IMAGE EVALUATION TEST TARGET (MT-3) 1.0 I.I 1.25 IIIIIM |||||Z2 2.0 mm 1.4 11.6 ^^ <9 /}. /a 'c>l W ^^' %, /A ^g w W o / Photographic Sciences Corporation 23 WEST MAIN STREET WEBSTER, NY. 14580 (716) 872-4503 CIHM/ICMH Microfiche Series. CIHM/ICMH Collection de microfiches. Canadian Institute for Historical Microreproductions Institut Canadian de microreproductions historiques 1980 Technical and Bibliographic Notes/Notes techniques et bibliographlques The Institute has attempted to obtain the best original copy available for filming. Features of this copy which may be bibliographically unique, which may alter any of the images in the reproduction, or which may significantly change the usual method of filming, are checked below. D D D D D D n Coloured covers/ Couverture de couleur Covers damaged/ Couverture endommagde Covers restored and/or laminated/ Couverture restaur6e et/ou pelliculde Cover title missing/ Le titre de couverture manque □ Coloured maps/ Cartes gdographiques en couleur Coloured ink (i.e. other than blue or black)/ ere de couleur (i.e. autre que bleue ou noire) □ Coloured plates and/or illustrations/ Planches et/ou illustrations en couleur D Bound with other material/ Relid avec d'autres documents Tight binding may cause shadows or distortion along interior margin/ La reliure serr^e peut causer de I'ombre cu de la distortion le long de la marge intdrieure Blank leaves added during restoration may appear within the text. Whenever possible, these have been omitted from filming/ II se peut que certaines pages blanches ajoutdes lors d'une restauration apparaissent dans le texte, mais, lorsque cela dtait possible, ces pages n'ont pas 6t6 film^es. Additional comments:/ Commentaires suppl^mentaires: L'Institut a microfilm^ le meilleur exemplaire qu'il lui a 6t6 possible de se procurer. Les details de cet exemplaire qui sont peut-dtre uniques du point de vue bibliographique, qui peuvent modifier une image reproduite, ou qui peuvent exiger une modification dans la m6thode normale de filmage sont indiqu6s ci-dessous. □ Coloured pages/ Pages de couleur \~~7f Pages damaged/ h/j Pages endommagdes I I Pages restored and/or laminated/ D Pages restaur6es et/ou pelticul^es Pages discoloured, stained or foxei Pages d^coior^es, tachetdes ou piqudes Pages detached/ Pages d6tach6es Showthrough/ Transparence Quality of prir Quality indgale de I'impression Includes supplementary materii Comprend du materiel supplementaire I I Pages discoloured, stained or foxed/ I I Pages detached/ f I Showthrough/ I I Quality of print varies/ I I Includes supplementary material/ □ Only edition available/ Seule Edition disponible Pages wholly or partially obscured by errata slips, tissues, etc., have been refilmed to ensure the best possible image/ Les pages totalement ou partiellement obscurcies par un feuillet d'errata, une pelure, etc., ont 6t6 film6es d nouveau de fapon d obtenir la meilleure image possible. ^ This item is filmed at the reduction ratio checked below/ Ce document est film6 au taux de reduction indiqu6 ci-dessous. 10X 14X 18X 22X 26X 30X v/ U 12X 16X 20X a4x 28X 32X The copy filmed here has been reproduced thanks to the generosity of: National Library of Canada L'exemplaire filmd fut reproduit grdce d la g6n6rosit6 de: Bibliothdque nationale du Canada The images appearing here are the best quality possible considering the condition and legibility of the original copy and in keeping with the filming contract specifications. Les images suivantes ont 6t6 reproduites avec le plus grand soin, compte tenu de la condition et de la nettet6 de l'exemplaire filmd, et en conformity avec les conditions du contrat de filmage. Original copies in printed paper covers are filmed beginning with the front cover and ending on the last page with a printed or illustrated impres- sion, or the back cover when appropriate. All other original copies are filmed beginning on the first page with a printed or illustrated impres- sion, and ending on the last page with a printed or illustrated impression. Les exemplaires originaux dont la couverture en papier est imprimde sont filmds en commenpant par le premier plat et en terminant soit par la dernidre page qui comporte une empreinte d'impression ou d'itlustration, soit par le second plat, selon le cas. Tous les autres exemplaires originaux sont filmds en commengant par la premidre page qui comporte une empreinte d'impression ou d'illustration et en terminant par la dernidre page qui comporte une telle empreinte. The last recorded frame on each microfiche shall contain the symbol — »> (meaning "CON- TINUED "), or the symbol V (meaning "END "), whichever applies. Un des symboles suivants apparaitra sur la darnidre image de cheque microfiche, selon le cas: le symbole — ^> signifie "A SUIVRE", le symbole V signifie "FIN". Maps, plates, charts, etc., may be filmed at different reduction ratios. Those too large to be entirely included in one exposure are filmed beginning in the upper left hand corner, left to right and top to bottom, as many frames as required. The following diagrams illustrate the method: Les cartes, planches, tableaux, etc., peuvent dtre film6s d des taux de reduction diffdrents. Lorsque le document est trop grand pour dtre reproduit en un seul clich6, il est filmd d partir de Tangle sup^rieur gauche, de gauche d droite, et de haut en bas, en prenant le nombre d'images n^cessaire. Les diagrammes suivants illustrent la mdthode. 1 2 3 1 2 3 4 5 6 CONSONANTS. VOWKLS. PHYSIOLOGICAL BASES OF THE SYMBOLS. "TV"*'"*' "ff '^ * ^^ ■ SOUNDS AND THEIR RELATIONS A Complete Manual of Universal AlpJiabetics; ILLUSTRATED BY MEANS OF VISIBLE SPEECH: AND EXHIBITING THE Pronnnciation of English, in Various Styles, and of other Languages and Dialects. By Aiipx. Melville Bell, F.E.I.S., &c. SALEM, MASS. : J. p. BURBANK, PUBLISHER. 1881. '\-i I ^.' ^^UJLi-^ »p ;'',■:.¥ :". :y PREFACE. nPHE Inaugural Edition of "Visible Speech" was not intended, or adapted, for the popular in- troduction of the System, but for the use of the comparatively limited class of Students of Philology. Visible Speech has now been brought into such wide practical applications — not only in this field of scholarship, but in the work of foreign Missions; in the treatment of Impediments and Defects of Speech; in teaching Articulation to the Deaf; in facilitating the acquisition of Foreign Languages ; in the teaching of Elocution ; and iU the training of Common School Teachers — that a simpler and more practical Manual of the System was urgently called for. "Sounds and their Relations," which could not be exemplified by means of ordinary letters, are here exhibited in the symbols of Visible Speech. This Work thus serves the double purpose of teaching the varieties and relations of all Lin- guistic Sounds, and, at the same time, presenting VI PREFACE. the entire details of the system of Visible Speech, with simplicity and clearness. A largely extended sphere of utility will, it is hoped, be opened for the system by the publication of this popular man- ual, and by this application of the symbols to the exhibition of familiar and other "Sounds AND THEIR RKLA'I'FONS." 88 Fayette Street, West Washington, D. C. September^ 1881. CONTENTS. T I'ACH iNTHODUCTION Section FmsT.-Explanation of "the Visible" Speech Symboi.s and Classification of Elementary Sounds High and Low Lines .....[ ^ Straight Lines and Curves ....'."' 5 Right and Left Lines ...... Upward and Downward Curves ... ,s Divided Lines ..... Closed Curves • • • 9 Vocalized Consonants • • • 9 Primary and Wide Vowels ..."'' ^ Nasal Elements .' ' * ' ' ^° Throat Consonants .... Modifiers r -7 Glides Clicks, etc • • . . 3 Section Second.— Phoneticizing" . . . , [ ['^ Part First— Consonants. ^ • • • 9 Lip Consonants . . Back '' ^9 Top u ' ' • 22 Point " • ^5 , 28 V"i CONTENTS. Pari Scrond — Vinci'/s. Vroui V^jvvt'ls -71- H.iik '' y^ Mixed " \^ Hoimd " .^ SmrioN TiiiUD.—Kfcapitiilntivt; Tables, tti'. . . 59 TaMi' of Consonants . cu Taltlc of Vowels 60 TahU" of (ilidcs . . Cn Tabic of iModidcis, etc 61 Tables of ICn^lish IClementary Sounds . . 62 Exercises (',-1 Section [''oirinii. — I'^nolisb as Spoken, etc. . . 69 /. \'ocal)iiIary Style. Means of Ac(iuirin<^ Distinction 72 J J. Colhnjuial Style. Means of Accjuirinjif Distinction 76 l*^xtract from Nicholas Nickleby 79 Illnstration of Lowland Scotch St; " of French 87 " of (Jernian ScS vSkction Fii'Tii. — Snpplementar}' Review, etc. . 91 Essentials of Articulation 91 Application of Visible Speech to the teach- ing; of Articulation to the Deaf .... 100 ■ 30aND3 Md wjimn mhmm^ 4. I INTRODUCTION. A LL attempts to show the phonetic elements even of ■^*- a single language by means of ordinary letters re- quire the use of key-words, diacritic signs and arbitrary distinctions to a very inconvenient extent ; and after all has been done that can be done, the result is imperfect, complex, and difficult of application ; while the exten- sion of the scheme to other languages is impracticable. By means of the system of Visible Speech, all pos- sible phonetic elements, and all the organic, mechanical and other relations of sounds, are expressed by symbols which have an absolute and uniform value in every con- text, so that speech of any variety is made legible mfac simile by readers in all countries. Those to whom the language is vernacular, and foreigners who have never heard the spoken tongue, must pronounce its Visible Speech transcript exactly alike. The principles of Visible Speech are sufficiently simple for popular apprehension and application ; and this work is designed to familiarize them to English-speaking readers. The entire system is here presented. Lingu- istic sounds of every variety — native, foreign, dialectic, etc. — are defined and exemplified; and "English as Spoken" — as well as the vocabulary pronunciation in- definitely indicated in dictionaries — is fully illustrated. This cosmopolitan scheme of speech-symbols cannot be 2 INTRODUCTION. better propagated than by its application to exhibit the pure phonetics of the language of the two foremost na- tions in the world — Great Britain and America. The explanation of Visible Speech symbols contained in the next section should be carefully perused, to enable the reader to