 Okay, so today we will be combining the rhyme books and the rhyme tables as a subtitle from Onset Chains, that's Shang Le, through a digital class, Shang Moon. Yeah, so that's the argument. We're going to move from the Shang Le to the Shang Moon. And using the terminology from the first class, we're going to use the rhyme tables as our imposers and the rhyme books as our transposers. And then just see what happens, right? I have to put here. Okay, so the first, you know, just, I think a little bit of repetition every day, you know, is good. So the rhyme books, the Che Yun from 61, the Kan Nu Bu Che Che Yun from 706, and then the Guan Yun from 1107 for 1108, right? And then the one I sent you that I'm asking you to translate a rhyme, sorry, a homophone group from this middle one, which is the oldest complete version. Okay, and then the information explicit in the rhyme books, the tone, the rhyme category in the homophone group, and then implicitly, we have the rhyme category using the rhyme chains, the onset chains, which are Shang Le that we're going to talk about today, and then the division, which I kind of talked about, yeah. But it's somehow like the ranks of the rhyme tables, yeah? Okay, and then the rhyme tables, the Yun Jing and the Che Yun Gre both published in 1161. Yeah, and then what information is in the tables, the rhyme category, the initial category, which we'll call Shang Lu, the rhyme, and whether or not it has a medial W, right? So like one thing I'll point out is whether or not something has a medial W is only available at information from the rhyme tables, not from the rhyme books. Okay, so let's make these two sources interact. Yeah, so we're going to impose rhyme table initials on the rhyme book onset spelling chains. So what do I mean by that? Well, first I want to straighten out some terminology because I think it's important, like in the same way I'm just distinguishing the ranks for the rhyme tables and divisions the rhyme books, I think I want to have terms, have various specific meanings for what we're doing, yeah? So onset chain is what is indicated by linked font chain onset status, right? So it's whatever that thing is that made Mr. Lu link the spelling to characters with the onset, right? And I think this is akin to just in terms of your intuition, akin to an alophon in early middle Chinese, but we shouldn't push that analogy too strongly because of course, the sources aren't using modern phonological theory. And then initial category, and then initial category is what is indicated as an initial by the rhyme tables. So that's, you know, when it said, this is a void biladial stop, yeah? I'm calling that an initial category. And that's akin to a phoneme in late middle Chinese, right, because there's several hundred years including the sources. And then I'm going to call an initial class and equivalence class of onset chains. But I mean, that's akin to phonemes in early middle Chinese which is to say that we said last time there's I think 51 onset chains and there's probably not 51 distinct onset phonologically in early middle Chinese. So we have to kind of gather these chains together somehow and those equivalence classes of initial chains are what I'm calling initial classes. And then in general, in Nathan's, you know, hybrid Chinese speak English, I use category for later sources and class for earlier sources that are indicating the same thing. So like rhyme category is what I say for middle Chinese and rhyme class is what I say for old Chinese. But here we're still in late middle Chinese and early middle Chinese. So we want to move, basically moving from the Shang late or the Shang move is moving from the onset chains to the initial classes using the initial categories. Is that terminology okay? Yeah, all right. So there are 36 initials according to the rhyme tables and these are they. So yeah, I don't know. That's kind of all I have to say there. So I'll point out that there's the F series which we're gonna get rid of. Okay, so the rhyme tables in fact, only have 23 columns like we saw this if you can open the rhyme table, it has 23 columns. So they say in the beginning, there are 36 initials but they only list 23 columns. So what's going on there? Well, they don't distinguish the label stops and the label of natural predicates in terms of we don't have, you know, the on a particular chart of a rhyme table, if you go to the table, it will just say labial and then it won't distinguish these on the label stops. These ones are like the negative predicates. And similarly, it doesn't distinguish the dental and rectified stops and it doesn't distinguish the dental and rectified symbols. Now, these things are all in component distribution according to their ranks. So that's why they're able to, you can see it as just a way of saving space on the chart, if you like, or you can see it as a phonemic math, whichever way you want. Okay. So, yeah, so this is, again, kind of familiarize you with the source or that we looked at a few days ago. So it's just like, think, okay, if you ask someone, you know, who wrote the yunjing, how many initials are there in Chinese? Maybe he'll say there are 36 or maybe he'll say there are 23. Both are valid answers given some complementary distributions, right? Where the 36 is a little bit more, probably phonetically precise and the 23 is more abstract. Okay. So now, we actually do what I've been promising to do, to move from an onset chain to an initial class. And we start by what we have, this character. So it is described as having the initial on chart one of the qin yu le, qi yin le, and is described as a voice rental, so money and then a tooth sound on chart one, the yun qing. So we're just collecting information about this character's initial, right? And then we look at its onset chain in the, in the chain