--- slug: the-rhyme-the-sound-forgot passed: 2026-10-14 by: the assay line (research/assay-line/cited-1014b/), Codex fixer directed by claude-assaying-boyle-1014; source record by Codex, checked by Codex; repair reviewed by Codex REPAIR worker on 2026-10-14 checked: 162 confirmed: 141 wrong: 20 unverifiable: 0 observed: 0 stale: 1 --- This was the directed source reread and repair pass for the-rhyme-the-sound-forgot at f5e5f84f34, using research/assay-line/cited-1014b/the-rhyme-the-sound-forgot/triage.json. The fixer re-read evidence for all 21 triage items before editing and carries forward the checkers’ 141 CONFIRMED claims from N2-codex.md, with their source access limits attributed to that earlier reread. Literal verdicts are 141 CONFIRMED, 16 WRONG, four MINOR and one STALE; the four MINOR lines count in wrong for the gate’s arithmetic. Duplicate findings remain separate claim and finding lines, with one dated page correction per distinct WRONG error. The JSON-LD revision uses the explicit no-Updated-line exception. An omitted typographic interruption in carried quotations is shown as […]. ## Claims - WRONG | [X1] “The very first rhyme of the sequence already fails for us.” | https://www.shakespeares-sonnets.com/sonnet/1 | Re-read Sonnet 1: lines 1 and 3 end increase/decease; die/memory ends lines 2 and 4. The note now says the opening sonnet contains the failed rhyme. - WRONG | [X2] “Today hour is /aʊə/ and whore is /ɔː/” | https://en.wiktionary.org/wiki/whore | Re-read the English pronunciation entry: Received Pronunciation gives /hɔː/. Restored /h/ in both whole-word sentences and named the accent; the vowel-only controls keep /ɔ/. - WRONG | [X3] “default /ʊ/, with a variant /ɤ/” | https://originalpronunciation.com/GBR/Comments; https://digitalna.ff.uns.ac.rs/sites/default/files/db/books/978-86-6065-068-1.pdf | Re-read Crystal’s comment dated 6 March 2017, 10:14: he makes the unrounded vowel the default and permits rounded character variants. Whichello’s section on STRUT/GOOSE identifies Crystal’s /ɤ/. Corrected the default/variant attribution and labelled the unchanged /ʊ/ synthesis as a rounded variant. - WRONG | [X4] “Crystal’s reconstruction; critiqued by Cercignani (1981)” | https://tesidottorato.depositolegale.it/bitstream/20.500.14242/202730/10/Tesi_dottorato_Russo.pdf; https://thomaswhichello.com/shakespeares-pronunciation-some-disagreements-with-david-crystals-original-pronunciation-or-op/ | Re-read the search-indexed Russo thesis passage, printed p. 5, naming Kökeritz’s work as Cercignani’s object, and Whichello’s essay critiquing Crystal. Direct access to both thesis PDF URLs failed; this evidence is the indexed passage, not a successful full-PDF read. Separated the two attributions. - WRONG | [X5] “Late-ME had a cluster of /j/-diphthongs (/ɔj/, /ʊj/, /əj/).” | https://en.wikipedia.org/wiki/Phonological_history_of_English_diphthongs | Re-read the cited Late Middle English section: southeastern England around 1400 has /ʊj/, /ɛj/, /ɔj/. The subsequent 16th-century section introduces /əɪ/. Corrected the earlier inventory and made its regional/date scope explicit. - WRONG | [X6] “some dialects pronounced lines and loins the same, as [ləɪnz]” | https://en.wikipedia.org/wiki/Shakespeare_in_Original_Pronunciation | Re-read the Puns section: the lines/loins comparison includes “as something like [ləɪnz]”. Restored the omitted qualification inside the quotation. - WRONG | [X7] “The ME open-long-e class (meat, sea, reason, tea)” | https://www.etymonline.com/word/tea-time; https://en.wikipedia.org/wiki/Phonological_history_of_English_close_front_vowels | Re-read the search-indexed Etymonline tea entry attached to tea-time: tay is attested in the 1650s. The direct tea page did not expose that passage. Removed tea from the Middle English list and identified it as a later loan sharing the subsequent development; retained the supported Pope-era tay value. - WRONG | [X8] “Today hour is /aʊə/ and whore is /ɔː/” | https://en.wiktionary.org/wiki/whore | Same error as X2, in CHANGES.hour.mech. The modern dictionary gives RP /hɔː/; the sentence and its generated copies now include /h/. - WRONG | [X9] “largely supplanted… by the end of the century” | https://www.helhoard.com/2025-03-22-1.html | Fetched the hellog reproduction and read the OED wind pronunciation note: “by the end of the century had been largely supplanted”. Restored that word order and identified the reproduction actually read; the OED itself was not directly fetched. - WRONG | [X10] “(NPR / WNYC, 2012)” | https://www.wnyc.org/story/olivier-had-wrong-shakespeare-original-pronunciation/; https://www.kazu.org/2012-03-24/shakespeares-accent-how-did-the-bard-really-sound | Re-read WNYC’s heading, opening and original-broadcast note: David’s 96/154 figure, broadcast 11 April 2014, posted 14 April 2016. Re-read NPR via KAZU: published 24 March 2012, interviewing Ben, with a two-thirds estimate. Separated speakers, dates and figures without changing 96/154. - MINOR | [X11] “Critics add that Elizabethan rhyme was looser than ours” | https://thomaswhichello.com/shakespeares-pronunciation-some-disagreements-with-david-crystals-original-pronunciation-or-op/ | Re-read Whichello’s opening objection: the proposed Elizabethan rhyme standard may have been looser. Restored may have been in the paraphrase. MINOR precision repair, with no page correction line. - WRONG | [X12] “David Crystal, WNYC / NPR, “Shakespeare’s Accent” (2012).” | https://www.wnyc.org/story/olivier-had-wrong-shakespeare-original-pronunciation/; https://www.kazu.org/2012-03-24/shakespeares-accent-how-did-the-bard-really-sound | Same conflation as X10. WNYC’s title is Olivier Had it Wrong: Shakespeare’s Original Pronunciation; its 7:30 interview highlight attributes the answer about Shakespeare’s own accent to David. Restored WNYC’s title, 2014 broadcast and 2016 posting dates; preserved the quoted answer. - WRONG | [X13] “no playable recording of any human voice predates 1877.” | https://firstsounds.org/sounds/scott.php | Re-read First Sounds’ Au Clair de la Lune entry: recorded 9 April 1860, with a linked May 2010 MP3 restoration. This specific playable counterexample refutes the 1877 cutoff. Replaced that cutoff with the dated example; made no new earliest-recording claim. - MINOR | [X14] “A rhyme chimes when two words share their stressed vowel.” | https://www.poetryfoundation.org/education/glossary/rhyme; git show 52c41c8771:research/the-rhyme-the-sound-forgot/data.mjs | Re-read the Poetry Foundation’s indexed glossary entry and the data.mjs comment including the coda. A full rhyme also matches sounds after the last stressed vowel. Added that condition in the HTML introduction, FORMANT_DOC and README; retained the stated vowel-only instrument scope. - MINOR | [X15] “It is published to read.” | https://artwaste.land/checks/research/the-rhyme-the-sound-forgot/verify.mjs; https://artwaste.land/checks/research/the-rhyme-the-sound-forgot/verify-page.mjs | Re-read the current placard and scripts/check-placard.mjs:190-246. The repair reread on 2026-10-14 again found HTTP 200 for verify.mjs and HTTP 404 for verify-page.mjs. The prose describes the browser driver but the link supplies the data verifier. Triage classifies this MINOR and defers the shared wording to existing board note 81816d. The repair retains that classification and records the unresolved finding as open, rather than declined. - WRONG | [X16] “no playable recording of any human voice predates 1877.” | https://firstsounds.org/sounds/scott.php | Same error as X13. First Sounds supplies a playable restoration of the voice recorded on 9 April 1860. The colophon now cites this example, with one correction line covering both items. - WRONG | [X17] “largely supplanted… by the end of the century” | https://www.helhoard.com/2025-03-22-1.html | Same quotation-order error as X9. Independently re-read the reproduced OED passage before editing; restored the original order throughout the authored and generated copies. - MINOR | [X18] “A rhyme chimes when two words share their stressed vowel.” | https://www.poetryfoundation.org/education/glossary/rhyme; git show 52c41c8771:research/the-rhyme-the-sound-forgot/data.mjs | Same MINOR precision issue as X14. Full rhyme includes the following sounds, while the synthesiser intentionally sounds vowels only. Corrected both reader-facing descriptions and the README, without a dated page line. - WRONG | [X19] “There two theories share words but not the meanings the words measure;” | git show 52c41c8771:src/content/strata/incommensurable.md | Read src/content/strata/incommensurable.md at 52c41c8771 and original 0982757349f: both present the irrationality proof for √2 as a sonnet. Replaced this layer’s false two-theories relation note; did not edit the linked layer. - STALE | [X20] “"dateModified":"2026-06-18"” | git show 52c41c8771:public/strata/the-rhyme-the-sound-forgot/index.html; git show d4840e62371:public/strata/the-rhyme-the-sound-forgot/index.html | Read JSON-LD at 52c41c8771 and d4840e62371: dateModified remains 2026-06-18 even with the later Last verified prose. Set dateModified to 2026-10-14 for this revision. The user’s explicit JSON-LD exception needs no separate Updated line; the Corrected lines already date the revision. - WRONG | [X21] “some dialects pronounced lines and loins the same, as [ləɪnz]” | https://en.wikipedia.org/wiki/Shakespeare_in_Original_Pronunciation | Same altered quotation as X6. The cited Puns section includes something like; restored it in the source, embedded JSON and published source mirror. - CONFIRMED | “If this be error and upon me proved, I never writ, nor no man ever loved.” | https://www.opensourceshakespeare.org/views/sonnets/sonnet_view.php?Sonnet=116 | Checker reread in N2-codex.md: [001 s116-proved-loved-verse] Matching source passage: “If this be error and upon me proved, I never writ, nor no man ever loved.”. Location: Sonnet 116; the closing couplet, ll. 13–14. - CONFIRMED | “Shakespeare · Sonnet 116 · the closing couplet, ll. 13–14 · 1609” | https://www.opensourceshakespeare.org/views/sonnets/sonnet_view.php?Sonnet=116; https://www.folger.edu/explore/shakespeares-works/shakespeares-sonnets/ | Checker reread in N2-codex.md: [002 s116-proved-loved-locator] Matching source passage: “If this be error and upon me proved, I never writ, nor no man ever loved.”. Location: the closing couplet, ll. 13–14. The 1609 publication is independently supported by the Folger Sonnets account, as in 200. - CONFIRMED | “From fairest creatures we desire increase, That thereby beauty’s rose might never die, But as the riper should by time decease, His tender heir might bear his memory:” | https://www.shakespeares-sonnets.com/sonnet/1 | Checker reread in N2-codex.md: [003 s1-die-memory-verse] Matching source passage: “From fairest creatures we desire increase, That thereby beauty's rose might never die, But as the riper should by time decease, His tender heir might bear his memory:”. Location: Sonnet 1; ll. 2 & 4. - CONFIRMED | “Shakespeare · Sonnet 1 · ll. 2 & 4 · 1609 From fairest creatures we desire increase, That thereby beauty’s rose might never die, But as the riper should by time decease, His tender heir might bear his memory:” | https://www.shakespeares-sonnets.com/sonnet/1; https://www.folger.edu/explore/shakespeares-works/shakespeares-sonnets/ | Checker reread in N2-codex.md: [004 s1-die-memory-locator] Matching source passage: “From fairest creatures we desire increase, That thereby beauty's rose might never die, But as the riper should by time decease, His tender heir might bear his memory:”. Location: ll. 2 & 4. The displayed quatrain includes context lines 1 and 3; the selected rhyme words are correctly identified as lines 2 and 4. Publication checked against Folger, as in 201. - CONFIRMED | “That never air or ocean felt the wind; That never passion discompos’d the mind:” | https://www.gutenberg.org/files/9800/9800-h/9800-h.htm | Checker reread in N2-codex.md: [005 pope-wind-mind-verse] Matching source passage: “That never air or ocean felt the wind; That never passion discompos'd the mind.”. Location: An Essay on Man, Epistle I; Section V (ll. 159–160 / 167–168, by edition). - CONFIRMED | “Alexander Pope · An Essay on Man, Epistle I · Section V (ll. 159–160 / 167–168, by edition) · 1733” | https://www.gutenberg.org/files/9800/9800-h/9800-h.htm; https://rpo.library.utoronto.ca/content/essay-man-epistle-i | Checker reread in N2-codex.md: [006 pope-wind-mind-locator] Matching source passage: “That never air or ocean felt the wind; That never passion discompos'd the mind.”. Location: Section V (ll. 159–160 / 167–168, by edition). The publication date and edition-dependent line numbering were compared with the RPO text, as in 155. - CONFIRMED | “Good-nature and good-sense must ever join; To err is human, to forgive, divine.” | https://www.gutenberg.org/files/9800/9800-h/9800-h.htm | Checker reread in N2-codex.md: [007 pope-join-divine-verse] Matching source passage: “Good-nature and good-sense must ever join; To err is human, to forgive, divine.”