profit by the unique property of the letters, in facilitating the acquisition of foreign sounds. The correlation of symbols to sounds will be found to be so close and obvious, that when the elements of any one language are learned, the pronunciation of any other language, will, through its Visible Speech letters alone, be mastered with ease and certainty. The organic basis of the symbols is exhibited in the Frontispiece. SECTION FIRST. EXPLANATION OF THE VISIBLE SPEECH SYMBOLS AND CLASSIFICATION OF ELEMENTARY SOUNDS. Sounds and their Relations. SECTION FIRST. EXPLANATION OF THE VISIBLE SPEECH SYMBOLS AND CLASSIFICATION OF ELEMENTARY SOUNDS. High and Low Lines. A MONO ordinary letters, some are of uniform height, as: acemnorsuvwx; and others extend above or below the general line, as: b d h k 1 t f ; g j p q y. This diversity is pleasing to the eye, but it ex- presses no principle. In Vi^iible Speech letters, while the eye is gratified with the same variety, the dififerences are made to express important distinc- tions. Thus: All characters which extend above or below the general body of the letters are Vowels. For ex- ample : universal alphabet of visible speech. ./ 6 SOUNDS AND THEIR RELATIONS. Here, every eye distinguishes at once the vowels from the consonants, and also perceives at a glance the number of syllables in each word, as every vowqI forms a syllable. Further, the ascent or descent of the vowel lines expresses a corresponding difference in the organic formation of the sounds. High lines denote sounds modified by a high position of the tongue; low and intermediate lines denote sounds modified by relatively lower positions of the tongue. Thus the reader sees that the vowels are all high in the words visible speech; and that the first vowel h low, and the other vow- els are intermediate, in the word XWgXdCd alphabet. Straight Lines and Curves. In connection with the preceding explanation of high and low lines, the reader will now note the principle that all vowel symbols consist of straight lines, and that all consonant symbols consist of curves. The physiological bases of this principle of sym- bolization are : I. The linear form which the aperture of the glottis assumes in vocalization; for which reason a straight line is the sign of voice. EXPLANATION OF VISIBLE SPEECH SYMBOLS. 7 II. The lines of curvature of the tongue and the Hps in forming the different consonant elements (the face being turned to the right) ; on which account a curve, according to the direction in which it is drawn, is the sign of ?I1 the organs of articula- tion. Thus : C O O D Back (of tongue). Top (of tongue). Point (of tongue). Lip. Right and Left Signs. Among ordinary letters, some have their distinct- ive parts on the right side, and some on the left, as: b e f h k p r, etc. ; a d j q y, etc. ; but the difference conveys no meaning. In Visible Speech letters, right and left have a distinct organic significaJon. All curves turned to the right rep- resent consonants modified by the lipSy as : (Lip) O 3 D D All curves turned to the left represent consonants formed by the back of the tongue, as: (Back) C C a G On the same principle "mixed" letters — combin- ing one of the curves as primary with its opposite as secondary — show that the phonetic effect of the primary curve is modified by that of its opposite. Thus: _ • (Back-mixed) C» (Lip-mixed) J3 , , ' In vowel letters, distinctive signs on the right side 8 SOUNDS AND THEIR RELATIONS. of the Straight line denote sounds modified by the front of the tongue, as: (Front) X f C C I t f f ^ { I t Distinctive signs on the left side of the straight line denote sounds modified by the back of the tongue, as: (Back) 1 1 3 J J J i n } J J On the same principle, vowel letters which com- bine right and left signs denote elements that are modified simultaneously by both the back and the front of the tongue, as: (Mixed) TTllIl IJllIJ Upward and Dozvnward Cu jes. In accordance with the principle of symbolization explained at page 7, all upward curves represent consonants which are formed by the arched middle or top of the tongue, as: (Top), O CO Q Q All downward curves (the ends of which are turned upwards) represent consonants which are formed by the raised point of the tongue, as : (Point) U CO D C3 "Mixed" curves denote elements in which the effect of the primary curve is modified by that of of its opposite, as: (Top-mixed) Q J^ (Point-mixed) ^ 2^ EXPL^i NATION OF VISIBLE SPEECH SYMBOLS. 9 Divided JAncs. Divided, or indented, curves denote consonants which have lateral or interstitial apertures for the emission of the breath, as : (Divided) CKOnCOtSOS The corresponding primary (or centre aperture) consonants are : (Primary) CGOQUODD Divided, or barred, vowel lines denote sounds which have a double modification, being "rounded" by the lips as well as moulded by the tongue. Thus: (Labialized or "Round" Vowels) Closed Curves. All open curves (C <»> 25 3 etc.) denote conso- nants in forming which the breath (modified by the symbolized organs) is freely emitted. Closed curves denote that the breath is stopped and shut in by the symbolized organs. Thus: (Shut) aeocDOODD k g (See "Top Shut") t d p b Vocalized Consonants. The difference between non-vocal and vocal con- sonants is uniformly expressed by a straight line 10 SOUNDS AND THEIR RELATIONS. — the sign of voice — drawn within the consonant curve to denote the addition of vocaHty. Thus : (Non-Vocal) D503DUCOyt5Qoa p wh f t rh Ih s th sh yh k (Vocal) 0l93(DCi)W?i565S^(»)€l b w V d r 1 z dh zh y g The mutual relations of all these elements are thus clearly embodied in the forms of the letters. Primary and Wide Voivcls. A SOLID point on a vowel line denotes a "pri- mary" vowel; an open hook on a vowel line de- notes a "wide" vowel. Thus: (Primary) 1 ] j \\^ £ [ ^ \\ 8lz. (Wide) 1 3 J IXl r (; ^ 1 J &c. Primary and wide vowels have nearly the same formation, but the "wide" vowels have an addition- al expansion of the soft palate, enlarging the back cavity of the mouth. The phonetic resemblances and characteristic differences will be perceived in pronouncing the following pairs of words : (Primary) ftCO ICDO 3^ J|W DllO) eel end us all pool (Wide) fco XOJQJ 30a JCD DlCO ill and ask on pull. EXPLANATION OF VISIBLE SPEECH SYMBOLS. 1 1 Nasal Elements. All nasal elements arc distinguished by a wav- ing line (( or — ). In consonants the sign of na- sality is incorporated with the letter, as: ei cc 8 ng n m These three letters will be observed to consist merely of the nasal sign added to the letters a O g d b Hence the relation between g and 7tg, d and «, and b and w, is exactly represented in the symbols. Non-vocal forms of the nasal consonants are rep- resented on the same principle, the voice-line being merely omitted. Thus: G C3 D ngh nh mh For nasalized vowels the sign of nasality is writ- ten separately, as in: li or \\ (nasalized e or ft) = in (French) |i (nasalized " e mute ") = un " is =: an, en " \S = on " In printing languages in which nasalized vowels are common — such as French, Portuguese, etc. — the sign of nasality might, for convenience, be in- corporated with the vowel symbols. 12 SOUNDS AND THEIR RELATIONS. Throat Co7tsonants. Besides the consonants formed by the tongue and the lips, a ^ew have their seat farther back — in the throat. These are: O "Aspirate;" a simple and nearly silent aspiration. = h. " Throat ; " a rough aspiration — the throat contracted = whisper. 9 "Throat-voice" — the same, vocalized = hoarseness. X " Catch ; " a stoppage of the breath by closing the throat = cough. Modifiers, The normal alphabet of Visible Speech includes fifty-two consonants and thirty-six vowels ; but these numbers are susceptible of indefinite increase by means of modifying signs to denote slight differ- ences in the formation of the elements. Thus : ^ "Inner;" element formed farther back than the normal position. \ "Outer;" " " " forward " " " " A "Closer;" " " mote c/osely " ' Y "Op ener;' openly These modifiers are rarely needed in the writing of languages, but they give a desirable power of minute accuracy, when it may be necessary. One common peculiarity of English utterance requires the use of the "outer" modifier; this is the formation farther forward than normally, of k and g in the words kind, guard, etc. The ordinary representation of this effect {kee-ind, or kyind), is an exaggeration. EXPLANATION OF VISIBLE SPEECH SYMBOLS. 1 3 There is no ee or y in the sound, but merely an anterior formation of the k or g. Thus : kind Q>JyQ g u a r (I Glides. The elements of speech include, besides vowels and consonants, a class of inteimediate transitional sounds denominated "glides." In the syllables day, air, die, boy, now, know, etc., glides are heard as the second elements of diphthongs. The principal glides are indefinite sounds of y, w, and r, as heard in the above words ; but almost every vocal consonant may have its own approxi- mating glide. A simple "voice-glide," without con- sonant approximation (I)— a non-syllabic effect of the vowel ^— is very common in some dialects; as also the same element rounded (f ) ; and a sim- ple breath-glide (>)--a transitional breathing — is a characteristic of Irish utterance. The "breath- glide" differs from the aspirate //, in being an emission from a consonant position, and not di- rectly from the throat. Glide symbols are formed by combining a voice- line with the appropriate consonant curve. Thus: r glide. y glide. i 'it> glide. "" ' r. ' ' -.yv^f f." y > ^ v«TTtK->'*V^'^'''KTr^*^; 14 SOUNDS AND THEIR RELATIONS. Clicks, &€. The symbol < ("suction") denotes that the pre- ceding element is formed with in-going air. Thus : sipping. sniffing. ovko» yawning. The symbol • ("stop") denotes that the breath is held in while the organs retain the position for the preceding element. Thus: stop (with the/ unfinished). The symbol ) and "vocalized whistle" () complete the scheme of organic modifiers. The symbol ' ("stress") denotes an accented .syl- lable; and the same sign inverted (,), denotes an emphatic word. The stress symbols are placed on Uf.l l Tfl l '.'l l.iJllWl l| K'lr ! ■ I ^LJJ!lLI_i-UUUJM-aU »»ni I DHW.'Wi i6 SOUNDS AND THEIR RELATIONS. the left side, or before, the syllable or word to which they refer. In Visible Speech printing of English the rule is adopted that accent is always on the first syl- lable, unless otherwise expressed. Thus : (verb) c o n t r a s t (noun) con t r a s t Script Forms of the Visible Speech Letters PRINCIPLES Voice Consonants and Primary Vowels have a loop formed in the hair-stroke of the letters. Round Vowels have a break, or angle, in the body-line of the letters. Nasal Consonants have the nasal sign written horizontally. CONSONANTS • Back Zip c C € c cy a J 'J ? :? a y:j e ^ Top (^' ^' 9 ^ Point ^J 7 ,/' V 7 / /. / I L v. / 7 "7 ,/5 n n Bach / ; / ; / o VOWELS Mixed / / / / • V' Fro?tt / t I 1. J High. Mid and Low Vowels have the same forms; but the high vowels ascend, low vowels descend, and mid vowels ascend and descend beyond the line of the consonants. (For illustration see heading.) • 7 / GLIDES, ETC: ? ^ ^ Y ? I O )r f ^^ (^ A 7 t' / i^ Jf } - ■• ' "•ff {ft SECTION SECOND. PHONETICIZING. ii ijii^.i^iiiMrMii '4 SECTION SECOND. PHONETICIZING. 