uc $B -NRLF n ill i i 11 i 1 151 ail ■ 1 1 I 1 1 ^^■1 \ \ \N PREFACE The author of this volume contributed to the edition of Web- ster's Quarto Dictionary published in 1864 a " Vocabulary of the Names of Noted Fictitious Persons and Places ; " but the present work, though based on that Vocabulary, embraces a wider range of subjects, contains nearly seventeen hundred new articles, besides important modifications of many of the others, and is furnished with an orthoepical Introduction, and an Index of ihe real names of persons, places, &c., whose nick- names, pseudonyms, or popular appellations, are given in the body of the book. Notwithstanding the great pains that has- been taken to secure fullness and minute accuracy, there are undoubtedly some errors and numerous omissions ; but no more of either, it is hoped, than are inseparable from a work of such multiplicity. And although a casual examination or closer scrutiny may bring to light defects of both kinds, it may still be affirmed, that, with respect to a very large class of names, there can nowhere else be found in a collective form an equal amount and variety of information. The maip dftsign_o f the w ork is to explain, as far as practi- cable, the allusions which occur in modern standard literature to noted fictitious persons and places, whether mythological or not. For this reason, the plan is almost entirely restricted to proper names, or such as designate individual persons, places, or things. The introduction of appellative or generic names, such as ahhot of unreason^ lord of misrule, kohold, &c., as well as the explanation of celebrated customs and phrases, such 2iS flap-dragon, nine-merCs-morricey philosophy of the Porch^ to send to Coventry, to carry coals to Newcastle, &c., would open too Vast «* field 'of Inquiry ; and, besides, there are copious special treatises on these subjects already before the public, as those of Brand, Hone, PuUeyn, Timbs, and others. The author has been urged to extend his plan so as to include the titles of famous poems, essays, novels, and other literary works, and the names of celebrated statues, paintings, palaces, country-seats, churches, ships, streets, clubs, and the like ; inasmuch as such names are of very common occurrence in books and newspa- pers, and, for the most part, are not alphabetically entered and explained in Encyclopaedias, Dictionaries, or Gazetteers. That a dictionary which should furnish succinct information upon such matters would supply a want which is daily felt by readers of every class is not to be doubted ; but k should constitute an independent work. A manual of this description the author has for some time had in preparation ; and he hopes to publish it, at no distant day, as a companion to the present volume. The names from the Greek, Homan, Norse, and Hindu My- thologies that are here given, are concisely treated, mainly with a view to explain frequent allusions in the poets and other popu- lar writers, and for the benefit of mere English readers, rather than for that of professed scholars. From the Rabbinical and Mohammedan Mythologies have been taken some names, which are occasionally fnade the subject of reference, and concern- ing which information is not readily obtainable. Prominence has been given to the departments of Angelology, Demon- ology, -Fairy Mythology, and Popular Superstitions, which afford many of the most important names in Fiction. Parables, Al- legories, Proverbs, and Mediaeval Legends have also furnished a considerable number. Ecclesiastical History contributes the names of several pseudo-saints, and other imaginary personages. In the Drama, and in Poetry — including the various kinds, Epic, Romantic, Narrative, Comic, &c., — the intention has been to give the names of all such characters as are familiarly referred to by writers and speakers at the present day ; and, though there may be accidental omissions, it is hoped that under tills head the Dictionary will be found reasonably complete. PREFACE. Vii The principal deficiency is most likely to exist in the depart- ment of Prose Romance ; for, though there is very little that is fictitious in ancient literature which is not included in ancient Mythology, yet the field of research continually widens as we come down to modern times, until it seems to be almost bound- less. In fixing the limits of the work, the consideration which has determined the admission or rejection of names has not been the intrinsic merit of a book, or the reputation of its writer, but the hold which his characters have taken upon the popuMfc* mind. There are many authors of acknowledged genius, and hundreds of clever and prolific writers, who yet have not pro- duced a single character that has so fallen in with the humor, or hit the fancy, of the time, as to have become the subject of fre- quent allusion. The English romancers and novelists whose creations are most familiarly known and most firmly established are Bunyan, De Foe, Swift, Eichardson, Fielding, Smollett, 'Sterne, Goldsmith, Scott, Dickens, and Thackeray. Many of the portraitures of these writers may be safely presumed to be t)f more than temporary interest and importance. In regard to other and minor characters, from whatever source derived, it is to be borne in mind that a dictionary is chiefly designed for the use of the existing generation. To what extent names of secondary importance should be included was a question diffi- cult to determine. Opinions from scholars entitled to the high- 'est consideration were about equally divided upon this point. Some favored a selected 4ist of the most important names only: others, and the greater number, recommended a much wider scope. A middle course is the one that has been actually fol- lowed. It is evident that many articles which may seem to one person of very questionable importance, if not wholly unworthy of insertion, witi be held by another to be of special value, as throwing light upon passages which to him would otherwise be perplexing or obscure. This Dictionary is, of course, chiefly designed to elucidate the works of British and American writers ; but names occur- ring in the literatures of other modern nations have been in- viii PREFACE. troduced whenever they have become well known to the public through the medium of translations, or when they seemed, for other reasons, to be worthy of insertion. In accordance with the plan of the work as indicated in the title, such English, French, German, and other Pseudonyms as are frequently met with in books and newspapers have been given for the benefit of the general reader. No pretense, how- ever, is made to completeness, or even to fullness, in this re- infect. The bibliographer will find here little or nothing that is new to him ; and he must still have recourse to his Barbier, Querard, Weller, and other writers of the same class. Names like Erasmus, Melanchthon, Mercator, (Ecolampadius, &c., as- sumed by learned men after the revival of classical literature, being, in general, merely the Latin or Greek equivalents of their real names, and being also the only names by which they are now known in history, are excluded as not pertinent to the work. For a similar reason, no notice is taken of such names as Massena, Metastasio, PMlidor, Psalmanazar, Voltaire, &c. Many eminent characters in political and literary history are often known and referred to by the surnames and sobriquets, or nicknames, which they have borne ; as, the Master of Sentences, the Scourge of God, the Stagirite, the Wizard of the North, the Little Corporal, &c. " Nicknames," said Napoleon, " should never be despised : it is by such means mankind are governed." The Dictionary embraces the more important of these ; but names like Caligula, Guercino, Tintoretto, &c., which have en- tirely superseded the real names of the persons designated by them, have not been regarded as properly coming within the purview of the present undertaking. Nor has it, as a rule, been thought advisable to admit simple epithets, such as the Bold, the Good, the Great, the Unready, the Courtier, &c., the omission of which can hardly be considered a defect, since their signification and the reason of their imposition are usually too obvious to excite inquiry. This rule, however, has not been itniformly observed. Here, as elsewhere in the work, that discretionary power has been freely exercised, to which PREFACE. ix every author of a dictionary or glossary is fairly entitled, and which he is often compelled to use. ^ considerable space has been allotted to familiar names of Parties and Sects, of Laws, and of Battles ; to poetical and pop- ular names of Seas, Countries, States, Cities, &c. ; to ancient geographical names which have become interesting from their revival in poetry or otherwise ; and to certain long-established and important Personificationsrj In general, nicknames of Parties and Sects, such as Chouans, Ghibellines, Gueux^ Method-^ ists, Shakers, &c., which have been adopted by those to whom they were at first derisively applied, or which have passed into history and common use as their peculiar and appropriate names, and are to be found in any good Encyclopaedia or Man- ual of Dates, are designedly not included. Most of the his- torical by-names inserted, such as Day of Dupes, Evil May-day, Wonderful Parliament, Omnibus Bill, Western Reserve, &c., are those which are not, to be found under the proper heads in Encyclopaedias and other books of reference. Popular designa- tions connected with History and Geography have been freely given in all cases where they seemed to be well settled, and to be fitted to illustrate past or contemporary events or characters. A slight departure from the strict limits of the plan has been thought allowable in the case of a few quasi-historical, or real but obscure, persons, places, and things, such as Owle- glass, John C Groat, Mrs, Glasse, the Minerva Press, &c., which • are often referred to in literature or conversation, and of most of which no account can be obtained except through an amount of research and toil hardly possible to a majority of readers. Illustrative citations have