. Location: An Essay on Criticism, Part II; the famous couplet (≈ ll. 524–525). - CONFIRMED | “Alexander Pope · An Essay on Criticism, Part II · the famous couplet (≈ ll. 524–525) · 1711” | https://www.gutenberg.org/files/9800/9800-h/9800-h.htm; https://rpo.library.utoronto.ca/content/essay-criticism-part-2 | Checker reread in N2-codex.md: [008 pope-join-divine-locator] Matching source passage: “Good-nature and good-sense must ever join; To err is human, to forgive, divine.”. Location: the famous couplet (≈ ll. 524–525). The full-poem locator, 1711 publication, and couplet were checked against RPO, as in 156. - CONFIRMED | “Here thou, great Anna! whom three realms obey, Dost sometimes counsel take” […] “and sometimes Tea.” | https://www.gutenberg.org/files/9800/9800-h/9800-h.htm | Checker reread in N2-codex.md: [009 pope-obey-tea-verse] Matching source passage: “Here thou, great Anna ! whom three realms obey. Dost sometimes counsel take” […] “and sometimes Tea.”. Location: The Rape of the Lock, Canto III; ll. 7–8. - CONFIRMED | “Alexander Pope · The Rape of the Lock, Canto III · ll. 7–8 · 1712” | https://www.gutenberg.org/files/9800/9800-h/9800-h.htm; https://www.gutenberg.org/files/43271/43271-h/43271-h.htm | Checker reread in N2-codex.md: [010 pope-obey-tea-locator] Matching source passage: “Here thou, great Anna ! whom three realms obey. Dost sometimes counsel take” […] “and sometimes Tea.”. Location: ll. 7–8. The original 1712 First Edition in Elwin’s collected text already contains the tea couplet at Canto I, lines 71 and 72. Canto III, lines 7 and 8, is the later expanded text’s locator. An original-work year plus a later edition locator is not evidence that the couplet was absent in 1712. - CONFIRMED | “And so, from hour to hour, we ripe and ripe, And then, from hour to hour, we rot and rot; And thereby hangs a tale.” | https://shakespeare.mit.edu/asyoulikeit/asyoulikeit.2.7.html | Checker reread in N2-codex.md: [011 ayl-hour-whore-verse] Matching source passage: “And so, from hour to hour, we ripe and ripe, And then, from hour to hour, we rot and rot; And thereby hangs a tale.'”. Location: As You Like It; II.vii […] Jaques, quoting Touchstone. - CONFIRMED | “Shakespeare · As You Like It · II.vii” […] “Jaques, quoting Touchstone · 1623” | https://shakespeare.mit.edu/asyoulikeit/asyoulikeit.2.7.html; https://www.folger.edu/explore/shakespeares-works/as-you-like-it/ | Checker reread in N2-codex.md: [012 ayl-hour-whore-locator] Matching source passage: “And so, from hour to hour, we ripe and ripe, And then, from hour to hour, we rot and rot; And thereby hangs a tale.'”. Location: II.vii […] Jaques, quoting Touchstone. The play’s stated first publication date was also checked against the Folger account in entry 153. - CONFIRMED | “If reasons were as plentiful as blackberries, I would give no man a reason upon compulsion, I.” | https://shakespeare.mit.edu/1henryiv/1henryiv.2.4.html | Checker reread in N2-codex.md: [013 h4-reason-raisin-verse] Matching source passage: “If reasons were as plentiful as blackberries, I would give no man a reason upon compulsion, I.”. Location: Henry IV, Part 1; II.iv […] Falstaff. - CONFIRMED | “Shakespeare · Henry IV, Part 1 · II.iv” […] “Falstaff · 1598” | https://shakespeare.mit.edu/1henryiv/1henryiv.2.4.html; https://www.folger.edu/explore/shakespeares-works/henry-iv-part-1/an-introduction-to-this-text/ | Checker reread in N2-codex.md: [014 h4-reason-raisin-locator] Matching source passage: “If reasons were as plentiful as blackberries, I would give no man a reason upon compulsion, I.”. Location: II.iv […] Falstaff. The play’s stated first publication date was also checked against the Folger account in entry 152. - CONFIRMED | “From forth the fatal loins of these two foes A pair of star-cross’d lovers take their life;” | https://shakespeare.mit.edu/romeo_juliet/romeo_juliet.1.0.html | Checker reread in N2-codex.md: [015 rj-loins-lines-verse] Matching source passage: “From forth the fatal loins of these two foes A pair of star-cross'd lovers take their life;”. Location: Romeo and Juliet; the Prologue, ll. 5–6. - CONFIRMED | “Shakespeare · Romeo and Juliet · the Prologue, ll. 5–6 · 1597” | https://shakespeare.mit.edu/romeo_juliet/romeo_juliet.1.0.html; https://www.folger.edu/explore/shakespeares-works/romeo-and-juliet/an-introduction-to-this-text/ | Checker reread in N2-codex.md: [016 rj-loins-lines-locator] Matching source passage: “From forth the fatal loins of these two foes A pair of star-cross'd lovers take their life;”. Location: the Prologue, ll. 5–6. The play’s stated first publication date was also checked against the Folger account in entry 154. - CONFIRMED | “Crystal reconstructs both words with one shared back vowel, roughly “pruvved / luvved”.” | https://digitalna.ff.uns.ac.rs/sites/default/files/db/books/978-86-6065-068-1.pdf | Checker reread in N2-codex.md: [018 s116-proved-loved-note-2] Matching source passage: “How do we know that prove rhymed with love? This is what he says about letter O in Chapter 4. ‘It naturally soundeth ... In the short time more flat, and akin to u; as cosen. dosen, mother, brother, love, prove’. And in another section, he brings together love, glove and move.”. Location: Crystal 2011, p.299. Read the article itself, printed pp.299 to 300. Jonson places love and prove together; the reconstruction is attributed and disputed, not independently established as the only period realization. - CONFIRMED | “But the modern /ʌ/ of love comes from the FOOT–STRUT split, first described only in 1644” […] “after Shakespeare” […] “while prove had, on the standard account, already raised to /uː/.” | https://thomaswhichello.com/shakespeares-pronunciation-some-disagreements-with-david-crystals-original-pronunciation-or-op/; https://en.wikipedia.org/wiki/Phonological_history_of_English_close_back_vowels | Checker reread in N2-codex.md: [019 s116-proved-loved-note-3] Matching source passage: “To the strut and goose lexical sets, Crystal generally assigns a sound of /ɤ/. He proposes this sound to make words like “love” and “prove” rhyme, as they do in Shakespeare; thus Crystal has /lɤv/, /prɤv/. But we learn from Hart that such words had the quality, not of /ɤ/, but /u/: for he spells them with a . [7] So in modern English we say goose -words with an /u/, as /pru:v/ or /mu:v/. Gil even distinguishes between “luv” with a short vowel, and “müv” with a long one, similarly to their modern English lengths (128).”. The 1644 date comes from the close-back-vowels history; Whichello supplies the differing love/prove lengths. - CONFIRMED | “So whether this was ever a full chime, or always a near-rhyme Crystal smooths over, is exactly what scholars argue about.” | https://thomaswhichello.com/shakespeares-pronunciation-some-disagreements-with-david-crystals-original-pronunciation-or-op/ | Checker reread in N2-codex.md: [020 s116-proved-loved-note-4] Matching source passage: “To the strut and goose lexical sets, Crystal generally assigns a sound of /ɤ/. He proposes this sound to make words like “love” and “prove” rhyme, as they do in Shakespeare; thus Crystal has /lɤv/, /prɤv/. But we learn from Hart that such words had the quality, not of /ɤ/, but /u/: for he spells them with a . [7] So in modern English we say goose -words with an /u/, as /pru:v/ or /mu:v/. Gil even distinguishes between “luv” with a short vowel, and “müv” with a long one, similarly to their modern English lengths (128).”. - CONFIRMED | “proved · loved /uː/ · /ʌ/ they no longer chime” | https://en.wiktionary.org/wiki/prove | Checker reread in N2-codex.md: [022 s116-proved-loved-now] Matching source passage: “( Received Pronunciation ) IPA ( key ) : /ˈpɹuːv/”. Location: English, Pronunciation (modern reference); full word including consonants. - CONFIRMED | “proved · loved /ʊ/ · /ʊ/ they rang together” | https://digitalna.ff.uns.ac.rs/sites/default/files/db/books/978-86-6065-068-1.pdf; https://originalpronunciation.com/GBR/Comments | Checker reread in N2-codex.md: [023 s116-proved-loved-then] Matching source passage: “How do we know that prove rhymed with love? This is what he says about letter O in Chapter 4. ‘It naturally soundeth ... In the short time more flat, and akin to u; as cosen. dosen, mother, brother, love, prove’. And in another section, he brings together love, glove and move.”. Location: Crystal 2011, p.299. Read printed pp.299 to 300 and visually inspected p.300. Crystal’s default is unrounded /ɤ/, but he explicitly allows rounded variants in the 2017 comments. /ʊ/ is therefore a defensible disclosed performance variant, not the default claimed in entry 71. - CONFIRMED | “Shake-speares Sonnets (1609); PD text via OpenSourceShakespeare. OP reading: David Crystal, Pronouncing Shakespeare (2005). Contested: Cercignani (1981, p. vii) charges that Kökeritz’s reading is “marred by a determined effort to prove… [a pronunciation] almost identical with that of present educated Southern English.”” | https://thomaswhichello.com/shakespeares-pronunciation-some-disagreements-with-david-crystals-original-pronunciation-or-op/; https://tesidottorato.depositolegale.it/bitstream/20.500.14242/202730/10/Tesi_dottorato_Russo.pdf; https://www.folger.edu/explore/shakespeares-works/shakespeares-sonnets/ | Checker reread in N2-codex.md: [024 s116-proved-loved-source-label] The poem and 1609 publication check out. Whichello’s bibliography lists “Crystal, D. (2005), Pronouncing Shakespeare: The Globe Experiment”. Russo p.5 quotes Cercignani p.vii, including “marred by a determined effort to prove” and “almost identical with that of present educated Southern English”. The source-record excerpt about love/prove alone supplies neither the Cercignani quotation nor its locator; these were checked separately in the indexed thesis. - CONFIRMED | “In Shakespeare’s English die was the diphthong [dəɪ] and word-final -y could take a matching [əɪ] value” […] “so they rang together.” | https://digitalna.ff.uns.ac.rs/sites/default/files/db/books/978-86-6065-068-1.pdf | Checker reread in N2-codex.md: [026 s1-die-memory-note-2] Matching source passage: “In 17 cases, the final syllable of a polysyllabic word, unstressed in Modern Eng- lish, rhymes with a stressed monosyllabic word ending in /@I/, indicating a stron- ger stress and a similar diphthongal quality in Early Modern English: memory (1) and dignity (94) = die;”. Location: Crystal 2011, p.301, section 2.4. Opened the Crystal PDF and read printed p.301, section 2.4: “memory (1) and dignity (94) = die”. Its extracted /@I/ is the font encoding for the period diphthong. Where the interface uses aɪ, the apparatus explicitly discloses the approximation. - CONFIRMED | “(Crystal’s standard demonstration is the dye / archery / eye triple in A Midsummer Night’s Dream , all [-əɪ] in OP.) Then stressed PRICE moved to /aɪ/ and unstressed -y tensed to /i/, and the two parted.” | https://thomaswhichello.com/shakespeares-pronunciation-some-disagreements-with-david-crystals-original-pronunciation-or-op/ | Checker reread in N2-codex.md: [027 s1-die-memory-note-3] Matching source passage: “For we learn from Hart that words in the happy lexical set had alternate pronunciations. Very often, he writes such words with a letter , in accordance with the sound of modern English: “akordingli,” “gladli,” “softli,” and so on; [3] while at other times, he writes them with the digraph . Thus Hart has both “indifrentl i ” and “indifrentl ei ”; “kommonl i ” and “kommonl ei ”; “perfektl i ” and “perfektl ei .” So that an Elizabethan, it would seem, could choose to pronounce a word in the happy lexical set, with either /i/ or /ɛi/.”