'T^HE various vowel and consonant symbols de- fine positions of the tongue, lips, etc., and an outward effort of breath, or of voice, is implied, to phoneticize the symbols. The following illustrations include all the elements in the Visible Speech universal alphabet. PART FIRST.— CONSONANTS. /. Lip Consonants. The symbol D ("lip") implies that the breath is compressed by passing between the approximated lips. The phonetic effect is that of ^ blowing to rool. Maintain the same position and sound the voice, and the effect will be that of "lip-voice." ^ w (German) . I ! N 20 SOUNDS AND THEIR RELATIONS. Maintain the same position and draw back the tongue, so as to form a cavity between it and the teeth, and the effect will be that of "lip-mixed." JO w//. Maintain the same position and sound the voice, and the effect will be that of "lip-mixed voice." 3 ,w. Adjust the labial aperture so that the breath is obstructed at the centre while it escapes at the sides, and the effect will be that of " lip-divided." 3 •/• The normal mode of forming " lip-divided " is by placing the lower lip on the edges of the upper teeth; but the phonetic effect is almost the same if the centre of the lower lip is applied to the upper lip instead of to the teeth. This peculiarity would be represented by the sign a ("to lip") after the 3. The effect of " lip-divided " is also producible by placing the lower teeth on the upper lip. The modifier \ "outer" after 3 would indicate this ungainly formation. Retain the (normal) position for 3 and sound the voice, and the effect will be that of "lip- divided voice." .V. P/IONKTICIZIXC. 2 1 Maintain the "lip-divided" position and draw back the tongue, (as for O) and 3 is modified into g 3" " " .'a (gutturalized variety of / and v) Allow the lips to close entirely, and the effect will be that of " lip-shut." D . /• The sign > after a final D shows that the lips separate after closure, to give the consonant an audible completion. Thus: ^^ final /. While the lips are closed endeavour to sound the voice — only a momentary murmur can be made — and the effect will be that of "lip-shut-voice" » b. ®=^ b final. Close the lips as Kefore and allow the breath to escape thi'ough the lose, and the effect will be that of "lip (shut) ncsal." non-vocal m. Maintain the same position and sound the voice through the nose, and the effect will be that of •'lip (shut) nasal-voice." m. . r ii, |- i mwn iii Ti • rni .i wT i ni i rrr n ni I ITH TTr^ra - . 22 SOUNDS AND THEIR RELATIOXS. \4 2. Back Consonants. Approximate the back of the tongue to the soft palate, so as to squeeze the breath in the narrow guttural passage, and the effect of the "back" consonant will be heard : C . . ,ch (German nach., and Scotch loc/i). The normal position of the tongue for C is at the middle of the soft palate ; but the tongue may be depressed to the edge, or elevated towards the top, of the velum. These varieties are indicated by modifiers. Thus : C< " Inner," or low formation. C normal. C > " outer," or high formation. Retain the position for C and sound the voice, and the effect will be that of the "back-voice" con.sonant. {^ in aug'e (German). r "grasseye" (French). r "burred" (Northumberland). When the guttural r is trilled, its notation is : € ', ;- (rough burr.) The sound of € has the same varieties of high and low formation as that of C . PirOXRTICIZIXG. 23 While sounding C or € allow the lips to approximate, and the effect will be heard of the "back-mixed" consonant. ^ g^f i» sough (Scotch) ; or of the " back-mixed voice " e. labialized burr. In forming the "back-divided" elements, the high back of the tongue intercepts the breath by pressmg on the top of the soft palate, while emis- sion takes place over the sides of the root of the tongue. The non-vocal form is : ^ hiss of water-fowl. The vocalized form is: ^ ^ in laogh (Gaelic). The "back-divided" position is difficult to unac- customed organs ; but the modification of a com- mon / by guttural compression (the jnixing of CO and C ) is much easier, and in phonetic effect is almost the same. Thus: ^■^^ nearly equal to 8. The "back-divided" consonants labialized are K, S. These do not occur as linguistic sounds. Put the back of the tongue in close contact with 24 SOUNDS AND THEIR RELATIONS. the soft palate, so as to stop the breath, and the effect is that of the " back-shut " consonant : k. final k. a.. Maintain this shut position and endeavor to sound the voice (only a momentary murmur will result) and the effect is that of the " back-shut voice" consonant: e g '^'^ ^<'' G> fi'iiil S' These " back-shut" elements have the same varieties of "inner" and "outer" formation as the primary back consonants. Thus: 0{. .k "inner" or low. ^<. -g "inner" or low. a k normal. Q g normal. O) ..k "outer" or high. Q> . .g " outer" or high. Maintain the "back-shut" position and allow the breath to escape through the nostrils, and the effect is that of " back (shut) nasal." Q non-vocal ng. Maintain the same position and sound the voice through the nose, and the effect is that of "back (shut) nasal voice." 8 • «^ PIlOKETICIZrXG. 25 DiftcrcMccs of hi^rh or low formation of 6 make scarcely any appreciable difference in phonetic ef- fect. The e in Of8 (sing) is naturally high, to assimilate with the high vowel f; and the €J in yj€?l (song) is naturally low, to assimilate with the low vowel J. Differences dependent on such assim- ilations do not require to be written. The normal position of Q and €1 before 3, J or X would be mid or low; but an Anglican peculiarity results from the use of high consonants before low vowels, as in a>3xC0O {kind), QyJxCD {guard), Q>I^CC {girl), etc. J. Top Consonants. The symbol O implies that the tongue is arched, the point depressed, and the top approximated to the roof of the mouth, while the breath is com- pressed between the tongue and the palate. The efifect is that of the "top" consonant: ich in ich (German). \ h in hnc. Maintain the same position and sound the voice, and the result is the "top-voice" consonant. ^ .V in yc,, yet., you., etc. "Inner" and "outer" varieties are formed by placing the top of the tongue backward towards I I i ! 26 SOUNDS AXD THEIR RELATIONS. the commencement of the soft palate (n). While sounding O allow the fore part of the tongue to rise a little, so as to direct the breath forwards, and the effect will be that of the "top- mixed" consonant. rt sh. ch (French). Maintain the same position aud sound the voice and the result will be the "top-mixed-voice" con- sonant. ffi ( (2"//) in azure, pleasure^ etc. ij (French). "Inner" and "outer" positions affect the qual- ity of these elements by approximating 71- to (T), (SiJ<), or to ?i5, (Si2>). Apply the top and front of the tongue to the roof of the mouth and the front wall of the palatal arch, — while the point is depressed behind the lower teeth, — and squeeze the breath over the high sides of the tongue, and the effect will be that of the "top-divided" consonant: O defective form of s. PHCNETICIZING. 27 Maintain the same position and sound the voice and the result will be the " top-divided-voice" con- sonant. CO gl'm^^li (Italian). / in colleen (Irish). Apply the fore part of the tongue (between the middle and the point) to the rim of the pal- atal arch, and force the breath over the level sides of the tongue, and the hissing effect will be that of the "top-mixed-divLHed" consonant: n //(Welsh). Maintain the same position and sound the voice and the result will be the buzzing sound of the " top-mixed-divided-voice " consonant : ^ d/il (Zulu). Apply the arched top of the tongue to the roof of the mouth so as completely to stop the breath, and the effect will be that of the "top-shut" con- sonant : ( " cerebral" / (Sanskrit). I thick /. Maintain the same position and endeavor to sound the voice ( only a momentary murmur can jT 28 SOUNDS AND THEIR RELATIONS. be made) and the result will be the "top-shut- voice consonant : CD p'cerebral" d (Sanskrit). "{ ^ hi Magyar (Hungarian). (^ thick d. The audible removal of. the tongue in pro- nouncing a final Q or (!) is indicated by > after the consonant. ^li i! li I :! ! ! ii I I I i Apply the top of the tongue to the roof of the mouth as for Q, and pass the breath through the nostrils, and the effect will be that of the "top (shut) nasal" consonant. Q "thick" // (non-vocal). Maintain the same position and sound the voice and the result will be the "top (shut) nasal- voice " consonant. ^ \gn in Boulogne (French). \ thick ;/. 4. Point Consonants. Raise the point of the tongue towards the rim of the palatal arch and allow the breath to pass PIIOXETICIZIXG. 29 over the tip only, and the effect will be that of the " point " consonant. \ non-vocal /-. I r in theatre (French). Maintain the same position and sound the voice, and the result will be the " point-voice " conso- nant. ^ r in ray, read, ride, etc. The passage of the breath over the end of the tongue produces more or less of a flutter of the ' organ. When this amounts to a trill, the sign of vibration is added. Thus: ^'- trilled r. The phonetic quality of o; is greatly affected by "inner" and "outer" positions of the tongue. These are : W< tip within the palatal arch. (1) (normal) tip pointed to rim of " " W> tip flattened towards upper gum. Even the deformity of protruding the tongue to the upper lip in forming r ((1)3) is sometimes met with. The sound of 3 or 53 is often substituted for that of «i> ; and more frequently the "mixed" sound D+Ci) is heard instead of ;-. But the latter should be purely lingual, and without any modification from the lips. ZjU^ I li "i! !