been ' copiously given from no small variety of authors ; and, as many of •them are gems of thought or expression, it is believed that they will be deemed greatly to enhance the value and interest of the work. Some of them, however, have purposely been taken from newspapers and magazines rather than from the classics of the language, in order to show, by such familiar examples, the popularity of the characters or other creations of fiction to which they allude. X PREFACE. There are also some quotations which serve no other purpose than that of justifying the insertion of names whose claim to admission might be thought doubtful, if it were not made to ap- pear that they are referred to by authors "known and read of all men." It will probably be observed that Sir Walter Scott is more frequently cited than any other single writer ; the reason, however, is not that his works have been examined with more care or to a greater extent than those of some other writers, but merely that he abounds more than most others in allusions, — often remote or recondite, but almost always apt and suggest- ive, — which his unusually tenacious memory enabled him to draw from the stores of a vast and most multifarious reading. In the explanation of names, statements borrowed in great part from one author have been diligently collated with other statements derived from independent and often widely sepa- rated sources ; and they have been freely enlarged, abridged, or otherwise modified, according to the necessity of the case, or as would best subserve the purpose of the work. But where the information required has been found already stated in the best way, no hesitation has been felt in making use of the exact language of the writer ; and, beyond this general explanation, no acknowledgment of indebtedness seems necessary. To determine the pronunciation of proper names is unques- tionably the most difficult requirement of orthoepy ; and little or no attention has hitherto been paid to the pronunciation of such as are peculiar to the literature of fiction. In the absence, not merely of a trustworthy guide, but of any printed, guide at all, the author may sometimes have gone astray ; but he has been careful to avail himself of all the information he could obtain. In particular, he has made a thorough examination of such of our vernacular poets as are esteemed classics, and has occasionally adduced passages from their writings to show the accentuation adopted by these " best judges of pronunciation," as Walker styles them ; or, more rarely, to show the sound they assign to particular letters or syllables. If the decisions or opinions he has given prove, in general, to be well grounded, PREFACE. p the credit will not be wholly due to him, since he has often profited by the advice and assistance of gentlemen whose superior opportunities of becoming acquainted with the best usage both at home and abroad, and whose critical taste and fa- miliarity with all that pertains to the subject of orthoepy, afford the assurance that they " spoak scholarly and wisely." To indi- cate with absolute accuracy the peculiar sounds of the principal languages of modern Europe, including the English, would ne- cessarily require an extensive and elaborate system of arbitrary phonic signs ; and such a system would b j hard to understand, and still harder to remember. It has, therefore, been deemed important not to introduce into this work unnecessary and perr plexing discriminations of sounds nearly identical, or to em- barrass the inquirer with needless intimations of a pronunciation obvious or already familiar to him. Hence, diacritical piarks are sparingly employed, except in the case of unaccented vowels, — which, in our language, are often of doubtful or variable value, — and except also in the case of foreign sounds which have no equivalent in English. Although the system of nota- tion made use of is easy to be understood, so far as it applies to most English names, it has been thought desirable to prefix to the work observations on some points of English pronunciation not familiar to the generality of readers, or concerning which professed orthoepists differ. In regard to the sounds occurring in the work that are peculiar to foreign languages, an explana- tion is given, in the Introduction, of the mode of their organic formation, or of their position and relations in a scientific clas- sification of spoken sounds. These observations and explana- tions are contained in distinct paragraphs or sections, consecu- tively numbered, and are often referred to from the words in the Dictionary. The Index at the end of the volume forms the counterpart of the Dictionary proper, and will, it is hoped, prove service- able by enabling an inquirer to ascertain at once the distin- guishing epithet or epithets borne by a particular person or place of which only the real name may be known to him. xii PREFACE. In the preparation of this Dictionary, the wide field of gen- eral literature has been extensively and cftrefully searched. Moreover, use has been made of a large number of works specially devoted to the various branches of literary history ; and valuable assistance has been derived from the principal Reviews, and the published writings of the best essayists. Not a few noteworthy names and facts, incidentally mentioned in the body of the articles of Encyclopaedias, Biographical Dictiona- ries, Gazetteers, and other works of reference, but not treated in alphabetical ordei^ have' been carefully gleaned from such works, which have been systematically searched for this pur- pose. These sources of information are altogether too numer- ous to be particularized in this place, while -to specify a few and make no mention of others of equal importance would be as imjus^ as it would be unsatisfactory. The author would return his sincere thanks to the many friends who have contributed in different ways to the complete- ness and accuracy of his work. Some of them, whose kind assistance he would gladly acknowledge, he regrets that he is not permitted to name ; but it affords him unfeigned pleasure to be able to mention his great and varied obligations to Dr. Robley Dunglison and Dr. R. Shelton Mackenzie of Philadel- phia, Mr. Charles Folsom of Cambridge, Mr. Samuel Porter of Hartford, Mr. Arthur W. Wright of New Haven, and Mr. Loomis J. Campbell of Boston. Believing that the successful accomplishment of a task like the present, in its fullest extent, is hardly to be expected of any individual, the author, in conclusion, would ask a candid criticism of his labors ; and if corrections or suggestions from any quarter — especially suggestions of additional names, ac- conlpanied with explanations, references, or citations — be sent to him through his publishers, they will be gratefully received, and used in the preparation of a future edition. KoxjiUKY, Massachusetts, Odobcr 30, 1865. CONTENTS. TAQM KEY TO THE SCHEME OF PRONUNCIATION, . xiv REMARKS ON SOME POINTS OF ENGLISH OR- THOEPY, xvii RULES FOR THE PRONUNCIATION OF GREEK AND LATIN WORDS, . . . . . xxi to xxiii Vowels, xxii Consonants, xxii Accent, xxiii BRIEF RULES FOR THE PRONUNCIATION OF THE PRINCIPAL MODERN LANGUAGES OF CONTINENTAL EUROPE, . . . xxui to xxxii Vowels, . xxiii Diphthongs and Vowel Combinations, . . xxv Consonants, xxvi Combined Consonants, xxix Accent, . xxxi EXPLANATION OF ABBREVIATIONS, ETC., . xxxiv A DICTIONARY OF THE NOTED NAMES OF FICTION, ETC., . • . . 1 to 398 INDEX OF THE REAL NAMES OF PERSONS, PLACES, ETC., WHOSE NICKNAMES, PSEUDONYMS, OR POPULAR APPELLATIONS, ARE GIVEN IN THE PRECEDING DICTICfNARY, ... 399 XEY- TO THE SCHEME OF PRONUNCIATION. VOWELS. A, a, long, as in Ale, fate, great, pray, range, taste. [See § 1.] A, a, short, as iu Add, fat, nSrrow, rftillery. A, &, as in Aerial, Isr&el, oliiotic, xnortmi^. A, a, like e, as in Air, fare, pear, prSyer, scarce. [See § 3.] A, a, like o, as in All, broad, liaul, walk, A, &, like d, as ia "W&n, sw&Uow, qu&drant. A, a, as in Arm, Sunt, grS^s, [Fr.] pate (p^t). [S^ § 2.] A, a, as in [Ger.] mann (man), [Frt^ pas (pa). A, 9, as in Beggar, coming, metgl, scholar. B, e, long, as in Eve, mete, beam, ceU, piece, people.. E, 6, short, as in*. End, in6t, hgad, hftifer, leopard. E, 6, as in ^ject, appetite, serenity, stropliS. E, g, like a, as in ^re, bdar, liSir, where. [See § 3.] & e, like f, as in Err, term, servant, defer. [See § 4-] ;6, $, like a, as in fiight, invSigh, priy. E, e, as in Brier, general, robber, suffer. 1, i, long, as in Ivy, ice, pine, child, aisle, height) tie. I, X, short, as in Ill, Inn, pin, lily, guilt, sieve. i, t, as in Idea, diurnal, triumphant. 1, i, like e, as in Marine, pique, police, ravine. i, i, like e, as in irksome, fir, ^rl, yirtuous. [See § 4-1 ^, i, as in Elixir, nadir, ittpir. 0, 6, long^ as in Old, tone, foe, snow, soul, yeoman. [See § 5.] 6, 8, shcyrt, as in Odd, on, cot, kn6wledge, m6ral. 6, 6, as in 6bey, borrow, [Fr.] homme (6m). [See § 5.] O, 6, like d, as in Orb, order, gedrgic, bought. O, 6, like do, as in Move, pr6ve, sh6e, soup. 6, 6, like u, as in C6me, d6es, d6ne, bldod, t6uch. O, 6, as in [Ger.] b6se (bo'zi), [Fr.] jeu (zho). [See §§ 43, 46.] p, o, as in Author, carol, ransom, connect. ty, u, long, as in 'O'se, cube, tune, lute, feudal. [See § 6.] "0", ti, short, as in tJTs, ciib, tiin, hftrry. t)", ft, as in ^nit^ agfte, cftpidity, globftle. ^ tf, ft, like 05, as in Trfte, rftin, erftdite, virulent. [See § 6.] INTRODUCTION. XV l^-, % like d6, 83 in Full, p^, pijsh, co^d. ■&, u, as in Urn, fur, furry, incur, purple. [See § 4.] tj, li, as in [Ger.] griin, [Fr.] vue (vu). [See §§ 34, 61.] U, u, as in Sulphur, glorious. Y, y» iong^ as in Type, fly, style, buy, rye^ ■£", f, sliort, as in N jhnph, Ijh^ic, mj^thic, si^bol. Y, y, as in Typhoon, hydraulic, l^ceum. Y, y, like e, as in Myrrh, myrtle, syrt. [See § 4.] Y, y, as in Martyr, zephyr. ^, 88, like e, as in Cwsar (long)^ ^schylus {shprt}^ CE, CB, like c, as in Croesus (long), CEdipus (short), lETW, ew, like i«, as in . . . Ewe, dew, few, new (=u), crew (=»oo). OX, oi, as in Oil, foible, foist, join, loiter, poignant, OY, oy, as in Oyster, boy, employ, joyous, royal, OO, do, as in Food, noon, mood, doze. do, db, as in Fdbt, gdbd, stdbd, wdblly, 6^, oil, as in Ounce, bound, house, pout, 6 W, 6w, as in Owl, no^, tower, v6#el. CONSONANTS. 