ELEMENTARY PHONETICS. 
 
 j^^PROP?^^ 
 
 ^OLSEpabu^ 
 
t<\^' 
 
1 
 
 A MANUAL 
 
 — OF 
 
 Elementary Phonetics 
 
 BY 
 
 A. W. BURT. 
 
 TORONTO: 
 THE COPP, CLARK COMrANV, LFMITED. 
 
 1898. 
 
Entered aoconling to Act of the Parliament of Canada, in the year one thousand 
 ei),'ht hundred and ninety-eijrht, hy Tmk Coit, Clark Company, Limited, Toronto, 
 Ontario, in the Office of the Minister of Agriculture. 
 
PREFACE. 
 
 The fact that this book deals with a subject new to many of our 
 schools makes it advisable, perhaps, to give a reason for its appear- 
 ance. I had gained much benefit as a student of niodei'n foreign 
 languages from reading the works of Messrs. P. Passy and W. 
 Victor on French and German phonetics, and from articles in Le 
 Maitre Phoiie'tiqne, the organ of the International Association of 
 Phoneticians, a magazine edited by Mr. Passy. The knowledge I 
 had acquired, I used first in teaching French, and German ; then, 
 moved by a statement of Professor Sweet, to the effect that the 
 correction of errors in the pronunciation of one's own language 
 may be greatly facilitated by a knowledge of the laws of sound 
 production, I extended the scope of my employment of phonetics 
 to my reading classes, hoping to find it a means of correcting those 
 coarsenesses of speech that result from failure to properly articulate 
 the elementary sounds of words. While thus making use of the 
 subject, my classes were inspected by Mr. Seath, who informed me 
 that he too had become impressed with its importance in teaching 
 reading, and who suggested that I should prepare an elementary 
 practical text book that might serve to introduce to our schools 
 this means of improving the pronunciation of our pupils. This 
 little work is, I think, mainly the result of that suggestion. 
 
 It was not without much he itation that I undertook the task, 
 for I felt that my knowledge of the more scientific side of the 
 subject was scarcely definite or accurate enough to ensure its 
 satisfactory accomplishment. My apprehensions on this score 
 were, however, relieved when Professor Fraser, Lecturer on 
 Phonetics in the University of Toronto, kindly undertook to revise 
 the proofs of the part of this book which treats of the general laws 
 of sound production, and of the mode of articulation of the various 
 sounds. I am afraid he has found that my dependence upon his 
 aid has made his task a heavier one than he anticipated, but he 
 has performed it with the painstaking thoroughness and disregard 
 of trouble that always characterize him, 
 
PREFACE. 
 
 As I look over the book, now that it is completed, I am disposed 
 to fear that it has assumed too pedagogical an air. The term 
 "correct" and its equivalents, as I have used them, certainly 
 recjuire definition. By a correct pronunciation I mean one marked 
 by no provincialism or other peculiarity that would be likely 
 among educated English-speaking people any w'.iere to be regarded 
 as an evidence of lack of culture or as an affectation. The work of 
 reference that I tliink conforms most closely to this standard is 
 the Imperial Dictionary, To this book I have referred when I 
 have felt the need of an authority, and I have always followed its 
 dictum, except in the case of unaccented final syllables, when it 
 usually recommends less obscure vowels than are customary in 
 ordinary speech. Even here I have not differed from it unless 
 Professor Sweet or some other eminent authority has agreed with 
 the conclusions which my own observations of the speech of a 
 number of persons of culture have led me to form. 
 
 The symbols I have employed are those used in Le Maitre 
 Pho7ieti(pic, to the editor of which, Mr. Passy, my hearty thanks 
 are due for a kind offer of aid in procuring type. These symbols 
 have the advantages of being generally known to phoneticians and 
 of conformiug so closely to our ordinary characters that little effort 
 is required to master their use. 
 
 Of the many books that I have found of service to me, the most 
 useful has been the last edition of Mr. W. Vietor's " Elemente der 
 Phonetik," a work that gives an admirable statement of the con- 
 clusions reached in phonetics up to the time of its appearance. 
 From this work I have borrowed most of the lists of words used to 
 exemplify the various sounds, and to show the redundancy of our 
 conventional orthography. 
 
 I have also to thank Miss E. M. Bunnell, Modern Language 
 teacher of the Brantford Collegiate Institute, for kind aid in proof 
 reading, and for valuable suggestions with regard to the presenta- 
 tion of the subject-matter of this book. 
 
 A. W. BURT. 
 
 Brantford, June, 1898. 
 
TABLE OP^ CONTENTS. 
 
 Paor. 
 Table of Phonetic Symbols Front 
 
 PllEFACE 
 
 DiAOKAMS OF THE OkoANS OK Sl'EECH i, ii, iii 
 
 Script Characters iv, v 
 
 Introduction 1 
 
 Part I — Phonetics : 
 
 The Organs of Speech 3 
 
 Classification oi Speech Sounds G 
 
 Articulation of the Consonants 9 
 
 Articulation of the Vowels 24 
 
 Laws of Expression — Phonetic Syntax 43 
 
 Part II — Phonetic Transcriptions : 
 
 The Death Bed 53 
 
 The Loss of the Birkenhead 64 
 
 To a Skylark 56 
 
 The Last Charge of the French at Waterloo .... GO 
 
 David Copperfield and the Waiter 62 
 
 The Footsteps Die Out Forever 67 
 
 A Conversation Between Two Young Englishmen ... 73 
 
 To a Mouse 74 
 
 To-morrow 76 
 
 Notes on Phonetic Transcriptions 79 
 
 General Index 83 
 
 Index of Words Spelt Phonetically 89 
 
 Table of Marks of Expression, Etc 95 
 
Tllli: ORGANS OF SPEECH. 
 
 Sbction op a Portion of the Head, etc., SnowiNa tub Organs of Spebch. 
 
 1, Brain ; 2, Nose Cavity ; 3, Mouth Cavit v ; 4, Pharynx ; 5, Gullet ; 6, Larynx ; 7, 
 Windpipe ; 8, Lips ; !), Teeth ; 10, Hard Palate ; 11, Soft Palate : 1'2, Tongue ; 13, 
 Epiirlottis; 14, Glottis; 16, Thyroid Cartilage; 16, Cricoid Cartili^e; 17, Artenoid 
 
 Cartilage. 
 
THE LxVRYNX. 
 
 Fio. 1. 
 
 Fio. 2. 
 
 ViKWS OK TiiK Larynx from Akovk. 
 
 Vig. 1. Open as in lniathiiij,'. 1, The Epi^flottis ; 2, The Vocal Chords; 3, OpeniriK 
 of the WiiKlpii)^. 
 
 Fig. 2. Contrarted for SouihI I'ro(hiction. 
 
 Fio. 1. 
 
 Fi». 2. 
 
 Cartilages ok tmk Larynx. 
 
 Fijf. 1. Side view of liu' f-aryiix. 1, Thyroid Ctutilaffo ; 2, Adam's Apple ; :\ Cricoid 
 Cartilage; 4, Windjiipe ; f), Itiiiys of Cartilage; C, Connecting,' Membrane. 
 
 Fig. 2. View of the Cartilages of the Larynx from above. 1, Thyroid Cartilage; 2, 
 Cricoid Cartilage ; 3, Artenoid Cartilages ; 4, Vocal Chords, 
 
CAllTlLAGKS OF THE LARYNX. 
 
 Fig. 3. 
 
 Fig. 4. 
 
 Fig. 5. 
 
 Fro. 6. 
 Fitr. .'!. Tlie Epiglottis. 
 
 Bf'lu/; '^'"'7''"''°''' f'-^rtilape. A, Place of attm-hnient of the Epi^rlottis ; HH, Place 
 of attaclm.eiit of the \ocal Chords. 
 
 1''?^ ^'. Tho (-riooi.l Cartilage. AA, Joints with llie Aid-iioi.l Cartilages. 
 I'iir (I. 'Ilii. Artenoid Cartilage. 
 
SCRIPT charactp:rs. 
 
 la-, 
 
 ftyv 
 ^ S-drycO, 
 
 cuo ncuuy 
 
 t 
 
 (/ 
 
 £A^ 
 t' 
 
 ax 
 
 a/. 
 
 iAAAT 
 
 LUAAT ciilA>u/fl 
 
 jU^\ 
 
 t 
 
 This is transcribed from 
 the words in phonetic 
 characters in the Table of 
 Sounds. 
 
 [iv] 
 
SCRIPT CHARACTERS. 
 
 cUul 
 
 / 
 
 f 
 
 / 
 
 f 
 4v 
 
 
 This is transcribed from 
 the •w'orils in phonetic 
 characters in the Table of 
 Sounds. 
 
 [V] 
 
INTRODUCTION. 
 
 Ill teaching reading in our public and high scho()ls, there 
 iiro two main ends to be kept in view. The first is the 
 t'if(juisition of a distinct and cultured utterance ; and the 
 second, which is largely conditional upon the first, the 
 flower to give oral expression to written thoughts to the 
 end that we may be sensible of their full power and beauty, 
 and that, on occasion, we may be capable of comnmnicat- 
 ing to others the impressions these thoughts have made 
 upon ourselves. Instruction in reading should therefore 
 begin with the study of the sounds of our language, in 
 other words, with the study of phonetics, and should then 
 occupy itself with the various modes in which these 
 sounds may bo uttered in the expression of thought and 
 feeling. This constitutes true elocution, an art which has 
 little to do with the mixture of declamation and gesticula- 
 tion that commonly bears this name. My little treatise 
 on reading will therefore begin with a lirief study of 
 phonetics, comprising the distinguishing characteristics of 
 the sounds of our Lmguage, the mode of their production, 
 and their representation by definitive and consistent 
 syndiols. After thus dealing with the question of pro- 
 nunciation, a few of the other attributes of oral expression 
 will lie brought under consideration. 
 
PART I. 
 
 PHONETICS. 
 
 The Organs of Speech. 
 
 Speech sounds are produced by the obstruction or Spetch 
 revorboration in the cav^ities of the throat, mouth and 
 nosu, of breath emitted from the lungs. These sounds 
 owe their distinctive characteristics mainly to changes in 
 the position of the organs which are situated in or con- 
 nected with the above named cavities and to consequent 
 modifications in tlie stream of breath emitted. The most 
 elementary study of phonetics must therefore involve 
 some knowledge of the structure and mode of action of 
 tlie organs of speech.* 
 
 First to be considered are the lungs, two elastic mem- The Lungs. 
 braneoiis bags nearly filling the chest cavity. They are 
 permeated by a vast number of tubes, which by the ^'''"'''"'■*' 
 alternate lowering and raising of the diaphragm (tlie 
 elastic wall that separates the chest from the abdomen) 
 and by tlie action of the intercostal musclef, are alternately 
 tilled with and emptied of air. The function of tlie Function. 
 lungs in speech is to supply breath, the raw material of 
 soimd, for the machinery of the throat, mouth and nose, 
 to work up into the finished product. It is requisite that 
 the supply of breath should be sufficient, and under com- Training. 
 plete control. Hence all physical training is valuable 
 that tends to increase the power and freedom of action 
 of the lungs. Out-door sports, gymnastic and calis- 
 tlienic exercises, and extension motions conduce largely 
 to these ends ; but as direct instruments of voice culture, Defective 
 l)reatliing exercises are perhaps most effective. A very ^^''■''''"'"'^■ 
 
 ' See pages i-iii for diagrams. 
 
 3 
 
4 PHONETICS. 
 
 common fault in ])reatliing, particularly among women, is 
 the lial)it of l)ringing into play only the upper portion «>f 
 the lungs, leaving tlieir l)ase unexercised. The necessity 
 of breathing so that tlie action of tlie lungs may be fult 
 chierty in the rt'gion of the alxlouien and lower ribs must 
 be kept in mind by tluwe who desire to improve the power 
 and (quality of the voice. 
 
 Th» From the lung.s the breath is conducted by the bronchial 
 
 tubes and the windpipe to the larynx, a box formed of 
 
 . rue nre. ^..^Y[^i\^^gQ .^ji^]^ muscles, the outer portion of which, the 
 
 Adam's ap[)le, may be seen projecting in the front of the 
 Vocal neck. The larynx contains elastic ligaments called vocal 
 
 /•I • 7 ■ 
 
 clun'ds. These are attached to the sides of the organ, but 
 Glottis. have in the middle an opening called the glottis, the size 
 of which can be regidated at will. In ordinary breathing 
 the chords are relaxed and the opening is large, so that the 
 Futictions. breath passes through freely. When sound is to be pro- 
 duced, however, the chords are drawn together and 
 rendered tense, oljstructing the breath current and vibrat- 
 ing as it passes through. The frequency of the vibrations 
 varies with the tensiun of the chords or the length of the 
 edges of the opening between them. DitFerences in the 
 fi'ecjuency of the vibraticms produce, of course, differences 
 of pitch. Control of the various parts of the larynx is 
 manifested in the modulation of the voice, that is, tlio 
 ability to vary the pitch and to regulate the degree of the 
 loudness of the utterance. 
 
 Epiijlottia. The epiglottis is a valve or lid which covers the glottis 
 at the moment of swallowing. Its acti<m pi'events food 
 from passing into the Lirynx instead of into the cesopha- 
 gus, the channel which is situated behind the larynx and 
 leads to the stomach. The epiglottis has no direct func- 
 ticm in speech. 
 
 The cavity at the back of the mouth above the larynx 
 
 Pharynx. \^ called the pharynx. On the jtropcr exj)anding oi this 
 
 cavity by depressing the Lirynx and the back of the 
 
Tin-: ORGANS OF SPKECII. I 
 
 tongue, .and by raising tlie soft palate, depend largely Function. 
 the fulness, clearness and richness of the tones of the 
 voice. 
 
 At the upper part of the pharynx is the entrance to th(' The Xnge. 
 nose cavity, through the outer apertures of which, the 
 nostrils, air is inhaled and exhaled. Communication be- Function. 
 tween the nose and pharynx is closed by raising the soft 
 palate. Allowing breath to j)ass through the nose as a sound 
 is uttered, induces tho quality called nasality. This quality 
 distinguishes n from d, m from b, and [) (the sound of ng 
 in sing) from g. Its improper manifestation in connection Mimte. 
 with the general utterance is an offensive characteristic of 
 tlie speech of many persons. 
 
 Below the nose cavity, from which it is separated by the Mouth. 
 palate, and like the nose cavity, a continuation of the 
 pharynx, is the mouth. Thcmgh the niouth may on occa- 
 sion be used in inhaling and exhaling breath, the habit of -Jf""'^ . 
 
 ° . . Breathxng, 
 
 80 using it constantly must be carefully avoided, as it 
 impedes freedom of utterance and causes imperfection of 
 tone. 
 
 The mouth contains most of the organs that so modify Organn of 
 
 -^rticula- 
 
 tlie sounds produced by the larynx as to make them con- tion. 
 stitute speech, that is, significant articulate sound. The 
 chief organs of articulation are the tongue, soft palate, 
 hard palate, the gums, the teeth and the lips. 
 
 The only parts of the mouth here requiring particular Tongue. 
 notice are the tongue and the soft palate. The tongue 
 is a nuiscular body capable of a nearly infinite variety of 
 motions ; and the soft palate an extension of the hard ^oft 
 palate, somewhat like an upper tongue reversed, the '''"'«'*• 
 uvula, or tip of the soft pahite, which can move up and Uvula. 
 down and vibrate at the back of the mouth, corresponding 
 to tlie tongue tip in the front. Besides its use as an organ Functions. 
 of articulation, tho soft palate serves the purpose of closing 
 tlie ])assage to the nose while sounds not properly nasal 
 are being produced. 
 
6 PHONETICS. 
 
 Training. Tl)o best training of the organs of .articulation is afforded 
 by practice iii the accurate production of English sounds, 
 first separately, then in conjunction, choosing in the end 
 the most difficult combinations. After English sounds 
 are mastered, the pupil's powers may be exercised on those 
 of foreign languages, and he may ho taught the differences 
 in the mode of articulation that distinguish sounds which 
 we are liable to err in regarding .is the same in English 
 and in a foreign tongue^ 
 
 Classification ok Speech Sounds. 
 
 As the distinctions of speech sounds depend upon the 
 degree and the place of the obstruction of the breath- 
 stream, we have two chief bases of their cljvssification. 
 The former, while admitting the infinite gradations be- 
 tween the much and the little, gives us two main classes 
 of sounds : those where the stopjiage of the breath 
 current or its friction with the speech organs is quite 
 .appjireut, and those where the friction is scarcely percej)- 
 Consonants. tible. The former may be called consonants, the latter 
 VoweU. vowels. 
 
 The chasses of consonants depending upon the second 
 consonants basis, that is the place of their formation, we distinguish 
 Trlamof *" by the name of the speech organ, or orgfvns, mauily 
 articulation gjjgaged in their articulation. Hence we have : 
 
 Lip- consonants, p, b, m, av and w ; 
 
 Lip-teeth, f and v ; 
 
 Tongue-teeth, d and & ; 
 
 Tongue, t, d, n, s, z, J, 5, 1, r, a ; 
 
 Hard-palate, j ; 
 
 Soft-pal.ate, k, g, T); 
 
 Throat, h, * (the glottal stop). 
 
 Another classification of consonants depends upon 
 
 Stops and whether there is a complete closure or merely a narrow- 
 continuaiUg ... , ^ . r .1 1. 
 
 ing of the breath passage. Consonants of the former 
 
 class are called stops, of the latter, continuants. 
 
CLASSIFICATION OF SPEECU SOUNDS. 7 
 
 Stops, p, 1>, t, il, k, g, ' . 
 
 Contimiimts, av, w, f, v, '/, if, s, z, J, 3, ], r, j, .1, h. 
 
 The continuants, as the name implies, are 8Usceptil)lo of 
 indefinite prolongation, as the breath current passes 
 through the i>artially closed passage, Tlie continuant 1 is 
 ciillod a lateral, because it is tornied l)y allowing the Laterals. 
 breath to escape at cmo or both sides of the mouth 
 while the middle is obstructed ; r is called a trilled con- Trills. 
 tinuant because the tongue vibrates as the breath-stream 
 passes. The consonants m, n, T), are formed in the posi- 
 tions of I), d and g respectively, and are stopi)ed in the 
 mouth, but the uvula is lowered so that the breath may 
 pass through the nose, they are therefore susceptible of 
 prolongation and are thus of the nature oi continuants. 
 They are distinguished by tlie title of nasals. Nasalg. 
 
 A consonant in any p( sition may be formed in con- Voiced and 
 nectiou with a murmur produced by vibration of thec^,^^,^^^^^. 
 vocal chords. Consonants formed with this vibration are 
 said to be voiced, while those formed without it are said 
 to be voiceless. 
 
 Table of the voiceless and corresponding voiced con- 
 sonants : 
 
 voiceless, p av ! f ^ t s I J k li, ' 
 
 voiced,* b, m w|v ^ d, n /, | 3 1, r, j,.i g, t) 
 
 Tlie distinction between voiced and voiceless constmants 
 may readily be observed if the ears are stopped as the 
 sound is uttered. The vibration of the vocal chords in 
 the former and its absence in the latter is, under this 
 condition, clearly distinguishable. 
 
 Tlie vowels are classified according to the position of the ciansifim- 
 tongue as it modifies the resonance chamber formed by the ^IjilJig^ 
 mouth. These movements may be forward or backwiird, „ 
 
 •^ ' Front, veu- 
 
 and upward or downward. Hence we have front, neutral tral and 
 
 *It has not been thought necessary to use distinctive symbols for 
 voiceless m, n, 1, etc., which occur in combination with other voiceless 
 consonants; though elocutionists often err in giving them vocality in 
 such cases : e.g., clear is made .almost dissyllable. 
 
O PHONETICS. 
 
 hnik vnweh. or mixed, ami back vowels ; and high, mid and low 
 
 and low. ones. J heso two classes combined give U3 nmo vowel 
 positions. 
 
 FUOXT. I NEITKAL. I BACK. 
 
 High, i, T, i: 
 ]\Iid, (', .- : 
 Low, ,'i, a : 
 
 8, o; 
 
 u, u: 
 o, o: 
 
 a:, T), 0, o: 
 
 This scheme of classification, however, as will be shown 
 when the vowels are considered separately, is but a rough 
 one, sufficing for little more than to call attention to the 
 cardinal points involved in the production of vowel sounds. 
 Besides hy changes in the position of the tongue, the 
 mouth cavity may l)e affected as a resonance chamber T)y 
 Hounded Contraction of the lips. This contraction, or rounding as 
 vowels. it jf, called, gives origin to the rounded vowels. All our 
 back vowels except CL : and T) belong to this class. Vowels 
 
 , may be further distin-Miished according to the time re- 
 
 Loncf mid . . 
 
 short voivels. quired for their utterance, as long and short. The long 
 vowels are those marked with, two dots in the foregoing 
 scheme. Change in length is almost invariably accom- 
 panied by a difference in the degree of the ten :ion of the 
 -^.. speech organs; or tliis diflference alone may serve to dis- 
 
 varrow criminate vowel sounds. Vowels produced with little 
 tension are called Avide, those with greater tension, narrow 
 vowels. This distinction is of service mainly in describ- 
 ing the difference between vowels formed in the same 
 part of the mouth, as the two i sounds in siti (city), of 
 which the latter is the wider. An important character- 
 istic of our English long vowels is that they are usually 
 diphthongized. When this occurs they always end Vt^ith 
 a narrower sound and in a higher position than that with 
 which they begin, the vanishing sounds in the case of the 
 high voAvels becoming consonantal in quality. 
 
 Diphthongs, ij, ei, ai, au, oi, ou, uw. 
 
 There is another characteristic of vowels, on which it is 
 not necessary to dwell at length, since it has no practical 
 
AHTICULATION OF TUB CONSONANTS. 
 
 bofvring on tho correct utterance of the sonnds. This 
 churacteristic is their absolute pitcli, that is, tlieir pitch Voted pitch. 
 as dependent upon tJie phice of their production in the 
 mouth cavity. This is an intrinsic quality of each vowel 
 (juite independent of the varying pitcli at which any sound 
 may be read or sung in accordance with the condition of 
 tlie vocal chords. It is sufficient to say that this absolute 
 pitch seems to depend upon the reverberation of the sound 
 in tho resonance chaniljer formed between tho place of 
 articulation and tho outer opening of tho mouth ; for the 
 front vowels, where this chamber is shortest, have the 
 hi<,'he.st pitch, while the others are lower in proportion 
 to tho distance back at which they are formed. 
 
 Articulation of the Consonants. 
 
 While it is difficult without viva voce instruction to form 
 correctly sounds with which we are unacquainted, an 
 accurate knowledge of the mode of the articulation of 
 each sound is of great importance to this end, and is 
 almost indispensable in overcoming defects in the pro- 
 nunciation of a language already acquired. I shall there- 
 fore now give a description of the mode in which each 
 English sound is formed, dwelling upon those that 
 present most difficulty. These descriptions will be fol- 
 lowed by lists of the symbols which represent the sounds 
 in our ordinary spelling and by notes on common mis- 
 pronunciations. Beginning with the consonants, and fol- 
 lowing the order of their formation from the front to tlie 
 back of the mouth, we have first to consider 
 
 AL and w,* 
 
 the voiceless and voiced labial continuants.! These may 
 be regarded as consonantized u sounds. They are formed 
 
 *See page iv for script characters. 
 
 f The same order will be followed in dealing with all pairs of voiced 
 and voiceless consonants. 
 
10 PHONETICS. 
 
 by drawing the tongue backward and upward ; while at 
 the same time the lips are rounded and protruded and, 
 in the case of av, the breath emitted with some force. 
 Besides that it is voiced and lacks strong aspiration, w 
 differs from av in being produced with less tension of 
 the speech organs. 
 
 M. is written : 
 
 wh in when (Men), where (a^cij), etc. 
 w in twenty (tMenti), twill (tMil), etc. 
 u in quell (kAvel), quick (kAvik). 
 O in choir (kAvai'j). 
 
 w is written : 
 
 w in wife (waif), dwell (dwel), dew (djuw), etc, 
 
 u in language (lar)gwTd5), etc. 
 
 It is not expressed orthographical ly in use (juwz 
 and juws), euphony (juwfani), etc. 
 