■ 'iil 30 so VXDS AXD THEIR RELATIONS. While sounding U allow the front of the tongue behind the tip to become slightly convex, throw- ing the breath directly forward between the broad- ened point and the upper gum, and the effect will be that of the "point-mixed" consonant. C Maintain the same position and sound the voice, and the result will be the "point-mixed-voice" consonant. ^ .z. No elements arc more affected than these by slight changes of organic adjustment. The princi- pal varieties are : 23a, 2i5a, close position, almost stopping the issue of breath. "Oi, 2^^ open position, allowing too much breath to escape. "Ok, 2i5<, "inner" position, causing the sound to be approximated \.o Q, ^. y>, 2i5>, "outer" position, bringing the tip of the tongue LJi near the teeth. ■r I 111! Place the point of the tongue in contact with the rim of the palatal arch, leaving free passage for the breath, without friction, over the sides of I !i CO PIIOXE TICIZIXG. 3 I the tongue, and the effect will be that of the "point-divided" consonant: non-vocal /. / in table (French). Maintain the same position and sound the voice, and the result will be the "point-divided-voice" consonant. W /. The lateral apertures for CO are so large, that the voice has almost the purity of a vowel; whence this element has been called a "semi- vowel. The nasals 3 ( m ) CO ( n ) and €5 ( ng) equally deserve that name, as the voice, in form- ing them, is unaffected by friction in the nostrils; but r, which is always fricative or vibratory before a vowel, has been wrongly included in the same category. The PInglish custom of softening final ;- into a "glide" may have misled grammarians into the classifying of consonant r with /, as a "semi-vowel." The "inner" and "outer" varieties of CO are: ^^ the point of the tongue within the palatal arch. C0>. . . .the point of the tongue on the teeth. Apply the edges of the tongue, all round, to the teeth, leaving only interstitial apertures for the breath over the sides of the tip, and the effect ■ |F. W »n i .fi . 32 SOUNDS AND THEIR RELATIONS. Ill m will be that of the "point-mixed-divided" conso- nant. tS th\w thin. Maintain the same position and sound the voice and the result will be the "point-mixed-divided- voice. " &5 (dh) /// in then. [In the Inaugural edition of Visible Speech the .symbols Q SU £7 P2 were associated with the sounds now assigned to O 2i5 2»5 65, and vice versa. Ex- perience has shown that the present arrangement is preferable.] Apply the edges and point of the tongue to the rim of the palatal arch, so as entirely to stop the breath, and the effect will be that of the "point- shut" consonant. Maintain the same position and endeavour to sound the voice ( only a momentary murmur can be produced ) and the result will be the " point- shut-voice " consonant. Q d. The audible removal of the tongue from the palate to complete these elements when final is indicated by > after the O or O. PI/ONE TIC IZ INC. 33 Apply the tongue to the rim of the palate, as for O, and pass the breath through the nostrils and the effect is that of the " point (shut) nasal " consonant. ^ n (non-vocal) . Maintain the same position and sound the voice, and the result is the "point (shut) nasal-voice" consonant : ^ n. "Inner" and "outer" varieties of D CD C3 ttJ are formed by applying the tongue to the front wall of the palatal arch (O^.etc); or to the teeth (0>, etc.). 34 SOUNDS AND THEIR REL PART SECOND.— VOWELS. i: !l All persons can pronounce separately the "long" or "name-sounds" of the common vowel letters, A, E, I, O. U; but few persons can, with the same definiteness, sound independently the so-called "short" vowels: ^, ^, i, o, fi. This power should be acquired in reference to all vowels. It will be found the readiest means of cultivating the ear and organs of speech, for the recognition and reproduction of foreign sounds. Local habit associates certain peculiarities of "quantity" or "quality" with familiar elements; but these characteristics should be lost sight of in the attempt to individualize the vowels of the Visible Speech scale. "Long" O and A, for example, are diphthongal in English usage ; but the reader must learn to detach the radical vowel from its " glide " termination, and to pronounce the former by itself. This is often difficult at first, but facili- ty of analysis will result from practice. PIIOXETICIZIXG. 35 The difference between vowel sounds separately pronounced, will sometimes appear so slight that the ear may be perplexed to discriminate them; but in the compounds of speech the minutest shades of elementary variety create unmistakable distinctions. Each of the vowels in the following series should be made the subject of exercise, until it can be pronounced "long" or "short" in quantity, and unchanged in quality. /. Front Vowels. ''High-Front'' [. The position of the tongue for this vowel is the same as that for the "top" consonant (i). The phonetic difference between X and (t) is, t'l :, for the vowel, the voice is unaffec- ted by friction in the oral aperture; while, for the consonant, the vocal sound is modified by friction or buzzing in the oral aperture. This vowe! is always long in English accented syllables. It is the alphabetic, or name-sound of the letter E. •ti (long) ee in /ee/. J (short) / in /i7/e. (French) '' High-Front-Widc'' f. The position of the tongue for this sound is almost the same as that for f. The phonetic difference arises chiefly from the 36 SOL'XDS AXD THEIR REl.AT/OXS. addition of "wide" formation (explained at p. lO) which has the effect of dullinf; tlie quahty of pri- mary vowels. This vowel is always short in Enj^lish. It is the regular sound of "short I." \.\ (Ion*);) / in /// (American). f (short) / in ///. ';■',' I I ''Mid-Front'' C. In forming this v^owel, the ap- erture between the tongue and the palate is farth- er back than for f, and the cavity in front of the tongue is, in consequence, enlarged. In English accented syllables this vowel is al- ways followed by the y-glide (j?), forming the dipthong [x, as in day, name, late, aid, etc. The dipthongal [i, is never pronounced before r. [x is the alphabetic name-sound of the letter A. Ct ('<^"g) ^ hi day (Scotch) . C (short) e in est (French). "Mid-Front -Wide'' [• The dulling effect of " wide " formation is very manifest in this, as com- pared with the primary element. This sound is used instead of the preceding, before r (/--glide), as in care, air, bear, etc. ; but many speakers pro- nounce the broader \ in these cases. [ is also heard instead of \, in the unaccented syllables -ed, PIIOXETICIZIXG. 37 -mce, -less, -ucss, -mcnt, etc. This is the rc{,nilar Scotch sound of / in ///, him, etc. C* (lonj?). C (short) / in /// (Scotch). ''Lozv-Fro/it" I. The aperture between the tongue and the palate for this sound is fartlier back than for the "Mid-front" vowels, and the cavity in front of the ton^rue is consequently larger. This is the regular sound of "short E" in English. I* (I"»g) <' i" icie (French). I (short) c in /ct. '' Loii'-FroNt-lVidc" V The formative aperture of this vowel is about the same as of the preced- ing, with the addition of a wide pharyngal cavity. This is the regular sound of "short A" in luig- lish. a in //alf (Irish). a in man (American). I (short) a in /mt. l\ .(long) 2. Back Voiucls. ''High-Back" 1. There is no occurrence of this sound in English, but its "round" or labialized form is the common sound of oo in I'oom. En- ( ^ 38 S0rA7XS AND THEIR RELATIONS. deavoiir to pronounce this sound of oo, without us- ing the lips, and the "Hi^h-l^ack" vowel will be heard. In this way, an unfamiliar and unknown elementary sound will be at once, and with uni- formity, obtained from every mouth. There is, however, a possibility of imitating "round" quality without using the lips (as prac- tised by ventriloquists) and it will be well, there- fore, in order to prevent involuntary inner rounding, to delabialize oOy etc., by spreading the lips with tiie fingers, during early experiments. li (h>"g) (^o in laoi^h (Gaelic). 1 (short). ''High-Back-Wide'' \. Endeavour to pronounce the sound of oo in good, without using the lips, and the "High-Back-Wide" vowel will be the result. The sound will be observed to resemble ;/ in up; and Cockney speakers always pronounce this "wide" sound for "short U" (instead of ]) even in accent- ed syllables. Unaccented ti — as in the terminations -tion, -tious, -gcous etc. — usually takes "High-Back- Wide" quality. Pronounce the terminations -tion, -tious, etc., in contrast with similar syllables under accent, and the resemblance and slight difference will be appre- ciated. Thus: DIQlCD Q3CD pass;o« shun; 310)1^ WlsOy \ 9.1 our lurks; rilOXETfClZIXG. 39 \\ot\our's nurse; 1 abowr burdened ; per.l««. lustre; courn^.^«5 justice. ^^ (l»"g) « in ////-« (Cockney). •^ (short) o« in -ous etc. *iir^ ]♦ (long) ''Mid-Back'' ]. This is the regular sound of -short U" in English, as in up, timi, come, etc. Those who find a difficulty in pronouncing the vowel by itself will obtain it unconsciously by en- deavouring to form the sound of -long O" without list fig the lips. fu in turn, u in up (American). ^ (short) u in up. - Mid-Back-Wide- 3. The precise quality of this vowel will be obtained by t ndeavouring to pro- nounce o in ore (}) without using the lips. The sound resembles ah, but is not so deep in formation. It is heard in English chiefly before the double consonants ss, sk, sp, st, etc., as in pass, tasfi, clasp, fast, etc. ; but is not uniformly associ- ated with any orthography. Note the different vowels in the following words : QW3lUQiy D3t2JOlW 31010 lOJO glass, gas; path.hath; aunt, ant. "ti')ilWW.l.»4--!