here, okay? So this is its onset chain and there it is, yeah? So if we've convinced ourselves that this starts with a D, then we get the rest of these, right? And we get, just remember, these are all used as phonetic onset spellers. So we also get all of the hundreds of characters that use each of these as an onset speller, right? And then we say all those characters start with a D. And this is that process of, you know, the imposition is coming from the fact that this character is in the right tables and then the transposition is coming from the fact that these are all linked in phonetic onset speller chains in the chain. Is that okay? Any questions, yeah? Yeah, so are you using phonetic information of the rhyme table? The rhyme tables, yes. Through interpretative use change, change. Chains, exactly. And is there any mismatch? Because you said as well, it's labeled differently or do we know what she means with language? Yes, we will see some mismatches. But this is good for, I mean, I don't wanna say it's the only way to do it, but it's, you know, you in the rhyme books, all you have are equivalence classes and characters, right? You can say, oh, these characters are linked by their initial chains and these characters are linked by their rhyme chains, but you have no way of knowing how many of them are phonetics. So we have to pull in this explicit phonetic information from the description, maybe it's very real to me to write the machines where we're going. Yeah, we have to, it turns out that there is a difference. Okay, so there's a total of 13 cases where there's a one-to-one correspondence between a rhyme book onset chain and a rhyme table initial category, okay? So we saw one, which is why I chose it. In this case, you know, like if you look for things in the rhyme tables that start with D, they're all gonna get you to this chain in the rhyme books, yeah? So this is a simple case. And then we can say, you know, grosso modo, a D in early Middle Chinese, is a D in late Middle Chinese and D in the words in early Middle Chinese that started with D, I mean, these words and all of those that feed it. Okay, and we can do that with thuh, with duh, now with thuh, thuh, with duh, with nuh, with duh, with nuh, with so, so, and with ruh from nye. Okay, now I'm already sort of, you know, pulling that card up from my sleeve, but so this is recognized as a separate initial in late Middle Chinese in the rhyme tables, but we can decide that it's a nye in the early Middle Chinese and maybe I'll leave that actually at a homework time. But how to do it will be completely clear, yeah? Okay, so now I'm gonna choose a slightly more complicated case, right? So we had, let's just go back to this one. I said, we have, I think he said, we had 51 shang le, so 13 of them we've just dealt with, yeah? But what about all the other ones, whatever, 51 minus 13, yeah? So we're gonna look at a more tricky one now, which is, let's say, L phenomena, yeah? So the character lye, the character lye, the character lye, the character lye, so the character lye is the name of an initial class in the qing yin rui, yeah? So it's, because they use this acrophonic way of writing, so it's actually, you know, this character is the word for L in the qing yin rui and it's described as an initial liquid resonant in the qing yin rui on chapter 13. So we're going to say, this is an L and we will look at what it's connected to to find other Ls, okay? So if you've already seen this one, this is the shang lye in which lye participates. So great, so we know that this shang lye, all of these characters and all of the characters that they serve as initial spellers for start with an L. But that's not everything because the reading of this character is described as an initial liquid resonant on charts 23 of the yin jing and as lye as L on chart 23 of the qing yin rui and it, you see, is not in this chain, yeah? So what do we do? Well, let's put its chain on there, yeah? So we have now two chains that we think, let's say, are in the running for L, yeah? Now, the reading of this character is described as an initial liquid resonant on chart 23 of the yin jing and as lye on chart 23 of the qing yin rui and there it is, yeah? So we have now three chains that are all L, yeah? So now the question is, did early Middle Chinese have three kinds of L or not, yeah? And, all right, so that's just me now making them all the same size and color. So those are our three chains. So, yeah, so here's basically summarizing what we've just learned, which is if we look at the relationship between the line cables and the line books, we have what the table says in L, this is L, but in the line books, we have these three disjunct sets of characters. So just as maybe keeping track of the information or as a provisional hypothesis that we can say we have three kinds of L. But do we really have three kinds of L? So I think there are three options in terms of how we analyze the situation like that. We can say it's a meaningless textual artifact, right? It's like, well, you know, he happened not to, has ever used, you know, like, I mean, you understand, right? Let me just go back to the line. If Mr. Liu had had 15 more minutes, maybe he would have named a character he would have added another character in the book that had an element that somehow leaked these two. That's the sort of, well, it's just a fill a lot of artifact. Maybe they're distinct out of all of the single funny, and maybe we have like a clear L and a dark L, something like that. And then you would have some reason to think, oh yeah, there's a reason why these L, these shumlite are not leaked. And then you would expect sort of things like maybe they come with four different values. And a third option is that maybe we had actually the same funny. We had like L and, you know, L or something. And