Back in December, linguistics grad student Gretchen McCulloch analyzed joke variants on Benedict Cumberbatch's name to see what the underlying patterns are. She gave more statistical detail in a post on her blog.
Interesting and fun discussion, but I found it odd (in the Toast article) that it took her a couple of iterations to come up with initial-syllable stress as a factor; that part seemed obvious to me. But maybe she was guiding readers through a process of figuring it out, rather than describing the actual process she went through.
I also would've liked to've seen some further discussion about whether secondary stress on the final syllable of each word is relevant, but secondary stress is tricky and might've been too much of a digression.
...I also found it interesting that some of the specific examples don't work for me; in particular, I would never have guessed that “Bombadil Rivendell” was a Cumberbatch variation. (At first I thought she was saying it was a non-valid example, but then she says it came from the generator.) I think my own personal rules for what sounds like a variant of his name are stricter than the ones implied by the name generator. Another example: “Beetlejuice Animorph” doesn't sound to me like a joke on “Benedict Cumberbatch” except in the context of discussing Cumberbatchian names.
And I think she may not go far enough in some directions. The PronunciationManual joke pronunciation video for Benedict Cumberbatch opts for “Bucket Crunderdunder,” which isn't a perfect variation but is a funny one. And I think if someone said “I'm a big fan of that actor Bucket Crunderdunder,” I would know who they were talking about. Though in large part that's because (as McCulloch mentions) if one of the names is really obvious, the other one doesn't have to be. In other words, the “Bucket” part is almost useless, but “Crunderdunder” carries the variation almost on its own.
(I think The Cumberbatch Variations would be a good Fake Ludlum Title.)
I'd also have liked to see her try to construct new variations to test her hypotheses. For example, we could start with a pair of three-syllable words with initial stress, like “Higgledy Piggledy,” and see whether transforming them in accordance with her rules produces a valid variation:
Ends in consonant: Higgledip Piggledip.
Begins with B and/or hard C sounds: Biggledip Kiggledip.
Second word ends in preferred consonant: Biggledip Kiggledish.
She said that a good variant should have at least three of the listed factors. I think this one probably works: “I'm a big fan of that actor Biggledip Kiggledish.” Probably close enough. I'll go on to add her other rules:
N or M between first two syllables: Bimmeldip Kinneldish.
Has æ in final syllable: Bimmeldip Kinneldash.
Yep, Bimmeldip Kinneldash is definitely a valid variation. (For best results, I would tweak it a bit to Bunnydip Kenneldash.) But that's also because using all five of her rules transforms any pair of dactylic words into being awfully close to the original name. So I think that part of what's going on with those rules is that they demonstrate the allowable variations for certain phonemes to “sound like” certain other phonemes to English speakers. Nasals sound similar, sibilants sound similar, etc. So if you take a word and replace the sounds in it with other ones that sound similar, then you'll get a word that sounds similar to the original.
To be clear: I'm not trying to disparage her rules! I think they're neat, and it's a good analysis, and the at-least-three part is especially interesting to me. I certainly would never have figured out most of this. So I don't intend this post as criticism; just exploring the ideas.