-i-iiJ- 40 SOUNDS AND THEIR RELATIONS. I| Unaccented a as in abode, sofa, etc., takes this sound in careful utterance ; but the less definite sound 1 (see " Mid-Mixed-VVide ") is more usually heard in these cases. > 3t (loiiff) «''^ (French). \^d in stocke (German). ''Low-Front-Wide-Round" I. This sound will be produced by adjusting the lips as for {m on) while the vowel d (in aji) is pronounced. This vowel occurs as a Cockney substitution for the 53 SOUNDS AND THEIR RELATIONS. diphthongal sound of oUy ow, (Oj) as in outy notv, etc. Thus : round, about, town. J. Mixed 'Round -Vowels. The "Mixed-Round" vowels never occur as ac- cented sounds in English, but they are very commonly used in place of the more definite "Back-Round" vowels in unaccented syllables. ''High-Mixed-Round" |. This sound will be obtained by "mixing" f {ii Ger.) and 1 (oo) ; or by sounding oo and at the same time raising the front of the tongue. The latter will be the easier mode for English learners. The result is a vowel commonly used instead of oo in the North of Ire- land. It has also been identified as the sound of u in Swedish. \\ (long) oo in too (North Iri&li). J (short) 00 in look (North Irish). '' High- Mixed -Wide- Round" I. This sound is colloquially heard in English instead of oo in un- accented syllables, as in aw////, ?i?,sure, naticre, for- tune, etc. ; pronounced : J»3lW afQTy SJCxOxTii 3J«OxI(]D PHONETICIZING. 53 This vowel will be separately produced by sounding 00 (as in f^ood) and at the same time slightly raising the front of the tongue. ^* (long). J (short) u in aivful (Colloq.). Mid -Mixed -RoHfur \. This sound will be pro- duced by mixing } {d) and i (rf Fr.) ; or by sounding J and at the same time slightly advancing the tongue. The vowel is heard in dialects, as in come (Yorkshire), Dublin (Irish), and in homme (French). ^* (long) u in Dublin (Irislj). o in homme (French). \ (short) o in come (Yorkshire). ''Mid- Mixed -Wide- Round'' \, This sound will result from "mixing" the qualities of } {o in ore) and £ (labialized a in air) ; or it will be produced by pronouncing o (in ore) and at the same time slightly advancing the tongue. The vowel, while destitute of any marked quality, is sufficiently sug- gestive of to satisfy the ordinary ear in unac- cented syllables, as in eloquence, philosophy, opinion, etc. Careful speakers, however, give the more defi- nite } in such cases. 54 SOUNDS AND THEIR RELATIONS. This vowel occurs as an accented sound in dia- lects; as in CtW, zvholc, (American). W (long). \ (short) o in whole (American). ^^ Loiv- Mixed- Round'' \. This sound will be produced by " mixing" the sounds of J (^aw) and \ {en, French), or by pronouncing aw and at the same time slightly advancing the tongue. It is heard in Irish, in Oj(i) ^ICi) CDJCi; etc. her, sir, stir. and as the initial part of the diphthong " long I," in /, my, find, mild, etc. Thus : It's not to my mind. (Irish.") l\ (long). J (short) i in sir (Irish) . '' Low- Mixed -Wide- Round'' £. This sound will result from "mixing" J {o in oji) with \ (labial- ized a in an) ; or by pronouncing o (in 07i) and at the same time slightly advancing the tongue. The vowel is colloquially heard instead of "short O" in unaccented syllables, as in occ2is'\on, cow^xst, co7n^Q\, etc. It is the regular sound of "short O" PHONE TICIZING. 55 in Irish, as in 7iot, lord, gone, etc. A in ask (Cock- ney), and a in Chicago (American), illustrate the same vowel. T, ,, ^\a\x\ask (Cockney). i*....(long)^ ; ^> a in Lhicago (American). (short) in obtai)/^ sailor^ etc. o in not (Irish). i Iiaii SECTION THIRD. RECAPITULATIVE TABLES, ENGLISH ALPHABETIC TABLES, AND ELEMENTARY EXERCISES. ■W SECTION THIRD. RECAPITULATIVE TABLES, &c. Tad/c of CoHsotiajits. The fifty-two consonants of the Universal Alpha- bet are collected in the following Table for con- venience of reference. NON-VOCAL. Primary. Mixed. Divided. Mixed- Shut. Nasal. Divided. Throat O v J^'»<^'< c a c K a a ^> <^ ^ CO n Q Q I^o'iit U U CO U O C3 Lip O JD 3 J3 D O VOCALIZED. Throat e ^^'•^i< e e 8 e e s Top ^ S^ CO j«2 (!) jjj Poi'it W ?i5 CO &S CD IC Lip 3 J9 3 3 a .•'Vl t 6o SOUNDS AND THEIR RELATIONS. Table of Vowels. The Vowels of the Universal Alphabet are col- lected in the following Table for reference and exercise. Other possible shades of vowel sound may be expressed, for experimental purposes, by means of the modifiers i J A Y ; but the thirty- six normal vowels will be found amply sufficient for all linguistic uses. PRIMARY. Back. Mixed. Front. High 1 T I Mid ] I C Low J 1 1 WIDE. Back. Mixed. Front. 1 T f 3 X C J I I ROUND. High 1 I f 1. Mid } \ I J. Low } I \ J. .1. .1 .f .1 p TABLES, ETC. 6l The phonetic by key words in J3reath > as Voice I Round + Tinoat \ Back I Back Round i Top R Top Round j^ Point i! Point Round 'i Lip 2 Lip & Back 2 Table of Glides. value of the Glides is illustrated the following Table. in D^fei, //V (Irish). 3ClCi>f, vat-y; J3XiCi)f, weary. Q3X+ now (Cockney). 3{ arc 3z " , smooth Burr.) (Varieties of 3?? our 03« die, DJ« boy, QCr day. CC^I new (North Irish). Jid arc, j!r! or, '\l'i our. '\i'i our (Common). COzf/?// (French). ClJ32 nozv, CD3-2 know, no. Table of Modifiers, Etc. Inner \ Inverted c Hiatus > Outer \ Protruded o Abrupt » C't^se \ Stop Holder \ Open V Suction < Accent ' '^'■•'^ '{ Emission > Emphasis. . . , Nasal I Suction stopped . J . ,- non-vocnl V ^ r W . . , iioii-vnral 1 CO 1 23 s ?i5 7. U th 65 dh ♦ Lip. o P b tJ . . noii-VdCiil m 9 m 3 3 uli .\v . .f holder. COMIMNATIONS. DQ . . ch ( = tsh ) 0?J.j,g(=dzh) a0....x (=ks) a!3..(iu (=kw) Q2i5. . . .X (=gz) i (^1. . . .u ( = yoo) T.UU.ES, ETC. ^Z Back-Round. . o(j in pool j . . .11 in pull 1. .io in -tion i. . .o ill (;1(1 3 .... 11 i" I'p . . .() in ore 3- ■ • .a in ask . . . .a in all ! . . . .o in on , J. . .a in arm //. I "oivcis. Hack. Mixed. T. . .e in the 'I (article) a I. . . .i in sir \ . . . . holder (sijjjn of a hm^f vowel). Front. . ce in eel ..i in ill X. . .a in ale a in care e in-ncss . .e in ell .a in an V r-<,ni(le I I. (JLIOES. y-<;lif!e | i. . .vv-giido | I. voice-glide COMHI. NATIONS OH DIPHTHONGS. . . a air 3x I 32. . . .(n)ovv }3 O J«....(b)oy [l . (unrepresented glide in) airy Exercises. The following examples of elementary sounds used as independent utterances will afford good exercise in phoneticizing the rudimental symbols. D gentle sneer. D> clearing nostrils. 44 4.'. 1"., t- 64 SOUNDS AND THEIR RELATIONS. X\ D< D< sniffing. Ds> ^ Oi< smelling. Ds> >*chuckle. o« hissing. a> ) Q» hushing. DDa? ^ OQ 1.1, 0C3a'; Vf snicker. OU^ \ hurrying. QGa'. ) Da» cooling. DO contempt. Da« < sipping. DQt D> puft'. Di5t D> smoker's puH*. DQ» D< a kiss. DO^ x:yo\ \ vibration of lips. DC ♦ abhorrence. B» musing. Ol scorn. oa dissatisfaction. Di 9D8 assent. DD ♦ ridicule. 3D'8« surprise. QO silence. o=> impatience. OO notice. Doa '' D fSOl incredulity. o< vexation. JODJO D< pain. OOJO surprise. 3< (( OO* sigh. C< 4k O»04)T,3 Oji'O ; uau;t.£{-C.3i.Ci; (t)\^ U}iji Di WT UX^OQ tie, but strive hard; strengthen your soul to the search it ENGLISH AS SPOKEN. 73 of truth, and follow that spectre of excellence which beckons you on, beyond the walls of the world, to some- Cofw 131-DIi iOlCiJ 531u5 OLoi ^[0 OjCiJ. fo >^[^ bF (ti^ OXW thing better than man has yet done. It may be you shall tB]i'L50 ]io r^-D^ JCj^D xcca sju+i-cijf 1,0 wT co]*L5D ; ra]o 13 burst out into lij,dit and glory at the last: but if frequent faihu-e convince you of that mediocrity J3 ccL^-0(T)h Dfon ivjj Ice-ajy^-Di-Df-BCO ^foo tsCijr'.D xo- of nature which is incompatible with great ac- 0;Ci3a;, O'jM-yjfD 33'j;-iOf ICCQ Dnli-ai-juf Cl (T)h COJO ; GOLD tions, submit wisely and cheerfully to your lot; let no mean spirit of revenge tempt you to throw off your wj-i-iou-of d1 (dVi a;a3-0(i)f, x^® d^ u'j/f-3Xi 1 sf-pju ot- loyalty to your country, and to prefer a vicious ce- C01.B-a)r-0[ D^ JB-Caftjll-Wf-Df aj;3iCi3Q 3fu3 D]^-[-Df x^55 lebrity to obscurity crowned with piety and 3i^-DtT)5-. f3 4JXv-o;vCai ^3:Ji:-Df-OJuif iJcT aj9-3fiOo j. ojos- or by any exertions multiply the comforts or con- firm the happiness of mankind, this fame guides you Di COT DOJt* [CCQ-x. J3 CD^'i OSC^-Omh; BjO, [CS3 uoT Ci5[^<3 J3 to the true ends of vour nature; but, in the name of OI.-3CC*, X^ f^^ D(iJl.9-i^JC'* X^ CUr-D;i)fB-(T5l-D[3 O'T'U-Ofy ; heaven, as you tremble at retributive justice; I^v*" f ' -rrrfT-m-rwmmmim 9*pn 74 SOUNDS AND THEIR RELATIONS. and in the name of mankind, if manliind be dear to jou, seek not that easy and accursed fame which is gatliered in the work of revolutions; and deem it ©^DI'i! d1 BI 3Ji 1.-3IV Ia3-a3}}a3, u6ICI3 Di :3]iCi3S X Q3.i-S3[Ci3- better to be for ever unknown, than to found a moment- D3-(i)f CDC^J3 ]-DJCi3 uOT ©[^-OfCiJ f3 I-CCji'-Of ICCO [-djI-COf tD-C^lOS. ary name upon the basis of anarchy and irreligion. //. Colloquial Style. In good pronunciation, every syllable has a definite sound, but the influence of accent upon utterance is such that unaccented syllables cannot have precisely the quality which the same syllables would receive under accent. The aim of a good speaker will undoubtedly be to approximate his unaccented to his accented sounds as nearly as possible, but he cannot make them identical with- out adopting a mono-syllabic style which is foreign to the genius of English pronunciation. It has not hitherto been possible to exhibit or to define the unaccentual shadings of sound which are heard even from the best orators and readers. -XJf- THE Principles of Elocution CONTAINS AMONG OTHER DISTINCTIVE FEATURES THE FOLLOWING : 1 An interesting and scholarly Introduction, which the New England Journal of Education declares to be alone worth more than the price asked tor the book. 2 A complete exposition of those Elementary princi- ples which form the foundation of a good deliv- ery ; all exhaustively treated under separate heads, such as: Respiration, Voice, Accentuation, Emphasis, etc. 3 A large variety of extracts, carefully chosen, and peculiarly adapted for exercise; marked bv means of an original and easily-understood system of notation, for the various points to be brought out in eflective delivery — inflection, modulation, emphasis, expression, gesture, etc. 4 The Language of Passion. A novel series of short passages illustrating the various Emotions, from Ambition and Anger down to Vengeance and V,irtue. 