that was merged by the time of the Ryan pages. And in general, I think these three options are available whenever we have more than one shumlite for every shumlite in the Ryan pages. So we want to figure out which one is it, you need to case, right? So this is where Chunli comes to the rescue. And this is a portrait of Chunli. It's from a very nice YouTube video. It kind of explains what I'm explaining today by this guy named Josh, I think, who has a YouTube channel called Native Land. So anyhow, I just thought since I had this portrait of Chunli, I would share it with you. So he wrote a book called the Cheng Yun Tao, not a very creative name for books, but it does what it says on a tannic now. And he wrote it in 1842. So actually, we've already seen his work. He's the first one to really follow these onset and Ryan stellar chains in the original, right? So he went and did all this, you know, what we can do now with Gefi and the spreadsheet, which he did in a very meticulous way back in 1842. So let's see what his principle are for deciding whether to unite Chunli or not. Yeah, so he has three principles. I don't think I'll go over all three right now, but you will see all three, of course, today or tomorrow. So I'll just read this is principle one, but onset stellar and the character that it glosses share the same initial. So therefore the use of the self same onset seller, the mutual use of onset sellers, or complimentary use of onset sellers, indicate the same initial class. So let's just look at those cases. This is the self same onset seller, right? And we've actually already been using this principle without, you know, declaring the principle, this character and this character both use this character as their onset spell. So we're presuming that they have the same initial. So that's the, that's the self same onset. And then this is the mutual onset seller, right? So if this one uses this one and this one uses this one, they say they're the same, they have the same onset. Now the complimentary one, there's no easy way for me to represent one in a diagram. But like, well, I mean, it would be like this, right? But these are only complimentary if they're complimentary with respect to something else, like rhyme classes, for instance. So, so, yeah, so I'm not demonstrating with a simple graph what complimentary means, but I don't see how I would do it. If you have, you know, inspiration as to what a good visual representation of two complimentary onset chains would be looking at. Okay, so now let's look at, so now we've got this first principle. Now let's see how he actually discusses L. So this is it. So just, you know, just read it for a few seconds. Okay. Who wants to translate? Okay. So I have translated and I try to format it in a way that sort of makes it easier to read. I hope it works for you. I'm not sure. So he says 15 characters and gives characters belong to the same although this set does not connect with this other set and a third set connects with neither of those two sets. All of these characters are actually in the same class. So just to look back at our picture. He's saying, yeah, yeah. I acknowledge there are three sets that we have reason to all but I think they're all the same sound as what he says. So why does he think so that's his kind of thesis. And now it becomes the evidence. So because these two characters are mutually used and these other two characters are usually used. These three pairs cannot connect with each other. Now, um, that's, this is, this is the thing he's talking about. Here we have a loop. That's the way to think about it. Congrats, dear me, right? So here we have a loop, here we have a loop, and here we have a loop, which means these three chains can't connect. Now, just I don't know. Yeah, exactly. And then they're like a man with a connected like a man. Then you couldn't have a look here. And all ended up over there. So I think it's quite interesting. I sort of think if I had the time in the nature, I would look into it in terms of intellectual history, because this is a graph theory point. Right. It's not just like a graph that's like the theorem of mathematics that's generally has put forward here. So, you know, maybe he's an unrecognized, you know, pioneer in graph theory. And I think that is exciting. Right. And I also think it's a great, great point, right? Like, it's going to allow yourself a loop. Then you're going to have disjointed chains. You don't need it. Just because there are loops, you can join together. It's just a kind of point, right? That like, if we didn't have loops, we would have a much stronger base for keeping them separate. That's maybe the right way to put it. Okay. So now he also says, we're going to find, and then back to the point is a quote, right? This is a quote from the chain. As one finds, London is the new class. Oh, boom. Under this Ryan pattern, which is the, that's where you're here. The Ryan pepper is something as the name of the chapter in the chain, right? So he's saying, as you find this quote in this chapter. Now we actually have to pay attention to them. In this one, we see June, which is like, like plus two. Also has the reading moon, which is like less. Right. So as you saw, alternate readings of characters are mentioned. In principle in both places. Right. So we look at June. And then it tells us. Oh, it's either red, June, or this red is long, right? Well, but now we get two, two ways of spelling long. One is late plus phone. And one is blue plus phone. Right. And then under this crime. That's where this quote comes from. So the results is that this spelling. Is equivalent to this. So now he's managed to connect these things, even though they aren't connected to find a, onset spellers instead. They're connected through what we call. So. What's. Yeah. It's almost every slide. Last