31^19001 QDIiO^: 
 
 VISIBLE SPEECH: 
 
 THE SCIENCE OF 
 
 OIOISIVQIOO ICOGlGiaiOQ; 
 
 UNIVERSAL ALPHABETICS; 
 
 OR 
 
 SELF-INTERPRETING PHYSIOLOGICAL LETTERS, 
 
 FOR TFIE WRITING OK 
 
 ALL LANGUAGES IN ONE ALPHABET. 
 
 IM.nsTRATI-.l) HY 
 
 TABLES. DIAGRAMS. AND EXAMPLES. 
 
 1!V 
 
 ALEX. MELVILLE BELL, F.E.LS, F.R.S.S.A., 
 
 P11C1KE.SS011 OF Vocal Physiology, 
 
 Lecturer on Elocution in University College, London, 
 
 Author of 'Principles op Speech and Cure of Stammering,' 'Elocutionary :\1anual,' 
 
 Standard Elocutionist,' 'Emphasized Liturgy,' 
 
 'Rei'orter's Manual,' <tc., itc. 
 
 INAUGURAL EDITION. 
 
 SIMPKIN, MARSHALL & CO.: LONDON; 
 N. TRUBNER & CO.: LONDON AND NEW YORK. 
 
 SOU) RY ALL BOOKSELLERS. 
 
 1867. 
 
 Price Fifteen Shillings. 
 
 rights ok translation anp reproouction are reskrved. 
 
;i, liv U. K^ Collie & Son. 
 
0. .,, 
 
 4^ 
 
 Co the lllemorn of 
 EDWARD CHARLES BELL, 
 
 ONE OF THE FIRST PROFICIENTS IN "VISIBLE SPEECH, 
 
 WHOSE ABILITY 
 
 IN DEMONSTRATING THE LINGUISTIC APPLICATIONS OF THE SYSTEM 
 
 EXCITED THE ADMIRATION OF ALL WHO HEARD HIM ; 
 
 BUT WHOSE LIFE OF HIGHEST PROMISE WAS CUT OFF IN HIS 
 
 NINETEENTH YEAR, 
 
 On 17TH MAY, 1867 ; 
 
 THIS INAUGURAL VOLUME IS DEDICATED 
 
 BY HIS FATHER. 
 
 903 
 
CONTENTS. 
 
 Preface, 
 
 Popular Description of the Organs of Speech, ... ... ... 
 
 Diagram of the Organs of Speech, ... ... ... 
 
 The InventiDn of Visible Speecli, ... ... ... ... ... 
 
 Tabular Exposition of Visible Spkecii. 
 
 Complete Table of Radical Symbols, ... ... 
 
 Ten Radical Symbols from which all Vowel and Consonant Letters are formed 
 
 Complete Table of Letters — with their Names, 
 
 Diagrams showing the relation of the Primary Organic Symbols to the Organs 
 
 Explanatory Table of Symbols for Vowel Configurations, 
 
 Table showing the mutual relation of Symbols and Sounds, ... 
 Theoretical Explanations, Exercises, &c. 
 
 Rudimental Symbols, ... 
 
 Exercisea on the Rudimental Symbols, forming Interjectioual or Inarticulate 
 Utterances, ... ... 
 
 Consonants, 
 
 Table of Organic Symbols, ... ... ... 
 
 Diagrams of the Consonant Organic Positions, 
 
 Description of the 'Inner' and 'Outer' Varieties of each of the Primary 
 Consonants, 
 
 Table of the Mechanical Varieties of Consonants, 
 
 Diagrams of the Mechanical Varieties of Consonants. 
 
 Description of the Mechanical Varieties of Consonants, 
 
 Div- 
 
 ided ' Consonants 
 
 ' Inner ' and ' Outer ' Varieties of ' 
 Uni-Lateral Formations, 
 
 Nasal Consonants, 
 
 Shut Consonants, 
 
 Consonant Suctions — Clicks, 
 
 Consonant Actions without Breath, 
 
 Comparative Diagrams of the Radical Consonant Positions,... 
 
 Example showing the Application of the Modifiers to a single Consonant action, 
 
 Interjectioual Exercisea on the Rudimental Consonant Symbols, 
 
 Voiced Consonants, 
 
 General Scheme of Consonants, ... ... 
 
 Imperfect and Variable Vocality of Consonants, 
 ' Held ' Consonants, 
 
 Consonant Combinations, 
 
 Glides, ... 
 
 Complete Table of the Glides, ... 
 
 Vowels, ... 
 
 Vowel Symbols, ... 
 
 Diagrams showing the Relative Organic Formation of Vowels, 
 
 Page 
 
 vii 
 
 11 
 
 13 
 14 
 
 3o 
 36 
 37 
 38 
 40 
 41 
 
 45 
 
 50 
 51 
 52 
 
 53 
 
 54 
 56 
 57 
 58 
 59 
 iO. 
 ib. 
 60 
 62 
 ib. 
 63 
 64 
 65 
 
 ib. 
 67 
 68 
 ib. 
 6U 
 70 
 71 
 72 
 73 
 
rage 
 
 Diagram showing the Scale formed by the Lingual Vowc4s, 74 
 
 Relation of Vowel to Consonant Positions, 7o 
 
 Lip-Modifieil or ' Round ' Vowels, ^6 
 
 Symbols of Round Vowels, '"^ 
 
 Nasalized Vowels, ^^' 
 
 Vowelsof Gliding Quality— Diphthongs, 78 
 
 Vowel Quantity, '^^ 
 
 Linked Symbols, ^^ 
 
 Governing Signs, '^• 
 
 Analysis of Mixed Symbols and Optional Extension of the Principle, ... 82 
 
 Tones, *^- 
 
 Modulated Whisper, ... ••• 86 
 
 Appmcation of Visiule Speech to Languages. 
 
 The Elementary Sounds of Languages, 91 
 
 Letter- Value of the Principal Consonant Symbols, 93 
 
 Letter- Value of the Principal Symbols for Vowels and Glides, 94 
 
 Modes of Teaching the Universal Alphabet, 96 
 
 Typography of Visible Speech, 98 
 
 Visible Speech Writing, 100 
 
 Visible Speech Telegraphy, 102 
 
 Practical Tests, 104 
 
 Alphabetic Vocabulary of Test-words (Initial Vowels,) 105 
 
 ^'I8IBLE Speech applied to English. 
 
 Table of English Elements, 110 
 
 English Pronunciation, ... ... ... HI 
 
 Sounds of English Letters and Orthogiaphios of English Sounds, ib. 
 
 Tendencies of English Pronunciation, ... ... ... ... ... 116 
 
 English Characteristics, 117 
 
 Syllabic Analysis, ... 118 
 
 Outline course of Lessons for Teaching the Illiterate to Read, ... ... 120 
 
 Mode of Deducing Foreign Sounds from their Symbols, 124 
 
 Note on the Zulu Clicks, 125 
 
 P LAT E S. 
 
 Alphabetic Vocabulary of Test-Words (Initial Consonants), . . I. II. III. 
 
 Interjectional and Inarticulate Sounds, and Dialectic Pronunciations of 
 
 Numerals, IV. 
 
 Test Sentences, — Scottish, English, and MisceUaneous Dialects, . . V. VI. 
 
 Foreign-English, and Foreign Sentences, ...... VII. 
 
 Sliakfperian English, — Portia's Speech on Mercy ; &c. 
 Acts, Chap. xxvi. ....... 
 
 Visible Speech Writing, — The Alphabet, 
 
 St. John, Chap, xiv 
 
 The Lord's Prayer, in Capital, liOwcr-Case, and Script Alphabets, . XV. 
 
 I Corinthians, Chap. xiii. ......... XVI. 
 
 VIll. 
 
 IX. X. XL 
 
 XII. 
 
 xin. XIV. XV. 
 
PREFACE. 
 
 The scientific interest iittaching to the Invention of VISIBLE SPEECH has alone 
 induced me to consent to the publication of the System under Copyright. My 
 desire was, that this Invention— the applications of which are as universal as 
 speech itself — should at its inauguration have been made free from all restric- 
 tions ; but my endeavours to effect an arrangement for this purpose have been 
 frustrated. 
 
 I wish to put on record here a statement of the facts concerning my offer 
 of the Invention to the British Government, and the reception of the offer. 
 
 The proposition made was to the effect that — If the expense of casting 
 the new Types and publishing the Theory of the System should be defrayed 
 from Public resources, I would, on this simple condition, relinquish pro bono 
 publico all copyright in the Explanatory Work, as well as all exclusive property 
 in the System and its applications, in order that the use of the Universal 
 Alphabet might be as free as that of common letters to all persons. I made 
 no stipulation for personal recompense ; nor was the acceptance of the offer 
 asked, save as the result of a satisfactory examination of the System. The 
 primary proposition was therefore specifically limited to a request for an 
 authorized investigation, the result of which should decide the question of 
 publication. 
 
 This request was made in vain. The subject did not lie within the province 
 of any of the existing State Departments, and the Memorial was, on this ground, 
 politely bowed out from one after the other of the Executive Offices. 
 
 The proposition was, no doubt, an exceptional one — but so is the Invention. 
 Even the idea which it realizes is entirely new ; the idea, namely, of representing 
 the mechanism of speech-sounds in their alphabetical symbols. It was a matter 
 of course that such a subject could not have been included in the established 
 routine of any Department. 
 
 Does not the fact that an offer of such a nature failed to obtain a hearing, 
 indicate a national want — the want namely of some functionary whose business 
 it should be to investigate new measures of any kind which may be presented 
 for the benefit of society .^ 
 
Before offering the Invention of Visible Speech to Government, I had sub- 
 jected the System to a crucial variety of practical and public tests, so that a 
 fair prima facie case had been made out to justify even so unheard-of a thing 
 as investigation by a Royal Commission. But credentials could, of course, have 
 no weight when the ground of rejection was that of inability to take ' official 
 cognizance' of the subject. 
 
 This very unsatisfactory reason for neglecting an offer, which I was not alone 
 in thinking both liberal and patriotic, as well as sufficiently important for recog- 
 nition, induced me, before issuing the Circular announcing the present publica- 
 tion, to make a final appeal to Her Majesty's Prime Minister, specifying the 
 amount to which the requisite grant for inaugural expenses might be limited. 
 The following was his Lordship's reply : 
 
 " lo Downing Street, Whitehall, 
 February 12, 1867. 
 Sir, — I am directed by Lord Derby to acknowledge the receipt of your letter 
 of the 8th instant, and to inform you that there are no public funds from which 
 he can make you the grant you desire. 
 
 I have the honour to be. Sir, 
 
 Your obedient Servant, 
 A. Melville Bell, Esq. W. P. Talbot." 
 
 This was at all events definite ; and the fact of there being no available 
 ' public funds' for such a purpose, certainly furnished sufficient reason for denial. 
 But the fact is, nevertheless, remarkable. The price of a piece of ordnance, and 
 a few barrels of gunpowder — the cost of an every-day experiment in target- 
 firing — ought surely to have been forthcoming from some ' public fund ' for the 
 advancement of one of the foremost Arts of Peace. 
 
 The choice was now left but between two alternatives : either to withhold 
 the Invention, or to publish it under copyright ;— in the latter case, to impose 
 local restrictions on what was in its nature universal ; in the former case, to 
 render nugatory the results of a long labour. For the System was of course 
 worthless while unpublished. 
 
 Having put my hand to the plough, I would not turn back — 
 
 ' Aut non tentaris aut i)erficc ' — 
 I tlureforc accepted the obligation which this ' Inaugural lulition ' fulfils. 
 
The time will, I hope, come when the Chaniberses and Casselh of Litera- 
 ture will be able to issue their penny sheets in the new type to convert the 
 unlettered millions in all countries into readers. But the System cannot be 
 popularized by the present theoretical, and, necessarily, expensive Work. My 
 sole object here is to communicate the System as the basis of a new science of 
 Universal Alphabetics. 
 
 The investigation which was vainly sought for from pre-occupied States- 
 men, can now be made at leisure by the scientific world. If its judgment be 
 favourable to the adoption of this scheme for macadamizing the linguistic high- 
 ways between nations, the requisite facilities may ultimately be made available ; 
 but, in the meantime, the offer to relinquish copyright is withdrawn, and all 
 rights of reproduction, translation, &c., are reserved. 
 
 My previous proposal for an unrestricted publication renders this definite 
 intimation of the reservation of copyright necessary to prevent mistakes. 
 
 The unavoidable effect in this peculiar case will unfortunately be, to retard 
 the popular promulgation of this System of Letters in the cotmtry of its birth, 
 u'hile in countries where the rights of foreign authors are disregarded, the 
 System may be at once brought freely into use. This result was, however, dul)' 
 pointed out, and the anomaly was sought to be prevented. 
 
 Persons who may be desirous of bringing any part of the System into 
 practical application, by publications or otherwise, will be enabled to do so, 
 under conditions which may be mutually arranged. 
 
 The symbols appear at some disadvantage, from the comparative coarseness 
 of the experimental types, and also in the absence of illustration from ' lower 
 case ' letters. The aspect of the symbols in the latter form may be judged of 
 by the lithographed specimens at the end of the volume ; but letters individually 
 drawn by hand want the clearness, compactness, and uniformity of typographs. 
 Letter-press exemplification was not contemplated when the Prospectus of 
 this Work was issued — lithographic illustration only having been intended ; but 
 in the development of the System for publication, a constant reference to Plates 
 was felt to be an intolerable inconvenience — to the Student of the System the 
 inconvenience would have been even greater ; — and therefore a fount of types 
 to work with the common letter-press has been extemporized. 
 
 The new letters — as shown in this work — are all of equal height, and they 
 consequently have the effect of capitals. The 'lower case' letters, it will be seen, 
 possess an additional element of perspicuity, from the ascending and descending 
 
lines of the vowels. The 'capital' form has simply been preferred for the pre- 
 sent purpose, because of the larger scale which it allowed for the exhibition of 
 the organic symbols. 
 
 A system of this nature would be much more easily explained orally than 
 in print. This inherent difficulty arises from the impossibility of communicating 
 an exact knowledge of sounds before the appropriate symbols of the System 
 are understood. An hour of viva voce instruction would save the majority of 
 Students many hours of uncertain reading, and enable them to commence at 
 once with the Symbols, instead of having first to gather a general knowledge of 
 the basis of the System, by the perusal of preliminary explanations. 
 
 On this account I recommended that, in connection wnth the Inaugural 
 Publication from public resources, which was originally proposed, a temporary 
 arrangement should be added for giving the benefit of oral exemplifications to 
 the first learners. A weekly or bi-weekly free Lecture in connection with the 
 ' Science and Art Department ' at South Kensington would have started a large 
 number of learners pleasantly over initiatory difficulties. 
 
 In developing the theory in the following pages, I have endeavoured so to 
 arrange the matter that a general knowledge of the essentials of the System 
 may be gathered from the Tables and Diagrams alone. (See pages 35 to 41). 
 These are, however, supplemented by a full detail of Explanations and Illustra- 
 tions, to which reference will of course be made as required. 
 
 The reader will bear in mind, that all the phenomena of Universal Speech 
 are included in this Work. He must not suppose that the varied and minute 
 distinctions of the System require to be mastered by every learner. The 
 youngest child may be taught to read from the Symbols — of course, without 
 any theoretical knowledge. A full understanding of the Theory is essential 
 only to Teachers and Symbolizers— or writers of sounds at hearing. 
 
 In presenting the System with the requisite completeness for all purposes, 
 I have found it difficult— with so much of necessary detail to be communicated 
 — to preserve the aspect of simplicity. But the learner will discover the real 
 simplicity of the Symbolization in connection with the known sounds of his 
 own language ; and when he has mastered vernacular reading, foreign varieties 
 of sound will present little or no difficulty. 
 
 A. M. B. 
 London, N. JV. 
 18 Harrington Square, August. 1867. 
 
VISIBLE SPEECH. 
 
 --^3«^^f^^^ 
 
 POPULAR DESCRIPTION OF THE ORGANS OF SPEECH. 
 
 The lungs constitute the bellows of the speaking machine ; the larynx, the 
 pharynx, the soft palate, the nose, and the mouth, modify the breath into the 
 elementary sounds of speech. 
 
 The lungs are enclosed within the chest, and in healthful respiration they 
 are acted on chiefly by upward pressure of the diaphragm, or midriff, which 
 separates the chest from the abdomen. In faulty respiration the sides of the 
 chest are drawn in upon the lungs to force out the breath, and the natural action 
 of the diaphragm is reversed. Stammerers generally exemplify this error. 
 
 The breath driven from the lungs ascends the windpipe, and its emission is 
 rendered audible only by the resistance which it meets with in the throat, the 
 nostrils, or the mouth. 
 
 On the top of the windpipe is placed the larynx, — the vocalizing part of 
 the speaking machine. The larynx is practically a box, the cavity of which is 
 susceptible of a multitude of modifications affecting the pitch of the voice. The 
 orifice of the larynx — the glottis — may be perfectly closed, fully expanded, or 
 contracted in any degree. 
 
 When the whole of the guttural passage is fully expanded, the passing 
 breath creates no sound ; but when the glottis, or aperture of the larynx, is 
 definitely narrowed, its edges vibrate and produce the sound which is called voice. 
 Voice is thus the mechanical result of vibration of the edges of the glottis. 
 These, latter have, from this cause, received the name of the 'vocal ligaments.' 
 
 i; 
 
12 
 
 Above the glottis, and forming part of the larynx, is what may be con- 
 sidered as a pair of lips, the aperture between which is called the ' superior,' or 
 'false glottis.' The latter, and the passage between the larynx and the 
 mouth, are susceptible of a variety of changes of shape and expansion. A 
 moderate degree of contraction gives the breath the rustling quality called 
 • whisper ;' and a greater contraction, with a strong current of breath, creates 
 the resonant but non-vocal vibration, which will be understood by the term 
 ' growling.' 
 
 The passage between the larynx and the mouth is called the pharynx. 
 This cavity is susceptible of various degrees of expansion and contraction ; and 
 these modifications of the pharynx, assisted by the position of the pendulous 
 soft palate, play an important part in the formation of the elements of speech. 
 
 The percussive effect of consonants results mainly from the elasticity of 
 the muscles of the pharynx, which compress the breath behind the articulating 
 oro-ans in proportion as the latter restrain its issue through the mouth. In 
 forming vowels, the pharynx is for one set of sounds, partially, and for another 
 set fully, expanded. 
 
 In front of the pharynx is the mouth ; and at the top of the pharynx, behind 
 the soft palate, is the entrance to the nasal passages. When the soft palate is 
 raised, it prevents the breath from passing into the nose, and when it is depressed, 
 the breath flows through the nostrils as well as into the mouth. 
 
 The soft palate acts the part of a double valve, closing the nasal passage 
 by upward pressure, and closing the mouth by downward contact with the 
 tongue. Both passages are shut in this manner in forming the consonant K ; 
 the oral passage is closed and the nasal passage open in forming NG ; both 
 passages are open in forming the French /;/, on, Sic. ; and the oral passage is 
 open and the nasal passage shut in forming vowels. 
 
 The roof of the mouth is an arch ; and the tongue, as its various parts, — 
 the back, the front, or the point, — are presented to the back, the front, or the 
 rim of the palatal arch, or the upper gum, gives a great variety of configurations 
 to the channel of the mouth. From each of these configurations the passing 
 breath or voice receives an audibly different effect, of vowel or of consonant 
 quality. Further modifications result from the degree of contraction of the 
 lips, the condition of the guttural passage, &c. 
 
 In forming CONSONANTS, the breath or voice is stopped or squeezed, with an 
 effect of percussion, sibilation, buzzing, or vibration, in some part of the guttural 
 
13 
 
 or oral passage ; and in forming vowels, the breath or voice flows tlirough 
 similar but more open and ' fixed' configurations, which merely shape or mottld 
 the breath, without impeding its emission. 
 
 The following Diagram shows the relative position of the various organs : — 
 
 DIAGRAM OF THE ORGANS OF SPEECH. 
 
 1. The Larynx. 
 
 2. The Pharynx. 
 
 3. The Soft Palate. 
 
 4. The action of the Soft Palate in 
 
 closing the Nasal Passage. 
 
 5. The Back of the Tongue. 
 
 6. The Front of the Tongue. 
 
 7. The Point of the Tongue. 
 
 8. The Lips. 
 
u 
 
 THE INVENTION OF VISIBLE SPEECH. 
 
 The system of Visible Speech was elaborated slowly during the course of a 
 great many years. In 1849, the Author wrote, in his ' Principles of Speech,' 
 having reference only to English sounds : — ' It would really be a matter of but 
 little difficulty to reconstruct our alphabet, and furnish it with invariable marks 
 for every appreciable variety of vocal and articulate sound. So few as twelve 
 radical letters might be made to represent all the English articulations (con- 
 sonants.) Thus : we have twelve forms of articulative action, most of which 
 do, and all of which may, modify both voice and breath, so producing twenty- 
 four elements of speech. Let some uniform change to represent brcatJi and voice 
 be made on each of the twelve characters, and these twenty-four varieties of 
 articulate sound may be not only fully represented, but with a natural analogy 
 and consistency which would explain to the eye their organic relations. 
 
 ' A further uniform change made on those letters which have a nasal cor- 
 respondent, would complete the scheme, and with perfect analogy between marks 
 and sounds, exhibit, by twelve radical letters, every articulation in our language. 
 
 ' Some equally simple and analogical notation might be arranged for the 
 vowels, on the principle of their sequence; so that a really scientific alphabet 
 could be easily constructed.' 
 
 The practicability of extending this mode of representation to all possible 
 sounds, was conceived and ultimately became a persistent idea. But the 
 necessary pre-requisite for carrying out the idea was to obtain a knowledge of 
 the exact relations of sounds, and the conditions to which they owed their 
 difterences. This knowledge could only be acquired from observation and 
 experiment. For these, fortunately, opportunities were abundant. 
 
 Professional pursuits directly favoured the investigation, by furnishing a 
 constant variety of examples for study and corroboration ; and year by year the 
 subject grew in interest, and was unceasingly prosecuted. Gradually the cate- 
 gory of known sounds increased, and their mutual relations became more and 
 more definite. Still, so recently as 186.'', when a new edition of the 'Principles 
 of Speech'* was called for, the Author had not advanced beyond his original 
 triple scale of vowels, consisting of the three classes, 
 
 L ingual, L abio-L ingnal, Labial ; 
 
 •■■ PiinfiiilpR of Sppprh and Tuio of Stammeiinfj. Lond<in : Hfiniiltnn, Adams & Co. 
 
 / i 
 
15 
 
 the first series starting with the close oc ; the third with the close do, and the 
 intermediate with the German ii ; and each series terminating in the most open 
 vowel all. 
 
 The classification of vowels on this basis included twenty-two varieties ; 
 but the scheme was acknowledged to be far from complete for the representation 
 of other than European languages : — 
 
 " The plasticity of the organs which modify voice is so great, that there 
 may be many other shades of sound heard in other languages."* 
 
 " The plasticity of the organs is so great, that shades of vowel quality are 
 endless, arising from infinitesimal differences in the relative positions of the lips 
 and the tongue. The number of possible varieties can as little be estimated as 
 the number of possible shades of colour. "f 
 
 The expectation of ultimate success in the construction of a complete 
 Physiological Alphabet, on the principle of Elementary Relations, was now, 
 however, full}- entertained : — 
 
 " In this w^ay a system of notation might be constructed by which all the 
 sounds of any dialect might be represented intelligibly to readers of whatever 
 country or tongue. A Table of all recognized elements of speech on this 
 natural principle of arrangement would be one step toward the realization of 
 that indefinite philological speculation, — a universal language.":|: 
 
 The number of sounds that had been by this time clearly discerned as they 
 were experimentally produced, was perplexing ; the more so that some of them 
 could not be made to fit into either of the three classes in the scale. This led to 
 the conclusion that the framework of the Vowel Table was at fault, and quires of 
 paper were covered with attempts at new arrangements which might incorporate 
 the excluded elements. 
 
 One sound — that of the English err, sir^ &c. — was confessedly out of place 
 in the published Table, but the Table evidently did not contain a place where 
 the sound could be satisfactorily located. This sound haunted the ear and the 
 mouth by day and night, 'seeking rest but finding none ;' and with it flitted a 
 train of obviously kindred sounds, clamouring for recognition. Among them 
 were an American sound heard in the words err, sir, &c., very different from the 
 ordinary English sound in the same words, yet having some features of family 
 resemblance ; the French vowel in ' que,' and the obscure sounds of the English 
 
 » 1R40 edition, p. 2«. | 1S(;3 editior, \x 27. j; 1RG3 edition, r- ^2. 
 
16 
 
 articles 'a' and 'the;' all of which were felt to be mutually related in some 
 undiscovered way. 
 
 The revisal of the ' Principles of Speech' had re-opened the whole question 
 of elementary relations, and the experimental classifications which followed, 
 resulted in the identification of a new category of vowels, — a series moulded 
 simultaneously by the back and the front surfaces of the tongue. Next, the 
 discovery that these sounds were each susceptible of labial modification, corres- 
 ponding to that of ii (on the 'high front' vowel ee,) revealed the principle that 
 the so-called Labial Vowels were all, in reality, compound formations, in which a 
 definite lingual quality was involved. The analysis of the English vowels oo, o, and 
 azv, by removal of labial modification, cleared away the whole remaining mystery. 
 
 It was evident that there were three classes of purely lingual vowels, 
 moulded respectively by the back, the front, and by 'mixed' back and front 
 positions of the tongue ; and that each element in this triple scale w^as the basis 
 of another vowel, in forming which a definite labial modification was simply 
 added. There were then six sets of vowels instead of three, as formerly sup- 
 posed, one half being labialized or 'rounded' forms of the other half. 
 
 The longitudinal division of the tongue into three principal sections, as after- 
 wards explained, suggested a corresponding tri-partition of the aperture betw^een 
 the tongue and the palate, according to the ' high,' ' mid,' or ' low ' position of 
 the tongue ; and the nine points thus obtained furnished the means of noting, as 
 by lines of latitude and longitude, the ^vqcisq. place of any vowel in the mouth. 
 
 The arrangement may be illustrated by the following Diagram, in which 
 the letters a b c, &c., stand for vowel sounds : — 
 
 
 Back. 
 
 Mixed. 
 
 Front. 
 
 High, 
 
 a 
 
 d 
 
 g 
 
 Mid, 
 
 b 
 
 e 
 
 h 
 
 Lozv 
 
 c 
 
 f 
 
 i 
 
 These nine fixed points enabled minor degrees to be measured from them 
 by simple diacritic signs for 'inner,' 'outer,' 'higher,' and 'lower' positions; 
 so that the absolute representative power of the principle extended to nine 
 degrees of horizontal and nine of vertical measurement. 
 
 This power of discrimination was enormously in excess of all possible 
 necessity ; and it was found that the cardinal degrees were amply sufficient for 
 all practical purposes, in connection with another distinction which now revealed 
 
17 
 
 itself: the distinction between Primary Vowels or those most allied to Conson- 
 ants, and Wide Vowels or those in forming which the pharynx or guttural 
 passage is fully expanded. Each of the lingual positions furnished both a 
 primary and a wide vowel, so that the scale was fixed for purposes of notation 
 at nine primary and nine wide vowels, formed exclusively by the tongue. 
 
 No instance has occurred in the experimental writing of languages in which 
 the minor distinctions of 'inner,' 'outer,' 'higher', or 'lower' positions have been 
 necessary ; but these discriminations are still available should they be required. 
 
 All the wandering vowels were now provided for ; and as each sound fell 
 into its proper place, its neighbour-sounds took up their positions with perfect 
 harmony. The framework of the scale was, however, larger than the number of 
 known sounds could fill ; but the gaps which remained here and there showed 
 the exact places of other possible varieties ; and experiment proved that the 
 missing sounds could all be produced by organic arrangements corresponding 
 with the theoretical classification. In fact, any desired sound, known or 
 unknown, could be produced at pleasure by first adjusting the organs tentatively 
 for its neighbour-sounds, and then allowing these to coalesce, as it were, into an 
 intermediate. 
 
 The most perfect facility, too, was found in evoking in this way, totally 
 unheard vowels from the organs of other persons ; and this fact led to the 
 discovery, — which had not hitherto been reached, — that the scheme, thus 
 demonstrably Physiological, solved the problem of a UNIVERSAL ALPHABET. 
 
 A new stimulus was thus given to the prosecution of the subject, and the 
 Consonants were investigated in the light shed on the oral actions by the 
 Vowel Scales. 
 
 The Consonants were much more easily classified, as their organic formation 
 was more obvious ; and former results had left comparatively little to be done 
 in order to form a correspondingly complete scale. An important discovery 
 was, however, made in tabulating these elements : their relation to the various 
 parts of the Vowel Scale was ascertained ; the true cause of consonantal, as 
 distinct from vowel effect, was made manifest, and a New Class of Elements, 
 intermediate to vowels and consonants, w^as recognised. These ' glides,' or true 
 semi-vowels, completed the scheme of Linguistic Sounds, joining the vowels and 
 consonants into one harmonious scale. 
 
 The classification proved its own completeness, by the unbroken catenation 
 of the sounds, and it now became possible to indicate with absolute precision a 
 
18 
 
 multitude of nice discriminations in the oral adjustments, from each of which 
 some difference of phonetic effect necessarily and uniformly resulted. 
 
 If it were but possible to symbolize these distinctions with practicable 
 simplicity, the resulting alphabet would represent not merely every language, 
 but every dialect, and even every idiosyncrasy of speech ! 
 
 Here was a new object to be aimed at, — grand in its utility, worthy of all 
 effort for the sake of science, — but apparently beyond hope of success. The 
 Alphabetic Conferences held in London in 1854, — under the presidency of 
 Chevalier Bunsen, the Prussian Ambassador, — and attended by the most dis- 
 tinguished philologists of several countries, had declared that — ' it would be 
 useless and impossible to attempt to find for each possible variety of sound a 
 different graphic sign.' Nevertheless, these learned men might be mistaken ; 
 they certainly did not comprehend the relations of the sounds of speech as they 
 had now been ascertained. Their Conferences were fruitless, from the avowed 
 want of the requisite 'Physiological Basis' for a complete Alphabet. Here was 
 the ' Basis' undoubtedly laid. The Cosmopolitan Graphic Structure might, 
 after all, be raised. Pen, ink, and paper, cost little ; ' the labour we delight in 
 physics pain ;' nil desperandum ! The attempt was diligently prosecuted. 
 
 The problem, was: — To construct a Scheme of Symbols, which should 
 embody the whole classification of sounds, and make each element of speech 
 shew in its symbol the position of its sound in the organic scale. 
 
 The adoption of letters from existing alphabets was obviousl}- irreconcilable 
 with the desired conformity of symbol to sound. There were six sets of purely 
 lingual vowels to be provided for, each set consisting of three sounds, dependent 
 on relative difference of aperture ; besides which, there were corresponding sets 
 of ' rounded,' or labio-lingual formations ; making a total of thirty-six organi- 
 cally distinct simple VoWELS. There were also the CONSONANTS, of corres- 
 ponding organic classes to the vowels, with all their nice gradations of effect 
 dependent on the exact point of contact or friction ; and there were the Glides 
 allied to both sets of elements. 
 
 The consideration that all these varieties of elementary sound resulted 
 mainly from the evolutions of a single organ — the tongue — happily suggested 
 the idea of representing each class of elements by a Single Radical Symbol ; 
 and the realization of this idea became the final object of effort. 
 
 Definiteness of aim achieved a speedy success. The result was simple 
 
19 
 
 beyond hope ; the Mono-Symbolic idea being, as the Reader will perceive, 
 carried out in every part of the Scheme, for vowels, consonants, and glides. 
 
 In the early part of 1864, the New System of Letters was completed, and 
 all the hitherto undelined 'airy nothings' of human speech received each 
 
 ' A local habitation and a name.' 
 
 The correlation of the Sounds and Symbols rendered the latter SELF- 
 INTERPRETING to those who possessed the key to the symbolism, and so 
 converted the UNIVERSAL ALniABET, which had been the object of the 
 designer, into a real Visible Speech ; — the latter constituting, in fact, a new 
 Science, — adapted for the use of all mankind ! 
 
 The Invention was without delay brought to the test of public experiments 
 in the Writing of Languages. The Inventor's Sons acquired a perfect know- 
 ledge of the System in a few days, and were enabled to pronounce, at sight, 
 the most difficult and peculiar words that could be selected from the Eastern 
 and other Languages ; involving often combinations of sound which the readers 
 had never heard before their own organs gave them utterance. 
 
 Practical success having been thus demonstrated and certified by the 
 Linguists who had dictated the experimental tests,* the System was forthwith 
 offered to the British Government for publication without Copyright, as a gift 
 to the Nation and the world : the only condition being, that the cost of casting 
 the new Types, and communicating the Theory of the System, should be 
 defrayed from public resources. The result may be seen in the Preface. 
 
 The entire System of Visible Speech has, before publication, been written 
 above a score of times on various plans, with the view of securing the utmost 
 simplicity and perspicuity in presenting its principles. It is hoped that these 
 qualities will be manifest in the ultimate draft which is now submitted to the 
 public. The Invention having also undergone close revision in all its details at 
 each transcription, as well as having been made the subject of constant experi- 
 ment during the years that have elapsed since its completion, is now, it is 
 believed, perfect for its purposes, and Vvill probably be found to require no 
 additions or alterations, however extended its uses may become. 
 
 Among the special uses of 'Visible Speech,' the following may be 
 indicated : — 
 
 * For a record of the experiments, see Pamphlet ' Visililo Speech,— A New Fact Pomcnstrnted.' Londini : 
 Hamilton, .\danie & Co. 
 