5. Original and complete analyses of the expressive- ness of gesture and the various facial and bodily motions; together with a complete exposition of the various means of emotive expression. A valuable series of exercises in vowel and conso- nant combinations, verbal grouping, etc. 6 Mailed free on receipt of price ($1.50), by the publisher, JAMES P. BURBANK, SALEM, MASS. ENGLISH AS SPOKEN. 75 Visible Speech confers this new power on phonet- icians. It is to be observed that the unaccented sounds shown in the following examples of " English as Spoken" are not vulgarisms of the uneducated, but variations which legitimately and almost necessarily result from the mere remission of accent. In order to make the influence of accent clearly manifest, the words in the next illustration are spaced in accentual groups, corresponding to the divisions actually made in utterance. The non-vocal forms of the consonants ;w, «, ngy I — which orthoepists have failed to recognise as elements of speech — are introduced where they colloquially occur; namely, before non-vocal con- sonants in the same syllable ; as in lamp, tempty nymph, hint, since, inch, sink, strength, felt, clsCy self, etc. The consonants r, I, iv, y, are subject — but less uniformly — to a similar loss of vocality when they occur after non-vocal consonants in the same syl- lable ; as in play, true, quite, cure, etc. In deliberate and emphatic speech — and also in singing — the vocality of the consonants is fully pre- served in all the above cases : it is only lost, to a greater or less extent, in ordinary non-oratorical delivery. The sound of r, which at the end of a word is merely a glide, becomes a consonant when accent- 76 SOUNDS AND THEIR KEI.ATIONS. ually joined to a word beginning with a vowel ; as for ever, prefer it, etc. These points will be found illustrated in the fol- lowing ICxamples of the Colloquial style. The pas- sage already given to illustrate the Vocabulary Style is repeated, in order the better to exhibit the diTerences by comparison. MEANS OF ACQIIIRIXG DISTINCTION.- .SiY/wry Smith. fO fj3 aSlDVfCi)!^; fCD [3lCi)f QXCS5 Di 3fo G^V OfU- It is natural — in every man — to wish for dis- Dfaaolcc; IC0O wT do[^u5 j,3 coHcj; oi aioj tinction; — and — the praise — of those who can confer honor by their praise — is, — in spite of all false philosophy, — sweet — to every human heart; — but, — as eminence — can be only the lot of a few, OC^OCCSO J3 JBOa^llCDfDl ra5 X O^i^Of dIdq sT — patience of obscurity — is a duty — which we \l CPJO 9}i; D? IfOJ JiCD OloICCCa WIS? OT WT 033^0 owe — not more to our own happiness — than to the quiet 13 WT D]i;GCO 10 COJiOCtj. ©r3XW}#U, f3 Oi ]« (D]€n,(i30 of the world at large, — Give a loose, — if you are young and I$30rolL5, dT WXD 001(1)10 dIdq UUJBjJ 3McJ3 OjT ; ambitious: — to that spirit — which throbs within you; ENGLISH AS SrOKEiW. 77 — measure jourself — with ^^our equals, — and learn — 3ujb«i 3offa:dCoo aj53oTofnla3 wT owc^o ofoo coc^- from frequent competition — the place — which na- ture has allotted to you ; — make of it no mean battle, — ralD UDu]^3 oj.q; uocu [OiJCcc m'f^ u}i:o oT coT oxvoo but strive hard; — strengthen your soul - to the search of truth, — and follow that spectre of excellence — which beckons you on, — beyond the walls of the world, 0\ U]f)Wf€< ra[Dl^ WICC n\lS Ol^ (r>[Q Q]'^. fo ^^ii, — tosomethingbetter — than man has yet done. — It may be — you shall burst out — into light and glory — at wTc«j]#UD; ra:o f3 GcDfia^Ccso ac^co^l^ aiajslcu the last - but - if frequent fiiilure - convince you — of that mediocrity of nature - which is incom- OV^[3-^\ 3fw €JCD[^D laolCiJCiJ olB59fO ^l^aJGOf XC0Q patible with great actions — submit — wisely and OOfl^G'fCOf D'f (f>'{i COJO; 00[O 03} TbUlD UofCDfO ±3 cheerfully - to your lot; - let no mean spirit of Ci)T3lCi3Q?J DI^-DO CD'f OT WO}i J3 (t)T^ OOJ^COOf D'f (i)'fv revenge — tempt you — to throw off your loyalty to your aJODCDf, lOSQ D'f OCDT3lCi) 1 Sfolo UTuOiracjfDf Df JQ- Country, — and to prefer a vicious celebrity — to ob- OQ^ilCDlDr QCD3i(£50 Sfw Dj^Cor XOJO 3XVD,^T. fa (T)f scurity — crowned with piety and virtue. — If you .0^ \^ IMAGE EVALUATION TEST TARGET (MT-3) V /. // •i'^ :/ 1.0 I.I 1.25 :W IIIIIM 112.5 ^' IM IIIII2.2 lltt !>10 1.4 1.6 Vl (^ /a ■'. \ 78 SOUNDS AND THEIR RKI.ATfONS. alO; WO}i '^\\\ Ca:.1^D IqJvC J3J(d1ju DuI^C^ Jli! Rl^ [OJf can throw new light upon moral truth — or — by any exertions — multiply the comforts — or confirm the OlOfCCCJi J3 ftla3a>,1^(J50, Wfo 3[,^9 GM^Oo: (T)'i:' D'[- happiness of mankind, — this fame — guides you — to the true ends of your nature; — but — in the name of ■ 01303*, X^ (^'f DO[J9rauO* 'lO CiiTOOfBVf dIs OCnlOOfSJ, XCi3Q heaven, — as you tremble at retributive justice, — and fee uiT a3[^B X3 S3icca>3^Ci?Q, £3 JBiccayj^cco bT ^h oT — in the name of mankind, — if mankind be dear to 0¥, L5lm CCJD L^Xa r^Ci^r ICDO la]i'OCQ 3{\^ Dfco foS you, — seek not that easy and accursed fame — which is ©XWli^O rC£3 WT 3]ia J3 CDlSJOC^liOlCCaJ, X^C 5)^*^3 To BlDlV gathered in the work of revolutions, — and deem it better dT bI 3JCD 131(1) ICCCeJiCC, Wl03 O'f 33*050 1 <3}i<9CC5Dl(i;r — to be for ever unknown, — than to found a momentary 03[^59 lojOJ uiT BC^Oly J3 XCi3]^ari05O rCDTcor©?;103. name — upon the basis — of'anarchy and irreligion. ENGLISH AS SPOKEN. 79 EXTRACT FROM "NICHOLAS NICKLEBY."— Z>/rXrw.s-. {^Introducing Yorkshire Dialect.*) O'T^jcc raci)]JQf 05] ulfvcii O;* ccfatouxu iQaiaofe? ccicc oT John Browdie no sooner saw Nicholas advancing than he reined in his horse by the footpath and waited until such D].^>9 loi oT oTq aj^9 lo ; co^afe^, Bliccsi^oo, siojl uoxiceoof time as he should come up ; looking, meanwhile, very sternly BTosfioj wT ojioTcjj lia;, ID ojfaljuiu lo. oT a[V3 jos id ofcij between the horse's ears, at Nicholas as he came on at his leisure. "Servant, young gen'lman " said John. " Yours " said Nicholas. "3Tt,oo; 3T \ 59CD Id ouJ^od" jBoix^SQ Q^j^, f3C';afe " Weel ; we ha' met at last" observed John, making i*5T JJDTa)lD Cijf€? ]Ci5^lCi) 1 0<3JVD D]DQ J3 uiT lO SDIo. the stirrup ring under a smart touch of the ash stick. ''(T)[2j," o[o ajIalcoiLs oici5rDCor<3. "a]<9!" oT u\q "Yes," said Nicholas hesitating. "Come!" he said 3(ji\Q,G'^l ]3Dl(i} I J3H9CCi3DL5 D}V^, "3T OJiOCO JCD 05} 3I(Df frankly after a moment's pause, "we parted on no very elo DXiJBoi wT W30D D],',^ 3T J^ID ; Id sjo. $33,'; 3}icjd, u good terms the last time we met; it was my fault, I 0100.^3 ; ©]D 11 OXQ C0}J fCi5D[pQlcr5 J3 J31,Ci3Qfe (tiT, ICCO 03} believe; but I had no intention of offending you, and no * [(Native) pronunciation of Mr. Edward Blacker, Brantford, Ont.J 8o S0UN7JS AND THEIR RELATIONS. ir.ori coiD I'; -^y^ oHcs o}. li 3jf,ai sic^f lsjcdT gjo; Id 33oiv- idea that I was doing so. f was very sorry for it aftcr- wards. Will you shake hands?" " Shake honds!" cried the good humored Yorkshireman ;" ah WJD 1 31^00 ;" XO uOT L5C^J9 D3,1Q OT raiCiSD OliCe 3CD},<9 iJOT that I weel ;" at the same time he bent down from the LStOXi, 1030 ©[^3 GSfalOOlUTd; 3fOD X OilS^ (i);Ci3DO. " B^D saddle, and gave Nicholas's fist a huge wrench. '• But 3iID ©C^ WT J33DXC1) 3T COf 3CI, " Yes, I have," replied Nicholas, " by that man Squeers, ICCD 3"; OX3 bIiDO;* OIQ U3iCeQ0Cr, X9D[,'iOCC3D OJVO, "ODJCC OOfoC, D];CO T^. ? mOQ OlO lOD impatient horse, " stan' still, tell 'ee. Hoo much cash hast thee gotten?" "cejo 9]dq" aco asfoicoiy, a^colcDfe, "©:o 3,^ axcc 53[^a "Not much" said Nicholas, coloring, "but I can make Id Tci5]3. DCi; coivos i sfoo wl^os i 3C^, (T)T osji." it enough. Where there's a will there's a way, you know." ENGLISH AS SPOKEN. 83 John Browdie made no verbal answer to this remark, but, putting his hand in his pocket, pulled out an old purse of solid leather, and insisted that Nicholas should borrow from him whatever he required for his present necessities. "Q[iu;D 0T xaCiiCiJC, S'3la3," oT olq; "030 Tcclin dT a3cijT '• Dean't be afeared, mun," he said ; " tak' eneaf to carry coT :9t*?9. coC^cjD oCi fb'i <^V^ o[i, \ :9x^1S3D-" thee whoam. Thee'li: pav me yan day, a' warrant." ajfatcoio a^o x^w S5}i J3rtcr!ai bI ocijTsr.^JOQ lojci; oT ibjoj} Nicholas could by no means be prevailed upon to borrow 9}y WICC X OJ3ICiJTCi5, 3fuO DfOQ OuJiCC <3fL5DlV raCi;3iQf, 3301'^ more than a sovereign, with which loan Mr. Browdie, after J9i:Ci3f [CCDCiiftOroJ uilO OT 3lQ 100^00 J3 ?3}y (;}Ba;XV3re{, many entreaties that he would accept of more (observing, afw I D]on j3 oijiOoTi! oi-iolcc, coio Ig oT qIqcdd uoiccq fo with a touch of Yorkshire caution, that if he didn't spend it jco, OT olo "d^d coT ul:(i)OCofLS r93n" ofio oT ois lCi3 xpiy- all, he could ''put the surplus by" till he had an oppor- D^i^CClDf J3 (Dl!i3rDr€5 fO "a3a)TQ.T: GCiiCi"), 3ia. 3[^Ci; O'f tunity of remitting it "carriage free"), was fain to content himself. "D3a cola bId \ Dr>9i.(iJ d'^:^ [COO iJoT icc ;Df, J9la3," of iqCQ, " Tak' that bi<- "' timber to help thee on wi', mun," he added, DCi)],ofe5 oTds ooia jcc ojlaijoiu, icdq ei[3r£? oloi oiccq icejuoii pressing his stick on Nicholas, and giving his hand another 84 SOUNDS AND THEIR RELATIONS. squeeze; " Keep a good heart, and bless thee. Beatten the UO?W<3CiyDlCD ! Too uOT BLOO COfe }3 C^];i)Q ^Vo D;dJ-Cr!D[ schoohneasther! It's the best thing a've heerd this twontj year I" So saying, and indulging, with more delicacy than might have been expected of him, in another series of loud 0^3*30, 3JV WT 03^d1u J-3 l3JAQf£< COT WiaOO dIdQ 0510- laughs, for the purpose of avoiding the thanks which Nich- tCvlLS DH^Q 3}y:^, O^.JCiJ 0Ci;]fQf 0[D ODjVoi OT Ofaj OJVO, ICCQ olas ; oured forth. John Browdie set spurs to his horse, and ;5loo J3 10 1 U9JVD aiojoiy ; oolofe^ rgxo 3cd}/3 D],^<^ dT D]kS3, went off at a smart canter; looking back from time to time, Ia5 CCfOlOilO ODIq ©C^aSfe 33Dli OfS, XG5Q 3[,^3re Olu) 01035 as Nicholas stood gazing after him, and waving his hand Doliojfwr, lo 13 D'f CCt3a](i)TQc^ orj3 JCC ol-x 3[^. (Dlalxio cheerily, as if to encourage him on his way. Nicholas 3JDQD WT OjyO 1330 (iJJ^Cli la;Dfw COC QfOloIlVO Ji3lV WT watched the horse and rider until they disappeared over the B(D3i J3 1 QrODlCSD OfoO, luJO 63103 O^D 3Ji3Ji!Q J.,0; Ofj5 brow of a distant hill, and then set forward on his o?:!]^Ci3r. journey. ENGLISH AS SPOKEN. 