few days, but it gets back. Yeah. So I'll just write it. Yeah. Okay. So that means also read. Right. Also read. So he uses these. He uses these annotations of alternate readings of characters to, if you like, sort of discover. New fun shape onset stuff. One of the reasons. Second reading. Already. The other function. Because these are. It's one kind of. Why don't you. Wait, wait, wait, wait. So let's just see. So the question is. So what's the problem here? This is the same character. Right. So. So here we, we would have expected him to give another one. Yes. For this reading. Which he didn't do. And then you say, well, he didn't do it. Yeah. But when he gave this reading. He mentioned. That there was this reading. So, so I bet that. So this one's probably the more common reading. Because. Because, because if you're giving a less common reading, you would mention the more common. Right. That's my guess. But, but you know, Mr. Lou. It wasn't machine. Right. It wasn't. So anyways, but notice that it's the. Yeah. The other thing you could ask yourself, which is why didn't he use this function here? Because that would be, you know, that would be like if I was editor, I would have said, look, if you use this function. In the main entry for that reading, you should use the same plan chair. When you. Mention it somewhere else, right? That would be sort of good. Practice. As an academic. Yeah. But I think that suggests he was like making them up as he was going on. No, I mean, probably not in some cases. We're checking. But, you know, you know, we're making you to the store. In the 10th, like it would have been also nice if there were no loops, right? They're like, it would have been nice if he had just used the same onset spell for every one set. Right. But Mr. Lou was not. His goals were different than our goals. Yeah. And in this game, it's going to use a little inconsistent because that inconsistency is what allows us to, to put in these new connections. Yeah. So, really magic. I mean, it's just another fun chair. That makes the connection. No. No, it's not another fun chair. That's the point. So. So, so this has a lot of, you know, and these had fun kids. But like, if we look up this character. And make a fun to change. We'll never get to this character. Right. So it gives us an operation. Which we can call the young operation. Yeah. And here I represented with a different color. Yeah. Yeah. So. Blue arrows. The blue characters with fun chair. There's only one chair. Yeah. So, so being. So the blue link means. This character. Has. As it's fun to answer the seller. Yeah. Now I'm only just to save space and make it look clear. And you save myself a lot of time. I'm only putting. Characters. Up. That are in fact used as. On set. Right. So there's like a hundred of other characters. They will point to this one. And a hundred of other characters that will point to this one. But we're not interested in those because they don't give us any information. Right. It's only the sellers. And the cells. So if I, you know, if I look at this character, I get to this one. If I look at this one, I get to this one. I look at this one. I get back this. Yeah. That's how we. It's not that rare. One character occurs in different sections. Right. Right. Correct. Yeah. So that's what we're doing. Yeah. But just to say, I mean, it's not rocket science. But. But it needs to happen. Right. Yeah. Okay. So, um, so, so now, uh, I think it's orange, right? So now I've introduced the orange, uh, arrows, which means, uh, can be linked through this young operation. So now we have linked these two. Uh, and we can, uh, we can maybe say that they, they were not the three kinds of bells in, uh, early middle Chinese at maximum, as far as this presentation is gone. So I think we can say two kinds of adults. Question was, uh, Chun Li, uh, consciously, um, using old, the, uh, middle Chinese. Was he trying to figure out, uh, how it was pronounced? Is he going by some sense of how it was pronounced in the tongue dynasty? Where is he using his own, uh, pronunciation knowing that the is, uh, you know, with the same L as Lou or something? Um, the, like, I think the best way to think of it is he was using the, the union like, like we are, right? Like of course he knew Chinese and many of you do. And you can just see it if all these servers don't tell, right? Um, but we're trying to be, you know, uh, exact, right? So, uh, it's better to use a source from the 12th century than to use a source from the 19th century, like his own knowledge of Chinese or a source from the 21st century, which would be our own knowledge in Chinese. Uh, so, so, so I think it's best to understand him as doing exactly what we're doing here. Um, and of course he still didn't, uh, use IPA or anything like that or, or any kind of romanization. So what he was interested in is the kind of structural relationship between the rhyme tables and the rhyme books. And until this time, people had just kind of assumed that the 36 initials of the rhyme tables were the same as the, uh, implicitly given, uh, initials of the rhyme books. And then he said, you know, for soon, is to make an ass of you and me. Um, that's how he spells. Okay. Nevermind. That was something that, you know, my school teachers all said to me. So I thought he would never, but, uh, but so he was a good empiricist and wanted to check. Is it true that, uh, that the phonology, if you like, of the tables is the same as the phonology of the books. And this is how it went about checking that. And then he discovered that they are not. And so far, actually, we're discovering that they are, but I think that I'm saving the surprises to the end, right? Um, but I think this, this, and then basically I, I showed the case of D where it's dead easy. And then I'm showing this case of, uh, of L where it's