20 
 
 SPECIAL USES OV THE INVENTION OF VISIBLE SPEECH. 
 
 I. The teaching of the ILLITERATE in all countries to read their Vernacular 
 Tongue in a few days. 
 
 The certainty of accomplishing this result should incite philanthropic 
 societies and individuals to the most widely sustained efforts for the enlighten- 
 ment of the 'latent tracts' of communities. The worst vices of society are 
 undoubtedly nurtured in ignorance. 
 
 II. The teaching of the BLIND to read. 
 
 The small number of radical forms, and the distinct tangibility of differences 
 of position of the same form, render the Symbols of Visible Speech peculiarly 
 adapted for this purpose. 
 
 III. The teaching of the DEAF AND DUMB to speak. 
 
 In this department, very striking results may be confidently anticipated. 
 The Deaf and Dumb possess all the organs of speech, and only require to be 
 directed visibly in their use. The feeling of organic action will probably be 
 developed by practice to a keenness corresponding to that which the sense of 
 touch acquires among the Blind. 
 
 IV. The communication of the exact sounds of FOREIGN LANGUAGES to 
 learners in all countries. 
 
 The advantages of this facility will be experienced in connection with the 
 Foreign Ser\^ices abroad ; with Geographical and other Expeditions ; with 
 Political Embassies, Christian Missions, Commerce, General Education, &c. 
 
 V. The establishment of a STANDARD of the NATIVE PRONUNCIATION of 
 any language. 
 
 In the case of almost every language this is a desideratum, the want of 
 which has been productive of great domestic and international inconvenience ; 
 and the supplying of this want will, of course, achieve a corresponding amount 
 of social and scholastic benefit. 
 
 VI. The Prevention and Removal of defects and IMPEDIMENTS of Speech. 
 In dealing with these, ' knowledge ' of the mechanisms of speech is, 
 
 emphatically, 'power' of correction. Such habits should, now that these 
 mechanisms have been plainly revealed, be easily and ctx\.2:m\y prevented. 
 
21 
 
 VII. The Telegraphic communication of messages in any language, 
 through all countries, without translation. 
 
 Visible Speech does not interfere with the use of ordinary alphabets in 
 literature, &c. ; but for international purposes it may very advantageously 
 supplant all local alphabets, Roman letters have been fully tried, and found 
 sadly wanting in Telegraphy. 
 
 VIII. The study, comparison, and preservation of fast-disajipearing 
 Dialects, and the universal tracing of the AFFINITIES OF WORDS. 
 
 The Science of Etymology has been hindered by nothing more than by the 
 want of a Universal Alphabet. Visible Speech furnishes more than this, or 
 than scholars have hitherto dared to hope for. The relations of sounds will now 
 need no research or elaborate disquisition, as every relation, whether organic or 
 mechanical, will be distinctly legible in the literal Symbols themselves. The 
 Science of Comparative Philology should be vastly advanced by this Invention. 
 
 IX. The speedy diffusion of the language of a mother country throughout 
 the most widely separated COLONIES. 
 
 This is only one among many similar Political benefits to be derived from 
 the New System of Letters. The acquisition, by Rulers, of the languages of 
 their Colonial Subjects, will, of course, be facilitated in an equal degree. 
 
 X. The world-wide communication of any specific sounds with absolute 
 uniformity ; and, consequently, the possible construction and establishment of 
 a UNIVERSAL LANGUAGE. 
 
 Without such a medium of self-interpreting letters, the establishment of a 
 Universal Language might fairly be deemed an impossibility. By means of 
 Visible Speech, if at all, this Dream of Philosophers will be realized. The 
 foundation is laid, and the Linguistic Temple of Human Unity may at some 
 time, however distant the day, be raised upon the earth. 
 
 EXPERIMENTAL APPLICATIONS OF VISIBLE SPEECH. 
 Since the Pamphlet was printed in which the earlier experiments in appli- 
 cation of Visible Speech were recorded, the list of Languages from which tests 
 have been furnished has become much more extensive. It is unnecessary to 
 swell the bulk of this volume with fresh citations. There has been no single 
 instance of failure in connection cither with tlic sounds of Languages or 
 
22 
 
 Dialects, or in the writing- of Arbitrary peculiarities. For the sake of showing 
 the mode in which the experiments were conducted, the following description is 
 quoted from a letter to the 'Reader,' by Alexander J. Ellis, Esq., F.R.S. :— 
 
 " The mode of procedure was as follows : Mr Bell sent his two Sons, who 
 were to read the writing, out of the room, — it is interesting to know that the 
 elder, who read all the words in this case, had only had five weeks' instruction 
 in the use of the Alphabet, — and I dictated slowly and distinctly the sounds 
 which I wished to be written. These consisted of a few w^ords in Latin, pro- 
 nounced first as at Eton, then as in Italy, and then according to some theoretical 
 notions of how the Latins might have uttered them. Then came some English 
 provincialisms and affected pronunciations ; the words ' how odd,' being given 
 in several distinct ways. Suddenly German provincialisms were introduced. 
 Then discriminations of sounds often confused, crs, is^ (Polish) ; eesh, ich 
 (German) ; ich (Dutch) ; ich (Swiss) ; oul, oui (PVench) ; wc (English) ; wie 
 (German) ; ine (French). Some Arabic, some Cockney-English, with an intro- 
 duced Arabic guttural, some mispronounced Spanish, and a variety of shades 
 of vowels and diphthongs. * * * The result was perfectly satisfactory ; — that 
 is, Mr Bell wrote down my queer and purposely-exaggerated pronunciations 
 and mispronunciations, and delicate distinctions, in such a manner that his Sons, 
 not having heard them, so uttered them as to surprise me by the extremely 
 correct echo of my own voice. * * '" Accent, tone, drawl, brevity, indis- 
 tinctness, were all reproduced \\\\\\ surprising accuracy. Being on the watch, I 
 could, as it were, trace the alphabet in the lips of the readers. I think, then, that 
 Mr Bell is justified in the somewhat bold title w^hich he has assumed for his mode 
 of waiting — 'Visible Speech.' I only hope that, for the advantage of linguists, 
 such an alphabet may be soon made accessible, and that, for the intercourse of 
 nations, it may be adopted generally, at least for extra-European nations, as for 
 the Chinese dialects, and the several extremely diverse Indian languages, where 
 such an alphabet would rapidly become a great social and political engine." 
 
 No man could be better qualified to form a correct judgement in reference 
 to these experiments than the eminent Author of ' The Essentials of Phonetics ;' 
 and it was a confidence only due to Mr Ellis's disinterestedness, and promptitude 
 in recognising the merits of Visible Speech, which led the Author to invite that 
 Gentleman, at a later period, to inspect the Theoretical details of the Invention. 
 
23 
 
 Mr Ellis's second letter to the ' Reader,' (August 5th, 1865,) descriptive of what 
 he now knew theoretically as well as practically, is subjoined in cxtenso : — 
 
 " In your number for September 3, 1864, vol. iv., page 303, you gave insertion 
 to a letter which I addressed to you concerning Mr Melville Bell's new system 
 of expressing speech-sounds by written symbols. I had then been favoured 
 with a private demonstration of its capabilities, which I had tested to the best 
 of my power ; and I was able to give a most satisfactory report to that extent. 
 But I did not know the forms of the letters, or what each individual letter repre- 
 sented, or how they were to be combined, or what was the theory on which the 
 extraordinary results I witnessed was based ; and I was, therefore, obliged to 
 qualify m.y opinion. Mr Melville Bell and his two Sons have now been kind 
 enough to devote several hours to explaining to me thoroughly the whole 
 phonetic theory and plan of symbolization, and to read and exhibit on paper 
 before me examples of its use, sufficiently numerous to enable me to form a 
 complete judgement of its powers and merits. I take the liberty, therefore, in 
 the interest of science, to complete the information I gave you, so far as I am 
 at liberty to do. I may add, that I have no sort of connexion, pecuniary or 
 personal, with Mr Melville Bell's scheme ; that I have not been of the slightest 
 assistance to him in its construction ; and that persons might even rather suspect 
 me of wishing not to forward a scheme which will, I believe and hope, thoroughly 
 supersede one on which I have laboured for many years, and expended much 
 money. My impressions in favour of Mr Bell's scheme are so strong, tliat it is 
 necessary for me to guard against any suspicion of being biassed in giving them 
 expression. 
 
 "As I write I have a full and distinct recollection of the labours of Amman 
 (Surdiis Loquens, 1692 ; Disscrtatio de Loqiield, lyoo) ; De Kempelen (Le 
 Mecanisine de la Parole, lygij ; Johannes Miiller (Handbuch der Physiologic, 
 book iv., sec. 3., Von der Stitmne nnd Sprache, German, 1834, French, by 
 Jourdan and Littre, 185 ly* ; K. M. Rapp (Versuch ciner Physiologic der Spracke, 
 4 vols., 1836 — 1841^' ; C. R. Lepsius (Standard Alphabet, second English edition, 
 1863J ; E. Briicke ( Grundziige der Physiologic und Systeviatik der Sprachlantc, 
 1856; ; S. S. Haldeman (Analytic Orthography, 1860J ; Max Miiller (Proposals 
 for a Missionary Alphabet, prefixed to his Survey of Languages, 1855 ; Physio- 
 logical Alphabet, in his Lectures on the Science of Language, series ii., lecture 3, 
 1864^). To these I may add my own works {The Al/^habct of Nature, 1S45 ; 
 
24 
 
 The Essentials of Phonetics, 1848; Universal Writing and Pri?iting, 1856^); 
 together with a host of other works of more or less pretension and value, which 
 it would be too long to enumerate. The above treatises contain, perhaps, a com- 
 plete account of the present state of phonetical knowledge, so far as has been 
 published. 
 
 " Now, it is with this full and distinct recollection of works, which I have not 
 only read, but studied, many of them with great care and attention, that I feel 
 called upon to declare that, until Mr Melville Bell unfolded to me his careful, 
 elaborate, yet simple and complete system, I had no knowledge of alphabetics as a 
 science Much had been done. The mechanism and physiology of voice-sounds 
 had been carefully and profoundly studied. Excellent and elaborate attempts at 
 analyzing speech-sounds had been made. Various alphabets, local and universal, 
 had been planned. Contributions to the philosophy of alphabetics of great 
 value, indispensable observations and experiments, had been recorded and 
 many more are doubtless required. But alphabetics as a science, so far as I have 
 been able to ascertain — and I have looked for it far and wide — did not exist. 
 We did not know what elementary sounds or modifications of sound should be 
 expressed, and the art of expressing such as had been pretty generally received 
 was in a state of the utmost confusion. I should be loth to say that Mr Melville 
 Bell's scientific system of alphabetics admits of no improvement. It would be 
 strange if it did not. But it has all the present appearance, on the one hand, of 
 satisfying the wants of science, and, on the other, of fulfilling the demands of 
 practice. 
 
 " Mr Melville Bell, in forming an alphabet, rejected all existing alphabets. 
 They were all formed on very imperfect knowledge, or superficial observation. 
 He applied himself directly to the organs of speech, with which his long practice 
 as a corrector of the defects of utterance had rendered him familiar in all their re- 
 lations. The different forms of the glottis, the different modes of driving the 
 air from the lungs and the passages it traversed, the various ways of altering or 
 modifying the positions assumed by the organs of speech, first engaged his 
 attention ; and the skill with which he has hit upon the general modifications, is 
 one of the most remarkable parts of his system, leading to a series of diacritic 
 symbols of universal applicability, giving an almost unlimited power of express- 
 ing shades of sound and peculiarities of utterance, without loading the memory 
 of the reader with an impossible variety of literal forms. Next came the con- 
 sideration of the vowels, and their treatment is at once complete and original. 
 
The size and shape of the aperture allowed for the passage of vocalized breath 
 forms the basis of the arrangement, and the relations of the apertures thus 
 formed, with their modifications at either extremity, labial and pharyngal, give 
 a philosophical and, indeed, musical scheme of the relations of the vowel sounds. 
 The power thus obtained of showing, by the very form of the symbol, how to 
 produce the vowel sound, is really astonishing to those whose study of vowel 
 sounds has shown them the extreme difficulty of conceiving the method of 
 uttering or imitating them w^hen spoken. So perfect is the present arrangement, 
 that a simple name is given to each vowel heard, depending entirely on the shape 
 and modification of the wind passage, by which its power is conveyed with ease 
 to those who have been properly instructed in the meaning of the words em- 
 ployed. The numerous examples which Mr Melville Bell and his Sons gave me 
 of the facility with which delicate distinctions in English pronunciation — as, for 
 example, between the vowels in slum and meniio/i, nest and goodness ; princip/i;', 
 princip^?/, and principc?/ity — and difficult Scotch and Irish dialectic vowels, could 
 be symbolized and understood, w^ere most interesting and satisfactory. No 
 approach to such a perfection of analysis and symbolization of the vowels has 
 yet fallen under my notice. Lastly came the consonants ; and here, too, 
 although they have been generally much better understood than the vowels, the 
 treatment is very original, and apparently exhaustive. I need only allude to the 
 method of marking the position and shape of the tongue with respect to the 
 palate, and the general modifications whereby the great variety of consonants 
 thus formed is reduced to a rational and intelligible order. Nor must I omit to 
 mention the mode of indicating glide sounds, during which the organs change 
 their position, and which, therefore, assume a kind of middle place between 
 consonants and vowels. 
 
 " As it would be impossible to give illustrations, the above general remarks 
 must suffice as an outline of the theory. To those who endeavour to pick up 
 conceptions of speech-sounds from the confused accounts of ordinary writers 
 (which are certainly sufficient to drive one to despair by their vagueness and 
 figurative language, differing for almost each country and each traveller or 
 grammarian), such a theory may seem terribly difficult. But treated practically, 
 by one who thoroughly understands it, it will be found extremely easy. There 
 is nothing vague, nothing figurative. Each symbol, and each part of a symbol, 
 has a meaning, and contains a direction for utterance. TAej^ are ivonis of 
 command, ivhich any ratv recruit can obey after proper drilling. When an 
 
20 
 
 Englisman talks of hard and soft c, he has a meaning, no doubt ; but it is very 
 different from what an ItaHan or Spaniard would understand. What does a 
 Saxon mean by hard and soft, when he calls p hard, and b soft ? Something 
 very different. What are the thick and thin, heavy and light vowels or conson- 
 ants of different nations ? These words evidently do not tell any one U'hat is to 
 be done. No one could he trained by them. But they have served to pervert 
 men's minds, and render them unable to describe or understand a real description 
 of sound. A well-known Orientalist, the other day, was surprised that Mr Bell 
 could not write a sound from description, which the describer could not himself 
 pronounce ; and was dissatisfied by having his own utterance of another sound 
 photographed, when he wished to hear the sound of his conception. All this 
 arises from extremely imperfect knowledge of certain landmarks of sound which 
 Mr Bell's system, when properly taught, at once establishes. But it will not teach 
 itself; owing in part to this prevailing ignorance, and in part to varieties of 
 pronunciation affecting the key- words. If Mr Bell were to publish his system 
 as a book, it might be doomed to repose on the .same shelf with the Real 
 Character of Bishop Wilkins (which also contains an admirable analysis of 
 speech-sounds). Mr Bell can only teach it by transfusing it into living organisms 
 which will give his written symbols notion and meaning. Would the best book 
 on military manoeuvres, thrown on the world, make men mass together and 
 march and countermarch with precision and certainty } It could at most but 
 incite a few minds to drill the multitude. But how inefficiently would they do 
 it, in comparison with those v/ho had themselves been drilled and directed by the 
 man who conceived the manoeuvres ! It is the same in the practice of music, 
 drawing, sculpture, or any mechanical manipulation. It cannot be described, 
 it must be taught, shown, drilled into the pupil, to whom the book only serves 
 to recall the master. Hence, if the world will enjoy the benefit, the great 
 scientific and practical benefit, of Mr Melville Bell's discovery, it must place him 
 in a position to communicate it to proper teachers, by whom it may be conveyed 
 in an ever-widening circle. It is not a case in which a man can do this for 
 himself, without ample, independent means ; and even then \\t would have little 
 chance of success, if the importance of his mission did not receive a public 
 recognition. For this reason, Mr Melville Bell appeals to the Government of the 
 country ; and his appeal should be backed on the same principle which induced 
 France to give Daguerre a pension for his discovery. The benefit is one for 
 
27 
 
 mankind, which cannot sufficiently reward the individual ; and the benefit may 
 therefore be lost by death, if not secured at once. 
 
 " Allow me to say a few words respecting the mechanical arrangements of the 
 alphabet. When I first turned my attention to inventing letters, I learned ' to 
 work at case and press,' that I might know what would or what would not, be 
 practicable. Mr Melville Bell has been, perhaps, too anxious to reduce the 
 number of his symbols. He requires thirty-nine distinct types, of which many, 
 having a perfectly square face (as an in), can be used in four positions 
 (as m Jii § S ), giving four distinct symbols. This renders certain typographical 
 arrangements necessary that, I think, would be best avoided. Such a defect, if 
 it be really a defect, is, however, a small matter of detail, which is easily 
 arranged, and could be at once overcome by increasing the number of types.* 
 They would even then not be too numerous. The shapes of his letters are not 
 founded on those of any existing alphabet, although a few of them accidentally 
 recall some of our letters. They have direct reference to the positions of the 
 organs of speech, and thus can be read at sight into the words of command 
 which the organs have been drilled to obey. By a happy contrivance, the vowels 
 have such a remarkably different appearance from the consonants, that they 
 strike the eye at once, and hence determine the number of syllables of which 
 the word consists. Mr Bell considers that the forms of the letters would be easy 
 for the blind to recognise by touch ; but of this I am no judge. Their great 
 peculiarity is, that each letter has its genus immediately marked upon it, by its 
 general contour, and its species by the detail of the contour ; its varieties by 
 diacritics of peculiar kinds. Thus we see at once that the sounds of /, d, are of 
 the same genus, and that the sounds of /, b, are also of one genus. Moreover, 
 we see that the specific distinction between /, d, is the same as the specific dis- 
 tinction between/, b, — a fact quite obscured in our ordinary letters, although also 
 shown thus far (and somewhat further, but by no means consistently) in Mr I. 
 Pitman's Phonography. But again, to /, d, are related s, r:, and also Welsh //, 
 and /; and these relations are again shown in type, the specific differences being 
 
 * The difficulty alluded to by Mr Ellis has been obviated in the typography of the system as now arranged. 
 The vowels were originally written with lines ascending beyond the consonants, and the spaces over the square 
 letters were filled with blank types. The alphabet as shown in the present work consists of ' capital' letters ; the 
 ' lower-case' alphabet (with ascending and descending vowel-lines) is now obtained, without blank types, by 
 simply casting ihe consonants on oblong instead of square bodies. This mctliod adds 12 typos to tlie number 
 employed in the ' capital' alphabet. Lithographic illustrations of the ' lower-case' alphabet will be found at 
 the end of this volume. 
 
 D 
 
28 
 
 the same as before, and shown in the same way. I can obviously only allude 
 to the simplest and best understood relations, but this may be sufficient to show 
 the principle. The specific difierence between these pairs is the presence or 
 absence of vocalized breath ; and the specific mark of difiference is derived 
 from the sign for ' the natural vowel,' which is again derived from the form 
 of the glottis necessary for vocalizing breath ; and thus the whole system is 
 bound together by a philosophical and scientific chain, 
 
 " How the work of the missionary and philologist would be facilitated by 
 the use of such an alphabet — which at once enables them to exhibit sounds that 
 no existing alphabet can even vaguely imitate, and to show their relations to 
 one another at a glance, and thus exhibit the relations of languages now forcibly 
 concealed by differences of alphabetic character, or by different usage of the 
 same alphabetic character — I need scarcely indicate. Leaving out of considera- 
 tion, then, what may be naturally considered the first practical and scientific 
 applications of such a mighty instrument as lies ready to be used when we call 
 it from its obscurity, its immediate home uses would be of great educational 
 value. If the teachers in our schools were drilled in the use of such an alphabet, 
 even only to the extent of European sounds, they could correct all mispronun- 
 ciations ; they could overcome, to a great extent, all natural defects of utterance 
 — as stammering, stuttering, and the like ; and they could prepare their pupils 
 to pronounce foreign languages in a manner that would not so seriously offend 
 the native's ear as our present " Stratford atte Bowe scole" fashion. Moreover, 
 without attempting to alter the established orthography of any country (leaving 
 that to the wisdom of our descendants, which it would be hard to suppose less 
 than that of our ancestors, who did change their orthography and alphabet), a 
 sufficient number of books in Mr Bell's alphabet (it is without a name, — why not 
 le hel alphabet f) might be published, being reprints of classical works readily 
 obtained in the usual alphabet, to render the acquisition of the pronunciation of 
 our own or any Continental tongue easy and exact. It is a simple statement of 
 fact to say that no system of marking our pronunciation which has hitherto been 
 adopted (not excepting Walker's, Smart's, Worcester's, or the phonetic systems 
 adopted by myself, or subsequently in America, and still more lately in the 
 presumed improvements by Mr I. Pitman) has succeeded in marking the extent 
 of national peculiarities of English speech, to the accuracy possible in Mr Bell's 
 system. 
 
 " I am afraid my language may seem exaggerated, and yet I have 
 
29 
 
 endeavoured to moderate my tone, and have purposely abstained from giving 
 full expression to the high satisfaction and pleasure which I have derived from 
 my insight into the theory and practice of Mr Melville Bell's ' Visible Speech,' 
 as it is rightly named." 
 
 The following Editorial article from the "Athenaeum" of July 15th, 1865, 
 was also founded on an examination of the Theory of the System : — 
 
 " Mr Alexander Melville Bell, who has for many years attended to the 
 removal of defects in pronunciation, produces a method of writing sounds : this 
 method is submitted to the severest tests with perfect success. It consists in 
 picturing by totally new symbols the action of the several organs of speech, tongue, 
 lips, teeth, &c. Each one of the symbols is a direction to do something : so that if 
 the user of it had forgotten the sound it represents, he would be taught it again 
 by merely following directions. The symbols, of course, represent the most 
 elementary actions of the organs : put together, they produce compounds. A 
 full sneeze, for example, is a complex operation : it comes among what are 
 called inarticulate sounds ; but Mr Bell writes it down, and, for aught we know, 
 could undertake to furnish every member of the House of Commons with a 
 symbol representative of his own particular sneeze, as distinguished from those 
 of all his colleagues. 
 
 " We, and many others, have seen this method tested in the following way. — 
 Mr Bell sends his two Sons out of the room, and then invites the company to 
 make words in any language, pronounced rightly or wrongly, and sounds of any 
 kind, no matter how absurd or original : for it is the success of this method that 
 whatever the organs of speech can do, the new alphabet can record. Mr Bell 
 tries each sound himself, until the proposer admits that he has got it : he then 
 writes it down. After a score of such attempts have been recorded, the young 
 gentlemen are recalled, and they forthwith read what is presented to them, re- 
 producing to a nicety, amidst general laughter and astonishment, all the queer 
 Babelisms which a grave party of philologists have strained their muscles to in- 
 vent. The original symbols, when read sound after sound, would make a Chris- 
 tian fancy himself in the Zoological Gardens. 
 
 " The utility of such a method is obvious : it is clearly one of those steps of 
 which people admit the utility so long as they can deny the practicability ; and 
 
30 
 
 then, when obHged to admit the practicability, they deny the utiHty. Mr Bell 
 has formed a wide opinion of the range of application of his invention. He 
 may, or may not, be fully justified : but every one can see a great deal of what 
 he sees. To communicate through the telegraph by pure sounds, independently 
 of meaning, so that Arabic or Chinese may travel from a clerk who knows not 
 a word, to another just as unlearned as himself : to teach the dumb how to speak 
 by instructing them in the actual use of their organs : to take down the sounds 
 of foreign languages, especially those of savages, and to transmit them home : 
 to learn how to pronounce a foreign language by interlinear use of the alphabet 
 of sounds : — will be a very pretty instalment. And while this is being gained 
 the rest may be discussed. 
 
 " Mr Bell comes forward with a petition to the Government. He asks just this 
 — that the nation will be at the expense of casting his types and circulating 
 his method ; also that he may be enabled to give to a sufficient number the re- 
 quisite oral instruction. He submits that if he should be obliged to do all this 
 for himself, his system will be freely given to all the rest of the world, but re- 
 stricted within the British empire, by the action of the law of copyright. We 
 sincerely hope that he will be taken up, either by the Government or by the part 
 of the public especially concerned. To us it seems that the Missionary Societies 
 alone would find it worth their while to bear the whole expense. But we should 
 best like to see the Crown forward in putting before the world — after still further 
 and sharper testing, of course — a discovery which, if it be what we cannot doubt 
 it is, must be called the final victory over a difficulty as old as written language, 
 and an obstacle which has seemed to inhere in the nature of writing itself. 
 
 " This system was perfectly completed in April 1864. As long ago as 1849, 
 Mr Bell published a work in which he said, ' It would really be a matter of but 
 little difficulty to reconstruct our alphabet, and furnish it with invariable marks 
 for every appreciable variety of vocal and articulate sound.' But when he came 
 to the attempt, he found some lions in the path, which, as is the nature of that 
 sort of lion, did not show themselves until the huntsman came close to their 
 dens. The monsters were successfully attacked : but they took a long time to 
 conquer. That they are conquered, has been seen. 
 
 " All that has hitherto been tried is the attempt to put the letters of a lan- 
 guage or languages into symbols. We remember a work of the last century 
 which professed to symbolize accent, rythm, and cadence. A great many efforts 
 have been made to spell M'ords : but the system before us spells speilmg." 
 
31 
 
 If the Author has to complain of the insouciance of Government Officials 
 in reference to his proposition for a free promulgation of ' Visible Speech,' he 
 has no cause for any other feeling than that of the highest satisfaction on 
 account of the interest uniformly shown by the Press ; as well as by all who 
 have witnessed the experiments in application of the Invention. Among the 
 latter, he desires to mention the name of Professor S. S. Haldeman (of Columbia, 
 Pennsylvania, U.S.) — Author of the Trevelyan Prize Essay on ' Analytic 
 Orthography' — whose warm appreciation deserves this special acknowledgement. 
 
 A distinguished Bohemian Linguist, Cenek Sercl,* who, while still a 
 young man, has rivalled, if not surpassed, the renowned achievements of Cardinal 
 Mezzofanti, has favoured the Author with the following letter, which he has 
 much pleasure in presenting here : 
 
 " 37 Museum Street, 6th September i866. 
 " At the request of Mr Bell, I dictated to him many of the most difficult 
 words of the Bohemian language, which were after^vards read by his Son, who 
 having been absent at the time of dictation, did not hear me pronounce them, 
 but nevertheless pronounced them in a very satisfactory manner, and extremely 
 intelligibly. I also selected the most difficult words in almost all European, and 
 five Asiatic languages, which were then written down by Mr Bell according to 
 his system ; his Son having been again called in, read them most correctly, 
 pronounced every syllable very distinctly, and put the right accent on every 
 word. Though I am not acquainted with the particulars of this truly remark- 
 able system, yet I dare say, that as far as I know, there does not exist any 
 system, nor did, which would express the most different peculiarities of 
 human speech and mode of utterance, in a manner so satisfactory as Mr Bell's 
 system really does. I am therefore happy to state, that in my opinion this 
 system, as being perfectly original, and, as far as outward appearance goes, most 
 simple indeed, is of the highest practical value ; the more so at a time when the 
 idea of a general alphabet is becoming a question of the highest importance. 
 
 " Cenek Sercl." 
 
 (* Pronounced DOCO?iia C^lOQCGOl) 
 
TABULAR EXPOSITION 
 
 OF 
 
 VISIBLE SPEECH. 
 
35 
 
 COMPLETE TABLE OF RADICAL SYMBOLS. 
 
 The fundamental principle of Visible Speech is, that all Relations of 
 
 Sound are symbolized by Relations of Form. Each organ and each mode of 
 
 organic action concerned in the production or modification of sound, has its 
 
 appropriate Symbol ; and all Sounds of the same nature produced at different 
 
 parts of the mouth, are represented by a Single Symbol turned in a direction 
 
 corresponding to the organic position. 
 
 The following are all the Radical Symbols ; — 
 
 I O The Throat open. [Aspirate.] 
 
 2* " " contracted. [Whisper.] 
 
 3 X " " closed. [Glottal Catch.] 
 
 4* I " " sounding. [Voice.] "| The Stems of all 
 
 5* J " " " and the lips ' rounded.' j Vowels. 
 
 6* C Part of the Mouth contracted, "i ^, ^ r ,. ^ 
 
 y^Thc Stems of all Consonants. 
 7* C " " " divided. j 
 
 8* i The Nasal Valve open. [Soft Palate,] 
 
 9* • Vowel Definer. ) r ■ , 
 
 ,,,. , ,, , ^ ^ Moined to 4 and 5. 
 lO"^ n Wide Vowel Definer. j 
 
 II* I Shutter. Joined to 6. 
 
 12* ^ Mixer, Joined to 6 and 7. 
 
 13 \ Consonant Definer. 
 
 14 Y Force Director. 
 
 15 > Breath Director. 
 
 16 c Tongue Director. 
 
 1 7 • Stopper. 
 
 18 I Divider. 
 
 19 \ Vibrator. 
 
 20 \ Holder, or Long. 
 
 2 1 t Abrupt. 
 
 22 ' Hiatu.s. 
 
 23 o Link. 
 
 24 ' Accent. 
 
 26 
 
 27 
 
 28 ' J 
 
 r Modulators. 
 
 » Of these Symbols the Ten marked » make up all the Vowel and Consonant Letters, as shown in the 
 next Table. 
 
36 
 
 THE TEN RADICAL SYMBOLS, 
 From which all Vowel and Consonant Letters are formed. 
 I- 2. 3. 4- 5. 6. 7. 8. 9- 10. 
 
 I I I I I • I " I I c I C I ^ I I It I 
 
 examples of letter-combinations. 
 
 Letters. Letters. 
 
 1 3 &c., combining i and 3 
 
 1 3 &c., 
 
 1 } &c., 
 
 1 J &c., 
 5 
 % 
 
 e I 
 I 
 
 G 
 
 I ' 
 
 ' 4- 
 
 2 ' 
 
 ' 3- 
 
 2 ' 
 
 ' 4- 
 
 5 ' 
 
 ' I. 
 
 5 ' 
 
 ' 10. 
 
 I • 
 
 ' 6. 
 
 2 ' 
 
 ' 6. 
 
 6 ' 
 
 ' 8. 
 
 e 
 
 combining 6, 8, and i. 
 
 a 
 
 
 6 and 9. 
 
 G 
 
 
 6, 9, and i. 
 
 a 
 
 
 6, 9, and 10. 
 
 e 
 
 
 6, 9, 10, and i 
 
 8 
 
 
 7 and I. 
 
 c 
 
 
 7 and 8. 
 
 e 
 
 
 7, 8, and i. 
 
 Complete Alphabet of Types, 
 capitals. 
 
 Co7isonants.— \(> in number. 
 
 lOlOIClGlGIC aiGi 
 
 ixieicieieiB gigi 
 
 
 Vowels.— 20 in number. 
 
 
 1 1 1 T 1 I 1 3 1 11 1 1 I 1 £ 1 3 IX 1 
 
 W 
 
 i 1 f UU 11 i II f 1 J 
 
 ^l 
 
 Lower Case' Letters (not employed in this Work.) 
 
 Consonants y 
 {28 in number.) 
 [Narrower and smaller letters of the 
 same shapes as the Capitals.] 
 
 glides, 
 (7 in number.) 
 
 mis !n?uui 
 
 Vowels, 
 (20 in number.) 
 [Letters of the same shapes as the 
 Capitals, but ascending or de- 
 cending beyond the Consonants.] 
 modifiers. 
 (14 in number.) 
 
 n 
 
 m ? I n n A I M i I c I > I •> I > I ■ I o 
 
 tones. — (4 in number.) 
 
 |-|-r r I 
 
 All the Types arc reversible, to show kindred sounds of different organic formation. 
 The Letters are to be learned by their names independently of sounds. 
 The names of the Letters describe the organic positions which /;W/^a' the sounds. 
 The following Table shows the name of each letter : — 
 
37 
 
 COiMPLETE TABLE OF LETTERS,— WITH TIIITR NAMES. 
 
 Consonants. 
 
 Voivds. 
 
 Aspirate, 
 
 Throat, 
 Throat Voice, 
 
 Back, 
 Back Voice, 
 
 Front, 
 Front Voice, 
 
 Point, 
 Point Voice, 
 
 Lip, 
 Lip Voice, 
 
 o 
 
 
 
 
 
 
 
 
 
 
 
 X 
 
 
 e 
 
 
 
 
 
 
 c 
 
 C 
 
 C 
 
 C 
 
 a 
 
 Q 
 
 c 
 
 ^ 
 
 8 
 
 B 
 
 G 
 
 G| 
 
 o 
 
 Q 
 
 CO 
 
 ^ 
 
 Q 
 
 Q ! 
 
 o 
 
 ^ 
 
 CO 
 
 ^2 
 
 O 
 
 Qj 
 
 o 
 
 ^ 
 
 CO 
 
 2^ 
 
 D 
 
 O 
 
 Q 
 
 ti5 
 
 CO 
 
 03 
 
 Q 
 
 05 
 
 
 
 D 
 
 3 
 
 ^ 
 
 D 
 
 O 
 
 3 
 
 3 
 
 3 
 
 e j 
 
 G 
 
 8 
 
 
 s 
 
 i;^? 
 