 In the Scotch and Welsh dialects the passage at the 
 back of the mouth is sometimes so contracted that a de- 
 cided uvular quality is lent to av, giving it an initial sound 
 like that of ch in the Scotch loch or the German Buch, 
 for whic'» the phonetic symbol is x. Thus we hear XMen 
 for Aveu, etc. 
 
 People of the South of England usually replace av by w, 
 pronouncing while (Avail) wail, etc. 
 
 Cockneys and foreigners frequently confound w with v. 
 This is exemplified in the immortal Sanmel Weller's pro- 
 nunciation of his own name * ' samival vela. " 
 
 p and b 
 
 are stops formed by closing the lips. A slight escape of 
 breath usually intervenes between p and the sound follow- 
 ing. Any exaggeration of this aspiration, such as is heard 
 in the pronunciation of some Irishmen is to be carefully 
 avoided. 
 
ARTICULATION OP THE CONSONANTS. 11 
 
 J) is written : 
 
 p in puep (pijp), paper (peipoj), etc. 
 
 pp in poppy (papj), etc. 
 
 gh in hiccough (hikT)p). 
 1) is written : 
 
 b in babe (beib), booby (buwbx), etc. 
 
 bb in ebb (eb), babble (bab'l), etc. 
 
 m 
 is the nas.al formed usually with tlio same lip articulation 
 as 1), though before f it often beoomes denti-labi;il. 
 
 m is written : 
 
 m in maim (meim), mamma (mama:), etc. 
 
 mm in hammer (hamoj), etc. 
 
 A conmion fault among Irish and American speakers is 
 to make m syllabic in such words as elm (elm), sounding 
 it el'm or elom. 
 
 f and V 
 
 iuo continuants articulated by pressing the lower lip 
 lightly against the upper teeth and allowing the breath 
 to escape through the space between the lip and the 
 irregular edges of the teeth. 
 
 f is written : 
 
 fin fief (fijf), fifty (fifti), deaf (def), etc. 
 
 ff in off (o:f), etc. 
 
 ph in phantom (fantam), triumph (traiamf), etc. 
 
 gh in tough (tT)f), etc. 
 
 u in lieutenant (leftenant). 
 V is written : 
 
 V in vivid (vivid), revive (rivaiv), etc. 
 
 f in of (ov) . 
 
 ph in Stephen (stijv'n), nephew (nevjuw). 
 
12 PHONETICS. 
 
 6 and 5 
 
 are continuants ai'ticulated by placing the tip of the tongue 
 behind or between the teeth, tlie breath stream passing 
 between the ui)per teetli find the tongue. 
 
 6 is written : 
 
 th in thin (Oin), saith (se(>), method (uieBad), bath 
 (ba:G). 
 
 V is written : 
 
 th in than («^an), father (fa:fto.i), smooth (sniuwff), 
 with (wicV), baths (ba:<5iz), etc. 
 
 the in scythe (saiS), bathe (beia). 
 
 The articulati(m of tlxese sounds seems to present con- 
 siderable ditticulty. Sometimes the tongue tip is nob 
 sufhciently lowered and advanced, and the escape of 
 breath is permitted by a channel produced by depressing 
 the middle of the tongue, so that s and z are sounded ; 
 thus children say sip for thing (6iT)), etc. 
 
 Again, the lower lip is allowed to come in contact with 
 the edges of the upper teeth, so that f and v are produced, 
 and we hear the pronunciation fij). 
 
 Occasionally the passage between tongue and teeth is 
 left too open, and the aspiration only is heard, producing 
 h'lT) for Gil). 
 
 On the other hand, a common fault is to raise the 
 tongue tip into contact with the upper gums, thus leaving 
 no escape for the breath, and changing these continuants 
 into the stt)ps t and 0, making the sound of thing, tit). 
 
 is often erroneously o.nitted between two consonants, 
 months (inTDriGs) being pronounced mDns, tenths (tenGs), 
 tens, etc. 
 
 By false analogy with ])reacHh, vt^i., () is added to 
 height (hait), which thus becomes haitO. 
 
ARTICULATION OP THE CONSONANTS. 13 
 
 t and d 
 
 are stops formed by jjlacing the tip of the tongue against 
 I ho upper gums, either close to the teeth or slightly 
 farther back. • 
 
 t is written : 
 
 t in fciught (to:t), potato (pateito), etc. 
 tt in titter (titf»j), etc. 
 th in thyme (taim), Thomas (tomos), etc. 
 ed in fetclied (fetjt), '.vished (wijt), etc. 
 
 d is written : 
 
 d in deed (dijd), dado (deido), etc. 
 
 dd in added (adid), etc. 
 
 ed in blamed (bleimd), waged (vveid3d), etc. 
 
 The pedantic error is often made of sounding tlie t of 
 often (o:f'n), soften (so;rn), etc. 
 
 Tt is also erroneously added to across (okrois), once 
 (wi)n.s), etc., maiiing them okroist, wunst, etc. 
 
 A simihar mistake is made in sounding d in cases where 
 it .should be silent, as in handsome (hansuui). 
 
 On the other liand, like 0, t is often erroneously omitted 
 In tvveen two consonants, so that cents (sents), is pro- 
 nounced sens ; facts (fakts), faks, gifts (gifts), gifs, etc. 
 
 d, too, is omitted often after n, as in friends (frendz), 
 and in similar cases where it should be sounded. 
 
 The tendency to change voiceless into voiced conso- 
 nants is seen in such mispronunciations as p(i:adnoa for 
 partner (pttMtnoa). 
 
 tj and (13 
 ;nv formed by the union of t and d with the continuants J 
 and 3. Tlio n»ode of their iirticulatioii is de;ilt with tuider 
 tlio heads of the simple consonants of which they are com- 
 posed. 
 
14 PHONETICS. 
 
 tj is written : 
 
 ch in church (tjaiatp, teacher (tijtjea), etc. 
 tch in fetch (fetj), catch (katj), etc. 
 
 dg is written : • 
 
 j in judge (d^-nd^), etc. 
 
 g in region (rijdgan), etc. 
 
 gg" in exaggerate (egzad3areit), etc. 
 
 dge in edge (edj), etc. 
 
 di in soldier (soi-!d58a). 
 
 n 
 
 is the nasal articulated with the tongue and teeth in the 
 same position as for d. It is very often syllabic, as in oven 
 (T)v'n), hasten (heis'n), etc. 
 
 n is written : 
 
 n in nine (nain), tuner (tjuwnaa), etc. 
 
 nn in ninny (nini), etc. 
 
 s and z 
 
 are continuants articulated by placing the tongiia tip 
 against the upper gums, or slightly fsii ther back, leaving 
 in the middle a narrow channel through which the breath 
 passes. 
 
 8 is written : 
 
 s in sister (sistoa), abusive (r>l)ju\VHiv), otc. 
 ss in grass (gra:s), grassy (gra:si), etc. 
 so in scent (sent), etc. 
 c in city (siti), etc. 
 , sch in schism (siz'm), etc. 
 
 ps in psalm (sa:m), etc. 
 
 z is written : 
 
 z in zeal (zijl), seize (sij?.), amazing (omeizii)), etc. 
 zz in fuzz (fi)/), fuzzy (fDzi), etc. 
 
ARTICULATION OP TllH CONSONANTS. 15 
 
 s in his (hiz), was (woz), deeds (dijdz), etc. 
 
 ss in scissors (siza.iz). 
 
 X in Xerxes (zf>:.iksijz), etc. 
 
 The tendency to allow the voiced consonant to usurp 
 the place of its voiceless associate is nowhere, more com- 
 mon than with z and s ; so we hear pa:azist, objuwziv, 
 diziuis, etc., for persist (p8:Jsist), abusive (abjuwsiv), dis- 
 miss (dismis), etc. 
 
 The defect called lisping is caused by lowering the 
 tongue tip and allowing the breath to pass between it 
 and the teeth so as to produce the sounds and iS, 
 instead of s and z ; so lisp (lisp) is pronoxmced li6p, sings 
 (sipz), 6iT)cf, etc. 
 
 Before j and J, s and z are generally mispronounced J 
 or 3, e.g., 'SiJ jdt) man' for 'this young man' (ffis jt)T) 
 man), 'fiou3 JT)T) men' for 'those young men* (Souz JDT) 
 men), 'ffij Jip' for 'this ship' (Sis Jip), '03 Jut az feit' for 
 'as sure as fate' (az Ju:r oz feit). 
 
 S and 5 
 
 are usually grouped with s and z in the class of sibilants 
 or hisses. Their articulation differs from that of s and z 
 in that the tongue tip is drawn back, and by raising the 
 sides of the tongue and lowering thi middle, the breath is 
 cansod to pass in a broad instead of a narrow stream. 
 
 5 is written : 
 
 sh in sharp (Ja:Jp), rush (nij), dashing (dajii)), etc. 
 
 shi in fashion (fajan), etc. 
 
 si in Asia (eijja), Persia (pa:ajj9), etc. 
 
 s in sugar (Jugaj), sensual (senjjual), etc. 
 
 ssi in mission (mijan), etc. 
 
 ss in issue (ijjuw), etc. 
 
 sci in conscience (konjans), etc. » 
 
 ti in nation (neijan), etc. 
 
16 PHONKTICS. 
 
 c in officiate (ofijieit), etc. 
 
 ci in a.'iciont (ein^nnt), etc. 
 
 ce in ocean (ouCsn), etc. 
 
 che in luncheon (liDnJ^n), etc. 
 
 ch in ijinch (pinj), chivalry (Jivalri), etc. 
 
 sch in schedule (Jedjuwl), etc. 
 
 chs in fuchsia (fjuwjja). 
 
 5 is written : 
 
 si in occasion (okeijon), vision (vi^an), etc. 
 s in usual (JUW5JU0I), etc. 
 z in azure (eijzu : j), etc. 
 g in rouge (ruwj). 
 
 As with s and z the voiceless \ is often erroneously re- 
 placed by the voiced 5. ei^ja and poM:^J8 almost pass 
 current with us for Asia (ei^jo) and Persia (pQ:-!^]'^); 
 ekskorJgon for excursion (ekskaMjan) is the general pro- 
 nunciation among the uncultured, and even on:5on, 
 pa:.i5J8l, etc., are heard for ocean (oujon), partial 
 (pdM^al), etc. 
 
 Another comnum fault is to insert a t after n before 
 { ; thus we hear pintj, JDntJ, etc., for pinch (pinj), lunch 
 (h^nj), etc. 
 
 1 
 
 is articulated between one or both sides of tho tongue and 
 the teeth, the tongue tip touching tho uitpor gums or 
 slightly fartlu-r back, and stop{»ingthe egress of the breath 
 in the centre of the passage. It is very frecpiently syllabic. 
 
 1 is written : 
 
 I in lily (lib), until (lontil), etc. 
 
 II in till (til), hilly (hili), etc. 
 
 le in tale (teil), etc. 
 
 le or el when syllabic, as in table (teib'l), tlannel 
 (flan'l), etc. 
 
ARTICULATION OP TIIK CONSONANTS. 17 
 
 III the articulation of this consonant the tongue tip is 
 niisod and drawn back, and the sides just back of the tip 
 lowered. Hence there is a natural tendency to raise the 
 back of the tongue. This sometimes causes the utterance 
 of 1 to have a palatal quality, the preceding vowel, if a 
 front one, being dragged to a back position. Thus we 
 liciir fruwgul for frugal (fruwg'l), and eibT)l or even eibul, 
 f( .r able (eib'l), etc. 
 
 r 
 
 is a continuant formed by lightly and (quickly touching 
 tlie front of the hard palate with the tip of the tongue, 
 which vibrates slightly as the movement is made. In the 
 South of England the trill is less apparent than with us, 
 and in Scotland much more so. The closeness of itsie- 
 lation to the vowels, and the fact that its articulation is 
 accompanied by raising the back part of the tongue are 
 the probable causes of the loss of the front vanishing 
 sounds of the diphthongs ij,ei, ou and uw before r, and 
 of the tendency of vowels to become wider. Thus fear- 
 ing is pronounced fi:riT); fjtiry, ff^:ri ; tory, to:ri or to:ri; 
 poorer, pu:roa; and purer, pju:raa. 
 
 r is written : 
 
 r in rare (rfM), bring (bri?)), rarity (rf :riti), etc. 
 rr in sorry (sori), etc. 
 
 rh in Rhine (rain), Rhone (roun), rhyme (raim), etc. 
 
 A common vulgarism with us is to substitute .i for r as 
 a medial sound in such words as quarrel (k.wonl), barrel 
 (baril), squirrel (skA\iril), etc., dragging back the vowel 
 preceding, and frecpiently causing the one following to 
 disappear, with the resultant mispronunciations kMO:al, 
 b(i:.il, skAVT)j;l and similar monstrosities. 
 
 Accompanying the substitution of .i for r we often have 
 a misplaced vowel ; thus hundred (liDndrod) is mispro- 
 nounced hiindojd, etc. 
 
 Some speakers, form r as a medial with the flat part of 
 
18 PHONETICS. 
 
 the tongue insteiul of tljo tip, making the contcact at tho 
 sides and alhiwing the hrcath to est'ai)e in tlie centre, pro- 
 ducing a sound like j for r. Thus wo liear kciijid^ for 
 carriage (karid-j), supijo.i for superior (sjupi:rioJi), febjuari 
 for February (februori), etc. 
 
 The same misprouun?iation is sometimes heard after a 
 consonant, particuhuly after g: thus gjou is lieard for 
 grow (grou), gjand for grand (grand), etc. 
 
 Raising the back part of tlie tongue, and neglecting to 
 move the tip, leads to a lij) rounding that causes a sound 
 resembling w to 1)0 substituted for r, thus very ia mispro- 
 nounced vewy, etc. 
 
 r is frequently incorrectly made syllabic, e.g., "Dmb'rela 
 is heard for umbrella (x)mbrela), hen'ri or henori for 
 Henry (henri), etc. 
 
 A fault so common among English people that some 
 German phoneticians regard it as the correct pronuncia- 
 tion, is th6 insertion of r between a final vowel like o, 
 and tlie initial vowel of a following word ; e.g., such 
 phrases as 'd"i aidi:a r ov' for 'the idea of ((fi aidi:9 ov) 
 'dzuwdo r ond izirf:or for 'Judah and Israel' (dzuwda 
 end izrf:al), etc., are frei^uently noticeable. 
 
 When two r's occur in adjacent syllables, it is a com- 
 mon mistake to <jmit a syllable, thus literary (litarari) is 
 mispronounced litori or even litri ; library (laibrari), 
 laibri, etc. 
 
 The following are additional mispronunciations associ- 
 ated with this troublesome consonant : 
 
 (1) Lengthening and narrowing o to o:; for example, 
 pronouncing porridge (poridj) as poradg, forest (forist), 
 fo:rist or fo:Jst ; sorry (son), so:ri, etc. ; 
 
 (2) Changing i:, t: o: and u: to the diphthongs ij, ei, ou 
 or ow and uw, sometimes making r syllabic after them ; 
 e.g.y hearing (hi:riT)) is pronounced hi j rip or hij'rii); 
 
ARTICULATION OP THE CONSONANTS. 19 
 
 fairy (ff :ri), foiri or fcj'ri, liojiry (lio:ri), liouri or how'n ; 
 poorer (pii:ro.i), puwroj or imw'ro.i, etc.; 
 
 (3) Adding a consonantal vaiiisliing sound to the diph- 
 tliong ai, thus miry (niai'ri) Is pronounced niaij'ri, etc. 
 
 J 
 
 is a consonantized i, formed by l)ringing the sides of the 
 flat part of the tongue into contact with the front of tlio 
 hard palate, turning down the tongue tip and .allowing the 
 breath to escape in the middle. So nearly does j some- 
 times approximate to t, that it is frequently very difficult 
 to distinguish tlie two sounds : e.{/., in tedious (tijdjos or 
 tijdiQs), Asia (eijta or eijja), etc. 
 
 j is written : 
 
 y in yea (jes), young (jt)T)), etc. 
 
 i in onion (T)njon). 
 
 j in hallelujah (haljluwja). 
 
 As a rule no orthographic symbol is used to indicate the 
 presence of this sound before u, eu, ew, etc., as in duty 
 (djuwtt), due (djuw), eulogy (juwIod3i), few (fjuw), etc. 
 
 While in cultured speech this consonant has very 
 generally forced its companionship upon the vowel uw, 
 the uneducated, and even persons of some degree of 
 nfuiement, especially in the United States, still fail to 
 oiiipluy it after a consonant, Tlnis tuwzdt for Tuesday 
 (tjuwzdi), duwtt for duty (djuwtx), etc., are common 
 mispronunciations. 
 
 On the other hand it is sometimes introduced when not 
 required, for example, columns (kolamz) is incorrectly 
 sounded koljamz or koljuwmz ; mischievous (mistjivas), 
 mistjijvjas ; coupcm (kuwpon), kjuwpon ; and in the 
 Eastern States cow (kau), kjau, etc. 
 
 It is an English affectation to introduce it before an 
 initial i:, changing the vowel to o: or a: : thus Professor 
 
20 PHONETICS. 
 
 liell says that Lond(»n curates may l)o hoard proclaiming' 
 to their c(m<j;regations : " ij (fat aO j(L:z tu j(i: ht im 
 j(i:". T myself have hoard "hij <fnt oO jf):z ta jo:, let 
 im jf>:". 
 
 j is frequently replaced by ^ after d, or by ^ after t, 
 so Indian (indjon) is misproiu»unced ind^nn ; dew (djuw), 
 di^uw; nature (neitju:a), neitJoj,oj)portunity (opoatjuwniti) 
 opajtjuwniti, etc. 
 
 is the continuant formed by raising the flattened front 
 pjirt of the tongue towards the hard palate in tlie position 
 of the vowel Q so as to leave a wide passage through which 
 the breath passes with considerable friction, a differs 
 from r in that the tongue tip does nijt move forward 
 and touch the upper gums or the hard palate. It differs 
 from j in being articulated with the tongue tip raised and 
 the wh(jle tongue drawn back. It appears only before 
 consonants or at the ends of words, and in the latter 
 case, unless a pause intervenes, is replaced by r before a 
 word beginning with a vowel, e.g., we pronounce, It is 
 here, it iz hi: J, and Here it is, hi:r it iz. It is seldom 
 clearly sounded among cultured speakers except in 
 America, and with us, while it appears affected to allow 
 it to be produced with so little friction as to make it de- 
 generate into the vowel Q, the lightness with which it is 
 touched is generally in direct proportion to the refinement 
 of the speaker. What has been said concerning the modifi- 
 cation of vowels before r is still more strongly applicable 
 to them before J, and we may further note their general 
 tendency to lapse into the sound Q: before this conson- 
 ant, thus fir, fur, heard, herd, myrrh, are pronounced 
 fo:.T, fa:jt, hand, ho; ad, m9:J, with no distinction of vowel 
 sound. 
 
 J is written : 
 
 r in hear (hi:J), heard (baud), etc. 
 re in there (^f:a), etc. 
 rr in err (om), starred (sta: Jd), etc, 
 rrh in catarrh (kata:j), etc. 
 
ARTICULATION OF TIII5 CONSONANTS. 21 
 
 Tlic Southern Englislinifvii usually fails to sound a after 
 a mid or low vowel or before a consonant, and replaces it 
 l)y the vowel o after a high vowel. Thus he pronounces 
 father (fa:(foj), mare (nif:.x), store (sto:a), and hard 
 (li(i:.ul) as ftt:d"o, nif: or mf:a, sto: or 8to:o, and ha:d; 
 ;uid firo (faia), poor (puM), etc., he sounds faia, pu:a, etc. 
 
 On the other hand, one of the last provincialisms to dis- 
 ai)pear from the Scotchman's si)eech is the unvarying use 
 of a strongly trilled r for J, usually without changing the 
 sound ordinarily represented l)y the vowel symbol, to o:. 
 Thus he pronounces : "The earth is the Lord's" ((fi 9:aB 
 iz cfa lo:adz), ffi er6 iz<f9 lo:rdz, etc. 
 
 The lack of euphony which characterizes the speech of 
 uneducated Canadians is largely due to the forcing or pro- 
 longation of this harsh sound, and the closing or diph- 
 tlu^ngizing of a preceding long vowel. I have seldom 
 heard soiuids more excruciatingly rasping than those of 
 the words "Where did you get your hair cut?'' when 
 pronounced by a Canadian youth trying to articulate dis- 
 tinctly. The following phonetic transcript gives but a 
 faint conception of the effect : Avej'j did ja get joa hej'a 
 k-Dt? 
 
 In a similar way the words tower (tau'a), power (pau'a), 
 etc., are often sounded tciuwoa, pa:uw8a or tauwa.T, pauwoa, 
 etc. 
 
 k and g 
 
 are stops formed by i>lacing the upper part of the tongue 
 against the palate in poi-iiticns varying according to the 
 place of the articulation of the accompanying vowel. 
 
 k is written : 
 
 k in kin (kin), baker (beikaa), book (buk), skin 
 
 (skin), etc. 
 
 ck in back (bak), etc. 
 
 c in cat (kat), vacate (vokeit), scald (8ko:ld), etc. 
 
 CO in account (akciunt), etc. 
 
22 PHONETICS. 
 
 ch ill chasm (k.asni), Christ (kraist), echo (ekou), utc. 
 
 q in quiet (kAvaiot), etc. 
 
 cq in acquire (okMaia), etc. 
 
 qu in quoit (koit), conquer (kor)kn.i), mosque 
 
 (mosk), etc. 
 gh in hough (hok), etc. 
 X is used for ks in box (boks), etc. 
 g is written : 
 
 g in gig (gig), gag (gag), eager (ijgoa), stnmger 
 
 (atropgaa), etc. 
 gg in egg (eg), baggy (bagi), etc. 
 g^ in guest, (gest), roguish (rougij), etc. 
 gh in ghost (goust), aghast (agust), burgher 
 
 (b8:Jg8.i), etc. 
 X is equivalent to gz in exact (egzact), etc. 
 These consonants are frequently articulated l)y children 
 with, the tip instead of with the body of the tongue, and are 
 thus confused with t and d. Older people frequently mis- 
 pronounce k and g in the same way l)ef ore 1, thus clean (klijn) 
 and glint (glint) are pronounced tlijn and dlint. 
 
 The same interchange of sounds is partly responsible 
 for the mispronunciation pitjaa for picture (piktju:a). 
 
 Occasionally the g sound is wrongly omitted with t) orn 
 in words like finger (fiogs-t), longer (l^rjga^), and recognize 
 (rekagnaiz), which are mispronounced fifjOJ, lopoj, rekonaiz. 
 Uncultured English people on the other hand often use 
 T)(f or T)k for t), saying sx)mGir)g or sTjmGijjk for some- 
 thing (sTjmGiT)), etc. 
 
 D 
 is a nasalized g. It is used in English only as a medial or 
 terminal sound. 
 
 n ia written : 
 
 ng in singing (sipir)), singer (siT)aa), etc. 
 
 n in finger (fipgoj), congregate (kor)grigeit), think 
 
 (6iT)k), lynx (lipks), anxious (apk^os), etc. 
 nd in handkerchief (harjko.itjif), etc. 
 
ARTICULATION OF THE CONSONANTS. Uo 
 
 A very cuuuuoii iiiulsorioiis fault i'h to su1)stitutoii foi't), 
 particularly in tho derivativo eiuliuij iii<^ : e.ij., pudding 
 (pudir)), Hoeing {sijir)), etc., nro sounded pud'n or pudin, 
 sijin, etc. 
 
 The 8{vn»e substitution occurs before 0: thus length 
 (leT)0), strength (strepB), etc., are niispronounced lcnO> 
 streuO, etc. 
 
 h 
 
 is usually classed among the continuant consonants, as it 
 may bo uttered with an audible friction of the vocal 
 chords. The friction is, however, hardly perceptible, and 
 h appears to bo merely a quick expiration gradually in- 
 creasing in force as it unites with a following vowel. 
 
 h is written : 
 
 h in house (httus), hand (hand), etc. 
 
 A common mark of the uncultured Englishman is the 
 constant omission of this sound. Much less frocpienb is 
 its introduction when not recpiired. Some Englishmen 
 however seem to be in a state of hopeless confusion as to 
 when h should or should not be used. 
 