9, 9, as in Cent, 9ity, 9yst, a9id, flac9id, 8uc9e9B. 9, 5, as in ^age, goal, gure, flagoid, sugces^. 9H, 9h,,as in Chaise, ghampagne, ma9hine. 9H, gh, as in 9^asm, ghaos, character, egho. CH, ch, as in Chance, cheer, church, teacher. [See § 8.] 6, g, as in Get, give, tiger, foggy. G, g, as in 6^em, gender, giant, elegy, ?, h, as in [Sp.] Jorge djor^lja), hijo (ee/^io). [See § 60.} ?:, k, as in [Ger.] ach (%), buch (boo^). [See § 71.] K, k, as in [Ger.] ich (ik), durch (doork). [See § 71.] li, i, as in [Sp.] Uano, (IS'no), [It.] gU (lee). [See § 82.] 15-, n, as in [Fr.] r§gne (r^ii), [Sp.] nona [See §§ 62, 78.] »", 11, as in [Fr.] vin (va^^), [Port] vim (vee»). [See § 62.] in, n, like «^, as in Ink, uncle, anger, anxiety, larynx. iWG, ng, as in Singing, hanger, prolong, young. PH, ph, as in Phantom, philosophy, seraphic. QU, qu, as in Quantity, queen, quince, banquet. B, i*, as in [Fr.] mer (mgf ), [Sp.] rata (f^^t^). [See § 64.] S, §, like z, asm Advige, pre§ide, ro§e, di§mal, spagm. TE^ th, as in Father, then, this, therefore, smooth. "V", v,^s in [Ger.] schwan (shvan), [Sp.] cubo (koo'^o). [See "WH, wh, as in "When, which, while. [See § 11.] § 68.] ^i f , like ^0, as in Example, exemplary, ujorious. ZH, zh, as in Azure (a'zhoor), usual (u^zhoo-al), vision (vizh'un). xvi INTRODUCTION. *;^* In addition to what appears in the Key, the following explanations will be needed for understanding the notation made use of in this Dictionary : — Diacritical marks have been dispensed with, in the case of English names^ wherever it seemed that the accentuation and the division into syllables would be sufficient to indicate the true pronunciation to any one familiar with the more general and commonly-understood principles of English orthoepy; but, in all exceptional, doubtful, or difficult cases, the appropriate marks are used. Most of the names from modem foreign languages are respelt. In combinations of vowels, where one letter is marked, it is to be taken as repfesenting the sound of the combination, and the letter or letters which are not marked are to be regarded as silent; as in ffrdinj deal^ seize, tie, door, group, Journey^ Jlow, &c. The combined letters ce, ci, sci, se, d, or ti, occurring before a vowel in a syl- lable immediately preceded by an accented syllable, are generally equivalent to sh; as in o'cean, sapona'ceous, coer'don, magi^cian, an'cient, gra'dous, omni'science, nau'seous, tran'sient, pa'^ience, vexa'ifoufe, proba'^ton, &c. But if the combination si, when thus situated, is at the same time preceded by a vowel, it has the sound represented by the digraph zh ; as in eli^sion, explo^sJon, suiFu'- sion, &c. Such syllables are not usually respelt, as, in general, they will naturally be pronounced correctly by an English speaker. In respelling for pronunciation, aw and ee are often used instead of a and e respectively. In the notation of du and ow (as in ounce, owl), the mark over the o ["^J is intended to suggest the first element of the diphthong, namely, a as in arm (marked a), and the circumflex ["] over the u and the w, to indicate the second element, namely, u as in true (marked u). The sounds represented by &, e, t, d, u, y, are essentially the same in quality as the proper long sounds of these vowels, but differ in quantity, being less pro- tracted in utterance. In respelling foreign names for pronunciation, a, e (or e), and 0, are generally used instead of a, e, and o, unless a full accent falls upon the vowel. The marked letters a, e, j, q, u, y^ represent the sound of " the neutral vowel," or u as in us, urn. They occur only in unaccented syllables. Diacritical signs placed above these letters are intended to indicate their normal or theoretical value. Thus, salad, cymbal, altar, hillock, lion, sailor, ballot, confess, would regularly be pronounced saMd, cym'hal, aPtar, hU'WcJc, li'dn, sail' or, hal'lot, cdn-fess', but in fluent, and particularly in colloquial, utterance, the unaccented vowel is apt to sufl'er a corruption or change of its distinctive quality, falling into the easier sound of the neutral vowel, so that the actual or customaiy pro- nunciation of the words in question is sal'ud, cym'bul, aVtur, Jdl'luck, li'un, sail'ur, bal'lut, cun-fess'. They may, therefore, be printed thus: — saVad, cwm'- Hl, aVtAr, hil'Uck, lP4n, sail'&r, balm, c6n-fess'. ' ^ The letter s is doubled, in the orthoepical respelling, to indicate the "sharp" or hissing sound of this member of the alphabet, in cases where a single 5 would be liable to be pronounced like s; a': expense (eks-penssO- In a word having more than one accent, the primary or principal accent is INTRODUCTION* . XVii denoted by a heavj^ mark ; the secondary, or subordinate, by a lighter mark ; as in Ad'amas'tor, In the division of words into syllables, these marks, besides performing their proper ofiice, supply the place of the hyphen. An apostrophe [ ' ] is used in the respelling of certain French words to show that an unaccented e is either entirely mute, or is pronounced with the briefest possible sound of e in her. It is also used after ^, in some cases, to denote that this letter is to be pronounced with its consonant sound, as in yard^ yes^ &c. A tie [^] placed over two or more vowels denotes that they must be pro- nounced without an obvious separation infB distinct syllables; as, ffauy (a'lQ'). The figures which follow some of the names in the Vocabulary refer to cor- responding sections in the following " Kemarks " and *' Rules," KEMARKS ON SOME POINTS OF ENGLISH ORTHOEPY. A. § 1. The sound of a in ale, fate (commonly called " long fl|"), though regarded by many writers as a simple element, is in most cases diphthongal, beginning with a sound closely resembling that of the first e in there, but slightly less open, and ending with a brief sound of e in me. (See § 3.) This final e sound is usually omitted in unaccented syllables, and in the correct pronunciation of the common foreign equivalent of a; namely, e as in [Fr.] bete, nee, [Ger.] eivigj &c. (See § 31.) A (as in bath, dance, &c.)« § 2. There is a considerable class of words (chiefly monosyllables) ending in off, aft, ask, asp, ass, ast, with a few ending in ance, and, and ant (as staff, graft, mash, rasp, glass, last, lance, command, pant), to which must be added castle, advantage, half, and some other words, in the pronunciation of which, usage, both in England and America, is far from being uniform, some speakers giving to the vowel the full, open sound of a in far {a), and some the abrupt, flat sound of a in man {a), while others, seeking for a compromise between these two extremes, either slightly shorten the h, or dwell upon the a. Of these varieties, the first and second (a and a) are much the most common. The drawled a was never more than a temporary and local fashion, which — ac- cording to Smart — has been generally laid aside in England, and which seems to be going out of use in America, in those parts wher|^ it has hitherto prevailed. • The brief ti, — improperly styled "intermediate," — though recommended by Worcester, Goodrich, and some other orthoepists, differs so slightly from the fuller form of this vowel, that the distinction attempted to be set up is practically a nugatory one. Words belonging to the class under consideration are in this Dictionary marked as having the full sound of a in far ; but the reader is, in every instance, referred to this section, and can decide for himself which of the sounds here described he will adopt in his own practice. b Xviii INTRODUCTION". A, :fc. § 3. The sound of « heard in jTare, lair^ &c., and of e in therCy heir, &c., when these words are correctly pronounced, is a lengthened form of the e in met, or of the initial element in long a (a as in mate), sounds which are closely allied, and are, by some writers, regarded as identical. Instead of this, however, many speakers substitute a prolongation of the a in mat, — a mode of utterance which, notwithstanding its frequency and its equal gracefulness, is opposed by the ma- jority of cultivated speakers, including most of the orthoepists. § 4. The vowel u before r, in such words as urn, fur, Jurry, incur, incurring, &c. (sometimes called the " neutral vowel," from its peculiarly dull and indiscrete character), is very conmion in English, and has a tmiform and well-known sound. According to the common practice, both in England and America, and according to most writers upon the subject, the vowels e, i, and y, and the digraph ea, when similarly situated, have precisely the same sound. But some speakers, particu- larly among the more refined and aristocratic classes of English society, give them a different and peculiar sound, which is best described as intermediate between that of u m urn, and that of e in met, being Jess guttural than the former, and less palatal than the latter. This " delicacy " of pronunciation, as it has been termed, is not observed in unaccented syllables, or in "very common words," even by those who are tenacious of its observance in other cases. In this work, all these vowels are marked in the same way (c, », S, y), but the reference-figure appended to words in the Dictionary in which they occur, will direct the reader to this section, that he may not be left in ignorance of the fact that there is a diversity of usage in their pronunciation. 