 3 
 
 a^ 
 
 
 High, 
 
 
 
 
 T 
 
 
 Mid, 
 
 
 3 
 
 
 I 
 
 
 Low, 
 
 
 J 
 
 
 I 
 
 
 High Round, 
 
 
 1 
 
 
 I 
 
 
 Mid Round, 
 
 
 1 
 
 
 ^ i 
 
 
 Low Round, 
 
 
 J 
 
 
 i ' 
 
 
 Glides 
 
 
 1 e 1 1 .° -^ 1 1 
 
 1 
 
 1 <|I 
 
 II5I n M M 21 ?u 
 
 ^1 
 
 Nasal. 
 
 \ 
 
 Nasal Mixed. 
 
 \ 
 
 Inner. 
 
 c 
 
 Outer. 
 
 
 
 Close. 
 
 
 Open. 
 
 < 
 
 
 
 Modifiers and Tones 
 
 
 
 
 Trilled. 
 
 <• 
 
 Suction Stopped. 
 
 t Abrupt. 
 
 - 
 
 Level Tone. 
 
 Divided. 
 
 ?> 
 
 Emission Stopped. 
 
 • 
 
 Hiatus. 
 
 / 
 
 Rising Tone. 
 
 Inverted. 
 
 [To Back.] 
 
 Protruded. 
 
 [To Lip.] 
 
 Stopped. 
 
 o 
 
 Link. 
 
 Accent. 
 
 Emphasis. 
 
 <r> 
 r 
 
 Whistle. 
 
 Voiced Whistle. 
 High Key. 
 
 V 
 
 A 
 
 Falling Tone 
 Compound R 
 Compound I 
 
 Suction. 
 
 1 
 
 Holder. 
 
 J 
 
 Low Key. 
 
 — 
 
 
 Order of Nomenclature. 
 
 Consonants : — Organ, first ; ' Voice' last. Thus : Back C ; Back-mixed, voice g ; Fror 
 divided, voice CO ; Front-mixed-divided, voice f^ ; Point-shut Xj ; Lip-shut, voice \ 
 Point-nasal O ; &c. 
 
 Vowels :— Elevation, first; 'Round' last. Thus: High-back 1 ; Mid-back, wide ] ; Lo' 
 mixed X ; High-front, Round { ; Mid-mixcd-widc, Round \ ; &c. 
 
 Glides: — 'Glide' last. Thus: I'reath-glide > ; Voice-glide, I; Lip Round-glide \\ &c 
 
38 
 
 DIAGRAMS SHOWING THE RELATION OF THE PRIMARY 
 ORGANIC SYMBOLS TO THE ORGANS. 
 
 CONSONANTS. 
 
 X Glottis closed, (catch.) 
 I " narrow, (voice.) 
 O " open, (aspirate.) 
 Super* Glottal Passage 
 
 contracted, (whisper.) 
 ( Soft Palate depressed, 
 
 (nasal.) 
 C Back of Tongue, (con- 
 tracting oral passage.) 
 O Front of do. ( do. ) 
 O Point of do. ( do. ) 
 O Lips, ( do. ) 
 
 VOWELS. 
 
 I Back of Tongue high. 
 I Back and Front do. do. 
 X Front do. do. 
 
 [The dotted lines show the 'high, 
 ' mid,' and ' low' positions of the 
 tongue, as subsequently explained.] 
 
39 
 
 Modifying. 
 
 EXPLANATORY TABLE OF SYMBOLS FOR CONSONANTS 
 AND GLIDES. 
 Cofisonants. 
 Throat-passage contracted. 
 
 Back of tongue contracting mouth-passage. 
 '* dividing " 
 
 " closing " 
 
 Breath. 
 
 
 
 c 
 
 G 
 
 a 
 
 Q 
 
 O 
 
 CO 
 Q 
 O 
 O 
 CO 
 D 
 O 
 
 D 
 3 
 
 D 
 O 
 
 c 
 
 Q 
 13 
 D 
 C 
 
 5 
 I 
 I 
 
 I 
 I 
 
 y 
 
 2 
 
 C 
 
 8 
 
 a 
 
 G 
 
 o 
 
 CO 
 Q 
 
 en 
 
 Ci) 
 
 00 
 Q 
 (D 
 
 3 
 
 8 
 G 
 9 
 
 B 
 
 03 
 
 Front of tongue contracting 
 " dividing 
 
 " closing 
 
 Point of tongue contracting 
 " dividing 
 
 " closing 
 
 with nasal emission. 
 
 with nasal emission. 
 
 with nasal emission. 
 
 Lips contracting mouth-passage. 
 " dividing " 
 
 " closing " 
 
 " " " with nasal emission. 
 
 Back position (C) modified by partial efiect of Q 
 Front - (O) " " O 
 
 Point " (O) " " O 
 
 Lip " (O) " " C 
 
 Divided emission with the oi-gans in the position (^ 
 
 
 Glides, or Transitional Scmi-Yowds. 
 Partial effect of $ with vowel quality predominating. 
 
 O 
 
 3 
 3 
 
 Modifiers. 
 
 \ Inner position.) Applicable to any 
 \ Outer " jof the Consonants. 
 
 c Inverted. ^Applicable to Point 
 3 Protruded.) Consonants. 
 
40 
 
 EXPLANATORY TABLE OF SYMBOLS FOR VOWEL 
 CONFIGURATIONS. 
 
 Explanation. 
 
 r. 
 
 2. 
 
 3- 
 
 Primary. Wide. (1 
 1 1 
 
 3 3 
 J J 
 
 ) 
 Back of tongue(2) 
 
 high and retracted. 
 
 retracted at a middle elevation. 
 
 low and retracted. 
 
 4- 
 5- 
 6. 
 
 
 
 Back and front(3) 
 
 of tongue high. 
 
 ' at a middle elevation. 
 
 ' low. 
 
 7- 
 8. 
 
 9- 
 
 
 
 Front of tongue(^) 
 
 high and advanced. 
 
 advanced at a middle elevation. 
 
 low and advanced. 
 
 10. 
 
 II. 
 
 12. 
 
 
 
 No. I, rounded, (lip aperture narrow.) 
 " 2, " ( " mid. ) 
 " 3. " ( " broad. ) 
 
 13- 
 
 14. 
 
 15- 
 
 
 
 " 4, 
 " 5, 
 " 6, 
 
 
 " narrow.) 
 " mid. ) 
 " broad. ) 
 
 16. 
 18. 
 
 
 
 " 7. 
 
 
 " narrow.) 
 " mid. ) 
 " broad. ) 
 
 MODIFIERS. 
 
 
 i 
 S 
 
 \ 
 
 Applicable tc 
 Nasalized. 
 
 " and gutturalized. 
 Long. 
 
 ? all Vowels 
 
 t Abrupt. 
 
 • Stopped in the throat. 
 
 ' Accented. 
 
 (1.) The 'Primary' and the 'Wide' Vowels have the same oral configurations; but for the 'Wide' 
 sounds, tlie voice cliannel from the throat to the configurative aperture is expanded. 
 
 (2.) For ' Back ' Vowels, the back of the tongue forms a narrow aperture with the soft palate, or (for tlie 
 'low-back') with the pharynx. 
 
 (3.) For ' Mixed ' Vowels, the back and flie front of the tongue both modify the voice-channel : the back 
 of the tongue does not descend below its ' mid ' position for the lowest of the ' Mixed ' series. 
 
 (4.) For ' Front' Vowels, the front of the tongue forms a narrow aperture between it and the roof of the 
 mouth— a free passage being left between the back of tlie tongue and the soft palate. From the ' low-back ' to the 
 ' high-front' position, the configurative aperture progressively advances, by the nine stages JIlIlTTrf, 
 as illustrated in a subsequent Diagram. 
 
41 
 
 TABLE SHOWING THE MUTUAL RELATIONS OF SYMBOLS 
 
 AND SOUNDS, 
 
 By which, afeio Sounds being hioion, other Sounds may he deduced from, their Symbols. 
 
 Consonants and Glides. 
 As Q is to O so are Q to Q, Q to O, ^ to S^, Q to 3, Q to O, &c. 
 05 " Q " e " a, CQ " O, and B to Q. 
 Q " (i) " G " C, CD " O, D to 3, &c. 
 GO " Q " 8 " G, CO " CD, 3 " G, &c. 
 
 CO " o " e " e, CO " o, q " o, t5 to ^, ^ to q, &c. 
 
 ^ " Q " ^ " (0, ^ " O, ST3 " CO, &c. 
 
 o " « " 3 " 2, e " ?, o " y, e to 5. &c. 
 
 Vowels. 
 
 As I is to I so are I to t, 3 to ], 1 to }, J to }, &c. 
 
 " L " I " 1 " J, I " I, 1 " h 1 " i, &c. 
 
 " 1 " I ' 3 " C, J " L J " h &c. 
 
 " } " 3 " f " L J " J, -E " C- &c. 
 
 " X " II " I " 3C, I " JL T " 11, &c. 
 
 The relations of the Vowels are fully exhibited in the following arrangement.'- 
 A B C D 
 
 IJ 4J 7| IJ 4J 7j; IJ 4J 7£ Ij 4j 7f 
 
 23 5| 8|; 23 5^ 8J. 2J 6^ 8^ 2J 5^ 8^ 
 
 •'I n n '] 'I n ^j "i ^t '^j "i 'i 
 
 As Class B is to Class A, so is Class D to Class C. 
 C " A, " D " B. 
 
 As are the Numbers, so are the Sounds in each Class. Thus : 
 
 Vertical Relation. Horizontal Relation. 
 
 2 is intermediate to i and 3, 4 is intermediate to i and 7. 
 
 5 " 4 " 6. 5 " 2 " 8. 
 
 8 " 7 " 9- 6 " 3 " 9. 
 
 Diagonal Relation. 
 5 is intermediate to i and 9. 
 
 5 ;; 3 " 7- 
 
 * The practical application of these Relations in le.nning foreign sounds is shown in a subscqnent section. 
 
THEORETICAL EXPLANATIONS, 
 EXERCISES, &.C, 
 
A 
 
45 
 
 THEORETICAL EXPLANATIONS AND EXERCISES. 
 
 The preceding Tables and Diagrams are intended to convey a general 
 knowledge of the principle of ' Visible Speech,' for the benefit of cursory 
 Readers. 
 
 In explaining the Symbols in detail, we take first those which represent the 
 elements of Interjectional or Inarticulate utterance. 
 
 Symbols. 
 
 I. o 
 
 2. I 
 
 3- 
 
 RUDIMENTAL SYMBOLS. 
 
 Explanation. 
 
 Kames. 
 
 Aspirate. Emission of breath with the throat wide (H.) 
 
 Voice. The glottis narrow and sounding. (Vowel.) 
 
 Throat. Emission of breath with the throat contracted, 
 
 (whisper.) 
 
 Throat- Voice. Emission of voice with the throat contracted, 
 (hoarse murmur.) 
 
 Catch. The glottis closed [and opened,] (a cough.) 
 
 Nasal. The nasal valve open. 
 
 Nasal-Mixed. The nasal valve open and the throat contracted. 
 
 Trill. Vibration of the organ symbolized. 
 
 Close. Organic closeness or upward pressure, causing per- 
 
 cussive emission. 
 
 Open. Organic openness with softness of emission. 
 
 Suction. Inward action of the air. 
 
 Breath-Glide. Transitional emission of breath from the symbolized 
 configuration. 
 
 Stop. A stop in the symbolized configuration, with cessa- 
 
 tion of the impulse of utterance. (An unfinished 
 element.) 
 
 Hiatus. The preceding element finished independently of 
 
 the following. 
 
 Abrupt. Shorter than ordinary * short quantity.' 
 
 Longor 'Holder.' The symbolized configuration 'held,' with the im- 
 pulse of utterance continued. (Long 'quantity.') 
 
 Accent. Impulse on the succeeding element or syllable. 
 
 The numbers attached to the Symbols are merely for convenience of 
 reference to the subsequent explanatory paragraphs. The natural order of the 
 S)'mbols is shown in the Alphabetic Tables, page IJ. 
 
46 
 
 THE ORGANIC RELATIONS OF THE RUDIMENTAL 
 SYMBOLS. 
 
 The brief explanations of the Symbols given in the preceding Table are 
 supplemented by the following more complete descriptions, which explain the 
 rationale of the symbolization. The latter should be thoroughly understood by 
 those who study the Science of Universal Alphabetics for the purpose of 
 teaching, or with the view of symbolizing languages at hearing. 
 
 Syiubots. 
 
 1. O When the glottis and the super-glottal passage are perfectly open, 
 
 the breath creates no sound in its emission. A moderate degree of 
 expulsiveness to render the ' aspiration' audible is implied in O- The 
 symbol is pictorial of the expanded breath-channel in the throat. 
 
 2. I When the glottis is contracted to a narrow chink, the breath in 
 
 passing sets the edges of the orifice — the 'vocal ligaments' — in vibra- 
 tion, and creates sonorous 'voice.' This vocalizing condition of the 
 glottis is pictured in the Symbol 
 
 3. When the glottis is open and the super-glottal passage is contracted, 
 
 the breath creates in the latter the non-sonorous rustling or friction 
 which is called 'whisper.' The relative expansion of the throat- 
 channel for O and is pictured in the Symbols. 
 
 The organic effect of will be understood by whispering a ' voiced- 
 consonant,' such as Y. The result is clearly different from the sound 
 of the non-vocal consonant of corresponding oral formation (F.) For 
 the former, the fricativeness of the breath is audible from the throat, 
 through the oral configuration ; for the latter, the breath-friction is 
 audible only from the lip. 
 
 4. The symbol is a compound of Q and I, and denotes whisper and 
 
 voice heard simultaneously ; — a vocal murmur modified by breath- 
 friction in the super-glottal passage. 
 
 5. X Symbol X pictures the conjoined edges of the glottis, and denotes 
 
 the 'catch' of the breath which is heard (with violence of percussion) 
 in a cough. The linguistic effect of X is softer, but distinctly percus- 
 sive, when an aspiration or a vocal sound follows the ' catch.' 
 
47 
 
 Symbols. 
 
 6. ( The passage of the nostrils is governed by the soft palate, which 
 
 acts the part of a valve. When there is no nasal emission, the upper 
 surface of the soft palate presses against the inner end of the nostrils. 
 See Diagram, page 13. Symbol (, — which is pictorial of the pendu- 
 lous palate or its narrow prolongation, the uvula,— denotes that the 
 soft palate is depressed, so that the breath passes into the nostrils as 
 well as into the mouth. 
 
 7. f Symbol J is a compound of ) and 0, and denotes guttural contrac- 
 
 tion with nasality, as heard in the French sounds /;/, on, &c. In these 
 elements there is a gliding semi-consonant effect in the throat as well 
 as nasal modification. 
 
 8. \ S}'mbol \ denotes a loose vibration or quiver of the organ to which 
 
 the symbol applies. Thus the tongue vibrates against the front of 
 the palate in forming the Scotch or Spanish R ; the uvula vibrates 
 against the back of the tongue in producing the French R ' grasseye,' 
 or the Northumbrian ' burr ;' the lateral edges of the tongue vibrate 
 in forming a close variety of L ; the lips vibrate when they are 
 relaxed and closely approximated ; and in the same way the edges of 
 the throat-passage vibrate, with a 'growling' effect, when the current 
 of breath is intercepted by sufficiently close but loose approximation. 
 Symbol \ thus refers to the element after which it is written ; as : 
 
 O \ a flutter of the breath. 
 
 I ^ a quiver of the voice. 
 
 \ throat vibration : — a 'gruff' whisper. 
 
 9 \ hoarse vibratory murmur : — ' growding.' 
 
 9. \ Symbols j^ and Y, by themselves, refer to the aperture of the mouth 
 10. Y as affected by the close (J^) or open (Y) position of the jaws. Following 
 
 other Symbols, J^ denotes configurative compression, with consequent 
 percussion on leaving the configuration ; and Y denotes configurative 
 openness or organic laxity. Thus : 
 
 OA An exhaustive aspiration from upward pressure of the dia- 
 phragm ; — a wheeze. 
 
48 
 
 As. 
 
 OY A gentle inaudible aspiration. 
 
 XA Glottal closure with distension of the larynx from pressure on 
 
 the confined breath, and percussive emission on opening 
 
 the passage ; — a cough. 
 
 < Whisper or voice may be produced by air going inwards (<) or by 
 
 > breath coming out (>). All symbols except < and • imply emission. 
 Symbol > is used to denote a transitional emission from the symbolized 
 configuration in passing from one position to another. The effect is 
 different from the throat-aspiration, Q. Thus, from the ' shut' position 
 of the glottis (X) we may either open sharply upon an utterance of 
 voice (XI) or we may ease off the pressure of the ' catch' by interpola- 
 ting a 'breath-glide' (X>I)- 
 
 Symbol • signifies that the organic separation or recoil from any 
 symbolized position — which is always implied in final elements when 
 the ' stop ' is not written — does not take place. Thus X* is an 
 unfinished ' catch,' in forming which the impulse ceases with the 
 closure of the glottis. 
 
 The effect of organic ' stop ' is implied between elements in 
 verbal combinations, such as tl in outlaw, td in outdo, &c. ; where, 
 necessarily, the / is not finished by organic recoil, as it would be at 
 the end of a word. In these cases, of course, the ' stop ' does not 
 require to be written. 
 
 The interruption of the throat-passage represented by X- is one of 
 the principal sources of difficulty in stammering. 
 
 i In verbal combinations of elementary sound, each element is insep- 
 
 arably joined to the succeeding one. When any element, except the 
 last in a combination, is finished independently of what follows, the 
 sign of 'hiatus' (*) is used. Thus in analysing or phonetically 
 'spelling' a syllable, we should say that OI consists of the elements 
 O'l — interposing a break. The effect of > will be understood by 
 pronouncing the word 'bedtime,' in which the d and t are not dis- 
 joined, in contrast with the separate pronunciation of the two words 
 ' bed, time' Symbol > is an aspirated hiatus ; Symbol ^ is non- 
 aspirated — a mere interval. 
 
49 
 
 SjTubols. 
 
 15. c Symbol t denotes a very 'abrupt' utterance, shorter than ordinary 
 
 ' short quantity.' The latter is implied in all symbols where no sign 
 of quantity is written. 
 
 16. I The sign of ' long quantity ' or ' holder,' is of obvious application to 
 
 sounds ; but it applies also to organic configurations which yield no 
 sound, as to XI) where it denotes an interval of silence, from the con- 
 tinued closure of the glottis. The Symbol | shows that the preceding 
 configuration, of whatever nature, is simply ' held ' for a moment. 
 Extra prolongation may be denoted by }|. 
 
 17. ' The sign of 'accent' ox stress distinguishes the syllable in a word, 
 
 or the element in a combination, which receives the principal impulse. 
 The mark is placed on the left side, or before the accented syllable. 
 
 The learner may usefully familiarize himself with the preceding rudimcntal 
 Symbols, by pronouncing them in expressive combinations, before proceeding to 
 the more definite elements of Articulate Speech. 
 
 When the breath, or the voice, is moulded by precise dispositions of the. 
 parts of the mouth, ' Vowels ' and ' Consonants ' are formed ; but at present 
 let the Reader conceive only of a simple ' aspiration,' and a simple utterance 
 of ' voice,' unaffected by any definite arrangement of the mouth, as represented 
 by the Symbols Q ^i^d L 
 
 The Alphabetic Writing of such effects as those in the following Illustra- 
 tions is at least a novelty, and it will no doubt be a sufficiently amusing one. 
 But there is also a practical utility involved in the mastery of these rudimentary 
 processes ; namely, in preparing the learner for the more important applications 
 that follow, and in giving him some command over the organs of utterance. 
 Such exercises will effectually obviate the difficulty in apprehending pure sounds 
 irrespectively of letters and verbal associations, which generally perplexes 
 beginners in their first attempts at speech-analysis. 
 
 The Reader may probably observe that many of the following combinations 
 might communicate other sentiments, &c., when pronounced with different 
 Tones or vocal Inflexions. But in the meantime, this prime element of Inar- 
 ticulate Expressiveness is left out of consideration. In a subsequent section 
 the effect of the Inflexions of the Voice is separately treated of 
 
50 
 
 EXERCISES ON THE RUDIMENTAL SYMBOLS, 
 
 FORMING INTERJECTIONAL OR INARTICULATE UTTERANCES. 
 
 OY< OYi 
 
 o\< o\ 
 o< O 
 
 0\\< OH 
 01l< Oil 
 Ol<XO 
 Ol<X>01 
 
 o< xou 
 
 01< 01 
 Oil< oil 
 Oil< OiU 
 
 silent respiration, 
 sighing 
 panting 
 fluttering 
 semi-nasal 
 uneasy- 
 painful 
 groaning 
 guttural 
 naso-guttural 
 stertorous " 
 
 Voice/ess, 
 
 vvv 
 
 Ol<>OOI a sigh. 
 
 'OO OO a sneer. 
 
 OY< OOIO a yawn. XOI 
 
 O l< 'OX' a sneeze checkd. XAO 
 
 0<X- 
 
 ox- 
 
 01 
 
 ou 
 
 0< 
 
 O0U< 
 X0< 01 
 
 a hiccough. X^OX- 
 
 suppressed 
 
 chuckling. 
 
 relief. 
 
 a short cough. 
 
 a cough checked. 
 
 an effort. XAOl a wheezing cough, 
 nausea. XAOX- XAOX- XA>acough. 
 disgust. X*0^ ahem, 
 a gasp. X?5 a grunt, 
 
 shuddering. X?U growling, 
 sobbing. XAOU clearing the throat. 
 
 I a murmur of observation. 
 
 II a drowsy murmur. 
 
 15 a murmur of disapprobation 
 
 n 
 
 lA 
 
 lO 
 
 IX 
 
 Ti 
 r'l 
 
 'lOlI 
 lO'Il 
 
 sympatny. 
 
 suffering. 
 
 relief. 1 1 
 
 threatening. 
 
 regret. 
 
 surprise. 
 
 disgust. 
 
 weariness. 
 
 triumph. 
 
 IX A- a violent effort. 
 IX'Il a baby's scolding. 
 
 I ocal. 
 h a pang. 
 
 l\ a moan. 
 
 I< a start. 
 
 IXA'I?^ a loud hem. 
 rXAIOlIacough. 
 1 I«Iil IK braying. 
 nil lowing. 
 
 01 a murmur of 
 
 disappointment. 
 Oil " ridicule. 
 'OIOI '' vexation. 
 OI'OI " decision. 
 OKI " weariness. 
 Ol? " annoyance. 
 OIX' " discovery. 
 
 OrXnt ahem, 
 XL a pang. 
 
 XYIl acute pain, 
 
 XI H apprehension of 
 
 pain. 
 XII a grumble. 
 
 Xin a growl. 
 
 X ' I a soft hem. 
 
 Xl^ a sudden start. 
 
 XAI'OI a cough. 
 XAIO 1 lawheezingcough. 
 XOU clearihg the voice. 
 XiyU clearing the throat 
 and nose. 
 
51 
 CONSONANTS. 
 
 A Consonant is an action of some part of the throat or the mouth, yielding 
 an effect of friction or percussion from the squeezing-, dividing, or stopping of 
 the breath. All Consonants may be considered as consisting of tivo parts : 
 I. a configurative position of the organs ; and, II. an action of recoil, or of 
 transition to the position for a succeeding element. These are, however, 
 inseparable parts of ordinary Consonants. When the configuration is more than 
 merely transitional, and is ' held ' for a perceptible time, the effect is separately 
 indicated. 
 
 All the Consonant Symbols are derived from the ' stem ' Q, which, 
 according to the direction in which the curve is turned, represents the Back, the 
 Front, or the Point of the Tongue, or the Lips. In each case the Symbol 
 denotes the same kind of fricative or sibilant emission of breath through a 
 centre-aperture formed between the closely approximated organs. 
 
 The outline of the Organic Curve is indented or ' divided ' (Q) to show 
 emission by side-apertures, — of course with centre-stoppage ; — and the points of 
 the Primary Curve are suggestively closed by a straight line (Q) to denote com- 
 plete stoppage of the breath by the organic configuration. The sign of nasality 
 (I) joined to the Shut-Consonant symbol (Q) shows oral stoppage with nasal 
 emission. The Organic Curves of opposite formation are united in the symbols 
 G Q, &c. ( = CoO, OoO, &c.) to show the simultaneous action of the two 
 parts of the mouth denoted by the component Curves. 
 
 The symbol of Voice (I) is incorporated with each of the ' Primary,' 
 * Divided,' ' Shut,' or ' Nasal ' Letters, to denote the addition of vocal murmur 
 to the consonant action. 
 
 All the above varieties will be explained in detail, but the Reader will from 
 this sketch of the Consonant Alphabet, understand the Mono-symbolic plan on 
 which it is constructed. 
 
 The following Table exhibits the Primary Organic Symbols, and the 
 Diagrams which follow explain the relation of each Letter to the Organic 
 Configuration which produces its sound. 
 
52 
 
 SjTubols. >'auies. 
 
 C Back. 
 
 O 
 
 O 
 
 o 
 
 Front 
 
 Point. 
 
 Lip. 
 
 TABLE OF ORGANIC SYMBOLS. 
 
 Explanation. 
 The Back of the Tongue contracting the oral passage 
 
 between it and the soft palate. 
 The Front of the Tongue contracting the oral passage 
 
 between it and the roof of the mouth. 
 The Point of the Tongue contracting the oral passage 
 
 between it and the upper gum. 
 The Lower Lip contracting the passage between it and 
 the upper lip, while the tongue lies in a neutral 
 ' natural ' position. 
 (^ Back-Mixed. The oral passage contracted by the Back of the Tongue 
 
 and the Lips, at the same time. 
 Q Front-Mixed. The Front and the Point of the Tongue both raised, so 
 as to bring the convex surface of the tongue close 
 to the front of the palatal arch and the point of the 
 tongue, at the same time, close to the upper gum. 
 ^ Point-Mixed. The Point and the Front of the Tongue both raised — 
 the latter in a less degree than for Symbol 6, — 
 bringing the front surface of the tongue near the 
 rim of the palatal arch. 
 ^ Lip-Mixed. The Lower Lip and the Back of the Tongue— the latter 
 in a less degree than for Symbol 5, — contracting 
 the oral passage at the same time. 
 
 9- 
 
 \ 
 
 Inner. 
 
 10. 
 
 \ 
 
 Outer. 
 
 1 1. 
 
 c 
 
 Inverted. 
 
 12. 
 
 
 
 Protruded. 
 
 Modifiers. 
 The symbolized action farther back. 
 The symbolized action farther forward. 
 The Tongue inverted towards the Back of the mouth. 
 The Tongue protruded towards the Lips. 
 
53 
 
 DIAGRAM OF THE CONSONANT ORGANIC POSITIONS. 
 
 The centre dotted line, in each of the following Diagrams, shows the 
 position of the organs in forming the unmodified Consonants. The positions for 
 the ' inner' ({) and ' outer' (|) varieties are indicated by the other dotted lines. 
 
 L5 
 
54 
 
 DESCRIPTION OF THE 'INNER' AND 'OUTER' VARIETIES 
 OF EACH OF THE PRIMARY CONSONANTS. 
 
 The Back of the Tongue depressed below the soft palate forms a 
 
 sibilation or friction of the breath between the parynx and the tongue. 
 
 C } The Back of the Tongue raised to the top of the soft palate, with 
 
 L sibilation. 
 
 f 0{ The Front of the Tongue curved downwards as for 0» forms a 
 
 I sibilation between the highest part of the convex organ and the 
 
 2. { ' inner' or posterior part of the roof of the mouth. 
 
 j Oi The convex tongue directed forzvard at the top of the palatal 
 
 I arch, with sibilation. 
 
 [ O \ The Point of the Tongue turned within the palatal arch forms a 
 
 sibilation between the under surface of the tongue and the front 
 
 ,' wall of the palate. 
 
 I 0\ The Point of the Tongue directed forward towards the teeth — 
 
 I without centre-contact — forms a sibilation between the tip of the 
 
 ■^' I tongue and the teeth. 
 
 I Qc The Tongue inverted, forms a sibilant aperture between its point 
 
 1 and the back of the palate. 
 
 (Jo The Point of the Tongue protruded, forms a sibilant aperture 
 
 [ between it and the upper lip. 
 
 [ Q \ The Lower Lip forms a sibilant aperture between its inner surface 
 
 1 and the upper teeth. 
 
 I O I The Upper Lip drawn downwards forms a sibilant aperture 
 
 [ between its centre and the lower teeth. 
 
 [ (^\ In forming these 'inner' and 'outer' varieties of C the tongue 
 
 I {^\ takes the same positions as for the corresponding varieties of C, but 
 
 I for the latter the lips are spread, while for the former a partial effect 
 
 L of O modifies the ' Back ' sibilation. 
 
 f Q \ The same configuration of the tongue as for Q, but with the 
 
 I QJ point of the tongue drawn back to the edge of the palatal arch, pro- 
 
 I duces the ' inner,' and with the tongue advanced towards the teeth, 
 
 L produces the ' outer ' variety. 
 
 f ^ { The same configuration of the tongue as for U, but with the point 
 
 I ^y of the tongue drawn back within the palatal arch, forms the 'inner,' 
 
 and with the tongue advanced towards the teeth, forms the 'outer' 
 
 variety. 
 
/ 
 
 55 
 
 J3 i In forming the ' inner' and 'outer' varieties of ^, the h'ps take 
 
 ^ \ the same positions as for the corresponding varieties of symbol Q ; 
 but for the latter the tongue lies in a neutral position, while for the 
 former, a partial effect of C modifies the lip sibilation. 
 
 j[ The sign of ' closeness' {\) applied to any of the preceding con- 
 
 sonants denotes a narrower aperture, with increased sharpness of 
 sibilation and percussiveness on leaving the configuration ; and the 
 
 Y sign of 'openness' (Y) denotes a widened aperture with consequent 
 dulness of sibilation and lessened percussion. Thus in forming O 
 with ' closeness,' a mere thread of breath issues through the narrow 
 crevice between the lips — as in blowing to coo^ ; and in forming 0Y> 
 the breath flows through the wide orifice with the effect of a si£-/i on 
 the lips. The latter effect is interjectionally expressive of faintncss, 
 or want of air. 
 
 ( The sign of ' nasality ' applied to any of the preceding conson- 
 
 ants, shows that the breath flows through the nose as well as through 
 the symbolized configuration. The effect is to dull the oral sibilation, 
 and to deprive the transitional action of percussiveness. 
 
 \ The sign of ' trill ' applied to C or to CS, denotes a vibration of 
 
 the uvula ; applied to Q, it denotes a vibration of the point of the 
 tongue ; and applied to Q or to ^, it denotes a vibration of the /z/j. 
 
 The symbolic curves introduced in this section have the same organic 
 value in all cases. They undergo modifications to express the ' mechanical 
 varieties ' of consonants, as shown in the following Tabic •- 
 
56 
 
 rABLE OF THE MECHANICAL VARIETIES OF CONSONANTS. 
 
 AH consonants belong to one of the four mechanical classes represented by- 
 he symbols C G Q Q 5 ^rid the direction in which the curve is turned uniformly 
 lenotes the organic formation of the consonant. Thus : — 
 
 Symbols. Names. 
 
 C O O O Organic Name, (Back, Front, Point, Lip.) 
 
 ,1 
 
 G COCO 3 
 GOOD 
 
 \. a Q a D 
 
 and ' Mixed.' 
 
 Divided.' 
 Mixed Divided.' 
 
 Nasal.' 
 
 Shut' 
 
 Explanation. 
 Organic aperture 
 contracted to a 
 centre chink. 
 
 Organic aperture 
 divided by a 
 centre check. 
 
 Mouth passage 
 shut and nasal 
 passage open. 
 
 Oral & nasal pas- 
 sages both shut. 
 
 Modifiers applicable to 'Shut' Consonants. 
 
 Symbols. Names. 
 5. ?> Emission stopper. 
 
 5. < Suction stopper. 
 
 7. H Side opener. 
 
 8. \ Nasal opener. 
 
 Explanation. 
 Organic separation without emission. 
 
 Suction and organic separation without inhalation. 
 
 Lateral or 'divided ' termination instead of organic 
 recoil. 
 
 Nasal termination instead of organic recoil. 
 
 The following Diagrams exhibit the relation of the mechanical varieties of 
 Consonants to their Symbols. 
 
 Each clement may take all the affections of ' inner,' ' outer,' ' close,' &c 
 The numbers refer to the descriptive paragraphs which follow the Diagrams. 
 
57 
 
 DIAGRAMS OF THE MECHANICAL VARIETIES OF 
 
 CONSONANTS. 
 
 Divided Consonants. When the organs arc so placed as to check the 
 breath at the middle of the oral channel, and allow of its emission through 
 interstices at the sides of the obstruction, the breath issues with a comparatively- 
 dull hissing or 'lisping' effect; and the subsequent removal of the centre 
 obstruction is attended with a slightly percussive flap, which is the essential 
 characteristic of the class of ' Divided ' Consonants. 
 
 All the organic positions which have been described as forming Centre- 
 aperture or 'Primary' Consonants, yield also Side-aperture or 'Divided' 
 formations. 
 
 The mutual relations of the ' Primary ' and the ' Divided ' Consonants, and 
 the position of the Centre-check for the latter, will be understood from the 
 following Diagrams : — 
 
 Primary, or Centre-Aperture Consonants. 
 
 Back. 
 
 Front. 
 
 Front 
 Mixed. 
 
 Point 
 Mixed. 
 
 Point. 
 
 Lip. 
 
 Back. 
 
 Divided, or Side-Aperture Consonants. 
 Front. Front, Point. Point. 
 
 Mixed. 
 
 Mixed. 
 