 * (glottal stop). 
 
 This is the sound produced by closing and suddenly 
 opening the glottis as the breath sti-eam issues from the 
 lungs. If the expiration is very strong, a sound like a 
 slight cough or outward gasp is produced. The glottal 
 catch is, however, usually almost inaudible, and serves 
 merely to give that clear fully voiced beginning of which 
 the pronunciation of German words with a stressed vowel 
 as the initial letter affords the commonest and most strik- 
 ing example. In English it is heard only in passionate or 
 excited utterance, and then only at the beginning of a 
 sentence, or in the hiatus between two vowel sounds : 
 e.fj., "Am I ? the very idea of such a thing 1 " '* 'am ai? 
 (fa veri *aidi:9 ev sT)tJ 9 Gil}!'" 
 
24 PHONETICS. 
 
 AUTICULATION OF THE VoWELS. 
 
 Owing to the lack of perceptible friction in their articu- 
 lation, it is often found difficult at first to note the 
 movements of the speecli organs that give rise to the 
 distinguishing characteristics of the vowels. It seems 
 expedient, therefore, to give a few practical hints upon 
 this point. 
 
 We will begin with the tongue movements that distin- 
 guish the front from the back vowels. Utter the sound of 
 ij in eat (ijt) and then the sound of uw in food (fuwd), 
 keeping the attention fixed upon the tongue only. Its 
 movement from the front of the hard palate to the back 
 part of the mouth will be readily perceived. Next sound 
 e as in let (let), and then o, the second vowel of fellow 
 (felo), and though the two positions of the tongue are 
 nuich closer together than in the utterance of ij and uw, 
 their difference may again be recognized with little diffi- 
 culty. Then take the vowels a as in hat (hat), a: as in 
 father (fa:(/8j), and o: as in law (lo:), and it will again be 
 noted that wliUe there is no great change in the positions of 
 the tongue, it is nearest the front of the mouth in the utter- 
 ance of the first, and neai'est the back in the last of these 
 sounds. Finally utfer the whole series, i, e, a, a:, o:, 
 o, u, first in the order in which they are written, and then 
 in the reverse order, and the distinction between front 
 and back vowels should be speedily mastered. It will be 
 observed, too, that accompanying the tongue movements, 
 there is a decided tendency to gradually change the form 
 of the lip opening from a long narrow oval with i, to a 
 wide oval with a:, tlie remaining back vowels being 
 marked by a gradually increasing contraction and pro- 
 trusion of the lips. The neutral vowels are identified by 
 the negative fact that their firticulation takes place at no 
 definite point, but along the middle portion of the tongue, 
 which, except that it may be raised or lowered, occupies 
 the position it usually has when the mouth is closed. 
 
AllTICULATION OP THK VOWIiLS. 25 
 
 ()l)eii the mouth slightly and emit voice (i.e., vibrjite the 
 vocal chords), slightly raising the tongue. This will pro- 
 duce the sound a: as in bird (ba:Jd). 
 
 To distinguish the high from the low vowels, utter the 
 sounds of the two series, i, e, a, and u, o, o:, letting 
 the sounds of each seiios glide into one another with no 
 iuten'ening pause. Carefully observe this time the vertical 
 motion of the t(mgue. Its gradual downward movement, 
 accompanied by a tendency to lower the jaw, will be quite 
 apparent. 
 
 The distinction between the terms narrow and wide may 
 he grasped by causing the vowel of eat (ijt) to glide into 
 that of it (it), that of fed (fed) into that of fair (ff :.i), and 
 fli.it of nauglit (no:t) into that of not (not). As the transi- 
 tion from the first of each of these pairs to the second is 
 made, a sense of relaxation of the upper surface of the 
 tongue will be experienced, as if the sides were less curled 
 up as the second vowel is sounded. 
 
 Tlie pitch of vowels cannot be determined with any 
 degree of exactitude without proper acoustical instru- 
 ments. 
 
 If the explanations given in the foregoing paragraphs 
 are clearly understood, little further description of the 
 articulation of our English vowels is needed than that 
 afibrded by the table on the following page. 
 
 The diphthongs are set in this table as nearhj as xxmihle 
 in a line vith the place of the articiilatinn of the first and 
 lust elements of their styiinds, vhich are approximately 
 indictited, by the two symbols employed. 
 
 When there are two vowels in the same 2h>sH ion, e.g., i: 
 (Old i, the narrower is given first. 
 
26 
 
 PHONETICS. 
 
 u 
 
 
 
 h3 
 
 C 
 N 
 
 o 
 
 
 Jaw Opknino. 
 
 
 
 
 
 ' — - ^ 
 
 i^mnll LimjQ 
 
 
 
 
 
 
 
 
 
 
 • • 
 
 1=1 
 
 
 
 
 
 
 ^ § § 
 
 1 
 
 6 
 
 
 
 
 
 o 
 
 
 t 
 
 
 
 
 «« 
 
 
 
 
 
 
 o 
 
 
 H 
 
 
 
 
 
 f^ 
 
 O 
 
 
 
 
 o 
 
 
 1 
 
 
 
 
 
 
 M 
 
 
 
 
 P d 
 
 
 H 
 
 r o 
 
 
 
 
 CD 
 
 f 
 
 
 
 
 
 ; o 
 
 
 » 
 
 
 
 
 • • 
 
 ••v-J 
 
 H 
 
 
 
 
 e8 
 
 t^ 
 
 v. 
 
 
 
 
 <8 
 
 •5 
 
 73 
 
 
 
 
 • • 
 
 J-J 
 
 ->) 
 
 
 
 
 "' 
 
 1, 
 
 O 
 
 
 
 
 « 
 
 
 
 
 
 
 • t-t .u *^~* 
 
 K 
 
 
 
 
 
 : -a; 'S o 
 
 
 
 
 
 
 • •t^ 
 
 tl^ 
 
 
 
 
 
 .r 
 
 ^ 
 
 
 
 
 
 g 
 
 
 
 
 . ^ "^ 
 
 4 
 
 
 
 
 
 te; . 
 
 i,7>/// awij 
 
 
 
 
 V . / • 
 
 
 4 
 
 
 
 ■KoixvAaig aaoKoj, 
 
AUTICULATION OP THE VOWKLS. 27 
 
 ij 
 
 ij is written : 
 
 ae ill Cacsjir (sijzai), otc. 
 ay in quay (kij). 
 
 e in be (bij), even (ijvon), antiiKides (antipodijz), 
 
 etc. 
 ea in meat (inijt), bean (bijn), etc. 
 ee in see (sij), etc. 
 ei in seize (sijz), ceiling (sijlitj), etc. 
 eo in people (pijl)'l)- 
 ey in key (kij). 
 i in in.-ichino (inojijn), ch.-igrin (J'^igi'ijii)* invalid 
 
 (invalijd), mos(juito (nia.skijt<j), etc. 
 ie in field (fijld), siege (sijdj), etc. 
 oe in CEdipna (ijdipos), etc. 
 
 The consonantal character of the closing element of this 
 loiiiid should not be too distinctly marked. 
 
 The coninujiiest mispronunciation of this sound is the 
 iuhstitution of i in such words as creek (krijk), moscjuito 
 iii.>skijto), etc., making them krik, maskito, etc. 
 
 Occasionally e is wrongly used for ij, in such words as 
 lop fur leap (lijp), etc. 
 
 i: 
 
 i: is written : 
 
 ie in bier (bi:a), etc. 
 
 e inhere (hi:j), serious (si:rio8), real (riial), mu- 
 seum (iujuwzi:om), etc. 
 
 ea in ear (i:J), etc. 
 
 ee in peer (pi:J), etc. 
 
 This sound only occurs before r, .i, and vowels. The 
 joiniuonest fault in pronouncing it is to nanow it to ij, 
 [fteii omitting a following vowel, c.;/., mij.i for mere 
 jiiii:.i), rijl for real ri:ol, o:adijl for ordeal (o:adi:9l), etc. 
 
28 PHONETICS. 
 
 1 
 
 i is written : 
 
 c in England CiT)gl8nd), pretty (priti), etc. 
 
 ee in Ijreeclios (britji/,), heeu (bin or bijn), etc. 
 
 i in fist (fist), irritate (iriteit), restive (restiv), 
 
 miracle, (mirak'l), etc. 
 ie in sieve (siv), etc. 
 o in women (wimni). 
 u iu busy (bizi), etc. 
 ui in build (bild), etc. 
 y in system (sistnn), etc. 
 
 Mistakes are common in the pronunciation of thi,< 
 sound. It is very often replaced by o or i) before r hi 
 such words as sijuirrel (skAviril), miracle (mirok'l), etc. 
 these words being mispronounced skM8;jl or skAVDal 
 moiak'l, etc. 
 
 Tho same incorrect substitution takes place in sucli 
 exi)reHsioiis as ^"9 f:J for the air (<fi fM), pilgrim oi 
 pilgrom for pilgrim ([)ilgrim), tJ^Dldron for children 
 (tjildran), juwnuti for unity (juwniti), etc. 
 
 Other mispronunciations consist iu rei)lacing i by ), 
 ai and ij, e.g., resk for risk (risk), sens for since (sins 
 eT)ghind for England (iT)gl3nd), preti for pretty (pritt 
 djenjutain for genuine (djenjurin), mistjijvas or misv 
 Jijvjos for mischievous (mistjives), etc. 
 
 I 
 
 t is written : 
 
 a in village (viltdj), etc. 
 
 ai in captain (kaptin), etc. 
 
 ay in Sunday (si^ndi), etc. 
 
 e in begin (bigin), exceed (xksijd), suited (sjuwtid), 
 
 restless (restlis), goodness (gudnis), collei;* 
 
 (kolidj), poet (poMt), etc. 
 
ARTICULATION OF THE VOWELS. 29 
 
 ea ill guinea (giii})> ^-'t*^'- 
 
 ee in colVee (kofi), etc. 
 
 ei ill forfeit (fo:.ifit), otc. 
 
 ey in alley (jili), etc. 
 
 i in comfit (ki)nifit), etc. 
 
 ia iu carriage (karicl^:^), etc. 
 
 ie in envied (eiivul), etc. 
 
 oi in tortoise (to;. it is or t.):.it,ajs). 
 
 u in lettuce (letis), etc. 
 
 ui in l)iscuit (biskit). 
 
 y in city (siti), etc. 
 
 ' in James's (djeimzi/,), etc. 
 
 The commonest mispronunciations of this sound are : 
 
 Sukstituting o, c.gr., ru:8n for ruin (ruMii), s3:avos for 
 survice (soMvis), etc. 
 
 Making a consonant syllabic instead of sounding the 
 Vdwt'l, c.ij., maunt'n for mountain (mauntin), etc. 
 
 Using ou for o:t in such words as pout for poet (po:it), 
 poum for poem (po:im), etc. 
 
 e 
 
 o ia written : 
 
 a in any (eni), many (meni), ate (et or eit), etc. 
 
 ae in iEtna (etiio), etc. 
 
 ai in again (ogen or ogein), said (sed), etc. 
 
 ay in says (sez), etc. 
 
 e in let (let), merry (ii'eri), special (sjie^ol), etc. 
 
 ea in breadth (IjredO), cleanly (kleiili), etc. 
 
 ei in heifer (hefo.i), leisure (lejuM or liji^uM), etc. 
 
 eo in jeopardy (djepii.idi), leopard (lepojd), etc. 
 
 ie in friend (frend), etc. 
 
 u in bury (beri), etc. 
 
30 PHONETICS. 
 
 Mispronunciations are : 
 
 Changing o for i in such words .is git for get (get), 
 instill for instead (insted), prisbitiiriau for Presbyterian 
 (presbiti:rion), etc. 
 
 Keplacing it hy ij in dijf for deaf (def), wijpan for 
 weapon (wepon), etc. 
 
 Changing it for o })efore r, c.;/., lio.io:ld for herahl 
 (herohl)j po:.il for peril (peril), etc. 
 
 Using a in its place in j.ia for yes (jes), or ei in 
 niei^u:^ for measure (nie^u:^), etc. 
 
 ei 
 
 ei is written : 
 
 a in lady (leidi), cambric (keimbrik), bass (beis), 
 etc. 
 
 agf in champagne (Jampein), etc. 
 
 ah in dahlia (deilia or dalif>), etc. 
 
 ai in aid (eid), etc. 
 
 aig in campaign (kampein), etc. 
 
 aigh in straight (streit), etc. 
 
 ait in trait (trei or treit). 
 
 alf in halfpenny (heip'nt). 
 
 ao in gaol (d5eil). 
 
 ay in day (dei), etc. 
 
 e in the ordinary English j)ronunciation of tht 
 French word fete (feit), etc. 
 
 ea in great (greit), etc. 
 
 eh in eh (ei), etc. 
 
 ei in vein (vein), etc. 
 
 eig in reign (rein), etc. 
 
 eigh in weight (weit), etc. 
 
 ey in grey (grei), etc. [ 
 
 The habit of using a in i)lace of this sound in such 
 
ARTICULATlOy OP TIIK VOWELS. 31 
 
 words as pathos (peiOo.s), patriot (imitriot), apparatus 
 (iiporeitos), etc., is very firmly established with us, even 
 anumg persons with some pretensions to culture. 
 
 English people often mispronounce this sound by using 
 or even a as the initial element of the diphthong, so f>.;/., 
 wo hear the word baby (beibj) mispronounced boibt or 
 iKiibi. 
 
 The Scotch often use an inidiphthongized e: for ei, 
 sounding liate (heit), he : t, etc. 
 
 c: 
 
 € is wi'itten : 
 
 a in caring (kcirii)), faro (fc:a), scarce (skctJs), 
 
 Israel (izrcral), etc. 
 aa in Aaron (€:ran), etc. 
 at in hairy (he:rt), pair (pcM), etc. 
 aye in prayer (pretj), etc. 
 e in ere (crj), there (^e:.T), etc, 
 ea in swearing (sAvc:riT)), wear (wc.-j), etc. 
 ei in their ((fe: j), heir (ca), etc. 
 
 Mispronunciations are : 
 
 Making the sound too high and narrow, so that it be- 
 comes the first element of tlie diphthong ei, thus we hear 
 po:afor poar(pe:.i), more frequently however it is diph- 
 thongized, and the word becomes peia or even pej.x. 
 
 Lowering the sound to a, e.f/., apparent (opcrmnt) is 
 mispronounced Qparont, were {we:^ or wa.i), wa.i, there 
 (t)e:a), d"aJ, etc. 
 
 Using the sound o; in such words as careless (kc:.ilis), 
 etc., mispronouncing tlieni ko:aljs, etc. 
 
 a 
 
 a is written : 
 
 a in fat (fat), carry (kari), etc. 
 ai in plait (plat or pleit), etc. 
 al in salmon (saman). 
 
32 PHONETICS. 
 
 TMisprununciations are : 
 
 Cli;ini,'inL; a fo o in kotj for civ(-eli (katO, «-'tc. 
 
 To i in kin fur can (kan), etc. 
 
 To ei in foMljoid for forbade (fo:abad), etc. 
 
 To cl: in l)(L:ril or IxL.-al for baril, etc. 
 
 Americans who are striving to affect an English accent 
 use a: or cl: in such words as h(i :nd, a:nt or (L:nt, (l:s, 
 etc., for hand (hand), ant (ant), ass (as), eto. 
 
 In the words tassel (tas'l), balcony (balk on i), etc., o or 
 o: is made to replace it, so that we hear tos'l, ]>.T:lkon|, 
 etc. 
 
 a: 
 
 This sound is not only longer but lower and farther 
 back tlian a. 
 
 a : is written : 
 
 a in rather (ra:(fo.i), bath (ba:0), after (a:ftoj), 
 |)as3 (pa:s), cast (ka:st), ask (a:sk), chance 
 (tOi:ns), connuand (konia:iid), sample (sannp'l), 
 etc. 
 
 al in alms (a:mz), calf (ka:f), etc. 
 au in laugh (la:f), launch (la:nj or lo:nJ), aunt 
 (a:nt), etc. 
 
 This sound in the speech of the South of England, and 
 of some parts of the United States, is generally replaced 
 by «:. a: is however heard frecpieiitly everywhere among 
 English-speaking people of culture, while with us, though 
 of course permissible, the a: sound seems affected. 
 
 One of the most marked solecisms in the speech of the 
 uncultured of this contuient consists in raising and short- 
 ening the soinid to a. Thus we constantly hear kant for 
 can't (ka:nt), laf for laugh (la:f), etc. 
 
AHTICULATION OP THE VOWELS. 33 
 
 ai 
 
 ai is a combination of a: and i. 
 It is written : 
 
 ais in aislu (ail). 
 
 ay in ay (ai). 
 
 ei in eidorJown (aidaadaun), etc. 
 
 eigh in height (hait), etc. 
 
 eye in eye (ai), etc. 
 
 i in alii ji (alibai), dial (daiol), idul (aidnl), confine 
 (konfain), clioir (kAvai.i), etc. 
 
 ic in indict (indait), etc. 
 
 ie in lie (lai), etc. 
 
 ig in sign (sain), etc. 
 
 igh in high (hai), etc. 
 
 is in island (ailond), etc. 
 
 uy i:i huy (bai), etc. 
 
 y in fly (flai), tyrant (tairant), etc. 
 
 Mispronunciations arc : 
 
 Using a: as the first element of the diphthong, some- 
 times dwelling at too great longth on this component. 
 Thus we hear ma:i for my (mai), etc. 
 
 Using 9: or "D cas the first element. This is one of 
 the most noticeable characteristics of the Irish dialect : 
 e.(/.,mino (main) is pronounced moin, mi)in, or even moin. 
 
 Using a consonantal closing sound before j or r, thus 
 miry (mairi) is pronounced majri, etc. 
 
 Occasionally ei is substituted for ai as in teigo.i for 
 tiger (taignj), etc. 
 
 Changing the sound to t m the final sylhible of ally, 
 allies (alui, alaiz), making tliem all, aliz. 
 
34 PHONETICS. 
 
 o: is written : 
 
 e ill fern (fa: an), etc. 
 
 ea in earn (8:.in), etc. 
 
 i in fir (f^M), stirred (storad), etc. 
 
 o in work (wo:jk), colonel (koMnal), etc. 
 
 ou in courtesy (ko:Jtsi), etc. 
 
 u ill turn (toMn), fur (faj), etc. 
 
 y in myrtle (maiJt'l), etc. 
 
 Mispronunciations, etc. : 
 
 Many English people raise tlie tongue so as to pro- 
 duce a sound resembling e ; so, lean is heard for turn 
 
 (to: an), etc. 
 
 On the other hand Canadians sometimes lower the 
 tongue and move it back so that a: is replaced by X), e.g., 
 buad for bird (bo:. id), etc. 
 
 The Irish often carry back the sound so far that it is 
 scarcely distinguishable fromu:, pronouncing bird (bo: ad), 
 bu:ad, etc. 
 
 e 
 
 9 is written : 
 
 a in unstressed connectives and auxiliaries, e.g., 
 and (ond or on), has (haz or oz), was (waz), etc., 
 also in agreeable (agri:ob'l), idea (aidi;a), etc. 
 
 aa in Isaac (aizok). 
 
 ah in Sarah (sc:ra), etc. 
 
 e in the (before a consonant tfa), prudence (pruw- 
 dons), enter (entaa), etc. 
 
 i in unstressed sir (soj). 
 
 ia in parliament (pa:alamant). 
 
 o in unstressed from (fram), of (av), etc. 
 
 o in phantom (fantam), etc. 
 
 oa in cupboard (kubaad), etc. 
 
ARTICULATION OP TUB VOWELS. 35 
 
 ou in famous (feimas), otc. 
 
 oul in unstressed would (wod), sliould {\^d), etc. 
 
 u in column (kDlam), etc. 
 
 y in martyr (matatoj), etc. 
 
 Mispronunciations : 
 
 Using the sounds a, o, etc., in place of o. This fault 
 is most freciuent in readmit, when Ave hear for example, 
 and for end or en, abaund for obaund, kri:eito:a for 
 kri:eitoa, etc. 
 
 Replacing o by t), e.f/., aizT)k for aizok, etc. 
 
 Dropping the sound after the diphthong ai ; e.g., 
 pronouncing lion (laian), lain, etc. 
 
 D 
 
 X) is written : 
 
 o in won (won), honey (Inmi), worry (wijri), 
 nothing (n-oOir)), etc. 
 
 oe in does (cIdz), etc. 
 
 00 in blood (blDd), etc. 
 
 ou in rough (rT)f), flourish (flT)riJ), etc. 
 
 u in nut (nDt), hurry (hT)ri), etc. 
 
 In Southern England the sound is often scarcely dis- 
 tinguishable from a: or f), that is, its articulation is higher 
 and further forward than with us, thus we hear ba:t for 
 Imt, etc. 
 
 In the Yorkshireman's speech it often approxitnates to 
 u: e.g., nnQir) is sounded nu:0ir), etc. 
 
 With US o too often wrongly takes its place, e.g., nothing 
 (nT)Oir)) is mispronounced noBir) or no: Oir); monk (nn)T)k ), 
 moT)k; unknown ("Dnnoun), onnoun, etc. This fault is 
 particularly common in words with the prefix un. 
 
 We often, too, change T) to 9: before r, e.g.^ hurry (hDri) 
 is made to rhyme with furry (f8:ri), etc. 
 
36 PHONETICS. 
 
 a: 
 a: 18 written : 
 
 a in father (f(L:clb.i), car (ka:j), starry (sttt:ri), 
 
 mama (manuL:), papa (popd:), etc. 
 aa in kraal (kr(L:l), etc. 
 ah in ah (o.:), hurrah (Imra:), etc. 
 e in clerk (kla:.tk), etc. 
 ea in heart (ha:at), hearth (IulmO), etc. 
 
 The sound o: is more often heard than tt: in America 
 in audi words aa liearth, clerk, etc. However, since the 
 a: sound is usual with us among people of the highest 
 culture, while 9: is considered a decided vulgarism in 
 England, the former is preferable. 
 
 Sometimes the articulation is so low and so far back 
 that this sound becomes almost o: ; e.y., father is i>ro- 
 nounced foidfaa, etc. 
 
 With us the pronunciation of the words mama (momci:) 
 and papa (popa:) is much abused. We hear niamo, pjipsi ; 
 monia, popf> ; ma: , pa: ; ma: , pa: ; and even mo: , po: . 
 
 (LU 
 
 au is a combination t»f a sound a little higher perhaps 
 than a:, and u. 
 
 It is written : 
 
 ou in out (aut), etc. 
 
 ough in plough (plan), etc. 
 
 ow in coward (kauoad), brown (braun), etc. 
 
 The first element of this sound varies considerably with 
 diflferent speakers. 
 
 In the Eastern States and in Southern England, coupled 
 with a raising of the initial sound to a, is observable a 
 
ARTICULATION OP TUB VOWELS. 87 
 
 tendency to the introduction of j ; thus pound (pciund) 
 becomes pj.-iund ; cow (kau), kjau, etc. 
 
 Among people of affectedly English speech, tt: is often 
 allowed to take the phice of ttu ; e.j/., powers (pauaaz) is 
 pronounced pa:.iz or pa:oz ov pa:z. 
 
 A common Canadian fault is to over-round the lips 
 before r and J, so as to i»roduce a w sound ; c.j/., pro- 
 nouncing flower (flau'a) flciuwoj, etc. 
 
 o: 
 o: is written : 
 
 a in all (o:l), bald (bo: Id), war (wo:.i), water 
 (wo:taj), wrath (ro:0), etc. 
 
 au in taut (to:t), etc. 
 
 augh in caught (ko:t), etc. 
 
 aw in maw (nio:), etc. 
 
 o in off (o:f), frost (fro.st), cloth (kb:0), etc. 
 
 oa in broad (bro:d), etc. 
 
 ough in ought (o:t), etc. 
 
 Before r and J this sound slightly shortened is generally 
 used by people of the South of England and by many 
 Americans, where in Canada it is more usual to employ 
 o:; e.g., a Southern Englishman pronounces more, mo: a 
 or mo:, etc., while most Canadians say mo: J, etc. 
 
 An objectionable mispronunciation with us is due to 
 neglecting to round this vowel, so that it resembles a: or 
 a lengthened o. Thus we hear wa:toj or wotoj for water 
 (wo:t8j), la: for law (lo:), tot for taught (to:t), etc., etc. 
 