. - CONFIRMED | “die · memory /aɪ/ · /i/ they no longer chime” | https://en.wiktionary.org/wiki/die | Checker reread in N2-codex.md: [028 s1-die-memory-now] Matching source passage: “enPR : dī , IPA ( key ) : /daɪ/ ( Received Pronunciation , US ) IPA ( key ) : [däɪ̯] Audio ( US ) ; [d̥äe̯] : ( file ) ( Standard Southern British ) IPA ( key ) : [dɑj] ( Australia ) IPA ( key ) : [dɑe̯] ( Canada ) IPA ( key ) : [daɪ̯] ( Ottawa Valley ) IPA ( key ) : [dəɪ̯]”. Location: English, Pronunciation (modern reference); full word including consonants. - CONFIRMED | “die · memory /aɪ/ · /aɪ/ they rang together” | https://digitalna.ff.uns.ac.rs/sites/default/files/db/books/978-86-6065-068-1.pdf | Checker reread in N2-codex.md: [029 s1-die-memory-then] Matching source passage: “In 17 cases, the final syllable of a polysyllabic word, unstressed in Modern Eng- lish, rhymes with a stressed monosyllabic word ending in /@I/, indicating a stron- ger stress and a similar diphthongal quality in Early Modern English: memory (1) and dignity (94) = die;”. Location: Crystal 2011, p.301, section 2.4. Opened the Crystal PDF and read printed p.301, section 2.4: “memory (1) and dignity (94) = die”. Its extracted /@I/ is the font encoding for the period diphthong. Where the interface uses aɪ, the apparatus explicitly discloses the approximation. - CONFIRMED | “Shake-speares Sonnets (1609); PD text via shakespeares-sonnets.com. OP reading: David Crystal, via Shakespeare in Original Pronunciation (the period value of final -y is itself contested).” | https://thomaswhichello.com/shakespeares-pronunciation-some-disagreements-with-david-crystals-original-pronunciation-or-op/ | Checker reread in N2-codex.md: [030 s1-die-memory-source-label] Matching source passage: “For we learn from Hart that words in the happy lexical set had alternate pronunciations. Very often, he writes such words with a letter , in accordance with the sound of modern English: “akordingli,” “gladli,” “softli,” and so on; [3] while at other times, he writes them with the digraph . Thus Hart has both “indifrentl i ” and “indifrentl ei ”; “kommonl i ” and “kommonl ei ”; “perfektl i ” and “perfektl ei .” So that an Elizabethan, it would seem, could choose to pronounce a word in the happy lexical set, with either /i/ or /ɛi/.”. - CONFIRMED | “Not the Great Vowel Shift” […] “a later change.” | https://www.helhoard.com/2025-03-22-1.html; https://www.helhoard.com/2025-03-22-1.html | Checker reread in N2-codex.md: [031 pope-wind-mind-note-1] Matching source passage: “Until the 18th cent. the diphthongal pronunciation appears to have been more usual, but by the end of the century had been largely supplanted in ordinary speech by the short-vowel pronunciation.”. The OED pronunciation note reproduced by hellog corroborates the eighteenth-century change in predominance; it also leaves room for older short variants and poetic convention. - CONFIRMED | “The noun wind (moving air) once carried the long PRICE vowel /waɪnd/, a true rhyme for mind , find , bind .” | https://www.helhoard.com/2025-03-22-1.html; https://www.helhoard.com/2025-03-22-1.html | Checker reread in N2-codex.md: [032 pope-wind-mind-note-2] Matching source passage: “Until the 18th cent. the diphthongal pronunciation appears to have been more usual, but by the end of the century had been largely supplanted in ordinary speech by the short-vowel pronunciation.”. The OED pronunciation note reproduced by hellog corroborates the eighteenth-century change in predominance; it also leaves room for older short variants and poetic convention. - CONFIRMED | “It shortened to /wɪnd/ across the 18th century, and the rhyme died with it.” | https://www.helhoard.com/2025-03-22-1.html; https://www.helhoard.com/2025-03-22-1.html | Checker reread in N2-codex.md: [033 pope-wind-mind-note-3] Matching source passage: “Until the 18th cent. the diphthongal pronunciation appears to have been more usual, but by the end of the century had been largely supplanted in ordinary speech by the short-vowel pronunciation.”. The OED pronunciation note reproduced by hellog corroborates the eighteenth-century change in predominance; it also leaves room for older short variants and poetic convention. - CONFIRMED | “Pope (1733) sits right at the hinge” […] “his wind/mind may have been the last of a living rhyme or the first of a convention, and that ambiguity is itself the point: a rhyme on the page is not proof of how it was said.” | https://www.helhoard.com/2025-03-22-1.html; https://www.helhoard.com/2025-03-22-1.html | Checker reread in N2-codex.md: [034 pope-wind-mind-note-4] Matching source passage: “Until the 18th cent. the diphthongal pronunciation appears to have been more usual, but by the end of the century had been largely supplanted in ordinary speech by the short-vowel pronunciation.”. The OED pronunciation note reproduced by hellog corroborates the eighteenth-century change in predominance; it also leaves room for older short variants and poetic convention. - CONFIRMED | “wind · mind /ɪ/ · /aɪ/ they no longer chime” | https://en.wiktionary.org/wiki/wind | Checker reread in N2-codex.md: [035 pope-wind-mind-now] Matching source passage: “( Received Pronunciation , General American ) enPR : wĭnd , IPA ( key ) : /ˈwɪnd/ Audio ( Received Pronunciation ) : ( file ) Audio ( General American ) : ( file )”. Location: English, Pronunciation (modern reference); full word including consonants. - CONFIRMED | “wind · mind /aɪ/ · /aɪ/ they rang together” | https://www.helhoard.com/2025-03-22-1.html; https://www.helhoard.com/2025-03-22-1.html | Checker reread in N2-codex.md: [036 pope-wind-mind-then] Matching source passage: “Until the 18th cent. the diphthongal pronunciation appears to have been more usual, but by the end of the century had been largely supplanted in ordinary speech by the short-vowel pronunciation.”. Location: Card IPA labels and verdict; inline buildCard(). The OED pronunciation note reproduced by hellog corroborates the eighteenth-century change in predominance; it also leaves room for older short variants and poetic convention. - CONFIRMED | “Pope, An Essay on Man (1733); verbatim via the Eighteenth-Century Poetry Archive and U. of Toronto RPO (line-numbering differs by edition). OED wind n.¹; etymonline.” | https://www.helhoard.com/2025-03-22-1.html; https://www.helhoard.com/2025-03-22-1.html | Checker reread in N2-codex.md: [037 pope-wind-mind-source-label] Matching source passage: “Until the 18th cent. the diphthongal pronunciation appears to have been more usual, but by the end of the century had been largely supplanted in ordinary speech by the short-vowel pronunciation.”. The OED pronunciation note reproduced by hellog corroborates the eighteenth-century change in predominance; it also leaves room for older short variants and poetic convention. - CONFIRMED | “A genuine period rhyme, not the Great Vowel Shift.” | https://en.wikipedia.org/wiki/Phonological_history_of_English_diphthongs | Checker reread in N2-codex.md: [038 pope-join-divine-note-1] Matching source passage: “The diphthong /ʊɪ/ merged into /əɪ/ ~ /aɪ/ . Contemporary literature had frequent rhymes such as Mind – join'd in Congreve, join – line in Pope, child – spoil'd in Swift, toils – smiles in Dryden. The diphthong /aɪ/ split into /aɪ/ and /ɔɪ/ , though this sound change was still ongoing in the late 18th century. [ 6 ] The present-day pronunciations with /ɔɪ/ in the oi words result from regional variants, which had always had /ɔɪ/ , rather than /ʊɪ/”. - CONFIRMED | “In Pope’s English join was “jine” /dʒəɪn/” […] “the OI words had drifted into the PRICE diphthong” […] “so it rang cleanly with divine .” | https://en.wikipedia.org/wiki/Phonological_history_of_English_diphthongs | Checker reread in N2-codex.md: [039 pope-join-divine-note-2] Matching source passage: “The diphthong /ʊɪ/ merged into /əɪ/ ~ /aɪ/ . Contemporary literature had frequent rhymes such as Mind – join'd in Congreve, join – line in Pope, child – spoil'd in Swift, toils – smiles in Dryden. The diphthong /aɪ/ split into /aɪ/ and /ɔɪ/ , though this sound change was still ongoing in the late 18th century. [ 6 ] The present-day pronunciations with /ɔɪ/ in the oi words result from regional variants, which had always had /ɔɪ/ , rather than /ʊɪ/”. The complete diphthong source continues beyond the supplied excerpt with “perhaps because of influence by the spelling”; it permits the spelling-influence explanation. The reconstruction is an account of period variation, not a census of Pope’s individual pronunciations. - CONFIRMED | “join · divine /ɔɪ/ · /aɪ/ they no longer chime” | https://en.wiktionary.org/wiki/join | Checker reread in N2-codex.md: [041 pope-join-divine-now] Matching source passage: “enPR : join , IPA ( key ) : /ˈd͡ʒɔɪn/”. Location: English, Pronunciation (modern reference); full word including consonants. - CONFIRMED | “join · divine /aɪ/ · /aɪ/ they rang together” | https://en.wikipedia.org/wiki/Phonological_history_of_English_diphthongs | Checker reread in N2-codex.md: [042 pope-join-divine-then] Matching source passage: “The diphthong /ʊɪ/ merged into /əɪ/ ~ /aɪ/ . Contemporary literature had frequent rhymes such as Mind – join'd in Congreve, join – line in Pope, child – spoil'd in Swift, toils – smiles in Dryden. The diphthong /aɪ/ split into /aɪ/ and /ɔɪ/ , though this sound change was still ongoing in the late 18th century. [ 6 ] The present-day pronunciations with /ɔɪ/ in the oi words result from regional variants, which had always had /ɔɪ/ , rather than /ʊɪ/”. Location: Card IPA labels and verdict; inline buildCard(). - CONFIRMED | “Pope, An Essay on Criticism (1711); verbatim via Project Gutenberg / the Eighteenth-Century Poetry Archive. The LINE–JOIN history: Wikipedia, Phonological history of English diphthongs (“join–line in Pope”). Cf. Tomalin, “Justifying Alexander Pope’s Unjustifiable Rhymes,” RES 71.300 (2020).” | https://en.wikipedia.org/wiki/Phonological_history_of_English_diphthongs | Checker reread in N2-codex.md: [043 pope-join-divine-source-label] Matching source passage: “The diphthong /ʊɪ/ merged into /əɪ/ ~ /aɪ/ . Contemporary literature had frequent rhymes such as Mind – join'd in Congreve, join – line in Pope, child – spoil'd in Swift, toils – smiles in Dryden. The diphthong /aɪ/ split into /aɪ/ and /ɔɪ/ , though this sound change was still ongoing in the late 18th century. [ 6 ] The present-day pronunciations with /ɔɪ/ in the oi words result from regional variants, which had always had /ɔɪ/ , rather than /ʊɪ/”. - CONFIRMED | “In 1712 tea was still “tay” /teː/” […] “an ea-word that had not yet raised to /iː/” […] “so it chimed exactly with obey .” | https://en.wikipedia.org/wiki/Eye_rhyme; https://originalpronunciation.com/GBR/Comments | Checker reread in N2-codex.md: [044 pope-obey-tea-note-1] Matching source passage: “tea .” […] “Alexander Pope , The Rape of the Lock , canto III When the poem was published in 1712, the word "tea" (which is only attested in English from about 60 years before) was often pronounced "tay", as it still is in certain dialects; the pronunciation "tee" predominated from the mid-18th century. [ 3 ] Conventional historic rhymes [ edit ] Historic rhymes that were lost phonetically in the Great Vowel Shift were sometimes retained as conventional rhymes. For example, in 1940, W. H. Auden wrote: Let the Irish vessel lie , Emptied of its poetry .” […] “"In Memory of W. B. Yeats" This represents the same historic rhyme as "flies" and "enemies" ab”. Crystal’s 6 March 2017 comments discuss “tea as tay”, persistence into the eighteenth century, and region/word-dependent merger timing. This supports the period variant, not the stronger assertion that tea was already a Middle English word. - CONFIRMED | “(The “tay” value survives in Irish English.) Then the MEAT–MEET merger pushed tea up to /tiː/ and the couplet’s wit went silent.” | https://en.wikipedia.org/wiki/Eye_rhyme; https://originalpronunciation.com/GBR/Comments | Checker reread in N2-codex.md: [045 pope-obey-tea-note-2] Matching source passage: “tea .” […] “Alexander Pope , The Rape of the Lock , canto III When the poem was published in 1712, the word "tea" (which is only attested in English from about 60 years before) was often pronounced "tay", as it still is in certain dialects; the pronunciation "tee" predominated from the mid-18th century. [ 3 ] Conventional historic rhymes [ edit ] Historic rhymes that were lost phonetically in the Great Vowel Shift were sometimes retained as conventional rhymes. For example, in 1940, W. H. Auden wrote: Let the Irish vessel lie , Emptied of its poetry .” […] “"In Memory of W. B. Yeats" This represents the same historic rhyme as "flies" and "enemies" ab”. Crystal’s 6 March 2017 comments discuss “tea as tay”, persistence into the eighteenth century, and region/word-dependent merger timing. This supports the period variant, not the stronger assertion that tea was already a Middle English word. - CONFIRMED | “A true sound-change rhyme, not a poetic licence.” | https://en.wikipedia.org/wiki/Eye_rhyme; https://originalpronunciation.com/GBR/Comments | Checker reread in N2-codex.md: [046 pope-obey-tea-note-3] Matching source passage: “tea .” […] “Alexander Pope , The Rape of the Lock , canto III When the poem was published in 1712, the word "tea" (which is only attested in English from about 60 years before) was often pronounced "tay", as it still is in certain dialects; the pronunciation "tee" predominated from the mid-18th century. [ 3 ] Conventional historic rhymes [ edit ] Historic rhymes that were lost phonetically in the Great Vowel Shift were sometimes retained as conventional rhymes. For example, in 1940, W. H. Auden wrote: Let the Irish vessel lie , Emptied of its poetry .” […] “"In Memory of W. B. Yeats" This represents the same historic rhyme as "flies" and "enemies" ab”. Crystal’s 6 March 2017 comments discuss “tea as tay”, persistence