0,6. § 5. The sound of o in old, note, &c. (commonly called "long o"), though by some writers regarded as a simple sound, is in reality diphthongal, ending in a slight sound of oo in food, or in foot. The initial element is the normal o, intermediate in quality between aw (as in saw) and 6d. The terminal oo sound is usually omitted in unaccented syllables. In some parts of America, particularly in New England, it is very common to shorten the sound of long o in certain monosyllables, and in the accented syllable of some other words, by dropping the brief final element which properly belongs to the vowel, and at the same time making the initial element slightly ^more open in quality; but the practice is an unauthorized provincialism. This shortened form of long o % heard in the words home, stone, wholly, &c. It also occurs in some foreign languages. As it differs but little from the sowid of un- accented (in car' go, ech'o, &c.), it is, in tliis Dictionary, represented by the same diacritical sign (6). U. § 6. The sound of u in unit, cube, mute, &c. (commonly called " long «"), is a compound sound formed of consonant y as the initial element, and the oo in IKTROBUCTIOK. x\x food as the final element. The sound of consonant y is distinctly hoard wlien u (or any of its equivalent digraphs) makes or begins an initial syllable (as in unite, use) ; when it is preceded by any one of the labial or palatal sounds p, b, m, /*, V, k, g (as in putrid, bugle, music, fusion, view (= vu), cubic, gules) ; and when it is preceded by any one of the dental sounds d, t, I, n, th, provided the preced- ing vowel is short and under the accent (as in ed'ucate, rit'ual, sdl'utary, mon'u- ment, spdth'ulate). But when it is preceded, in the same syllable, by any one of the consonants d, t, I, n, s, th, it is difficult to introduce the sound of y, and hence careless speakers omit it altogether, saying dook, toob, loot, nood, soot, entkoosiasm, instead of duke, tube, lute, nude, suit, enthusiasm. The reason is, that, after forming these dental consonants, the organs are in a position to pass directly and easily to the labial oo ; but .to insert the palatal y before the oo, is to go back from a medial to a posterior position of the organs before proceeding to an anterior position. Although the tendency to get rid of the y, in such cases, is a natural and legitimate one, it is only so far yielded to by the best speakers as to substitute for the y the closely related element short i, made as brief as possible, and pronounced in the same syllable as the oo. If, in similar situations, the u is preceded by the sound of r, sh, or zh, it takes the simple sound of oo in food ; as, imle (rool), true (troo), virulent (vir''oo-lent), sure (shoor), ae,ure (a^zhoor). When preceded by ch or j, the practice of different speakers varies, some sounding the u as oo^ others as Cob. § 7. The sound of h in hand, h^att, &c., is a pure aspiration produced by an emission of breath through whatever configuration of the vocal channel may be requisite for uttering a succeeding vowel or semivowel, the organs being always adjusted to the position of the next following sound before the h is pronounced. Yet h is palpably not a whisper of the following sound. If it were so, a whispered he would be nothing more than a prolonged whispered e, whereas the difference between the two elements is very marked, and is felt not only by the speaker, but by the hearer as well. Physiologically considered, h is formed by an expul- sion of unvocalized breath through the glottis, which is opened wide through its whole extent. In simple whispering of the vowels, on the contrary, the vocal chords are brought together, — approximated, though not stretched, or but slightly so, — and the breath, in passing through, is thus not only rendered audi- ble, but acquires a peculiar and distinctive quality, which approaches in a greater or less degree to actual sonancy, CH, J. § 8. The digraph ch (as in church) is regarded by some writers as repre- senting a simple sound; but most orthoepists consider that it is compounded of t and sh. Neither view is quite right, nor is either wholly wrong. In forming ch, there is an attempt at blending t and sh in a single sound, the result of which is to modify the former of these elements by causing it to be produced, not in the ordinary way with the tip of the tongue against the gum of the XX INTRODUCTION. upper front teeth, but with the flat surface of the tongue, near the tip, applied within the dome of the palate at the point where a slight relaxation of the contact, accompanied with an emission of breath, gives rise to the sound of sh. Considering the brevity of the two elements, and the peculiar closeness with which they are combined, we may regard ch as a consonant diphthong, or, as Midler expresses it, "only one whole consonant" consisting of "a half t and a half sA." The soimd of J — which is merely a vocal ch — is composed in like manner of a modified d followed by zh, B. § 9. According to many English orthoepists, the letter r has two distinct though related sounds, — the one a dental or lingual consonant, formed by a contact of the margin of the fore part of the tongue with the inner surface of the upper side teeth, the tip of the tongue touching, or nearly touching, the gum of the front teeth with a slight quivering or tremulous motion as the stream of intonated breath flows over it, heard (1.) when this letter is not preceded by a vowel, as in rose, dream, pray, strike ; and (2.) when it is placed between two vowels of which the former is short, as in arid, peril, spirit, cdral, lyric, sdrry {=s6ry), fmrry (=hiary); the other a guttural sound, nearly resembling a vowel, formed by a plight vibration of the root of the tongue and the uvula, heard when the let- ter r occurs before any consonant, or is itself the final consonant in a word, as in part, verse, mirth, torn, surf, far, nor, slur. In the first case, r is sometimes strongly trilled or rolled by a violent emission of the vocal current; but, in ordinary pronunciation, the sound is peculiarly smooth and liquid, and any de- cided vibration of the tongue is laborious, pedantic, and altogether un-English. If r follows any one of the vowels a, e, I, 6, u, 6b, bu, a slight sound of the iieutral vowel (m in urn) is inserted before the r, forming a diphthong with the preceding vowel, or, in the case of I, u, and du, a triphthong. Thus, care, deary tvire, more, lure, boor, sour, are pronounced ca'ur, de^r, wi^r, mo^ur, lu^r, boo^, sou'ur. In English usage, the r is thus joined to the preceding vowel in all cases in which this vowel is in an accented syllable ; and if, at the same time, 1^ vowel follows, the r has, according to some orthoepists, both it& guttural and its lingual sound; as in vary (var'y, or var^ry), era (eWa, or er^'ra), iory (tor^y, or tor-'ry), burin (bur'in, or bur'rin), houri (hour/i, or hOur^ri^ &c. In the United States, this mode of pronunciation is, for the most part, confined to words ending with r or re preceded by one of the above-mentioned vowels, and to the deriva- tives of such words. Thus, dearest (from dear) is pronounced dear'est, or dear^rest; boorish (from boo7'), boor'ish, w boor'rish ; sourer (from sour), sour'er, or sour'rer, &c. ; but vary is va-'ry ; era, e^ra; tory, to'ry, &c. The Scotch, on the contrary, preserve the vowel pure even in derivatives, saying dea^rest, boo'rish, Bou'rer, &c., as well as va'ry, e'ra, to'ry, &c. It must be observed that some very acute and eminent phonologists utterly deny the existence of the alleged double pronunciation of r, maintaining that the letter has, in English at least, one unvaried sound in all situations, produced between the tip of the tongue and the upper gum. Others allow that when INTKODUCTION. xxi r is preceded by a long or full vowel, a slight guttural vibration accompanies the lingual articulation ; but they do not regard this modification of the sound as affording sufficient ground for its discrimination into two distinct and inde- pendent elements. It is not improbable that the disagreement of authorities in regard to the precise nature of the "guttural r " is owing' in some measure, to actual difference of utterance. It is further to be observed, that, in the best style of pronunciation, r is never silent ; but that, when it occurs after a vowel, it is commonly suppressed by careless or uneducated speakers. W, Y. § 10. The sounds signified by w and ?/, when these letters occur at the be- ginning of a word or syllable, as in w'oo^ ye, &c., are considered by some writers to be identical with the vowels oo and e respectively ; they are, however, formed by a closer approximation of the articulative organs, which destroys the pure vocality of the vowel sounds, and gives them a consonantal or semi -conso- nantal character. They are not, however, perfect consonants ; for it is impossible to prolong them, and the attempt to do so results only in the production of the vowels 00 and e. WH. § 11. The digraph wh is regarded by many modem orthoepists as repre- senting a simple elementary sound, which is the surd or whispered correspondent of V). Of those who take this view, some say that the sound of wh is followed by that of w ; as in when (wh-w-e-n): others assert that the voice is not heard until the following vowel is commenced, when, for example, being pronounced wh-e-n ; but such persons wrongly analyze their own pronunciation. The com- mon opinion is, that both letters of the digraph are pronounced with their usual sounds, only in the reverse order, — hw, — according to the original Anglo-Saxon orthography. But h-w does not differ from wh-w, h being an emission of un- vocalized breath through the position taken by the organs of speech in forming the next following element, as is explained in § 7. RULES FOR THE PRONUNCIATION OF GREEK AND LATIN WORDS. § 12. The established English pronunciation of Latin words and of Latinized forms of Greek words is conformed to the_ general laws and tendencies of the English language. Hence, the proper position of the accent and the syl- labication having been determined, each syllable is to be pronounced according to the usual powers or sounds of the letters in English, except in cases specially provided for in the following rules. xxh INTRODUCTIOl!T. Vowels. § 13. (1.) Any Towel at the end of an accented syllable, and e, o, and u at the? end of an unaccented syllable, have the long English sound; as, Ca^to^ Ce^res^, Ml'das^ So'lon, Nu'ma^ Pe-lPdes^ Ho-me'rus^ Lu-ca'nus, § 14. (2.) If a syllable ends with a consonant, the vowel has its short English^ sound; as, BaPhus^ Mem^non, Mos'chus^ Pub'lius. Exception. — E^ in final es, has its long sound; as in Achilles (a-kiPlez). § 15. (3.) A^ ending