8s Illustration of Lowland Scotch. The Scottish dialects arc extremely rich in sounds. They contain nearly all the vowel and consonant elements heard in French and German, as well as in Kn<(lish. The dialects of the North and West of Scotland, the liorder Counties, the Lothians, etc., have well-marked separate character- istics ; but the differences are in many cases' more of intonation than of articulation. The following illustration presents the native dialect of Midlothian as it may still be heard from old people — especially in country districts — but which is fast disappearing from the Capital and from the vernacular of the young. Extract from "COTTER'S SATURDAY NIGHT." — i?// ;-;/.?.* November chill blaws loud wi' angry sugh ; The short'ning winter-day iS near a close; wT 93*^a)f BCiJD^ (dTdcdIdci;* 3Ci)C wT ocr^c ; The miry beasts retreating frae the pleiigh ; The black'ning trains o' craws to their repose : The toil-worn cotter frae his labour goes, loCu ccCco oloi 3laouf r^iV'Si i-^ lo ice x^^-, This night his weekly moil is at an end, * [Pronunciation of A. M. B.] 86 SOUNDS AND THEIR RELATIONS. Collects his spades, his mattocks, and his hoes. Hoping the morn in ease and rest to spend, 1030 3r*CDf, ]iCD WT <9{ICD, O/j; oluO CloJ Or593laJG) 3[a30. And weary, o'er the moor, his course does hameward bend. At length his lonely cot apj'ears in view, Beneath the shelter of an aged tree ; Th' expectant wee things toddlin' stacher thro,' DT ^310 oSlCiJ 0]Q, 31' 3C0CCDlCD(:Ci3' ©^^^5 ICC ' ©CCll. To meet their dad, wi' flichterin' noise an' glee. oC'o: 31* ©CD Cews BjuCGQCCiJ' rajccfc^^r, His wee bit ingle, blinkin ' bonnily, olo; acolcc o[ci>w-od[ci3, oFj; wcdCsoI 3^3!^; ur^\i^. His clean hearth-stane, his thrifty wifie's smile. WT C0COO[Ci3 CCi53TaD DCi;]DWCC0 ^CT) Olu: Q3ll, The lisping infant prattlin' on his knee, oiu5 ^h olo; 3r*a)r ajdjoc© a[ia)Ci; ©Tei^oo, Does a' his weary carking cares beguile, ICC' ^9]aO OCJ3 031^0 3^(i)€lID Olu; OC[fGl(D 103 Olu^ D^^CO. An' makes him quite forget his labour an' his toil. ENGLISH AS SPOKEN. 87 Illustration of French. The following passage exhibits the chief elements and characteristics of French pronunciation. The peculiarity of English final ;' (in being fully pronounced only when joined to a following word beginning with a vowel) [see p. 75.] is a general feature of French utterance. Any final consonant, otherwise sileat, is pronounced when phraseolog- ically united to a word beginning with a vowel ; as in saitvait, niais, gardait, rcstait, tout, cnticr, etc. In the syllables dc, Jc, Ic, nc, etc., the vowel is frequently elided, but in careful pronunciation a non-syllabic glide is heard ; corresponding to that in the English word cv{c)ry. These points are illustrated in the following lines. EXTRACT FROM MOLIERE'S WORKS.— Vol. I. p. xi.* J9l:oO(r)i;(i), Dlci) OCX 3}oo a}9la qC ofDfiutT):!.^, oiCi) Molierc, — par la force comique des situations, — par la verve de son style, — par milie details plaisants, — sauvait a la representation — la tristesse du sujet, — et (ji\u^[ 3rQ[oo 1 COX olslrx. Qi OCX ats3[*Qj", of ^\ alo;- restait fidele — a la devise de la comddie, — qui ne cor- U0 OD(i)CaT. Qf OBIfWC® ©OOliOlCi) 3»iO, iOJO o3*Jl Wald, und strecke die schweren Glieder aus, und schaue ofc03J3 olojc o]L5 ^(i)'^*Ci3i co3Jra 103 030 loJCccooofcl ©003i — hinauf durch das griine Laub in das unendliche Blau — icDO oceal : 3lt 33Ci)j; o}c Ice o[c») afajooi.^o.? und denke : Wie war's doch in der Kindheit? * [Pronunciation of German Governess, Ladies' College, Brantford, Ont.] SECTION FIFTH. SUPPLEMENTARY REVIEW, ETC. SECTION FIFTH. SUPPLEMENTARY REVIEW OF THE Essentials of Articulation. The various workings of the mouth exhibited by different speakers, and the violent efforts of tongue, jaw, and head displayed in cases of stammering, show that no clear idea is generally entertained as to the efficiency or otherwise, of certain organic actions in the production of speech. When one person pushes out the lips where another keeps them quiescent; when one closes the jaws where another widely opens them ; when one thrusts out the tongue where another keeps it invisible, there can be, manifest- ly, but little positive knowedge of the essentials of articulation. The mouth, so far as speech is concerned, is properly to be considered as a mere tube, or funnel, for the delivery of vocal sounds. The sounds themselves are formed in the throat, and the pro- pulsive power is exrrted from the diaphragm at the base of the lungs. The cavity of the mouth- 92 SOUNDS AND THEIR RELATIONS. tube is susceptible of a great variety of minute modifications which affect the quality of the issuing sounds, but the mouth as a whole, however modi- fied in its channel, is almost passive to the flow of speech. Let the stammerer carefully note this principle. When fully apprehended it will give complete con- trol over his wayward organism. It is, in fact, the one principle on which success depends in the removal of impediments of speech. The mouth serves other purposes than those of moulding sounds. Its massive lever — the jaw — with the attached cutting edges, and grinding sur- faces — the teeth — belong to the masticating and not the speaking apparatus. We eat with the mouth — we speak through it. The action of the jaw in mastication is from open to close positions ; in speaking, its motion must be — simply to keep it out of the way — from close to open. Mistaken ideas as to what are, and what are not, organs of speech are not confined to stam- merers and merely instinctive speakers. Even stu- dents of Phonetics seem to participate in error on this point. Thus, some have added to the Visible Speech Symbols signs for parts of the mouth — such as the teeth — which are not separately rep- resented in the original scheme. The physiologi- cal function of the teeth has been referred to : the statement must now be added that the teeth are SUPPLEMENTARY REVIEW. 93 not essential to the articulation of any element The so-called "dentals" really result from a definite adjustment of the plastic parts of the mouth, and can be satisfactorily produced by one "without a tooth in his head." When a sound is said to be modified by the "back," the "top," or the "point" of the tongue, the palate against which the tongue necessarily acts is implied without notation. The fixed parts of the mouth, which the speaker has no power of moving, are thus unrepresented by special symbols. The teeth are fixed to the jaws, and the only articulative action of the -lovable jaw is to keep itself out of the way of the issuing sounds. Only the modifications of the lips, and the soft organs within the mouth, require to be symbolized in order to the reproduction of a sound from the writing. The symmetry of the system of Visible Speech is needlessly disturbed by the introduction of arbitrary signs. This would be a minor consideration were such signs of practical importance ; but the fact is that the sound has yet to be uttered which cannot be expressed by the ordinary symbols of Visible Speech so as to be reproduced from the waiting by any competent reader of the system. The essential organs of speech are the diaphragm and lu;igs — the larynx-^the pharynx and soft pal- ate—the tongue — and the lips. The proper man- agement of these requires skill, and their misman- I \ 94 SOUNDS AND THEIR RELATIONS. agement involves discomfort, inefficiency, and often more serious consequences. The healthful inflation of the lungs should ex- pand them in all directions, but principally down- wards ; and the expansion of their base should perceptibly flatten the diaphragm. The walls of the chest — the ribs — :.hould contract but little, ev- en in strong expiration, but the diaphragm should press the lungs upwards to give impulse to the breath in speech. The lungs should be frequently and noiselessly replenished, and they should never be pressed to exhaustion before replenishment. The larynx — the organ of voice — should be free to rise or fall without affecting, or being affected by, the "pillar-muscles" of the neck. For this purpose the neck must be firm, and the chin held horizontal. These conditions are important in cases of weak voice, and most important to stammerers, to check the rolling and upward motion of the head which accompanies their efforts to speak. The pharynx is the expansible cavity above the windpipe and at the back of the mouth, into which — behind the soft palate — the nasal passages open. Any obstruction of the breath within the mouth, — as in forming p-by t-d, etc. — should expand the pharynx, so that when the obstruction is removed a degree of percussiveness should be perceptible from the point of obstruction. The same effect, in a less degree, is heard from good speakers, in SUPPLEMENTARY REVIEW. 95 pronouncing j, / /, and other continuous conso- nants. The soft palate should completely cover the inner end of the nostrils, except in forming nasal sounds. The firmness of the neck before referred to is necessary to give effective play to the muscles of the pharynx. The most important agents in the moulding of articulate sounds are the tongue and the lips. The configurations of the mouth-channel resulting from the positions of these organs can only be un- derstood in connection with the Visible Speech symbols. A brief supplementary review of the leading consonant formations will assist the student in mastering the relations between sounds and sym- bols. The normal positions on the palate for apposi- tions of the "back," -top," or "point" of the tongue are those which are directly opposite to the same parts of the tongue while the latter lies at rest. Thus : Back normal position — centre of soft palate. ^""P " " —centre of palatal arch. ^''^^ " " —upper gum. / The signs for posterior formation {\) and for anterior formation {\) have then the following values : Back i^p(^^^c^ior—edge of soft palate. 1 anterior— ]uncWon of soft and hard palates. 