into the eighteenth century, and region/word-dependent merger timing. This supports the period variant, not the stronger assertion that tea was already a Middle English word. - CONFIRMED | “obey · tea /eɪ/ · /i/ they no longer chime” | https://en.wiktionary.org/wiki/obey | Checker reread in N2-codex.md: [047 pope-obey-tea-now] Matching source passage: “( Received Pronunciation ) IPA ( key ) : /əʊˈbeɪ/ , /əˈbeɪ/”. Location: English, Pronunciation (modern reference); full word including consonants. - CONFIRMED | “obey · tea /e/ · /e/ they rang together” | https://en.wikipedia.org/wiki/Eye_rhyme; https://originalpronunciation.com/GBR/Comments | Checker reread in N2-codex.md: [048 pope-obey-tea-then] Matching source passage: “tea .” […] “Alexander Pope , The Rape of the Lock , canto III When the poem was published in 1712, the word "tea" (which is only attested in English from about 60 years before) was often pronounced "tay", as it still is in certain dialects; the pronunciation "tee" predominated from the mid-18th century. [ 3 ] Conventional historic rhymes [ edit ] Historic rhymes that were lost phonetically in the Great Vowel Shift were sometimes retained as conventional rhymes. For example, in 1940, W. H. Auden wrote: Let the Irish vessel lie , Emptied of its poetry .” […] “"In Memory of W. B. Yeats" This represents the same historic rhyme as "flies" and "enemies" ab”. Location: Card IPA labels and verdict; inline buildCard(). Crystal’s 6 March 2017 comments discuss “tea as tay”, persistence into the eighteenth century, and region/word-dependent merger timing. This supports the period variant, not the stronger assertion that tea was already a Middle English word. - CONFIRMED | “Pope, The Rape of the Lock (1712); verbatim via the Eighteenth-Century Poetry Archive. The tea = “tay” account: Wikipedia, Eye rhyme (“tea… was often pronounced ‘tay’… the pronunciation ‘tee’ predominated from the mid-18th century”).” | https://en.wikipedia.org/wiki/Eye_rhyme; https://originalpronunciation.com/GBR/Comments | Checker reread in N2-codex.md: [049 pope-obey-tea-source-label] Matching source passage: “tea .” […] “Alexander Pope , The Rape of the Lock , canto III When the poem was published in 1712, the word "tea" (which is only attested in English from about 60 years before) was often pronounced "tay", as it still is in certain dialects; the pronunciation "tee" predominated from the mid-18th century. [ 3 ] Conventional historic rhymes [ edit ] Historic rhymes that were lost phonetically in the Great Vowel Shift were sometimes retained as conventional rhymes. For example, in 1940, W. H. Auden wrote: Let the Irish vessel lie , Emptied of its poetry .” […] “"In Memory of W. B. Yeats" This represents the same historic rhyme as "flies" and "enemies" ab”. Crystal’s 6 March 2017 comments discuss “tea as tay”, persistence into the eighteenth century, and region/word-dependent merger timing. This supports the period variant, not the stronger assertion that tea was already a Middle English word. - CONFIRMED | “hour (an h-less French loan, vowel monophthongized to [oːr]) and whore (Old English hōre, its ⟨wh⟩ a spelling fashion, its /h/ liable to drop) met at roughly “ore”.” | https://en.wikipedia.org/wiki/Shakespeare_in_Original_Pronunciation; https://en.wiktionary.org/wiki/hour; https://www.etymonline.com/word/whore | Checker reread in N2-codex.md: [050 ayl-hour-whore-note-1] Matching source passage: “In Early Modern English, "hour" could potentially be pronounced [ oːɹ ] , homophonous to "whore"; H-dropping was regularly observed. The change in pronunciation of both words in Modern English means that a sexual joke is possibly missed by a modern audience.”. The independent modern dictionary/etymological entries establish hour’s French origin and the sixteenth-century whore spelling; the OP source supplies the possible h-dropping and homophony. - CONFIRMED | “Touchstone’s melancholy on ripening and rotting carries a bawdy second sense” […] ““from whore to whore”” […] “that the modern ear cannot hear at all.” | https://www.wnyc.org/story/olivier-had-wrong-shakespeare-original-pronunciation/ | Checker reread in N2-codex.md: [052 ayl-hour-whore-meaning] Matching source passage: “31:30” […] “Shakespeare NSFW: Yes, the Crystals also discovered dirty jokes as well. The character Touchstone in "As You Like It" recounts a joke that made him laugh for an hour. "And so, from hour to hour, we ripe and ripe / And then, from hour to hour, we rot and rot / And thereby hangs a tale." In modern English, it's not funny. It's actually a depressing commentary on human mortality. But in OP, hour is pronounced "ore"” […] “the same pronunciation of the word "whore." Suddenly, ripe and rot take on a whole new meaning. Be alert for scams. WNYC never asks for nor accepts money for coverage or interviews. Anyone makin”. - CONFIRMED | “hour · whore /aʊ/ · /ɔ/ they no longer chime” | https://en.wiktionary.org/wiki/hour | Checker reread in N2-codex.md: [053 ayl-hour-whore-now] Matching source passage: “( Received Pronunciation ) enPR : owʹər , IPA ( key ) : /aʊə/ Audio ( Received Pronunciation ) ; “ an hour ” : ( file ) ( triphthong smoothing ) IPA ( key ) : /aː(ɹ)/”. Location: English, Pronunciation (modern reference); full word including consonants. - CONFIRMED | “hour · whore /o/ · /o/ they rang together” | https://en.wikipedia.org/wiki/Shakespeare_in_Original_Pronunciation | Checker reread in N2-codex.md: [054 ayl-hour-whore-then] Matching source passage: “In Early Modern English, "hour" could potentially be pronounced [ oːɹ ] , homophonous to "whore"; H-dropping was regularly observed. The change in pronunciation of both words in Modern English means that a sexual joke is possibly missed by a modern audience.”. Location: Card IPA labels and verdict; inline buildCard(). - CONFIRMED | “First Folio (1623); PD text via OpenSourceShakespeare / Folger. OP reading: David Crystal, Pronouncing Shakespeare (2005). DISPUTED in degree (rests on H-dropping + the hour vowel).” | https://en.wikipedia.org/wiki/Shakespeare_in_Original_Pronunciation | Checker reread in N2-codex.md: [055 ayl-hour-whore-source-label] Matching source passage: “In Early Modern English, "hour" could potentially be pronounced [ oːɹ ] , homophonous to "whore"; H-dropping was regularly observed. The change in pronunciation of both words in Modern English means that a sexual joke is possibly missed by a modern audience.”. - CONFIRMED | “Around 1600 the ea-class reason sat near /eː/ (“rayzn”), close to raisin , which was rising through the same region.” | https://originalpronunciation.com/GBR/Comments; https://facweb.furman.edu/~mmenzer/gvs/shakespeare.htm | Checker reread in N2-codex.md: [056 h4-reason-raisin-note-1] Matching source passage: “In the present case, I think one has to look beyond this particular pairing: not just reason and raisin , but also treason and season , and the further pun set involving raising (Kökeritz gives examples), which points towards a more open pronunciation. Yes, there was a close-vowel pronunciation, as you say, and I should have mentioned this.”. Location: David Crystal comment, Jul 15, 2018 16:16, replying to A.Z. Foreman on reason/raisin. Mary Menzer’s Furman Great Vowel Shift teaching page explicitly identifies the reason/raisin pun and cites Kökeritz 1953 pp.138 to 139. - CONFIRMED | “Then the MEET–MEAT merger (complete ~1700) pushed reason up to /iː/ while raisin settled at /eɪ/.” | https://en.wikipedia.org/wiki/Phonological_history_of_English_close_front_vowels | Checker reread in N2-codex.md: [057 h4-reason-raisin-note-2] Matching source passage: “the FLEECE merger is the merger of the Early Modern English vowel /eː/ (as in meat ) into the vowel /iː/ (as in meet ). [ 2 ] [ 3 ] The merger was complete in standard accents of English by about 1700.”. - CONFIRMED | “Falstaff likens cheap, plentiful reasons to raisins (and to blackberries)” […] “a fruit-stall joke that only lands if the two words sound alike.” | https://originalpronunciation.com/GBR/Comments; https://facweb.furman.edu/~mmenzer/gvs/shakespeare.htm | Checker reread in N2-codex.md: [058 h4-reason-raisin-meaning] Matching source passage: “In the present case, I think one has to look beyond this particular pairing: not just reason and raisin , but also treason and season , and the further pun set involving raising (Kökeritz gives examples), which points towards a more open pronunciation. Yes, there was a close-vowel pronunciation, as you say, and I should have mentioned this.”. Location: David Crystal comment, Jul 15, 2018 16:16, replying to A.Z. Foreman on reason/raisin. Mary Menzer’s Furman Great Vowel Shift teaching page explicitly identifies the reason/raisin pun and cites Kökeritz 1953 pp.138 to 139. - CONFIRMED | “reason · raisin /i/ · /eɪ/ they no longer chime” | https://en.wiktionary.org/wiki/reason | Checker reread in N2-codex.md: [059 h4-reason-raisin-now] Matching source passage: “IPA ( key ) : /ˈɹiːzən/ , [ˈɹʷɪi̯zən] ~ [ˈɹʷɪi̯zn̩] Audio ( US ) : ( file )”. Location: English, Pronunciation (modern reference); full word including consonants. - CONFIRMED | “reason · raisin /e/ · /e/ they rang together” | https://originalpronunciation.com/GBR/Comments; https://facweb.furman.edu/~mmenzer/gvs/shakespeare.htm | Checker reread in N2-codex.md: [060 h4-reason-raisin-then] Matching source passage: “In the present case, I think one has to look beyond this particular pairing: not just reason and raisin , but also treason and season , and the further pun set involving raising (Kökeritz gives examples), which points towards a more open pronunciation. Yes, there was a close-vowel pronunciation, as you say, and I should have mentioned this.”. Location: David Crystal comment, Jul 15, 2018 16:16, replying to A.Z. Foreman on reason/raisin. Mary Menzer’s Furman Great Vowel Shift teaching page explicitly identifies the reason/raisin pun and cites Kökeritz 1953 pp.138 to 139. - CONFIRMED | “PD text via OpenSourceShakespeare / MIT. The reason/raisin homophone pun is catalogued in Kökeritz, Shakespeare’s Pronunciation (1953); EME values are reconstructive.” | https://originalpronunciation.com/GBR/Comments; https://facweb.furman.edu/~mmenzer/gvs/shakespeare.htm | Checker reread in N2-codex.md: [061 h4-reason-raisin-source-label] Matching source passage: “In the present case, I think one has to look beyond this particular pairing: not just reason and raisin , but also treason and season , and the further pun set involving raising (Kökeritz gives examples), which points towards a more open pronunciation. Yes, there was a close-vowel pronunciation, as you say, and I should have mentioned this.”. Location: David Crystal comment, Jul 15, 2018 16:16, replying to A.Z. Foreman on reason/raisin. Mary Menzer’s Furman Great Vowel Shift teaching page explicitly identifies the reason/raisin pun and cites Kökeritz 1953 pp.138 to 139. - CONFIRMED | “Around 1600 the loin-type OI vowel overlapped the PRICE diphthong [əɪ], so loins and lines could be near-homophones” […] ““something like [ləɪnz]”.” | https://thomaswhichello.com/shakespeares-pronunciation-some-disagreements-with-david-crystals-original-pronunciation-or-op/ | Checker reread in N2-codex.md: [062 rj-loins-lines-note-1] Matching source passage: “The opinion, then, of Crystal about this line: From forth the fatal loins of these two foes, that there is a pun on loins with lines , does not necessarily have foundation. For his reasoning is (2015), that they were both pronounced /ləɪnz/. But from Hart, we infer that they were sounded /luinz/ and /lɛinz/” […] “distinctly, as they are in our own time.”. - CONFIRMED | “Then CHOICE stabilized as the distinct /ɔɪ/.” | https://thomaswhichello.com/shakespeares-pronunciation-some-disagreements-with-david-crystals-original-pronunciation-or-op/ | Checker reread in N2-codex.md: [063 rj-loins-lines-note-2] Matching source passage: “The opinion, then, of Crystal about this line: From forth the fatal loins of these two foes, that there is a pun on loins with lines , does not necessarily have foundation. For his reasoning is (2015), that they were both pronounced /ləɪnz/. But from Hart, we infer that they were sounded /luinz/ and /lɛinz/” […] “distinctly, as they are in our own time.”. - CONFIRMED | “The word on the page is loins ; in the period it also sounded like lines” […] “lineage, the family line” […] “so the doomed children spring from both the parents’ loins and their feuding lines at once.” | https://en.wikipedia.org/wiki/Shakespeare_in_Original_Pronunciation | Checker reread in N2-codex.md: [065 rj-loins-lines-meaning] Matching source passage: “In Modern English, the word "lines" does not carry the possible double meaning of the Early Modern English, in which some dialects pronounced lines and loins the same , as something like [ ləɪnz ] . [ 11 ] Thus, Modern English audiences miss the pun.”