an unaccented syllable, is sounded like a in comma; as, Cre-u'sa^ A-ri'cm. § 16. (4.) E final is always sounded; as in He'he^ Pe-neVo-pe. § 17. (5.) The diphthongs m and (b are pronounced as e would be in the same situation ; as, Ccesar (se'zar), (Enone (e-no^ne),* Dcedalus (ded'a-lus), (Edijms (ed^i-pus). § 18. (6.) /, ending a final syllable, has its long English sound; as, E-pig'o-nl, Ending an initial unaccented syllable, it has in some cases its long sound, as in JBt-a^'iior, l-U'lus ; and in some its short sound, as in Ci-lic'i-a^ 1-ta'li-a. In all other cases, ending an unaccented syllable, it has its short sound; as, Fd'bi-us. § 19. (7.) F is pronounced as i would be in the same situation. § 20. (8.) When ai, ei^ oi, and yi^ not initial, are followed by another vowel, and take the accent on the a, e, o, or y, the i assumes the sound of consonant y, and the vowel before it has its long sound; as in Maia (ma^ya), Hygeia (hi-je-'ya), Pompeius (pom-pe^'yus), Latvia (la-to'ya), Harpyia (har-pFya). Consonajits. § 21. (9.) The consonants c and g have their "soft " sound, like s and j>, be- fore e, I, ^, CB, and m ; before a, o, and w, or a consonant, they have their "hard" sound; as in cot^ go. Exception. — When ^, having the sound of j, is preceded by another 5', the former of the two is suppressed, or may be said to coalesce in sound with thQ second; as, Ag genus (a-je'nus). § 22. (10.) The combination ch is pronounced like h ; as, Charon (ka'ron). § 23. (11.) Each of the three consonants c, s, and ^, when preceded im- mediately by the accent, or itself ending an accented syllable, and followed by irt, i'e, M, 10, or m, commonly has the sound of sh ; as in Por'cia (por'shi-a), Cly'tie (klish'i-e), Hora'tii (ho-ra^shi-i), Pho'cum (fo'shi-on), Cas'sius (kash^i- us). C has also the same sound, when following an accented vowel, and stand- . ing before eu and yo ; as, Meno&'ceus (me-ne'she-us), Si'cymi (sish'i-on). Exception. — When si, immediately preceded by an accented vowel, is fol- lowed by a vowel, the s takes the sound of 2;^; as in He'siod (he^zhi-od). — Though not properly an exception to the rule, it may be stated that zi similarly situated is pronounced in the same manner ; as in Aly'zia (a-lizh'i-a). — r, when preceded by another <, and commonly in the termination tion, has its E roper sound (heard in tcp^ mat, &c. ) ; as in Brut'ti-i, Me'ti-on : when preceded y s or a;, it has, according to some authorities, the same sound ; according to others, the sound of ch in church ; as in SaUus'tius (sal-lus'ti-us, or sal-lus'chi-us), Sexnius (seks^ti-us, or seks'chi-us), &;c. § 24. (12.) /Sf, when final, if preceded by «, has the sound oi z; as in Per- icles (pSr'i-klez). INTRODUCTION, XXin ^25. (13.) Xj ending an accented syllable, and standing before i followed by another vowel, has the sound of ksh ; as, Cinx'ia (singk'shi-a). § 26. (14.) Combinations of initial consonants which are foreign to tlie nature and habits of our language, drop the sound of their first letter or digraph; as in Cneius (pronounced ne'yus), Ctesiphon (tes'i-fon), Gnatho (na-'tho), Mnemos- yne (ne-mos'i-ne), Pnytagoras (nt-tag'o-ras), ^stfche (si'ke), Ptplemy (toPe-nae), Phthas (thas). § 27. (15.) The tenninations cms and ous are alwaya to be pronounced in two syllables; as, Ar chela' us^ Alcin'o-us. § 28. (16.) The termination ews, in proper names which in Greek end in evf, as Orpheus, Prometheus, &c., should be pronounced in one syllable, the e« being a diphthong with the sound of " long m." Accent. § 29. (17.) Words of two syllables invariably have the accent on the first syllable. In words of more than two syllables, if the penult is long in quantity, it takes the accent; but, if short, the accent is on the antepenult. When the penult is common, or doubtful, the accent is on the antepenult. 4®" By quantity, m Greek and Latin, is meant the relative time occupied in pronouncing a syllable, when those languages were spoken tongues. A syllable containing a short vowel may be lengthened by accompanying consonants ; but the ancients seem to have felt the effect of these only when final, and to have made no account of initial consonants — probably because they pronounced them with extreme brevity — in estimating the duration of a syllable. The general rules in relation to quantity are as follows : — 1. Before j, x, z, or any two consonants excei)t a mute followed by I or r, the vowel of the penult is hmg by position. [This is the language of the grammarians : the vowel, in such cases, was probably short or stopped ; but the syllable was long, being made so by the following consonant or consonants.] The digraphs ch, ph, rh, and th, which rep- resent simple sounds,* are reckoned as single consonants. 2. A vowel before a mute and t or r is common ; that is, either long or short. 3. Diphthongs are long. 4. A vowel before another vowel or h is short. In other cases, the quantity must be determined by etymology, metrical usage, or the orthography of the word in Greek; but every vowel which cannot be proved to be long, is arbitrarily assumed to be short. — The division of words into syllables — which depends in pqrt upon the position of the accent, and this, in turn, upon quantitj^ — must be understood before words can be correctly pronounced. The rules in regard to this subject may be found in any good Latin grammar. BRIEF RULES FOR THE PRONUNCIATION OP THE PRINCIPAL MODERN LANGUAGES OF CONTINENTAL EUROPE. Vowels. § 30. (1.) In the languages of the Contment of Europe, the vowel a, when long, has usually the sound of the English a in far, father; when short, nearly that xxiv INTRODUCTION. of a in fat^ manf never that of a in fate. A, in French, has a sound rescmbljng that of a in far, but deeper and less distinct, verging toward that of a in all : its peculiar quality is due to the retraction of the tongue and the soft palate. A briefer variety of the same sound is heard in the Fr. pas, Ger. mann. In Hun- garian, a is like o in rwt; a, like a in far. A, in Swedish, has a sound intermediate between that of a in all, and that of o in note. For the sounds of a, a, a, see §§ 37, 62. § 31. (2.) .& generally has a sound similar to that of "long a" in fate, but often like that of " short e " in met, or like the latter when protracted. (See § 1.) E, in French, has the sound of e in then, or that of the initial element in mate (see § 1); e and e have the sound of the first e in there; e (unaccented) is, in most cases, either entirely silent, or has a very brief sound of the neutral vowel (m in ujj, urn). E, in Swedish, when long, has a sound somewhat like that of short i (in pin), but more prolonged ; when short, it is like e in met. Iii Hun- garian and Polish, e (unaccented) sounds like e in met; e nearly like a in mate. For the sounds of e, e, see § 62. §32. (3.) / has usually the sound of i in marine, which is the same as the "long e" in me, she, &c. It is often shortened in quantity, like the e in bemoan, but the quality of the sound remains the same, and should not be suffered to degenerate into that of i in ill. This latter sound, however, is heard in Dutch, and sometimes in German. In Hungarian, i and i differ only in length, the accented vowel being more protracted than the unaccented. §33. (4.) has, for the most part, the same, or ilearly the same, sounds that it has in English in the words note, not, north. (See § 5.) It some- times — as in the It. nolpe — has a sound intermediate between that of o in rwte and that of oo in food. This is called, in Italian, "o chiuso.^^ The "o aperto^^ of the same language is a sound intermediate between the o of note and that of noi^th. In Swedish and Norwegian, at the end of a syllable, o has the sound of 6d or of do. d, in French, has always the full sound of " long o " in English. In Hungarian, a is nearly like long a in English ; 6 has a fuller and deeper sound. In Polish, o sounds like o in note; 6, like oo in food, or in foot. For the sound of o, see § 46. § 34. (5.) U, in most of these languages, has, when long, the sound of u 'in true (equivalent to the oo in food) ; when short, that of u in full (equivalent to the o6 in foot). In French, — arfd also in Dutch, wheh at the end of a syllable, — it has a sound intermediate betwj^en oo and e, formed by attempting to pronounce these sounds simultaneously, the lips being placed in the position for uttering oo, and the tongue in that for e. The sound is sometimes long and sometimes short, but the difference is merely one of quantity. In Dutch, u, when short or stopped, is sounded as in nut. U, in Swedish, is intermediate between i and 6b, but is a pinched and very peculiar sound, differing considerably in its effect upon the ear from that of the French u, the lips being rounded instead of pouted. The near- est equivalent in English is do. In Hungarian, u (unaccented) has the sound of 00 ; w, a longer and fuller sound of the same general quality. For the sound of M, see § 51. § 35. (6.) Y, for the most part, has the same sound that i has; that is, it is INTRODUCTION. xxv like "long e" in English. (See § 32.) In Dutch, ithas the sound of the Eng- lish "long^" {i in pine)', but in the modem Dutch orthography it is replaced by ij. In Danish, Norwegian, and Swedish, it is like the French and Dutch u, or the German ii. (See § 34.) Diphthongs and Vowel Combinations. § 36. (7.) Aa^ in most languages, has the same sound as single a, — that is, the sound of a in far j — but is more prolonged. In Danish, it sounds nearly as a in all, but verges towards the sound of o in n0e. § 37. (8.) Ae, or a, when long, is usually sounded like a in fate, or the first e in there; when short, like e in met. (See § 1.) In Dutch, it is like a in far; but the reformed Dutch frthography substitutes aa for ae. § 38. (9.) Aeu, or du, in German, has the sound of oi in toil, but is differ- ently pronounced in different parts of Germany. § 39. (10.) Ai and ay are generally sounded like the English adverb ay (yes); but in French they have nearly the' sound of a in fate, or e in there. (See § 1.) §40. (11.) Eau,in French, has the same sound as the French au; that is, of the English "long o." §41. (12.) Ee has a prolonged sound of the foreign e, which is nearly equivalent to the English a in fate. (See § 31.) §42. (13.) Ei and ey are generally like ay in day, when this word is pro- nounced with the full diphthongal sound of the vowel. In French, they have a more open sound, resembling that of e in met^ or that of a in mate with the ter- minal element of the a omitted. (See § 1.) In German and Danish, they are like the English adverb ay (yes) ; that is, they unite the sounds of a in far and i in ill, and hence nearly resemble our "long i." § 43. (14.) Eu, in French and Dutch, has — with some variations of quantity, and some slight differences of quality — a sound similar to that of u in urn, but more accurately described as intermediate between the a in mate and the o in note, and formed by an attempt to pronounce these vowels simultaneously. (See § 46.) Eu, in German and Danish, sounds like oi in toil. In Italian, Spanish, and Portuguese, it is equivalent to d^oo. § 44. (15.) le usually sounds like e in me, but, in German, it sometimes makes two syllables, and, in French, before r final, forms a diphthong which is pronounced e^a. §45. (16.) Ii is equivalent to i — that is, to the English "long e," as in me — prolonged. § 46. (17.) Oe, or 6 (in Dan. 0), in the Germanic languages, is essentially the same as eu in French (see § 43), though most authorities recognize a slight difference of quality between the two sounds, o inclining more to tlie sound of a, and having the lips more pursed up for its utterance, than eu. The u in . urn is the nearest English approximation to both. In Hungarian, '6 or 8 is merely a longer variety of o. §47. (18.) (Eu, in French, is like eu in the same language. (See § 43.) §48. (19.) Oi, in French, sounds, in most words, nearly like wa in was. In some words, it formerly had the sound now given to ai, by which it is replaced XXVI INTRODUCTION. in the modem French spelling. Oi, in Danish, is like d in English ; 0i is d^, with the o short, or brief. § 49. (20.) Oo, has the sound of oo in door, or o in note, somewhat prolonged, and without the final element of this sound in English. §50. (21.) Ou, in French, when long, is like oo in food; when short,* like 00 in foot. In Dutch and Norwegian, it has the sound of ou in the English word oitt. In Portuguese, it is usually pronounced like the English " long o." § 51. (22.) Ue, or U, in the Germanic languages, is sounded like the French ». (See § 34.) In Hungarian, U0t & is merely a longer variety of H, § 52. (23.') Ui and uy, in Dutch, resemble d in English. § 53. (24.) Uu is like oo in food^ but longer. Consonants. § 54. (25.) 5, in German and Danish, at the end of a word, sormds like p. In Spanish, between two vowels, its sound is intermediate between those of the English b and w, and may be described as a v made without the aid of the teeth, but witii the lips alone, which are pouted and brou^t flatly and feebly into contact. § 55. t26.) C, in Italian, before eand i, sounds like ch in church; in Spanish, in the same position, like th in thin (though in Cataloqja and in Spanish America it has the sound of s). In German and Danish, before e, i, y, a, 6 (0), m, or a diphthong commencing with any one of these letters, and in PoUsh in all positions, it is pronounced like ts, C, in Polish, blends the sounds of ts and con- sonant y. (Compare § 74.) f, in French and Portuguese, sounds like s, before o, o, and u. § 56. (27.) Z>, in German, Dutch, and Swedish, at the end of a word, sounds like t; in Spanish and Danish, when occurring between two vowels, or at the end of a word, like th in ihis, but it is very gently pronounced, so as some- times scarcely to be audible. § 57. (28.) Fy in Swedish, at the end of a word or syllable, sounds as v does in English. § 58. (29.) G is always "hard" before a,o, u, as it is in the English words gain, gold, gust. In Polish, it is hard in all situations | so also in Hungarian, unless followed by j or y. (See §§ 76, 79.) In French, Spanish, and Portuguese, before e, i, and y, it is like the j of these languages. (See § 60.) In Italian, in the same position, it is like the English J, that is, like g in gem. (See § 8.) In German, the standard andtbest pronunciation makes ^" hard "in every case when it is followed by a vowel in the same word; but when preceded and not fol- lowed by a vowel, it has the sound of the German ch. (See § 71.) In Dutch, g, in all positions, has a harsh guttural sound, which is the sonant or vocalized cor- respondent of the German guttural ch. (See § 71.) In Swedish, before e, i, y, a, and o, and when preceded by any other consonant than n, it sounds like the ' English consonant y; in Danish, at the end of a word, its sound is very soft, somewhat resembling that of h. — Gu, in French, Spanish, and Portuguese, before e and ^, sounds like gu in guest, guile^ the w being inserted to keep the g in its hard sound before these vowels. INTRODUCTION. xxvii §59. (30.) H, in French, Italian, Spanish, and Portuguese, is either wholly mute, or is very feebly aspirated. In the remaining languages of Continental Europe, it sounds as in English. In all of them, it is mute when it follows a vowel in the same syllable, its office being merely to show that the vowel has its long sound. In Polish, h is very harshly aspirated, resembhng Tc, or the German ' guttural ch. (See § 71.) § 60. (31.) J, in German, Dutch, Danish, Norwegian, Swedish, Polish, and Hungarian, has the sound of the English y consonant. In Italian, it has rather the sound of " long e." In French and l^ortuguese, it has the sound orthoepically represented by zh ; that is, of 8 in treasure, or » in azure. In Spanish, it has a very peculiar sound, somewhat resembling that of a strongly aspirated A, and this is Substituted for it in Spanish America. "To pronounce it," says Ellis, "the back of the mouth must be stopped by doubling up the back of the tongue, and making an effort as if to hawk up phlegm, the scrape being in the palate, and rwt in the pharynx." It is most nearly alhed to the German palatal ch, but must not be confounded with it, nor with sh, h, or the guttural ch. §61. (32.) jL, in French, % the terminations hie, tile, pie, &c. (as in table, branle, simple), is colloquially whispered, but in serious or careful discourse, it has its usual vocal sound, and is followed by a faint sound of the neutral vowel (m in 1^, urn). £, in Polish, has a peculiar, thick sound, formed by placiijg the under side of the tip of the tongue firmly against the^back of the upper front teeth, or the upper gum. § 62, (33.) M and n, in French and Portuguese, when final in a word or syllable, and also when not doubled or not followed by a vowel, have no sound of their own, but are mere diacritical letters, or signs, serving to show that the preceding vowel is nasal, that is, pronounced by opening the back nostrils and alloYring the voice to enter the nose simultaneously with its passage through the mouth. The nasal vowels in French are as follows : — 1. 2. 3. 4. am,an) ^ im,in,(o)in] om, on i x^ um, un J^v^ em, en> aim, ain _v- aun ) emn, eun) eim, ein (i)enj In pronouncing these sounds, there must be no contact of the tongue and the soft palate, as in forming the sound of ng in English. By some phonetists, the first of these nasal vowels is regarded as corresponding to the pure oral vowel in far; by others, to that in not; but these two sounds are closely re- lated, the brief open o of not (o) being intermediate between the a of far (a) and the of for (o, a, or aw), and hence differing but little from a shortened form of the open &. There is disagreement, also, as to the quality of the third nasal vowel, some referring it to the o in note, or to its briefer form as heard in the New England pronunciation of whole, only, &c. (as is done in this work); while others think that it corresponds to the o in form, north, &c. In Portuguese, the nasality of a vowel is sometimes indicated by the sign *^ (originally a superposed m) placed over it. The combinations representing nasal vowels are a, da, am, an (pron. a**); cm, en (pron. a'*); im (pron. e"); o,om,on (pron. 0**); um, un (pron. oi/^). Nasal diphthongs are de, at, do, oe. The terminations xxviii INTRODUCTION. aes, oes, were formerly written aews, oens. The nasal vowels d^ and a" occur in Polish, in which language they are written a, e. — 3/, in conversational French, is whispered, and not vocalized, in such words as schisme ; but, in formal . delivery, it has its usual vocal sound, followed by an indistinct murmur of the mute e. — N before ^, in Italian, usually preserves its pure sound ; in the other Continental European languages, or in most of them, it takes the sound of the English n in sinh. — N^ in Spanish, is a variety of w, formed by an attempt to pronounce n and consonant y simultaneously. The same is true of the Polish n. The effect is very similar t(/ that produced by the insertion of y after n; as in minion (min^yun). (Compare § 74.) § 63. (34.) Qm, in Spanish and Portuguese, when followed by e or i, has the sound of h ; in other situations, that of kob. In French, the combination has the sound of k before every vowel. In German and Dutch, it is sounded as kw would be in those languages. (See § 68.) In most other languages, its sound is essentially the same as in English. § 64. (35.) i2, at the end of a word or syllable, is sounded more distinctly, and in other positions is apt to be more strongl^rilled, than in English. By us, this letter is usually pronounced with the under surface of the tip of the tongue applied within the dome of the palate, in which position the utterance is naturally very smooth and easy. Sy foreign nations, r is ordinarily produced by applying the upper lurface of the tongue's tip to the upper, gmn at a point quite near the teeth, which, occasions a peculiar harshness of sound, and most generally a decided vibration, or trill. In French, m such, words as sabre, cidre, apotre, ceuvre, it is usually pronounced as a whisper, but is sometimes vocalized, particularly in serious discourse, forming a syllable with the obscure e. It never admits the interposition