 In some words X) is allowed to replace o:, thus because 
 (biko:z) becomes bikoz, etc. 
 
 
 
 is written : 
 
 a in was (woz), what (Avot), quarry (kMori), equality 
 (ijkAvolitx), etc. 
 
 au in laudanum (lodnam or lo:dn8m), etc. 
 
38 PHONETICS. 
 
 o in not (not), folly (Mi), foreign (forin), coral 
 (korol), etc. 
 
 ou in hough (hok). 
 
 ow in knowledge (noltdj), etc. 
 
 A very common tendency with us is to change o to o: 
 especially before r or J. So foreign (forin) is pronounced 
 forrm or fotjn ; forest (forist), fo:rTst or fo:.i.st; office 
 (ofis), o:fis ; dog (dog), do:g; God (god), go:d etc. This 
 last word is often mispronounced ga : d. 
 
 T) too is allowed to take the place of o; so donkey 
 (dor)ki) is mispronounced dT)r)kT, hovel (hoval), h-nval ; 
 sovereign (sovorm), sDvarin ; was (woz or woz), wt)z. 
 
 oi 
 
 This diphthong is compounded of a wide o: and i. 
 oi is written : 
 
 oi in oil (oil), turmoil (toiamoil), etc. 
 
 oy in boy (boi), envoy (envoi), etc. 
 
 The first component of this sound is often incorrectly 
 made narrower and higher than o:, thus we hear boy 
 (boi) pronounced almost like bowio (bou : i), etc. 
 
 A common fault, most noticeable perha])s among the 
 uneducated of England, though common too in America, 
 is to use ai for this sound ; e.<j., join (djoin) is luispro- 
 nounced djain, etc. 
 
 o: 
 o: is written : 
 
 o in ore (o:a), etc. 
 
 oa in oar (o:j), etc. 
 
 00 in door (do: a), etc. 
 
 ou in mourn (moMn), four (fo:.i), etc. 
 
 This sound is seldom heard in the South of England 
 unless it be in such words as poet (po:it or pouit), etc.; 
 
ARTICULATION OF THK VOWKLS. 39 
 
 among Englisli-speakiiig pooplo elsewhere it is the common 
 sound before .i. 
 
 o 
 
 o is written : 
 
 aoh in Pharaoh (fe:ro). 
 
 o in obey (obei), protect (protekt), ofliciate (otijieit), 
 hotel (hotel), heroine (heroin), etc. 
 
 ough in uhorough (Bdto). 
 ow in fellow (folo), etc. 
 
 This vowel is often sounded o, ejj., 8bei for ol)ei, elc. 
 This is an offensive mispronunciation wlien the vowel is 
 tormina], e.g., in window (windo), fellow (felo), etc. 
 
 ou 
 
 ou is compounded of a sound rather higher and narrower 
 than o: and u. 
 
 ou is written : 
 
 eau in beau (bou), bureau (bju:rou), etc. 
 
 eo in yeoman (joumoii). 
 
 ew in shew (Jou), etc. 
 
 o in go (gou), omen (oumen), patrol (i)Otr()ul), 
 gross (grous), etc. 
 
 oa in groan (groun), etc. 
 
 oh in oh (ou), etc. 
 
 oo in l)rooc]i (broutj), etc. 
 
 ou in soul (soul), mould (mould), etc. 
 
 oug^h in dough (dou), though (<^ou), elc. 
 
 ow in slow (slou), etc. 
 
 owe in owe (ou\ etc. 
 
 Before a vowel the final u of the diplillioii;^^ is scarcely 
 sounded by cultured si)eakers. If this somul is .-..t all 
 narrowed, the eftect is particularly offensive. This mis- 
 
PIIONKTICS. 
 
 pruimiiciation is often accompanied by the omission of the 
 vowel that slioukl follow the diphthong ; thus wo hear 
 I)oiiui for poem (pouim or poinn), etc. 
 
 The suhstitutioii of i) for ou is a common fault, e.g., 
 won't (wount) is mispronounced WDut ; home (houni), 
 Imm ; whole (houl), IidI, etc. 
 
 uw is sometimes wrongly allowed to take the place of 
 ou ; e.ij., goal (goul) is mispronounced guwl. 
 
 Final ou in such words as bureau (bju:rou) is often 
 mispronounced o or o so that the word becomes bju:r<) or 
 bju:ro. 
 
 English people often introduce the diphthong by e 
 instead of o:, or prefix e to the diphthong. Thus we 
 hear neu or neou for no (nou), etc. 
 
 u 
 
 u is written : 
 
 o in woman (wumon), bosom (buzom), to (tu), etc. 
 oo in book (buk), foot (fnt), etc. 
 ou in bouquet (bukei), courier (kurin.i). 
 oul in could (kud\ etc. 
 
 u in hurrah (hura:), pulpit (pulpit;, cusliion (kujon), 
 put (put), etc. 
 
 Tn the word to, the vowel is so short and indistinct that 
 before a consonant it is scarcely to be distinguished from 
 0. While before a consonant, e.g., in such i>hrases as to 
 send (ta send), etc., this may be permitted ; it is an 
 offensive mispronunciation before a vowel or at the end of 
 a phrase ; e.g., when to eat (tu ijl), going to (gouir) tu), 
 etc., are mispronounced to ijt, gouir) to, etc. 
 
 is also incorrectly 8uV)stituted for u in yf)U (ju or juw), 
 your (ju.i or ju:a) which are sometimes sounded ja and 
 jo J. 
 
 The use of o in should, would, etc., is of course the 
 rule in cases where they are unstressed and rapidly 
 uttered. 
 
AUTICULATION OP TIIK VOWELS. 41 
 
 Tlie connnonesfc mispronunciation of u is the substitu- 
 tion of 1); thus we liear bDtJoj for butclier (butjoa), fi)t 
 for foot (fut), b-Dzam for bosom (buzam), kiDrioa for 
 courier (kurioa), etc. 
 
 In some cases uw is substituted for u: ; e.f/., wo liave 
 buwzom for bosom (buzom), buwk for book (buk), etc. 
 
 u: 
 
 w: is written: 
 
 eu in pleurisy (plu:risi), etc. 
 
 ew in brewer (bru :oa), cliewing (tjuni)), etc. 
 
 o in doer (du:aa), doing (du.ir)), etc. 
 
 00 in poor (pu:a), wooer '>u:oa), e:c. 
 
 ou in your (ju:a), tour (tu: j), etc. 
 
 u in fluent (flu:ont), sure (Jurj), etc. 
 
 It will be observed that this sound occurs only before 
 vowels and the consonants r and a. Its dii)hthongization 
 in these oases is very objectionable : e.g., in the pronuncia- 
 tion puwj or puwoj for poor (puM), etc. 
 
 In affectedly English pronunciation o: is often substi- 
 tuted foru:; e.g., surely (Juuli) is nn'spronounced JdmIi 
 or 5o:li, etc. 
 
 Occasionally au is incorrectly used for u: e.g., tourist 
 (Lu:rist) is mispronounced taurist, etc. 
 
 ,)u: H written : 
 
 eu in the counnon Englisli prf.iuuiciation of con- 
 noisseur (konisju:a or konisa:.!). 
 ew in fewer (fju:9a), etc. 
 iew in viewer (vju:oa), etc. 
 u in pure (i)ju:a), dual (djurol), etc. 
 
 A very common mistake is the omission of the j sound 
 ill words like dual (dju:ol), pronouncing them du;oI, etc. 
 
42 PHONETICS. 
 
 IIW 
 
 There is some difference of opinion among phoneticians 
 as to the final element of this diphthong, some legard- 
 ing it as u, others as w ; with ns it is certainly usually 
 consonantal. 
 
 uw is written : 
 
 eu in rheumatism (ruwmotiz'm), etc. 
 
 evr in Jew (djuw), che^nr (tjuw), etc. 
 
 o in do (duw), who (huw), etc. 
 
 oe in canoe (kenuw), shoe (Juw), etc. 
 
 oo in boot (buwt), etc. 
 
 ou in youth (juwG) route (ruwt), etc. 
 
 u in rumour (ruwmaj), yule (juwl), etc. 
 
 ui in fruit (fruwt), juice (djiiws), etc. 
 
 A very common error in the xitterance of this sound is 
 to shorten it to u, so room (ruwm) is mispronounced rum, 
 soup (suwp), sup, etc. 
 
 Another fault is the change to an in route (ruwt), 
 accoutre (akuwtaa), etc., which are mispronounced raut, 
 okautoj, etc. 
 
 In soot (suwt), 1) is s<»metime8 used for uw, so that the 
 word is mispronounced sT)t. 
 
 In Scotland and the North of England this sound is 
 not usually diphthongized : thus food (fuwd) is i)ronouncetl 
 fu:d, etc. 
 
 juw 
 juw is written : 
 
 eau in beauty (bjuwti), etc. 
 eu in feud (fjuwd), etc. 
 ew in dew (djuw), etc. 
 ieu in adieu (adjuw), etc. 
 iew in view (vjuw), etc. 
 
LAWS OF EXPRESSION — PIIONKTrC SYNTAX. 43 
 
 u ill usage (ju\vz:id3), duke (djuwk), volume 
 
 (vol ju win), etc, 
 ui in nuisance (njuwsans), suit (sjuwt), etc. 
 
 In America this sound is much less widely used than in 
 England. It is almost always replaced by uw after 1 and s, 
 thus blue (bljuw), suit (sjuwt), etc., are often pronounced 
 hy peoi)le of culture bluw, suwt, etc. After d, t, n and 
 liowever, juw only can be regarded as permissible, thus 
 stuwdont for student (stjuwdant) duw for due (djuw), 
 nuwz for news (njuwz), etc., are serious mispronuncia- 
 tions. 
 
 Laws of Expression— Phonktio Syntax. 
 
 We have now to consider briefly the second part of our 
 theme, the art of using words so as to make them ettectivo 
 \ehicles for the expression of thought and feeling. This 
 demands training of the organs of si)eech as well as i)ower 
 to comprehend the thought, and to l)ecome susceptible to 
 the emotional states to which expression is to be given. 
 Tliought and feeling are so closjly allied with their correct 
 and forcible expression, that the consciousness of making 
 a statement effectively quickens brain and heart. Thus 
 gifted speakers soar upon the wings of their own words 
 to the highest flights of oratory ; and great rwiders 
 and actors, and through them their hearers, attain insight 
 into what is often at once brightest and most elusi\'t in 
 literature. Hence intellectual power and oral expression 
 are to a certain degree interdependent. The question of 
 the cultivation of the former lies beyond the scope of this 
 work ; but the laws governing the latter may be stated 
 and the mode of their operation considered. 
 
 Apart from the individual characteristics of speecli ^i^^^^^^,-^^^ 
 sounds as mere vocables, they have three classes of rela- "*"''''"'«* "j 
 tive attributes, that is, of attributes which pertain to their Sounds. 
 
44 
 
 PHONKTICS. 
 
 Classet. 
 
 Time. 
 
 Enerijy. 
 
 Conditioti of 
 the Speech 
 Organic. 
 
 Snb-divi- 
 giontt. 
 
 Hate. 
 
 Expressing 
 Feeling. 
 
 A iding 
 Clearness. 
 
 Fiiults. 
 
 Pauses ; 
 
 For lutein. 
 gibiUty. 
 
 For Tmpres 
 sive7iess. 
 
 use in the expression of thought. Of these tlie first are 
 associated with time, the second witli energy of utterance, 
 and the third with changes in the condition of the speech 
 organs or peculiarities in the mode of their formation. 
 Under the first head we have to consider rate and pause ; 
 under the second, loudness or stress, and cluarnuss ; and 
 under the third, pitch, inflection and tone, tlie latter term 
 eml)racing full tone, thin tone, whisper, pure tone, wheeze, 
 gutturality and nasality. 
 
 A proper variation of the rate of utterance is one of 
 tlie most important principles of elocution ; first, in con- 
 nection with varying manifestations of feeling ; and 
 secondly, in aiding to give proper relative value to our 
 words and phrases. In the expression of emotional 
 states, the rule is that excited feelings find vent in 
 rapid utterance, while in grave or sad moods the rate 
 of speech is slow. With regard to the perspective of our 
 v/ords and phrases, important ideas are brought to the 
 foreground by slow and energetic enunciation, while what 
 is comparatively insignificant is relegated to a subordinate 
 jiosition by a more hurried utterance. A common fault in 
 reading is an unvaryingly rapid movement, generally 
 accompanied by a slovenly pronunciation. It is very often 
 the case, too, that readers fail to apportion the time given 
 to the different parts of a statement in accordance with 
 their relative weight of significance. 
 
 Pauses may be divided into two classes : those that 
 concern the intelligibility of speech, and those that add 
 to its impressiveness. To the former class bek)ng (1) 
 pauses before and after parenthetical expressions or 
 appositives (see page C>7, 1. 17) ; (2) before a predicate if 
 the subject has atlributes (page 67, 1. 0); (3) between the 
 ])arts of sentences that act as modifiers of the same word 
 (page G7, 1. 4) ; and (4) when there is an inversion or an 
 ellipsis (p. 07, 1. 3, and p. 70, 1. 30). In the second class we 
 liave (1) the i)ause that usually follows an emphatic word 
 (p. 67, 1. 23) ; and (2) the lengthened pause that sometimes 
 
LAWS OP EXPRESSION — PtlONETIC SYNTAX. 45 
 
 gives effect to words that follow, or that prepares for a 
 change in the thotiglit by holding us in suspense until 
 I lie utterance is made (page 67, 1. 6). In reading, the 
 punctuation marks serve as partial guides for nearly all puucuia- 
 these pauses, but the skill of the reader is shown by '*"" ■*'*""*'• 
 properly varying their duration with different turns of 
 thought and by appropriately introducing pauses not 
 indicated by the punctuation. 
 
 The terms loudness and stress designate the effect of Loudness 
 t he efforts by which the breath-stream is made to issue 
 from the lungs. They are of course relative terms. The jyigtinctioii. 
 f(jrmer is usually applied to the utterance of phrases or 
 sentences, constituting in connection with energy of 
 articulation the quality of speech known as force ; while 
 the use of the latter is generally restricted to words or 
 parts of words. In this sense of the term there are three 
 divisions of stress : (1) emphasis, or stress upon whole Biviswnt o) 
 words ; (2) accent, or stress upon those syllables of words '^''■*'**- 
 of the pronunciation of which this stress is a constant 
 feature ; and (3) a varying stress in the utterance of the 
 syllable itself. Of the last form it is necessary to note 
 tliree manifestations : (1) initial or diminishing stress ; Subdivi' 
 (2) final or increasing stress ; and (3) level stress. 
 These again may be compounded, so that we »nay have in- 
 creasing and diminishing or median stress, and diminish- 
 ing and increasing stress. A rapidly intermittent stress Tremor. 
 is called a tremor. All variations of stress are usually Associatioii 
 accompanied by differences of pitch, the pitch rising as ""'"' ^'itch. 
 the stress increases. 
 
 Loudness may be observed in connection with the ex- j^ifect of 
 })ression of any active violent passion, such as anger ; and ^"«<^"*»»- 
 in the utterance of commands. In reading, while a Faults. 
 deficiency of this quality is to be avoided, its excess to 
 the degree of any straining of the voice is still more 
 objectionable. 
 
 Emphasis marks (1) words that stand in contrast to one Uses of 
 another (see page G7, 1. 18) ; (2) relational words that ^''"^'^«»"- 
 
4C 
 
 PHONETICS. 
 
 Faults. 
 
 Use of 
 Accent. 
 
 Rhythm. 
 
 Poetry. 
 Faults. 
 
 anticipate or follow a clause of explanation (page 67, 11. 
 2!) and 23); and (li) word.s important bucauso they express 
 deep feeling or weighty ideas (page (57, 1. «'i). No fault 
 more strikingly betrays lack of appreciation of an author's 
 meaning than misplaced emphasis in reading. An instance 
 of this often occurs in reading an adjective and a noun 
 when the two together express an idea which it is expedi- 
 ent to make preeminent. Thus the words "a good man," 
 used to designate the person of whom goodness is an 
 attribute, rather than to call attention to the quality itself 
 in contradistiucti(m to some other quality which might be 
 possessed, are misread by strongly emphasizing the ad- 
 jective and leaving the noun unstressed, a slight pause 
 perhaps intervening between them, instead of grouping 
 the two words and carrying the stress over slightly to the 
 noun. The former mode of reading would of course be 
 correct if the adjective expressed an idea of contrast, for 
 example, in rebuttal of a statement that the man was bad. 
 
 Accent belongs mainly to the pronunciation of words 
 apart from their connection with one ancjther in the ex- 
 pressit)n of thought. In so far as it serves to differentiate 
 the meaning of words which have otherwise the same 
 sound, its consideration has place in connection with 
 phonetic syntax ; but when we analyse pairs of words 
 that seem to belong to this class, we find that there is 
 nearly always a difference in their sounds, thus produce 
 Cprodjuws), the no\m, is distinguished from produce 
 (pro'djuws), the verb, by a change of vowel in the initial 
 syllable, as well as by the change of accent. On the 
 tendency to alternate accented and unaccented syllables 
 depends the rhythm of our speech, this rhythm regulated 
 and conventionalized, giving poetry its distinctive form. 
 One of the commonest mistakes in reading poetry is to 
 make the rhythm too apparent, so that, especially when, 
 as is usually the case, this fault is accompanied by uni- 
 formity of inflection, of pause and of rate, it produces a 
 monotonous sing-song. 
 
LAWS OP EXPRESSION — PHONETIC SYNTAX. 47 
 
 The employment of initial, final or level stress is largely initial, 
 one of national habit, the general custctm among Teutonic UrJ/'sh-rxg. 
 peoples being to use initial stress, this tendency l)eing 
 very marked in American speech. Tlie stress, liowever, 
 varies with the character of the feelings expressed ; final ^'ntwnal 
 stress being often employed, for exami)le, in brief utter- 
 ances of anger or impatience ; and level stress in calls to /wi!«J'*"^ 
 attract attention. Median stress is suited to the utter- pi,^^l f-f^^^^ 
 ance of sublime thoughts. In excess it degenerates into 
 the unpleasant affectation called "mouthing." Compound 
 stress, usually with a marked change of pitch, serves to ^'""^'"""''• 
 express scorn, contempt and similar feelings ; while the 
 tremor manifests itself in the speech of the physically 
 infirm, or of those moved by grief or some other form of ^''■*'"""- 
 excitement that overcomes self-control. 
 
 What is called distinctness of utterance is the result of DistinrtufKs 
 energetic action of the organs of articulation ; indistinct- uncUu'Jg^' 
 iiuss is its opposite. While all speech, especially all read- 
 ing, should be marked by distinctness of articulation, the 
 effort should not be apparent unless great force is to be 
 manifested. In comparison with other European Ian- ^'"''O""' . 
 guages, indistmctness is a general characteristic of English t><^«- 
 speech, tlie Highland Scotch and the Welsh, I think, 
 being the only speakers of our language whose articulation SKi 
 is generally clear. The defect has varying manifestations **'^'*'''- 
 among different sections of the race. Englishmen, for 
 example, often mumble their consonants, but pronounce "^ '^ '' 
 their vowels with a fair degree of clearness. Canadians, Canadians. 
 on the other hand, too frequently grind out those con- 
 sonants which they make heard, but elide, shorten and, 
 where possil)le, consonantize their vowels. The articula- 
 tion of the people of the United States resembles that of people of the 
 
 Canadians, but is usually easier and slower, sometimes '^"''<'<' 
 1 • • 1 1 m. States. 
 
 clogenerating into a draAvl. The common tendency of 
 
 English-speaking people to magnify stress at the ex[)ense 
 
 of articulation, so that all but the stressed syllables 
 
 lose their distinctive form or disappear, is very 
 
 marked in American speech : thus, e.g.j the word 
 
48 
 
 PHONETICS. 
 
 Ainericflu (oinerikon) becomes 
 (il_:5ent'lman), d^^en'm, etc. 
 
 'maak'ii ; gentlemun 
 
 Pitch. 
 
 IIoV 
 
 Modified. 
 
 Pitch and 
 Jnflrction, 
 
 r.fiect of 
 Changes. 
 
 Remedxffor 
 Defects. 
 
 By pitch is meant the relative lieights of sounds as 
 indicated hy the musical scale. Pitch depends upon the 
 fre(iuency of the vibrations of tlie vocal chords, and this 
 frequency of vibration upon their length or tenseness. 
 The degree of tenseness maintjiined in the whole utter- 
 ance causes "what is generally called the pitch at which 
 the words are spoken ; while t!ie upward or d<jwnward 
 glides resulting from gradually varying the tenseness as 
 portions of a statement are uttered, constitute what is 
 known as inflection. Fitting changes in the height of our 
 tones conduce to melody of speech. No vocal exercises 
 are more important than those that tend to remedy the 
 hard inflexibility of tone so connnon among us. Such 
 exercises should begin with singing the notes of the scale, 
 so that difierences in pitch may be recognized, then 
 should come reading with varying pitch, and finally prac- 
 tice in inflectional glides of all kinds, and tif all degrees 
 within the compass of the voice. 
 
 Diflferences of pitch admit of infinite gradations, but it 
 is sufficient to mark five degrees : high, low, medi.an, 
 
 Manrfestina ^®^y ^"o^"^ ^"^ ^^'^ ^"^^' "^'^^T '"''^ manifested in connec- 
 tion with vai'ying emotional states, high pitch expressing 
 anger, alarm, or any form of excitement (.see page 09, 
 1. 27), while grave feelings find utterance in low tones (page 
 72, 11. 8-10). 
 
 Differences 
 of J'itch. 
 
 Emotion. 
 
 Varieties 
 Inflection. 
 
 Function. 
 
 Rules for 
 Use. 
 
 Falling 
 Inflection. 
 
 of Inflectional glides may vary from any one i)itch to any 
 other. As with pitch, however, it is sufficient to note five 
 modes : rise, fall, level or sustained tone, high rise and 
 low fall. Inflections have the two-fold function of show- 
 ing the connection or the character of the thought, and 
 of expressing emotions. With regard to the former, the 
 rule is that the voice falls at the close of a complete state- 
 ment, whether it be assertive, or in the form of a ques- 
 tion that does not require a direct reply ; while the rising 
 
LAWS OF EXPRESSION — PHONETIC SYNTAX. 49 
 
 inflection or level tone is used at the close (1) of dependent 
 
 statements which precede principal ones (page 07, I. 22), Rmngor 
 
 and (2) of questions requiring a direct answer (p;ige C9, ^*"'*'- 
 
 1. 7). A low fall accompanies positivenoss of statement Loio Fall. 
 
 (l.uge 72, 1. 10), and a high rise some feeling like doubt or iHghJiUe 
 
 surprise (page C9, 1. 12). The falling and rising inflection 
 
 may express warning or doubt (page 71, 1. 27), and theS^f """^ 
 
 risnig and falling, scorn, contempt, or irony (page 70, 1. 2). 
 
 Tlie higher the rise and the lower the fall, the stronger is Failing''^ 
 
 the emotional effect. 
 
 Among English people tliere is often a tendency to use Fault». 
 inflection too much ; with the people of this continent it 
 is rather the reverse. Tiie commonest violation of the 
 laws of inflection in reading is allowing, the voice to fall 
 monotonously at the end of every clause or phrase. This 
 is a fault which it is difticult to correct, as is the kindred 
 one of reading poetry with the same inflections in succes- 
 sive lines or groups of lines. The victims of these bad 
 habits are often themselves unconscious of their weak- 
 nesses, and are nearly always at first incapable of over- 
 coming them. Exercises in glides, and patient insistence Rem^die, 
 up(m the utmost degree of correctness attainable, are 
 means of remedying these defects. 
 
 In mere breathing, the glottis is open and the vocal chords Breathed 
 relaxed, so that sound can be produced only by the friction 'S^"""''*- 
 of the breath in the nose, mouth, etc. Articulate sounds 
 thus formed are properly called breathed sounds, but are 
 popularly confounded with whispers. They are used to 
 express secrecy and kindred feelings (page 69, 1. 11). 
 