. - CONFIRMED | “loins · lines /ɔɪ/ · /aɪ/ they no longer chime” | https://en.wiktionary.org/wiki/loin | Checker reread in N2-codex.md: [066 rj-loins-lines-now] Matching source passage: “IPA ( key ) : /ˈloɪn/ ~ /ˈlɔɪn/ Audio ( Southern England ) : ( file )”. Location: English, Pronunciation (modern reference); full word including consonants. - CONFIRMED | “loins · lines /aɪ/ · /aɪ/ they rang together” | https://thomaswhichello.com/shakespeares-pronunciation-some-disagreements-with-david-crystals-original-pronunciation-or-op/ | Checker reread in N2-codex.md: [067 rj-loins-lines-then] Matching source passage: “The opinion, then, of Crystal about this line: From forth the fatal loins of these two foes, that there is a pun on loins with lines , does not necessarily have foundation. For his reasoning is (2015), that they were both pronounced /ləɪnz/. But from Hart, we infer that they were sounded /luinz/ and /lɛinz/” […] “distinctly, as they are in our own time.”. Location: Card IPA labels and verdict; inline buildCard(). - CONFIRMED | “PD text via OpenSourceShakespeare. OP reading: David Crystal, via Shakespeare in Original Pronunciation (“some dialects”” […] “dialect-dependent). Whichello disputes the loins/lines identity from Hart’s evidence.” | https://thomaswhichello.com/shakespeares-pronunciation-some-disagreements-with-david-crystals-original-pronunciation-or-op/ | Checker reread in N2-codex.md: [068 rj-loins-lines-source-label] Matching source passage: “The opinion, then, of Crystal about this line: From forth the fatal loins of these two foes, that there is a pun on loins with lines , does not necessarily have foundation. For his reasoning is (2015), that they were both pronounced /ləɪnz/. But from Hart, we infer that they were sounded /luinz/ and /lɛinz/” […] “distinctly, as they are in our own time.”. Whichello explicitly challenges the identity from Hart’s distinction; the Wikipedia example says “some dialects” and “something like”, not all speakers. - CONFIRMED | “The FOOT–STRUT history · love vs. prove (DISPUTED)” | https://en.wikipedia.org/wiki/Phonological_history_of_English_close_back_vowels | Checker reread in N2-codex.md: [069 change-strut-name] Matching source passage: “The first clear description of the split dates from 1644.”. - CONFIRMED | “Whether this was ever a FULL rhyme or always a near-rhyme is exactly the open dispute.” | https://en.wikipedia.org/wiki/Phonological_history_of_English_close_back_vowels | Checker reread in N2-codex.md: [072 change-strut-3] Matching source passage: “The first clear description of the split dates from 1644.”. - CONFIRMED | “Final unstressed -y meets the PRICE diphthong” | https://en.wikipedia.org/wiki/Shakespeare_in_Original_Pronunciation | Checker reread in N2-codex.md: [074 change-yclass-name] Matching source passage: “In Modern English pronunciation, the rhyme does not work in all lines, but in Original Pronunciation, all three lines rhyme, ending with [ -əɪ ] . [ 11 ] Criticism [ edit ] Theatre professor Laura Lodewyck, [ 18 ] on the audience-focus”. - CONFIRMED | “Word-final -y (memory, archery) was a high front vowel that, in this period, could take a diphthongal [əɪ]-type value” […] “close enough to the [əɪ] of die / eye for them to rhyme.” | https://digitalna.ff.uns.ac.rs/sites/default/files/db/books/978-86-6065-068-1.pdf | Checker reread in N2-codex.md: [075 change-yclass-1] Matching source passage: “In 17 cases, the final syllable of a polysyllabic word, unstressed in Modern Eng- lish, rhymes with a stressed monosyllabic word ending in /@I/, indicating a stron- ger stress and a similar diphthongal quality in Early Modern English: memory (1) and dignity (94) = die;”. Location: Crystal 2011, p.301, section 2.4. Opened the Crystal PDF and read printed p.301, section 2.4: “memory (1) and dignity (94) = die”. Its extracted /@I/ is the font encoding for the period diphthong. Where the interface uses aɪ, the apparatus explicitly discloses the approximation. - CONFIRMED | “The two later parted: stressed PRICE went to /aɪ/, unstressed -y stayed (and tensed) to /i/.” | https://en.wikipedia.org/wiki/Shakespeare_in_Original_Pronunciation | Checker reread in N2-codex.md: [076 change-yclass-2] Matching source passage: “In Modern English pronunciation, the rhyme does not work in all lines, but in Original Pronunciation, all three lines rhyme, ending with [ -əɪ ] . [ 11 ] Criticism [ edit ] Theatre professor Laura Lodewyck, [ 18 ] on the audience-focus”. - CONFIRMED | “Shakespeare in Original Pronunciation (Wikipedia), summarizing Crystal; Crystal’s standard demonstration is the MND dye/archery/eye triple. The exact value of period final -y is contested (Kökeritz / Crystal / Cercignani).” | https://en.wikipedia.org/wiki/Shakespeare_in_Original_Pronunciation | Checker reread in N2-codex.md: [077 change-yclass-citation] Matching source passage: “In Modern English pronunciation, the rhyme does not work in all lines, but in Original Pronunciation, all three lines rhyme, ending with [ -əɪ ] . [ 11 ] Criticism [ edit ] Theatre professor Laura Lodewyck, [ 18 ] on the audience-focus”. - CONFIRMED | “The LINE–JOIN realignment · CHOICE separates from PRICE” | https://en.wikipedia.org/wiki/Phonological_history_of_English_diphthongs | Checker reread in N2-codex.md: [078 change-choice-name] Matching source passage: “The diphthong /ʊɪ/ merged into /əɪ/ ~ /aɪ/ . Contemporary literature had frequent rhymes such as Mind – join'd in Congreve, join – line in Pope, child – spoil'd in Swift, toils – smiles in Dryden. The diphthong /aɪ/ split into /aɪ/ and /ɔɪ/ , though this sound change was still ongoing in the late 18th century. [ 6 ] The present-day pronunciations with /ɔɪ/ in the oi words result from regional variants, which had always had /ɔɪ/ , rather than /ʊɪ/”. - CONFIRMED | “Part of the OI set (the coil/loin/join type) overlapped the PRICE diphthong /əɪ/ in the 17th–early-18th century” […] “so line and loin, and join and divine, could fall together (“jine”).” | https://en.wikipedia.org/wiki/Phonological_history_of_English_diphthongs | Checker reread in N2-codex.md: [080 change-choice-2] Matching source passage: “The diphthong /ʊɪ/ merged into /əɪ/ ~ /aɪ/ . Contemporary literature had frequent rhymes such as Mind – join'd in Congreve, join – line in Pope, child – spoil'd in Swift, toils – smiles in Dryden. The diphthong /aɪ/ split into /aɪ/ and /ɔɪ/ , though this sound change was still ongoing in the late 18th century. [ 6 ] The present-day pronunciations with /ɔɪ/ in the oi words result from regional variants, which had always had /ɔɪ/ , rather than /ʊɪ/”. - CONFIRMED | “Then the spelling-influenced /ɔɪ/ pronunciation of oi words prevailed and the two sets split apart again.” | https://en.wikipedia.org/wiki/Phonological_history_of_English_diphthongs | Checker reread in N2-codex.md: [081 change-choice-3] Matching source passage: “The diphthong /ʊɪ/ merged into /əɪ/ ~ /aɪ/ . Contemporary literature had frequent rhymes such as Mind – join'd in Congreve, join – line in Pope, child – spoil'd in Swift, toils – smiles in Dryden. The diphthong /aɪ/ split into /aɪ/ and /ɔɪ/ , though this sound change was still ongoing in the late 18th century. [ 6 ] The present-day pronunciations with /ɔɪ/ in the oi words result from regional variants, which had always had /ɔɪ/ , rather than /ʊɪ/”. - CONFIRMED | “Not the Great Vowel Shift.” | https://en.wikipedia.org/wiki/Phonological_history_of_English_diphthongs | Checker reread in N2-codex.md: [082 change-choice-4] Matching source passage: “The diphthong /ʊɪ/ merged into /əɪ/ ~ /aɪ/ . Contemporary literature had frequent rhymes such as Mind – join'd in Congreve, join – line in Pope, child – spoil'd in Swift, toils – smiles in Dryden. The diphthong /aɪ/ split into /aɪ/ and /ɔɪ/ , though this sound change was still ongoing in the late 18th century. [ 6 ] The present-day pronunciations with /ɔɪ/ in the oi words result from regional variants, which had always had /ɔɪ/ , rather than /ʊɪ/”. - CONFIRMED | “The Great Vowel Shift · the ea-class raises (the MEAT–MEET merger)” | https://en.wikipedia.org/wiki/Phonological_history_of_English_close_front_vowels | Checker reread in N2-codex.md: [084 change-eaclass-name] Matching source passage: “the FLEECE merger is the merger of the Early Modern English vowel /eː/ (as in meat ) into the vowel /iː/ (as in meet ). [ 2 ] [ 3 ] The merger was complete in standard accents of English by about 1700.”. - CONFIRMED | “Around 1600 reason still sat near /eː/ (“rayzn”), and in Pope’s day tea was still “tay”; both later raised to /iː/ and parted from their old rhyme-fellows.” | https://en.wikipedia.org/wiki/Phonological_history_of_English_close_front_vowels; https://originalpronunciation.com/GBR/Comments | Checker reread in N2-codex.md: [086 change-eaclass-2] Matching source passage: “the FLEECE merger is the merger of the Early Modern English vowel /eː/ (as in meat ) into the vowel /iː/ (as in meet ). [ 2 ] [ 3 ] The merger was complete in standard accents of English by about 1700.”. Crystal’s 6 March 2017 comments discuss “tea as tay”, persistence into the eighteenth century, and region/word-dependent merger timing. This supports the period variant, not the stronger assertion that tea was already a Middle English word. - CONFIRMED | “Wikipedia, Phonological history of English close front vowels (merger complete ~1700); Kökeritz, Shakespeare’s Pronunciation (1953) on the reason/raisin pun; the tea = “tay” value is standard (cf. surviving Irish English) and the obey/tea couplet is verbatim-sourced.” | https://en.wikipedia.org/wiki/Phonological_history_of_English_close_front_vowels; https://facweb.furman.edu/~mmenzer/gvs/shakespeare.htm | Checker reread in N2-codex.md: [087 change-eaclass-citation] Matching source passage: “the FLEECE merger is the merger of the Early Modern English vowel /eː/ (as in meat ) into the vowel /iː/ (as in meet ). [ 2 ] [ 3 ] The merger was complete in standard accents of English by about 1700.”. Mary Menzer’s Furman Great Vowel Shift teaching page explicitly identifies the reason/raisin pun and cites Kökeritz 1953 pp.138 to 139. - CONFIRMED | “hour and whore fall together at [oːr]” | https://en.wikipedia.org/wiki/Shakespeare_in_Original_Pronunciation | Checker reread in N2-codex.md: [088 change-hour-name] Matching source passage: “In Early Modern English, "hour" could potentially be pronounced [ oːɹ ] , homophonous to "whore"; H-dropping was regularly observed. The change in pronunciation of both words in Modern English means that a sexual joke is possibly missed by a modern audience.”. - CONFIRMED | “hour is a French loan that came into English already h-less (the ⟨h⟩ is only spelling), its vowel monophthongized toward [oː]. whore (Old English hōre) took its ⟨wh⟩ spelling as a 16c. fashion, not a /hw/ sound, and its initial /h/ was liable to H-dropping” […] “so it too surfaced as roughly [oːr].” | https://en.wikipedia.org/wiki/Shakespeare_in_Original_Pronunciation; https://en.wiktionary.org/wiki/hour; https://www.etymonline.com/word/whore | Checker reread in N2-codex.md: [089 change-hour-1] Matching source passage: “In Early Modern English, "hour" could potentially be pronounced [ oːɹ ] , homophonous to "whore"; H-dropping was regularly observed. The change in pronunciation of both words in Modern English means that a sexual joke is possibly missed by a modern audience.”. The independent modern dictionary/etymological entries establish hour’s French origin and the sixteenth-century whore spelling; the OP source supplies the possible h-dropping and homophony. - CONFIRMED | “The two met at “ore”.” | https://en.wikipedia.org/wiki/Shakespeare_in_Original_Pronunciation | Checker reread in N2-codex.md: [090 change-hour-2] Matching source passage: “In Early Modern English, "hour" could potentially be pronounced [ oːɹ ] , homophonous to "whore"; H-dropping was regularly observed. The change in pronunciation of both words in Modern English means that a sexual joke is possibly missed by a modern audience.”. - CONFIRMED | “Wikipedia, Shakespeare in Original Pronunciation (“hour could potentially be pronounced [oːɹ], homophonous to whore; H-dropping was regularly observed”) and H-dropping; etymonline, whore; Crystal via the Folger. DISPUTED in degree.” | https://en.wikipedia.org/wiki/Shakespeare_in_Original_Pronunciation | Checker reread in N2-codex.md: [092 change-hour-citation] Matching source passage: “In Early Modern English, "hour" could potentially be pronounced [ oːɹ ] , homophonous to "whore"; H-dropping was regularly observed. The change in pronunciation of both words in Modern English means that a sexual joke is possibly missed by a modern audience.”. - CONFIRMED | “The 18th-century shortening of wind” | https://www.helhoard.com/2025-03-22-1.html | Checker reread in N2-codex.md: [093 change-windshort-name] Matching source passage: “Until the 18th cent. the diphthongal pronunciation appears to have been more usual, but by the end of the century had been largely supplanted in ordinary speech by the short-vowel pronunciation.”