 Lip. 
 
 The 'Shut' and the 'Nasal' Consonants do not require additional illus- 
 tration. The oral passage is, for both classes of elements, uniformly closed by 
 the symbolized organic position. [See page 63.] 
 
58 
 
 DESCRIPTION OF MECHANICAL VARIETIES OF CONSONANTS 
 
 [The numbers refer to the Table, page 56.] 
 
 1. Primary Consonants. — The elements of this class have been already de- 
 
 scribed in detail. [See preceding Section.] 
 
 2. Divided Consonants. 
 
 Symbols. 
 
 Q The ' Back-divided ' Consonant has its centre check at the uvula. The 
 
 whole length of the tongue is compressed at the sides ; and there is gene- 
 rally a further centre-contact by the forepart of the tongue on the upper 
 gum ; but the ' divided ' aperture commences at the root of the tongue, 
 and gives the peculiar guttural quality which characterises this element. 
 This is perhaps the most difficult of all articulations to unpractised organs. 
 The easier C°0 's often substituted for Q, and the difference in effect is 
 very slight. 
 
 ^ This is the same formation as the preceding, with modification by a 
 
 contracted lip aperture. 
 
 CO The ' Front-divided ' Consonant has its side apertures within the palatal 
 
 arch, the centre-check being given by the convex front of the tongue touch- 
 ing the front wall of the palate. 
 
 g*2 The ' Front-mixed Divided ' Consonant has its centre check at the tij) 
 
 of the Tongue, and its apertures between the edges of the flattened point 
 and the teeth or the upper gum ;— the front of the tongue having consi- 
 derable convexity within the arch of the palate. 
 
 Q The ' Point-Divided ' Consonant has its apertures over the sides of the 
 
 middle of the tongue— the point being in contact with the upper gum ; 
 the front surface of the tongue is flattened or slightly concave, so that the 
 apertures are large and productive of but little friction or sibilation. From 
 this circumstance, the ' Point-divided ' Consonant — which is always vocal in 
 English — has received the name of a ' semi-vowel.' The articulative recoil, 
 by removal of the centre-check, however, gives this element a distinct con- 
 sonant quality. 
 
 It is possible to pronounce words intelligibly — though, of course, with a 
 peculiarity — while the point of the tongue is held in contact with the 
 palate. This singular mode of utterance was at one time prescribed as the 
 secret of a vaunted method for the cure of staimncring. The 'cure' was, 
 certainly, not much better than the disease. 
 
59 
 
 Syiiiljols, 
 
 Z^ The ' point-mixed divided ' Consonant has the apertures of CO narrowed 
 
 b}' convexity of the front of the tongue, and the breath is in consequence 
 strongly sibilant. 
 
 Q The ' lip-divided Consonant is formed by placing the centre of the lower 
 
 lip on the edges of the upper teeth, while the breath hisses through the 
 interstices between the teeth, or between the teeth and the lip. 
 
 A similar effect of ' divided ' formation results from placing the lower on 
 the upper lip, instead of the teeth, and directing the breath over the corners 
 of the lips. This peculiarity would be represented by the modifier (o) 
 (' to lip ') after the ' lip-divided ' symbol ( 3^)- 
 
 ^ In forming 3 the tongue lies in a neutral position, and the friction of 
 
 the breath is heard only on the lip. For the ' lip-mixed divided' Consonant 
 (c3)» t^G back of the tongue is retracted, and a partial effect of C niodifies 
 the labial hiss. 
 
 INNER AND OUTER VARIETIES OF DIVIDED CONSONANTS. 
 
 The 'inner' and 'outer' formations of the 'divided' Consonants yield 
 less distinctive sounds than those of the Primary or Centre-aperture class. 
 The 'point-divided' Consonant (CO) is, however, susceptible of all varieties, 
 ' inner,' * outer,' ' inverted,' ' protruded,' &c. ; and the characteristic sound of 
 £^ may be produced with the tip of the tongue planted on any part of the 
 palate. The ' lip-divided ' Consonant ( 3 ) has its ' inner ' formation when the 
 inner surface, instead of the edge of the lip, is brought in contact with the 
 teeth; and its 'outer' formation when the upper lip is drawn down to meet 
 the lower teeth. 
 
 UNI-LATERAL FORMATIONS. 
 When the breath issues by only one side aperture in forming any 
 * divided ' consonant, the modifier H cut in half ( H ) furnishes an appropriate 
 symbol for the peculiarity. 
 
 NASAL CONSONANTS. 
 
 When the organs completely close the passage of the mouth at any 
 point, and the nasal valve is open, the breath issues through the nostrils 
 with a very slight effect of friction. The necessary separation of the oral 
 
 The * shut ' consonants are susceptible of all the modifications expressed 
 
60 
 
 organs to form any subsequent vowel gives the audibility of oral eftect which 
 is essential to a consonant. 
 
 A ' primary' or a 'divided' consonant modified by nasal emission is said 
 to be * nasalized.' A ' shut ' consonant becomes a pure ' nasal,' and is altogether 
 changed in character by the opening of an oral channel for the breath. 
 
 The organic formation of the pure ' nasals ' corresponds in all respects 
 to that of the ' shut ' consonants. The number of the elements of these two 
 classes is consequently the same. The mere closing of the nasal valve con- 
 verts the ' nasal ' O into the ' shut ' O, O into Q, &c., without any action of 
 the lips or the tongue. 
 
 The English ' Nasals ' are always vocal ; [see ' Voiced Consonants '] and 
 when the nostrils are normally free, the purity of the voice is so little affected 
 by consonant ' fricativeness,' that these beautifully sonorous elements have 
 been comm.only, though improperly, called semi-vowels. 
 
 They may rather, while the oral passage remains shut, be considered as 
 nasal vowels ; and they are often used by themselves as syllables when their con- 
 figurations are momentarily ' held.' But in transitional formation the ' Nasals ' 
 are true consonants. 
 
 It is quite possible, after a little practice, to utter words entirely through 
 the nose, while the lips remain closed. The effect is of course very peculiar, and 
 in many cases scarcely intelligible. But the motions of the tongue can be heard, 
 and ears accustomed to this supremely lazy kind of articulation, can generally 
 distinguish vernacular phrases ^\■ith but little difficulty. 
 
 SHUT CONSONANTS. 
 
 When the organs completely close the passage of the throat or the mouth 
 at any point, and the nasal valve is also shut, there is, of course, no emission 
 until the separation of the organs ; but the removal either of the oral or the 
 nasal check is attended with a degree of percussiveness proportioned to the 
 pressure on the confined breath during the organic contact. 
 
 The lowest, or most posterior 'shut consonant' is X, which represents a 
 percussion from Xho. glottis. There can be no ' inner ' variety of the 'catch;' 
 but an 'outer' formation, or closure of the super-glottal passage (XJ). yields a 
 distinct percussion, which is very common in Chinese and in many other 
 languages. The closure is effected by depression of the epi-glottis, as in the 
 act of swallowitig. These ' throat-shut ' consonants can have no nasal corre- 
 spondents. 
 
61 
 
 When a ' shut ' consonant precedes the ' nasal ' one of the same organic 
 formation, the oral organs are not disjoined, but the nasal valve is simply- 
 opened ; as in //// (DO) and dn (QG3) i'l the words chapman, midnight, &c. 
 The independent completion of the ' shut ' consonant in such cases would be 
 inconsistent with the law of coalescence, which requires all the elements of a 
 word to be joined together without hiatus. 
 
 The nasal termination of a final 'shut' consonant is a peculiarity which 
 would be symbolized by subjoining the nasal sign to the consonant. Thus the 
 'lip-shut' symbol (Q) shows the complete stoppage of the mouth by closing 
 the lips; but it implies also \\\^ ■sStQX-scparation of the lips. The ' nasal' sign 
 subjoined (D() would signify the closing of the lips, and the subsequent open- 
 ing of the nasal valve while the lips remain closed. 
 
 When a ' shut ' consonant precedes a ' divided ' one, formed by the same 
 organ — as // (00), dl (Q(JO), &c. — the principle of coalescence applies in the 
 same way ; the ' shut ' consonant is finished by opening only the side apertures 
 for the next element while the centre contact is maintained ; as in the words 
 outlaio, heed less, S:c. 
 
 The ' divided ' termination of a final ' shut ' consonant is a peculiarity 
 for which the special symbol 'side-opener' (K) is provided. Thus the 'point- 
 shut ' symbol (Q) shows the closing of the passage of the mouth by the point 
 of the tongue, but it implies also the removal of the tongue from the palate. 
 The 'side-opener' subjoined (OH) would signify that only the sides of the 
 tongue are removed while the point-contact is maintained. The opening of a 
 single lateral passage is shown by one half of the modifier. A common lingual 
 ' click ' made by coachmen to incite the motion of a horse is formed by this 
 uni-lateral termination of the 'point-shut' consonant (O"). 
 
 The 'shut' consonants are sufficiently distinguished for linguistic purposes 
 by the four radical varieties 'Back,' 'Front,' 'Point,' ' Lip,' with their 'inner' 
 and 'outer' formations. The latter correspond with the 'inner' and 'outer' 
 positions of the ' Primary ' Consonants, as before described. The ' inner ' ' Lip- 
 shut Consonant is formed by pressing the inner surface of the lower lip on the 
 upper teeth ; and the ' outer" by pressing the upper lip on the lower teeth, so as 
 to ' shut ' in the breath. 
 
 The simple 'point-shut' consonant (Q) may be written before or after 
 ' point-mixed ' (^, 2*5.) or ' front-mixed ' consonants (Q, ^,) because the coales- 
 cence of the elements is implied as a necessary part of the combinations. 
 
62 
 
 by A. Y, •; \,^> &c. The 'holder' (j) after a 'shut' consonant, signifies that 
 the contact is more than merely transitional, and that the organs are not im- 
 mediately separated as a part of the articulative impulse. The ' stop' (•), shows 
 that the action is conjunctive only ; and the ' emission-stopper (?>) signifies that 
 the organs are separated after contact, but that the breath is retained. 
 
 CONSONANT SUCTIONS. 
 
 The formation of the ' shut ' consonants by suction (<) gives rise to a 
 peculiar class of elements. The ' lip-shut ' symbol followed by the sign of 
 'suction' (0<) represents a sound interjectionally expressive of sudden pain; 
 but there may be suction during the organic contact and separation of the 
 organs without ingoing air. For this effect the special sign ' suction stopper' (4) 
 is provided. The ' lip-shut' (D), ' point-shut' (O), and ' front-shut' (Q) actions 
 performed in this way, and the ' point-shut' with side-termination (OK), pro- 
 duce a series of sounds or ' clicks' which are very common in interjectional 
 or inarticulate utterance, and which are elements of ordinary speech in some 
 African languages. In these cases, an tnucr closure of the oral organs is ' held ' 
 (Q.}), while the anterior suctions are made ; so that respiration goes on freely 
 through the nostrils during the formation of a series of the ' suctions.' 
 
 The ' Back Shut ' consonant may also be formed by suction without 
 ingoing air (Q<') ; but in this case the imicr closure of a glottal 'catch' is 
 necessarily maintained (X-). and the respiration is of course stopped. 
 
 CONSONANT ACTIONS WITHOUT BREATH. 
 
 All the consonant configurations of every kind — Primary and Divided as 
 well as Shut — may be formed, with more or less audibility, without either 
 emission or suction. If the breath within the mouth be compressed behind the 
 articulating organs while an inner closure is held, a distinct, and in some cases, 
 a powerfully percussive effect will be produced on the abrupt separation of the 
 organs. The signs •> and <k represent the two modes of this mere motion of the 
 organs of speech. 
 
 A workman in using the bloiv-pipe, maintains the ' Back-shut ' position (Cl-})> 
 and the muscular compression of the breath enclosed within the mouth, between 
 the soft palate and the lips, suffices to continue the slender emission while the 
 operator breathes through his nostrils. 
 
 The following Diagrams give a comparative view of all the consonant 
 organic positions represented by the unmodified Symbols : — 
 
COMPARATIVE DIAGRAMS OF THK RADICAL CONSONANT 
 
 POSITIONS. 
 
64 
 
 EXAMPLE SHOWING THE APPLICATION OF THE MODIFIERS 
 TO A SINGLE CONSONANT ACTION. 
 
 p The lips closed and opened (with pressure of breath implied.) 
 
 Q \ The opening of Q accompanied with vibration of the lips. 
 
 Q H The closure of Q followed by lateral opening of the lips. 
 
 P " The closure of Q followed by uni-lateral opening. [A smoker's puff.] 
 
 Pj^ The action of p with strongly conjunctive closure. 
 
 PY The action of P with loose closure. 
 
 P^ The action of P finished independently of the next element. (Implied 
 in final consonants.) 
 
 P- The closure of p without after separation of the lips, 
 
 P j The closure of P followed by opening of the nasal valve instead of labial 
 separation. [A suppressed chuckle.] 
 
 P> The lips closed and opened with accompanying aspiration. [An interjec- 
 tion of contempt.] 
 
 P< The lips closed and opened with accompanying inspiration. [An inter- 
 jection of pain. 
 
 P»> The lips closed with pressure of breath, and opened without emission 
 from the throat. 
 
 P< The lips closed with suction, and opened without inhalation. [A kiss.] 
 
 P I The closure of P ' held ' or prolonged, with subsequent separation of 
 the lips. 
 
 p|- The closure of P prolonged, without subsequent separation of the lips. 
 [Expressive of effort.] 
 
 Pt The action of P very abrupt. 
 
 The following interjectional Exercises on the Consonant Configurations 
 
 may be usefully pronounced by the learner. This experimental practice will 
 
 be found the readiest means of obtaining a correct idea of the Consonant 
 
 positions : — 
 
G5 
 
 INTERJECTIONAL EXERCISES 
 
 On the RUDIMENTAL CONSONANT SYMBOLS. 
 
 C I disgust. 
 
 C H snarling 
 
 C^< snoring. 
 
 Q\\ hawking 
 
 C \ \ gargling. 
 
 Q\ hissing. 
 
 ^ I hushing. 
 
 O^ hurrying. 
 
 ^13 silencing. 
 
 O^l blowing to cool. 
 
 0< sipping. 
 
 OYI faintness from heat. 
 
 ^ I a semi-whistle. 
 
 :O0D incredulity. 
 
 DOD 
 
 301 distaste. 
 
 G< pain. 
 D< 
 
 3< " 
 
 C< 
 
 o< 
 
 CD< acute pain. 
 
 o< 
 
 Q quiet sneering. 
 
 D- 
 
 O- 
 
 D- 
 
 0<D< sniffing. 
 
 0{< examination of odour. 
 
 00 ridicule. 
 
 aci " 
 
 ac 
 
 CI ( a suppressed chuckle. 
 
 ul 
 Dl 
 
 CIGH snickering. 
 
 DOU 
 
 00 annoyance. 
 OQ incredulity. 
 
 DQ 
 
 OC5 contempt. 
 QO abhorrence. 
 
 DC 
 
 QOO impatience. 
 
 OoD- spitting. 
 
 O^O blowing from point of 
 
 tongue. 
 QoQ.< sucking. 
 OQ<i tasting. 
 D"^ 0<^ ^<i vexation. 
 OH DN inciting. 
 
 Q<$ kissing. 
 DOM<' chirping. 
 
 OI'O'OAl^ sneezing. 
 CDc<' a flap of the tongue. 
 OCDc<« a clicking flap. 
 OCDco3<j " like the 
 
 gurgle of decanted liquid. 
 Q G U the cry of a quail. 
 aCUl the grunt of a pig. 
 DOWOl thewhirrof a partridge, 
 
 oi'oio oi'ojo o{'oin 
 
 the sound of a grinding wheel. 
 CiCClOi'OQ- the sound ol 
 planing wood. 
 
 the sound of sawing wood. 
 
GG 
 
 VOICED CONSONANTS. 
 
 All the Consonant actions have now been described, but each of them gives 
 rise to a second element of speech when the organic position modifies voice. 
 This uniform addition to the rudimental sounds is symbolized by the uniform 
 addition of a 'voice-line' (1) to the rudimental symbols. The 'voice-line' is 
 inserted within the consonant cun^e. Thus : — 
 
 Voiceless. Voiced. 
 
 occaa eeeeia 
 
 The vocalized Consonants are subject to the same affections of ' inner,' 
 * outer,' &c., as the non-vocal elements. If therefore the Reader has mastered 
 the import of the organic and modifying symbols, he will be able, without 
 further explanation, to understand the exact phonetic value of all the symbols 
 for Voiced Consonants. 
 
 The following Table combines into one Scheme the Radical Consonant 
 Elements, vocal and non-vocal, as illustrated in the Diagrams of their mechanical 
 and organic formation, in preceding sections : — 
 
 GENERAL SCHEME OF CONSONANTS. 
 Voiceless. Voiced. 
 
 Throat. 
 
 Back of Tongue. 
 Front of do. 
 Point of do. 
 Lip. 
 
 
 i 
 
 1 
 
 s 
 
 S3 
 
 1 
 
 1 
 
 ;2; 
 
 
 x 
 
 s 
 
 S2 
 ^3 
 
 1 
 
 1 
 
 o 
 
 
 
 
 1 Y 
 1 ^ 
 
 
 
 e 
 
 
 
 
 
 c 
 
 c 
 
 G 
 
 C 
 
 a 
 
 Q 
 
 e 
 
 e 
 
 8 
 
 B 
 
 « 
 
 G 
 
 o 
 
 Q 
 
 O 
 
 ^ 
 
 Q 
 
 o 
 
 o 
 
 ^ 
 
 CD 
 
 QQ 
 
 a 
 
 ffl 
 
 o 
 
 O 
 
 CD 
 
 2*2 
 
 D 
 
 05 
 
 Q 
 
 ^ 
 
 00 
 
 eis 
 
 (D 
 
 03 
 
 o 
 
 D 
 
 3 
 
 
 
 D 
 
 8 
 
 3 
 
 B 
 
 8 
 
 e 
 
 B 
 
 B 
 
67 
 
 IMPERFECT AND VARIABLE VOCALITY OF CONSONANTS. 
 
 All consonants being merely transitional sounds in ordinary utterance, the 
 voice is not equally sustained from the bey^inning to the end of the vocalized 
 articulation. In pronouncing the word leave, for instance, the vocality of the v 
 is clearly heard only at the junction of that element with the syllabic sound — 
 the vowel ; and the initially voiced v sinks imperceptibly into its voiceless cor- 
 respondent/ — as if the word were written leavf. This effect does not require to 
 be written, as it is inherent in the implied transitional character of the consonant. 
 
 When a voiced consonant comes before a non-vocal element, the murmur 
 of the vocal letter is heard only at the instant of its junction with the preceding 
 vowel, and immediately lost in the transition to the next element, as in the 
 words art, purse, else, felt, lance, cant, lamp, ink, &c. The abrupt effect of / in n 
 ng in such words might almost be written CDOOG. instead of G0BQ3G, but as 
 there is a trace of vocality, the latter are the correct elements. 
 
 Foreigners, in pronouncing English words, generally fail to give the requisite 
 abruptness to these 'liquids' before voiceless consonants. The foreign pronun- 
 ciation of /tV/, for example, is GlOOlU- The native sound would be written 
 3100<Q or GlCOCDQj were not the imperfect vocality of the I implied in the 
 combination. 
 
 Of course, where the voiceless correspondent of a vocal consonant is sepa- 
 rately heard before or after the latter, both elements should be written ; as in a 
 common dialectic pronunciation of the German word so (Q^}|). 
 
 The preceding observations show that the absolute * quantity ' of voice in 
 a vocal consonant depends on the nature of the following element. Thus the 
 I m felt OlOOu) though extremely short, does not require the mark of abrupt- 
 ness, because it is cut short by the /, in accordance with the law of coalescence 
 of syllabic elements ; and the / in felt [foreign] (3100IC5) requires the mark of 
 long quantity (' holder ') to express the peciUiarity of its prolongation before a 
 voiceless consonant, although the sound is really shorter than the final / in fell, 
 which would be expressed by CO alone. Five degrees of absolute quantity in 
 the sound of I will be recognised in the following combinations ; but no mark 
 of distinction is necessary in writing, because in each case the consonant has 
 the normal quantity due to the associated elements. 
 
 I. 
 
 (shortest) 
 
 felt 
 
 31030 
 
 2. 
 
 (longer) 
 
 health 
 
 0100^2 
 
 3- 
 
 (longer) 
 
 felled 
 
 3100O 
 
 4- 
 
 (longer) 
 
 realm 
 
 OIOOB 
 
 5- 
 
 (longest) 
 
 fell 
 
 3100 
 
68 
 
 HELD CONSONANTS. 
 When tlie organic configuration for any consonant — vocal or voiceless — is 
 maintained, — otherwise than normally in a combination, as above explained, — 
 the element has a distinctive character, which is denoted by the sign ' holder' (|). 
 The consonants are often thus lingeringly formed for elocutionary effect, as in 
 the lines : 
 
 " Roll on (I), thou deep and dark blue ocean, roll (|)" 
 
 " Hush(|)ed, hush(|)ed ! How is it that I call 
 
 And that thou answerest not ? 
 When(l) was it thus ? Woe, woe, for all 
 
 The love (|) my soul forgot !" 
 " Stop(l) ! for thy tread is on an empire's dust !" 
 
 A voiced consonant when * held,' before a vowel or at the end of a word, 
 produces the effect of a syllable ; and the sounds of I in n — the most sonorous of 
 all consonants — are in English words frequently syllabic ; as in cast/^, app?^, tab/^-, 
 chas;//, rhythw, lis(te);<!, kitt(e)«, butt(o)«, &c. The syllabic quality of a 'held' 
 consonant will be distinctly perceived after a vowel, as in the words lis(te)njer, 
 butCto)nling, &c. Such words are, however, often contracted into dissyllables 
 (GOlQa}!"/, G3Q^IG, &c.) ; but the compound word applc-cyed (lD0Dl3?iQ) 
 contrasted with the word applied (ID003?iCD) — which is otherwise identical in its 
 elements — will clearly manifest the difference between a ' held,' and a normally 
 ' transitional ' consonant. 
 
 CONSONANT COMBINATIONS. 
 There is no reason why all consonants should not be expressed in the same 
 manner, whether they occur singly or in combinations. Separate characters for 
 the double elements in such words as 
 
 {English) cheer [tsh] {German) zeit [ts] 
 
 ( „ ) jeer [dzh] {Italian) mezzo [dz], &c., 
 
 are either superfluous or they are requisite in all cases of similar combinations ; 
 such as {English) tr, dw, cl, gz, &c. ; {German) pf, &c. 
 
 English eyes might perhaps prefer a single type for the sound of J and G 
 in John, George, &c. ; or for X in six ; but French readers would not share the 
 prejudice in the former case, nor Spanish readers in the latter. Italians might 
 perhaps prefer a single type for the sound of their C in citta [English ch], but 
 
69 
 
 neither English nor French readers would partake the feeling, as they are ac- 
 customed to associate a single though variable sound with the letter C. 
 
 In a Universal ALrilABET all compounds must be written cmalytkally. 
 
 Some persons fail to perceive the compound nature of sounds which they 
 have been accustomed to express by a single letter. But it should be borne in 
 mind that, though the two elements d and zh are undoubtedly present in the 
 English J ; and t and sh in the Italian C (before c and i) ; the first element is 
 not finished independently, but — by the law of coalescence, which compacts the 
 elements of a syllable and the syllables of a tvord—\kiQ second consonant takes 
 the place of the ordinary ' recoil ' which the first element would receive in sepa- 
 rate pronunciation. Each consonant, in fact, loses part of its normal sound when 
 two are combined in one syllable. 
 
 GLIDES. 
 
 The Primary' or Centre-aperture Consonants, as we have seen, are formed 
 by the breath or the voice — compressed behind the articulating organs — issuing 
 with a degree of friction, sibilation, or buzzing, through a narrow passage over 
 the ' Back,' the ' Front,' the * Point,' &c., of the tongue, or between the ' Lips.' 
 When the configurative channel is so far expanded as to remove compression 
 or buzzing from the voice, a series of semi-consonant, semi-vowel sounds results, 
 which we call ' Glides.' These elements are only transitional sounds. If they 
 had a ' fixed configuration,' they would be vowels, and would form syllables ; as 
 even the closer consonants do when their configuration is ' held.' 
 
 The ' Glides ' being thus intermediate to consonants and vowels, are appro- 
 priately represented by the organic consonant curves joined subordinately to 
 vowel stems ; thus 7 ^ f ^, &c. The ' Glides ' unite with vowels to form ' diph- 
 thongs,' or double sounds with a single syllabic impulse. The vowel 'stems' 
 (ID are now specifically employed by themselves to denote non-syllabic vowel 
 murmurs. 
 
 The latter sounds are very common in the mouths of speakers, and mucli 
 of the characteristic efiect of individual utterance depends on these delicate 
 ' Glides.' Many persons, for instance, habitually use the ' Voice-glide ' (J) or the 
 ' Round-glide ' (J) in commencing or finishing other elements ; and, however 
 accurately the vowels and consonants of such speakers might be written, the 
 result would not be a perfect representation of their utterance without the inter- 
 polated transitional sounds. 
 
JO 
 
 It is the aim of this System of Letters to write every sound which the 
 mouth can make, and to represent it exactly as the mouth makes it. Such 
 minute symboHzation is not called for in the ordinary Avriting of languages ; but 
 the power must be inherent in a Universal Alphabet ; because the peculiarities 
 of utterance which, as idiosyncrasies, may be passed unheeded in writing a 
 speaker's language may possibly be essential characteristics of vernacular pro- 
 nunciation in some part of the world. 
 
 The following is a complete Table of the ' Glides.' 
 
 COMPLETE TABLE OF THE GLIDES. 
 
 Symbol Name. 
 I. > Breath-Glide. 
 
 2. 
 
 I 
 
 Voice-Glide. 
 
 3- 
 
 i 
 
 Round-Glide. 
 
 4- 
 
 5 
 
 Throat- Glide. 
 
 5- 
 
 I 
 
 Back-Glide. 
 
 6. 
 
 \ 
 
 Back Round-Glide. 
 
 7- 
 
 I 
 
 Front-Glide. 
 
 8. 
 
 I 
 
 Front Round-Glide. 
 
 9- 
 
 V 
 
 Point-Glide. 
 
 0. 
 
 "i 
 
 Point Round-Glide. 
 
 I. 
 
 \ 
 
 Lip-Glide. 
 
 2. 
 
 I 
 
 Lip Round-Glide. 
 
 ExplajiatioJi. 
 
 A Transitional aspiration, of organic quality corre- 
 sponding to that of the adjoining elements 
 [= a soft effect of COOO, &c.] 
 
 Vowel murmur [= a non-syllabic effect of \.] 
 
 Rounded murmur [= a non-syllabic effect of \.] 
 
 A semi-vowelized sound of 0. 
 
 A semi-vowelized sound of G. 
 
 A semi-vowelized sound of (^. 
 
 A semi-voAvelized sound of O- 
 
 A semi-vowelized sound of (•), with lip modifica- 
 tion. 
 
 A semi-vowelized sound of Q. 
 
 A semi-vowelized sound of Q, with lip modifica- 
 tion. 
 
 A semi-vowelized sound of 3. 
 
 A semi-vowelized sound of 3- 
 
 VOWEL RELATIONS OF THE GLIDES. 
 No. 4 resembles the vowel J ; No. 5 resembles the vowel 3 or 1 ; No. 6 re- 
 sembles the vowel } ; No. 7 resembles the vowel I : No. 8 resembles the vowel f ; 
 No. 9 resembles the vowel I ; No. 10 resembles the vowel J ; No. 1 1 resembles 
 the vowel I ; No, 12 resembles the vowel J. 
 
/I 
 
 VOWELS. 
 
 A ' Vowel' is a syllabic sound moulded by a definite and momentarily y?,nv/, 
 or tense, configuration of the free channel of the mouth, and creating no oral 
 sibilation or friction in its emission. A vowel without a ' fixed ' configuration 
 loses its syllabic effect, and becomes a ' glide ;' and a 'glide' with sibilation or 
 friction in the oral channel becomes a ' consonant.' Consonants, like glides, are 
 merely transitional sounds ; but their configurations may be ' held ' so as to 
 receive syllabic impulse, in which case a consonant without a vowel has the 
 effect of a syllable. All vowels make syllables. 
 
 Primary vowels are those which are most allied to consonants, the voice- 
 channel being expanded only so far as to remove all ' fricative ' quality. The 
 same organic adjustments form 'wide' vowels when the resonance-cavity is 
 enlarged behind the configurative aperture ; — the physical cause of 'wide' quality 
 being retraction of the soft palate, and expansion of the pharynx. 
 
 Voice, as formed in the throat, may be said to have no vowel quality. It 
 derives the latter entirely from the shape and size of the voice-channel in the 
 throat and the mouth. Thus cc and ah are one sound in the throat ; but, for 
 ee, the convex front of the tongue must be elevated and advanced close to the 
 front of the palatal arch, so as to contract the oral channel in the greatest degree ; 
 while, for ah, the root or back of the tongue must be retracted, and depressed 
 below the edge of the soft palate, so as to enlarge the oral channel in the greatest 
 degree. The point of greatest contraction, or the ' configurative aperture,' may 
 be shifted to any part of the back or the front of the palatal arch ; and every 
 different attitude of the tongue produces some change in the shape and dimen- 
 sions of the oral cavity, and consequently a change of vowel quality. 
 
 The sounds resulting from the various adjustments of the tongue to the 
 palate are susceptible of an additional modification from the contraction or 
 ' rounding ' of the guttural passage, — and, probably, of the upper aperture of the 
 larynx, — accompanied by a corresponding modification of the buccal cavities 
 and of the external aperture of the lips. All the palato-lingual vowels may 
 undergo this change. The dimensions of the labial orifice vary in accordance 
 with those of the oral channel; thus, to 'round' the narrow sound of cc, tlie 
 labial orifice is reduced to little more than a chink ; while the broad aperture of 
 ah is ' rounded ' by contracting only the corners of the lips. 
 
72 
 
 The vowels — whether ' Primary,' ' Wide,' or ' Rounded ' — are divided into 
 three^asses of palato-Hngual formations, according as the oral cavity is moulded 
 mainly by the ' Back,' the ' Front,' or the * Mixed ' (Back and Front) attitudes 
 of the tongue. The ' Back ' vowels have the largest oral cavities, the tongue 
 being disengaged from, or depressed below% the line of the upper teeth ; the 
 
 * Mixed ' vowels have smaller cavities, the edges of the tongue being raised to 
 the sides of the teeth ; and the ' Front ' vowels have the smallest cavities, the 
 convex tongue being elevated within the arch of the palate. 
 
 The general outline of the palato-lingual channel for the three classes of 
 vowels will be understood from a comparison of the Diagrams at page ^i. 
 
 VOWEL SYMBOLS. 
 
 The symbol of ' Voice ' (I) is the basis or ' stem ' of all the vowel letters. 
 To this 'stem' a 'Primary' or a 'Wide' 'Definer' is added, to show the 
 organic formation of the sounds. The 'Definer' is joined to the inner or left 
 side of the stem for ' Back ' vowels ; to the outer or rigJit side for ' Front ' 
 vowels; and to botJi sides of the 'stem' for 'Mixed' vowels. The 'Definer' 
 for ' Primary' vow^els is a dot (1), and for 'Wide' vowels, a hook (1). 
 
 Three degrees of elevation of the tongue in its ' Back,' ' Front,' or 'Mixed' 
 attitudes, are discriminated by the position of the ' Definers ' on the vowel 
 
 * stem.' The ' Definers ' stand at the tipper end of the stem for the ' high ' vowel 
 of each class ; at the lower end for the ' low ;' and at botJi ends for the * mid ' 
 vowel of each series. Thus : — 
 
 Vowel Symbols. 
 
 primary vowels. wide vowels. 
 
 Back, Mixed. Front. Back. Mixed. Front. 
 
 High, III 1 T I 
 
 Mid, 3 I C 3 1 C 
 
 Low, III JIT 
 
 The relation of the Symbols to the organic positions is exhibited in the 
 next Section. 
 
73 
 
 RELATIVE ORGANIC FORMATION OF VOWELS. 
 The relative positions of the tongue to the palate indicated by the Vowel 
 Symbols will be understood by comparing the following series of Diagrams. 
 From the ' Low Back' to the ' High Front' positions, the cavity of the mouth 
 is progressively diminished ; the ' Mixed ' vowels being intermediate to the 
 ' Back ' and ' Front ' vowels. Conversely, the progressive enlargement of the 
 vowel cavity will be seen on comparing the Diagrams in the order from i to 9. 
 
 High. 
 
 Back. 
 7- 
 
 {^ 
 
 Mid. I r~^ 
 3 
 
 Low. 
 
 ^5 
 
The following additional illustrations of the relative apertures of the ' Front' 
 vowels will help the reader to a clear understanding of the mechanical cause of 
 variations in vowel quality. The eye is supposed to look down on the convex 
 surface of the tongue through the roof of the mouth. The front line is the rim 
 of the palatal arch. 
 
 Relative Apertures of Front Vowels. 
 High (Narrow.) Mid. Low (Broad.) 
 
 /_ \ 
 
 
 The following Diagram presents a further illustration of the Scale formed 
 by the progression of the ' configurative aperture ' for the radical Lingual Vowels. 
 [See 'Modulated lV/ns/>er.'] The diagram combines in one view the series of 
 nine positions separately illustrated at page y^. 
 
 SCALE OF LINGUAL VOWELS. 
 
RELATION OF VOWEL TO CONSONANT POSLFIONS. 
 