 Voice is produced by the vibration of the vocal chords, y^^^^ 
 the more completely the chords vibrate, the fuller being 
 tho tones produced. What is called "full tone" is tha Full Tom. 
 result of closing the glottis and allowing the breath to 
 pass through only in puflfs, so that a large portion of the 
 area of the vocal chords is made to vibrate. Very full 
 tones are called, from a mistaken idea of their origin. 
 
50 
 
 PHONETICS. 
 
 Cheit Tonet. 
 
 Thin Tone. 
 
 Head Tuiiex. 
 Falsetto. 
 
 Useit of 
 
 IHjfprent 
 
 Tonei. 
 
 Ftill Tunes. 
 
 Chest Tunes. 
 
 Head Tunes 
 Whisper. 
 
 Use of 
 Whisfer. 
 
 Purity of 
 Tone. 
 
 Wheeze. 
 
 Guttiirality, 
 
 Nasality. 
 Causes. 
 
 "chest tonus." In ordinary speech, the chords are merely 
 l)rought together, so that only their edges vibrate, the 
 wider the opening between them and the narrower the 
 vibrating edge, the "thinner" being tlie tone. When 
 this thinness exists to a marked degree, wo have what is 
 unscientifically called a "head-tone," and if it be extreme, 
 a "falsetto." Dift'erences of tone may be constant charac- 
 teristics of speech, or they may be assumed as occasion 
 demands. Thus full tones should usually be employed in 
 reading, or in speaking to a large audience ; and chest 
 tones when the thought rises to the pitch of grandeur 
 or sublimity (page 72, 1. 8). The head-tone or even the 
 falsetto may be heard in the utterance of rage, terror, 
 violent grief or other highly excited feelings (page 69, 
 11. 27 and 28). 
 
 Whisjjer is produced by drawing together the vocal 
 chords as air is emitted from the lungs, but not allowing 
 tlieir edges to vibrate. In ordinary speech the whisper 
 proper is seldom heard, what are generally called whispers 
 being merely breathed sounds. Whisper may be noticed 
 in the utterances of subdued excitement (page 69, 1. 3). 
 
 Purity of tone depends upon the action of the super- 
 glottal organs. Constriction of the cartilages of the 
 larynx above the glottis results in the disagreeable whist- 
 ling quality which we call a "wheeze." Insufficient de- 
 pression of the back of the tongue, and failure to open 
 the back of the mouth induces the hoarse quacking 
 sounds that we know as "guttural." Allowing the soft 
 palate to remain in a neutral position, so that it does not 
 exclude the out-going air from the nasal passages, as 
 should bo the case in the utterance of all soujids except 
 m,nandT), leads to the twang called "nasality." All 
 these impurities are manifested as national and individual 
 peculiarities of speech. The/ may result from bad 
 example or from physical defects ; thus excessive cor- 
 pulency and other diseases that aftect the throat, lead to 
 wheezincss ; a very thick tongue helps to induce guttural- 
 
LAWS OP EXPRESSION — PHONETIC SYNTAX. 51 
 
 ity ; and tlie infl.-uuination of tho soft palato and adjacent 
 portions of tlio pharynx that usually acconipanios a 
 catarrh, nasality. As national peculiarities, Avhee/.iness .va//,,.,,/ 
 IS perhaps more coninion with tho Scotch than with any A'''^""""- 
 (.tlier English-speaking race, gutturality is a very prevalent "'*" 
 defect among Canadians, and general nasality is one of the 
 distinguishing characteristics of tho speech of the people 
 of tho United States, particularly of tho uneducated classes 
 ill the East It is a defect, too, from which Canadians are 
 hy no means free. Since these faults are generally in- 
 grained by the habits of a lifetime, their correction do- -R«^»'^<^<V«. 
 niands unremitting care and effort, besides a knowledge 
 of the physical conditions which induce them. 
 
PART II. 
 
 PHONETIC TRANSCRIPTIONS. 
 
 So de9 bed. 
 
 •wij wotjt ha.i *brijf)ir) 6ruw (S9 nait'*', 
 hoj 'brijftir) 1 so:f t and 1 ou "^ , 
 az in hod brest 1 tS^ 'weiv 9v *laif 
 kept hijvif) tuw ond frou"*'. 
 
 * sou 'sailantli wij sijmd tu spijk, 
 sou "slouli I muwvd obaut, 
 oz wij od lent hoa *ha:f -aua •pau'az 
 tu ijk 'haj 'liviT) auf*^. 
 
 ■ auj veri iioups 1 bilaid auj 'fiMz, 
 
 auj •fi:az 1 auj 'houps 1 bilaid ^ 
 
 wij 6o:t hoa 'daiip 1 Aven Ji slept "^^j 
 9nd 'slijpiT) — , I *^A^en Ji daid'^. 
 
 'Jo:j I Aven Sa mo ran keim 1 'dim 1 end "sad 1 
 ond "tjil wi5 aali Jau'.iz , 
 haj kAvaiat ailidz "klouzd"^ — Jij had 
 •enT)(5aa mo: an. San 'auaz "* .j 
 
 T. Hood. 
 
 53 
 
64 PHONETIC TKANSCini'TIONS. 
 
 (To lo:s 9v tSo 'l)a:akanhed"^. 
 
 SDpouzd tu bi tould i bai o souldfjO.i liuw 
 
 soavaivd'^. 
 
 *ra)t on auj flaT)k i cTa krimzan s-on went dciiin'^; 
 cTa di)p sij i rould orciund i in da:jk ripouz''; 
 Men, Haik (Ta "waild 'Jrijk i from sx)m kaptju:jd 
 tttiin, "> 
 'krai ov "wimin i roiiz^. 
 
 'cTa staut Jip 'boMkanlied i lei Miaiad and 'faist"*, 
 
 ko:t wi5aut houp i upon o hid'n rok'^ ; i 
 hoa timbaaz "Orild oz •"natavz'*, Aven Gruw dam ipa:st 
 So spirit 9V d'at Jok'^. 
 
 •and evoj i i^laik beis kau'adz i huw lijv ffiui rapks 
 in deindso.iz cui.i , bifo:.i do 'i-dJ av stijl, j 
 driftid awei i dizo:jda.ili i (To plapks^i 
 from T)ndojnij0 hoj kijl^. 
 
 ■kou 'katm i ffi e:j, sou "katm and -stil i (Ta flud, 
 "'' d'ati lou daun in its bljuw tra:nslju\vsint gla:si ' 
 wij so: cTa greit •fi:as 'fij, L^^at 'Oaijst foj 'blDd'^j 
 pa:s *sloul I '^ li d"en 'rij pa:s"^. 
 
 'ffei I tarid , cTo *weivz i tarid , fo:.i cfc:a 'prei'*^! 
 ffa sij to:jnd WDn kli:j sniail'*^! "iLlaik 6iT)Z 
 9slijp"~ 
 d'ouz *da;jk 'Jeipz i in ffi eisjuj sailons lei'^, 
 az 'kMaiat i az ffa "dijpj'^. 
 
PHONETIC TRANSCRIPTIONS. 55 
 
 'don amidst 'ouO, gnd 'pr€:j i, and "r-oj, and *rek i, 
 "feint skrijmz , feint kAvestjan^ i weitit) nou riplai 
 
 'auj ka:jnal i geiv cTo waijd^, i '^''and on (Ta dek ■ 
 fo:amd ns in lain'^ i ''i^tu dai^.j 
 
 'Ltu 'dailj — tAvaz 'ha:jd, oAvailst (^a slijk oujan gloud 
 bmijO a skai az ft:r az si)ino.i flttu'az'^; - 
 
 'r>o:l , tu Sa >" bouts'^ .'T kraid won'^: — *"hij woz, 
 '9ar)k god, 
 *»iiou ofisar av aiuz"^! 
 
 (lur ipglij "liaMts bijt 'truw'*': — 'wij wud not'sta:a^: 
 ft'at beis apijl i wij "lioMd i bi3t 'hijdid nof^: 
 
 on land, on "sij, wi had cluj kDlaaz', "saa , 
 'tu kijp wid'ciut a 'spot'*'! 
 
 'ffei '[ill not sei'i 'in iogland'^, '(^at wi fo:t 
 wit) Jeimful streQO'^, unonaad laif tu sijk"*^; 
 
 intu mijn seifti', ^''niijn diza.ita.iz j, bro:t i 
 bai trampliT) daun Sa Nsijk"^. 
 
 sou wij meid wimm wi(5 fie:.! tjildjan ( gou'^, 
 
 ffi o:'jz plei bak i agen , and jet ogen'*'; 
 LA\ailst I 'inj bai in J i (Na draunir) Jip saijk lou'*' 
 stil i^ndaa stedfast men. '^j 
 
 — Avot foloz I, Avai riko:l'^i? — So l)rciv liuw daid, 
 daid wiSciut flinjig i in fta bludi .sa:jf,'^ 
 
 L'^ei slijp 0z "wel , btnijO 5at po:jpal taid, '^ 
 az '-DSajz Dndaj taMf"*-: — j 
 
 L?>ei slijp az •wel'^Ij and, "''rauzd fram ?Sf:j waild 
 greiv~ 
 
 W€:riT) SciJ wuwndz laik sta:.iz , Jal raiz agen , 
 djoint €:jz wiS kraist"^, biko:z ftei bledi tu seiv 
 
 hiz wijk WT)nz , not in vein'*^. 
 
56 PHONETIC TUANbCKIPTIONS. 
 
 tu skaikiMk. 
 
 "heil tu (^ij I bhiif^ spii'it ! 
 
 l)9:ad iSau nevoa W€:at'^, 
 Sat from liev'n i o:j ni:r it 
 
 po:rist tSixi fill lia:jt 
 in profjuws streinz i ov unprijmediteitid a: at. 
 
 hai'j stil 9nd hai'j 
 
 fram Si omO 5au spripist, 
 laik 9 klaud av fai'j 
 
 09 bljuw dijp ) (San wipist ; 
 an sipir) stil dust so: a, 9n so: rig evaa siQist. 
 
 in (59 goukl'n laitnir) 
 
 9v 59 siorjkgn si)n 
 o:j AsitJ kkiiidz a.i Imaitnir) ' , 
 
 ftau dT)st flout and run, 
 laik 9n Dnbodid dsoi huwz rois iz d3T)st bigDn. 
 
 "^9 peil p9:ap'l ijv'n 
 
 melts 9raund Sai flait ; 
 "laik 9 stci.r 9V hev'n 
 
 in ^9 bro:d deilait 
 5au a:jt Dnsijn i but jet ai lii:a Sai Jril dilait ! 
 
 kijn 9z a: J Si arouz 
 
 9v Sat silv9.i sfi:j 
 huwz intens lamp narouz 
 
 in S9 A\ait do:n kli:j, 
 t)ntil wij ha:adli 'sij 1 wij *fijl S9t it iz ni:j. 
 
PHONKTIC TKANSCUH'TIONS. 57 
 
 o:l M o:.i9 and c:.i 
 
 w'iiS (Nai vols iz laud, 
 az I Aven nait iz l)f:.i, 
 
 fraui wnn lounli kktud 
 So muwn reinz aut haj bijiiiz, and hev'n iz ouvaa- 
 tloud. 
 
 Avot (^au (L:.it I wij nou not; 
 
 Avot iz moust laik i5ij ' 1 
 from reinbou klaudz i Ccm flou nob 
 
 drops sou brait tu sij 
 az I from Sai prezans, Jdu'.iz a rein av nielodi : 
 
 laik a po:it liid'n 
 
 in (Sd lait av 0o:t, 
 sipii) liimz Dnbid'n ~ 
 
 til <Sa wa:jld iz ro:t 
 tu simpaOi i wiff houps and fi:.iz it bi.jdid not: 
 
 laik a hai bo: an meid'n 
 
 in a palas tau'j, 
 su\v(5ir) lia.i h)v-leid'n 
 
 soul I in sijkrit clu.i i 
 wifi mjuwsik sAvijt az luv, AvitJ ouvaaflouz ha.i bau'.i: 
 
 laik a glou-wa:am gould'n 
 
 in a dal av djuw, 
 skat'rii) iDnbihould'n 
 
 its €:i:rial lijuw 
 ami)!) (^a flau'.iz and gra:s AvitJ skrijn it fram fta vjuw: 
 
 laik a rouz iinbau'.id 
 
 in its oun grijn lijvz, 
 bai wo:.nn windz ditlau'jd, 
 
 til f)Q sent it givz 
 meiks feint i wi5 tuw mutj SAvijt i Sijz hevi-wiDid Oijvz: 
 
58 PHONETIC TRANSCRIPTIONS. 
 
 hciuikI qv V8:jnal Jau'jz 
 
 on f)9 tAvipklii) gra:s, 
 rein-aweik'nd flau'jz, 
 
 o:l Gat ev9j woz 
 dsoias on kli:r and frej ftai rajuwzik di)9 sajpa:s. 
 
 tijtj T)s, sprait o:j bo:jd, 
 
 AvDt sAvijt 60: ts 8J Sain: 
 ai hav nevaa ha: ad 
 
 preiz av 1t)v o:.i wain 
 ftat pantid fo:j6 a flT)d av raptju:.i 1 sou divain. 
 
 ko:ras haimini:al 
 
 o:.i trai-Diiifal t5a:nt| 
 inatjt wi5 Sain 1 wud bij o:l 
 
 }wt an emti vo:nt — 
 a Oir) I A^€:rin wij fijl (5c: r iz ST)m hid'n wont. 
 
 Mot obdsjkts a: J ffa fauntinz 
 
 av Sai hapi strein ] 
 Avot fijldz o:j weivz o:a mauntmz, 
 
 Avot Jeips av f.kai o:.i plein? 
 Miot I'Dv av Sain oun kaind 1 Avot ignorans av pein ? 
 
 wis Sai kli:a kijn d^oians 
 
 lapgwaa kanot bij. 
 Jado av anoians 
 
 nevaj keim ni:a Sij : 
 Sau lx)vist; but n€:a njuw 1t)vz sad sataiati. 
 
 weikii) o:r aslijp, 
 
 Sau 9V de6 m-Dst dijm 
 0iT)z mo:.i truw an dijp 
 
 San wij mo:jtalz drijra. 
 o:j hau kad Sai nouts flou in siDtJ a kristal strijm'? 
 
PHONETIC TRANSCRIPTIONS. 59 
 
 wij luk bifo:r and a:ftoj, 
 
 an pain fo:j Avot iz not: 
 aua sinsi:rist la;ft9j 
 
 wiS Slim pein iz fro: t ; 
 (lua 'sA^ijtist soQz tt:a Souz Sat tel av 'sadist Ho:t. 
 
 jet if wij kud sko:jn 
 
 heit I and praid i and fi:.i; 
 if wij waj OiT)z bo: an 
 
 not tu Jad a ti:j, 
 ai nou not hau Sai (l5oi wi: eva.i kud *ki)m •ni:j. 
 
 betaj San o:l me,:yu:jz 
 
 av dilaitful saund , 
 betaa San d:1 ti'e5Ju:.iz 
 
 Sat in buks a.i faund , 
 Sai skil tu po:it W€:a i Sau sko:jnar qv Sa graund! 
 
 tijtj mi ha:f Sa gladnis 
 
 Sat Sai brein miDst nou ' , 
 sT)tJ ha:jniounias madnis 
 
 fram mai lips wud flou , 
 Sa •wa:ald Jud lis'n "Sen , az 'ai am lis'nii) 'nau. 
 
60 PHONETIC TRANSCRIPTIONS. 
 
 ffs la:st tJciMd^ av (To frenj 
 
 at wo;tajluw. 
 
 > ^ ^ 
 
 'on keim ffQ Aveialwind , laik ffQ la:st 
 
 bx)t 'fiijsist SAiijp 8V tempist bla:st^ 
 
 on keim ffQ A\.8:jl\vind — stijl glijniz brouk 
 laik laitnif) 6ruw ffd roulir) siuouk; 
 
 ffd wo:j[ W9Z weikt anjuw'*', 
 Orij h-ondrid kanan maucTz ro:jd laud'^, 
 and frem ffe'.J. Grouts, wid^ flaj an klaud 
 
 ffe-.d Jau'jz av ai'jn 6ruw^. 
 binijB ffe'.j. fai'r in ful kari:j, 
 TD^t on I ffd pond'ras kAvi:rasi:j, 
 ffQ lainsaa kautjt hiz ruwOlis spi:j|, 
 and h-orcip az tu liavak ni:a, 
 
 d^Q kouho:ats ijg'lz flaw, 
 in won dtt:ak torint, bro:d and stror), 
 ffi adva:nsir) onset rould alop, 
 foM6 ha:abind5ajd bai fi:js akleim, 
 ffat I fram ffe Jraud av smouk and fleim, 
 pijld 'waildli ffi 'impi:rial "neim. 
 
 bT)t on ffo britij ha:jt waa lo:st 
 ^9 terajz av ff9 tjaiadsir) houst; 
 fo:j not an ai && sto:jm d'^at vjuwd 
 tjeindsd its praud gla:ns av fo:jtitjuwd: 
 no:j[ waz won fo:.iwajd fiitstep steid, 
 l^az dropt da daiir) en ^a ded. | 
 •fa:st az ffc:j rapks ^a Onndajz teta, 
 fa:st ffei rinjuwd ijtj serid skAve.j, 
 and on 5a wuwndid an Sa slein 
 
I'HONKTK! TRANSCRIl'TIONS. Gl 
 
 klouzd t5c:j diminijt failz Qgen^, 
 
 til fram (Se-.j. lain skcMs spi:jz leT)6s Orij, 
 
 imoMd^ij) from 5a smouk i rtei sij 
 
 "helmib an "pluwrn an •panopli'^, — 
 San. weikt Scij fai'r at wiins"^ ! 
 
 ijtj mT)skiti:az rivolvir) nal 
 
 az fa-.st I az regjuwlaali fel , 
 
 ez Aven ffei praktis, tu displei 
 
 SctJ disiplin , on festal dei. 
 
 (Sen *(larn went helm and larns'^, 
 
 *daun waa Si ijg'l banoaz sent^, 
 
 daun I rijlir) i stijdz and raidaaz wenf^, 
 
 ko:j.slits wa.i piMst"^, and penanz renf^ ; 
 and I tu o:gment Sa frei', 
 
 Avijld ful agenst tSf.A stag'rir) flapksi , 
 
 Si ipglij hoijsmanz foumir) rapks 
 
 fo:ast ScM rizistlis wei^. 
 **Sen I tu Sa mT)skit nel i sT)ksijdz 
 'Sa 'klaj av 'soMdz'*' — Sa nei av stijdz"*. — 
 "az plaiz Sa smi6 hiz klapir) treid', 
 •agenst Sa kAvi:ras rap Sa bleid'^; 
 
 and A\ail amid Sc:j klous arei 
 
 Sa \vel-sa:jvd kanan rent Scm wei', 
 
 and Avail amid Scm skata.id band 
 
 reidsd Sa fi:as raidaaz blT)dT brand', 
 
 rikoild in koman raut and fi:.i 
 
 la:nsar an ga:.id qix kAvi:rasi:a^, 
 
 hoijsman and fut^, — a mir)g'ld housf^ ! 
 
 .S€:a lijdaaz foil'n'*', — Scm standaadz lo:st'*'.j 
 
62 PHONETIC TRANSCRIPTIONS. 
 
 deivid kopojfijld 9nd f)9 weitrij. 
 
 "iz Sat So lit'l d5en'rm fram blundojsteoun?"* 
 
 "jes, mam," ai sed. 
 
 " wot miim ] " irjkAvaijd ffa leidi. 
 
 " kapsjfijld, m9m," ai sed. 
 
 "Sat weoiint diuw," ritaMnd So leidi, "neoubodiz dina z 
 paid far i:a in Sat naim." 
 
 " iz it ma: jdstoun, mam ? " ai sed. 
 
 "if jo a ma:sta ma:dsteoiin," sed Sa leidi, wa:i d ja geou 
 n giv anuSaj naim, fa:st?" 
 
 ai ikspleind tu Sa leidi hau it woz, huw Sen rai) an ko:ld 
 aut, "wiljam $eou S kofi riuwm!" T)pon AvitJ a weitaj keim 
 r-Dnii) aut av o kitjm on Si oposits aid av Sa ja:jd ta Jou it, 
 an sijmd a gud dijl sajpraizd Aven i waz ounli ta Jou it tu mij. 
 
 it waz a la: ads Iot) ruwm wiS s"Dm la: ads maps in it. ai 
 daut if ai kud av felt mDtJ streindsaa if Sa maps ad bin ri:al 
 form kDntriz, and ai ka:st awei in Sa mid'l av Sara, ai felt it 
 waz teikii) a libajti tu sit daun, wiS mai kap in mai hand, on 
 Sa ko:anar av Sa t5€:j ni:rist Sa do:j ; and Aven Sa weitaj leid 
 a klo:0 on pa:jpas fa.i mij, an put a set av ka:stajz on it, ai 
 GiT)k ai mDst av ta:and red o:l ouvaj wiS modisti. 
 
 hij bro:t mi sum tjops an vedsjtab'lz an tuk Sa k^vajz o:f 
 in STjtJ a baunsir) manaa Sat ai waz afreid ai m-ost av giv'n im 
 sum of ens. bT)t i greitli rilijvd mai maind bai putii) a tjc:j[ 
 faj mi at Sa teib'l, and seiii) veri afobli : " nau siksfut ! kum 
 on." 
 
 ai 0aT)kt im an tuk mai sijt at Sa bo:jd, b"Dt faund it iks- 
 trijmli difikalt tu hand'l mai naif and fo:jk wiS eniOii) laik 
 deksteriti o:i tu avoid splajii) maiself wiS Sa greivi Avail hij 
 
 * I have taken the ^berty of makinjj; the landlady and the waiter speak like two 
 cocknej 8, the peculiarities of whose pronunciation I have tried to analyse. 
 
PHONETIC TKANSCRIPTIONS. 63 
 
 W9Z standi?) oposit, steirii) sou ha:j(l on ineikit) mi bh^J in fS^ 
 moust dredful nianai evri taim ai koit iz ai. a:ft3.i wotjii) mi 
 inta Sa sekand tjop, hij sed : 
 
 " iSaz a:f 8 paint v ail fo ja. wil j av t nau 1 " 
 
 ai 0aT)kt im an sed, "jes." Dpon AvitJ hij po:jd it aut av a 
 dj-Dg intu a ltt:jd5 tx)mblaj, and held it Dp agenst So lait an 
 meid it luk bjuwtiful. 
 
 " mai ai !" hij sed, "it sijmz a gDd ijl, deouut if?" 
 
 "it d-DZ sijm a gud dijl," ai ansaad wi5 a sraail ; fo:r it waz 
 kAvait dilaitful tu mij tu faind im sou plezant. hij waz a 
 tAviT)klii) aid, pimp'l feist man wi5 iz hc:.i standit) "oprait o:l 
 ouvar iz hed; and az i stud wi5 won a: am akimbou, houldir) 
 x)p 6a gla:s ta Sa lait wiS Si "oSaj hand, hi lukt kAvait frendli. 
 
 "Sei waz a dsem'n i:a jistidi," hij sed — "a staut dsem'n, bi 
 S naim v topsaija — praps je neou im ? " 
 
 " nou," ai sed, " ai dount Bipk — " 
 
 "in brifcjiz 'n gaitaz, bro:d brimd at, grai keout, spek'ld 
 tjeouka," sed Sa weitaj. 
 
 "nou," ai sed bajfuli, "ai hav'nt Sa ple5u:j — " 
 
 "ij kaim in ija " sed Sa weitaj, lukii) at Sa lait 6ruw 8a 
 tumblaj, "ho:did a gla:s v Sis ai) — wx)d ho;drit — ai teould'm 
 not — drapk it, an fel ded. t waz tiuw eould fr im. t oat'nt 
 ta bi dro:n, Sats Sa fakt." 
 
 ai waz veri m-otj Jokt tu hi:r av Sis melankali aksidant, and 
 sed ai 8o:t ai d betaj hav sDm wo:taj. 
 