of the neutral vowel {u in np, urn) between it and a preceding vowel, as is often the case in English. Thus, the French dire is pronounced def or de^ru, whereas the English dear is pronounced de^r. § 65. (36.) ^, between two vowels, has usually the sound of z in zeal. In German; it often has this sound given to it at the beginning of a syllable, but is commonly pronounced like sz, a hiss gliding instantaneously and almost imper- ceptibly into a buzz. In Hungarian, it sounds like sh in English. S, in Polish, blends in a single utterance the sounds of s and consonant y. (Compare § 74.) § QQ. (37.) T has often a more dental sound than in English, the tip of the tongue being placed against the cutting edge of the upper front teeth, and not against the upper gum, as with us. This is particularly observable in Spanish. § 67. (38.) F, in German, sounds like /. In Danish, it is usually like v in English, but sometimes has the sound of o6; as in havn (h^^donj or houn); when followed by <, it has the sound of y. § 68. (39.) TF, in German and Dutch, is intermediate between the English b and w, on the one hand, and v, on the other, the inner surfaces of the lips being brought flat against each other, whereas in (Eng.) w they are rounded, in h the edges are compressed, and in v the lower lip comes in contact with the upper teeth. (See § 54.) By some writers, this peculiar utterance of w is said to be provincial and dialectical, in German, except in words in which w is preceded by a consonant, as, sckwan. In Polish, w, when it precedes a whispered or mute INTRODUCTION". xxix consonant, is pronounced as /; in other situations, it has the sound of the German w, § 69. (40.) X, in French, has often the sound of «^ and occasionally that of 2, but more generally that of Jcs or of gz, as in English. In Spanish, it is equivalent to the J of that language. (See § 60.) In Portuguese, it is pronounced like sh in shaM. § 70. (41.) Zy in German and Swedish, has the sound of ts; in Spanish, that •of ^A in think ; in Italian, usually that of dz. In Pohsh, z has the sound of this letter in the English word zeal; », the sound of zhy as in azure (a'zhoor); i, nearly that of rzh. Combined Consonants. § 71. (42.) Ch, in Spanish (except in the Catalan dialect, where it sounds as ^), is pronounced like the same combination in English in the word church. In Italian and Hungarian, it has the sound of Jc ; in French and Portuguese, of sA, the exceptions being confined to words in which it occurs before ^ oj* r, and to a few words from the Greek, where it sounds like Tc. In German, Dutch, and Polish, when preceded in the same syllable by any one of the vowels a, o, or w, it has a harsh, guttural sound somewhat resembling a strongly aspirated h; as in ac^, dochj buch : it is produced by bringing the uvula into contact with the base of the tongue, and forcing unintonated breath through the barrier thus formed, the position taken by the organs remaining in other respects unchanged. When preceded by e, «, a, 0, m, ei, aw, ew, I, w, or r, the sound is palatal, and approxi- mates closely to that of the first two elements in the word hue (h'^00), the tongue being considerably raised in the mouth ; as in echt, ich, mdchtig^ wochent- lich, biicher, reich, euch, milch, manch, durch. 4@=" CA, in German and Dutch, before s radical, has the sound of A; / as in Sachsen (szik'sn). § 72. (43.) Csj in Hungarian, has the sound of ch in church, § 73. (44.) Cz, in Hxmgarian, sounds like ts ; in Polish, like ch in church, § 74. (45.) DJ and dy, in Hungarian, is a peculiar sound, organically formed by placing the tip of the tongue in the position for uttering c/, and simultaneously raising the back part into the position for sounding consonant y, before speaking. It closely resembles the sound of d and consonant y produced in immediate succession, as in verdure (verd'yoor), and hence approximates the kindred soimd of j in just. § 75. (46.) Gh, in Italian, is like gh in the English words gherkin, ghost / that is, like g in get, begin, &c. > § 76. (47.) Gj, in Hungarian, is equivalent to dj or dy in the same language. (See §'74.) § 77. (48.) 6r? before I, not followed by a consonant, in Italian, is a peculiar liquid sound formed from I in precisely the same way that the Hungarian dy is formed from d. Examples are gli, marsigli, &c. (See § 74.) The i is mute, if a vowel foUows it; as in battaglia, miglio, &c. § 78. (49.) Gn, in French and Italian, represents a peculiar liquid sound which is identical with n in Spanish, (gee § 62, and compare § 74.) XXX INTRODUCTION. § 79. (50.) %, in Hungarian, is like dy in that language. (See § 74.) § 80. (51.) Kj^ in Swedish, sounds like ch in church. § 81. (52.) Lh^ in Portuguese, is the same in sound with gl in French and Italian, and II in Spanish. (See§§ 77, 82.) § 82. (53.) Ll^ in Spanish, blends the sounds of I and consonant ?/ in a single, though compound utterance, by an attempt to pronounce them simultaneously, the back part of the tongue being placed in the position for forming ?/, and the tip at the same time in that for forming I. The effect produced is very nearly* the same as in the English words JiUcd (fiPyal), million (miPyun), &;c., where the y follows the /, instead of being amalgamated with it. (Compare § 74.) — In French, the sound here described is, by some speakers, given to II, when preceded by ^, and followed by a vowel ; but, according to the modern popular style of pronunciation, the sound of the i^is dropped, while that of y is -often whispered. Thu^, papillon is pronounced pa^pel/yon', or pa/pe^yon'; Jilh, fel, or fe'y'; mouille, mooPya', or moo'ya'. It is to be observed that the i preceding II is silent, if itself preceded by a vowel. § 83. (54.) Ly, in Hungarian, is pronounced like II in Spanish. (See § 82.) § 84. (55.) Ng^m German and Swedish, has the same sound as in the English words sing, singer. . § 85. (56.) Nh, in Portuguese, corresponds to the Spanish n. Ny, in Hun- garian, has the same sound. (See § 62.) § 86. (57.) Ph, in all the languages of Continental Europe in which it occurs, has the same sound, that of f. § 87. (58.) Bh is pronounced like simple r. § 88. (59.) Bz, in Polish, is a peculiar sound, said to be uttered by placing the tongue in the position for zh, and trilling the tip, which is at liberty ; in other words, it is a simultaneous pronunciation of r and zh. § 89. (60.) Sc, in Italian, before e and ^, is sounded like sh in s?iall; in other positions, like sh. >§c, in Polish, unites the sounds of s and 6. (See §§ 65, 55.) § 90. (61.) Sch, in German, sounds like sh in shall ,• in Italian, before e and i, lik^ sch in school, or sk in sJdll ; in Dutch and Polish, before all the vowels, it resembles sJc, but is harsher, the ch having the guttural or palatal sound de- scribed in § 71. § 91. (62.) Ss, in the Germanic languages, has the same sharp and hissing sound that it usually has in English. § 92. (63.) Sz, in German and Hungarian, sounds like s in sun; in Polish, like sh in s?ialL *" § 93. (64.) Szcz, in Polish, is pronounced as shch would be in English. § 94. (65.) Th, in all the languages of Continental Europe, except the Modern Greek (in which ■&, the graphic equivalent of th, has the same sound that this digraph usually has in English), is pronounced like th in tttyme, Thomas, that is, like simple t. § 95. (66.) Tj and ty, in Hungarian, b' nd the sounds of t and consonant y in the same manner that dj ar\,d dy, in the rune language, blend tjie sounds of d and y. (See § 74.) The nearest l^figli.-li equivalent is the combination of t INTRODUCTION. xxxi Hind y in the pronunciation sometimes given to the words nature (nat''yoor/, virtue (vert'yoo), &c., though*the ch in church is a very similar somid. § 96. (67.) Ts, in Hungarian, is like ch in churchy being the same as the Hungarian cs. (See § 72.) § 97. (68.) Tsch, in German, sounds very nearly as ch in church. (See §§ 8, 90.) § 98. (69.) Zs, in Hungarian, is like zh in English, as heard in the pronun-| ciation of azure (a'zhoor), confusion (kon-fu'zhun), &c. I § 99. (70.) Zsch^ in German, has very nearly the sound of ch in church ;[ thus Zschokhe is pronounced almost like chok^kS. (See §§ 8, 70, and 90.) § 100. (71.) Zz^ in Italian, usually has the sound of ts. § 101. (72.) The letters h andj!) have the same sound as in English. § 102. (73.) Double consonants, in some foreign languages, are dwelt upon in a marked ujanner, producing the effect of double articulation, though there is- but one contact of the organs of speech. This is particularly observable in Italian words; as, e. ^., hanno, pronounced an'no, and not a'no, the two w's being pronounced as distinctly as in the English word unnerve. But if the double letters are cc or gg, and the second c or g has the power of ch (in church) or of j, in consequence of being followed by any one of the vowels e, ^, and y, the first c or g has the sound of t or d; thus ucdso is pronounced oot-che^zo, not ob-che'zo nor doch-e^zo; oggi is od''jee,not o'jeejnor oj'ee. In like manner, zz is equivalent to t-is, sometimes to d-dz. Final consonants in French — with the exception of c, /, ?, r, in most cases — are not generally pronounced, unless immediately followed, in the same sentence, by a word beginning with a vowel. But final consonants^ in classical and foreign names adopted in French, are almost always articu- lated. Accent. §103. (74.) The French language, — as spoJcen, — unlike the English, has no decided accent, all the syllables of a word being uttered.with a nearly equal stress of voice, except those in which the mute or obscure e occurs, and those in which i) w, or ow, precedes a syllable commencing with a vowel. To an English ear, however, the French seem to accent the last syllable of a word, because the general tendency of our own language is to throw the accent back toward the beginning of the word. Hence, it is the usual practice in English books, in respelling French words for pronunciation, to mark the last syllable as having the accent; at the same time, secondary accents may be placed on the other syllables, to prevent them from being slurred over, or too hurriedly