Poesy Ogdoad Continued

The primary group of gutteral sounds are now classified under Pawn.
The secondary group of sustained tongue-muscle sounds are classified under Queen, the tsks and clucks (interrupted tongue sounds) under Knight.
The tertiary group of sustained lip-sounds are classified under Castle, the interrupted “lippy pops” classified under King.
The quaternary group of sibilants are classified under Bishop.

Continuing from this post. The diacritics begin from one o’ clock and end at twelve. Twelve, three, six, and nine on the clock face become reference lines for the next “hour”, so one, four, seven, and ten are wedges to show how they follow up on those reference lines. Two, five, eight, and eleven stand alone as strokes because they are neither reference lines themselves nor can they be supported by a reference line.

The diacritics can be stacked to combine sounds under a single classification, such as G being a combination of Pawn’s K and H.


Although I had to find a way that they wouldn’t appear too similar without the circumference of a clock to give it some context.

So, I decided to turn the indicator for ten upside-down from what’s shown below.


Seven through twelve are beginning to look a bit like Japanese, which actually doesn’t go all that well aesthetically with the symbols that they’re modifying.

The more or less final…whichever the following is.

Two Bishops are missing their diacritics because I wondered if Z and S are less a progression of resonance from the aft to the fore, and more vocalization versus breath: compare the French J with a Stateside J, which in turn (the latter) might just be D plus Sh.

As I’ve established, doing away with the Knight, D is L combined with N. Vocalized J (or “Tch” for that matter) would then be “L-N-Sh” and maybe the Knight can indicate that a Bishop variant is vocalized so that Knight and Bishop go together like the letters of Q and U in English.

Edit to add:

The Bishop group goes (beginning from the 7th, swapping around J and Sh) Z, S, J, Sh, V, F. To me that’s a movement of sound resonance from aft to fore, also alternating between vocalized and air-pressurized. Z is the same position as S, but Z has voice added. J is produced by the same positions as Sh, but J has voice added. V is the same position as F, but V has voice added. So, the Bishop group would really have only three sounds, but the Knight symbol preceding the Bishop would indicate either a Z, J, or V.

I’d also have the Knight precede the B in the King’s group. The King alone in scripted Ogdoad would indicate a P.

When the Knight precedes “L-N” (same as D) it turns that into a T.

I don’t like how J can then be written both as “L-N-Sh” and “(Knight)-Sh” because I want to keep these as phonetically simple as possible, unlike modern English where there’s a C that can be both an S and a K, and X and Q for similar or the same sounds.

Although I don’t know where “Tch” or “Ch” fits in. “(Knight)-L-N-Sh” or Tsh? Maybe J can be “L-N-Sh” whereas Ch can be “(Knight)-Sh”.

So the Knight itself is silent, but it does cue a forcefulness behind the successive sound-symbol.


I would still want Ch to have its own symbol, because in something like English it makes the difference between telling someone, “You have to choose!” and “You have two shoes!”