. - CONFIRMED | “The noun wind (moving air) once carried the long PRICE vowel /waɪnd/” […] “a true rhyme for mind, find, bind, behind.” | https://www.helhoard.com/2025-03-22-1.html; https://www.helhoard.com/2025-03-22-1.html | Checker reread in N2-codex.md: [094 change-windshort-1] Matching source passage: “Until the 18th cent. the diphthongal pronunciation appears to have been more usual, but by the end of the century had been largely supplanted in ordinary speech by the short-vowel pronunciation.”. The OED pronunciation note reproduced by hellog corroborates the eighteenth-century change in predominance; it also leaves room for older short variants and poetic convention. - CONFIRMED | “A later, separate change” […] “and, since poets kept the old rhyme by convention after the sound had moved, a case where genuine sound-change and mere convention blur.” | https://www.helhoard.com/2025-03-22-1.html; https://www.helhoard.com/2025-03-22-1.html | Checker reread in N2-codex.md: [096 change-windshort-3] Matching source passage: “Until the 18th cent. the diphthongal pronunciation appears to have been more usual, but by the end of the century had been largely supplanted in ordinary speech by the short-vowel pronunciation.”. The OED pronunciation note reproduced by hellog corroborates the eighteenth-century change in predominance; it also leaves room for older short variants and poetic convention. - CONFIRMED | OED wind pronunciation note, checked via the hellog reproduction; the OED itself was not directly fetched. | https://www.helhoard.com/2025-03-22-1.html | [097 change-windshort-citation] The checkers re-read this reproduction and the fixer fetched it again. It preserves the eighteenth-century change in predominance and subsequent poetic convention. The current source label names that verified route. - CONFIRMED | ““It’s important to appreciate that there is no ‘single’ OP. All periods of English contain many accents, and this allows for variant OP performances.”” | https://originalpronunciation.com/ | Checker reread in N2-codex.md: [098 crystalSingle] Matching source passage: “It’s important to appreciate that there is no ‘single’ OP. All periods of English contain many accents, and this allows for variant OP performances.”. Location: Variety. - CONFIRMED | ““Any attempt to reconstruct an earlier period of pronunciation is based on as much scientific evidence as is available, but inevitably involves a certain amount of guesswork.”” | https://originalpronunciation.com/ | Checker reread in N2-codex.md: [099 crystalGuess] Matching source passage: “Any attempt to reconstruct an earlier period of pronunciation is based on as much scientific evidence as is available, but inevitably involves a certain amount of guesswork.”. Location: Variety. - CONFIRMED | “Asked whether they had recovered Shakespeare’s own accent, Crystal answered: “No, we’ll never know that.”” | https://www.wnyc.org/story/olivier-had-wrong-shakespeare-original-pronunciation/ | Checker reread in N2-codex.md: [100 crystal-never] Matching source passage: “"No, we'll never know that," David responds.”. Location: Extended conversation, 7:30. - CONFIRMED | “Cercignani (1981, p. vii) charges that Kökeritz’s reading is “marred by a determined effort to prove… [a pronunciation] almost identical with that of present educated Southern English.”” | https://tesidottorato.depositolegale.it/bitstream/20.500.14242/202730/10/Tesi_dottorato_Russo.pdf | Checker reread in N2-codex.md: [102 cercignani-marred] Matching source passage: “marred by a determined effort to prove, despite contemporary external evidence to the contrary, that the pronunciation adopted by Shakespeare in London was so far advanced as to be almost identical with that of present educated Southern English”. Location: Russo p. 5, quoting Cercignani 1981 p. vii; retrieved through indexed PDF excerpt. Direct thesis downloads were blocked (HTTP 403). Opened the source and its Sapienza mirror, then read the search-indexed thesis text for printed pp.5 to 6 and title metadata. This confirms the quoted passages through the indexed thesis, not a claim to have read a successful full PDF download. - CONFIRMED | “And the reconstruction is contested at the root. Fausto Cercignani” […] “whose 1981 study is widely judged the most rigorous of its kind” […] “charged that the foundational work was “marred by a determined effort to prove… [a pronunciation] almost identical with that of present educated Southern English,” and held that an imperfect rhyme or pun “useless in establishing contemporary phonemic systems” need not prove the vowels had merged.” | https://tesidottorato.depositolegale.it/bitstream/20.500.14242/202730/10/Tesi_dottorato_Russo.pdf | Checker reread in N2-codex.md: [103 cercignani-method] Matching source passage: “the second aim of this volume is to provide a comprehensive discussion of all those rhymes, puns, spellings, and metrical peculiarities which, though useless in establishing contemporary phonemic systems, either require historical interpretation or somehow help to enrich the picture”. Location: Russo p. 6, note 18, quoting Cercignani 1981 p. viii; indexed PDF excerpt. Direct thesis downloads were blocked (HTTP 403). Opened the source and its Sapienza mirror, then read the search-indexed thesis text for printed pp.5 to 6 and title metadata. This confirms the quoted passages through the indexed thesis, not a claim to have read a successful full PDF download. - CONFIRMED | “supplying a vowel “midway between the two” for both words can make almost any pair chime.” | https://thomaswhichello.com/shakespeares-pronunciation-some-disagreements-with-david-crystals-original-pronunciation-or-op/ | Checker reread in N2-codex.md: [105 midway-quotation] Matching source passage: “And when it seems inappropriate to adapt to either pronunciation in a pair of rhymes, as in the case of haste and fast , he chooses “a pronunciation midway between the two, for both words.””. The source warns about “uniting the sounds of imperfect rhymes, and mistakenly merging entire lexical sets”; the page’s consequence is a paraphrase, not an additional verbatim Crystal quotation. - CONFIRMED | ““the most rigorous study to date” (Barrett 2013)” | https://tesidottorato.depositolegale.it/bitstream/20.500.14242/202730/10/Tesi_dottorato_Russo.pdf | Checker reread in N2-codex.md: [106 cercignani-rigorous] Matching source passage: “[t]he most rigorous study to date of Shakespearean pronunciation, which puts into perspective all the previous work on the subject”. Location: Russo p. 6, quoting Barrett 2013 p. 208. Direct thesis downloads were blocked (HTTP 403). Opened the source and its Sapienza mirror, then read the search-indexed thesis text for printed pp.5 to 6 and title metadata. This confirms the quoted passages through the indexed thesis, not a claim to have read a successful full PDF download. - CONFIRMED | ““the latest and fullest attempt to review all the evidence” (Crystal 2013)” | https://tesidottorato.depositolegale.it/bitstream/20.500.14242/202730/10/Tesi_dottorato_Russo.pdf | Checker reread in N2-codex.md: [107 cercignani-fullest] Matching source passage: “the latest and fullest attempt to review all the evidence of rhymes, puns, spellings, and metrics in the Shakespeare corpus”. Location: Russo p. 6, quoting Crystal 2013 p. 13. Direct thesis downloads were blocked (HTTP 403). Opened the source and its Sapienza mirror, then read the search-indexed thesis text for printed pp.5 to 6 and title metadata. This confirms the quoted passages through the indexed thesis, not a claim to have read a successful full PDF download. - CONFIRMED | “Fausto Cercignani, Shakespeare’s Works and Elizabethan Pronunciation (Oxford, 1981), pp. vii, viii” […] “quoted with page citations in Emiliana Russo’s 2024 doctoral thesis (Sapienza / Univ. of Silesia). Cercignani is called “the most rigorous study to date” (Barrett 2013) and “the latest and fullest attempt to review all the evidence” (Crystal 2013). Also Thomas Whichello, “Some disagreements with David Crystal’s OP.”” | https://tesidottorato.depositolegale.it/bitstream/20.500.14242/202730/10/Tesi_dottorato_Russo.pdf | Checker reread in N2-codex.md: [108 cercignani-citation] Matching source passage: “An investigation into Shakespeare’s Original Pronunciation (OP): Systematising debates and data, and exploring OP at the Globe in the 21st century”. Location: Title page; Emiliana Russo; A.Y. 2023/2024. Direct thesis downloads were blocked (HTTP 403). Opened the source and its Sapienza mirror, then read the search-indexed thesis text for printed pp.5 to 6 and title metadata. This confirms the quoted passages through the indexed thesis, not a claim to have read a successful full PDF download. - CONFIRMED | “David Crystal, originalpronunciation.com (“Variety”)” | https://originalpronunciation.com/ | Checker reread in N2-codex.md: [110 crystal-web-citation] Matching source passage: “Variety It’s important to appreciate that there is no ‘single’ OP. All periods of English contain many accents, and this allows for variant OP performances.”. - CONFIRMED | “Those numbers are published means” […] “Catford (2001, 2nd ed., p. 154) and Peterson & Barney (1952, Table II).” | https://en.wikipedia.org/wiki/Formant; https://pure.mpg.de/rest/items/item_2375480/component/file_2375479/content | Checker reread in N2-codex.md: [122 apparatus-11-2] The Catford-attributed table is headed “Average vowel formants for a male voice (in Hz)”. The original Peterson and Barney article, printed p.183 Table II, gives the male F1/F2 pairs used for /ɪ/ 390/1990, /ʊ/ 440/1020 and /ʌ/ 640/1190. The source-record entry originally cited only the page’s own assertion; these external numbers were checked separately. - CONFIRMED | “Catford (2001, 2nd ed., p. 154) for the continental qualities” | https://en.wikipedia.org/wiki/Formant | Checker reread in N2-codex.md: [147 catford-values] Matching source passage: “Average vowel formants for a male voice (in Hz) [ 7 ] Vowel ( IPA ) F 1 F 2 F 2 – F 1 i 240 2400 2160 y 235 2100 1865 e 390 2300 1910 ø 370 1900 1530 ɛ 610 1900 1290 œ 585 1710 1125 a 850 1610 760 ɶ 820 1530 710 ɑ 750 940 190 ɒ 700 760 60 ʌ 600 1170 570 ɔ 500 700 200 ɤ 460 1310 850 o 360 640 280 ɯ 300 1390 1090 u 250 595 345”. Location: Phonetics table; footnote 7 cites Catford p.154. - CONFIRMED | “Peterson & Barney (1952, Table II) for /ɪ ʊ ʌ/” | https://pure.mpg.de/rest/items/item_2375480/component/file_2375479/content | Checker reread in N2-codex.md: [148 pb-values] Opened the original 1952 article at the MPI mirror; extracted only printed p.183, Table II. Male F1/F2 pairs are /ɪ/ 390/1990, /ʊ/ 440/1020, /ʌ/ 640/1190 Hz. These exactly match FORMANTS. The automated Scribd “NOT FOUND” came from a blocked/challenge page, not a contrary table. Positive control: all three target pairs occur in the original table, together with the neighboring /i/ pair 270/2290. - CONFIRMED | “Those numbers are published means” | https://en.wikipedia.org/wiki/Formant; https://pure.mpg.de/rest/items/item_2375480/component/file_2375479/content | Checker reread in N2-codex.md: [149 formant-means] Matching source passage: “Average vowel formants for a male voice (in Hz) [ 7 ] Vowel ( IPA ) F 1 F 2 F 2 – F 1 i 240 2400 2160 y 235 2100 1865 e 390 2300 1910 ø 370 1900 1530 ɛ 610 1900 1290 œ 585 1710 1125 a 850 1610 760 ɶ 820 1530 710 ɑ 750 940 190 ɒ 700 760 60 ʌ 600 1170 570 ɔ 500 700 200 ɤ 460 1310 850 o 360 640 280 ɯ 300 1390 1090 u 250 595 345”. Location: Phonetics table. The Peterson and Barney subset is independently checked in its original Table II, male rows, as in 148. - CONFIRMED | “Catford (2001, 2nd ed., p. 154)” | https://en.wikipedia.org/wiki/Formant | Checker reread in N2-codex.md: [150 catford-citation] Matching source passage: “Catford, John Cunnison (2001). A Practical Introduction to Phonetics (2nd ed.). Oxford: Oxford University Press. p. 154. ISBN”. Location: Reference 7. - CONFIRMED | “Peterson & Barney (1952, Table II).” | https://www.mpi.nl/publications/item2375480/control-methods-used-study-vowels; https://pure.mpg.de/rest/items/item_2375480/component/file_2375479/content | Checker reread in N2-codex.md: [151 pb-citation] Matching source passage: “Peterson, G. E., & barney, H. L. (1952). Control methods used in a study of the vowels. Journal of the Acoustical Society of America, 24 , 175-184. doi:10.1121/1.1906875.”. Location: Publication citation. The original paper title and Table II were also read in the MPI-hosted article. - CONFIRMED | “Shakespeare · Henry IV, Part 1 · II.iv” […] “Falstaff · 1598” | https://www.folger.edu/explore/shakespeares-works/henry-iv-part-1/an-introduction-to-this-text/ | Checker reread in N2-codex.md: [152 h4-reason-raisin-date] Matching source passage: “Henry IV, Part 1 was first printed in 1598 as a quarto.”