96 SOUNDS AND THEIR DELATIONS. i posterior — between centre of palatal arch and junction of hard and soft palates. anterior — between centre of palatal arch and front wall of palate. p^-^ A posterior — front wall of palate. I ante riot — teeth, or edge oi gum. The above are the positions for consonants both of centre-aperture ( C (J O) and of shut formation (a D Q a, etc.). The normal positions for the "mixed" consonants are the following: Top-mixed (Q) — Top position combined with eleva- tion of the edges of the tongue to the side gums. Point-mixed (O) — Point position combined with con- vexity of the forepart of the tongue towards the front wall of the palate. The positions for consonants of "divided" forma- tion are the following: Back-divided (C) — Back position combined with div- ision of the breath by contact of the middle of the tongue with the palate. Top-divided (CO) — Top-shut position combined with emission of the breath between the high sides of the tongue and the back gums. Point-divided (CO) — Point-shut position, combined with emission over the whole of the free sides of the tongue. Top-mixed-divided (r2) — Top-mixed position combined with contact of the point of the tongue on the upper gum, and emission between the sides of the tongue and the teeth or gum. SUPPLEMENTARY REVIEW. 97 Point-mixed-dtvided (2»S) ■'— Point-mixed position com- bined with contact of the tip of the tongue on the teeth, or on the edge of the gum, and emission at the sides of the tip. The preceding descriptions all refer to tongue- consonants. To complete the review, the follow- ing descriptions of lip-consonants are added : Lip ( D) — Contact of the sides of the lips, with cen- tre emission. Lip-shut (D) — Complete contact of lips. Lip-divided (3) — Central contact with side emission. A lip-divided formation may be made either by contact of one lip on the opposite teeth, or of one on the other lip. The easiest and most usual formation is selected for the normal one; namely, contact of the edge of the lowej: lip on the upper teeth, or, in the absence of teeth, on the upper gum. Contact of teeth (or gum) on the inner surface, instead of the edge, of the lip may be noted by the sign of posterior formation (3<) ; and the ungainly position of upper lip on lower teeth may be indicated, when necessary, by the sign of anterior formation (3>). Divided contact of lip on lip may be written by the diacritic "to lip (a), thus, 33. The lip-mixed, and back-mixed consonants, com- bining positions of such independent organs as the lips and the back of the tongue, scarcely need to Ilii 98 SOUNDS AND THEIR RELATIONS. be included in this review; but for completc.iess they are added. Lip-mixed (O) — Lip position combined with a loose formation of the Back position. Back-mixed (C) — Back position combined with a loose formation of the Lip position. The mouth-channel is about the same for both these elements, but the fricative — or articulative — effect is heard only from the lips in the one case and from the back of the tongue in the other. Lip-mixed-divided (J3 ) — The Lip-divided position combined with a loose formation of the Back posi- tion. Back-mixed-divided ( C) — The Back-divided position combined with a loose formation of the Lip position. These elements do not occur in ordinary speech : they are simply available for use in the favourite and crucial tests to which Visible Speech has been often subjected — the expression of peculiarities of utterance. All the descriptions in this Section apply equally to the vocalized forms of the several consonants illustrated. The only drawback to a detailed investigation of such elements is that the student is apt to make too much of the consonants, relatively to the beau- tiful vowel material of speech. In many cases the consonants owe all their audibility to the vowels SUPPLEMENTARY REVIEW. 99 which they begin or end ; and yet while thus pho- netically subordinate, consonants are found to be the more stable elements in words that have passed from language to language, or from age to age. A good speaker will give to every element in a syllable its appropriate effect, of sound or motion, recognising that both classes of elements, whether principal or subordinate, are mutually related, and equally Essentials of Articulation. APPLICATION OF VISIBLE SPEECH TO THE TEACHING OF ARTICULATION TO THE DEAF. The minutifE of "Sounds and their Relations" do not require to be taught to the deaf, in the initia- tory stages of instruction. The unmodified sign of "voice" (l) may for a time be used to represent any vowel. Thus papa, mamma, may be taught from the writing Di Di, Qi 9i. When a few con- sonants have been learned, the "Round-voice" sign, unmodified, (+) may be introduced, and such words as no, go, etc., may be taught from the writing 130+, Qt, etc. As power over the organs of speech in- creases, the pupil may be made acquainted with a few distinctive vowel symbols, such as J, aJi; I, e; C, a; \ oo; 3", o; ex., but minor discriminations should be deferred until facility is gained in the use of a small number of elements. Only one new sound should be taught at a time. Thus, suppose the pupil to know the consonants SUrri.EMENTAR Y KE I 'IE W. lOI and the symbol j (ah) is to be introduced: the latter should be practised in connection with each of the known consonants. Thus: aj 8J CDJ 3 J, ja JS JCD J3, jaj J9J JCDJ J3J, etc. When any sound thus produced happens to be, approximately, that of a ivord, a new interest will be given to the lesson by illustrating the meaning of the word. Thus : DJ OJ JD JO JDJ JOJ DJ, OJ, aj. 9J, 3J, ja, JB, J3. Pa, Ta, car, Ma, far. ark. arm. half. Each vowel will, in this way, furnish a number of words to enliven the lesson. For example I will yield : Id, or, or, or, sr, coi, ccio, bio, bicd. eat, pea, tea, key, me, knee, neat, meat, mean. Sufficiently near to the sounds of the indicated words will be such compounds also as : DIJ, CPU, 3IJ, Djr, Djr, QJI, 3jr, 3JIJ, JDIJ. tear, near, fear, pie, tie, my, fie, fire, appear. The attempt to join two elements with syllabic closeness will be unsuccessful at first; but, in the quickest utterance, apparent junction is merely se- qttence; and the slowest sequence will suffice until practice gives facility. The first point to be aimed at is the power of ^ 1 02 SOUNDS AND THEIR RELATIONS. II 1 controlling the organs of speech. Accuracy may be left to be acquired by slow degrees. Intelligibility may be attained with comparative ease. The use of Visible Speech symbols makes initia- tory progress a matter of certainty with all pupils ; and with every new element that is added, subse- quent difficulties grow less and less. The ultimate efifects that may be attained will depend on the teacher's skill and patience, as well as on the apti- tude of the pupil. But the result of careful effort will undoubtedly be that, with a greater or less amount of accuracy, sufficient intelligibility will be obtained in the speech even of the congenitally deaf. THE END. \ .■■-/• ' •^f DESCRIPTIVE LIST OF A. MELVILLE BELL'S WORKS •o^o* Visible Speech; the Science of Universal Alphabetics : or Self-in- terpretint; Physiological Letters for writing all Languages in one Ali)habet; and for teaching the Deaf and Dumb to speak. Illustrated by Tables, Diagrams, and Examples of Printing and Writing. Inaugural Edition, ^to. Half Morocco . .fs.cxj Explanatory Lecture on Visible Speech. Delivered to the Royal College of Preceptors (Feb. 1S70). Illustrated by Diagrams and Universal Alphabet ...... .15 English Visible Speech for the Million. For teaching the exact Pronunciation of the Language, to Native, Foreign, or Illiter- ate Learners. Illustrated by Physiological Diagrams, Exer- cises, &c. 4to., paper covers ...... .40 Universal Line Writing and Steno-Phoiiography. On the Basis of "Visible Speech." In five Sections : I. English Ver- nacular and Orthoepic Line Writing for use in schools. II. Universal Line-Alphabet for Languages, Telegraphy, &c. III. Universal Line-Alphabet for Embossed Printing for the Blind. IV. Elliptical Steno-phonography. applicable to all Languages, and fully developed for English. V. English Reporting Steno- phonography. 8vo, stiff" covers .... .85 The Principles oT Speech, Cure of Stammering, &c. In this Work, the Theory of Articulation, and the Mechanism of Vowel and Consonant Sounds, are minutely explained. All the elerr.ents of English Speech are separately treated of, with reference to the Defects to which they are subject. Directions are given by which the Stammerer can, by his own efforts, alleviate or remove the impediment. i2mo., cloth 1.50 LIST OF IVORKS. The Faults of Speech; A Self-Corrector and Teacher's Manual. In this little work are given clear, si nple and practical direc- tion8 for the removal of all impediments of speech, including stammering, stuttering, etc., as well as all minor defects and blemishes, such as lisping, burring, etc. i8mo., cloth, .60 Teaching Reading in Public Schools. A practical Essay, pre- senting a complete system for teaching the Art of Reading, with numerous illustrative readings and valuable practical hints and observations. i2mo., paper coders . . .15 The Principles of Elocution. A new and revised Edition of this standard work has recently been issued. The work con- tains a summary of the Principles of Vocal Physiology; with a full development of the principles of Expressive Delivery; an original analysis of the Tones of Speech, and the Laws of Emphasis; the mechanical and expressive principles of Gesture, &c. Illustrated by upwards of Two Hundred pas- sages marked for Exercise. i2mo., cloth . . . 1.50 The Emphasized Liturgy. The Morning, Evening, Communion and Burial Services, and the Collects, marked for emphasis and clause. With an Introductory Essay on the Theory of Emphasis, the Expressiveness of tones, and the Intellectual and Mechanical Principles of Public Reading. . . i.oo *#* \ny of the above-named publications can be obtained from the publishers of this volume. The attention of professional readers is directed to the follow- ing series of Charts, — just issued : Monroe's. Vocal Gymnastic Charts. Embodying the Daily Phy- sical Drill of the Boston University School of Oratory; also containing exercises upon all the Sounds of the English Lan- guage, arranged for Class Drill in Articulation, with diagrams illustrating Bell's Visible Speech. These Charts will comprise 44 numbers, 25x30 inches in size, printed and bound in the same manner as Monroe's Primary Reading Charts. Price per set 8.00 49 7 63 81^1 3''-