not dead easy where you need to use these yo-yin, right? But it's still as you were saying, it's not rocket science. Uh, okay. So, uh, yeah. So this is just further. Yeah. Basically what I'm doing is putting these graphs in the middle of this long quote from him. So we can just see what he's talking about, right? So he continues, uh, one, our one point is, uh, they, uh, under the rhyme category A and win, uh, or lay under the rhyme category in, uh, uh, so one, yeah, one finds both of those things. So the result of lit plus K legs is equivalent to that. Long plus K leg. Right. Therefore the three characters, this one is one of this one, belong to the same initial class. So basically giving us another yo-yin. Uh, and then I put that one in there as well. And then we're going to be responsible with this character as three readings. Yeah. Oh, but then, uh, the writing book for this episode. Yeah. Like not only the rhymes, but also the addition. So, uh, yes, that can happen. Yeah. Yeah. In theory. Yeah, but, but, but that's not, but that wouldn't matter. Right. Because we're not using like in this case, we're not using the fact that we have the same initial. We're not using that. What we're using is this, the under this reading says, oh, there's another. Yeah. Which, and this reading appears twice with two different projects. So what we're using, you're assuming that. Uh, Second reading. Is the same as for the second reading. Correct. We're assuming we're assuming reading C is the same as reading A. And maybe it isn't, which is, which is exactly why I need to, you know, Uh, Have a different color here, right? Because, because in that case, what I'm assuming is that if this one is used to spell initial, this one, then they have the same. Uh, they have the same initial. I think that is a very weak assumption. Whereas in this one, I'm assuming that if something occurred twice. And in one of those two places that said they're reading, the other reading is the one that occurs in the other place, which is a stronger or something. Yeah. And like, I mean, and, but I think this is sort of, I don't know, in some ways, the, the, the point is forced, right? St. Augustine. That's what I'm saying. Like, yeah, if you don't, if you feel reluctant to make this kind of ethical commitment to be like, well, that's fine. Then you just get a, you know, you know, you know, you know, you know, you know, you know, you know, you know, you know, you know, you know, you know, you know, that's fine. Then you just get a, a different middle Chinese than China you've got in yours will have more liels. Yeah. Okay. So, so we did that slide already, and then we did this one with mine. Right? Yeah. Yeah. Yeah. So, so, so these are all, oh, and then both gosh. Yeah, it was, I will, not remember that. No, because it's, yeah, right? Oh, that's it. Yeah, yeah, yeah. So it's, yeah, yeah, I was mixing at the beginning and yeah, because they're quite similar and mean by something. Yeah. So, so these are, you know, so, so now we've done it without, right? We, which is to say, what have we done? We've gotten the initial category of the rhyme tables to match the, a equivalence class of Shang-Lei, and this is a three Shang-Lei, and we equivalence them. That's not a good word, but you know, yeah, I don't, we've made them equivalents, yeah, using this Yo-Yin operation. I mean, and the, the, the mathematical operator in terms of set there is modular, right? These, these three Shang-Lei are equivalent modular Yo, the Yo-Yin operation. So, I mean, that's how I mean, I was for a short period of time an undergraduate math major, so I'm always sort of tempted to sort of think it's clearer to talk in that way, yeah. But, man, you can do that here, yeah. Okay, so that's basically, you know, we've come a certain distance together, and now I'm going to start looking at, because so far the D example and the L example, we've said these are the same, right? They're the same in early middle trains and late in the trains. So now let's look at some differences. Okay, so the Laguamentals. So the practice to the Yo-Yin, as I mentioned, lists the Laguamentals, but not the volume effects. So that's already sort of, no, if the, if the Lagos and the Laguamentals were really different, then they probably wouldn't have put them under the same header in the Ryan case, yeah. So, and then if we look at, you know, just other sources, earlier sources, Laguamentals are not listed in the fragments from the long attributed to the 9th century Buddhist monk, Shouwen, and he lists the initials, right? So, so, so basically this fragment of his is analogous to the 36th initials of the Yo-Yin, but he doesn't list the Laguamentals. So that's, you know, so the purposes of our time together this afternoon, I think there's already enough information to say the Laguamentals are late, yeah. But properly speaking, if we are going to accept the first point, then we need to prove that the dental and the records are stopped, exactly, right? Because because the Yun Jing also doesn't distinguish in its recent page between the dentals and the record flexes. So in order to prove to ourselves that those are distinct in early Middle Chinese, I would have to show that their Shang-Lei don't have any Yo-Yin for instance, yeah. But when I can't do that yet, I can't allow myself that because we haven't talked about the ranks and actually I'm just going to draw that there. Like, it's not very interesting to say, oh, some of the p is king and s, yeah. I also think that what you could do is you could find Shang-Lei, Lin, p, and s, except you can't do that because they're not the same way in the Yun Jing. Yeah, so it turns out to be a little bit trickier than you want. But look, you know, there were no x in early Middle Chinese. I hope I convinced you of that. If not, that's your