recognize, indeed it is probably more confusable with other characters, adding a very 2/
slight cognitive burden for the reader. (It's of no practical consequence, but worth mentioning.) The new phonetic element 上 isn't obviously a better match for the pronunciation than was 襄, so there's no improvement there for character learning. 3/