 The various positions of the tongue which produce 'centre-aperture' Con- 
 sonants, form vowels when the channel between the organs is sufficiently- 
 expanded and firm to allow the breath to pass without oral friction or sibilation* 
 The vowel positions thus bear a definite relation to the Consonant attitudes of 
 the different parts of the tongue, A knowledge of these elementary relations 
 will enable learners who are acquainted with the simple consonant-frictions to 
 interpret the Vowel Symbols with uniformity in different countries. 
 
 The ' Back ' Vowels are allied to the ' Back ' Consonant and its ' inner ' 
 and 'outer' varieties; the ' inner' consonant corresponding to the 'Low-Back' 
 vowel, and the ' outer' to the ' High-Back' vowel. 
 
 The ' Front ' vowels are allied to the ' Front ' consonant and its ' inner ' 
 and 'outer' varieties; the 'outer' consonant corresponding to the 'High- 
 Front ' vowel, and the ' inner ' to the ' Low-Front ' vowel. 
 
 The ' Mixed ' vowels are allied to the ' Point ' consonant and the ' Mixed ' 
 Point-and-Front varieties. The ' Front-Mixed ' consonant corresponds to the 
 ' High-Mixed ' vowel ; the ' Point-Mixed ' consonant to the ' Mid-Mixed ' 
 vowel ; and the ' Point-Consonant ' to the ' Low-Mixed ' vowel. 
 
 The ' Mid-Mixed ' vowel brings the tongue into the ordinary position of 
 rest ; the ' Back ' and ' Front ' surfaces of the tongue are equi-distant from the 
 corresponding parts of the palate, and the quality of the sound is neutral. This, 
 therefore, may be called the ' Natural Vowel ' position. 
 
 These Vowel and Consonant Relations are illustrated in the following 
 Table : 
 
 MUTUAL RELATIONS OF 'PRIMARY' CONSONANTS AND 
 
 VOWELS. 
 
 Consonants. Voicels. Consonants. Vov:eIs. Consonants. Vowels. 
 
 CJ 1 I Q T I Ol I 
 
 C 3 O 1 O C 
 
 Ci J I O I I 0{ I 
 
76 
 
 LIP-MODIFIED OR 'ROUND' VOWELS. 
 
 All the varieties of ' Primary ' and ' Wide ' vowels hitherto explained, 
 result from the shape and size of the cavity of the mouth as affected by the 
 Tongue, while the lips remain spread so as not to influence the sound. The 
 same lingual positions yield another series of vowels when the voice-channel is 
 ' rounded ' and the aperture of the lips contracted. The mechanical cause of 
 ' round ' quality commences in the super-glottal passage, and extends through 
 the whole mouth-tube, by lateral compression of the buccal cavities and reduc- 
 tion of the labial aperture. The last cause — lip-modification — being the ' visible' 
 cause of ' round ' quality, is assumed as representative of the effect. 
 
 The amount of lip-modification corresponds to the degree of elevation of 
 the tongue ; * High' vowels have the narrowest labial aperture ; * Low' vowels 
 the broadest ; and ' Mid ' vowels an intermediate aperture. 
 
 This uniform addition of lip-modification is sym.bolized by a uniform 
 addition to the vowel ' stem.' The symbol expresses the organic action by an 
 obvious analogy. The lips are drawn across the apertiire of a lingual vowel in 
 order to ' round ' its quality ; and the resulting effect is symbolized by a short 
 line drawn across the vozvel ' stcui.' Thus : i | f , &c. 
 
 The 'rounded' vowels are called 'High-Back Round' (J), 'High-Back 
 Wide Round ' (\), &c. ; the syllable ' Round ' being added to the name of the 
 Tongue-vowel symbol. 
 
 The effect of ' round ' modification, not being dependent on the lips alone, 
 is producible — with some peculiarity — without contraction of the labial aperture ; 
 and this iimer ' rounding ' is practised as a concealment by ventriloquists. The 
 sign of 'inner' formation may be used to denote this mode of pronunciation. 
 Thus : W [oo, rounded without the lips.] 
 
 The Reader will now have a definite idea of the oral configurations repre- 
 sented by the symbols of * Round ' vowels, as shown in the following Table : — 
 
77 
 
 SYMBOLS OF 'ROUND' VOWELS. 
 
 Primary. Wide. 
 
 Back. Mixed. Frotit. Back. Mixed. Front. 
 
 High. i { f i I f 
 
 Mid. } I { 
 
 Relative Lip 
 Aperture. 
 
 Low. 
 
 Other faintly different shades of vowel sound are possible ; as, for instance, 
 from giving a greater or less than the ordinary or symmetrical degree of lip- 
 modification. Even these delicate varieties may be perfectly expressed by the 
 modifiers ' close ' (J\), ' open ' (Y), ' inner ' (0, ' outer ' (} ), or by ' linked ' symbols ; 
 but such compound letters can never be required in the writing of languages, 
 except to show the curiously minute accuracy with which these plastic physio- 
 logical symbols may be applied. 
 
 NASALIZED VOWELS. 
 
 When the nasal valve is opened simultaneously with the formation of a 
 vowel, the breath or voice issues partly through the nostrils and partly through 
 the oral configuration. This, with a degree of 'gliding' semi-consonant 
 contraction in the guttural passage, is the formation of the common French 
 sounds represented by n after a vowel letter. To indicate the ' mixed-nasal ' or 
 naso-guttiiral o^-^\\\.Y of these elements, the special symbol y is provided. The 
 symbol is formed by uniting subordinately with the ordinary nasal sign (. 
 
78 
 
 The precise oral qualities of the French nasals must be settled by native 
 orthoepists. We write in accordance with, at least, a very general usage, 
 
 Examples. 
 
 }n 
 
 an 
 en 
 
 in U 
 on ly 
 un U 
 
 ENFIN. MON-ENFANT. 
 
 CHACUN — A SON GOUT. 
 
 Partial nasality without guttural modification — such as is heard in some of 
 the American dialects, and from individual speakers — is represented by the 
 ordinary nasal sign (j) placed after the affected vowel. 
 
 Any vowel may be nasalized. 
 
 VOWELS OF GLIDING QUALITY— DIPHTHONGS. 
 
 All the Vowel Symbols represent sounds of ' fixed ' configuration — 
 monophthongs ; but many syllabic sounds have a superadded gliding quality, 
 which converts them into ' diphthongs ' or double sounds. The second element 
 of an ordinary diphthong is not, however, another voivcl, as it has neither ' fixed 
 configuration ' nor ' syllabic impulse.' The initial element is a vowel ; the 
 second is a transitional sound or * glide,' and the two, in combination, form but a 
 single syllable. 
 
 The difference between a ' diphthong,' thus explained, and a combination of 
 two vowels, will be manifest on comparing the diphthong i in knives (G53?i8^) 
 with the dissyllabic combination of the same sounds in naive ((153 18) ; or the 
 diphthongal a m fanwits (3C?i03Q) with the dissyllabic compound of the same 
 sounds in phaeton (3CIDJGD)- 
 
 The diphthongal quality of the English a will not, at first, be admitted by 
 every reader ; but the double quality of the sound cannot fail to be apprehended 
 in slow pronunciation or in singing ; or, better, by contrasting the English with 
 the Scotch pronunciation of any word containing a under accent. The Scotch 
 ^^ is_hke the French e — a monophthong. Thus : 
 
 [Scotch:] 3CIC0, [English:] 3C?iG0,/«//. 
 
 A diphthongal glide may be a transition either towards the ' natural ' vowel 
 (see page 75) or its ' rounded' correspondent ; or towards the configuration for 
 
79 
 
 a ' centre aperture ' consonant vowelized, i.e., formed without the friction or 
 buzzing of a consonant. All monosyllabic diphthongs are accurately sym- 
 bolized by the appropriate 'glide' placed after the initial vowel. In such words 
 as cruel, creolc, &c., two vowels, and consequently two syllables, are heard. 
 
 The following examples, which include only a few out of the vast number of 
 possible ' diphthongs,' will furnish the Reader with a useful organic exercise. 
 
 EXAMPLES OF DIPHTHONGS. 
 
 11 
 
 
 n 
 
 II 
 
 n 
 
 B 
 
 
 n 
 
 II 
 
 
 n 
 
 u 
 
 n 
 
 n 
 
 
 
 15 
 
 
 u 
 
 u 
 
 a 
 
 u 
 
 
 
 IT 
 
 
 n 
 
 u 
 
 u 
 
 u 
 
 
 
 11 
 
 
 n 
 
 u 
 
 n 
 
 u 
 
 
 
 n 
 
 
 n 
 
 u 
 
 u 
 
 u 
 
 
 
 Li 
 
 
 n 
 
 u 
 
 n 
 
 u 
 
 
 
 n u u u ii n n n 
 Li u n u u n n n 
 
 VOWEL QUANTITY. 
 
 The vowel symbols imply ordinary ' short ' quantity, as the words //, if, ill, 
 &c. Abruptness (t), and prolongation (}), are separately denoted. 
 
 The absolute length of a syllable is greatly dependent on the nature of the 
 elements which follow the syllabic vowel ; as in the words 
 
 seek, seem, see. root, room, rue. late, lain, lay. 
 
 goad, goal, go. sought, sawed, saw. right, rhyme, wry. 
 
 fork, form, for. curt, curl, cur. deck, dealt, dell, 
 
 bit, built, bill. hat, hank, hand. rot, romp, wrong. 
 
 Vowels before non-vocal consonants are always shorter than before voiced 
 consonants, or when final, under accent. Such differences do not require to be 
 indicated, as they are implied in the nature of the combinations. The vowel in 
 the word meet, for instance, is considerably shorter than in the w^ords meal or me; 
 but, notwithstanding the shortening influence of the voiceless consonant in meet, 
 the vowel should have the same mark of long quantity as in meal, because it is 
 ' long ' as compared with its ' short ' correlative in meet (Scotch) or mit (German), 
 
80 
 
 and only further lengthened by its association with the vocal /. The ' short ' cor- 
 relative of the sound ' meal ' is heard in the French ' mille.' 
 
 The reader will bear this principle in mind, and not pronounce all long 
 vowels equally long, or all short vowels equally short. 
 
 Extra prolongation of a vowel — as in drawling — may be shown by doubling 
 the sign of long quantity (||). Four degrees of quantity may be thus distin- 
 guished by the symbols ; as : 
 
 1. Abrupt or extra-short (ah), J( 
 
 2. Ordinary short, . . .J 
 
 3. Ordinary long, . . • Ji 
 
 4. Extra-long, . . • J{i 
 
 LINKED SYMBOLS. 
 
 Some peculiar oral combinations are occasionally met with among indi- 
 vidual speakers, such as pronouncing R with a labial quality added to the 
 ordinary lingual formation ; or uniting a ' Point ' and a ' Back ' friction for the 
 same element ; modifying S with rounded lips, or with the lower lip in the 
 position or F, &c. All such peculiarities may be indicated at pleasure by 
 writing two organic symbols with a * link ' (o) between them, to show that they 
 are to be pronounced simultaneously and not in succession. Thus : QoO, 
 labialized r ; (i)oQ, gutturalized r; Qo3j ^ modified by/; &c. 
 
 Any two elements — vowels, consonants, or one of each class — may be thus 
 ' linked,' where a single alphabetic symbol does not express the whole mechanism 
 of a peculiar sound. Thus the * Low-Back ' vowel * linked ' to the ' Lip '-Con- 
 sonant (JoQ) would show close labial modification of a sound which, when 
 normally ' rounded,' is associated with a broad aperture of the lips, &c. 
 
 GOVERNING SIGNS. 
 A pair of 'linked' symbols within parenthesis (OoQ) (QoC), &c., may 
 be used as Governing signs to denote habitual peculiarities of any kind, and to 
 save the writing of the latter at every instance of their recurrence. Thus the 
 ' Nasal ' sign, or the ' Back ' or the ' Lip ' consonant, ' linked ' to any element, 
 will show a general nasalizing, gutturalizing, or labializing of that particular 
 sound ; as (Q0o(:) I nasal ; (QQoC) ^guttural, &c. 
 
81 
 
 A more general indication of such peculiarities, without reference to any 
 specific element, will be furnished by writing the 'link' before the 'nasal' or 
 other organic sign by itself, within parenthesis; as (oQY:) close lips ; (oQd:) 
 protruded tongue ; (o( :) general nasal quality ; (oJJ^:) strained voice, &c. 
 
 Habits of lisping, burring, &c. ; peculiar elementary substitutions ; huski- 
 ness, drawling, abruptness, hemming, monotony or prevailing tone ; audible 
 inhaling, 'windy suspiration of forced breath,' closing the teeth, jerking the 
 emphasis, licking or biting the lips, speaking from one side of the mouth, &c., 
 may thus be simply conveyed to the eye. 
 
 This species oi facsimile writing maybe found useful for directive pur- 
 poses, to composers of vocal music, dramatic authors and actors, teachers of 
 oratory or of singing, &c. ; as well as amusingly applicable, on special occasions, 
 by too faithful ' reporters,' in presenting a typic pJioiiogram of the idiosyncrasies 
 of speakers. 
 
 Subjoined are a few examples of ' linked ' symbols : — 
 
 (QoGO r, guttural. 
 (Qo3:) r, labial. 
 (D°BO wh, asw. 
 Oo30 w, as V. 
 (Qor2:) s, as th. 
 (Qo^:) s, as sh. 
 (^o^O sh, as s. 
 (aOOoOO::) cl, astl. 
 (Qo0: &c.) obstructed 
 
 nasals. 
 (QoGQO "g, as ngg. 
 (QoIO h omitted. 
 (loOO vowels aspirated. 
 (yoQ:) r-glide, as r-con- 
 
 sonant. 
 (C?i°C:) Scotch a. 
 {\.lo\\) Cockney a. 
 (}io}:) Scotch .-,. 
 
 (}loH:) Cockney o. 
 ( CyoCQO Scotch a before r. 
 (HoJQO Scotch o before r. 
 (lyoiyO American e or i 
 
 before r. 
 (OioflO American fi. 
 (31oCiiO American ow 
 
 in noiv. 
 {o\\-}j Inner rounding of 
 
 oo, [without the lips.] 
 (oO^:) r trilled. 
 (oO:) whisper. 
 (o0:) husky voice, 
 (oIAO strained voice. 
 (oJY:) soft voice, 
 (oil |:) drawling. 
 (ojt :) abrupt vowels. 
 (ol^:) vocal tremor. 
 
 (o< :) audible inspirations. 
 
 (o> :) transitional aspLra- 
 tion.s. 
 
 (oI> J:) transitional murmurs 
 [hemming and hawing.] 
 
 (oj^:) keeping the mouth 
 close. 
 
 [o\\) keeping the mouth 
 open. 
 
 (oXL) coughing the vowels. 
 
 (oX:) choking utterance. 
 
 (o> :) hesitancy. 
 
 (oQ. : &c.) ' stopping ' con- 
 sonants [stammering.] 
 
 (oQ ) Q : &c.) repeating con- 
 sonants [stuttering.] 
 
 (o':) marked accentuation 
 [rhythm.] 
 
82 
 
 ANALYSIS OF 'MIXED' SYMBOLS, AND OPTIONAL EXTENSION 
 OF THE PRINCIPLE. 
 
 The ' Mixed ' VoAvel and Consonant Symbols provided in the alphabet 
 may be considered as equivalent to ' linked ' letters, which are, for typographic 
 convenience, combined in one character. Thus the vowel X might be written 
 1°I ; I might be written 3°C 5 X niight be written Jo^ ; to express the same 
 sounds. 
 
 So, too, the consonant (^ might be written C°0 5 Q might be written 
 QoO ; ^ might be v.-ritten QoO ; D might be written QoQ ; but in the 
 case of the consonants the ' mixed ' symbols express more than combination, 
 as they are designed to show excess of one over the other element in the organic 
 compound. 
 
 On the same principle, other alphabetic forms may be introduced to show 
 the combinations C°0, C°0, QoO, 0°O, &c., with excess of either element, 
 should it be found desirable for local convenience anywhere, to express such 
 organic compounds by single types. The principle of the system admits of an 
 extension of the alphabetic characters without danger of ambiguity; as each 
 radical symbol retains its organic value with uniformity in all cases. 
 
 The sign of ' trill,' or of ' inner ' or ' outer ' formation, of ' stop ' or ' holder,' 
 or of ' nasal ' or ' naso-guttural ' modification, may be similarly combined, by 
 superposition or otherwise, ad libitmn, with the letters to which they refer, 
 wherever convenience could be served by the incorporation of the symbols into 
 single types. 
 
 TONES. 
 
 The most important affection of simple voice is modulation, or change of 
 pitch. The qualities of tone are most clearly felt in connection with inarticulate 
 sound. But even articulate speech is interpreted by tone ; and in all cases 
 where sentiment rather than the communication of ideas is concerned, the 
 modulations which accompany utterance are more expressive than words. In 
 the Chinese language, the same combinations of articulate elements pronounced 
 with different tones, are said to express an equal number of distinct meanings. 
 Hence the necessity of including modulative signs in a scheme of speech- 
 symbols adapted for universal application. 
 
83 
 
 Chinese linguists, however, use the word ' tone ' in a pecuHar sense. They 
 inchide under that name eftects wliich are not properly varieties of intonation. 
 Thus, the sudden check given to a vowel by the closing of the glottis is reckoned 
 a ' tone.' In Visible Speech this effect is represented by the symbol for ' stop' (•), 
 or for ' catch' (X). 
 
 The degrees of modulation are almost infinitely numerous, and they are 
 perhaps incapable of exact symbolization ; but there are radical varieties of 
 inflexion, each of which conveys a distinct significance, and to some one of 
 which all minor modifications must be generically related. These radical 
 inflexions may be usefully symbolized. Thus : 
 
 .Sj-rabol. 
 
 - Level tone. 
 
 / Simple rising inflexion. 
 
 V Simple falling inflexion. 
 
 V Compound rising inflexion : — falling and rising with a single impulse 
 
 of voice. 
 A Compound falling inflexion : — rising and falling with a single impulse 
 
 of voice. 
 
 The efiect of a monotone is reflective ; the efl*ect of a rising tone is prospec- 
 tive ; and of a falling tone retrospective. Thus a vocal murmur with monotone 
 (I-) expresses attention or observation; and a prolonged monotone (I{-) 
 musing. A simple rising inflexion, of limited range, expresses enquiry or 
 doubt (T) ; and a prolonged one, self-interrogation or prospective musing (If). 
 A simple falling inflexion, of moderate interval, expresses assertion or assur- 
 ance (T) ; and a prolonged one, self-assurance or retrospective musing (ID 
 When rising or falling inflexions are modified to intervals of pitch corresponding 
 to those of the ' minor mode' in music, the effect \s plaintive : a simple rise ex- 
 presses compassion or supplication ; and a simple fall, regret or lamentation. 
 When the rising or falling tone extends through greater intervals— of a fifth, an 
 octave, or more — the rise expresses surprise or incredulity ; and the fall, injunc- 
 tion or dogmatism. 
 
 The effect of the compound tones — which combine a fall and a rise, or a rise 
 and a fall, with one accentual impulse — is to suggest the expressiveness of their 
 first element in antithesis to that of their second element. Thus a compound 
 rising tone is appcllatory or prospective by its termination, and affirmative by 
 
 L 
 
84 
 
 its commencement : it suggests affirmatively that an effect or consequence will 
 follozv the utterance. This tone (Iv) thus expresses warning or discontent, 
 when of moderate range ; regretful supplication or unwilling detraction, when in 
 the ' minor mode ;' threatening or contemptuous appeal, when of extended 
 rano-e ; and musing or reflection on contingent probabilities, when prolonged 
 (Ilv). A compound falling tone is affirmative or retrospective by its termina- 
 tion, and appellatory by its commencement : it suggests interrogatively that 
 enquiry, cause, or motive has preceded the utterance. This tone (I^^) thus 
 expresses counter-assertion, or impugning, when of moderate range ; compas- 
 sionate affirmation or derisive commendation, when of ' minor ' interval ; dog- 
 matic counter-assertion, or sarcasm, when of extended range ; and reflection on 
 consistent certainties when prolonged (I {a). 
 
 Illustrations in connection with words may help the reader to produce these 
 varieties of expressive inflexion. Thus : 
 
 I. Pronounce the word ' /' ' with simple rising tone, and the utterance will be 
 
 felt to be as plainly interrogative as the equivalent sentential expression 
 'Isitir 
 
 II. Pronounce the word ' You^' with simple falling tone, and the utterance will 
 
 be felt to be as plainly assertive as the equivalent sentence, ' It was you !' 
 
 III. Pronounce the word ' go'^" with compound rising tone, and the utterance 
 
 will be felt to be equivalent to ' go — or an understood consequence will 
 follow!' Or pronounce the sentence '/^' would not,' and the tone will 
 be felt to suggest the positive inference — ' but another might.' 
 IV. Pronounce the word ' go'^' with compound falling tone, and the utterance 
 will be felt to be equivalent to ' go — becatise an understood motive or 
 reason urges !' Or, pronounce the sentence ' You '" did it !' and the tone 
 will be felt to suggest the negative or appellatory inference — ' and not 
 another person.' 
 
 The preceding analysis of Tones shows that the effects of intonation are 
 not less various in our own language than they can be in Chinese or in any 
 tongue. Modulative expressiveness is, in fact, the same in all countries : it is 
 not, like articulate utterance, arbitrary and conventional, but instinctive and 
 natural. 
 
 This statement may be thought to be at variance with the fact, that in ever)- 
 dialect, and almost in every family, there is a prevailing modulative tunc ; but 
 
85 
 
 this habitual succession of tones is associated only with articulate language, 
 which is altogether habitual, artificial, and local. In the use of inarticulate 
 modulations, there is, no doubt, a universal agreement. 
 
 It is further to be noticed, that the prevailing tones of dialects, families, or 
 individuals, reveal the prominent points of individual or national character. Thus 
 a wide variety of pitch and inflexion in speech denotes vivacity and levity of 
 disposition ; and a general sameness of pitch, or a limited range of inflexions, 
 denotes comparative dulness and gravity. A predominance of simple rising 
 tones characterizes timid, retiring, dependent, inconfident, querulous, scrupulous 
 conciliatory people ; a predominance of simple falling tones characterizes bold, 
 rash, independent, persevering, confident, dominating, stern, uncompromising 
 people ; a predominance of compound rising tones characterizes vain, forward, 
 self-aggrandizing, shrewd, calculating, clever, insinuating, wily people; and a 
 predominance of compound falling tones characterizes proud, self-confident, 
 supercilious, sarcastic, revengeful people. As a general rule, simple tones indi- 
 cate artlessncss, and compound tones artfulness of character. 
 
 An accomplished speaker, in any country, cannot express himself with 
 habitual modulative tune of any kind. His voice will be constantly varied in 
 pitch, inflexion, and range, in accordance with his feeling of the inherent expres- 
 siveness of the tones. The association of this vocal vis natures with the utter- 
 ance of conventional language, constitutes the great difficulty in acquiring, and 
 the great charm in listening to, the delivery of an effective reader,-orator, or 
 tragedian.- 
 
 In our notation of Tones, no more is aimed at than the discrimination of 
 the radical varieties : — level, and simple or compound rise or fall. The types for 
 tones — being, however, like all the 'Visible Speech' types, reversible — may be 
 used to indicate relative /zV^// as well as inflexion. Thus : 
 
 J' high-pitched rise, (expressing simple enquiry). 
 
 J/ low-pitched rise, (expressing interrogative surprise). 
 
 Jv low-pitched fall, (expressing simple assertion). 
 
 J^ high-pitched fall, (expressing dogmatic assertion). 
 
 One additional symbol for modulation, or change of Kev, furnishes all that 
 it can be desirable to indicate in connection with Tones in the writing ofianguages. 
 Thus ; 
 
 ^ Key elevated. j Key depressed. 
 
86 
 
 MODULATED WHISPER. 
 
 An observant ear will detect the quality of modulation or change of pitch 
 even in a simple breathing. A sigh may thus be modulated. The rising modu- 
 lation of a sigh conveys a sentiment of anticipation ; the falling, a sentiment of 
 remembrance. The difference is due to a change in the size of the oral cavity, 
 and consequently a change in the vozvel quality of the breath. 
 
 Every configuration of the mouth gives the breath an absolute pitch, so 
 that it will be found impossible to whisper any one vowel with changes of modu- 
 lation. There is no difficulty in changing the pitch of the breath ; but with every 
 change, the vowel quality — the oral configuration — is altered. As the tongue 
 increases in convexity, the cavity of the mouth is lessened, and the pitch rises ; 
 and as the aperture of the lips is narrowed, the pitch falls. The lowest sound is 
 consequently that which has the root of the tongue most depressed and the lips 
 in the closest position. 
 
 Each of the consonant sibilations, as well as the vowels, will thus be found 
 to have an inherent pitch ; but the pitch of the consonants may be considerably 
 varied by 'inner' or 'outer' shifts of the configurative aperture, and by altera- 
 tions in the oral cavity, which do not destroy the essential character of the 
 sibilation. The following is the modulative ot'der of the primary consonants : — 
 
 ^ I 
 D G Ci C Cii O^QOi O O}. 
 
 In farming the first of these elements, the tongue is in the ' high-back ' 
 position. A deeper series of sounds can consequently be formed by depressing 
 the back of the tongue while the lips retain the close position of ^. Thus the 
 following form a lower descending series : 
 
 (oO:) [the sign of whisper :] loO(=^) ^oQ JoQ. 
 
 The ' divided ' formations are lower in pitch than the ' primary ' or centre- 
 aperture elements of the same organic mechanism. The following is the modu- 
 lative order of the ' divided ' consonants : 
 
 The vowels allied to the centre-aperture consonants yield whispers of 
 slightly lower pitch than that of the consonants, because of the greater expan- 
 sion of the breath-channel. For the same reason, the ' wide ' vowels of the 
 
87 
 
 ' front' and the ' mixed' series arc a degree lower than the 'primary' vowels; 
 but the ' primary-' vowels of the ' back' series are a degree lower in pitch than 
 the ' wide ' vowels, because the greater retraction of the tongue enlarges the 
 oral cavity. The following is the modulative order of the Lingual vowels : 
 
 Si S^ Sl^ }rL }:L SL ^^ ^ 9^ 
 
 n fi n ri % \ fi n n ri 
 
 The ' rounded ' vowels are lower in pitch than their corresponding simple 
 'Unguals.' The pitch of the highest of the 'rounded' vowels is the same as 
 that of the ' high-mixed ' of the lingual series ; and the pitch of the ' low- 
 back ' vowel is the same as that of the ' low-mixed ' of the ' rounded ' series. 
 The unisons in the scales explain the similarity in effect of guttural and of 
 labial modification before referred to. [See page y6]. Thus in forming Q, the 
 tongue is in the neutral or ' natural ' position, and the breath is affected to the 
 same pitch either by contracting the passage between the back of the tongue 
 and the soft palate (CI), or by narrowing the labial aperture. The correspon- 
 dence may be thus represented : 
 
 Guttural. Neutral. Labial. 
 
 C|ol I loQ. 
 
 The modulative order of the vowels and the primary consonants, united 
 into one scale is the following : 
 
 ^ ^ ^ r^ S^ ^ o ^ Q o^ o oi 
 
 Whatever practical use may be made of this scale, the relations it exhibits 
 as inherent in the elementary configurations may be found of some service in 
 securing uniformity of pronunciation of the symbols in different countries. 
 Thus to find the precise quality of the vowel represented by 1 prolong the con- 
 sonant C^ then vowelize or expand and tensify the configuration to remove the 
 friction of the breath ; and, keeping the organs in the same position, sound the 
 
88 
 
 voice, and the result will be the vowel 1. Or whisper the vowel J (oo), and entirely 
 spread the lips without moving the tongue, and the result will be 1, or, with 
 sibilation, CI- [See page 75]. 
 
 The best way to perform such experiments on configurative pitch, will be 
 to listen to the different elements as whispered by another person who does^not 
 know the purpose for which he produces the effects : otherwise the subtle 
 poivcr of variation before referred to — although all variations are absolutely 
 dependent on changes in the cavity of the mouth — will perplex the ear in its 
 attempts to catch the natural pitch of a configuration. Wide differences will 
 be best appreciated at first. These may be used to test the principle. No 
 person, for example, will be found to whisper the words way or we with a descent 
 of pitch from w to the vowel ; or the words yoke or yoii with an ascent of pitch 
 from y to the vowel ; but, on the contrary, every person will be found to whisper 
 any given series of elements with exactly the same relations of pitch, when no 
 special effort is made to accommodate the result to a pre-conceived note. 
 
 Whistling is another form of modulated whisper. The varieties of pitch 
 in whistling are produced by changes in the cavity of the mouth, of the sam.e 
 kind as those which produce varieties of vowel-sound. A whistle has a well- 
 understood — if a vulgar — expressiveness, and it may not be superfluous to provide 
 a sign for this effect («•). A whistle with rising modulation is a call of invitation ; 
 with falling modulation it is a call of imperativeness. 
 
 A whistle formed on the tongue— \)Q2.x\x\^ the same relation to ^ that the 
 labial whistle bears to ^ — may be symbolized by adding the sign of 'inner' 
 formation {<=>{)• This sound adds an intimation of secresy to the meanings 
 conveyed by the labial whistle. 
 
 A whistle formed on the tongue and modified by the lips — symbolized by 
 <=>{oQ — gives a loud and piercing signal of alarm. 
 
 Whistle and voice may be blended. The symbol of the combination 
 would be <x>. 
 
PRACTICAL APPLICATION OF 
 
 VISIBLE SPEECH 
 
 TO LANGUAGES. 
 
91 
 
 THE ELEMENTARY SOUNDS OF LANGUAGES. 
 
 The scheme of Letters developed in the preceding pages provides the 
 means of alphabetically representing all languages exactly as they are spoken, 
 or according to any standard of pronunciation. 
 
 The symbols have been explained with reference only to the organic 
 adjustments which they represent, and not in connection with the elementary 
 sounds of languages ; because the sound intended necessarily results, in every 
 case, from putting the organs in the symbolized position. 
 
 The sounds of many of the symbols cannot be exemplified by ordinary 
 letters, or even by key-words, which are so differently pronounced by different 
 speakers ; but the relations of the various elements will be perfectly apprehended 
 from an attentive study of the Symbols themselves and the explanatory Dia- 
 grams. The effect will be found to be, that when the symbols oi familiar 
 sounds are known, the sounds of other letters will be deduced from the forms 
 of the letters more accurately than they could be from key-words. [See * Mode 
 of deducing Foreign Sounds from their Symbols.'] 
 
 The elementary sounds in actual use in any language may be most con- 
 veniently ascertained by tabulation from the utterance of selected speakers ; 
 and a standard of the pronunciation of every tongue may thus be fixed for the 
 guidance equally of native and of foreign learners. 
 
 Languages also which have never been reduced to writing may now be 
 alphabetized by missionaries and travellers with such uniformity a.s — whatev^er 
 the nationality of the writers —to convey a faithful copy of the native pronuncia- 
 tion which readers in all countries will vocalize alike. 
 
 It has never hitherto been possible to write a language or dialect in such a 
 manner as to enable a stranger to the language and to the writer's native tongue 
 to read the transcript with even an approach to vernacular accuracy. This old 
 ' impossibility' may now be accomplished simply, certainly, and universally. 
 
 The scales of sounds may be taught without the use of language as a 
 medium of instruction, and by means only of diagrams and oral exemplifications 
 of the elementary sounds. Thus it will be possible for a missionary or a 
 traveller, who is acquainted with 'Visible Speech,' to write an unknown language 
 as he hears it, and to teach its unlettered speakers to read their own tongue, 
 before their instructor himself has learned the meaning of a word. 
 
 The difference between many of the elementary sounds, when separately 
 pronounced, may appear to unaccustomed cars too slight to be of importance ; 
 
02 
 
 but to those who use the sounds in vernacular speech, the shghtest differences 
 are often real distinctions on which intelligibility depends. Each of the oral 
 configurations, when definitely formed, yields a perfectly distinct quality of 
 sound, and the nicest varieties will become appreciable when the configurative 
 differences are clearly apprehended. 
 
 A good ' ear ' and considerable practice will be necessary to enable a 
 person to analyze new combinations, and to identify foreign sounds, at hearing ; 
 but a good ear is in great measure a product of education, and the power of 
 discrimination will become sufficiently common when it is drawn out by exercise. 
 Ordinary learners of ' Visible Speech ' do not require any special aptitude. 
 Facility in reading will be attained by any person in a very brief period. 
 
 Some of the shades of sound distinguished to the eye will, no doubt, at 
 first, be difficult of appreciation by readers unaccustomed to exact observation. 
 The beginner should therefore content himself with associating with their respec- 
 tive symbols such sounds only as he habitually uses and can readily discriminate. 
 The power of minuter discernment will infallibly increase after the eye and the 
 mouth have become familiar with a few of these settled landjiiarks of sound. 
 
 There is often, however, a difficulty felt in recognizing familiar sounds when 
 they are heard under unusual circumstances — long instead of short, accented 
 instead of unaccented, and vice versa. The reader must lose sight of such habitual 
 associations of accent and quantity, and bear in mind that these accidents are 
 not inherent in any sound. The vowels, for instance, in ill, ell, at, up, on, &c., 
 may be prolonged as much as those in eel, all, ooze, &c., and the latter may be 
 shortened to any extent, without affecting their essential quality. So, too, the 
 ' obscure ' unaccented vowels in placrj, certain, so^a, mention, picture, &c., may 
 have the fulness and definiteness of accent ; and considerable practice is neces- 
 sary to enable the ear to identify the sounds under the altered conditions. All 
 collated alphabets — that is those which are formed by an aggregation of the 
 elementary sounds discerned in different languages, like the ' Standard Alpha- 
 bet' of Lepsius, Mr Ellis's ' Palseotype,' &c. — contain repeated entries of the 
 same sounds, under differences only of accent, quantity, coalescence with ad- 
 joining elements, &c. In ' Visible Speech,' these elements would, of course, 
 have the same graphic sign. 
 