 "wai ja sij," sed Sa weitaj, stil lukir) at Sa lait 6ruw Sa 
 t-omblaa wiS wx)n av hiz aiz JiDt Dp, " ana pijp'l deount laik 
 Oir)z bijm ho: did an left, t afendz 'm. bDt hai 1 (lrii)k it if 
 ja laik, ai m juwst ta t, an juws iz evri Bir)k. ai deount Oipk 
 t '1 a:t mi, f ai 6reou mi ed bak en taik t hoaf kAvik. Jal ai?" 
 
 ai riplaid Sat hij wud mDtJ oblaids mi bai dripkiT) it if i 
 0o:t i kud duw it seifli, bDt bai nou mijnz DSaawaiz. A\.en i 
 
G4 PHONETIC TRANSCRIPTIONS. 
 
 (lid 6rou iz hed bak on teik it o:f k.wik, ai had a horib'l fi:.i, 
 ai konfes, av sijii) liim niijt fSa feit av 5a lamentul mista.i 
 topsoijaa an fo:l lai(l|s on tSa k(L:.ipit. Imt it did'nt haut him. 
 on iSo kantrari, ai 0o:t. i sijmd (^a freja.i far it. 
 
 "wot V wi got i:a?" hij sed, pDtij) a fo:jk intu raai dij. 
 "not tjops?" 
 
 " tj-ips," ai sed. 
 
 " load bles mai seoul!" hij ikskleirad, "ai did'nt neou Sei wa 
 tjops. wtti a tjop s Ga veri Oil) ta ta,ik oaf Sa bad afeks a (Sat 
 bi:o ! aint it luki] " 
 
 so: i tuk a tjop bai (5a boun in won hand, and a poteito in 
 <5i nt)dJ, and eit awei \vi5 a veri gud apitait, tu mai ikstrijra 
 satisfakjan. hij a:ftaj\vajds tuk anT)5aa tjop and anT)5a.i 
 poteito. A\en i had drm, hij bro:t mi a pDdir), and havir) set 
 it bifo-.j mi, sijmd tu ruwmineit, an tu bikT>m absmt in iz 
 maind faa sDm mourn ints. 
 
 " au z Sa pai ] " hij sed rciuzi?) imself. 
 
 " its a pudir)," ai meid ansaj. 
 
 " pud'n ! " hij ikskleimd. " wai bles mi, seou it iz ! wot ! " 
 lukir) at it ni:ro.i, "ja deount mijn ta sai t s a bato pud'n? " 
 
 " jes, it iz indijd." 
 
 " wai, a bata pud'n," hij sed teikii) T)p a teil)'l spuwn, " iz 
 mai faivnt pud'n ! aint Sat luki? kum on litl'n, 'n let sij uw 1 
 get nieoust." 
 
 Sa weitaj sa:jtinli got moust. hij intrijtid mi mo:.i San 
 WDns tu kT)m in and win, but Avot wiS hiz teib'l spuwn tu mai 
 tijspuwn, hiz dispatj tu mai dispatj, and hiz apitait tu mai 
 apitait, ai waz left fa:a bihaind at Sa fa:.ist mauOful and had 
 nou trains wiS im. ai nevoj so: eniwijn ind^oi a pudir) sou 
 niTotJ, ai 6ir)k, and ij la: ft M(m it waz o:l gon, az if hiz mdsoimmt 
 av it la:stid stil. 
 
 faindir) im sou veri frendli an kijmpanjanab'l, it waz Sen Sat 
 
PHONETIC TRANSCRIPTIONS. 65 
 
 ai aiskt; faa Sa pen and ipk on peipa.i, tu rait tu pegoti. hij 
 nob ounli bro:t it imijdiotli Imt W9z gud inni tu luk ouvgj mi 
 Avail ai rout iSo letaj. Aven ai ad finijt it, hij a:skt mi Avctr ai 
 W8Z go: if) tu skuwl. 
 
 ai sed, " ni:j l-ondan," A\itJ woz o:l ai njuw, 
 
 " eou ! mai ai ! " hij sed lukir) veri lou-spiritid, tti m son fo 
 Sat." 
 
 "Aiai?" ai a:skt im. 
 
 " eou, load ! " hij sed Jeikir) hiz hed " Sats Sa skmwl wa Sai 
 breouk Sa boiz ribz, a lit'l boi i wdz. ai Jad sai ij wx)z — let mi 
 sij — au heould a jo abaut ? " 
 
 ai tould im " bitMijn eit an nain." 
 
 "Sat s dsust iz aids," hij sed, "ij wz ait ji:iz n siks muns 
 eould wan Sai breouk iz f-nst rib, ait ji:iz and ait muns wan 
 Sai breouk iz sekand an did fr im." 
 
 ai kud not disgaiz fram maiself o:j frem Sa weitaj, Sat Sis 
 waz an Dnkumfaatab'! ko:insidans, and ipkAvaijd hau it waz 
 d-on. hiz ansaj waz not t5i:riT) tu mai spirits, far it kansistid 
 av tuw dizmal wa:jdz, "wiS wopin." 
 
 Sa bio: it) av Sa koutj ho: an in Sa ja:jd waz a sijzanab'l 
 diva:j5an, M-itJ meid mi get T)p and heziteitipli xpkAiaij, in Sa 
 mir)g'ld praid an difidana av havii) a pa:js (AvitJ ai tuk aut av 
 mai pokit), if daa waz eniOir) tu pei. 
 
 " ffei z a Jijt v leta paipa," hij rita: jnd. ** did j eva bai a Jijt 
 V leta paipa ? " 
 
 ai kud not rimembaj dat ai evaj had. "it z di:a," hij sed, 
 "on akaunt v && diuwti. Oripans, dats da wai wi: a takst in 
 ^is kuntri. ffei z nui3"iT) els ksept da waita. neva maind (T 
 ii)k. hai liuwz bi dat." 
 
 "A\ot Jad juw — Avot Jad ai — hau mDtJ o:t ai tu — Avot wad it 
 bi rait tu pei da weitaj, if juw plijz ? " stamaad ai, bl-ojii). 
 5 
 
66 PHONETIC TKANSCRIPTI0N8. 
 
 " f ai adnt q famh, an dat famli adnt da kaupok," sed da 
 weitaj, " ai wT)d nt talk a sikspms. f ai did nt spoat a haidsid 
 pairint and a luvli sista," — hi:j da weitaj waz greitli adsi- 
 teitid — ''hai wodnt taik a fa:dn. f ai d a gud plais, n waz 
 trijtid wel i:a, ai Jad beg iksepans v a traif'l, mstid v a taikir) 
 V it. but ai liv on breoukan wit'lz — n ai slijp n da keoulz." 
 hi:a da weitaj baMst intu ti:az. 
 
 ai waz veri niDtJ kansaijnd far iz misfo:jtjuwnz and felt dat 
 eni rekagnijan Jotat av nainpans wud bi mi:j bruwtaliti and 
 ha:adnis av ha:. it. d€:jfo:j ai geiv im won av raai Orij brait 
 Jilipz, AvitJ hij nsijvd wid' mutj hjuwmiliti an venareijan, an 
 spxm "Dp wid'iz 6T)m, direktlt a;ftajwajdz, tu trai dagudnis ov. 
 
 it waz a lit'l diskansaiatir) tu mi, tu faind, Aven ai waz bi:iT) 
 helpt "Dp bihaind da koutj, dat ai waz sapouzd tu av ijt'n o:l 
 da dina.i widaut eni asistans. ai disk"Dvajd d^is, fram ouvaj- 
 hi:rir) da leidt in da bou-windo sei tu da ga:.id, "taik ker av 
 diit tjaild, d5oad,5, o:r ijl buast ! " an fram absaiavii) dat da 
 wimm sa:avants huw war abaut da pleis keim aut ta luk an 
 gig'l at mi az a jidt) finominan. mai •Dnfo:jtjuwnat frend da 
 weitaj, huw ad kA\ait nkuvajd hiz spirits, did not api:j tu bi 
 distaijbd bai d~is, bijt dsoind in dadsenaral admireijan widaut 
 bi:ir) at o:J kanfjuwzd. if ai ad em daut av im, ai sapouz Sis 
 ha:f aweikand it; biit ai am iijkiaind tu biHjv Sat wid" So 
 simp'l konfidans av a tjaild, an So natju:ral rilaians av a tjaikl 
 apon sjuwpi:riaj ji:jz (kAvoHtiz ai am veri sori em tjildran Jud 
 prijmatju:jli tjeinds faj wa:jldli wizdam), ai ad nou siirias 
 mistr-Dst av im, on Sa houl, ijv'n San. 
 
PHONETIC TRANSCRIPTIONS. 67 
 
 from t)9 teil 8v tuw sitiz. 
 Sa futsteps dai aut faa evaj. 
 
 9I0T) Sa paris strijtsi Sa de6 karats romb'! "holoi and iiarjj. 
 siks t-orabrilz kari Ga deiz wain tu la giloti:n. o:l fJa divaurir)' 
 and inseijieit monstaaz imadsind sins imad3inei5an kud riko:ad 5 
 icself) a:j fjuzd in &'a wnn riralaizeijan, igiloti:n. an jet (5ar iz 
 not in fra:n?. wi(5 its ritj varaiiti av soil an klaimat, a bleid, a 
 lijf, a ruwt, a sprig, a pepaako.jn, AvitJ wil grou tu matju:riti 
 "Dndaj kandijanz mo:j sa:atin (5an i&ouz (5at av prodjuwst Sis 
 horaj. kroj hjuwmaniti aut av Jeip wons mo:.i, T)nd9a similajio 
 hamajz, and it wil tAvist itself intu 8a seim to:jtju:.id foiaraz. 
 sou Sa seim sijd av rapeijas laisans and oprejan ouvar agen, 
 and it wil Juiali jijld Sa seim fruwt ako:adir) tu its kaind. 
 
 siks tTjmbrilz roul aloT) Sa strijts. tjeinds 5ijz bak agen tu 
 Avot Sei ^ €:j, Sau pau'aful entjamtaj, taim, an Gei Jal })i sijnis 
 tu bij &a karidsiz av absoljuwt monaaks, t)i ekAvipid5iz av 
 fjuwd'l noub'lz, Sa toilits av flc:rii) dsezab'b, Sa tja: atjiz Sat a:j| 
 'not mai "farSaaz 'liausi but 'denz av '6ijvz, Sa hiits av miljanz 
 av sta:jvir) pezants ! nou ; Sa greit mad5i5an huw modsestikali 
 wa:aks aut Si apointid o:adar av Sa kriieita.i, nevaj rivaMsiz20 
 hiz tratnsfoijmeijauz. "if Sau bi t5eind5d intu Sis Jeip bai Sa 
 wil av god, ' " sei Sa si:'jz tu ffi mtjaintid, in Sa waiz areibjan 
 sto:riz, "'Seni rimein sou ! b-ot if Sau wtrj Sis fo: am 0ruw mi: j 
 pa: sir) kond3Ju:rei Jan, Sen rizjuwm Sai fo:jmar aspekt ! " 
 tjeindslis and houplis, Sa t-ombrilz roul alop. 25 
 
 az Sa sombaa Avijlz av Ss siks karats gou raund, Sei sijm tu 
 plau Tjp 9 loT) kruktd fi^ro amt)!) Sa popjuwlas in So strijts. 
 rid5iz av feisiz aa Oroun ta Sis said an ta Sat, an Sa plauz gou 
 stedili onwaad. 'sou juv/st aa Sa regjuwlar inhabitants av Sa 
 liauziz ta Sa spektak'l, Sat in meni windoz Ser aa nou pijp'l, 30 
 and in SDm Si okjuwpeijan av Sa handz iz not sou miDtJ az 
 
68 PHONETIC TRANSCRIPTIONS. 
 
 siispendul, Avail (Si aiz saMvei tio feisiz in f5o tiDmbrilz. lii:r an 
 tfe:.!, fti inineit lioz visitiuz ta sij (Sa sait; ffen i points iz fiogaj, 
 wi5 STunHii) ov c^o kouipleisansi av a kju:reitor o:r o;Ba.iaiz(l 
 ekspounant, ta c^is ka:.it an ta Sis, an sijmz ta tel huvv sat hi:.i 
 5 jestaadei and huw i5c:a Sa dei bifo:j. 
 
 sT)m av 5a raida.iz in c5a tTjmbrilz absaiav Sijz 8iT)z, and o:l 
 0ir)z on Sej la:st roudsaid wi(S an impasiv stc:a ; tdSojz wi5 o 
 l^Qo "D intarist in (5a weiz av laif and men. sDin, sijtid \vi6 
 druwpii) hedz, qjl sT>i)k in sailant dispel ; agen, (Sev a.i stun sou 
 
 ^olnjdful av 5ej luks 5at iSei ka:st T)pon 5a mx)ltitjuwd sutj 
 gla:nsiz ez 8ei av sijn in 6i:atajz, and in piktju.az. sev'ral 
 kkmz Ser aiz, an 0ir)k, o:.i trai ta get 5ej streiii) 8o:ts tageSaa. 
 ounli won, and hij a mizarab'l krijtju:a, av a kieizd aspekt, 
 iz sou Jtttaad an meid drT)r)k bai horaj, 5at i sir)z, and traiz ta 
 
 15 da:ns. not wi3n av 5a lioul numbaj, apijlz bai luk o:a ds^stjuta 
 ta 5a piti av 5a pijp'l. 
 
 5er iz a ga:.id av sDndri ho:jsman raidii) abrest av 5a 
 tumbrilz, and feisiz ar o:f'n ta:jnd T)p ta siim av 5am, an 5ei 
 ar a:skt si)m kAvestjan. it WT)d sijm tu bi o:hvas 5a seini 
 
 •2okAvestjan, fo:r it iz o:lwas folod bai a pres av pijp'l to: 'adz 5a 
 0a: .id ka.:jt. 
 
 5a ho:jsraan abrest av 5at ka:jt, frijkAvantli point aut won 
 man in it \vi5 5ej so:jdz. 5a lijdii) kju:riositi iz, ta nou AvitJ 
 iz hij; hij standz at 5a bak av 5a tDrabril wi5 iz lied bent 
 
 25daun, ta kanva:as wi5 a mi:j ga:al huw sits on 6a said av ffd 
 ka:.it, and houldz iz hand, hi: az nou kju:riosit_ o:j k€:j fa.i 
 cTa sijn abaut im, and o:lvvaz spijks ta da ga:jl. hir an ffew 
 in (Ta Iot) strijt av sa'^^'t onore:, kraiz aa reizd ogenst im. if Oe'i 
 muwv im at o:l, it iz ounli tu a kAvaiat small, az i Jeiks iz li£:r 
 
 .10 a lit'l mo:.i luwsli abttut iz feis. hi kanot ijzili ti^tj iz feis, hiz 
 (L:jmz bi:iT) bdund. 
 
 on do stops ov a t5a:.it5, oweitir) fTa kDmii) T)p av cfa tDmbrilz, 
 
 • rreiich nasalized vowel. 
 
PHONETIC TRANSCRIPTIONS. 69 
 
 standz (Ta spai an pris'n Jijp, hij luks inta (Ta fa:,ist av (Tain; 
 not ffe-.d. liij luks inta cTa sekand : not. dt-.d. hij o:lre(h a-.sks 
 himself, ^""'haz i sakrifaist mi?" A\en hiz feis kliiaz, az i Inks 
 intu da 6a:. id. 
 
 " AvitJ iz €:vre:mo*d?" sez a man hihaind im. i3 
 
 "dat. at ffQ bak ffe:.\.'' 
 
 ft 
 
 " wid" iz hand in cTa ga:.ilz ' V 
 
 «jes." 
 
 da man kraiz, "daun e:vre:m<)*'d! in tfa giloti:n o:l aristo- 
 krats ! daun €:vre:mo*d.'' lo 
 
 ^"hiij, huj !" (5a spai nitrijts im, timidli. 
 
 " and Avai not, ' sitizan ? " 
 
 "h iz go:ii) ta pei Sa £o:afit : it wil bi peid in faiv minits 
 mo: J. let im bi at pijs. 
 
 bT)t (5a man kantinju:iT) tu iksleim, "daun €:vre:mo^d ! " is 
 (5a feis av €;vre:mo*d iz far a moumint ta:.ind to:a.idz im. 
 c:vre:mo*d Sen sijz Sa spai, and luks atentivli at him, and 
 gouz iz wei. 
 
 ?5a kloks ar on 6a strouk av 6rij, and ?5a fDro plaud amx)!) 
 Sa popjuwlas iz ta:aniT) raund, tu ki^m on intu Sa pleis av20 
 eksikjuwjan and end. iSa rid5iz Groun tu Sis said 9n tu Sat, 
 nau kriDmbl in an klouz bihaind Sa la:st plciu az it pa:siz on, 
 fo;r o:l oa. folo:iT) tu Sa giloti:n. in frT)nt av it, sijtjd in 
 tje:.iz, az in a g(i:jd'n av pi)blik divo:j5an, (L:r a uDnibar av 
 wimin, bizili nitii). on wnn av Sa fo:jmast tjc:.!/, standz Sa25 
 vendsans, lukii) abaut for a.i frend. 
 
 ''T" te:r€:s P" Ji kraiz, in a.i Jril tounz. "huw azsijnha.i? 
 i' rte:rc:s defars"" ! " 
 
 " Ji neva.i mist bif'o:.i," sez a nitip wumon av So sista.ihud. 
 
 "nou; no:.i wil Ji mis iklu,'' kraiz Sa vend^ans, 2M>tju\vlan(lj. :;() 
 "te:rc:s!" 
 
 * French nasalized vowels. 
 
70 PHONETIC TRANSCUIPTIONS. 
 
 " lttU(l9J," Sa wuraan rekomendz. 
 
 ai ! IcLudaj, vend^ans, m-nt^ Ittudaj, on stil Ji w'l skeMsli hitj 
 Si. Ittudaa jet vend3ans, wiS q lit'l ou9 o:j sou ad id, and jet 
 it wil ha:.idli brir) haj. send i)(5a.i wimin. "Dp an daun ta 
 5sijk 9J, lirjg'rir) SDmAvcrj; and jet, o:15ou Sa niesind50jz av 
 di3n dred dijdz, it iz kA\estjanab'l A\e5ar av Sttr oun wilz ?5ei 
 wil gou fa:r inT>f tu faind haa. 
 
 "bad fo:atjuwn !" kraiz Sa vendsans, stampii) aa fut in Sa 
 
 tJcM, "and hi:r aj Sa tDinbrilz! and t:vre:mo*d '1 bi dispatjt in 
 
 10 a wiT)k, and Jij not hi:.i! sij haa nitir) in mai hand, and ar 
 
 emti tjeia redi far aa. ai krai wiG vekseijan an disapointmmt ! " 
 
 az Ga vendsans disendz fram ar ehveijan tu du it, Ga tumbrilz 
 
 bigin tu distjaiads Se: j loudz. Ga ministajz av se*t gilotin a: 
 
 roubd and redi. kraj ! — a bed iz held T)p, and Sa nitii) wimm 
 
 i5huw skciosli liftid Setr aiz ta luk at it a moummt agou Aven it 
 
 k-od Gipk an spijk, kaunt wDn. 
 
 Sa sekand tDmbril emtiz an muwvz on ; Sa Sa:jd kumz "Dp. 
 '.raj ! — and Sa nitir) wirain, nevaa fo:lt'rir) o:a po:ziT) in (5e:j^ 
 wa:ak, kaunt tuw. 
 
 20 Sa sapouzd c:vre:mo*d disendz, and Sa sijmstris iz liftid aut 
 nekst a:ftar im. hi az not rilipkMiJt ha.i peijant hand in getii) 
 aut, bT)t stil houldz it az i promist. hij dsentli pleisiz haj 
 wiS aa bak tu Sa krajii) eml5m Cat konstantli AVd:jz Dp an 
 fo:lz, an Ji luks in'u iz feis an 9aT)ks ira. 
 
 25 "bx)tfajjuw, di:a streindsa.i, ai jud not bi sou kampouzd, 
 fr ai m natju:rili a pu:j lit'l Bir), feint av ha:at; no:j Jud ai 
 av bin eib'l tu reiz mai 0o:ts tu him huw waz put ta deB, Sat 
 wij mait hav houp an kDmfaat hi:j tadei. ai Bipk juw waa 
 sent ta mi bai hev'n." 
 
 80 "o:a juw I tu mij," sez sidni karatan. "kijp ju:r aiz apon 
 mij, di:.i tjaild, and maind nou T)(5ar obdsikt." 
 
 * French nasalized vowels. 
 
PHONETIC TRANSCRIPTIONS. 71 
 
 "ai mairid nuBip A\ail ai liould ju:.i hand, ai ^al inaind 
 m)6iT) Aven ai let it guu, if Sei q rapid." 
 
 "Sei wil bi rapid. fi:j not ! " 
 
 Sa tuw stand in Sa fa:st Binii) Groi) av viktimz, bT)t Sei 
 spijk 8z if Sei wer oloun. ai tu ai, vois tu vois, hand tu liand, 6 
 ha:jt tu ha:jt, &ijz tuw tjildran av (Si juwniva:asal nnjSaj, 
 els sou waid 8pa:jt on dif'rii), hav kiDni tageft'ar on 5a dtt:ak 
 haiwei, tu ripe:j houm tageSa.i, an tu rest in haj buzam. 
 
 "breiv an dsen'ras frend, wil juw let mi a:sk juw wT)n la:st 
 k^estjan ? ai am veri ignorant, and it trx)b'lz mi — dsDst a lo 
 lit'l." 
 
 " tel mi Mot it iz." 
 
 "ai hav a kuzm, an ounh relativ and an o:.lfan, laik maiself, 
 huwm ai 1t)v veri di:jlT. Ji: iz faiv ji:.iz JT)i)gaj San ai, an Ji 
 livz in a fa:jmajz haus in 5a sauB kuntri. povaati pa:aiDidi5 
 vs — an Ji nouz mjSir) av mai feit. — fr ai kanot rait — and if ai 
 kud, hau Jud ai tel aa! it iz betar az it iz." 
 
 " jes, jes : betar az it iz." 
 
 " jAot ai av bin Bipkir) az wi keim alor), and Mot ai am stil 
 6iT)kiT) nttu, az ai Ink intuju:j kaind strop feis AvitJ givz mi 20 
 sou mutj sapo:at, iz Sis: — if Sa ripijblik ri:ali di)z gud ta (S9 
 pu:j, and Sei kT)m ta bi les hiarjgrT, and in o:l weiz tu SDfaa 
 les, Ji mei liv a lor) taim : Ji mei ijv'n liv ta bi ould." 
 
 " Avot Sen, mai dsent'l sistaa 1 " 
 
 "d juw 0iT)k:" Si -DnkampleiniT) aiz in AvitJ Ser iz sou 25 
 mDtJ mdju:rans, fil wiS ti:jz, and Sa lips pa:at a lil'I iuo:r an 
 
 tremb'l : "Sat it wil sijm Iot) tu mi, Avail ai weit far aa in Sa 
 beta.i land Avc:r ai tiT)st bouB juw and ai Jol bij moust raa:jsifuli 
 
 Jeltaad 1 " 
 
 "it kanot bij, mai tjaikl ; Ser iz nou taim Sc:j, ond nou30 
 trubl S€:a." 
 
72 PHONETIC TRANSCRIPTIONS. 
 
 *'juw kn)mfa.it mi sou mDtJ! ai m sou ignorant, am ai tu 
 kis juw nau 1 iz ISq moumint kiom 1 " 
 
 "jes." 
 
 " Ji kisiz hiz lips; hij kisiz haMz; Sei solamli bles ijtj T)5aj. 
 fiSa sp6:a hand dT)z not tremb'l az hij rilijsiz it; nriOii) wa:.is 
 San 8 sAvijt, brait konstonsi iz in l5a peijant feis ; Ji gouz nekst 
 bifo:j im — iz gon; Sa nitir) wimin kaunt tAventt tuw. 
 
 *^*L"ai am Sa rezarekjan anu 5a hiif, se6 iSa lo:jd: hij Sat 
 bilijviO in mij, Sou hi we.i ded, jet Jal hi liv: and huwso:evaa 
 loliviO and bilijviB in mij Jal nevaa dai.>>"j 
 
 Sa ma:jra'riT) av meni voisiz, Si n^ptaranii) av meni feisiz, Sa 
 presii) on av meni futsteps in Si autska:jts av Sa kraud, sou 
 Sat it SAvelz fo:jwajd in a mas, laik wx>n greit hijv av wo:taj, 
 o:l flajiz awei. tAienti 6rij. 
 