and indis- tinctly pronounced, as is often the case in the enunciation of unaccented syl- lables in English. It may be observed, that, in French words derived from the Latin, the final spoken syllable always represents the accented syllable of the Latin ; it therefore has a right to, and, in point of fact, receives, whatever accent there is. The Hungarian language, like the French, has no accent, the syllables of a xxxii INTRODUCTION". word being distingnished from each other solely by quantity, as in Greek and|| Latin. (See§ 29.) But in this work, as in others, an accent is placed on the long syllable, in conformity with the principle observed in the accentuation of Greek and Latin words. . In the Germanic family of languages, the principal accent falls upon the radi- cal syllable ; but, in consequence of the vast proportion of compound words, secondarily accented syllables abound, so that two, and sometimes even three or four, accents of nearly equal force may occur in the same word. It is evident, that, to those who are familiar with the meaning and composition of words in these languages, the accentuation must be easy ; but no general rules can be given. Italian words are mostly accented on the penultimate syllable ; the same is true of Spanish and Portuguese words ending in a vowel, while those ending in a consonant, in these two languages, are generally accented on the last syllable. But the exceptions — especially in Italian — are so numerous that the rule is not, perhaps, of much practical utility. Polish words are invariably accented on the penultimate syllable ; while th« seat of the accent 'm Bussian words is almost always the last syllable. EXPLANATION OF ABBREVIATIONS, ETC. Am.j or Amer. J Ar., or Arab. A.-S., . b., Celt, . cent., Chald., coll., or colloq., Comp., Cyc, d., . Dan., . Edin., Egypt, Eng., fern.. For., Fr., . Ger., Gr., . Heb., Hist, . act. American. Arabic. Anglo-Saxon. . bom. Celtic. century. Chaldsean. colloquially. . Compare. Cyclopaedia. . died. . Dutch. Danish. Edinburgh. . Egyptian" EngHsh. . feminine. Foreign. French. German. Greek. Hebrew. . History. Hungarian. Icel, ', Ir., . . It, or Ital., Lat, Mag., Myth., Norw.. Per., Pol, P(yrt, Pr., pron., Prov.. pronounced, q. V. {quod vide). Rev., Rom., SansJc., sc, . Scand., Scot, Bhak., Sp., Icelandic. Irish. . Italian. Latin. izme. Mythology. Korwegian. Persian. . Polish. Portuguese. Proven9al. pronunciation. Provincial. Quarterly, which see. Review. Roman. Sanskrit. . scene. Scandinavian. Scottish. Shakespeare. Spanish. Sw., Swedish. J8®* Spaced letters are used to distinguish forms of spelling which are not so common or so well authorized as those adopted in the vocabulftry. " AS PEOPLE BEAD NOTHING IN THESE DAYS THAT IS MORE THAN FORTY- EIGHT HOURS OLD, I AM DAILY ADMONISHED THAT ALLUSIONS, THE MOST OBVIOUS, TO ANY THING IN THE BEAR OF OUR OWN TIME NEED EXPLA- NATION."— Db QUINCBT. ACH 8 charged his arrow into the air with such force that it took fire, and marked out a pathway of flame, until it was wholly consmned and disap- peared from sight. Thy destiny remains untold; For, like Acestes' sl>afv.] {Gr. rtunes, master to Archer, in B'ar- quhar's comedy, " The Beaux' Strat- agem." A'jSx. [Gr. Aloe.] (Or. &.-las'na.ni. The hero of a story in * the "Arabian Nights' Entertain- ments " entitled " The History of Prince Zeyn Alasnam and the Sultan of the Genii," which relates how he came into the possession of immense wealth, including eight statues of solid gold ; how he was led to "seek for a ninth statue more precious still, to place on an empty pedestal ; and how he found it at last in the person of the most beautiful and purest wom- an in the world, who became his wife. In this brilliant comedy [Congreve's " Love for Love "], there is plenty of bright and sparkling characters, nch as wit and imagination can make them ; but there is wanting one pure and perfect model of sim- })le nature, and that one, wherever it is to be bund, is, like Alasnani's lady, .... worth them all. Sir W. Scott. A-las'tor. [Gr. 'Alaarop, from a privative, and Aai^eZv, to forget.] In classical mythology, a surname of Zeus or Jupiter; also, in general, a •punitive deity, a house-demon, the. never -forgetting, revengeful spirit, who, in consequence of some crime per])etrated, persecutes g, family from generation to generation. Plutarch relates that Cicero, in his hatred of Augustus, meditated killing himself by the fireside of this prince in order to become his Alastor. In the Zo- roastrian system, Alastor is called the Executioner or Tormentor. Origen says he is the same as Azazel. Others confound him with the Ex- terminating Angel. By Wierus and other mediaeval demonographers, Alastor is described as a devil in the infernal court, and the chief execu- tive ofticer in great undertakings. Shelley, in his poem entitled " Alas- tor," makes him the " Spirit of Soli- tude." Al-ba'ni-it, ) A name given to Scotland, Al'ba-n^. Jor the Scottish High- lands, in the old romances and his- tories. It is said to have been derived from a certain fabulous Albanoct, who received this portion of the island of Albion, or Britain, from his father Brutus. See Albyn. Al'ba-n^ Regency. A name popu- larly given in the United States to a junto of astute Democratic politicians, having their head-quarters at Albany, who controlled the action of Ihe Democratic party for many years, and hence had great weight in na- tional politics. The effort to elect William H. Crawford president, in- stead of John Quincy Adams, was their first great struggle. Al'bi-6n. An ancient name of Britain, said to have been given to it on ac- count of the lofty white clitTs (Lat. albus, white) on the southern coast. Others trace the word to the Celtic alby alp, high. j8®=- In the fabulous history of Eng- land, it is related that the first inhab- itants were subdued by Albion, a giant and a son of Neptune, who called the island after his own name, and ruled it forty-four years. Another legend derives the name from a certain Albina, the eldest of fifty daughters of "a strange Dioclesian king of Syria,-' who, having murdered their husbands on their mar- riage-night, one only excepted, whom his wife's loyalty saved, were by him, at the suit of his wife, their sister, not put to death, but turned out to sea in a ship unmanned, and who, as the tale goes, were driven on this island, where they had issue by the inhabitants, — none but devils, as some write, or, as others assert, a lawless crew, without head or governor. Milton characterizes these stories as " too absurd and too unconscionably gross ' ' * for credence; but he remarks, "Sure aad for the Remarks and Rules to which the numbers after certain words-refer, see pp. xiv-xxxii. ALB 10 ALC enough we are that Britain hath heen anciently termed Albion^ both by the Greeks and llomans." Not yet enslaved, not wholly vile, O Atbion, O my mother islel Coleridge. Al'bi-Sn, New. A name formerly given to an extensive tract of land on the north-west coast of North America. It was originally applied by Sir Francis Drake, in 1578, to the whole of what was then called Cali- fornia ; but it was afterward confined to that part of the coast which ex- tends from 43° to 48^ N. lat., and is now included within the State of Oregon and Washington Territory. MBoraJc (Si bSr'ak). [Ar., the light- ning.] An imaginary animal of won- derful form and qualities, on which Mohammed pretended to have per- formed a nocturnal journey from the temple of Mecca to Jerusalem, and thence to the seventh heaven, under the conduct of the angel Gabriel. This marvelous steed was a female, of a milk-white color, and of in- credible swiftness. At every step, she took a leap as far as the longest sight could reach. She had a human face, but the cheeks of a horse ; her eyes were as jacinths, and radiant as stars. She had eagle's wings, all glittering with rays of light; and her whole form was resplendent with gems and precious stones. Albracca (al-brak^kS, 102). A castle of Cathay to which Angelica, in Bo- jardo's " Orlando Innamorato," re- tires in grief at being scorned and shunned by Rinaldo, with whom she is deeply in love. Here she is be- sieged by Agricane, king of Tartary, who reaolves to win her, notwith- standing her rejection of his suit. Al'bsm (aVbin). The ancient Celtic name of Scotland, and, until Caesar's time, the appellation of the whole island of Great Britain. It is said to be derived from the Celtic alp or aZ6, meaning high, and ^ww, an island. The Scottish Celts denominate them- selves Gael Alhinn, or Albinnich, in distinction from the Irish, whom they call Gael Eirinnich; and the Irish * themselves call the Scottish Gael Albannaich, while their writers, so late as the twelfth century, call the country of the Scottish Gael Alban. [Written also A 1 b i n and A 1 b i n n.] The Celtic people of Erin and Albyn had, in short, a style of poetry properly called national, though Macjjherson was rather an excellent poet than a faithful editor and trans- lator. Sir W. Scott. The pure Culdees "Were ATbrjrCs earliest priests of God, Ere yet an island of her seas By foot of Saxon monk was trod. Campbell. But woe to his kindred and woe to his cause. When Albin her claymore indignantly draws. OxmpbeU. Alceste (SPsesf). The hero of Mo- liere's comedy, "Le Misanthrope." jgi^ " Alceste is an upright and manly character, but rude, and impatient even of the ordinary civilities of life, and the harmless hypocrisies of complaisance, by which the ugliness of human nature is in some degree disguised." Sir W. Scott. " Moliere exhibited, in his ' Misanthrope,' a pure and noble mind which had been sorely vexed by the sight of perfidy and malevolence disguised under the forms of politeness. He adopts a standard of good and evil directly opposed to that of the so- ciety which surrounded him. Courtesy seems to him a vice, and those stem vir- tues which are neglected by the fops and coquettes of Paris become too exclusively the objects of his veneration. He is often to blame, he is often ridiculous, but he is always a good man." Macaulay. Al-ces'tis, or Al-ces'te. [Gr. 'AZ/cjy- OTtg, or 'k'kKEGTri.'] {Gr.