 Examples of the letter-value of the principal ' speech-symbols ' — taken, 
 when possible, from English and its dialects — are furnished in the following 
 Tables, which will serve to establish a sufficient number of phonetic ' landmarks' 
 in the reader's mind : — 
 
93 
 
 ETTER-VALUE OF THE PRINCIPAL CONSONANT AND GLIDE SYMBOL 
 
 CONSONANTS. 
 
 Am. American F. French Hu. Hungarian Pec. peculiar Sp. Spanish 
 
 Cock. Cockney Ga. Gaelic Ir. Irish. Po. Polish \V. Welsh 
 
 E. English Ge. German It. Italian Sc. Scotch Z. Zulu. 
 
 o j e 
 
 (E.) (V^owchvhisp.) variety of de- i 
 fective r i 
 
 I bu'er for huiter i 
 (west of Scot.) 
 
 G 
 
 diCh 
 
 (Ge.) I 2M.cJi (Gc.) I hiss of water- i 
 &ch (Sc.) s,oVigh (Sc.) j fowl. i 
 
 ^ 
 
 a 
 
 G 
 
 c,k,q, (P:.) sink* {\ 
 
 ay kind (e.) I 
 
 o 
 
 h (Ge.) 
 
 Q 
 
 O 
 
 s, c, (E.) I variety of de- ; ///in 
 
 Qj<:iudad(Sp) j fective j i 
 
 (E.) 
 
 Q j Q 
 
 variet}- of / i variety of ; 
 I 
 
 o 
 
 lieatre (F.) 
 rh (W.) 
 
 X//OW (E.) 1 temp/6' (F.) II (W.) 
 
 ^/zaud (F.) j felt* (E.) j hi (Z.) 
 
 /le 
 
 a a 
 
 (E.) tent* (I 
 
 o 
 
 variety of / 
 or zvh 
 
 ivJiy (E.) I /ie 
 I 
 
 (E.) gutturalized 
 I variety of / 
 
 c 
 
 a(7e (Ge.) 
 i^y zei_7e(Ge.) 
 i^ \ burred r 
 
 e j 8 
 
 var*y-of^(Ge.) i /aogh (Ga.) 
 andofdefec- i barred I (Po.) 
 
 tive r (E. 
 
 labialized 
 
 variety of 
 
 Gaelic I 
 
 /ie (E.) 
 
 Q 
 
 (E-) 
 Qi^uide (E.) 
 
 o 
 
 lamp* (I 
 m/nn ! (S- 
 
 si//^ (] 
 
 O I ^ I 00 
 
 E.) I .^eal (E.) Z/ano (Sp.) 
 
 ^ y^, final (Sp.) \gV\ (It.) 
 
 ///en (E.) Magyar (Hu.) 
 
 Boulo^we (' 
 
 (i) 
 
 -ace (E.) 
 ^U(Sc.Sp. 
 
 &c.) 
 
 pleai-ure 
 your 
 
 (E.) 
 
 ?ie 
 
 CO 
 
 (E.) 
 
 3 
 
 ceg (Ge.) 
 
 3 
 
 way 
 
 (E.) 
 
 .e 
 
 3 
 
 (E.) 
 
 ^/// (Z.) ' ^/ie (E.) 
 
 05 
 
 (Sp.) I 
 
 gutturalized i <^uy 
 variety of f i 
 
 
 
 (E. 
 
 see;// (I 
 
 * The nasalf", ami also 1, befuro non-vocal consonants, are often pronouncud without vocality. The exact ed'ect of the En; 
 mpounds in/e/t, ink, tent, lamp, &c., includes both the vocal atid the voiceless /, m, n, &c. Thus :— 
 
 3100CDO, iOQQ, 010500, COTDOD- 
 
 lie voiceless elements, however, do not require to be written in such words. [See ' Imxjerfect and Variable Vocality of Consonai 
 
94 
 
 GLIDES. 
 
 3er 
 
 va ry 
 
 (E.) 
 
 nozi' 
 
 (Am. & Cock.) 
 
 are 
 
 (pec.) 
 
 are 
 
 (smooth 
 burr) 
 
 ? 
 
 our 
 
 fs. burr 
 labialized 
 
 di^ (E.) 
 daj(E) 
 
 new 
 
 (North Ir.) 
 
 are(E.) our (E) 
 
 1 
 
 lai (f; 
 
 1 
 
 now(E) 
 
 LETTER-VALUE OF THE PRINCIPAL VOWEL SYMBOLS. 
 
 1 
 
 laogh (Ga.) 
 
 fzrst (Am.) 
 
 Xf[bl](ru,ss.) 
 
 up (E.) 
 3y?<fni(E.) 
 
 //p (Sc.) 
 n^//t(Sc,) 
 
 I 
 
 4?;/.? (F.) 
 U z^it (Ge.) 
 1? ^^« (F.) 
 
 I 
 
 (Prov.) 
 
 I 
 
 ^■1 (F) 
 
 [\ee\ (E.) 
 I?, f///^ (F) 
 
 c 
 
 et (F) 
 
 C|d^y(Sc.) 
 ildaf (E.) 
 
 I 
 
 HI (E.) 
 
 ll^l (Sc.) 
 
 n v/« (F) 
 
 -tz'cz^s j 
 
 (E.) 
 
 3 
 
 ask (E.) 
 m<^nn (Ge.) 
 3?,h/gh(E.) 
 U^^ozu (E.) 
 
 -sh/re (E.) 
 -cs (pi.) (E.) 
 
 <2 [article] (E.) 
 
 ■^^ 1-(E.) 
 -<7nce ) ^ '' 
 
 U daj'icock.) 
 
 J I 
 
 man (Sc.) i ly err (E.) 
 Jfps<^lm(E) I up (Cock.) 
 JVare (E.) 
 J?ika2*ser{6e.) 
 ]lhaus{Ge.) j 
 
 zU (E.) 
 
 [lnew{Am.) 
 
 ill (Sc. 
 
 -n^ss ) 
 
 (E.) 
 
 Ci!«/r (E.) 
 
 I 
 
 m^n (E.) 
 1 1 Pap« (Ir.) 
 II o'e (Sc.) 
 
 II nOZV(Cock.) 
 
 li our {Cock.) 
 
 1 
 
 book (Sc. 
 l|p^^l(E.) 
 Oi|u(E.) 
 
 -I £ 
 
 (S\v.) ?/ber[|](Ge) 
 
 I 
 
 I 
 
 } 
 
 \ 
 
 i 
 
 h(?me[|](Sc) h<7mme (F.) i une 
 }lh^me(E.) ] \Son (F) | 
 
 (F.) 
 
 all[i] (E.) s/r 
 jywar(E.) iU 
 
 (Ir.) beurre[|] 
 (Ir.) (F) 
 (F.) 
 
 to, good (E.) 
 ly poor (E.) 
 
 -^?^gh (E.) 
 chaud (F) 
 J^ore (E.) 
 
 J 
 
 on (E.) 
 
 jy or (E.) 
 
 Hhoy (E.) 
 
 -?/re (E.) 
 12 do (Am.) 
 
 st^ne (Am.) 
 n(?te (Sc.) 
 
 ask (Cock.) 
 n^t (Ir.) 
 
 f 
 
 hoot (noun) 
 (Sc. 
 
 jcu (F) 
 
 hoot (v. imp 
 
 behooved) 
 
 (Sc.) 
 
 I 
 
 I'll (Sc 
 
 II out (Cock.) 
 
 - Syllables preceded by a hyphen are unaccented terminations. 
 
do 
 
 MODES OF TEACHING THE UNIVERSAL ALPHABET. 
 
 Teachers should, of course, be perfectly f;iiiuli;ir with the Theory of the 
 Alphabet, as well as competent to exemplify all the elementary sounds, and to 
 recognise them with certainty when heard. Learners may be introduced at once 
 to the symbols. 
 
 The teaching of the symbols for vernacular sounds can in no case be 
 attended with difficulty ; and illiterate learners may begin to read with their 
 first lesson. A plan of instruction applicable to children and illiterate adults is 
 shown in a subsequent section. 
 
 For other learners a different method will be preferable. The names of the 
 letters should first be taught, independently of sounds. When the names of all 
 the vowels and consonants are known — which, with oral teaching, will be in a 
 few minutes — the symbols of familiar sounds should be pointed out, and the 
 learner should repeat the pronunciation of these until he becomes conscious of 
 the organic actions by which he forms the sounds ; and of the correspondence 
 of the actions with those which he specifies in naming the letters. The relations 
 of the symbols will, in this way, be speedily felt, and the plan of the Alphabet 
 w^ill be fully comprehended long before the whole of the sounds which the 
 learner habitually makes have been associated with their symbols. 
 
 The pronunciation of foreign sounds will not, of course, be so easy as the 
 discrimination of their letters ; but after the principle of symbolization has 
 been comprehended in connection with native sounds, the ' visible ' relations of 
 foreign to native sounds will be of the greatest possible assistance to the learner 
 in forming his mouth for unfamiliar elements. In most cases it will be found 
 that unknown sounds will reveal themselves with a fair approximation to 
 accuracy at the first effort, by means of their relation to sounds which are 
 known. [See ' Mode of Deducing Foreign Sounds from their Symbols.'] 
 
 A simple method of teaching the names of the vowels and consonants will 
 be by means of four cards containing the four ' stems :' 
 
 c 
 
 c 
 
 
 1 
 
 I 
 
 i 
 
 with separate adjustible slips showing the requisite ' definers :' 
 
 
 
 1 
 
 
 \ 
 
 
 
 
 O 
 
96 
 
 By revolving the two Consonant Cards — with ' mixed,' ' shut,' ' nasal,' or 
 ' voice' signs attached — the organic varieties of each elementary action will be 
 exhibited ; and by shifting the vowel ' definers ' to the right or left of the two 
 vowel ' stems,' and inverting the Cards, all the varieties of vowel formation will 
 be presented to the eye. 
 
 Another mode — perhaps the best for teaching the soitnds — will be by means 
 of a set of twelve square cards for the consonants and of twenty oblong cards for 
 the vowels. As the teacher turns the symbols individually, the learner will form 
 his mouth accordingly, and pronounce the sounds. The ' glides,' ' modifiers,' 
 and other symbols, may be similarly printed on separate cards, and their value 
 explained as they are brought into use. But the attention of beginners should 
 not be taken up with symbols which are not to be immediately brought into 
 application. 
 
 These methods are adapted for the simultaneous instruction of large 
 numbers of learners. 
 
 A single card containing all the symbols for Vowels and Consonants may 
 be conveniently used in teaching single pupils or small classes. The following 
 arrangement will present the alphabet of 'iZ elements as the Card is turned : — 
 
 c 
 
 G 
 
 G 
 
 ^ 
 
 a 
 
 G 
 
 e 
 
 e 
 
 8 
 
 B 
 
 Q 
 
 e 
 
 1 1 
 
 I 
 
 3 \ 
 
 1 T 
 
 I 
 
 3 X 
 
 i I 
 
 f 
 
 } ^ 
 
 1 I 
 
 f 
 
 } X 
 
 The Glides and other symbols may be printed on the back of the card. Thus : — 
 
 (Uniform.) 
 
 X O I i 
 
 (Reversible.) 
 
 T ? y M A 
 
In teaching foreigners, the instructor will make use of the Physiological 
 Diagrams to communicate the organic relations of the symbols. By placing his 
 own organs in the positions symbolized, he will pronounce the sounds for the 
 learner's imitation ; — always beginning with familiar sounds. In this way 
 persons of ordinary intelligence may be taught to read 'Visible Speech' without 
 the use of language as a medium of instruction. 
 
 The Deaf and Dumb will be readily taught to adjust their organs in accord- 
 ance with the symbols, and consequently to speak. Their pronunciation may 
 not at once have the full variety of ordinary utterance ; but, without minute 
 accuracy, it will be sufficiently definite for intelligibility, and it will undoubtedly 
 improve, as a feelmg of the organic positions becomes developed by exercise. 
 The Deaf and Dumb should practise before a glass, to get the assistance of the 
 eye as much as possible in directing the organs. 
 
 The Alphabet will, it is believed, be found to be peculiarly adapted for 
 tangible reading by the Blind. The quick perceptions of touch and ear usually 
 manifested by the Blind should enable such learners to pronounce foreign 
 languages with great accuracy from the symbols. 
 
 Persons who suffer from Stammering or other Impediments of Speech, or 
 who fail to pronounce any of the elementary sounds correctly, will find a 
 special value in the symbols of ' Visible Speech.' A knowledge of the true 
 actions of utterance, and an exact perception of the organic errors of impedi- 
 ments, are the foundation of all power over such affections, and the basis of 
 every rational system for the removal of Impediments and Defects of articula- 
 tion. In the mode of applying this knowledge, much, of course, depends on 
 individual ability and experience on the part of the teacher ; but the knowledge 
 itself is of the first importance to the learner, and this knowledge the symbols 
 communicate. 
 
 TYPOGRAPHY OF VISIBLE SPEECH. 
 The possibility of representing the organic actions of .speech by the 
 revolutions of Single Radical Symbols was originally suggested by the fact, that 
 the elementary sounds of languages are produced mainly by the evolutions of 
 a single organ — the tongue. In ' Visible Speech ' typography, this mono-sym- 
 bolic principle is carried out with an effect which is practically the same to the 
 eye by whatever number of types the printing may be executed. The consonant- 
 f jrms ' Back,' ' Front,' ' Point," ' Lip,' for instance, whether printed from one 
 
type or from four types, are merely revolutions of one symbol ; and in like 
 manner all the ' Shut,' ' Nasal,' ' Divided,' aud ' Mixed ' Consonants are revolu- 
 tions of a single symbol for each of the varieties. 
 
 It would be possible to print all languages from a number of types 
 corresponding to that of the Radical Symbols [see page 35] ; but the effect 
 would be confusing to the eye, and otherwise objectionable. Convenience 
 requires that all elementary sounds — whatever number of ' rudimental symbols' 
 they may involve — should have their organic and other constituent signs 
 embodied in individual ' letters.' Thus : ' Front-mixed-divided, voice ' {th in 
 these) ; ' High-back-wide, round ' {00 in poor) ; ' Low-back-wide, round ' {0 in 
 on) ; have their four symbols combined in their respective alphabetic characters. 
 Even with these combinations, the number of types required for universal print- 
 ing does not exceed that in a common English ' fount ' of Roman letters. 
 
 To exhibit the alphabetic symbols in the present Work, the Fifty-tivo 
 Consonants have been printed from Sixteen types; the Thirty-six Vowels 
 from Twenty types ; and the Tivelve Glides from Eight types. In this arrange- 
 ment, however, the letters are all of equal height, and they consequently have 
 the effect of capitals. On this principle the symbols are well adapted for mixed 
 Romanic and Speech printing, as they stand out very clearly on a page of the 
 smallest Roman type ; but for speech-printing by itself a * lower-case ' alphabet 
 would be preferable. This is obtained by casting the Consonants on oblong 
 instead of square bodies ; the number of additional types required being twelve. 
 The aspect which the letters will present when printed from a * lower-case ' 
 fount is illustrated in the Lithographed Examples. 
 
 The latter method presents several important advantages : it saves space, 
 gives a pleasing variety to the typography, and is more convenient to the printer, 
 as well as more perspicuous to the reader. In both modes, the forms of the 
 letters are identical ; but in ' lower-case ' printing the vowels ascend or descend 
 beyond the line of the consonants, and the eye is thus emphatically informed 
 of the number of syllables in every word. 
 
 A fount of * capitals ' added to a ' lower-case ' fount would need only 
 thirty-six extra types, as the ' glides ' and ' modifiers ' would not require to be 
 cast in duplicate. But capitals may be altogether dispensed with. A simple 
 sign (f) may be used instead, to distinguish the first word of a sentence, or to 
 show proper names, &c. [See ' Visible Speech Writing.'] 
 
90 
 
 The simplicity of this Typic Alphabet will be manifest by comparison with 
 the ' Standard Alphabet '. of Professor Lcpsiu.s, as used by the Church Mission- 
 ary Society. The latter alphabet consists of Roman and Greek letters, varied 
 by the addition of diacritic marks. Seventeen diacritics are used above, and 
 fourteen are used below the body of the letters ; so many as three diacritics 
 being in some cases applied to a single body. The number of ' lower-case ' 
 letters thus employed exceeds 280, and of these above 200 require to be 'cut' 
 for every fount used. But even with this cumbrous typography, the * Standard 
 Alphabet ' is not complete, and its letters arc only arbitrarily associated with 
 their sounds. Some of the diacritics, indeed, have a uniform physiological 
 value, but the bulk of the letters — as in all other alphabets — directly tax the 
 learner's memory ; and the relations of sounds cannot be discovered from their 
 symbols. This source of difficulty — " as old as written language, and an 
 obstacle which has seemed to inhere in the nature of writing itself"* — is 
 efifectually removed by ' Visible Speech.' In this respect the system stands 
 alone : so that even if an alphabet capable of representing all possible shades 
 of sound could be formed on the basis of old alphabets, and even if the number 
 of its letters did not exceed that of the Visible Speech Alphabet, the latter would 
 still have immeasurably the advantage ; because the sound of every symbol is 
 deducible from the form of the symbol itself, without any encumbrance to the 
 reader's memory. In the words of an eminent critic of the system : ' A great 
 many attempts have been made to spell words, but Visible Speech spells 
 spelling.'* 
 
 All the ordinary marks of punctuation and reference may be employed 
 as usual. 
 
 Various forms of typography of the system are illustrated in the Pkites at 
 the end of the volume. 
 
 VISIBLE SPEECH WRITING. 
 In adapting the Alphabet for current writing, the print-forms of the letters 
 have been so closely preserved that a learner who has mastered the one will 
 have no difficulty in familiarizing himself with the other. The Script Symbols, 
 as shown in the Plates, produce a flowing and elegant caligraphy, easily written 
 and easily read. The arrangement was arrived at after much experiment, and 
 
 -■ See Article finiu the ' AtlK'na>ura,' page 2!). 
 
100 
 
 it has been tested for a considerable period in the writing of several languages. 
 Care has been taken to avoid ambiguous lines, and distinctions depending on 
 ' dots ' and ' strokes,' as in the i and the / of the common script alphabet. 
 With the exception of the ' Rounded Glides,' each character is conveniently- 
 written without lifting the pen. 
 
 The following Principles of Symbolization are introduced in the Script 
 Alphabet : — 
 
 I. Voiced Consonants and Primary Vowels are distinguished by a loop 
 formed in the 'hair-stroke' of the letters. Characters without a loop are there- 
 fore ' voiceless ' consonants, or ' wide ' vowels. 
 
 II. Rounded Vowels have a bend or hook in the ' body-line' of the letters. 
 The ' round glides ' alone preserve the ' cross-stroke ' of the print symbols. 
 
 III. Nasal Consonants have the ordinary nasal sign, written horizontally. 
 In the case of the ' front ' (and ' point ') ' shut ' (and ' nasal ') consonants, the 
 ' voice-loop ' is not added to the ' voiceless ' forms ; but, for simplicity, the 
 ' organic symbol,' in these letters, is held to include a loop, when it is formed by 
 crossi?ig the body-line of the letter. 
 
 In the case of the ' front ' (and ' point ') ' divided ' consonants, the ' voice-loop ' 
 might have been inserted in the centre of the symbol — as in the ' back ' (and 
 ' lip') ' divided ' consonants — so as to save a motion of the pen ; but symmetry 
 and perspicuity in combinations, have been preferred to mere brevity. The 
 writing of English is, notwithstanding, one-fifth shorter than in common 
 long-hand. 
 
 Initial letters are distinguished as ' capitals ' by a stroke ( / ) prefixed. In 
 kand-wntmg this sign may be limited to Vowels, because the consonants admit 
 of being written, ad libitttin, on a larger scale for 'capitals' — as in common 
 writing. 
 
 The Script Alphabet is composed of a remarkably small number of forms, 
 being, in this respect, even simpler than the Print Alphabet ; and in both sets 
 of letters the symbols are uniformly reversible to show the organic relations of 
 the different elements. Thus : — 
 
 Lip-Consonants are the reverse of Back-Consonants. 
 Point-Consonants " " Front-Consonants. 
 
 P'ront-Vowels " " Back- Vowels. 
 
 Low-Vowels " " High-Vowels. 
 
101 
 
 The only exception to this arranijement is in the case of the ' front-mixed ' 
 and ' point-mixed ' consonants, which are necessarily varied, because the ' pot- 
 hook,' which is their appropriate organic sign, presents no difference of shape 
 when in\-erted. Otherwise the number of types required to 'letter-press' the 
 Script Alphabet corresponds exactly to the number in 'lower-case' printing. 
 
 The vowels, it will be observed, are represented in script by a single symbol 
 for each class of vowels ; the varieties of ' high,' ' mid,' and ' low,' in each class, 
 being shown by the mere ascent and descent of the lines. The same principle 
 might, of course, be applied to the other alphabet, for ' lower-case ' printing ; 
 the different positions of the ' definers ' to mark ' high,' ' mid,' and ' low ' 
 varieties in the ' capital ' alphabet, being only necessary with letters of equal 
 height. In this way the vowel scheme of thirty-six elements might be com- 
 pletely presented in ' lower-case ' print, by no more than twelve symbols. 
 
 The Script Alphabet would itself form an excellent ' lower-case ' alphabet 
 for general use. The characters would, of course, have the slope of italics, or 
 of Greek letters ; but they would be learned, by beginners, almost as easily as 
 the other symbols, and their employment in general printing would be attended 
 with this advantage that the letters in hand-zvritijig 7\.nd \n press-printing, would 
 in all points exactly correspond. The aspect of the Script Symbols, as they 
 would appear in letter-press, is shown in one of the Plates. 
 
 VISIBLE SPEECH TELEGRAPHY. 
 
 The indefiniteness of ordinary letters is productive of much inconvenience 
 in international Telegraphy. Messages cannot be transmitted in their original 
 languages through foreign countries, but, for the convenience of operators, must 
 be translated, — of course at the serious risk of error, and to the entire destruc- 
 tion of verbatim accuracy. The system of ' Visible Speech ' will render the 
 telegraphing of words through any country equally certain and easy, in all 
 languages. The operator, while he may not understand a syllable of the writing, 
 will transmit the ipsissivia verba, and the very sounds of the original, as a viva 
 voce utterance to the receiver. 
 
 In connection with Printing Telegraphs, no special training will be required 
 by the operator ; as the new types are ' composed ' side by side in the same 
 manner as ordinary types. A glance at the Table will show that the characters, 
 when properly arranged, will be unmistakably selected with facility 1)y the 
 merest novice. 
 
102 
 
 For Needle Telegraphs which communicate arbitrary signs, dial, and other 
 instruments, the ' Visible Speech ' symbols must, of course, be associated with 
 a sufficient code of signals. The symmetrical tabulation into which the symbols 
 naturally fall renders transmission by serial mtmhcrs extremely simple. Two 
 numbers must be signalled for each letter ; — the first referring to the colmnn, 
 and the second to the line where the letter stands in the Telegraphic Table. 
 The numbers i to 12 denote, in this way, the places of all the symbols, and 
 leave ample room for punctuation, and for other necessary or convenient signs. 
 Telegraph clerks who become expert at somiding the symbols, will soon be 
 enabled to act as receivers and deliverers of messages for the convenience of 
 those who cannot put their words into Visible Speech, or decipher them from 
 the symbols. Thus it should ultimately be possible for a stranger to enter a 
 Telegraph Office, pronounce his message, and have it despatched in his mother- 
 tongue by one totally ignorant of the import of the sounds ; and for the receiver 
 of the message to hear it intelligibly pronounced from the writing by an official 
 equally unacquainted with the meaning of what he reads. 
 
 The following is the arrangement of the symbols for a complete 
 COSMOPOLITAN TELEGRAPHIC TABLE. 
 
 
 I. 
 
 2. 
 
 3- 
 
 4- 
 
 5- 
 
 6. 
 
 7- 
 
 8. 
 
 9- 
 
 10. 
 
 II. 
 
 12. 
 
 I. 
 
 C 
 
 
 
 
 
 
 
 I 
 
 
 
 
 
 
 ' 
 
 
 
 2. 
 
 G 
 
 Q 
 
 
 
 D 
 
 I 
 
 
 
 
 
 
 1 
 
 
 
 3- 
 
 C 
 
 
 
 
 
 3 
 
 I 
 
 
 
 
 X 
 
 i 
 t 
 
 
 
 
 4. 
 
 C 
 
 ^ 
 
 e»s 
 
 ^ 
 
 y 
 
 
 
 
 i 
 
 5. 
 
 a 
 
 Q 
 
 u 
 
 D 
 
 1 
 
 
 
 
 6. 
 
 G 
 
 Q 
 
 
 
 
 
 > 
 
 
 
 ^ 
 
 ^ 
 
 < 
 
 
 
 7- 
 
 C 
 
 
 
 Ci) 
 
 3 
 
 I 
 
 
 
 
 1 \ 
 
 ?> 
 
 1 
 
 
 8. 
 
 e S15 
 
 Pl3 
 
 3 
 
 !^ 
 
 
 
 
 e 
 
 ii 
 "^ II 
 
 
 9- 
 
 8 
 
 CO 
 
 OD 
 
 3 
 
 
 
 
 
 ^ ^ 
 
 
 
 10. 
 
 8 
 
 OQ 03 
 
 e 
 
 } I 
 
 
 \ 3 
 
 
 
 11. 
 
 e 
 
 (D 
 
 9 
 
 I 
 
 J \ 
 
 
 ' A H 
 
 
 
 12. 
 
 e 
 
 CD 
 
 B 
 
 I 
 
 J I 
 
 
 Y 
 
 
 
loa 
 
 
 /V<r// of the foregoing Tabic. 
 
 Column. 
 
 Line. 
 
 I to 4. 
 
 _ f I. to 6. Voiceless, 
 Consonants, -( 
 
 [7. " 12. Vocal. 
 
 5- 
 
 6 to 8. 
 
 Glides, ) 
 Vowelsi ' "• ^'""'- 
 
 9, 10. 
 
 Aspirates and Modifiers. 
 
 II, 12. 
 
 Punctuation and Special Signs. 
 
 Example. 
 
 V9, 8-4, 2-8, 
 
 8 I ^ 
 
 V I s 
 
 1-4, 4-1 1, 3-9, 10-2, 
 I G CO f 
 
 I IJ L E 
 
 2-2, 4-5, 8-1, 10-2, 3-5, 3-2, 
 
 O D i } D ^ 
 
 S P E E C H 
 
 3-5, 8-5, 3-9, ^-?>, i-ir, ?>-?> 7-5, 4-3, 8-4. 
 
 a c CO I G o X 3 I 
 
 TELE G RAPIIY 
 
 Proposed Needle- Signals for Numbers. 
 
 The Signals at present in use will perfectly suffice for the transmission of 
 Visible Speech. The first twelve of the ordinary alphabetic signs may be used 
 to express the columns, and the second twelve the litics of the Table. But a 
 simpler code of signals may be substituted. The following is proposed : — 
 
 [Needle to Left v, Needle to Right ^.] 
 I 2 ^45;6789 10; II 
 
 
 
 // 
 
 /A 
 
 » The fir=t number refers to the column, ami the peeond to the lino, in the 'I'lihle. 'J'h 
 line ] 
 
 1-!. [ml. I 
 
104 
 
 PRACTICAL TESTS. 
 
 The practical effect of the principle of ' Visible Speech ' may be thoroughly 
 tested by means of the examples furnished in the next page, and at the end of the 
 volume. All readers who master the principle of symbolization in connection with 
 any language, should vocalize these words and sentences with perfect uniformity. 
 The illustrations have been selected from the tests dictated in the course of the 
 experiments referred to at page 19. The examples embrace such a wide range 
 of phonetic elements, that the reader who can pronounce these with accuracy will 
 have little to learn in connection with the utterance of any tongue. 
 
 The Vocabularies of Test Words are arranged Avith the initial letters in 
 alphabetic order, to exemplify the proper classification of the elements for works 
 of reference. The first of these lists is printed from the experimental types ; but, 
 in order to show the different modes in which the symbols may be presented to 
 the eye, the other illustrations are given in Plates at the end of the volume. 
 
 The alphabetic order of the Consonants is : — 
 
 I. Throat ; 2. Back ; 3. Front ; 4. Point ; 5. Lip. 
 
 The varieties of each Organic class follow the order : — 
 I. Primary; 2. Mixed ; 3. Divided ; 4. Mixed Divided ; 5. Shut ; 6. Nasal. 
 
 The ' voiced ' consonant of each species immediately follows the 
 ' voiceless ' element of the same mechanism. 
 
 The Vowels are correspondingly classified : — 
 
 I. Back ; 2. Mixed ; 3. Front ; 4. Round. 
 
 The ' wide ' sounds of each Organic class immediately follow the 
 'Primary' sounds of the same mechanism. 
 
 The elements in each class of Vowels follow the order : — 
 I. High ; 2. Mid ; 3. Low. 
 
 The Illustrations in the Plates include, besides English in various forms, a 
 number of foreign and dialectic sentences. A large proportion of the latter are 
 selected from the Scottish Dialects, which are particularly rich in sounds, and 
 consequently difficult to unaccustomed organs. A Caledonian ear may be 
 found in every quarter of the globe, so that readers may have the means of 
 readily testing the accuracy of their phonetic essays in connection with these 
 sentences. But the cxpe^dvicntum crucis, applicable ever)'where, is uniformity 
 amonc: different readers. 
 
105 
 
 ALPHABETIC VOCABULARY OF TEST WORDS.-//////.// ro-ur/s. 
 
 IfC 
 
 I0IB30 (Sc.) 
 
 Ji ,CI 11 (Sc.) 
 
 3u'3l00| (Sc.) 
 
 rQ'ono (F.) 
 
 lDl(i)BlQD(P>-(,.) 
 
 IS'LCOSL 
 
 C^'QJi^30G:r 
 
 lDQ4a5-'I(I5^ 
 
 JiC 
 
 C 1 003105^ (Sc.) 
 
 HDBCQO (Prov.) 
 
 I'DICDOld) (Sc.) 
 
 CIQCDIQQJC (Sc.) 
 
 womi 
 
 3QO3'0J|03 
 
 aoDonc^ 
 
 HCOI 
 
 3DC?* 
 
 101} 
 
 JffiOJ 
 
 3a3'QI0ICI 
 
 lOD}'Ori9 
 
 JDiJ 
 
 3a^ro^3'oi^ci^f 
 
 lS^03C^f'BJ?iIB 
 
 JD'OKfG 
 
 3^D^i^a^iQa3J'3Jico 
 
 IC^BCQO?,! 
 
 J3^iiO 
 
 jGoo'eHiocDiua (Oa.) 
 
 i'eu?89ooii 
 
 lyS^ (Am.) 
 
 JQI 
 
 ICCoroiCd;! (Sc.) 
 
 teaooi (In) 
 
 JilKSc.) 
 
 li9G)I(Sc.) 
 
 uaco (F.) 
 
 n^ (Am.) 
 
 IGD^rOICDlOI 
 
 IQGOI-BJQ (Ir.) 
 
 IGD'OIC (Sc.) 
 
 IDQI OIOQIO 
 
 TyG5TQO (Prov.) 
 
 ioQ'a<^XQ^oc<. 
 
 C(x)ai-B3QI (Sc.) 
 
 110105 (Prov.) 
 
 13'at|G39 
 
 CQ'DJ(ii(Port.) 
 
 iiC03CBIO (Sc.) 
 
 ly.^ 
 
 Ca3^'BJiCI39(Sc.) 
 
 IIQO (Cock.) 
 
 IIVCDO^TODD 
 
 cei(D (Sc.) 
 
 i'aC^^l(I5(ColIoq. 
 
 I'Q0L^a3ir2 (Sc.) 
 
 IGD^ 
 
 flBlG) (Ge.) 
 
 laQ'DIQITGDQ (Sc.) 
 
 IQI'JD3ei3Q 
 
 W (F.) 
 
 iffiova:)iiQ3 
 
 TIB ,^{{0) (Sc.) 
 
 {Q3I (Sc.) 
 
 VaiQTDI 
 
 iD3B Qi'DCi 
 
 tU (F.) 
 
 I«r2 
 
 ii JIKSc.) 
 
 i\ oi a{3 (Sc.) 
 
 ly^DCnO 
 
 iia^'^HQ (Manx 
 
 ) fD'^r 10105 
 
 I|QGDfQ5TQ(Cock.) 
 
 HCOf} 
 
 V(dLDi<Dl^ 
 
 IGI^I'OJiej 
 
 JOlOIQClQI'Bn 
 
 i'QimiF-) 
 
 fODQiaC'QJiO} (It.) 
 
 JCai(i)'B3CDr 
 
 {\B ^mo (Sc.) 
 
 i^ a^9ia5'Q^?ij|oc at.) 
 
 Ji ,i{ (Sc.) 
 
 tl(i),Xi05(Cock.) 
 
 * Tlie accent it; on tlic 
 
 lirst sylliililc. imlcf^s otlicTwisc exj 
 
 >ress(,-d. 
 
VISIBLE SPEECH 
 APPLIED TO ENGLISH. 
 
109 
 
 VISIBLE SPEECH APPLIED TO ENGLISH. 
 