PHONETIC TKANSCUII'TIONS. 73 
 
 konvajseijau ])itAMjn tuw jiii) ipglijman 
 (adaptid frain profesa.i KA\ijt). 
 
 (1 jmv 'nou a: 6a dsounz ? 
 
 ou jes, hij z n *ould fiend av main, (ti v *noun iiii ova sins 
 ij waz Q boi: wij went ta skuwl tageSa. 
 
 ai met im la:st nait at a pa:ti at mi.siz ka:taz. ai had nt 
 .sijn im far *eva sou lor), ai 0o:t ij waz an intimit frond av 
 jo'^^'az. 
 
 ou nou"^, hij z ounli an akAveintans ' : ai 'nou im ta spijk 
 tu^, dat s o:l '. 
 
 hiz manaz a not verigud, hij z o:f'n veri 'luwd ta streind5az. 
 
 hij kan bi palait m-of if ij laiks: hij z o:lwiz palait ta pijp'l 
 if ij 0ir)ks ij kan get eniflir) 'aut a (5am, palaitnis sa:t'nli 'peiz 
 beta San ruwdnis oii Sa houl. 
 
 *Avod a ju 'Gi^k av 'j-dt) mo:tima^ ] 
 
 ai 'OiT)k ij z 5a 'moust kansijtid jt)T) fuwl ai eva so;, bat t)az 
 nou greit ha:m in im'. at eni reit hij z a ■d5ent'lman: liij 
 wud'nt duw *eni0ir) 'mijn o diz'onrab'I. 
 
 ai m afreid 8at ka;nt bi sed av iz elda briDtSa. 
 
 ou hij z a "regjala 'kad: juw nou ij waz ta:nd 'aut ov iz 
 klT)b fa tUjtir) at ka:dz. 
 
 nou"^, ai did'nt 'nou Sat; ai kn bilijv it cTou. fTa faicTer 
 an mx)d^ar a rispektab'l nmf, bat veri snobij, 
 
 ai ka:nt bcir a snob"^, huw z o:lwiz telii) ju hau meni ritj 
 pijp'l ij nouz ''^ , an boustir) tTat iz waif z disendid fram sDin 
 lo:d^, or aitj bijap^ o 'sDm Bir) a cTat so:t. 
 
 *See note on this selection. 
 
74 PHONETIC TRANSCRIPTIONS. 
 
 te 9 mu:s 
 
 on t9:rniri T)p her ne:'st wi tJa plu: novembgr 
 sev'ntirn e:qhi faiv. 
 
 •wi: sli:kit kaurin timras bi:sti, 
 o: Avot o paniks in Sai bri:.sti ! 
 5au ni:dn9 start 9wo: se: he:sti, 
 
 wi bik'rin brat'l ! 
 ai: wT)d bi le:G te rin an t\e:s ifSi:, 
 
 wi m9:rdrin pcit'l ! 
 
 aim tru:li so:ri manz domi:nJ9n 
 haz bro:k'n ne:tju:rz 80:59! ju:nJ9n, 
 9n JT)sti:faiz 8at il opi:njan 
 
 AvitJ maks Si: start'l 
 et mi:, 5ai pu:r er6-bo:rn kgmpanjgn, 
 
 9n felo: mo: rtal ! 
 
 ai du:t na vwailz bT)t 5au me : 6i:v, 
 Avot tien ? pu:r bi:sti, Sou mo:n li:v ! 
 9 de:m9n ik9r in 9 6re:v 
 
 z 9 smo: rikAve:st 
 ail get 9 blesin wi Sa le:v 
 
 an ne:v9r mis t ! 
 
 8ai: wi: bit hu:si, tu:, in ru:in ! 
 its sili wo:z 09 winz 9r stru:in ! 
 9n ne:6in nu: te big 9 nju: J9n 
 
 o fogads gri:n ! 
 9n bli:k disemb9rz winz insuiin, 
 
 be: 6 snel an ki:n ! 
 
 ^ e: has the sound of the French ^ in donn^, an undiphthongized ei. 
 ' 9 the sound of the German ch in ich, a voiceless j. 
 
PHONETIC TRANSCRIPTIONS. 76" 
 
 Sau so: Sa fi:ldz le:d be:r gn we:st 
 911 wi:ri wintar k-nrain fast, 
 9n ko:8i hi:r, bini:0 Sa blast 
 
 Sau 60: xH te dwel, 
 til, kraj ! tSa kru;al ku:ltar past 
 
 11 : t 6ru: Sai sel. 
 
 Sat wi: bit hi:p o li:vz an stib'l 
 haz ko:8t Si: mani a wi:ri nib'l ! 
 nau Sauz ta:rnd u:t far o: Sai tn)b'l, 
 
 bT)t hu:s o:r ho: Id 
 te 60: 1 Sa wintarz sli:ti drib'l, 
 
 an kranra^ ko:ld ! 
 
 biat mu:si:, Sau art no: Sai: le:n; 
 in pru:vin fo:rse9t me: bi: ve:n ! 
 Sa be:st-le:d ski:mz o mais qh me:n 
 
 gar) a: ft agli:, 
 an li: vs no:xt b-ot gri:f an pe:n 
 
 far pro: mist dsoi. 
 
 stil Sau art blest kampe:rd wi mi: ! 
 
 Sa pre:zant o:nli tiDtJiO Si: 
 
 biDt o:x ! ai: bakAvard kast mai: i: 
 
 o:n pro: specs dri:r ! 
 an fo:rward, 0o: ai: kana si: 
 
 ai: ges an fi:r. 
 
 ^ X the sound of the German ch in such, a voiceless continuant formed 
 with the tongue in the position for sounding the g of good. 
 
76 PHONETIC TKANbCUlPTlONS. 
 
 tanioro. 
 
 I. 
 
 hnr, Sat jt^r onT)r wdz spttkin to? Avin, JT)r oniarl Idjt ji:r — 
 stamlin hi:r boi Sa brids, avou Ittjt jdi* onDr wn/. hi:r ? 
 'ii jiir onDr ja gev hur Sa top o (Sa mo:rnin, " tanioro " sc:z Ji: 
 Avcit did ftc: ko:l hT)r, JT>r on-nr? Se: ko:ld liTu* iiioli nio<,'i:. 
 'n JT)r onT)rz 5a tru: auld blud ?)at o:lwaz iDttnz to bi koiud, 
 but Sdi'z r«:z'n in o:l SiiQz, jur oiiDr, far moli wdz aut av liT)r 
 maind. 
 
 II. 
 
 Ju:r 'n misilf rimimbTDrz wan nait kurain daun bi Sa str€:m, 
 'n it si;mz ta mi nau laik a bit av jistarde: in a dreim — 
 hi:r AV€:r jiir onT)r si:n bur — Sar wx)z but a slip av a mu:n, 
 but ai bard 'm — moli magi: wid bur btttJilDr, dani o: rum — 
 " ja V bin tcrkin a drop av tSd krct-or" 'n dam se:z "tro:0 'n 
 
 ai bin 
 drinkin JT)r hilO wid Jciraus o: Jc: at katiz Jibim ; 
 but ai must bi Icivin ja su:n." '*o:xo:n ar ja go:n awe:?" 
 "go:n ta kut 5a sasana:x A\€:t" hi S€:z "o:var fJa se:" — 
 'n Avin wil ja mi:t mi agin 1 'n ai ha:rd 'm moli a5to:r, 
 " ai '1 mi:t ja agin tamo:ro," sciz hi:, "bi 5a tjap'l du:r." 
 "'n Avin ar ja go:n ta Iciv mi?" "o: mundi mo:rnin," se:z hi:; 
 "'n 5u:r Sin ja '1 mi:t mi tamo:ra?" "tamo:ra, tomo:ro, 
 
 raakri:!" 
 Sm mohz aul muSor, JT)r onDr, Sat had no: laikin fiar dan, 
 ko:ld from Imr kabin 'n tauld Imr ta kT)m awe: fram 5a man, 
 'n moll magi: k€:m flaiin akro:s mi, 'z lait z a lark, 
 'n dan stud 5c: r far a minit, 'n 5in wint inta 6a dark, 
 but wira ! 5a sto:rm Sat nait — 5a Bunder 'n r€:n Sat fel, 
 'n Sa strcimz runin daun at Sa bak a 5a glm 'd a draundjd hel. 
 
PHONETIC TRANSCRIPTIONS. 77 
 
 III. 
 
 but T)rO WDZ 9t pe:s nikst ino:rnin, 'n liiv'n in its glo:ri snioild, 
 'z tiQ hf):li muc^di' 9 glo:ri Sat sniailz ot hvv sliipiii tjail - 
 QtSen — Ji stcpt on 5a tjap'l-gri;!!, 'n Ji: turnd liDisilf iiiuii 
 wid o (loiinond drop in ln>r ai, far dani waz not ta bi fdun, 
 'n maniz Sa taini Sat oi wotjt Udi' at mas letin dcuin 6a ti:r, 
 far Sa div'l a dani waz Scir, jiir onDr, fur foirti ji:r. 
 
 VI. 
 
 'n hT)r n6:b"Drz 'n frmdz 'd kanso:! 'nkando:! wid or urlr 'n le:t, 
 
 "j or dani," Se: seiz, "nivar kro:st o:var sc: ta Sa sasinax A\c:t; 
 
 lii:z go:n ta Sa stc:ts oru:n, 'n bi:z niarid anuSar waif, 
 
 'n ji '1 niver set aiz on Sa fe:s V Sa tr€:tT)r agin in laif ! 
 
 'n ta drc:m av o mar|d man, de6 alaiv, iz a mo:rtal sin." 
 
 but moll sc:z, "ai d liiz hand promis, 'n Jua* hi:l mi:t mi agin " 
 
 VII. 
 
 'n aftar h-nr pDr'nts i)d intard glo:rt 'n bo: 9 in wan dc:, 
 Ji bigan ta spc:k tel hx)rsilf Sa krcitijr, 'n AviJpDr, 'n se: 
 "tamo:ra, tamo:ra ! " 'n faiSar mulauni hi tiak ar in han, 
 "moll ji)r mi:nin," hi se:z, "mi di:r, 'v ai undarstan, 
 Sat jal mi:t JDr pur'nts agin 'n j^r dani o:ru:n af():r g.id 
 wid hiz blesid martx)rz 'n scrnts ;" 'n Ji giv 'm a frindli nod, 
 "tamo:ra, tamo:ra," Ji scrz, 'n Ji didnt intmd ta dise:v, 
 but liDr wits wor ded, 'n ln3r h€:r wuz az Avait az Sa sno: on 
 a grc:v. 
 
 VIII. 
 
 ara nau, hi:r lajt raunO, Sc: wor digin Sa bog, 'n Se: faun 
 draundid in blak bog wo: tar a korp laiin undar graun. 
 
78 PHONETIC TRANSCRIPTIONS. 
 
 Z. 
 
 Sim aul blaind netgijrz 'n i:gipt, yi hard hiz rivrins s«:, 
 kT)d ki:p S-or he: San kir)z 'n Sa flej f-or Sa d5ud3mint dc:, 
 'n, fekz, bi Sa paipar o: mo:ziz, Se: kep Sa kat *n Sa dog, 
 but it ad 9 bin €:ziar wurk V Se: livd bi 'n eirij bog. 
 
 XI. 
 
 hau 'n ivar Sc: Icrd Sis bodi Sc: faun on Sa gras 
 bi Sa tjap'l du:r, 'n Sa pi:p'l 'd si: it Sat wmt in ta mas — 
 but 9 frej dsinarcijin 'd riz, 'n mo:st 'v Sa aul wdz fju:, 
 'n 9i didnt no: him misilf, 'n no:n V Sa parij nju: 
 
 XII. 
 
 but moll kctm limpin up wid h-or stik, Ji wdz lc:m 'v 9 ni:, 
 Sin o slip V 9 gosDn ko:ld, " div ja no: *m, moli magi:?" 
 'n Ji stud up str€:t az Sa kAv.i:n V Sa wurld — Ji liftid hur bed — 
 'Mii sed hi wod mi:t mi tamora!" 'n dropt daun ded on Sa 
 ded. 
 
NOTES ON THE PHONETIC TRANSCRIPTIONS. 
 
 It is perhaps almost unnecessar}' to observe that these transcrip- 
 tions represent merely one way of uttering the words of the various 
 writers ; and that while it is hoped they conform with good usage, 
 it is not to be supposed that they indicate the only correct pro- 
 nunciation. 
 
 The Death Bed, and The Loss oi<' the Birkenhead. 
 
 These selections attempt to show the ordinary pronunciation of 
 the cultured Canadian in elevated discourse. They are marked to 
 indicate with a fair degree of fulness, the laws of expression which 
 may be observed in reading them. 
 
 In the first draft of the chapter on Phonetic Syntax, the dis- 
 tinction between loudness and force usually inad3 in works on 
 elocution, was observed. But, since force depends on loudness, 
 distinctness and other elementary qualities of speech sounds, it 
 seemed inadvisable to use this term. These two selections, how- 
 ever, were printed before the change was made, and in them the 
 symbol ' is used for force, and ■ for softness, its opposite ; *> 
 (quiet) standing for the opposite to loud. 
 
 To a Skylark, and The Last Charge of the French 
 
 AT Waterloo. 
 
 These selections are of the same character as the preceding, but 
 marks of expression are much more sparingly employed. 
 
 David Copperfibld and the Waiter. 
 
 This is more colloquial in style than the foregoing extracts. 
 Incidentally it illustrates the peculiarities of the speech of the 
 uncultured Londoner. The broad opening of the diphthong ai 
 (indicated by the symbol ai), the use of luw for uw and other 
 peculiarities will be remarked ; besides the uncertainty of the 
 aspirates, the use of ai for ei, of eou for ou, of \r for ai, au for 
 au, etc., which have already been noted. 
 
 79 
 
80 NOTES ON THE PHONETIC TRANSCRIPTIONS. 
 
 The Footstkps Die Out Forever. 
 
 Tliis extract was selected for the special purpose of exemplifying 
 the laws of Phonetic Syntax. The pronunciation is as nearly as I 
 can indicate, in exact accordance w^ith that of my own reading, and 
 except in the more elevated passages is rather more colloquial than 
 that of the foregoing selections. The few French words that occur 
 show how the phonetic symbols used in this book serve to represent 
 the sounds of a foreign tongue. They fail of course to indicate 
 slight differences in the mode of articulation, the distinctness of the 
 French consonants, for example. 
 
 A Conversation Between Two Young Englishmen. 
 
 This is taken from Profe? lor Sweet's " Elementarbuch des 
 gesprochenen Englisch," a work intended for the use of German 
 students of our language. It represents the pronunciati(m of a 
 cultured speaker of the Southern English dialect. Most noticeable 
 to us are the use of the broad a: where we use a:, the omission of 
 J, the broader opening of the diphthong ai, and the greater variety 
 of the inflections. There are also slight differences that cannot be 
 indicated without the use of additional symbols ; e.g., the o in such 
 words as " josz" is more rounded, and is formed nearer the front 
 of the mouth than our o ; t) too, is articulated farther forward than 
 with us. 
 
 To a Mouse. 
 
 In preparing the transcrijjt of this extract I had the valuable aid 
 of Mr. J. Bruce Walker, a member of the editorial staff of the 
 Brantford Expositor, a phonetician, and an Ayrshire man born 
 within a stone's throw of the birthi)lace of Burns. The most 
 marked peculiarities exemplified are the use of a strongly trilled r 
 for J, and of er for ej, etc., the carrying back of the vowel a to near 
 the a position, the use of i for i and of i: for i, and the absence ot 
 diphthongization of the vowels. It was with some hesitation that I 
 yielded to Mr. Walker's judgment in not writing the pronoun *'I " 
 as a: instead of ai. As with French sounds, slight differences in 
 the Scotch mode of articulation cannot be shown by the symbols 
 employed in this book. 
 
notes on the phonetic transcriptions. 81 
 
 To-morrow. 
 
 This transcript has given more trouble tlian nearly all the rest 
 put together and is, perhaps, the least satisfactory when completed. 
 Careful notes were first taken on the peculiarities of the speech of 
 several Irishmen. Of these such as seemed local or individual 
 were, as far as possible, disregarded, though as the revision of the 
 work was made with an Irishman from the North, the character- 
 istics of that dialect probably predominate. Our sj nibols again 
 fail to denote certain distinctive features of the pronunciation, 
 notably tlxe strong aspiration of the dent.al and laljial consonants, 
 and the peculiar articulation of r, in which the toiigue tip vibrates 
 slowly, and is drawn farther back than in the utterance of the 
 English initial r, or of the Scotch r, which is strongly trilled with the 
 tongue tip still farther advanced. The sounds o and o: seem to bo 
 produced farther forward than with us, corresponding with some 
 speakers almost exactly to a and a:, a before r is also farther 
 forward as well as shorter than our a:. The use of the open f: for 
 ei seems to be general, as does t or i for e, and oi or T)i for ai. In 
 the speech of Southerners, as with the Highland Scotch, av is some- 
 times so strongly aspirated and produced with so little protrusion 
 of the lips that it is scarcely to be distinguished from f. The 
 pronunciation of the word "parents" (pnr'nts) is that of a speaker 
 from the North, and is perhaps local. I cannot, however, remem- 
 ber hearing the word pronounced by any other Irishmen. 
 
GENERAL INDEX. 
 
 Accents, defined, 45. 
 
 II use of, 46. 
 
 M faults in, 46. 
 
 Adam's apple, diagram, ii. 
 
 Esophagus, 4. 
 
 American Peculiarities of Speech 
 (see Peculiarities of Prouuncia- 
 tion). 
 
 Artenoid cartilages, i, ii, iii. 
 
 Articulation, of consonants, 9-23. 
 
 II of vowels, 24-43. 
 
 II organs of, 5. 
 
 II hints on distingiiish- 
 
 ing, 24-25. 
 
 B. 
 
 Back vowels, defined, 7. 
 
 II table of, 8. 
 
 II to distinguish, 24. 
 
 Brain, i. 
 
 Breathed sounds, mode of produc 
 tion, 49. 
 
 It use in expres- 
 
 sion, 49. 
 
 Breatliing, defective, 3. 
 
 II exercises for voice cul- 
 
 ture, 3. 
 
 Canadinn Peculiarities of Speech 
 (see Pecul. of Pron. ). 
 
 Cartilages, diagrams of, i, ii, iii. 
 
 II forming larynx, 4. 
 
 Chest tones, 50. 
 
 Cockney Peculiarities of Speech 
 (see Pecul. of Pron.). 
 
 Compound stress, defined, 45. 
 
 II use of, 47. 
 
 Consonants, defined, (}. 
 
 II classified, 6-7. 
 
 II articulation of, 9-23. 
 
 Continuants, defined, 6. 
 
 II classified, 7. 
 
 Cricoid cartilage, diagrams, i, ii, iii. 
 
 D. 
 
 Diagrams of vocal organs, etc., i, 
 ii, iii. 
 
 Diphthongs, characteristic of Eng- 
 lish long vowels, 8. 
 
 II omitted before r and 
 
 a, 17. 
 II classified, 8. 
 
 M table showing articu- 
 
 lation of, 26. 
 
 Distinctness, defined, etc, 47. 
 
 Emphasis, defined, 45. 
 
 II use of, 46-6. 
 
 II faults in, 46. 
 
 English Peculiarities of Speech 
 (see Pecul. of Pron.). 
 
 Epiglottis, diagrams, i, ii, iii. 
 
 II described, 4. 
 
 Expression, laws of, 43-51. 
 
 F. 
 
 Falling inflection, use of, 48. 
 Falsetto, 50. 
 
 83 
 
84 
 
 GENERAL INDEX. 
 
 Final stress, defined, 45. 
 
 (I use of, 47. 
 
 Front vowels, defined, 7. 
 
 II how to distinguish, 
 
 24. 
 Full tones, how produced, 49. 
 
 G. 
 
 Glottal stop, articulation of, 2.3. 
 Cilottis, diagram, i. 
 
 II described, 4. 
 Gullet, diagram, i. 
 Guttural tones, how produced, 50. 
 
 H. 
 
 Hard-palatal consonants, 6. 
 Hard-palate, diagram, i. 
 
 II described, 5. 
 
 Head tone, 60. 
 High vowels, defined, 7. 
 
 II how to distinguish, 
 
 25. 
 
 I. 
 
 Indistinctness, defined, 47. 
 
 Inflection, varieties of, 48. 
 
 II use of, 49. 
 
 II faults in, 49. 
 
 Initial stress, defined, 45. 
 
 II use of, 47. 
 
 Irish Peculiarities of Speech (see 
 Pecul. of Tron.). 
 
 L. 
 
 Larynx, diagrams of, i, ii, iii. 
 
 II described, 4. 
 Lateral consonants, 7. 
 Level stress, defined, 45. 
 
 11 use of, 47. 
 
 Ijevel tone, 49. 
 Lip consonants, table of, 6. 
 
 Lips, diagram, i. 
 
 Lip-teeth consonants, table of, 6. 
 Lisping, how caused, 15. 
 Long vowels, defined, 8. 
 Loudness, efTect of, 45. 
 11 faults in, 45. 
 Low vowels, table of, 8. 
 
 II how to distinguish, 25 
 
 Lungs, described, 3. 
 
 Median stress, defined, 45. 
 II use of, 47. 
 
 Melody of speech, whence result- 
 ing, 48. 
 Mid vowels, defined, 7. 
 II table of, 8. 
 
 Mixed vowels, defined, 7. 
 
 M how to distinguish, 
 
 24. 
 
 Modulation, how effected, 4. 
 
 Mouth, diagram of, i. 
 
 It description, 5. 
 
 M breathing, 5. 
 
 N. 
 
 Narrow vowels, defined, 8. 
 
 I) how to distin- 
 
 guish, 25. 
 
 Nasality, how induced, 5. 
 
 II characteristic of Ameri- 
 
 can speech, 51. 
 
 Nasals, defined, 7. 
 
 Nasal tones, described, 50. 
 
 Neutral vowels, table of, 8. 
 
 II how to distin- 
 
 guish, 24. 
 
 Northern English Peculiarities of 
 Speech (see Pecul. of Prou.). 
 
 Nose, diagram cf, i. 
 
 II described, 5. 
 Notes on Phonetic Transcriptions, 
 
 79-81. 
 
GENERAL INDEX. 
 
 85 
 
 P. 
 
 Palatal consonants, 6. 
 
 Palate, diagram of, i, 
 
 II description of, 5. 
 
 Pauses, classification and nse of, 44 
 
 Peculiarities of Pronunciation (see 
 notes after each list of examples 
 of sounds, 10-23, 27-43). 
 
 American : 
 
 Syllabic m, 11. 
 
 Using voiced for voiceless con- 
 sonants, 13, 15, 10. 
 
 Using a for r, 17. 
 
 M uw for juw, 19, 43. 
 
 Sounding J, 20. 
 
 Use of i for ij, 27. 
 
 Affected use of a: or a: for a, 
 32. 
 
 Use of o: for a, 32. 
 
 II a II a:, 32. 
 
 M „ T), 35. 
 
 II a: n a:, 36. 
 
 II a: or for o:, 37. 
 
 11 o: for 0, 38. 
 
 II "D II ou, 40. 
 
 Magiiifving stress at expense 
 of articulation, 47. 
 
 Canadian : 
 
 Harshly sounding a, 21. 
 
 Use of ei or ej for e:, etc., 19, 
 
 31. 
 Use of T) for o:, 34, 35. 
 
 It auw for au, 37. 
 Tense articulation, 47. 
 Prevalence of gutturality, 51. 
 
 Eastern States : 
 
 Use of jau for au, 36. 
 Exaggerated initial stress, 47. 
 
 Drawling, 47. 
 Prevalence of nasality, 61. 
 
 English : 
 
 Use of w for m, 10. 
 
 II r between vowels, 1 8. 
 Omission of j, 20, 21. 
 
 I. h, 23. 
 General use of a:, 32, 36. 
 Use of ea for a:, 34. 
 
 II a: II au, 37. 
 
 II eou II ou, 40. 
 
 II 0: M u:, 41. 
 
 Indistinct articulation of con- 
 sonants, 47. 
 Extensive u."e of inflection, 49. 
 