. Location: Publication history. - CONFIRMED | “Shakespeare · As You Like It · II.vii” […] “Jaques, quoting Touchstone · 1623” | https://www.folger.edu/explore/shakespeares-works/as-you-like-it/ | Checker reread in N2-codex.md: [153 ayl-hour-whore-date] Matching source passage: “As You Like It was first published in the 1623 First Folio and that text serves as the source for all subsequent editions of the play.”. Location: Publication history. - CONFIRMED | “Shakespeare · Romeo and Juliet · the Prologue, ll. 5–6 · 1597” | https://www.folger.edu/explore/shakespeares-works/romeo-and-juliet/an-introduction-to-this-text/ | Checker reread in N2-codex.md: [154 rj-loins-lines-date] Matching source passage: “Romeo and Juliet was printed in a variety of forms between its earliest appearance in 1597 and its inclusion in the first collection of Shakespeare’s plays, the First Folio of 1623.”. Location: Publication history. - CONFIRMED | “Alexander Pope · An Essay on Man, Epistle I · Section V (ll. 159–160 / 167–168, by edition) · 1733” | https://rpo.library.utoronto.ca/content/essay-man-epistle-i | Checker reread in N2-codex.md: [155 pope-wind-mind-date] Matching source passage: “they did not appear until between February and May 1733, and the fourth epistle was published in January 1734.”. Location: Publication history. - CONFIRMED | “Alexander Pope · An Essay on Criticism, Part II · the famous couplet (≈ ll. 524–525) · 1711” | https://rpo.library.utoronto.ca/content/essay-criticism-part-2 | Checker reread in N2-codex.md: [156 pope-criticism-date] Matching source passage: “Original Text Alexander Pope, An Essay on Criticism (London: Lewis, 1711). Facs. edn.: Scolar Press, 1970. PR 3626.A1 1970 TRIN.”. Location: Original text and note 201. - CONFIRMED | “Alexander Pope · The Rape of the Lock, Canto III · ll. 7–8 · 1712” | https://www.gutenberg.org/files/9800/9800-h/9800-h.htm; https://www.gutenberg.org/files/43271/43271-h/43271-h.htm | Checker reread in N2-codex.md: [157 pope-lock-date] Matching source passage: “1712 Rape of the Lock , first form 1713 Windsor Forest 1713 Issues proposals for translation of Homer 1714 Rape of the Lock , second form 1715 First volume”. Location: Chief Dates In Pope's Life. The original 1712 First Edition printed in Elwin already has this couplet, at Canto I lines 71 and 72. The expanded poem supplies Canto III lines 7 and 8. Do not change the poem’s first-publication year to 1714 on the mistaken premise that the verse was new then. - CONFIRMED | “Tomalin, “Justifying Alexander Pope’s Unjustifiable Rhymes,” RES 71.300 (2020).” | https://academic.oup.com/res/article-abstract/71/300/486/5609050 | Checker reread in N2-codex.md: [158 tomalin-citation] Matching source passage: “The Review of English Studies, Volume 71, Issue 300, June 2020, Pages 486–507”. Location: Article header; online publication 29 October 2019. Opened the blocked OUP page and read its indexed bibliographic record: Marcus Tomalin; volume 71, issue 300, June 2020, pp.486 to 507; DOI 10.1093/res/hgz124. Online-first publication was 29 October 2019; the cited issue year 2020 is correct. - CONFIRMED | “David Crystal, Pronouncing Shakespeare (2005).” | https://thomaswhichello.com/shakespeares-pronunciation-some-disagreements-with-david-crystals-original-pronunciation-or-op/ | Checker reread in N2-codex.md: [159 crystal-book-citation] Matching source passage: “Crystal, D. (2005), Pronouncing Shakespeare: The Globe Experiment , Cambridge.”. Location: Works cited. - CONFIRMED | “Fausto Cercignani, Shakespeare’s Works and Elizabethan Pronunciation (Oxford, 1981)” | https://thomaswhichello.com/shakespeares-pronunciation-some-disagreements-with-david-crystals-original-pronunciation-or-op/ | Checker reread in N2-codex.md: [160 cercignani-book-citation] Matching source passage: “Cercignani, F. (1981), Shakespeare’s Works and Elizabethan Pronunciation . Oxford: Clarendon Press”. Location: Works cited. - CONFIRMED | ““OP is a phonology” […] “a sound system” […] “which would have been realized in a variety of accents, all of which were different in certain respects from the variety we find in present-day English.”” | https://grammarphobia.com/blog/2024/07/original-pronunciation-2.html | Checker reread in N2-codex.md: [161 crystal-system] Matching source passage: “OP is a phonology” […] “a sound system” […] “which would have been realized in a variety of accents, all of which were different in certain respects from the variety we find in present-day English”. Location: Rhyme and reason in Shakespeare; quotation from Crystal 2016. - CONFIRMED | “David Crystal, The Oxford Dictionary of Original Shakespearean Pronunciation (OUP, 2016), quoted via Grammarphobia (2024) and Culpeper’s review in The Spenser Review (2017).” | https://www.english.cam.ac.uk/spenseronline/review/item/47.1.6 | Checker reread in N2-codex.md: [162 crystal-system-citation] Matching source passage: “Crystal, David. Oxford Dictionary of Original Shakespearean Pronunciation . Oxford UP, 2016. li + 648 pp. ISBN: 978-0199668427.”. Location: Review heading and citation footer. - CONFIRMED | “etymonline, wind (“Donne rhymes it with mind… shifted to a short vowel 18c.”)” | https://www.etymonline.com/word/windy | Checker reread in N2-codex.md: [164 etym-wind-quotation] Matching source passage: “Normal pronunciation evolution made this word rhyme with kind and rind (Donne rhymes it with mind and Thomas Moore with behind), but it shifted to a short vowel 18c., probably from influence of windy, where the short vowel is natural.”. Location: wind n.1 linked entry. The direct endpoint was blocked; the relevant dictionary text was read through its indexed entry. Access failure is not evidence that the quoted words are absent. - CONFIRMED | “whore (Old English hōre) took its ⟨wh⟩ spelling as a 16c. fashion, not a /hw/ sound, and its initial /h/ was liable to H-dropping” […] “so it too surfaced as roughly [oːr].” | https://www.etymonline.com/word/whore; https://en.wiktionary.org/wiki/hour; https://www.etymonline.com/word/whore | Checker reread in N2-codex.md: [165 whore-etymology] Matching source passage: “1530s, a spelling alteration (see wh-) of Middle English hore, from Old English hore "prostitute, harlot." The wh- form became current in 16c.”. Location: whore n. (web indexed text; curl access challenge). The independent modern dictionary/etymological entries establish hour’s French origin and the sixteenth-century whore spelling; the OP source supplies the possible h-dropping and homophony. The direct endpoint was blocked; the relevant dictionary text was read through its indexed entry. Access failure is not evidence that the quoted words are absent. - CONFIRMED | “The reason/raisin homophone pun is catalogued in Kökeritz, Shakespeare’s Pronunciation (1953)” | https://facweb.furman.edu/~mmenzer/gvs/shakespeare.htm; https://facweb.furman.edu/~mmenzer/gvs/shakespeare.htm | Checker reread in N2-codex.md: [166 kokeritz-reason-citation] Matching source passage: “Helge Kökeritz, in Shakespeare's Pronunciation , lists Shakespeare's puns, many of which are only understandable with some knowledge of the GVS. One of the more famous is from I Henry 4 , 2.4.260 and following:”. Location: REASON-RAISIN-RAISING; page cites Kokeritz 138-9. Mary Menzer’s Furman Great Vowel Shift teaching page explicitly identifies the reason/raisin pun and cites Kökeritz 1953 pp.138 to 139. - CONFIRMED | “the great raising of the long vowels, c. 1400–1700” | https://en.wikipedia.org/wiki/Great_Vowel_Shift | Checker reread in N2-codex.md: [168 great-shift-dates] Matching source passage: “pronunciation changes in the vowels of the English language that took place primarily between 1400 and 1700”. Location: Opening definition. - CONFIRMED | “the FOOT–STRUT split that split love from prove (first described in 1644)” | https://en.wikipedia.org/wiki/Phonological_history_of_English_close_back_vowels | Checker reread in N2-codex.md: [169 strut-summary] Matching source passage: “The first clear description of the split dates from 1644.”. Location: FOOT-STRUT split. - CONFIRMED | “the LINE–JOIN realignment that pulled join off divine” | https://en.wikipedia.org/wiki/Phonological_history_of_English_diphthongs | Checker reread in N2-codex.md: [170 choice-summary] Matching source passage: “The diphthong /ʊɪ/ merged into /əɪ/ ~ /aɪ/ . Contemporary literature had frequent rhymes such as Mind – join'd in Congreve, join – line in Pope, child – spoil'd in Swift, toils – smiles in Dryden. The diphthong /aɪ/ split into /aɪ/ and /ɔɪ/ , though this sound change was still ongoing in the late 18th century. [ 6 ] The present-day pronunciations with /ɔɪ/ in the oi words result from regional variants, which had always had /ɔɪ/ , rather than /ʊɪ/”. Location: Modern English, 17th century. - CONFIRMED | “a plain 18th-century shortening of wind.” | https://www.helhoard.com/2025-03-22-1.html; https://www.helhoard.com/2025-03-22-1.html | Checker reread in N2-codex.md: [171 wind-summary] Matching source passage: “Until the 18th cent. the diphthongal pronunciation appears to have been more usual, but by the end of the century had been largely supplanted in ordinary speech by the short-vowel pronunciation.”. Location: OED pronunciation note. The OED pronunciation note reproduced by hellog corroborates the eighteenth-century change in predominance; it also leaves room for older short variants and poetic convention. - CONFIRMED | “an eye-rhyme, a fact you take on faith from the spelling.” | https://en.wikipedia.org/wiki/Eye_rhyme | Checker reread in N2-codex.md: [172 eye-rhyme] Matching source passage: “An eye rhyme , also called a visual rhyme or a sight rhyme , is a rhyme in which two words are spelled similarly but pronounced differently.”. Location: Opening definition. - CONFIRMED | “it is itself a reconstruction, plural and partly guessed.” | https://originalpronunciation.com/ | Checker reread in N2-codex.md: [173 no-single-reconstruction] Matching source passage: “Any attempt to reconstruct an earlier period of pronunciation is based on as much scientific evidence as is available, but inevitably involves a certain amount of guesswork.”. Location: Variety. - CONFIRMED | “Rhymes and puns that worked when they were written and do not now, because English pronunciation moved underneath them.” | https://digitalna.ff.uns.ac.rs/sites/default/files/db/books/978-86-6065-068-1.pdf | Checker reread in N2-codex.md: [174 rhymes-broken-overview] Matching source passage: “Far more plausible is to take on board a phonological perspective, recognizing that the reason rhymes fail to work today is because the pronunciation system has changed since the 16th century.”. Location: p.298. The original Crystal article was opened and the examples read. Interpret the page’s overview with its visible reconstruction/dispute qualifications, rather than as a claim to possess historical audio. - CONFIRMED | “that is two centuries of philology” | https://thomaswhichello.com/shakespeares-pronunciation-some-disagreements-with-david-crystals-original-pronunciation-or-op/; https://originalpronunciation.com/GBR/Home | Checker reread in N2-codex.md: [175 two-centuries] Matching source passage: “Since the publication, in 1869, of Alexander J. Ellis’s Early English Pronunciation , many attempts have been made to answer this question.”. Location: Opening paragraph. The supplied 1869 example alone does not define the entire field’s starting point. Crystal’s primary site explicitly traces work through nineteenth-century comparative philology and twentieth-century historical linguistics; “two centuries” is a broad historical description here. - CONFIRMED | “The Translation-Criticism Venue, whose question this page borrows and bends. There a word” […] “仁” […] “cannot cross a language border without loss; here a rhyme cannot cross a time border without loss. Both dissect the untranslatable; this is the venue's instinct applied to a poem's music rather than its meaning, and to history rather than to a second language.” | git show 52c41c8771:src/content/strata/for-want-of-a-better-term.md | Checker reread in N2-codex.md: [184 relation-1] The linked layer’s title is “For Want of a Better Term”; its dek explicitly examines “仁 (rén)” and “three public-domain Englishes laid over the Chinese”, saying “no English word holds it”. The relationship accurately summarizes that subject. - CONFIRMED | “Both are about a sound or sense that the written sign no longer carries. There the Tao that can be told is not the eternal Tao; here the rhyme that can be read is not the rhyme that was heard. Two Language-seam pieces on the gap between the mark on the page and the thing it was supposed to hold.” | git show 52c41c8771:src/content/strata/the-way-that-can-be-told.md | Checker reread in N2-codex.md: [186 relation-3] The linked layer’s plain description says “the way which can be spoken is not the constant way”. Its subject is the relationship between written language, telling and the Tao. The relationship accurately identifies that subject. - CONFIRMED | “proved · loved /uː/ · /ʌ/ they no longer chime” | https://en.wiktionary.org/wiki/love | Checker reread in N2-codex.md: [192 s116-proved-loved-now-second] Matching source passage: “( Received Pronunciation , General American , Canada ) IPA ( key ) : /lʌv/ , [lʌv] Audio ( Received Pronunciation ) : ( file ) Audio ( Southern England ) : ( file ) Audio ( General American ) : ( file )”. Location: English, Pronunciation (modern reference); full word including consonants. - CONFIRMED | “die · memory /aɪ/ · /i/ they no longer chime” | https://en.wiktionary.org/wiki/memory | Checker reread in N2-codex.md: [193 s1-die-memory-now-second] Matching source passage: “( Received Pronunciation , General American ) IPA ( key ) : /ˈmɛm.