 The purpose of this Work is served when the details of the system are 
 presented with completeness, so as to enable orthoepists in different countries to 
 define their various native sounds, and to tabulate the appropriate physiological 
 symbols into a standard alphabet. 
 
 Many syllabic sounds are matters of dispute, and are variously analyzed 
 by different authorities. The readiest way to settle all such questions will be 
 to symbolize the exact utterance of some approved speakers, and from a com- 
 parison of the independent pronunciations of two or three such selected oralists 
 to fix the alphabet for Visible Speech printing. 
 
 The characteristic sounds of individual languages must obviously be thus 
 discriminated from native utterance ; and there will be a manifest advantage to 
 international consistency in the application of the physiological symbols, from 
 having a series of alphabets constructed by the same symbolizers. The atten- 
 tion of British, American, and Foreign Academies is directed to the desirability 
 of adopting this method of obtaining a complete tabulation of their national 
 sounds, for the use of native as well as of foreign learners. 
 
 The Author's professional familiarity with the native sounds of English, 
 enables him to furnish a Standard English Alphabet, v/hich may be accepted, 
 in the meantime, as conveying a faithful representation of vernacular usage. 
 The scheme will also serve as a model which may be followed in the arrange- 
 ment of other local alphabets. 
 
110 
 
 TABLE OF ENGLISH ELEMENTS, 
 
 SHOWING THEIR POSITION IN THE UNIVERSAL ALPHABET. 
 
 Back. Frunt. Point. 
 
 CONSONANTS. 
 Lip. Key W« 
 
 •VOWELS.* 
 Back. Mixed. Front. Key Words. 
 
 
 
 
 
 
 
 
 
 
 r 
 
 
 1 see 
 1 ear 
 
 
 O 
 
 Q 
 
 
 
 yes 
 
 1 
 race. 
 
 ] 
 
 
 c 
 
 up 
 urn 
 
 1 say 
 
 
 Q 
 
 Z3 
 
 D 
 
 
 so 
 
 show' why 
 
 
 
 I 
 
 
 1 ell 
 
 
 ^ 
 
 ^ 
 
 B 
 
 
 ooze 
 
 rouge we 
 
 1* 
 
 I* 
 
 I 
 
 -tion 
 -tious 
 -er 
 
 ^1;^ 1 ill 
 
 
 
 
 CO 
 
 3 
 
 3 
 
 
 
 few- 
 
 3 
 
 X 
 
 c 
 
 ask 
 
 a , air 
 
 -al 1 -ed 
 -ance -ment 
 
 
 
 
 lay view 
 
 J 
 
 I 
 
 T 
 
 ah 
 arm 
 
 err 
 
 an 
 
 
 Q 
 
 
 
 
 thin 
 
 
 i 
 
 
 
 pool 
 
 
 
 
 gs 
 
 
 
 
 then 
 
 
 
 } 
 
 
 
 go 
 
 
 
 a 
 
 
 o 
 
 D 
 
 key 
 
 
 tea pea 
 
 5 
 
 
 
 law 
 
 
 
 e 
 
 
 o 
 
 G 
 
 gay 
 
 
 day bay 
 
 1 
 
 I* 
 
 
 poor 
 good 
 
 -ure 
 -ful 
 
 
 
 
 
 
 
 
 
 } 
 
 ^* 
 
 
 ore 
 
 -ory 
 
 
 Q 
 
 
 (15 
 
 D 
 
 sing 
 
 
 sin ; him 
 
 J 
 
 F 
 
 
 on 
 or 
 
 -or 
 -ward 
 
 
 Aspirate, Glides, and Modifiers. 
 
 o 
 
 I 
 
 P 
 
 I 
 
 y 
 
 ^* 
 
 I 
 
 \ 
 
 i 
 
 1 
 
 he 
 high 
 
 weary 
 fiery 
 
 now 
 out 
 
 boy 
 
 fie 
 
 day 
 
 air 
 
 sir 
 arm 
 
 our 
 
 know 
 
 soul 
 
 now 
 
 kind 
 girl 
 
 long 
 
 acrent 
 
 The sounds marked * occur only in unaccented syllables, and in colloquial speech. 
 
Ill 
 
 ENGLISH PRONUNCIATION. 
 
 The irregularities of Letters have made the mere deciphering of English 
 words a work of difficulty to learners ; and the accurate pronunciation of the 
 language has become a special art, the teaching of which has called into 
 existence an extensive literature of phoneticised Vocabularies and Dictionaries. 
 ' Visible Speech ' furnishes a simpler — in fact, the simplest possible — key to 
 Orthographic Reading. The use of the system for this purpose will be attended 
 with the advantage that pronunciation will be taught with certainty and 
 uniformity, according to any standard — whether scholastic, colloquial, or 
 dialectic — without in any way interfering with ordinary letters, or un.scttling the 
 aspect of words to the eye, as by phonetic spelling. 
 
 The following Table exhibits the English Sounds in connection with their 
 various ' orthographies.' The pronunciations indicated exemplify the varieties 
 of accentual and unaccentual utterance, according to colloquial — but not vulgar — 
 usage : — 
 
 THE SOUNDS OF ENGLISH LETTERS, AND 'ORTHOGRAPHIES' 
 OF ENGLISH SOUNDS. 
 
 CONSONANTS. 
 
 Symb?)is. Equivalent Orthographies. 
 
 O h, wh ; in hole, whole. 
 
 O c, cc, cch, ch, ck, cq, cqu, gh, k, ke, kh, Ik, q, qu, que, x (ks, ksh) ; in 
 
 can, account, Bacchus, character, back, acquit, lacquer, hough, kill, 
 lake, khan, walk, quit, quay, pique, tax (OQ). anxious (Q^). 
 
 CM c, k ; in card, kind. 
 
 G ckgu, g, gg, gh, gue ; in blackguard, leg, egg, ghost, plague. 
 
 Gi g, gu ; in girl, guard, guide. 
 
 Q n, nd, ng, ngue ; in ink, handkerchief, song, tongue. 
 
 O c, i, j, u (yoo), y ; in righteous, pinion, hallelujah, use, you. 
 
 Q c, ce, ps, s, sc, sell, se, ss, tzs ; in cell, ice, psalm, sale, science, schism, 
 
 base, loss, brit/.ska. 
 
112 
 
 Speech 
 Symbols. 
 
 ^ ce, cz, ds, s, sc, se, sh, ss, x, z. ze, zz ; in suffice, Czar, Windsor, as, discern, 
 
 ease, dishonour, scissors, xystus, zeal, baize, buzz. 
 
 ^3 h, phth, th, tth ; /// eighth, apophthegm, thing, Matthew. 
 
 Sfefc ST2 th, the ; hi then, breathe. 
 
 Ci) r, rh, rr, rrh ; in race, rhubarb, mirror, myrrhine. 
 
 ^ c, ch, chs, psh, s, sc, sch, sh, ss, t ; in ocean, chaise, fuchsia, pshaw, tension, 
 
 conscience, schedule, shame, omission, nation. 
 
 ^ g, ge, j, s, ss, t, z ; in giraffe, rouge, jambeaux, vision, abscission, transi- 
 tion, azure. 
 
 00 gl, I le, 11, In, si, sle ; in seraglio, late, tale, all, kiln, island, isle. 
 
 oof le. tie; in apple, castle. 
 
 D bt, ct, cht, ed, ght, phth, t, te, th, tt ; in debt, indict, yacht, stopped. 
 
 bought, phthisic, at, late, thyme, cottage. 
 
 Q t»d, d, de, dd, ddh. Id ; in bdellium, sad, bade, add, buddhism, would. 
 
 115 dn, gn, hn, kn, mn, mp, n, ne, nn, sn, sne ; z';/ Wednesday, sign, John, 
 
 know, hymn, compter, dun, done, inn, puisne, demesne. 
 
 (D I on, ten ; in button, fasten, softening (when a trisyllable). 
 
 ^ wh ; in what. 
 
 3 o, u, w; in one [330]> quick, suite, way. 
 
 3 f» fe, ff, ft, gh, If, ph, phe, pph ; in leaf, safe, staff, soften, laugh, half, 
 
 physic, ouphe, sapphire. 
 
 3 f, ph, V, ve, zv ; in of, nephew, vain, save, rendezvous. 
 
 D gli. Ifp. P, pe, ph, pp; in hiccough, halfpenny, pay, tape, ophthalmia, 
 
 tippet. 
 
 3 b, bb, be, pb ; in crab, ebb, globe, cupboard. 
 
 O chm, gm, Im, m, mb, me, mm, mn, sme ; in drachm, paradigm, calm, aim, 
 
 lamb, same, common, condemn, disme. 
 
 Ol m ; in chasm, rh}'thm. 
 
113 
 
 Vowels and Glides. 
 s^P^^li. Equivalent ' Orthographies: 
 
 3 0,00, ou, u, wo ; i'n done, blood, young, up, twopence. [In unaccented 
 
 syllables, generally changed to 1]. 
 ]y or, our, ur; m word, journey, furnish. [Variously pronounced ly, IV 
 
 (Cockney), 30) (Scotch), Yi (Irish).] 
 1 (for 3 unaccented), eo, io, iou, o, oa, oi, ou, ow ; in dungeon, motion, 
 
 conscious, abandon, cupboard, avoirdupoi.se, honour, bellows (noun). 
 
 ly (for ly unaccented), er, ir, wer, yr ; in paper, circuitous, answer, martyr. 
 
 31 a, au ; in ask, path, half, chant, aunt. [Variously pronounced J|, J|, 
 
 (Cockney), XI (Scotch), X| (Irish).] 
 
 3 (for J unaccented), a; in artistic, participate, cartoon. 
 
 3?i eigh, ey, eye, i, ie, igh, ui, uy, y, ye; in height, eyeing, eye, time, tie, 
 
 nigh, guide, buy, by, rye. [In unaccented syllables, generally 
 
 changed to f , as in infinite, futile ; otherwise, pronounced X^, as 
 
 in likewzV(?]. 
 "Wi ire, yre, oir ; in fire, lyre, choir. [In liar, pliers, prior, &c., the .sound 
 
 heard is dissyllabic (3ay, UVi, UVl, &c.)] 
 
 3^10) ir, ier, &c. ; in wiry, fiery, &c. 
 
 1\ o, ou, ow ; in compter, thou, now. [In unaccented syllables, generally 
 
 changed to 3 (or 1), as in conscious ; otherwise pronouuced \\, as 
 
 in outshine]. 
 3iy our, o wer ; ^V^ hour, power. [In unaccented syllables, generally changed 
 
 to 3 (or 1), as in honour ; otherwise, pronounced 3 \, as in ourselves. 
 
 3110) (or 3iQ), owery, &c. ; in dowery, flowery, showery, &c. 
 
 J I ah, al ; in ah, palm, salve. 
 
 JV ar, er, ear, uar ; in hard, clerk, heart, guard. [In unaccented syllables, 
 
 pronounced 3 \, as in barbarian ; in terminations, generally XV, as 
 
 in altar, grammar, particular.] 
 
 JIG) (or JIQ), arr, &c. ; in starry, tarry (adjective). 
 
 Ji^ ai, ay, aye ; ^n aisle, ay, ayes. (In niiive, naivete, the sound heard is 
 
 dis-syllabic (Jf).] 
 
 T a, ai, e; in cabbage, certain (see £), the, pretty, places (noun). 
 
 X (for 3 unaccented), as in ana, aside, away, identify, mountaineer; 
 
 for X, unaccented), as in annoy, appear, a.ssist, capital, chapman. 
 
114 
 
 distant, instance; and (Xy for jy, in terminations), as in peculiar, 
 notary, &c. 
 ...er, ear, ir, yr, uer ; in prefer, earnest, firm, myrrh, guerdon. 
 ...e, ea, ee, e'e, ei, eo, ey, eye, i, ie ; in e\'e, eat, see, e'en, conceive, people, 
 
 key, keyed, fatigue, field, 
 ...ae, e; in minutiae, before, decide, erect, return secure. 
 ...ear, eer, ere, e're, ier ; in near, beer, here, we're, pier. 
 ...aer, er, ear, eer ; /;/ aerie, era, weary, peeress. 
 
 ...a, ai, ao, au, ay, aye, ea, ei, ey, eye ; in age, aim, gaol, gauge, day, aye, 
 steak, vein, obey, preyed. [Before R, changed to [ ; and in 
 unaccented syllables, pronounced [ ; in terminations, generally 
 I or I]. 
 
 \ a, ai, ay, e, ea, ei, eo, ie, u, ue ; ifi many, said, says, very, bread, heifer, 
 
 jeopardy, friend, bury, guess. [Before R, when not followed by a 
 vowel, changed to J, as in her, term ; and in unaccented syllables, 
 generally changed to []. 
 
 f a, ai, e, ea, ee, ei, ey, i, ia, ie, o, u, ui, uy, y ; /;/ cabbage, certain (often 
 
 I), England, antelope, guinea, breeches, forfeit, monkey, ill, in- 
 finite, spirit, miniature, sieve, women, busy, build, plaguy, hymn, 
 happy. [Before R, when not followed by a vowel, changed to J. 
 as in sir, firm]. 
 
 C (for \ unaccented), e, &c. ; in sacred, forest, minstrel, peremptory, 
 
 majesty, effeminate, elliptic, emphatic, endeavour, erroneous, ex- 
 cept, goodness, element (10IBCGl3O), &c. 
 
 [y are, aer, air, ayr, ayer, ere, ear, e'er, eir, eyre; in care, aer, pair, Ayr, 
 
 prayer (petition), there, bear, ne'er, their, Eyre. [Variously pro- 
 nounced tV, IV (Cockney), [jQ (Scotch). C|0 (Irish). In gayej\ 
 greyer, layer, prayer (one who prays), &c., the radical sound of [ 
 is heard, and the combination is dissyllabic (C?iiy). In Mayor the 
 pronunciation is generally monosyllabic (C^) ; distinguished from 
 mare only by the ' rounded ' quality of the termination. Thus : 
 0Cy, mare; B C)^, mayor]. 
 
 CI(j) ar, aer, air, ere, ear, eir, &c. ; in canary, aeronaut, fairy, therein, bearing, 
 
 heiress, eKrc. [Scotch, CjO ; Irish, [fQ]. 
 \ a, ai ; in man, amber, carry, accept, admit, alternate, alphabet, acci- 
 dent, plaid. [In terminations and in prefixes — when followed by 
 
iir. 
 
 S,...ecli 
 .Symbols. 
 
 a single consonant sound— ^^oncrally chan^red to X. ''•»" in fatal, 
 errand, appoint, attend, &c.] 
 
 if eu, ew, ewe, o, oe, ceu, oo, ooe, ou, u, uc, ui, wo ; in rheum, grew, brewed, 
 
 do, shoe, nianceuvre, bloom, wooed, through, rule, rue, fruit, two. 
 [Before R, and in unaccented syllables, changed to \\ 
 
 i o, ewe, &c. ; in doer, brewer, &c. [These words are dissyllables (QHV» 
 
 GQHV, ^c.)] 
 
 Oil eau, eo, eu, ew, ewe, iew, u, ue, yew, you, yu ; in beauty, feodal, feud, few, 
 
 ewe, view, use, due, yew, youth, yule. [After R and SH, pro- 
 nounced \\. After L and S, pronounced ,"i}|. Before R, changed 
 to Ol]. 
 
 l,\\ cw. u, ue, ui ; in lewd, lute, sue, suit. [Before R, changed to }{\. 
 
 S preceding \ is apt to be changed into SH, as in the vulgar pro- 
 nunciation of suit (^flO)- The tendency is legitimized by 
 custom in the words sugar, and sure, and in the terminations 
 scious, sia/, siou. In sue, suit, and other words, Qj^ is correctl}' 
 heard.] 
 
 H aut, eau, eo, ew, ewe, o, oa, oe, oo, ou, ow, owe; in hautboy, beau. 
 
 yeoman, shew, sewed, old, oak, foe, brooch, soul, crow, ov.'cd. 
 [Before R, and in unaccented syllables, pronounced J.] 
 
 } o, ow, &c. ; in goer, mower, &c. [These words are dissyllables (QJI^, 
 
 BUy. &c.)] 
 
 J I a, au, aw, awe, &c. ; in all, laud, fraught, taught, saw, lawyer, av/ed, &c. 
 
 J a, au, &c. ; in salt, want, laudanum, &c. 
 
 jy ar ; in war, ward, swarm, dwarf. 
 
 JIG) (or 3|Q) arr ; in warrior. 
 
 1 (for \ unaccented) o, oo, ou, u, ue ; in to, into, together, arrowroot, 
 
 rendezvous, virulent, brutality, tissue : (for \ accented) woman, 
 book, cook, should, courier, bull, put, sugar, hurrah. [J is heard 
 in the Scotch pronunciation of book, cook, &c.] 
 
 iy oor, our, ure, &c. ; /// poor, moor, tour, sure. 
 
 WO oor, ur, &c. ; in poorer, surer, assuring, tourist. 
 
 OlV ure, &c. ; in cure, \m\-c, endure, ensure, imniu.re, &c. 
 
 OllQ.-.ur, &C. ; in fury, purer, enduring, &:c. 
 
 l\^ ure, &c. ; in lure, allure, \kc. 
 
 . ^ilCi) ur, &c. ; in lurid, alluring, cK:c. 
 
 P 
 
116 
 
 Speech 
 Symbols. 
 
 3" o; ill voracious, original, oriental, forensic, &c. ; (for "^X unaccented) 
 
 aoh, o, ow, &c. ; in Pharaoh, obey, theology, philosophy, vocation, 
 borrow, &c. 
 
 3""^ oar, o'er, oor, or, ore, orps, our, owar ; in boar, o'er, door, floor, borne, 
 
 torn, sore, corps, pour, tournament, towards. 
 
 3-10) or, &c. ; in gloiy, horal, soaring, pouring, &c. 
 
 J I oa, ou, &c. ; in broad, thought, sought, tK.c. 
 
 J o, oa, ou, ow ; in often, honest, foreign, horrible, orifice, groat, hough, 
 
 knowledge. [In the termination on^ ] (or 1) is generally heard ; 
 as in abandon, lemon, &c.] 
 
 Jy aor, eor, or; in extraordinary, George, order, born, nor. [The termina- 
 tion or is pronounced jy, as in spectator, tailor, &c.] 
 
 J-J^ eoi, oe, oi, oy ; in burgeois, oboe, oil, coin, rejoice, boy, joy, royal. 
 
 jy (for W unaccented) ure ; in azure, fissure, measure, pleasure, seizure. 
 
 OJ (for Q)\ unaccented) u, &c. ; in volume, solitude, superior, musician, &c. 
 
 Oiy (for Oiy unaccented) ure ; /;/ nature, feature, stature, &c. 
 
 \ (for 3- before R, unaccented) o ; in history, victory, &c. 
 
 jy (for Jy unaccented) or; in razor, visor, orator, curator, &c. 
 
 THE TENDENCIES OF ENGLISH PRONUNCIATION. 
 
 The varied pronunciation of the letter R, and the influence of R on a 
 preceding vowel in the same syllable ; the tendency of long vowels to become 
 diphthongs ; and the comparatively indefinite sounds of unaccented vowels, are 
 the most marked characteristics of English. These have long been noticed, but 
 the precise nature of the peculiarities has not hitherto been determined. 
 
 Chiefly on account of these delicate and unascertained varieties of sound, 
 the native pronunciation of English has been found excessively difficult for 
 foreigners to master. It will no longer be so. The symbolism of Visible 
 Speech enables us to define and exhibit the unaccentual, as well as all other 
 national, dialectic, and even individual peculiarities, with the utmost exactitude. 
 ' Knowledge is power !' The simplest work is performed with difticulty while 
 we are ignorant of its precise nature, as well as of ' how to do it ;' but nothing 
 is difficult when we know the exact requirements for its accomplishment. Any 
 language dialectically transcribed will be pronounced by every practised reader 
 of Visible Speech just as it is spoken by those 'to the manner born.' 
 
cy 
 
 hand, hard, 
 
 OlOSQ. 
 
 OJVQ 
 
 n 
 
 held, herd, 
 
 OIODQ- 
 
 oiyQ 
 
 DU 
 
 spilt, spirt, 
 
 QDiCOU, 
 
 QDIk'D 
 
 117 
 
 English Ciiaracteristus; 
 
 T/u- sounds of R : R before a vowel is always a consonant (Ci)) ; and R 
 before a consonant, or final, is always a glide (y). R between two vowels is 
 simply a consonant when the preceding vowel is not in the same syllable,* as 
 in sorry (Qj-Ql) ; and R represents both a glide and a consonant (10)) when 
 the preceding vowel is syllabled with the R, as in soaring (QH-QIG)- 
 
 The infliieticc of R on a preceding vowel : Vowels before R in the same 
 syllable become ' widened ' pharyngally and orally. Thus : — 
 
 aid, air, (;?,Q, 
 ode, ore, }^Q, 
 pool, poor, DljCO, 
 
 A similar tendency is illustrated in the common pronunciation of such 
 words as j?V/^and jmr(OIiC0Q. OH or OTV), come and cnrl (a]Q, aiVOO, 
 
 or ana:)), &c. 
 
 The tendency of long voioels to become diphthonys : This is illustrated in the 
 change of the consonant R into a ' glide ' after a long vowel ; and in the regular 
 pronunciation of the vowels in aid, ail, aim, ache, &c. ([jlj), ode, vak, globe, &c. {}l). 
 The same tendency leads to th-^ ' Cockney' peculiarity of separating the labio- 
 lingual vowels J } (oo, d) into their lingual and labial components, and pronoun- 
 cing the latter successively instead of simultaneously. Thus we hear 1^, 1^, I^, 
 fori; and]!, 31, 11. for}. 
 
 The indefinite sounds of unaccented vowels : The difference between unaccented 
 and accented vowels in colloquial pronunciation is one not merely of stress, but, 
 in general, of quality also. The following are the tendencies of unaccented 
 vowels : — 
 
 I. From Long to Short. 
 
 II. From Primary to Wide. 
 
 III. From Low and Mid to Mid and High. 
 
 IV. From Back and Front to INIixed. 
 
 V. From 'Round' (Labio-Linguul) to Simple Lingual. 
 
 VI. From Diphthongs to single intermediate sounds. 
 
 The 2nd, 3rd, and 4th tendencies combined, affect all vowels in unaccented 
 syllables, and give a general sameness to their sounds. The ' High-Mixed 
 
 »■ St.. ■ .^vllal.ic .\n;.lvfis.- pa-c US. 
 
118 
 
 Wide ' vowel (I) is the one to which these tendencies point as the prevaihng 
 unaccentual sound. 
 
 The next in frequency are : — the ' high-back-wide' (1) — which takes the place 
 of the 'mid-back' vowels (] and 3) ; the 'high-front-wide' (f)— which takes 
 the place of the 'front' (£ and f,^) ; the 'mid-front-wide' ({) — which takes the 
 place of I ; and the ' mid-mixed-wide' (X) — which takes the place of X- Greater 
 precision is rarely heard even from careful speakers ; but among the vulgar the 
 sound I almost represents the vowel-gamut in unaccented syllables. 
 
 The 5th tendency is illustrated in the vulgar pronunciation of unaccented 
 o, (in bor(7ugh, pr<^nounce, geolc^gy, philos<3phy, &c.) as ] instead of } ; and the 
 3 constantly tends forwards and upwards to \ X 1 and X. 
 
 The 6th tendency is illustrated in the vulgar pronunciation of the pronouns 
 /and our {\ and W) ; in the change of my {Q'jJi) into QI or 9f, when unem- 
 pliatic ; in the regular pronunciation of the terminations -our, -ous (3|^, 3Q) ; in 
 the change of the diphthong daij {~^il) into QC (I^f, QL in Monday, &c. 
 
 The possibility of alphabetically expressing such fluctuations of sound is a 
 new fact in the history of writing. Inordinary 'Visible Speech' printing, a 
 standard of pronunciation must, of course, be adopted. Custom is the law- 
 giver ; but the habits of the vulgar are not to be reflected in such a standard. 
 The principle may be safely laid down that the less difference a speaker makes 
 between accented and unaccented syllables — save in quantity — the better is his 
 pronunciation. The Table at page no, exhibits the extent to which distinctive 
 sounds for unaccented vow^els may be written in accordance with educated usage. 
 
 SYLLABIC ANALYSIS. 
 
 Good pronunciation is distinctly syllabic, but the boundaries of syllables, 
 as uttered, do not correspond with the customary^ divisions made to the eye. The 
 latter are regulated by etymology and by letters ; the former are governed by 
 the natural action of the organs of speech, which is always from close to open, 
 or from consonants to vowels. 
 
 In the analysis of the word tabic, for instance, the division 'ta-ble' is 
 organically correct ; but in the analysis of the word dabble, the division ' dab-ble ' 
 is organically wrong. If the vowels in dabble, meddle, middle, huddle, &c., had 
 been provided with distinctive letters, the idea of a different principle of division 
 from that of ' ta-ble,' ' bri-dlc,' 'ike, would never have been entertained. The 
 error is due to the orthography, which requires consonants to be doubled in 
 
119 
 
 order to indicate a peculiar power of the preceding vowel letter. In 'Visible 
 Speech,' each element of sound having its own invariable symbol, the words 
 tal?h\ (/d/}lf'i\ Sec, would be correspondingly syllabled CjCA-GCDJ, Ql-GOOj, &c. ; 
 the first syllable in each case ending with the vowel. This division is purely 
 analytic of the sound of the word ; it corresponds with the practical divisions 
 wliich the voice always makes in siiigiiifj ; and it preserves the transitional 
 character of the consonants and the s)-llabic function of the vowels. 
 
 The associations of letters in syllables — b a, ha, a h, ah, &c. — are altogether 
 conventional. Such arrangements are rendered necessary only by an imperfect 
 alphabet. Yet this conjunction of a final consonant with the nominally 'short' 
 \-owcls has led orthocpists to discriminate vowels terminated by consonants as 
 a separate class of ' shut ' sounds. There is no physiological ground for the 
 distinction. All vowels are affected in their termination by the sound which 
 follows them ; but ' shut ' vov/els arc not more so than other elements. The 
 combinations 0C^, [i^G, and QJ, XQ (bii, abe. and bii, Tib), are precisely ana- 
 logous to the organs of speech. 
 
 The shut-vowel theory has the effect of making speakers clip their vowels 
 unnecessarily short, and of depriving these elements of the volume which is 
 essential to effective vocalization whether in speaking or in singing. 
 
 In the phonetic syllabication of words, any consonant between two vowels 
 belongs to the following and not to the preceding vowel ; and clusters of medial 
 consonants are only divided to show the elements of compound words, or when 
 all the consonants do not admit of monosyllabic union with the following vowel. 
 Thus, in the division of the word critical, when using definite symbols for sounds, 
 we should write as we pronounce, QOf-OI-QTO, and not ' crit-ic-al.' On 
 tb.e same principle, the word apple is divisible into I-QQOj, and not * ap-ple ;' 
 but in such a word as ample, the division is necessarily tB-DOO|, becau.se the 
 letters BDCOj by themselves would make two syllables. In such a word as 
 testament the division may be, optionally, either OIQ-OJ-BlijpVJ, or O^- 
 QQJ-DIG^C); the latter is preferable, because it preserves the transitional 
 character of the consonants, and because ' QQ} ' is a perfectly monosyllabic 
 combination ; the former is admissible, because, both of the medial consonants 
 being non-vocal, their separation makes no phonetic difference. 
 
 The principle of .syllabication, as above explained, is dependent on the 
 uniform action of the organs of utterance — from close to open— and is thus, 
 of course, common to all languages. 
 
120 
 
 We now present the Reader with an Outline Course of Lessons illustrating 
 the mode in which Vernacular Reading may be taught to children and illiterate 
 adults. 
 
 VISIBLE SPEECH APPLIED TO ENGLISH FOR TEACHING THE 
 ILLITERATE TO READ. 
 
 Lesson I. 
 Show the learner the Alphabet, and tell him that the broad round-looking 
 letters mean puffs and hisses in the mouth, and that the thin straight letters 
 mean sound in the throat. Then teach him 
 
 The breathing, - - - - O- 
 
 The puffs, - - - - - a O D- 
 
 The throat sounds, - - - - £ £. 
 
 The sign of a long sound, - - - |. 
 
 These letters will be perfectly learned in a few minutes, and they will 
 furnish a number of words and sentences which should be read at once. 
 
 Unexplained letters may occasionally be introduced in cases where the 
 reader would, from mere habit, pronounce the letters where they occur. Thus, 
 in this lesson, Q and ^ may be used in making up such sentences as : 
 
 OI i\UQ LU- CHOI OliOQ ID- 
 
 or aifDQ lu. OI Diui^ ciiai- 
 
 In arranging initiatory lessons in other languages, the same principle may 
 be applied in connection with any elements which would naturally suggest 
 themselves in a given context. This expedient may be safely adopted, to giv^e 
 variety to the first exercises ; but, of course, each letter must receive sufficient 
 explanation in its proper place, in a subsequent lesson. 
 
 Lesson II. 
 
 Call the learner's attention to the shape of the letters Q O Dj ^^^ to the 
 
 ])arts of the mouth from which he has made the puffs. Explain that all letters 
 
 pnMiounced at any given part of the mouth resemble each other in shape. Then 
 
 ask him to point out from the /Mphabet an\- other letters formed by tlie back 
 
1-21 
 
 of the tongue — by the point of the tongue — and b)- the lii^s. This he w ill ilo 
 without difficult}'. Select 
 
 The hp hisses, - - - - D 3- 
 
 The tongue hisses, - - - ^ Q S*2- 
 
 The vowels, - - - - 3 3 3^- 
 
 A comparatively wide range of sentences may now be read ; and there will 
 be no need to limit the selection to monosyllabic words — which are, on the 
 whole, more difficult than longer words. Nor need unknown vowels be ex- 
 cluded. The eye will learn a great deal from the relations of the symbols ; and 
 the teacher will, of course, at first, pronounce all words for the learner's imitation. 
 
 Lesson III. 
 Give the learner to understand that he can make a puff or a hi.ss and a 
 sound in the throat at the same time. Let him hear the effect in the sounds 
 tl3> ^, ^> 3> 3- Then show him that these letters, and also Q Q Q, are 
 the same which he has already learned, but that they now have the sign of 
 throat sound united with them ; and consequently are to be pronounced with 
 a murmur of voice mixed with the puff or the hiss. Thus : 
 
 Puffs and hisses already known : QDDQS*2^D3- 
 
 Corresponding murmurs and buzzes : QQG^S^^BQ. 
 
 The new letters will be at once understood ; and this lesson may embrace some 
 additional elements. 
 
 Select O- The learner will discover by its shape that it is a /// letter, and 
 also that it is made with sound in the t/iroat. Tell him that the additional 
 mark by which Q differs from Q means that the letter is sounded in the /^osc: 
 He should then select the other 'nasals' from the alphabet for himself. Point 
 out the relation, by shape, of G to Q and of (^ to Q , and illustrate the sounds 
 
 of a Q, 9- 
 
 This lesson has introduced a large number of letters, but these involve only 
 two new symbols, so that the learner can have felt no difficulty ; and the symbol 
 for ' round ' vowels may be added. 
 
 Begin with }. Explain the meaning of the short cross line, and pronounce 
 3 and } several times, that the relation of these letters may be clearly compre- 
 hended. The series i } J may then be presented. The relations of the three 
 
122 
 
 sounds will be readily felt, and their diiTerences will be perfectly remembered 
 after a few repetitions. 
 
 The mark \ may be associated with } (}^), with the explanation that the 
 lips are to move a little closer at the end of the vowel. 
 
 Reading will now be comparativel)- eas}-, and the learner will know with 
 certainty whether any unknov/n vowel is to be pronounced with the lips or 
 otherwise. 
 
 Lesson IV. 
 Call the learner's attention tx> the mode in Vvhich he has pronounced the 
 letters 
 
 and let him discover that he has made them by raising the point of the tongue 
 to the palate. Then show him the letters 
 
 O CO ('", /,) 
 
 and he will see by their shapes that they also require the point of the tongue 
 to be raised. Tell him that 
 
 Q has its murmur coming out over the point of the tongue, and that 
 GO has its murmur coming out over both sides of the tongue. 
 
 Let him hear the sounds of the letters, by themselves, and in words, such as 
 
 OIIQ, O^IIQ. (OliCO, (read, lead, reel). 
 (^n^. a3}iQ, Q}1C0, (road, load, roll). 
 
 There is only one other consonant to be learned, namely 
 
 O. 
 
 Explain that the sound of Q) is made with the tongue in about the same shape 
 as the letter, — the middle raised and the point turned downwards, — and that 
 the sound is very like that of the vowel X, but shorter and closer, and with a 
 little buzzing added. Let him hear the sound by itself, and in words such as 
 
 Oil, OII'COQ, Oil, OHO, 03G (ye, yield, you, yoke, young). 
 
 The particulars in this lesson will have presented no difficulty, and a new 
 vowel series may be added. 
 
123 
 
 Let the sounds f [ ^ be pronounced a number of times, and the relations 
 between them, as well as between the symbols, cannot fail to be discerned. 
 The learner knows the position of the tongue for [ : explain that the shape of 
 the tongue is nearly the same for [ and { ; but that the high part of the tongue 
 is a little further back, and the point of the tongue a little lower for [ than for 
 X, and for I than for [. 
 
 The mark J^ may be associated with [ (as in Q{^1, day) and explained as 
 meaning a very soft sound of O- 
 
 Lesson V. 
 