problem. But that's considered, one reason I'm touching on it, is that's considered one of the things that Shang-Lei did was figure out that there were no labor dentals. But what is really thankful is separating these, separating the the reperplexed applicants from the parallel applicants. That's his great contribution to science. Maybe he also discovers something by graph theory. So let's look at that. Okay, so here are two chains of characters that the rhyme tables classify as initial, right? So there they are. And we have two of them. So I'll just tell you there are no yogis that will lead them. Yeah. So now the question is, this is the third principle. Are they complementary distribution with respect? Because if they're not, he would say, you know, even though they're probably, you know, it's just a random artifact of the document. So we want to find some linguistic explanation for why they are. I feel like I'm about to lose you. So I'm going to do this, you know, very slowly. What would we need to do to say that these actually represent the same? What we would need to do is show that they are in complementary distribution with respect to something. So what we're going to do right now is they're mirror image of that. We're going to say, these really do represent two different potentials, which means that they aren't in complementary distribution with each other with respect to anything. Yeah, that's what we have to do. So what I've done here is I just put their rhyme categories next to it. And what is, this is the one, like, this is the chapter that you find this paragraph in the shape. So it's the rhyme category of that paragraph. Okay. And then here I have written them in Roman, but then it'll be a bit of you who, you know, like Roman. Okay. So let's look at the rhyme sellers for leaps to these onset genes. So three rhymes are shared by both. You see that? Here is young. And here is young. Here is young. And here is young. Which is to say, they're not in, these two chains are not in complementary distribution with respect to the rhymes. So that means there are minimal pairs, which means they have to be different initials. Yeah. Oh, yeah. I mean, it's just this is, because maybe easier for you to see, right? So I put in gray the one, the characters that aren't relevant to the current Sutton, but these ones where I've left the readings, so we have it here and it here. That means these two are, you know, a minimal pair. And then we have young here and young here. That means all two are minimal pairs. So we have no pairs that distinguish these two initials. That means these two are different. Okay. And I just make it a little bit easier to see still. Okay. Now you say fine, Mason, but your romanizations, you've gotten from the chain, right? So like, this is entirely circular. Yeah. So what I need to show actually is that you can't link them that right. No. And now let's just see what happens. Okay. So these are the characters whose rhymes where, yes, so we want to show that we can link them. Yes, exactly. We want to show that we can't leave them because if we can leave them, that means they're minimal pairs. And if we can't leave them, that means they're in complementary distribution, right? With respect to rhymes, right? If they have distinct initials that mean those initials occur in the same rhymes, which means we should be able to link these characters through their rhyme onset chains. Okay. Are you with me? This is a certain thing. It would be nice if everyone said, yes, I'm bored out of my mind. Yeah. Okay. So I'll just maybe at the risk of repeating, right? So we have sort of around here, right? We just noticed that we, here's one Chun-Li and here's another Chun-Li. And then we said, well, are these Chun-Li in complement for distribution with respect to their rhyme passwords? And we said, no, they're not. We have minimal pairs and these are the kind of minimal pairs, right? So this one's with this one and this one's with this one. And either of these are, they form minimal pairs. But then I said, but I just hold these rhymes out of nowhere, right? As romanizations. So you say, no, no, no, no, no. Prove to me that these are really the things in this book. So what I've done here is I have looked up the rhyme, right? Which is basically that. Just taken the small character and the big character, right? But now we're seeing whether this character can be, what can it be linked to in its rhyme stellar Chun-Li. And so far, we haven't done it, which is that we haven't linked there, these two onset chains using the rhyme chains of the onset value that made up the, on the chains. If you haven't, so you're looking for the rhyme category that has Yes, exactly. So basically, I'm saying, I'm saying, let's say this one and this one, I'm saying I'm in the pairs. But so, but now I can prove that they're in the pair. And the only way for me to prove that they're in the pair is to prove that the rhyme chain in the chain for this one links to the rhyme chain for this one. Yeah. Okay. So this is step one, we look up these characters, which we already done. Then we look up the rhyme spellers of those characters and we've done yeah. So this one links to this one. And actually, we have not managed to link this one with either of these ones yet. Yeah. But who cares? Because to show them two things are phonemically the same, you only need one then go back. Okay. And, and, you know, if I went further and, and, you know, I don't know. Well, no, there's loops, actually. So we know these two aren't running next. Yeah. But, you know, maybe there's some yogi in there. We're not dealing with the font right now. We're talking about interest. Yeah. But in the case I have now proven that these two Well, let's go back to here. Where was it? I've now proven that in fact, you can distinguish the reference