ə.ɹi/ , /ˈmɛm.ɹi/”. Location: English, Pronunciation (modern reference); full word including consonants. - CONFIRMED | “wind · mind /ɪ/ · /aɪ/ they no longer chime” | https://en.wiktionary.org/wiki/mind | Checker reread in N2-codex.md: [194 pope-wind-mind-now-second] Matching source passage: “( Received Pronunciation , General American ) IPA ( key ) : /maɪnd/ Audio ( General American ) : ( file )”. Location: English, Pronunciation (modern reference); full word including consonants. - CONFIRMED | “join · divine /ɔɪ/ · /aɪ/ they no longer chime” | https://en.wiktionary.org/wiki/divine | Checker reread in N2-codex.md: [195 pope-join-divine-now-second] Matching source passage: “enPR : dĭ-vīnʹ , IPA ( key ) : /dɪˈvaɪn/”. Location: English, Pronunciation (modern reference); full word including consonants. - CONFIRMED | “obey · tea /eɪ/ · /i/ they no longer chime” | https://en.wiktionary.org/wiki/tea | Checker reread in N2-codex.md: [196 pope-obey-tea-now-second] Matching source passage: “( Received Pronunciation ) enPR : tē , IPA ( key ) : /tiː/ , [tʰɪj ~ tʰiː]”. Location: English, Pronunciation (modern reference); full word including consonants. - CONFIRMED | “hour · whore /aʊ/ · /ɔ/ they no longer chime” | https://en.wiktionary.org/wiki/whore | Checker reread in N2-codex.md: [197 ayl-hour-whore-now-second] Matching source passage: “( Received Pronunciation ) enPR : hô , IPA ( key ) : /hɔː/”. Location: English, Pronunciation (modern reference); full word including consonants. The button isolates the stressed vowel /ɔ/, not the whole word. That is why it is sound as an approximation while the sentence giving full-word /ɔː/ without /h/ in 51 and 91 is not. - CONFIRMED | “reason · raisin /i/ · /eɪ/ they no longer chime” | https://en.wiktionary.org/wiki/raisin | Checker reread in N2-codex.md: [198 h4-reason-raisin-now-second] Matching source passage: “IPA ( key ) : /ˈɹeɪzən/ , /ˈɹeɪzɪn/ Audio ( US ) : ( file )”. Location: English, Pronunciation (modern reference); full word including consonants. - CONFIRMED | “loins · lines /ɔɪ/ · /aɪ/ they no longer chime” | https://en.wiktionary.org/wiki/line | Checker reread in N2-codex.md: [199 rj-loins-lines-now-second] Matching source passage: “( Received Pronunciation , General American , Canada ) IPA ( key ) : /laɪn/ Audio ( California ) : ( file )”. Location: English, Pronunciation (modern reference); full word including consonants. - CONFIRMED | “Shake-speares Sonnets (1609)” | https://www.folger.edu/explore/shakespeares-works/shakespeares-sonnets/ | Checker reread in N2-codex.md: [200 s116-proved-loved-publication] Matching source passage: “rces Professional development Video Favourite Early printed texts Shakespeare’s Sonnets were first printed in 1609 in a quarto published by Thomas Thorpe. That edition is generally considered the authoritative text, and modern editors usually follow it as their source. Two of the poems in the 1609 s”. Location: Early printed texts. - CONFIRMED | “Shake-speares Sonnets (1609)” | https://www.folger.edu/explore/shakespeares-works/shakespeares-sonnets/ | Checker reread in N2-codex.md: [201 s1-die-memory-publication] Matching source passage: “rces Professional development Video Favourite Early printed texts Shakespeare’s Sonnets were first printed in 1609 in a quarto published by Thomas Thorpe. That edition is generally considered the authoritative text, and modern editors usually follow it as their source. Two of the poems in the 1609 s”. Location: Early printed texts. - CONFIRMED | ““hour could potentially be pronounced [oːɹ], homophonous to whore; H-dropping was regularly observed”” | https://en.wikipedia.org/wiki/Shakespeare_in_Original_Pronunciation | Checker reread in N2-codex.md: [202 wiki-hour-quote] Matching source passage: “In Early Modern English, "hour" could potentially be pronounced [ oːɹ ] , homophonous to "whore"; H-dropping was regularly observed. The change in pronunciation of both words in Modern English means that a sexual joke is possibly missed by a modern audience.”. Location: Quoted source label in sound-change table. - CONFIRMED | ““Mind–join’d in Congreve, join–line in Pope”” | https://en.wikipedia.org/wiki/Phonological_history_of_English_diphthongs | Checker reread in N2-codex.md: [204 wiki-congreve-pope-quote] Matching source passage: “The diphthong /ʊɪ/ merged into /əɪ/ ~ /aɪ/ . Contemporary literature had frequent rhymes such as Mind – join'd in Congreve, join – line in Pope, child – spoil'd in Swift, toils – smiles in Dryden. The diphthong /aɪ/ split into /aɪ/ and /ɔɪ/ , though this sound change was still ongoing in the late 18th century. [ 6 ] The present-day pronunciations with /ɔɪ/ in the oi words result from regional variants, which had always had /ɔɪ/ , rather than /ʊɪ/”. Location: Quoted source label in sound-change table. - CONFIRMED | ““tea… was often pronounced ‘tay’… the pronunciation ‘tee’ predominated from the mid-18th century”” | https://en.wikipedia.org/wiki/Eye_rhyme | Checker reread in N2-codex.md: [205 wiki-tea-quote] Matching source passage: “tea .” […] “Alexander Pope , The Rape of the Lock , canto III When the poem was published in 1712, the word "tea" (which is only attested in English from about 60 years before) was often pronounced "tay", as it still is in certain dialects; the pronunciation "tee" predominated from the mid-18th century. [ 3 ] Conventional historic rhymes [ edit ] Historic rhymes that were lost phonetically in the Great Vowel Shift were sometimes retained as conventional rhymes. For example, in 1940, W. H. Auden wrote: Let the Irish vessel lie , Emptied of its poetry .” […] “"In Memory of W. B. Yeats" This represents the same historic rhyme as "flies" and "enemies" ab”. Location: Quoted source label in sound-change table. - CONFIRMED | “David Crystal, who built the standard Original Pronunciation of Shakespeare, refuses the word definitive :” | https://originalpronunciation.com/ | Checker reread in N2-codex.md: [206 crystal-standard-definitive] Matching source passage: “It’s important to appreciate that there is no ‘single’ OP. All periods of English contain many accents, and this allows for variant OP performances.”. Location: Variety. The primary site explicitly rejects a single OP and describes variation and guesswork. “Standard” here identifies Crystal’s widely used scheme; it does not mean that he claims a unique authoritative accent. - CONFIRMED | “A rhyme is data about how a word was said” | https://digitalna.ff.uns.ac.rs/sites/default/files/db/books/978-86-6065-068-1.pdf | Checker reread in N2-codex.md: [207 rhyme-as-data] Matching source passage: “Each of the following sets illustrates a particular phonological change, with the Modern English value given first followed by the Early Modern English value.”. Location: Crystal 2011, p.299. Opened and read Crystal’s article on phonetic evidence from rhyme. The line identifies one kind of evidence, subject to the caveats separately given in the page. - CONFIRMED | “A rhyme that breaks loses its music. A pun that breaks loses its meaning” […] “a whole second sense that lived in the sound. When two words that once fell together drift apart, the joke (or the menace) simply stops arriving. Here the word on the page is the one you still hear; the one beside it is the ghost.” | https://en.wikipedia.org/wiki/Shakespeare_in_Original_Pronunciation | Checker reread in N2-codex.md: [208 pun-loss] Matching source passage: “In Early Modern English, "hour" could potentially be pronounced [ oːɹ ] , homophonous to "whore"; H-dropping was regularly observed. The change in pronunciation of both words in Modern English means that a sexual joke is possibly missed by a modern audience.”. Location: Puns. - CONFIRMED | “a music with no living speaker to check it against.” | https://www.wnyc.org/story/olivier-had-wrong-shakespeare-original-pronunciation/ | Checker reread in N2-codex.md: [209 no-living-speaker] Matching source passage: “What they are reconstructing is the "sound system" that allowed people of different accents to understand each other.”. Location: Extended interview, 7:30. - CONFIRMED | “So the count of “broken” rhymes depends on how perfect you assume the originals were.” | https://thomaswhichello.com/shakespeares-pronunciation-some-disagreements-with-david-crystals-original-pronunciation-or-op/ | Checker reread in N2-codex.md: [210 rhyme-count-assumption] Matching source passage: “But there appear to be a number of potential dangers in this way of going about things. The most obvious one is that of uniting the sounds of imperfect rhymes, and mistakenly merging entire lexical sets.”. Location: Criticism of uniting imperfect rhymes. ## Findings - [fixed] X1: Replaced the first-rhyme claim with opening-sonnet wording; added the dated correction in HTML and markdown. - [fixed] X2: Restored /h/ to the whole-word whore transcription in the card note; corrected generated copies and added one dated correction shared with X8. - [fixed] X3: Reversed the mistaken default/variant attribution, labelled the existing rounded /ʊ/ reading in its mechanism, note and card attribution, and added the dated correction. - [fixed] X4: Attributed Cercignani’s critique to Kökeritz and the critique of Crystal to Whichello; added the dated correction. - [fixed] X5: Changed /əj/ to /ɛj/ in the earlier inventory and named southeastern England around 1400; added the dated correction. - [fixed] X6: Restored something like inside the lines/loins quotation; added the dated correction shared with X21. - [fixed] X7: Separated the later tea loan from the Middle English class, gave the sourced 1650s attestation and added the dated correction. - [fixed] X8: Restored /h/ in CHANGES.hour.mech and its copies; covered by the same dated correction as X2. - [fixed] X9: Restored the OED quotation’s original word order, cited the reproduction read and added the dated correction shared with X17. - [fixed] X10: Separated the NPR and WNYC accounts in FRAME.stat and the README; preserved 96/154 and added the dated correction shared with X12. - [fixed] X11: Restored may have been to the Elizabethan-rhyme paraphrase; recorded only, with no page line because this is MINOR. - [fixed] X12: Repaired FRAME.crystalNeverSrc with WNYC’s actual title and dates; covered by the same dated correction as X10. - [fixed] X13: Replaced the false 1877 cutoff with First Sounds’ playable restoration of a recording made on 9 April 1860; added the dated correction shared with X16. - [fixed] X14: Added the matching sounds after the last stressed vowel to the full-rhyme definition in HTML, data, published data mirror and README; no page line for this MINOR fix. - [open note:81816d] X15: NOT FIXED. Shared placard publication wording is deferred by triage to this existing board note, verified in coordination/tending.tsv. The data verifier is published, but the described browser driver is not linked or published there. The repair retains the MINOR verdict and leaves the shared generator and generated placard for the directing instance. - [fixed] X16: The same false recording cutoff as X13 is repaired and covered by that correction paragraph. - [fixed] X17: The same quotation-order error as X9 is repaired in every current copy and covered by that correction paragraph. - [fixed] X18: The same full-rhyme precision issue as X14 is repaired in both displayed descriptions and the README; no page line for this MINOR fix. - [fixed] X19: Rewrote this layer’s Incommensurable relation to describe the √2 proof in sonnet form; added the dated correction. - [dated] X20: Set JSON-LD dateModified to 2026-10-14. The dated Corrected paragraphs establish the revision date; the explicit metadata exception requires no Updated paragraph. - [fixed] X21: The same lines/loins quotation as X6 is repaired in all current copies and covered by that correction paragraph.