 Call the learner's attention to the two vowels which lie first learned, namely. 
 f and f. He will observe the resemblance in the shapes of the letters, and he 
 will be conscious of a resemblance between their sounds. He will also feci that 
 the front of the tongue is in almost the same position for both vowels, and that 
 the difference between the two sounds arises from some change at the back part 
 of the mouth. His attention being directed to the matter, he will probably 
 have a sensation of widciiivg the back part of the mouth in sounding f. He 
 will be conscious of a similar sensation — whatever it may be — in pronouncing 
 the pair of vowels ] and 3, which he learned in the second lesson ; and he will 
 )iow notice — if he has not done so sooner — the resemblance between these 
 letters, and perceive that the difference between them is exactly the same as 
 that between { and f. 
 
 After this preparatory exercise on sounds, which were already practically 
 known, introduce the letters C I 1: } J- These will be seen to differ from the 
 letters C I i } J exactly as £ differs from { and } from ]. Explain that their 
 sounds differ in precisely the same v/ay, and these new varieties will probably 
 be pronounced with accuracy at the first effort. 
 
 There are only two other accented vowels to be learned ; namely J and J. 
 The letter J is J without the cross-line ; and if the learner try to pronounce J 
 with the lips spread instead of rounded, he wall produce J. He will feel too 
 that the sound is very like } ; and he will perceive the correspondence between 
 the letters 3 J and the letters [ \. Explain that their sounds correspond in the 
 same way ; that is : — the forepart of the tongue is very low for \ and the back 
 part of the tongue is very low for J. 
 
 The only remaining vowel is J. Tlic letter is formed by joining Jt togctlicr, 
 and the sound of I will be produced by trying to sound l\ at the same time. 
 
 Q 
 
]24 
 
 The vowel X is always followed by ^ in English. Explain that y is a ver)' 
 soft sound of Q. 
 
 The English reader has nothing more to learn. This short course of in- 
 struction will have, undoubtedly, excited his interest, and thus given him the 
 best possible stimulus to perseverance in exercise. 
 
 Lesson VI. 
 
 Revise the Complete Alphabet, sounding and nmning the letters. 
 
 Practise Reading on subjects easily comprehended. 
 
 Unaccented syllables may be printed either with the shades of sound 
 actually heard in current pronunciation, or with the vowel which would be given 
 to each syllable in separate syllabic utterance. 
 
 The latter mode should be adopted at first, for the sake of simplicity, and 
 because the unaccentual variations are rather accidental than intended ; and the 
 learner intending the written sound will, very likely, fall short of it in the 
 customary degree, when he has attained the power of reading wath fluency. 
 Besides, good reading is always syllabically distinct ; and a reader may with 
 propriety aim at a finer syllabication than that of conversational speech. 
 
 The only advantage attending the discrimination of unaccented varieties, 
 is that a knowledge of them prepares the learner for a more ready recognition 
 of foreign sounds. The writing of unaccentual shades will occasion no difficulty 
 after the more important elements are known. [See next Section.] 
 
 Mode of Deducing Foreign Sounds from their Symbols when the 
 Symbols of Vernacular Sounds are known. 
 
 When the letters which represent vernacular sounds are known, foreign 
 sounds will be deduced from their symbols with facility and certainty. Thus 
 the English learner knows the vowel \. If he try to pronounce the sound with 
 the lips spread instead of ' rounded ' (with no superadded effort of guttural 
 compression), the result will be 1. The finger and thumb may be used to spread 
 the lips while sounding \, in order to get the true result. The vowel £ is, of 
 course, known ; and by endeavouring to pronounce If simultaneously, the sound 
 of X will be produced. 
 
 In like manner, the attempt to form the known sounds ][ simultaneous!}', 
 will give the quality of \. So, too, X will result from the effort to blend the 
 sounds of Jt ; ^ is a common English vowel, and ] will be obtained b}' spreading 
 the lips while sounding J. 
 
125 
 
 The vowel f will be funned by trying" to .sound [ with the lips as close as 
 for i ; { will be formed by trying to sound [ with the lips contracted as for } ; 
 and ^, by trying to sound { with the lips ' rounded ' as for }. So, likewise, the 
 vowel I will be formed by the effort to blend the sounds of Jf ; ^ by blendini,^ 
 }{ ; and J by blending j\. 
 
 Unknown varieties of 'wide' vowels will be produced by a similar 
 coalescence of known sounds. Thus : ICII3J13-J' are English elements ; 
 the quality of the vowel 1 will be obtained by removal of lip-modification from 
 } ; I by blending If ; and \ by blending 3 [. The unknown -f will be obtained 
 by pronouncing f with the lips contracted as for J ; J by blending ^-f ; { by 
 trying to sound [ with the lips ' rounded' as for } ; 1 by blending }£ ; { by 
 trying to sound I with the lips ' rounded ' as for J ; and i by blending J|. 
 
 These various relations, it will be observed, are all expressed in the symbols 
 themselves. [See ' Table showing the Mutual Relations of Symbols and 
 Sounds,' page 41.] 
 
 NOTE ON THE ZULU CLICKS. 
 
 The formation of these peculiar linguistic elements has been explained at 
 page 62 ; but it seems necessary to add a note with reference to their symboliza- 
 tion. The Re\'. Dr Callaway states, in the Preface to his * Izinganekwane,' 
 (p. iv) that in Zulu the clicks ' are never heard without an accompanying con- 
 sonantal sound ' — of g, k, or n. In all such cases, the writing of the sign <5 after 
 the consonant expresses the click without another consonant letter. The click 
 is the mere removal of the organic contact which is involved in all 'shut' and 
 ' nasal' consonants ; and the sign <j indicates that the disjunction is made with 
 ' suction stopped,' instead of with the expulsive recoil or transition which com- 
 monly finishes the consonant. 
 
 A click only requires the consonant action, of which it is the conclusion, to 
 be written, when the click is used alone, before or after a vowel ; or when it 
 follows another than its cognate consonant, — as GD*^- 
 
 The nature of the clicks will be best understood by prolonging a \-oiced 
 nasal consonant — Q Q\ or (XJ — and, witJwnt stopping tJie sound, remo\-ing an 
 anterior organic contact with an audible effort of suction. The suctions Q<j, 
 Cj<i, or Q<i, may thus be made if G be ' held ;' 0<i or Q*^ ^'^^^Y be made while 
 Q is ' held ;' and Q<i can alone be made while Q3 is ' held ' — without inter- 
 rupting the sound of the nasal consonant. The clicks 0*=* and W<i cannot be 
 fijrmcd with continued \foca\\\.y ; 0<* can only follow Q Q or Q, or occur before 
 or after a vowel ; and X}"^ can onl)- precede or follow a vov>el. 
 
126 
 
 While this sheet is passing through the press, an opportunity has occurred 
 for an independent study of the Zulu Clicks, from the utterance of a native of 
 Natal. The Author's Son (A. G. B.) writes, as the result of his observation of 
 these elements : — 
 
 "The 'Dental Click' (represented by c in Dr Callaway's Work) is 0<<. 
 This, and the ' Palatal Click,' I got at once to the satisfaction of my visitors. 
 The latter {q) is C)c<i (no flap). The words given were IGO^'OJDI and 
 lGlOc<e3'C0C i^I- I" ^^^ former word the voice was continuous from G to 3 ; 
 in the latter word, the click made a break in the sound. 
 
 It was some time before I was equally successful with the third or ' Lateral 
 Click' (.f), which I pronounced Qll<-. In the course of some forty or fifty 
 repetitions— in the word £13 G'Q''<-3 (DOI— I gave a slight prolongation to the 
 ' suction,' and then it was admitted that I had the sound perfectly. This click 
 is decidedly w;^/-lateral. 
 
 These are all of the Clicks. But the Zulu sailor gave me another sound, 
 which I should term an cxpidsive Click. It is Dr Callaway's ' Lateri-Guttural 
 Fricative' ijih). The sound is QA->, as I pronounced it in the word f.OA?>33, — 
 which the sailor said was perfect. As I heard the sound, there was no lateral 
 emission. A compressed Q is formed while X is ' held,' and the explosive sound, 
 heard before the ^, has quite the effect of a Click. 
 
 The sound of ]il is £^ ; Ng initial is, as I caught it, Q,Q,. But the sailor 
 could not distinguish any difference between GQI and dJQI (' Ngi ')." 
 
 The explanation given in the preceding page shows why a click after a 
 nasal consonant does not interrupt the continuity of the voice ; while between 
 two vowels it necessarily makes a break in the sound. 
 
 The sound of hh, written QA«> in the above experiment, is perhaps Xi — 
 a closure of the super-glottal passage, as in the act of swallowing. 
 
PROFESSIONAL CARD. 
 
 Mr a. MEI.VILLE 15ELL, Author of ' Visible Spcecli,' may be consulted in all 
 Cases of Impediment or Defect of Speech, Vocal Weakness, Monotony, Oratorical 
 Ineffectiveness, &c. 
 
 STAMMERING AND STUTTERING. 
 
 The experience of upwards of Twenty-five years' Practice enables Mr A. Mklvillk Beli^ 
 to undertake tlie permanent, and, in most cases, the speedy Removal of Stammering and other 
 forms of Vocal Impediment. 
 
 Keferences of the highest class are furnished to inquirers. 
 
 A limited number of Pupils can be accommodated as Boarders ; but residence in the 
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 DEFECTS OF ARTICULATION. 
 
 In cases of Lisping, Burring, and other Single Elementary Defects, the entire Kemoval of tlie 
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 Children who are bacliward in acquiring the power of Speech are trained to the perfect u^e of 
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 VISIBLE SPEECH.-UNIVERSAL ALPHABETICS. 
 
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/ 
 
 TL 1. 
 
 ALPHABETIC VOCABULARY o r TEST WOR05 . -InirCo^L Conson*rxtrs 
 
 0& 
 
 Olialn 
 03^-0} 
 o^t - o] ? 
 
 BCOl \P«c.-) 
 
 xj. si^yoy 
 
 CCO^'DfaAdl 
 
 c](i)]{9-uir}au)] 
 csv[0\r 
 
 C 
 
 
 6li ^Ga.i 
 
 a]'u)J:C} ,S,..) 
 
 a}cf(cycl\i 
 
 aWuD|u) 
 
 €1 3}V J q CO t 
 
 a 
 
 Ga<-fa] 
 nlc 
 
 i\j[;'r3JwalD 1 St. lie.) 
 
 T.) 
 
 /T.j 
 
 
 iSc.^ 
 
 Ck..l 
 
 rtOOJCplLcd (Ga.) 
 
 saeil'TiyTao] 
 
 5^^, CO 
 
 n 
 
 CTDJiT5|l33Gla 
 
 (It.) 
 
PL II 
 
 
So 
 
 iSc.) 
 
 Diisu 
 a/no 
 ^xi CO tier's 
 
 3i"oj] u)lVrt 
 
 5i-pluu7?, (c 
 
 GCO^JU 
 
 7*..) 
 
 \- O C A 8 U L A R > 
 
 Dui^U^Dn (Pot.) 
 D']fnO'&uj3'a-Lf (Poe.j 
 
 pjo:) n. ci i 
 
 PL. 
 
 Vairietie-i of 
 PronanciatjoTi 
 
 Pi3'}^^i. 
 
 DUiluI 
 
 •3'!_uj'aajp3lt7>aTj ,5«.) 
 
 &3w''.br.crjc 
 
 131 U;CD)- 6(00 
 
 3u/'3^''^''-^-^^^' 
 
 3(c - 3 do ' OJ V .M a-r. . , , 
 
 (, C OTll:UH.L(.6.(i .) 
 
 ?33<^W}'Gijia3 
 
 •f3[^tii|'DiTal3 
 
 ^3u^;c; 
 
 f9lpp}0Oi'Ci?U I o:^;a \ 
 
 l^Cie.^j 
 
 F 
 
 JTHorgcn 
 
 [one] 
 
 3* OS' 
 
 [laousc 
 o3in 
 oj?n 
 
 ^ Sc.l 
 
 A.-m.) 
 
PL lY. 
 
 1 NTERJECTlOSJAL A. N O \ IN AKT 4 C U l-^T E 
 
 Sounds , ^^ ■ 
 
 3}n^ V 
 
 
 aciia- 
 
 ioo^v^ n v- 
 
 uiisir jd' 
 
 
 a G u ci • 
 
 -» iO^^V^il 
 
 oio- oCd- 
 
 
 n.i ani 'ancx- 
 
 (OS) j( ^ 5. 1. ^ j; ^I. 
 
 Q-o Q-<- 
 
 
 rrUTJ- -LTG- uo-- 
 
 {o-OA^ UJ. UJ^ Uj.'Df-. T3J. 
 
 OD^• 
 
 
 :o;o- 'o-'3 
 
 (o-pA) y|- xl- n|- "xT.i- 
 
 DO^li vdY^ 
 
 I 
 
 o}?. • op • 
 
 (0^0 ^u-ula- u-uXa- uula- 
 
 p^-ii'j 
 
 
 al, ^I., 
 
 Q>^0»'1^]»3 . **'^'''' 
 
 Da; on 
 
 on. 
 
 x^< x^< A'< 
 
 pco]9i e|ol Dwlr ou)}i- 
 
 3UA-i rt{\ 
 
 
 ^Is,. bi, 'L.< b', 
 
 iDU)]?^ , e^rr. 
 
 QV^ 
 
 
 {' {' qM 
 
 €>' c^^ 0^- 
 
 essi 
 
 
 ^••'n>; n\ c> c c< q 
 
 a> i 
 
 
 
 D 1 A L E C T S . 
 
 
 
 
 fVoniin 
 
 tiattoiA 0^ lilt N-umer 
 
 ais 1 tb i«:* 
 
 CotJtnty 
 
 Bovoltv i») 
 
 Pa«.(>?s.3 ('2J 
 
 ?K,.ol^oVkt-ava f3; 
 
 ^lJ« (Aj 
 
 A^tr-<i«CV>. j^i-j 
 
 
 {Te.vi.ohda.ea) 
 
 
 
 (T>u nj-i/-ry% Ax t ) 
 
 IStfeilLofie } 
 
 1 
 
 1 \:5\.x£ 
 
 ^[gt 
 
 (T^Cqt 
 
 <^[^ , [■'3^ 
 
 Cr^ 1 It? 
 
 I \oh,-uh 
 
 y3[- 
 
 U3:i 
 
 uaji 
 
 U3J* 
 
 xrsj:. 
 
 3 S^<iii^ 
 
 n-vTs 
 
 raw I; 
 
 CM»It 
 
 s^wli 
 
 n,u){( 
 
 N-^P 
 
 3}?u) 
 
 3J?U' 
 
 3}?U) 
 
 OJJ«*) 
 
 3]21W 
 
 i- 0]7»3 
 
 01.3 
 
 3lt3 
 
 3313 
 
 olia 
 
 3|13 
 
 b infan 
 
 nCa-rx 
 
 fxlo n 
 
 ^|;an,a]a5l 
 
 rL[arL 
 
 rijarL 
 
 7 ia];3Tyi 
 
 rtlscff 
 
 nlsrcsr LaTBTSj} 
 
 SilaxJi 
 
 a[s3cyi 
 
 S-jtfSU 
 
 linu 
 
 ItCU '[^CU 
 
 [cu 
 
 JCTT 
 
 s ;^3icj 
 
 T^C?;^ 
 
 -qtC?,^ rcrCsTsr 
 
 xsii^ 
 
 <:y];?,^ 
 
 loloixs 
 
 TJT^Q^ 
 
 a-[iQr ^x?i 
 
 XJ]^>XS 
 
 ^^ 
 
 ii llfi}^'^?. 
 
 Tcor3i:ffi 
 
 TcoIaiTa' 1 Twi3 x£[ 
 
 I'cjufa ^< 
 
 Ta3[;;3(yi 
 
 ;i -C-3fC03 
 
 (J3XtO 
 
 TJ3£CjO 
 
 trarco 
 
 U3|^W 
 
 najw 
 
 20 USpO-i 
 
 Tjtxf-ai 
 
 U^It^yUi 
 
 r p 
 
 ualcj-crf 
 
 Tj -^l^ui 
 
 •* -VvJritten fro 
 
 r.^ Vhe Deer 
 
 atiovx oj- (1 ) JIaT JAit.TxIiivr 
 
 av^ •, (2) }>»r. Geo.Bl}oXl-n4ton« ; 
 
 (3) jrv.':.;iv'ck'i Be 
 
 11 .^i .R..-i D. 
 
 S Dr.j.Q)al«'.(ir) 7>l>:.J.Forresl- 
 
 
TL.V. 
 
 TEST-SENTENCES.- DIALECTS. 
 
 .Aberdeen s}i<.r«. 
 
 ial 3Iiu) co]f\D Jliun^IJi:? "olo 
 
 CUt jriT 3]fl 0[f3 . 
 
 ■Cm^sfr^GRjn. , l^ U3J» ajo-flojQ]D siim. 
 s^T .aj.i9Tn.-TiT[i ^ ' 'Its ^]^-^^ I ©j^- 
 
 >lidiot-hion,. 
 
 acOi (hIw u[na Tu ra[,[eicoi . 
 
 [1 3lc, acoCDuI<*);n -on e^-cojca. 
 
 Ol\0 r?l^ . DjDCiXU JD. 
 
 nCci T?[iu)Tcor TSffCDTuorTa e[on ji ^Jxj 
 
 '[co ^}i 3[ca rt^f \3itn. \c ,(^[^s~\ , 
 lalo \'.c uja o^t el ,(i\[wn.ljn,. 
 
 U"p-p«r Teviotdo-tk. 
 
 cl^iy 1-ble^ ral alien isl:^ I rI 
 
 wT?Ci olsd olrG. 
 
 DIg Iw i JCiru Jfe? Is £i?rc? ]t9 ^}ca. 
 
 [t a}? d[(*)-»ji , Ian \ w;c "cjCco. 
 
 T3u[i9coI oLxj. 
 OT?;cu ©Ta 3?u sni Tif}? -xs]? . 
 
 J-d p]? 1 oh. 
 
 xuii cope, ^ 
 
 QI^ ^l}'^ ^1 i^l 3^1a snfsTij '^ 
 s^T ei[iu oju; sni aufcosi ij}D 
 
 [00 a[ Ba3[iu [ etun. q|^i on Tu^i 
 [hit "cju}d '^, u[?. 
 
D 1 A L E C 
 
 SccCtisK Border ( Covxti ^n «»< i 
 
 [s lish '^ .plaulin , [3 I© hhc v] 
 j^I a]u p|i?a V sTiTa[uwra" 
 
 .rvt is cellars U.S Scotti»K 
 
 ;3jW I r QJrtJ 
 
 X ■^iJ^fW ?5Cu;a ^[CU '^GT -VU ,P{-Qf. 
 
 0{i ?3l^,ajt snT (Tj]?jTi Tjl raT-5f]?i^. 
 
 lei IV. 
 
 ?L.7I. 
 T S ( fonti-na^dj 
 
 [i n[a \pivi ^1 ail ml ^alt gIu 
 
 ulu)- IcrotoTciD lolw (^fs sni 
 
 f] "0 3 Twin, foo]; nTpl^co 3|t ? 
 3 ci}?3y I p\tols\. 
 
 aLa ? 
 
 3]i ru2\ D3i(y ? Jin eije^lo? ^rr^]^. 
 Cp,i9JtrLj, -op] (Til -cf} Qi si 
 
 f^Jvi. ^{cu snln <! 
 1^1, D'[^, o}?'-c^ pI j[uj pco gI 
 
 |;,u Ib. 
 
PL. VII 
 
 T EST- SENTENCES (Co^tt^vu.^) 
 
 {Qeiicofij- isn 3j^i\ ■clhldfwcr. 
 
 5^vl ulilju'^e^ ^In o^a iavl o-[<d-> '{3 10^:1^, m o]csu 
 
 ]\ Ir 593'urc>] ]'wji Ji JCOJI. 
 
 C<}tp] ap ei'Oj:n]ts. 
 
 QO^-f n(n['}i 3i5i(t^l'coI)Du] ql iirv3n aff^In D}m3 o£go 
 oi'cr J D ^jxff . 
 
 3^Au|, ia -DiTirLooltiric aojsausj. 
 Qjtu}uu 0} C1I.3. 
 
 3l:t 3]:cogI wlWla^- . 
 .3]< 'lau[ a\^ .Ullnv. 
 
 J^AOr<i.cUexl form of-.^Lecj oj 7yxtctt,>x , c^ ,^,^0^ ^ K^l^ ^ q^^,,_ ;oa.i>y ,ve „c.o i-i .' 
 
PL YIII 
 
 SH AKSPER\AN 
 
 ENOLIS H. 
 
 Portia's Speec)) or\ M e r c^ 
 
 AS PRONOUNCED IN THE TIME OF SMAKSPFRE. 
 
 AVn'ttiTi jjovn thi. DiclTatton of 
 At-exandx» John El li s , Esq., F R.S. 
 
 fu liJwjDCn , 3a rn.C Ti5U|;auco\ wj^tj 3ci)^if3 o^s^^f 
 
 3(r^ -[u)rxaj]^7> 0\Hi> xjln 5Ti[T3ir u]^^ co-[;;qtau Q't^^n. , 
 
 Ijhwjs nil a]cj0 3jimltf -. 3t "qI* ou)j?, o^^iJ ^[ujai^ • 
 3^:?u sr3u a]i'0 DwjTtA) -G^ls^ U"[i'DU" 3a jsw ut. u^cfQiu 
 
 [ T^e i-r A a^i ~ of Ve ■ 
 
 AchJV.Se.2. 
 
 SUKKSPEffl^H AVO 7\LOO-eriN f/fON U r^C3 *,TJQ7i . 
 
 p&ojvn. Da3[j;a 
 
 ^I^tctjI 
 
 ralsxir 
 
 3[; (iJ 
 
 oft 
 
 Cl^|;#(2 
 
 a<^]2<jy 
 
 snVc 
 
 ■^)i 
 
 v]_ia 
 
 'c)i'n 
 
 xyUcf 
 
 Cf jiiT 
 
 D^iCi* 
 
 o3?]i,D']n 
 
 ^3[ia-te( 
 
 ^(TiV.ujia 
 
 J-* 
 
 j^ ■ 
 
 DiraEe* 
 
 U(niiai« 
 
PL rx. 
 
 loaa. Ovto.xxvi. 
 
 Qijlm •. 
 
 a3[iiQrt]^Pt 'jfuu j\w jD]et sn.T aijl,i«L-. X)[i3}t ]j[ Dl'nLaTJ ni[\ ul oil bI 
 
 p[i^cr p Qj-^ Joral ]ii 3j;iia][m-. 
 
 8.^]it uk fu ©I n^iD 1 nfa feb^AJpIeo)! afp^ ol, ^p Qju i;l^ 
 
 ii-lrsrcj 3s Djurtuu sap pa f^ir piu)[ atulaj^j, p(? qp'oi^ajiD on[>9 ul 
 ©(0[a3l»i9 ■, p^ pile} pa[,^I«;a)i Pp I'eipau i^p, ]?, Dj^irLTaf^V.cCu j»?^© 
 
lii- IXrwJopf i^ % 3[GJu v] Ul^iaq'a 3fs*i jhyru-'I-al [Tiro apljj]-{u 
 
 13 Ixj pi(i^-Q[i , }? alo, , ]k a}^ fo sal 3[j, 1 a3]r0 ou)}^ o];3^i, ]d13 ?il 
 ew]]^u^[a p sni a]Tjr , uj^iiria w]^5r5J ^D^fu pf |^tb^u ixi]^© ohu xji^li^iw 
 alsa ©1. 
 
 ^alr^ iO Ifi ojicr 3j:i suI ^^ afa ^eq^irnu sv^T Dwlan,. 
 
 afo) tt^-^" ]^^i ^-fj 
 
 18. "Ol }iqTxs snTu) 3xA T5r5^ Tj\ v]'ii:£ jr2j& :nijp vjiaGr[i\ ul u)]iu, {^'J 
 
 j3 s^fT2"?\,pGJ %'o[u;riDlxfrL ]D]ei iup ofoi^ ji n^aaufo]?;^ d]x 3[xn 
 iRp Ik Its" ^['. . 
 
 o[3Tirioor 9lvjTir: 
 
 21 3}i niLm. aj^vsals^ juT U'^i'^ oj-rO ^l lor sal u|Ddco;. jxsu 
 3VSU 3'b]W ul afcx) ;&/ 
 
PL. XI 
 
 23. iUp Q<i)]mu vlxs n]3ji!,^cr snp of tjW tel rrtl OTinC"' 
 <xi|u ul©- ii)}is^ 0*^J^ -^T (ir[i3 ,]T?cij uliij u}i cjo^TiU ]"Qyci ml 
 pif 00 i , |©u o'l: snl '[|Jv|;Qf crJT, a) n . 
 
 2 6: f3]-D q[ a]iir , 3^ p 15JJU »"[©, pJmTJ -Qj}?0coi 3pu]ri , I3]u 
 
 ]i noi\a owl' 03 1: 3J1 ]i -[ti DprL3[7;xD[u ^p- isJ]Qr J3 ml^fa 
 Jit oXqxji 3g}& of^j 35:1 snia sn.i&, -^js^ isju ^]xff h I ajtcrji. 
 
 00 "[or (J :3jiy ol o|ur jn.]a rLD^iali:? , sal ala u)}??i ]d, [^<j in! 
 €)]spGrji , "[^ii5 0p'^3snr, -[^cf^ 5n[r, m^^j axxi ^Im rQ [a •. 
 
 32 sups' a^c 3'^^M J^^^ GXau'ln , SUI^ 1^1^ "r^l^u op 
 
Visible Speech Writing. 
 
 PL Wl 
 
 BACK. 
 
 c c I i^ o a 
 
 RACK-VOICE 
 
 e e t k ^ ^ 
 
 FRONT. 
 
 / f 7 'I 9 I 
 
 FRONT-VOICE. 
 
 i/ f r? n ^ ^ 
 
 SONANTS. 
 
 
 
 
 
 UK 
 
 
 :? 
 
 '^ 
 
 LIP- VOICE. 
 
 
 ^ 
 
 .'y 
 
 y ^ ^ ^ 
 
 POINT. 
 
 
 L 
 
 I 
 
 POINT-VOICE. 
 
 
 a 
 
 V 
 
 U U ^ '^ 
 
 VOWELS. 
 
 /// /// /// /// 
 
 Written, as iinder, for 'High,' 'Mid,'' and 'Low' varieties:— 
 
 BACK. 
 
 Primary. 
 MIXED. FRONT. 
 
 BACK. 
 
 Wide. 
 MIXED. FRONT. 
 
 ROUND. 
 
 H 
 
 ASPIRATE, GLIDES, MODIFIERS, &c. 
 
 X d e / ^ ^ L i F i t i f^ //// s ff A r i - -^ 
 
 The following require no change in Script : 
 
 Principles. 
 
 Voice-Consonants and Primary Vowels have a looj) formed m the hair-stroke of the letters. 
 Kound Vowels have a breik, or bend, in the body line of the letters. 
 Round Gliiles have a cross-stroke, as in the ' print '-letters. 
 Nasal Consonants have the nasal-sign written horizontally. 
 
 ' High ' Vowels ascend, ' Low ' Vowels descend, and ' Mid ' Vowels ascend and descend beyond the 
 line of the Consonants. 
 
&.%- ^X j/^n/iJ' 6^ /r 76f^l ^,m/^: L'3 U -a-/.^ ':ni sff ^ 
 
 3.^ h /;, c/^^/^ o<>/r^ //M^rfu^ ,yy *// ^ ^/u^ ^/^^, 
 /'^ cM^ .7^ /n'^ 3>iff<r3 ■ n^4 ^y // /2) , .-^ ^ ^ ^^ 
 
 ^^r 4>^? cf^ ^/ rf^ d// ^ ? 
 
 6. i'uAj^ s-f^ /yai crh^ , ^ ^ /-// ^ ^ ^^ rz/ ^-^^^ ^ 
 
 nJ ujJi/3 : yf^ ^^ <^/^y/n' J^^ rvi ^y^uyy., c^ ^/t, ^ . 
 
 9,Muj^'' jyn /^i (r6^, 0^ ^ dyl/3^ s'J cry^i ^;^^ s^ ^Kp^ 
 a^i a^ n^^ ^ i <jy^ ^\ JLr^j ?■ 0^ n^(, a^-x j^m- ^ 
 
 i/r :^ : nJ &Jyw n^6 /a j^j^i^a /^^ /// / j^j^i/ 7y6 y3 syi - 
 
TL XIV. 
 
 \k.'h of if/j /iJ^ f^^cl^ Ir ^'jh, Tk/^ , /a ^Lj /i< U , 
 
 aju^ ^ j^.-i ^^ '^j'6 , criirL/y ^^ a{/^ ■ ^J6 ^r^ ^jh (rh -, jjv (^ 
 if^cy^t h^ a^, /^r 2^ ay/ or ai . 
 
 19. ^If4 /oIhji v'/k^^^.^rs^ i-iJ ^h^Jir j*^ '^grjh ?i^^ ■ ^^ ,rfi j^^ s^f: 
 yyUjiJ> /I ijk^ ,7/ 2^a cj^ ji^yj , 
 
 % 1 . 0^ n/^ ojp. ^A aj/^/^^(^'yy:ty^ri-irJ', ^r^^ om^c^ n^ , a^ ^ ^/y^ 
 ty/^l'^^ ^'/- I'-nr o1^ /^/ cj^9^ Sb^ If/iJ ^/ uxh^ p 3^ 3jHn^ , 
 
 x% . }fiy^i^ ffi ^/n^ (ffrd , r^i '' Lp<4-^Im^^ , L'X yr, dj^ Ip ^ n/,6 n(^ 
 
 zu. C^ i^t/6 L^^l '^/t^ ct^^J^ ^u 4^ J^iej' ; /-r^ rj ^/y->r 
 
?L 7M 
 
 a 8 
 
 <^k^/^''Uiy L'fi ■fj'i '/f'7 (^ft- J HJ^^o^y rfuyy u3fi U J /}<^. 
 ^ ^ A^r ^/; .^^^ JrmfU^, ^^/i^ ^ jy^,Pi<^^j7i^inJ'}uyi: 
 Z9. 'l:^Y ^h /i oi,^^ if^^'^ ,y^^;^ U a^ 6^ /y^ , rt^t -PfT- U lj> 
 3o. 0A^3-iri/7 ^k ^ Tj4 mc/ i^ ^ c/J 3fy nJ ^:>ty^ j^ rUr 
 3/ . ^ fy^i nJ ^runr 9^^ ^ff n^ ^ (^ nJ Jj^^nff ■ /'^ (/ nJ 
 
 \ Capital LcweT'Case, ani Script./ 
 
 ai8(j)i9 aiD. raj 3ru biujgj iiu im,m roMKU oisiDr. 
 
 aCejDJi© aj^ . sa]^ -atw tsl o]i5 fuj \iz^ \^ [a la it? oi[3"Qr^ . 
 
 d^irj^ aj7b. n)/. ^Ilj ^f ifj^ h /1% [f U U Its' o^s-yi . 
 
 m M WA ^{\ 3H ofjdjt Buiii). \m 3})['Qr3 jii 3» 010)1 m 
 
 s^/^// nb ^/a //y .ar/^^/ <j!>d;/<!r. i^ic jjif/s Js ]?i y/^7 / 
 
 311 3H'ef 3 ]n ^iwm.iOT uiro 3a wo im\ ui9uaura,§]u 
 w'Mfsn ]a 3ii)}& 11310); 311 ?i3?;s m m amdiiD.iw MDini, 
 
SPECIMLN OF SCR) PT-TV POOR A PH I C . 
 
 /A ah afsb^is ^/>^/^/>^, ^^i- ^/^ ^/^ ^'^/<^^/, ^ /^ ^-^/s?. 
 
 ^f y-? /« . 
 
 U UZl^i^Ui S/j/u/n, Uj<iL^/'i'ir tj> Qij^A^iT', ii^olU f>-ir»l(n, tj6 ', 
 
 6'-^/^ ^(' (btofAS /sffiJ 3 y^r/i^cj/ , j'Aa/'Z 'i-ji o/t* ]?>,h 2j6 
 
 6. (J/nvjAS'/'T. 3j6 Is- I'irla'&Ul ,<tij6 oAujAr/i. /t n/ 60^^-^ \ 
 
 lrohu/"z pLj ^/Vj'. 
 
 e. dz/olsl ff§/y 3fius/-i: d>j6 t^fn/f aji cbf Doplclj"^ afA t/uj- 
 dfku}; v^aji o/y tbf 6j'gj> , nfA z/cj fAr ; t^^rz// a/y ^f^jcj/irv, 
 U z/cj ^/^/^ /^A • 
 
 Q .3p ^///^ /^ /:)/r6^/rs' ^f oopUjA l-y /jpi . 
 
 10 0j6 -vf^ ^/^ V^'z ^^ /j/yj/'a6 /p a/ 3b , a/^ n/6 y/62 /j" 
 
 It /0?y6 2/LJ cof Ifjlr /^/l . 
 
 II. Jf^ /a 3fy / 6'L/Au^!f ,]k safia [J* / 6lfACJ\^ Ja J^ir/7S6H /f / 
 
 6i/AtJir, /a ^ji6 IJ> / 6i]AtJir : cbj6 ^^J^ ^ ^fafA!b / sb/^ Ja /?h /s/a 
 
 6l]AUifll 1,Uj> . 
 
 n.Jji 3]? ^f fA -11?'} / 9Ly/fS'^ Ifpacdl; d)j6 rifs^ j/as 6/ j/Af ; 
 
 13.^3-ir ^/> //?// *-/'? j/^7^ aj^o^ iiidil, nfiJ> ^o/^:/>/6 aj' <pa/A 6/j*6 /* 
 nAj> Ij> 62/al6c. 
 
J 
 

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