like advocates from the palatable advocates. Yeah. So that's the the achievement of Chunli. So Chunli is three principles. If this is pretty good. If the rhyme spellers of two fondling glasses belong to the same chain, then the onset spellers of these of these same two losses month belong to different initial classes. I think maybe this is a Yeah, that's what we were trying to show. Right. So if, let's just agree again, if two rhyme spellers of two fondling glasses belong to the same chain, then the onset spellers of these same two must belong to different initial chains. The rhyme spellers. Yeah. So if the rhyme spellers belong to the same chain, then the onset spellers most belong to different chain. It's, it is what we just proved. Right. But okay. Where it's just where it's like walking in in treacle. Yeah. But, but, but basically what he's saying is it's like, if I want to show that, like, it's a mirror image kind of what we're doing. I want to show that these two are the same rhyme. Then they have to have different initiatives. So now more homework. So assignment one, translate the passage in the chain, the chain now where Chumlee sort of announces his discovery, where he says, yeah, I did it. I separated the record thanks after it's from the record from the pilot on the model of the translation that I have in slides of L. Yeah. Now, the reason I've decided this is because I haven't been able to find it yet. So I'm hoping that some of you, you know, find it easier to look at classical Chinese than I do and just pop out of it. But I, I looked and I find it hard to find. But, but I feel like it's a little like I feel kind of guilty, you know, trumpeting this great man's achievement is if I can't find in the book where he actually says, that's it, I did it. Yeah. The clauses are in the rhyme, there's a little strength as reference. Yeah, they're called, they're called, they're called like, was it something about the tongue and your palate? Yeah, I mean, how did he decide which of which or, oh, I'll show you how you can just solve them this time and this time, we can, this is one character that occurs in this one, and this is one character that occurs in this one. So he used that aphrophonic principle. He, he wasn't necessarily saying anything about the phonetics. Yeah. Well, at this point, we had very much one correct. Yeah. Yeah. Some people, yeah. Yeah. You're telling me, yeah, at this point, what we, what we've really done is shown that, let's say, I'm just, I was trying to make the contrast with L, right? So we sort of said, with the L, are there three L? No, there aren't three L. Yeah. But with the retroflex, we'd say, are there two retroflexes? And then we'd say, yeah, there are two retroflexes, but two retroflex activists. So we have sort of, you know, retroflex aggregate A and retroflex aggregate B. Now, I will say that retroflex aggregate B only occurs in the type B symbol. And that's a, that's a, you know, that's like a sort of front B environment. Although actually the main piece of evidence that I gave for that originally was that the paladials occur in that environment. And now I'm trying to argue that there are paladials, right? So, okay, but look, this is what doing times the storm of knowledge is like, yeah. So, yeah, so I think the challenge is to, is not to be a skeptic, but rather to terribly keep track of what you could be skeptical of, which, as you're seeing, you know, might be, is quite a challenge actually, yeah, because it all interacts. Okay. And then the other assignments, if you want, maybe it should be easier. Maybe not. Think about the same. Is identifying, frankly, the discussion of an initial class where Tony relies on the third principle. Okay, so what's the third principle? Well, we saw it before, but I'll just remind you of it. It's onset spellers linked in a chain, belong to the same initial class, but they are, but there are also those that actually belong to the same initial class, but cannot be linked. In that case, their onset spellers are used mutually. Okay, so what would that mean? That would be a case that is neither like the L, nor like the retrospective. What do I mean by that? In the case of the L, we were able to link them using the yo-yin. Yeah, and in the case of the retroflexed advocates, we were able to decide that it was impossible to link them because we could link them through their line chains. Right? So what we're looking for in this case is a, is some distinct chen-le in the chain that cannot be linked through their yo-yin and also cannot be linked through their line chains. Yeah, cannot be linked through the yo-yin, cannot be separated through the fact that their line chains link. Yeah, that's what we're looking for. And this would be a good, this would be a good evidence of like an elephant, right? Or either an elephant if you see it, you know, one only occurs before high-flying vowels and the other one for back vowels, or the genuine textual artifact. Like just, it's meaningless knowledge that they can't be linked and that none of the characters have yo-yin that would link them because you could also have yo-yin that don't provide good information, right? Anyhow, that's the homework. Maybe it's, you know, of these two assignments, which one is more ambitious? Probably this one because I haven't told you which initials to look for, right? Okay, so those are your assignments, but I would say, you know, calibrate which assignment you do to how ambitious you feel. Now we remind ourselves, these are the 36 initials of the rhyme take. So, now what do we have? Now we have the initials of early Middle Chinese, so what have we done? Well, we've thrown out the later ventriles, but we've thrown in on that. And, yeah, a little bit, I just, you know, waved my hands at that, but I did say, you know, we found an earlier