 Cockney : 
 
 TTse of v for w, 10. 
 II jar II i, 19. 
 „ T)g or T)k for T), 22. 
 Omission of h, 23. 
 Use of ai for ei, 31. 
 Illustrated in Phonetic Tran- 
 script, 62-67. 
 Note on Phonetic Transcrip- 
 tions, 79. 
 
 Northern English : 
 
 Use of u: for T), 35. 
 
 Lack of diphthongization, 42. 
 
 Soxithern English : 
 
 Slightness of trill in r, 17. 
 Use of e: for T), 35. 
 II jau II au, 37 
 
 Illustrated in Phonetic Tran- 
 script, 73. 
 
 Note, 80. 
 Irish : 
 
 Strong aspiration of front con- 
 sonants, 10. 
 
 Syllabic m, 11, 
 
86 
 
 GENERAL IXDEX. 
 
 Use of T)i or oi for ai, 33. 
 II u: II a:, 34. 
 
 Illustrated in Phonetic Tran- 
 script, note, 76-78. 
 Scotch : 
 
 Use of xAi for ai, 10. 
 
 Strong trill of r, 17. 
 
 Use of r for J, 21. 
 II e: II ei, 31. 
 
 Lack of diphthongization, 42. 
 
 Wheeziness, 51. 
 
 Illustrated in Phonetic Tran- 
 script, 74-76. 
 
 Note, 80. 
 
 Highland Scotch : 
 
 Distinctness of articulation of 
 consonants, 47. 
 
 Note, 81. 
 
 WeUh : 
 
 Use of -xM. for av, 10. 
 
 Distinct articulation of con- 
 sonants, 47. 
 
 Pharynx, diagram, i. 
 
 II described, 4, 
 
 Phonetic syntax, 43-51. 
 
 II II illustrated, 67-71 
 
 Pitch, how changes are produced, 4. 
 
 II defined, 48. 
 
 II effect of changes, 48. 
 
 II use, 48. 
 
 II association with stress, 45. 
 
 II of vowels, 9. 
 
 II II to distinguish, 25 
 
 Poetry, distinctive form of, 46. 
 
 ti faults in reading, 46. 
 Punctuation marks, use of, 45. 
 Pure tones, how produced, 50. 
 
 R. 
 
 Rate of utterance, 44. 
 
 Rhythm, on what depending, 46. 
 
 Rising inflection, defined, 48. 
 
 Rising inflection, use of, 49. 
 Rounded vowels, defined, 8. 
 
 s. 
 
 Scotch Peculiarities of Speech (see 
 Pecul. of Pron.). 
 
 Script characters, iv. 
 
 Short vowels, defined, 8. 
 
 Soft-palatal consonants, table of, 6. 
 
 Soft-palate, diagram, i. 
 
 II described, 5. 
 
 Southern English Peculiarities of 
 Speech (see I'ecul. of Pron. ). 
 
 Speech organs, diagrams, i, ii, iii. 
 
 II II description, 3-6. 
 
 Speech sounds, classified, 6. 
 Stress, how produced. 45. 
 
 II divisions of, 45. 
 
 11 use, 47. 
 
 Syntactical attributes of speech 
 sounds classified, 4.3. 
 
 T. 
 
 Tables of consonants, 6, 7. 
 
 Ii vowels, 8, 26. 
 Teaching reading, aim of, 1. 
 Teeth, diagram, i. 
 Thin tones, 50. 
 Thyroid cartilage, diagrams, i, ii, 
 
 iii. 
 Tones, varieties of, 49, 50, 51. 
 Tongue, diagram, i. 
 Tongue consonants, 6. 
 Tongue-teeth consonants, 6. 
 Training of organs of articulation, 6 
 Tremor, defined, 45. 
 
 II use of, 47. 
 Trilled consonants, 7. 
 
 u. 
 
 United States Peculiarities of 
 Speech (sec Pecul. of Pron. ). 
 
 Uvula, described, 7. 
 
GENEUAL INDEX. 
 
 87 
 
 V. 
 
 Vocal chords, diagrams, ii, iii. 
 
 u described, 4. 
 
 *Voice, defined, 49. 
 Voiced consonanta, defined, 7. 
 
 » II tendency to mis- 
 
 use, 15, 16. 
 Voiceless consonants, defined, 7. 
 
 Vowels, distinguished from con- 
 sonants, 6. 
 
 II classified, 7, 8. 
 
 It pitch of, 9. 
 
 II articulation and examples 
 of, 27-43. 
 
 w. 
 
 Welsh Peculiarities of Speech (see 
 Pecul. of Pron. ). 
 
 Wheeze, described, 50. 
 
 Whisper, how produced, 50. 
 
 II use of, 50. 
 
 Wide vowels, defined, 8. 
 
 II how to distinguish, 
 
 25. 
 
 Windpipe, diagrams, i, ii. 
 
 II use of, 4. 
 
 Y. 
 
 Yorkshire Peculiarities of Speech 
 (see Pecul. of Pron. ). 
 
INDEX OF WORDS SPELT PHONETICALLY IN PART I. 
 
 
 
 
 A. 
 
 aunt, 32. 
 
 breechps, 28. 
 
 Aaron, 31. 
 
 ay, 83. 
 
 brewer, 41. 
 
 able, 17. » 
 
 azure, 16. 
 
 bring, 17. 
 
 abound, 3B.* 
 
 
 broad, 37. 
 
 abusive, 16.* 
 
 B. 
 
 brooch, 39. 
 
 account, 21. 
 
 babb^o, 11. 
 
 brown, 36. 
 
 accoutre, 42.* 
 
 babe, 11. 
 
 build, 28. 
 
 acquire, 22. 
 
 baby, 31.* 
 
 burgher, 22. 
 
 across, 13.* 
 
 back, 21. 
 
 bureau, 40.* 
 
 added, 13. 
 
 baggy, 22. 
 
 bury, 29. 
 
 adieu, 42. 
 
 balcony, 32.* 
 
 busy, 28. 
 
 /Etna, 29. 
 
 bald, 37. 
 
 but, 35.* 
 
 after, 32. 
 
 baker, 21. 
 
 butcluT, 41.* 
 
 again, 29. 
 
 barrel, 17,* 32.* 
 
 buy, 33, 
 
 afrhast, 22. 
 
 bass, 30. 
 
 
 agreeable, 34. 
 
 bath, 12. 
 
 o. 
 
 aid, 30. 
 
 bathe, 12. 
 
 Caesar, 27. 
 
 aisle, 33. 
 
 baths, 12. 
 
 calf, 32. 
 
 alibi, 33. 
 
 , be, 27. 
 
 cambric, 30. 
 
 all, 37. 
 
 bean, 27. 
 
 campaign, 30. 
 
 alley, 20. 
 
 beau, 39. 
 
 can, 32.* 
 
 allies, 33.* 
 
 beauty, 42. 
 
 canoe, 42. 
 
 ally, 33.* 
 
 because, 37.* 
 
 can't, 32.* 
 
 alms, 32. 
 
 been, 28. 
 
 captain, 28. 
 
 amazing, 14. 
 
 begin, 28. 
 
 car, 36. 
 
 "Am I," etc., 23. 
 
 bier, 27. 
 
 careless, 31.* 
 
 ancient, 16. 
 
 bird, 34.* 
 
 caring, 31. 
 
 and, 34. 
 
 biscuit, 29. 
 
 carriage, 18.* 
 
 ant, 32.* 
 
 blamed, 13. 
 
 carry, 31. 
 
 antipodes, 27. 
 
 blood, 36. 
 
 cast, 32. 
 
 anxious, 23. 
 
 blue, 43.* 
 
 cat, 21. 
 
 any, 29. 
 
 booby, 11. 
 
 catch, 32.* 
 
 ajiparatus, 31.* 
 
 book, 41.* / 
 
 catarrh, 20. 
 
 apparent, 31.* 
 
 boot, 42. 
 
 caught, 37. 
 
 Asia, 16.* 
 
 bouquet, 40. 
 
 ceiling, 27. 
 
 ask, 32. 
 
 bosom, 41.* 
 
 cents, 15.* 
 
 ass, 32.* 
 
 box, 22. 
 
 chagrin, 27. 
 
 as sure as, 15.* 
 
 boy, 38.* 
 
 champagne, 30. 
 
 ate, 29. 
 
 ' breadth, 29. 
 
 chance, 32.' 
 
 * Subject of note on peculiarities of pronunciation. 
 
 $9 
 
yU INDF 
 
 :X OP WORDS SPKLT P 
 
 HONETICALLY. 
 
 chasm, 22. 
 
 docs, 35. 
 
 fat, 31. 
 
 chew, 42. 
 
 dog, 38.* 
 
 father, 27,* 36.* 
 
 chewing', 41. 
 
 doing, 41. 
 
 fearing, 17.* 
 
 children, 28. 
 
 donkey, US.* 
 
 February, 18.* 
 
 chivalry, 16. 
 
 door, 38. 
 
 fed, 25. 
 
 choir, 33. 
 
 dough, 39. 
 
 fellow, 39.* 
 
 Christ, 22. 
 
 dual, 41.* 
 
 fern, 34. 
 
 church, 14. 
 
 due, 43.* 
 
 fetch, 14. 
 
 city, 14. 
 
 duke, 43. 
 
 fetched, 13. 
 
 clean, 22.* 
 
 duty, 19.* 
 
 fete, 30. 
 
 clc.itily, 19. 
 
 dwell, 10. 
 
 feud, 42. 
 
 clerk, 36.* 
 
 
 few, 19. 
 
 cloth, 37. 
 
 E. 
 
 fewer, 41. 
 
 coffee, 29. 
 
 eager, 22. 
 
 fief, 11. 
 
 college, 28. 
 
 ear, 27. 
 
 field, 27. 
 
 colonel, 34. 
 
 earn, 34. 
 
 fifty, 11. 
 
 column, 19." 
 
 ears, 20.* 
 
 finger, 22.* 
 
 comfit, 29. 
 
 eat, 24, 
 
 fir, 20,* 34. 
 
 command, 32. 
 
 ebb, 11. 
 
 fire, 21.* 
 
 confine, 33. 
 
 echo, 22. 
 
 fish, 28. 
 
 congregate, 22. 
 
 edge, 14. 
 
 flannel, 16. 
 
 connoisseur, 41. 
 
 egg, 22. 
 
 flourish, 36. 
 
 conquer, 22. 
 
 eh, 30. 
 
 flower, 37.* 
 
 conscience, 15. 
 
 eidcrdov/n, 33. 
 
 fluent, 41. 
 
 coral, 38. 
 
 elm, 11.* 
 
 fly, 33. 
 
 could, 40. 
 
 England, 28.* 
 
 folly, 38. 
 
 courier, 41.* 
 
 enter, 34. 
 
 food, 42. 
 
 courtesy, 84. 
 
 envied, 29. 
 
 foot, 41. 
 
 cow, 19.* 
 
 en.-oy, 38. 
 
 forbade, 32.* 
 
 coward, 36. 
 
 equality, 37. 
 
 foreign, 38.* 
 
 creator, 35.* 
 
 ere, 31. 
 
 forest, 38.* 
 
 creek, 27.* 
 
 err, 20. 
 
 forfeit, 29. 
 
 cupboard, 34. 
 
 eulogy, 19.* 
 
 four, 38. 
 
 cushion, 40. 
 
 euphony, 10. 
 
 friend, 29 
 
 
 even, 27. 
 
 friends, 13.* 
 
 D. 
 
 exact, 22. 
 
 from, 34. 
 
 dado, 13. 
 
 exaggerate, 14. 
 
 frost, 37. 
 
 dahlia, 30. 
 
 exceed, 28. 
 
 frugal, 17.* 
 
 dashing, 15. 
 
 excursion, 16.* 
 
 fruit, 42. 
 
 day, 30. 
 
 eye, 33. 
 
 fuchsia, 16. 
 
 deaf, 30.* 
 
 
 fur, 20.* 
 
 deed, 13. 
 
 F. 
 
 furry, 36.* 
 
 deeds, 15. 
 
 facts, 13.* 
 
 fuzz, 14. 
 
 dew, 20.* 
 
 fair, 25. 
 
 fuzzy, 14. 
 
 dial, 33. 
 
 fairy, 17,* 19.* 
 
 
 dismiss, 15.* 
 
 famous, 33. 
 
 G. 
 
 do, 42. 
 
 fare, 31. 
 
 gag, 22. 
 
 doer, 41. 
 
 fashion, 15. 
 
 gaol, 30. 
 
 ^Subject of note on peculiarities of proimnciation. 
 
INDEX OP WORDS SPELT PHONETICALLY. 
 
 91 
 
 genuine, 28.* 
 
 here it is, 20.* 
 
 L. 
 
 fe'ct, 30. » 
 
 heroine, 39. 
 
 lady, 30. 
 
 ghost, 22. 
 
 hiccough, 11. 
 
 hmguaje, 10. 
 
 gifts, 13.* 
 
 high, 33. 
 
 laudanum, 37. 
 
 ffiff. 22. 
 
 hilly, 16. 
 
 laugh, 32.* 
 
 glint, 22.* 
 
 his, 15. 
 
 launch, 32. 
 
 go, 39. 
 
 hoary, 19.* 
 
 laws, 37.* 
 
 goal, 40.* 
 
 home, 40.* 
 
 leap, 27.* 
 
 God, 38.* 
 
 honey, 35. 
 
 leisure, 29. 
 
 going, 40.* 
 
 hotel, 39. 
 
 length, 23.* 
 
 goodness, 28. 
 
 hough, 22. 
 
 leopard, 29. 
 
 grand, 18.* 
 
 house, 23. 
 
 let, 24. 
 
 grass, 14. 
 
 hovel, 38.* 
 
 lettuce, 29. 
 
 grassy, 14. 
 
 hundred, 17.* 
 
 library, 18.* 
 
 great, 30. 
 
 hurrah, 36. 
 
 lie, 33. 
 
 grey, 30. 
 
 hurry, 36. 
 
 lieutenant, 11. 
 
 groan, 38. 
 
 
 lily, 16. 
 
 gross, 39. 
 
 I. 
 
 lion, 3.5.* 
 
 grow, 18.* 
 
 idea, 34. 
 
 lisp, 15.* 
 
 guest, 22. 
 
 idea of, 18.* 
 
 literary, 18.* 
 
 guinea, 29. 
 
 idol, 33. 
 
 longer, 22.* 
 
 
 Indian, 20.* 
 
 lunch, 1«.* 
 
 H. 
 
 indict, 33. 
 
 luncheon, 16. 
 
 hair, 21.* 
 
 instead, 30.* 
 
 lynx, 22. 
 
 hairy, 31. 
 
 invalid, 27. 
 
 
 halfpenny, 30. 
 
 irritate, 28. 
 
 M. 
 
 hallelujah, 19. 
 
 Isaac, 35.* 
 
 machine, 27. 
 
 hammer, 11. 
 
 island, 33. 
 
 maim, 11. 
 
 hand, 32.* 
 
 Israel, 31. 
 
 mama, 36.* 
 
 handkerchief, 22. 
 
 issue, 15. 
 
 many, 29. 
 
 handsome, 13.* 
 
 it is here, 20.* 
 
 mare, 21.* 
 
 hard, 21.* 
 
 
 martyr, 35. 
 
 has, 34. 
 
 J. 
 
 maw, 37. 
 
 hasten, 14.* 
 
 James's, 29. 
 
 measure, 30.* 
 
 hut, 24. 
 
 jeoparuy, 29. 
 
 meat, 27. 
 
 hate, 30. 
 
 Jew, 42. 
 
 mere, 27.* 
 
 hath, 20.* 
 
 join, 38.* 
 
 merry, 29. 
 
 hear, 20.* 
 
 Judah and Israel, 18.* 
 
 method, 12. 
 
 heard, 20.* 
 
 judge, 14. 
 
 mine, 33.* 
 
 hearing, 18.* 
 
 juice, 42. 
 
 miracle, 28.* 
 
 heart, 86. 
 
 
 miry, 19,- 33.* 
 
 hearth, 36.* 
 
 K. 
 
 mischievous, 19,* 28.* 
 
 heifer, 29. 
 
 key, 27. 
 
 mission, 15. 
 
 height, 12.* 
 
 kin, 21. 
 
 monk, 35.* 
 
 heir, 31. 
 
 knowledge, 88. 
 
 months, 12.* 
 
 Henry, 18.* 
 
 kraal, 36. 
 
 more, 37.* 
 
 herald, 30.* 
 
 
 mosque, 22. 
 
 herd, 20.* 
 
 
 mosquito, 27.* 
 
 * Subject of note on peculiarities of pronunciation, 
 
92 
 
 INDKX OF WOIJDS SPELT PHONETICALLY. 
 
 mould, 39. 
 mountain, 2!).* 
 mown 38. 
 museum, 27. 
 my, 33.* 
 myrrh, 20.* 
 myrtle, 34. 
 
 N. 
 nation, 15. 
 nature, 20.* 
 nau(;ht, 25. 
 nephew, 11. 
 news, 43.* 
 nine, 14. 
 ninny, 14. 
 no, 40.* 
 not, 3B. 
 nothing, 36.* 
 nuisance, 43. 
 nut, 35. 
 
 O. 
 
 oar, 38. 
 obey, 39.* 
 opoasion, 10. 
 ocean, 16.* 
 (Edipus, 27. 
 of, 11, 
 off, 11. 
 office, 38.* 
 officiate, 18. 
 often, 13.* 
 oh, 39. 
 oil, 38. 
 omen, 39. 
 once, 13.* 
 onion, 19. 
 opportunity, 20.' 
 ordeal, 27.* 
 ore, 38. 
 ought, 37. 
 out, 36. 
 oven, 14. 
 owe, 39. 
 
 P. 
 
 pair, 31. 
 pajia, 36.* 
 paper, 11. 
 parliament, 34. 
 partial, 10.* 
 partner, 13.* 
 pass, 32. 
 pathos, 31.* 
 patriot, 31.* 
 patrol, 39. 
 pear, 31.* 
 peep, 11. 
 peer, 27. 
 people, 27. 
 peril, 30." 
 Persia, 16.* 
 persist, 15.* 
 phantom, 34. 
 Pharoah, 39. 
 picture, 22.* 
 pilgrim, 28.* 
 pinch, 16.* 
 plait, 31. 
 pleurisy, 41. 
 plough, 36, 
 poem, 40.* 
 poet, 38.* 
 poor, 41.* 
 poorer, 19.* 
 poppy, 11. 
 porridge, 18.* 
 potato, 13. 
 pound, 37.* 
 power, 21.* 
 powers, 37.* 
 prayer, 81. 
 Preshyterian, 30.* 
 pretty, 28.* 
 protect, 39. 
 prudence, 34. 
 psalm, 14. 
 pudding, 23.* 
 pulpit, 40. 
 pure, 41. 
 purer, 17.* 
 put, 40. 
 
 Q. 
 
 quarrel, 17.* 
 quarry, 37. 
 quay, 27. 
 quell, 10. 
 quick, 10. 
 quiet, 22. 
 quoit, 22. 
 
 B, 
 rare, 17, 
 rarity, 17. 
 rather, 32. 
 real, 27.* 
 recognize, 22.* 
 region, 14. 
 reign, 30. 
 restive, 28. 
 restless, 28. 
 revive, 11, 
 rheumatism, 42, 
 Rhine, 17, 
 Rhone, 17. 
 rhyme, 17, 
 risk, 28. 
 roguish, 22, 
 room, 42.* 
 rouge, 16. 
 rough, 35. 
 route, 42.* 
 ruin, 29* 
 rumour, 42. 
 rush, 15. 
 
 S. 
 
 said, 29. 
 saith, 12. 
 salmon, 31, 
 sample, 32, 
 Samuel Weller, Id." 
 Sarah, 34. 
 says, 29. 
 scald, 21. 
 scarce, 31. 
 scent, 14. 
 schedule, 16. 
 schism, 14. 
 scissors, 15. 
 
 ' Subject of note on peuuliaritiea of prouuaciution. 
 
INDEX OP WORDS SPELT PHONETICALLY. 
 
 93 
 
 scythe, 12. 
 
 tassel, 32.* 
 
 village, 28. 
 
 see, 27. 
 
 taught, 37.* 
 
 vision, 16. 
 
 seeing, 23.* 
 
 taut, 37. 
 
 vivid, 11. 
 
 seize, 14. 
 
 teacher, 14. 
 
 volume, 43. 
 
 sensual, 16. 
 
 tedious, 19.* 
 
 
 serious, 27. 
 
 tenths, 12.* 
 
 W. 
 
 service, 29.* 
 
 than, :i2. 
 
 wage<l, 13. 
 
 sharp, 15. 
 
 the, 28 * 
 
 war, 37. 
 
 shew, 39. 
 
 their, 31. 
 
 was, 38.* 
 
 shoe, 42. 
 
 there, 31.* 
 
 water, 37.* 
 
 should, 40.* 
 
 thin, 12. 
 
 weapon, 30.* 
 
 siepe, 27. 
 
 thing, 12. 
 
 wear, 31. 
 
 sieve, 28. 
 
 think, 22. 
 
 weight, 30. 
 
 sig-n, 33. 
 
 this, 15.* 
 
 were, 31.* 
 
 since, 28. 
 
 Thomas, 13. 
 
 what, 37. 
 
 singer, 22. 
 
 thorough, 39. 
 
 when, 10.* 
 
 sing-ing, 22. 
 
 those, 15.* 
 
 where, 21.* 
 
 sings, 15.* 
 
 though, 39. 
 
 while, 10.* 
 
 sir, 34. 
 
 thyme, 13. 
 
 who, 42. 
 
 sister, 14. 
 
 tiger, 33.* 
 
 whole, 40.* 
 
 skin, 21. 
 
 till, 16. 
 
 wife, 10. 
 
 slow, 39. 
 
 titter, 13. 
 
 window, 39.* 
 
 smooth, 12. 
 
 to, 40.* 
 
 wished, 13. 
 
 soften, 13.* 
 
 tortoise, 29. 
 
 with, 12. 
 
 soldier, 14. 
 
 tory, 17.* 
 
 woman, 40. 
 
 something, 22.* 
 
 tough, 11. 
 
 women, 28.* 
 
 sorry, 18.* 
 
 tour, 41. 
 
 won, 35. 
 
 soot, 42.* 
 
 tourist, 41.* 
 
 won't, 40.* 
 
 soul, 89. 
 
 tower, 21.* 
 
 wooer, 41. 
 
 soup, 42.* 
 
 trait, 30. 
 
 work, 34. 
 
 sovereign, 38.* 
 
 triumph, 11. 
 
 worry, 35. 
 
 special, 29. 
 
 Tuesday, 19.* 
 
 would, 40.* 
 
 squirrel, 17.* 
 
 tuner, 14. 
 
 wrath, 37. 
 
 starred, 20. 
 
 turmoil, 38. 
 
 
 starry, 36. 
 
 turn, 34.* 
 
 X. 
 
 Stephen, 11. 
 
 twenty, 10. 
 
 Xerxes, 16. 
 
 stirred, 34. 
 
 twill, 10. 
 
 
 store, 21.* 
 
 tyrant, 33. 
 
 Y. 
 
 straight, 30. 
 
 
 yeoman, 39. 
 
 strength, 23.* 
 
 U. 
 
 yes, 80.* 
 
 stronger, 22. 
 
 umbrella, 18.* 
 
 yore, 40. 
 
 student, 43.* 
 
 unity, 2a 
 
 young, 19. 
 
 sugar, 15. 
 
 until, 16. 
 
 your, 41. 
 
 suit, 43.* 
 
 unknown, 36. 
 
 youth, 42. 
 
 suited, 28. 
 
 usage, 43. 
 
 yule, 42. 
 
 Sunday, 28. 
 
 use, 10. 
 
 
 superior, 18.* 
 
 usual, 16. 
 
 Z. 
 
 sure, 41. 
 
 
 zeal, 14. 
 
 surely, 41.* 
 
 V. 
 
 
 swearing, 31. 
 
 vacate, 21. 
 vein, 80. 
 
 
 T. 
 
 very, 18.* 
 
 
 table, 16. 
 
 view, 42. 
 
 
 tule, 10. 
 
 viewer, 41. 
 
 
 'Subject of note on peculiarities of pronunciation.