source that listed all the initials and it didn't happen. And that might be a good place to look for assignment three because basically we want to show that this is an aliphon of the, that is an aliphon of a tree. That would be, yeah, we can't do it because they're not distinguished in the rhyme thing. Yeah, okay, that's in the rhyme books. Yeah, did you have a question? What are these aliphons supposed to be? But what is real? What's your problem? Don't you, don't you, haven't you seen a language with a hug before? Okay, hey, what about for the aftercare pen? What is it? Oh, well, for the M, so that's how I decided to write it, but if you wanted it in IPA, there is something. I think it's like, like, like this at the moment. There's like a label dental nasal. Yeah. But I decided I don't want to write this because it's an IPA book. So I wanted to say kind of, kind of being like M. So I wrote it and that's, that's, you know, and mostly that's great. The aspirated F is, well, it's an F. It's aspirated. I mean, what do you want? So okay, so what do people say about these things? One way to understand it is by the time the rhyme tables have been written, both of these had become S. But they were using a document that, or they were trying to explicate a document that very clearly distinguished a, you know, an aspirated and an aspirated version of that. So you can see it as kind of what happens when a 12th century author is trying to explicate a 7th century text. Yeah, that's one possibility. Those are the ones that we, we just, that's what I just kind of, like, I don't know what we're doing. Yeah, okay. So there's a new one on the right-hand side. There's a new one coming, and the, the new one has just moved. Yeah, it was here, and then it moved up there. So I don't think, no, it really came out. Yeah, exactly. Well, this is, well, like, how, I mean, like, I don't know what to talk about rhyme tables and rhyme books or to talk about, you know, reality, but like, what is this character? So, oh, I'm maybe running it incorrectly. What is this character? You know, yeah, yeah, yeah, what, okay, now, now, I mean, I'm not writing that incorrectly, right? Well, so what is it? Yeah, but what is it? Like, how is it pronounced? In, yeah. So let's say the land of the rising sun. And what is this in Japanese? Yeah. Okay, so now how do you feel about nerves training into rough? Yeah, but that's much nicer. Okay. I don't, I mean, like, I don't think it'd be better about whatever this is, like, like an upside down lowercase r or the tail or something. Cool. Is that, I mean, is that right? You know something like that? Yeah, it's something like that, right? So, these are randomized retroflex. If you see the other pellicles moving to retroflex, then that's what's moving to retroflex. Yeah, so if we want, and then this one, this, right? No, no, it's, oh, I never, like, I'm too indelogical set in my weight. What's the, yeah, it's, yeah, yeah, it's, yeah, that's, like that. Yeah. Okay. So this is the idea that this changes into this. Well, I don't know if this, like, you know, I don't have any intuitions about these things. This seems like a totally natural sound change to me because I know what happened in Chinese, right? The other pellicles will become retroflex. Yes, the other pellicles will also become retroflex. And we only see what you do is, well, you have to de-move, like, manage and change your nasal retroflex to another kind of retroflex. Yeah, so what we've seen happening, if you like, is that the pellicles join the retroflex, right? But then this one doesn't have, doesn't have a, well, yeah. So it kind of, if you like, it just moved into that slot. Yeah. But that's not how the right tables and the right tables and together with L as a resume. So anyhow, now you feel okay about these new things. Yeah. And then this is also new. I think, yeah. So where's the, is there a young here? We're giving the youngs here. No. But it's, it's the, the, the, the, the light, you know, like in Sanctuary to Ben actually, the kind of beauty of the output in order to break down between those and how, right? Yeah. So we have, we have the young and we have the gamma. So this is the, and the young we have in the Ryan tables. But then in the same move where we get to the, where we get the, the, the pellicles separated from the retroflexes, we can also separate how this pallet or this, this, you know, this pallet or voice feel effective. Yeah. That would also be, if some of you, you know, feel like I haven't assigned enough homework yet, looking at how Chun-Li actually separates this side out would also be interesting. But this is sort of where, I mean, I don't know, where it's kind of, it's sort of what I hate about my own process of learning Chinese historical technology is that, is that we, you know, in this case, it's like there was a split and then a merger. So it feels like sort of just a distraction to look at like, oh, you know, we had, we had, well, originally we had, this is what I started the class with, right? Originally, originally we would have had something like G and this and then this one changing to this and then that became sometimes this and well, no, it became always that. Yeah. And then this one split where it became this and this. So, so that's, like, that's what's going on with this, with this one, which is why I started the class. Yeah. So if you, if you don't remember it, then, you know, I'll share the video somewhere. But that, that is also one of the shun ways. Yeah. So, so if you'd like, what are the achievements of Chun-Li, they are generated the, the labor dentals, discovering the valuables and finding out that there's this, there's this thing, which is, you know, sort of somehow, yeah, and somehow, yeah, that can be isolated from, from both the end of it. I think that's the end.